休息十分钟

Add first half field and add at present half time are 15 minutes perspectively , while add an end after will not take a rest, will carry on directly add at present half time of game.

加时上半场及加时下半场各为十五分钟，在加时上半场完结后不会休息，会直接进行加时下半场的赛事。

After 10 minutes rest, I got my second wind!

十分钟休息后，我又有精神了！

After 10 minutes rest, I got my second wind

休息了十分钟，我的精神恢复了

All performed five maximal duration static apneas with face immersion in cold water, each apnea separated by a two minute interval.

实验进行的方式是，请这些人将脸部浸埋在十度的冰水中，并且进行五次连续的极限静态闭气，每次闭气间格休息两分钟，最后抽血比较前后关连性。

The first tune he played in the concert was his original tune "The Rules of the Game", of course he played the guitar solo version. After listening to that tune, I decided to practice this tune during the break of the concert. This tune was in my list of "tunes to learn", although I never actually practiced it, I have listened to it for a long time, and have studied the key and tuning of the harmonica used.(Thierry used a Anm harmonica in that tune, it was finely composed, and quite a bit difficult in the middle parts) I roughly finished the first part within the 10 minutes break, and gave up the rest parts.

演奏会的第一首，就是他的创作曲&The Rules of the Game&，当然那天他是弹吉他独奏的版本，我听完这一首后，就决定趁中场休息时练这一首，由於这首曲子一直在我的&等待要练的曲子&名单中，虽然一直没有花时间练，但早已听到烂熟，口琴的调性和音阶排列也早就研究过了，(那首 Thierry 使用 Anm 的口琴，编得蛮精采的，中间几段颇有一点难度)很快地在十分钟内把第一段大致练好了，反正剩下的部分也练不完，就不管了。

During the ten-minute break we do something to get rid of tiredness.

十分钟的课间休息是必要的； 2。

There is a ten-minute break between my English class and my Math class.

我的英文和数学课中间有十分钟的休息。

Therefore, to take a ten-minute break between classes is definitely important, even necessary.

十分钟的课间休息是必要的； 2。

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。