她

He was impelled to suggest "Locksley Hall," and would have done so, had not his vision gripped him again and left him staring at her, the female of his kind, who, out of the primordial ferment, creeping and crawling up the vast ladder of life for a thousand thousand centuries, had emerged on the topmost rung, having become one Ruth, pure, and fair, and divine, and with power to make him know love, and to aspire toward purity, and to desire to taste divinity - him, Martin Eden, who, too, had come up in some amazing fashion from out of the ruck and the mire and the countless mistakes and abortions of unending creation.

看来她也知道有肮脏下流的东西，这叫他高兴，心平也不禁暗笑他只把她那话看作是恋爱时的笑话紧接着，千千万万细节的幻影便闪过他心田，他看到了自己所经历过电征服了的肮脏下流的生活的汪洋大海，他原谅了她，同为她不可能了解情况，而那并不是她的错。

It was the first time she had heard an oath from the lips of a man she knew, and she was shocked, not merely as a matter of principle and training, but shocked in spirit by this rough blast of life in the garden of her sheltered maidenhood.

从她所认识的男人嘴里听见亵线的活，这在她还是第一次。她很吃惊，不但因为那是个原则和教养时问题，而己因为她的精神在她受到庇护的处文苑圃里受到了生活里的狂风的吹打，感到了震撼。

All other scenes of earth- even that village of rural England, where happy infancy and stainless maidenhood seemed yet to be in her mother's keeping, like garments put off long ago- were foreign to her, in comparison.

他们将教育纯沾的年轻人望着她——这个胸前佩戴着灼热鲜明的红字的女人；望着她——这个有着可敬的父母的孩子；望着她———这个有着今后会长成女人的婴儿的母亲；望着她——这个原本是纯洁无辜的女人；把她当作罪恶的形象、罪恶的肉体和罪恶的存在。

She came when I was not nearly so big as I am now--and she came at night--after I'd gone to bed, and she came up into my room, and sat upon the bed, and cried--and she left the watch under my pillow, and she--Why do you make faces at me, Mrs. Plowson?

她来的时候，我的个儿还远没有现在那么大——她是夜间来的——我上床睡觉之后，她走进我的房间，坐在我的床铺上，哭了——她把那表留在我的枕头下面，她就——普劳森夫人，你干么对我做鬼脸呢？

Whereas Marguerite, a sinner like Manon, and perhaps as truly converted as she, had died surrounded by fabulous luxury, if I could believe what I had seen, on the bed of her own past, but no less lost in the desert of the heart which is much more arid, much vaster and far more pitiless than the one in which Manon had been interred .

而玛格丽特呢，她像玛侬一样是个有罪的人，也有可能像玛侬一样弃邪归正了；但正如我所看到的那样，她是死在富丽豪华的环境里的。她就死在她过去一直睡觉的床上，但在她的心里却是一片空虚，就像被埋葬在沙漠中一样，而且这个沙漠比埋葬玛侬的沙漠更干燥、更荒凉、更无情。

Manon died in a desert, it is true, but in the terms of the man who loved her with all the strength of his soul and who, when she was dead, dug a grave for her, watered it with his tears and buried his heart with her; whereas Marguerite, a sinner like Manon, and perhaps as truly converted as she, had died surrounded by fabulous luxury, if I could believe what I had seen, on the bed of her own past, but no less lost in the desert of the heart which is much more arid, much vaster and far more pitiless than the one in which Manon had been interred.

而玛格丽特呢，她像玛侬一样是个有罪的人，也有可能像玛侬一样弃邪归正了；但正如我所看到的那样，她是死在富丽豪华的环境里的。她就死在她过去一直睡觉的床上，但在她的心里却是一片空虚，就像被埋葬在沙漠中一样，而且这个沙漠比埋葬玛侬的沙漠更干燥、更荒凉、更无情。

Since Athena was born without a mother -- sprung from her father's head -- she decided in an important murder trial, that the role of the mother was less essential in creation than the role of the father and for this reason, she sided with the matricide Orestes who had kiled his mother Clytemnestra after she had killed her husband and his father Agamemnon.

由于雅典娜并不是由她的母亲剩下来的（她是直接从他父亲的头颅中跳出来的），她在判决一场重要的谋杀案时认为在生儿育女上，父亲的作用比母亲的更重要。因此她站在了杀害亲生母亲克吕泰涅斯特拉的俄瑞斯特斯的一边。俄瑞斯特斯在克吕泰涅斯特拉杀害了她的丈夫和他的父亲后，亲手杀死了自己的母亲。

"I wanted her to be the colder the better and I loved that about her, that's what attracted me to her – her meanness, her coldness," explains Elaine, saying that she understands why Maud is this way.

"我想让她显得更冷酷一些，因为我喜爱她的那种冷漠，那正是我被吸引的，她的无情，她的冷酷"，Elaine解释道，她了解为何莫德会变成这样。

When she had said good-bye to her husband and her children and there was only a minute left before the third bell, I ran into her compartment to put a basket, which she had almost forgotten, on the rack, and I had to say good-bye.

当她跟她的丈夫和孩子们道完别后，还有一分钟第三次铃就要响了。我跑进她的车厢把一个篮子——她差点忘记了——放上行李架，然后我不得不跟她说再见了。

When she had said good-bye to her husband her children there was ssbbww.com a minute left before the third bell, I ran into her compartment to put a basket, which she had almost forgotten, on the rack, I had to say good-bye.

当她跟她的丈夫和孩子们道完别后，还有一分钟第三次铃就要响了。我跑进她的车厢把一个篮子--她差点忘记了--放上行李架， 8t t t8.com 我不得不跟她说再见了。

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。