不见的

Like a blast from out of sight.

恰似看不见的风。

Though I am invisible in all ways to you, but one.

虽然我看不见的一切方法给你，但一个。

I am an ant. I live in the place you can't see.

我是一只蚂蚁，我生活在你看不见的地方。

One dollar and eleven cents," Tess answered barely audibly."And it's all the money I have, but I can get some more if I need to.

1美元11美分，"苔丝用几乎听不见的声音回答，"这些是我所有的钱，但是如果需要的话，我会想办法找到更多。

This kind of power is the life power that average people can not see.

这种力，是一般人看不见的生命力，只要生命存在，这种力就要显现。

Absorb(=take up the attention of)吸引…的注意力be absorbed i n 全神贯注于…近be engrossed in ; be lost in ; be rapt in ;be concentrated on ; be focused on ; be centered on

走着走着，就散了，回忆都淡了；看着看着，就累了，星光也暗了；听着听着，就醒了，开始埋怨了；回头发现，你不见了，突然我乱了。

You might be unaware of the hidden "computers" in your home.

你也许没有意识到你家看不见的计算机。

Just trample on the pain, or you'll be beat down by it.

生命中，不断地有得到和失落。于是，看不见的

The micro Taipei City: With the film《The Skywall Is Gone》and the book《Le Citta invisibili》as a secondary. Through the attitude of "flaneur" walk into the arcade or alleys in Taipei City, to described more delicate life experience, and generalized four conclusions : topic-memory, being stagnant, cram life and disorder in Taipei City.

微观的台北城：此阶段的绘本受到蔡明亮电影《天桥不见了》及卡尔维诺《看不见的城市》一书的影响，开始走进城中的骑楼、巷弄之间，开始体验较为细腻的生活经验，并归纳出四个自身较为深刻的主题─记忆中的台北城、日剧时期凝滞的台北城、补习生活的台北城及以「乱」字来形容的台北城。

For our momentary lightness of affliction works out for us, more and more surpassingly, an eternal weight of glory, Because we do not regard the things which are seen but the things which are not seen; for the things which are seen are temporary, but the things which are not seen are eternal.

通过暂时的痛苦我们可以获得超越一切的永恒的光荣。因为我们在乎的是看不见的灵魂而不是看的见的外在。因为看的见的外在是短暂的，而看不见的灵魂却是永恒的。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。