在头上的

During right LPN, the liver is retracted anteriorly and cephalad to expose the renal upper pole.

在右侧LPN中，肝脏应在头侧的前位而暴露肾上极。

During right LPN, the lier is retracted anteriorly and cephalad to expose the renal upper pole.

在右侧LPN中，肝脏应在头侧的前位而暴露肾上极。

After Alex Rodriguez lined out, Matsui drilled a shot over the head of center fielder Darin Erstad, rolling to the wall and driving in both runners.

在A-ROD的球被三垒手接杀之后，松井秀喜击出一个飞过中外野手Darin Erstad头上的安打，滚到墙边并送回垒上的两位跑者。

It was only high overhead in the third gallery, round the domed ceiling where nude females and children flew in heavens which had turned green in the gaslight, that calls and laughter were audible above a continuous hubbub of voices, and heads in women's and workmen's caps were ranged, row above row, under the wide-vaulted bays with their gilt-surrounding adornments.

只有四楼楼座里，发出阵阵喧嚣声，还夹杂着呼唤声和笑声，在金色框架的大圆窗下，坐着一些观众，他们头戴无沿帽或鸭舌帽，在天花板上的圆形拱顶四周，画着一些女人和裸体儿童，在天空中飞翔，天空在煤气灯光照耀下，呈现出一派绿色。

My American friend said that if a woman saw a robin flyingoverhead on Valentine＇s Day, it meant she would marry a sailor. Ifshe saw a sparrow, she would marry a poor man and be very happy.If she saw a goldfinch, she would marry a millionaire.

我的美国朋友说，在情人节里，如果一个女子看到一只知更鸟在头上飞过，意味着她可能嫁给一位水手；如果她看到一只麻雀，则她可能嫁给一个穷人，但却非常快乐；如果她看到一只金翅雀，则可能嫁给一位百万富翁。

Even more interesting is that in bold on the use of headgear will be a bird on a model's head.

更有意思的是在头饰上的大胆运用，将一只鸟放在了模特的头上。

AFTER DEATH When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree: Be the freen grass above me With showers and dewdrops wet; And if thou wilt, remember, And if thou wilt, forget, I shall not see the shadows, I shall not feel the rain; I shall not hear the nightingale Sing on, as if in pain; And dreaming through the twilight That doth not rise nor set, Haply I may remember, And haply may forget.

当我死了当我死了，亲爱的，不要为我唱哀曲，也不必在墓前植玫瑰，也无须柏树来荫覆；由草儿青青长在头上承受着秋露和春雨；要是你愿意，就记得，要是你愿意，就忘去。我将感觉不到雨露，我将看不到荫影，我将听不到夜莺唱着像是哀吟的歌声。在那幽冥中我入了梦，那薄光不明也不灭；也许，我还能记得，也许，我忘却了一切。

She will be an apron around his head, slightly in the yard, rummage, soaked wet in the body have not been before, to find a bucket of white paint and a big paint brush ...

她将围裙围在头上，在院子里略略翻找，在全身还没被淋得湿透前，找到一桶白色涂料及一把大大的油漆刷。。。。

She will be an apron around his head, slightly in the yard, rummage, soaked wet in the body have not been before, to find a bucket of white paint and a big paint brushes ...

她将围裙围在头上，在院子里略略翻找，在全身还没被淋得湿透前，找到一桶白色涂料及一把大大的油漆刷。。。。

But it only can use one time, after once puts on cannot again take off, because extinguished actually its witch collects the strength under its influence already to surmount its own limit, too crossed the exuberant flame finally to be able to burn oneself, when it is loosened once more, the technique in instantaneous will obtain certainly the big strength, but in after, also will lose his/her body for extinguished actually all abilities Constrains the word spirit: The light depends on the technique name to be able the reflective launch technique Pulls the star box: God of death aristocrat's symbol * Breaks the Asian space newly, in order to does not let the space which the present world and the corpse soul each other contact produces impractically in the traversing break the accident separately outside the samsara soul, paces back and forth is breaking, passes through year after year gathers in together, afterwards the soul can separate the memory and the energy, does for returns to the samsara to prepare.

不过它只能使用一次，一旦戴上后就不能再脱下来，因为灭却师在它的影响下其灵子收束力已经超越了其自身的极限，太过旺盛的火焰最终会烧伤自身，当它再次被解下时，术者将在瞬间得到绝大的力量，但在之后，也将失去其身为灭却师的所有能力压抑言灵：光靠术名就能反射性的发动术牵星箱：死神贵族的象征吧（朽木白哉头上的东西★新断界亚空间，为了不让现世与尸魂界彼此接触而产生的空间虚浮在穿越断界意外失散于轮回外的魂魄，徘徊在断界，经过长年累月聚集在一起，之后魂魄会分离出记忆和能量，做为重返轮回做准备

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。