单调无味

Tired of monotonous work as a farm labourer he took the King's shilling.

他对当农场工人干单调无味的工作已经厌倦，因此入伍当兵了。

I am not used to rising with the lark.

该是我抛弃这单调无味的生活方式的时候了。

I hate the mono to ny of work on the assembly line.

我痛恨在单调无味的流水装配线上工作。

I hate the monotony of work on the assembly line.

我痛恨在单调无味的流水装配线上工作。

Ursula liked to wear olive drab 3 clothes when she was free. Her life was not drab 4 at all.

厄休拉在工作之余喜欢穿橄榄绿色3的衣服，她的生活一点儿都不单调无味4。

But it seems more likely that London will simply resemble the less prepossessing city it was in the 1970s and 1980s, before the excesses and excitements of the New Labour epoch: a drabber place, less magnetic to foreigners, worse hit than its rivals—like Britain as a whole—by the global downturn.

但更有可能的是，伦敦可能只会变成上世纪七八十年代那样不受注目的城市，那时，工党浪费激动的纪元还未开启：单调无味、难以吸引外国游人、在全球衰退中受的伤比其对手都重。

People in parks, theaters, funfairs, and restaurants all "laugh out loud", at least playing to be so; the "customers" of graveyards, courtrooms, hospitals or drug stores all wear scores of wrinkles between their brows – boring! Luckily, there're colorful people right here – in the trolley and on the road.

公园，影戏院，游戏场，馆子里面的来客个个都是眉花眼笑的，最少也装出那么样子，墓地，法庭，医院，药店的主顾全是眉头皱了几十纹的，这两下都未免太单调了，使我们感到人世的平庸无味。

Tired of monotonous work as a farm labourer he took the King's shilling.

他对当农场工人干单调无味的工作已经厌倦，因此''。

Tired of monotonous work as a farm labourer he took the King's shilling.

他对当农场工人干单调无味的工作已经厌倦，因此入伍''。

But I don't ask to go back to America, to be put in double harness again, to work the treadmill.

可是我并不希望回美国去，去受双份罪，去做单调无味的事情。

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。