听不见

These drums turn out to be the second weapon made by Tung's masters—heart shaking drum. After looking up in document, the masters found that Long-shen-goon comes into existence by driving whole body energy up with fast flowing blood. So, one can use Long-shen-goon only when his heartbeat is accelerated by running, qi-goon or emergency situation. For that, masters made drums that generate special low freqency sound. This kind of sound cannot be heard by humen ears but can marvelously lower the rate of heartbeat. Besides, those drums make temporary magic barrier while being beaten. Concludingly, Po is trapped in an invisible cage now!

原来这便是三长老作出的第二样武器—震心鼓，他们研究记载之后发现，龙神功是靠血脉急速流动带动全身能量产生的，所以使用之时若非以跑动或运气加速心搏，就须是在紧急之下，心跳加速时才能使出，於是他们作出一种能发出特殊声音的鼓，这种声音人耳听不见，但会奇妙的降低心跳速度，而且在敲击时会形成暂时的结界，也就是说，童博现在被困在了一个无形的牢笼！

Monsieur le Maire! He does not hear me.

市长先生！他听不见我的声音。

I could not hear the actors. I turned roud.

因为我听不见演员在说什么。

The moon was rising higher and higher, the laugh of children had died away from the lane beyond the wall, and my wife was patting Runer and humming a lullaby to him in the house.

月亮渐渐地升高了，墙外马路上孩子们的欢笑，已经听不见了；妻在屋里拍着闰儿，迷迷糊糊地哼着眠歌。

The moon rose up and up. The children's cheering and laughing on the road outside the wall has quieted down. My wife patted on my son Runer in the house, humming a lullaby in a dreamy sort of way.

月亮渐渐地升高了，墙外马路上孩子们的欢笑，已经听不见了；妻在屋里拍着闰儿，迷迷糊糊地哼着眠歌。

It is the distance of the blind man from the glory of the picture in front of him. The distance of the deaf man from the beauty of the symphony sounding round about him. It is the distance of the sensate man from all the movement of life in the midst of which he lives.

就象瞎子，美丽的景色就在他四周，却不能欣赏；象聋子，交响曲的乐音环绕他，却听不见；象住在生活节奏丰富异常环境中的人，因为触觉迟钝，却毫无所感。

At last the frantic sufferer sheered from its course, and sprang into its master's lap; he flung it out of the window, and the voice of distress quickly thinned away and died in the distance.

最后这只痛得发疯的狮子狗，越出了跑道，跳到主人的怀里；主人一把抓住它，把它扔到窗户外，痛苦的叫声很快地小下来，最后在远处听不见了。

In one of the tenses I singsing an impossible song fo desire that you cannot hear.

在某一时刻我在歌唱，唱一首希望你听不见的不可思议的歌。

There was no sound except our feet slithering among the roots.

除了我们在树根间蹒跚地潜行的脚步声外听不见任何其他的声音。

Reassuringly, their place, where none could hear them talk, being secluded, reassured, the decocted beverages, allowing for subsolid residual sediment of a mechanical mixture, water plus sugar plus cream plus cocoa, having been consumed.

238再三地鼓励了。因为他们呆在隐蔽的地方，谁都听不见他们说话的声音。并且煮好的饮料，除了水加糖加奶油加可可这种人工混合的准固体残存沉淀物之外，均已喝光。

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。