她的

If you don't, IT accuses you of double-crossing

但是假如你不去找她，她会责备你隐瞒她的感情。

If you don't, she accuses you of double-crossing

dddTt 8 tt t8.com 你不去找她，她会责备你欺骗她的感情。

When his letter to mrs. weston arrived, emma had the perusal of it; and she read it with a degree of pleasure and admiration which made her at first shake her head over her own sensations, and think she had undervalued their strength. it was a long, well-written letter, giving the particulars of his journey and of his feelings, expressing all the affection, gratitude, and respect which was natural and honourable, and describing every thing exterior and local that could be supposed attractive, with spirit and precision. no suspicious flourishes now of apology or concern; it was the language of real feeling towards mrs. weston; and the transition from highbury to enscombe, the contrast between the places in some of the first blessings of social life was just enough touched on to shew how keenly it was felt, and how much more might have been said but for the restraints of propriety.- the charm of her own name was not wanting. miss woodhouse appeared more than once, and never without a something of pleasing connexion, either a compliment to her taste, or a remembrance of what she had said; and in the very last time of its meeting her eye, unadorned as it was by any such broad wreath of gallantry, she yet could discern the effect of her influence and acknowledge the greatest compliment perhaps of all conveyed. compressed into the very lowest vacant corner were these words - I had not a spare moment on tuesday, as you know, for miss woodhouse's beautiful little friend. pray make my excuses and adieus to her.' this, emma could not doubt, was all for herself.

他寄给威斯顿太太的那封信，爱玛也看过了，她看信时心情有些激动，因此最初她对自己的感觉有点怀疑，觉得以前没有料到那些感觉的力量如此之大，信写得很长，而且写得不错，他在信中叙述了外地和当地的一些十分有趣的事情'诉说了有关此次旅行情况和他的所感所想，他所有的爱'感激和崇高的敬意都流露于笔端，字里行间没有什么道歉和关心的话语，只有对威斯顿太太表达了真情实感的词句，他从海伯利去恩斯科姆，对两地的社会生活作了分析和比较，由此可以看出，他对这方面的感受相当强烈了，同时也透露出，出于礼貌，他只点到为止，要不然，会写得更多，信中还多次提到她本人的名字，每次谈及时，都带着一种快活的联想，要么夸奖她，要么重温她所说的话，信中最后一次出现她的名字时，尽管没有说出那么多恭维的话，但她还是可以感觉到自己的魅力所在，而且承认他给了她最高的评价，在信笺的最下面密密麻麻地写着，你知道，星期二我没能抽出时间去看望伍德豪斯小姐的那位美丽的小朋友，请代我向她道歉和告别，爱玛深信不疑，这全是冲她而写的，他没有忘记，哈

The Antipathies, I think--'(she was rather glad there was no one listening, this time, as it didn't sound at all the right word)'--but I shall have to ask them what the name of the country is, you know.

这叫甚麼？嗯，反感——」（这一回她应该庆幸没有人听到她的胡言乱语，因为很明显这个词她用得就不是那麼得体）「然后嘛，我得问问他们，这儿是哪个国家。

She felt his eyes on her as she ascended the stairs.

她觉得她的眼睛，她登上了楼梯。

If she did sleep a full night, her dreams boomeranged, becoming so vivid that she felt like she wasn't sleeping at all.

如果她睡眠充足，她的梦境就来袭了，那些梦是如此鲜明，她甚至觉得自己根本不是处在睡眠中。

When I told her, she didnt just get out of bed, she catapulted out and hugged me, and for the first time in our married life she saw me cry.

当我说我爱她的时候，她没有起床，而是跳起来拥抱我，这是我们结婚后她第一次看到我哭。

When I told her, she didnt just get out of bed, she catapulted out and hugged me, and for the first time in our married life she saw me cry.

当我告诉她的时候，她没有从床上起来而是弹跳起来拥抱我，在我们婚姻生活里她第一次看着我哭。

Her brother chaired her company until she left prison.

她弟弟管理着她的公司直到她出狱。

Satin, when she saw the gentlemen thus closeting themselves with her friend, had deemed it discreet to vanish behind the curtain, where she sat waiting on a trunk, much annoyed at being compelled to remain motionless, while Mme Jules came and went quietly without word or look.

萨丹看见几位先生和她的女友关在屋子里，觉得自己还是隐蔽一下为好，便躲到帷幕后面去了。她坐在一只箱子上，心绪不宁地等待着，而朱勒太太悄悄地踱来踱去，一声不吭，看也不看她一眼。

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。