太

Too high or too low humidity.

湿度太高或太低。

He said that for too long because he did not do so, so excited for the second time we are very happy that he was high-handed in this regard, he is active, I will soon have a climax.

他说是因为他太久没有做，太激动了，第二次我们很快乐，他在这方面很霸道，都是他主动，我很快就有了高潮。

But by high-speed static RAM buffer composition, structure more complex, in the CPU die area can not be the case too, L1 cache capacity level can not be done too.

不过高速缓冲存储器均由静态RAM组成，结构较复杂，在CPU管芯面积不能太大的情况下，L1级高速缓存的容量不可能做得太大。

But by high-speed static RAM buffer composition, structure more complex, in the CPU die area can not be the case too, L1 cache capacity level can not do too much, L1 cache capacity is generally KB .

不过高速缓冲存储器均由静态RAM组成，结构较复杂，在CPU管芯面积不能太大的情况下，L1级高速缓存的容量不可能做得太大，L1缓存的容量单位一般为KB。

Short choppy movement, rolling or high-stepping gait, close or overly wide coming or going, are incorrect.

不连贯的短运动、身体摇摆或高抬腿行走，来回行走时步态太紧凑或太张开都是不正确的步态。

Short, choppy movement, rolling or high-stepping gait, close or overly wide coming or going are incorrect.

步伐短、起伏的动作，摇摆、高抬腿的步态，过来或过去时，太近、太远都属于错误。

As speed increases, there is a natural tendency for the legs to converge toward a center line of travel. Movement faults include high-stepping, wasted motion; short, choppy stride; crabbing; and moving with the feet wide, the latter giving roll or swing to the body.

错误的步态包括了：抬腿太高；多余的动作；短而起伏的步伐；斜行；足爪分的太开，后躯身体显示出滚动及摇摆。

There are too many hills, and my feet are very tired.

山太多了，而且我的脚也太累了。

To 15 inches from the front of the chest to back of hindquarters.

必须比例匀称，腿既不能太长，也不能太短。

If I talk too much or speak in a loud voice,I get hoarse.

如果我说得太多或说得太大声，我就倒嗓子。

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。