右边的

Try moving the harp slightly to the right or left in order to bettet center your mouth over the hole.

向右边或向左设法轻微地移动口琴目的是为了更好的您的嘴正对孔的中心。

On the right, where the Kaluga road turns by Neskutchny Gardens, endless files of troops and waggons stretched away into the distance.

在右边，在卡卢日斯卡雅大路经过涅斯库奇内转弯的地方，无穷无尽的一排排的部队和车辆一直伸展到远方。

And we know that when the last three sections are of the form(-1,0,1),(1,0,-1),the length of the third section increase when the length of the firstsection decrease,and prove that when the third section,that is section of v=0,is oflength 0 at the beginning,the analysis is also suitable.

并证明当右边3段是(-1，0，1)；(1，0，-1)形式时，在第1段时间长度减少的情况下第3段长度是增加的，而且证明了v＝0即第3段开始不存在即值为0时，也可以从无到有的发展。

Finally, there is an indirect net interest rate effect through a change in median voter's ability, which is shown as the last term on the right hand side of Eq.

最后，还有一个间接的净利息通过在中间选民的能力，这是因为在方程右边最后一届显示变化率的影响。

On your right is Tiandu Feng,one of the three main peaks of Huangshan and also the steepest.

在你们的右边是黄山三主峰之一的天都峰，也是最陡的一座山峰。

On your right is Tiandu Feng,one of the three main peaks of Huangshan and also the steepest.

在你们的右边是黄山三大主峰之一的天都峰，也是最陡的一座山峰。

On your right is Tiandu Feng , one of the three main peaks ofHuangshan and also the steepest.

在你们的右边是黄山三大主峰之一的天都峰，也是最陡的一座山峰。

On your right is Tiandu Feng,one of the Number 3 main peaks of Huangshan and too the steepest.

在你们的右边是黄山三大主峰之一的天都峰，也是最陡的一座山峰。

Then Hofmann added a couple of additional squiggles to the bottom.

现在拿最右边那一行比对 Hofmann 的最左边一行，然后将每个字母重新转回来跟原来的一样（每个字母逆时针转90度）然后你就可以辨识出每一个字母……然后 Hofmann 加了一些潦草的字在下面。

The sand was very thin, the left hand was top crag, the right hand was riverbed full of screes.

脚下是一片细腻如脂的白沙滩，左边是高耸的岩壁，右边是遍布碎石的河床。

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。