他形体

Their lovely faces and forms vanished in a flash, revealing monstrous creatures of wood and vine, swinging arms like mighty cudgels at him.

她们那可爱的面孔和形体一下就消失了，变成了由树木和蔓藤混合的恐怖怪物，挥舞着手臂似乎要抽打他。

For a moment he saw nothing but dark tree-shapes and slivers of lancing daylight.

有一会儿功夫，他看到的，那些黑乎乎的树的形体，还有透射下来的一缕缕阳光。

Fully saturated and glutinous oil paints transform turbulent and complex textures through wiping, spilling, stacking and carving by the hard brush and scraper, as well as the physical dislocation left behind by the skittering of strokes. Those are his familiar and personalized symbols in works.

浓重黏稠的油画颜料在硬毛笔和刮刀的挥洒堆塑之下形成动荡、复杂的肌理，以及笔锋飞掠之后留下的形体错位是他的作品中常见的个性化符号。

Isgrimnur followed with the lamp, stepping carefully over the dark forms as though he followed one of Udun's ghost-maidens through a field of battle-slain.

Isgrimnur拿着灯笼跟在后面，小心地跨过这些黑色的形体，象是他在跟着古老的天空之神Udun管辖的一个少女的鬼魂，穿过一片尸横遍野的战场。

He usually parks the painting subjects like the small rabbits, to non-realistic scenes and distorts them as alike as Dali's Melting Clock which changes the original form and floats in the air; or steps it up and dance likes the butterfly. In Dai Chao's paintings, you can feel a vague and elusive sense of air feeling and a touch of the poet.

他常常将小兔子等绘画主体置于非现实的场景中，并使它们或如达利的熔化、变形表一样改变了原有的形体、飘荡于空中，或如蝴蝶般翩翩于花丛中：在戴超的画面中，你可以感受到一种虚无缥缈、难以捉摸的空气感和诗人气质。

False ascension causes the guru to ascend at the expense of the following; however the guru does not really ascend, he or she only combusts as no fourth dimensional form was created in the ascent.

虚假提升导致古鲁以跟随者的代价提升，但古鲁并不真正提升，他或她只会燃烧，因为没有第四密度的形体被在提升中构建。

False ascension causes the guru to ascend at the expense of the following; however the guru does not really ascend, he or she only combusts as no fourth dimensional form was created in the ascent.

但是因为没有相关人类形体的振动提高，当古鲁的提升被启动时，他或她的身体就会燃烧，整个联合的光体随他们的病倒和死亡而随之崩溃。

However because none of the forms of the associated humans have moved up in vibration in biology, as the ascent of the guru is launched, his or her body combusts, and the entire united light body collapses back upon the following who then become ill and die.

但是因为没有相关人类形体的振动提高，当古鲁的提升被启动时，他或她的身体就会燃烧，整个联合的光体随他们的病倒和死亡而随之崩溃。

Proteus was a Greek sea-god who could take the form of any creature he wished.

普洛提由斯是一希腊海神，他能随心所欲地采用任何动物的形体。

Here and there vague and confused forms were distinguishable, which in the daylight were papers scattered on a table, open folios, volumes piled upon a stool, an arm-chair heaped with clothing, a prie-Dieu, and which at that hour were only shadowy corners and whitish spots.

这儿那儿，他看见一些模糊紊乱的形体，如果在白天便看得出来，那只是桌上一些零乱的纸张、展开的表册、圆凳上堆着的书本、一把堆着衣服的安乐椅、一把祈祷椅，可是在这时，这些东西却一齐变为黑黝黝的空穴和迷蒙难辨的地域。

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。