恐惧地

If we would have our obscure fears come into the open and dissolve, the conscious mind must be somewhat still, not everlastingly occupied; then, as these fears come to the surface, they must be observed without let or hindrance, for any form of condemnation or justification only strengthens fear.

如果我们要使潜藏的恐惧显露出来，获得解决，那么人的意识部分必须稍微缓和下来，不可持续不断地繁忙。当这些恐惧浮上表面时，必须毫无阻碍地对它们加以观察，因为任何形式的责难或辩解都只会增强恐惧。

You ask me if I love you And I choke on my reply I'd rather hurt you honestly Than mislead you with a lie For who am I to judge you In what you say or do I'm only just beginning To see the real you And sometimes when we touch The honesty's too much And I have to close my eyes And hide I wanna hold you till I die Till we both break down and cry I wanna hold you till the fear in me subsides Romance's an honest strategy Leaves me grappling with my pride But through the years of maturity Some tenderness survives I'm just another writer Still trapped within my truth A hesitant prize-fighter Still trapped within my youth At times I'd like to break you And drive you to your knees At times I'd like to break through And hold you endlessly At times I understand you And I know how hard you try I've watched whil love commands you And I've watched love pass you by At times I think we're drifters Still searching for a friend A brother or a sister But then the passion flares again....

我只是开始看到了越来越真实的你有时候我抚摸着你真实让我几乎无法承受我不得不闭上双眼来掩饰真想拥抱着你直到我离开这个世界直到我们因崩溃而哭泣真想拥抱着你到我心中的恐惧能平静的那一天浪漫的传奇，个中滋味在与我的自尊心的斗争中消失不见只在那不安全的感受过后残留了一些温存我变成了另外一个著者被我自己的真实俘获一个犹豫不决的荣誉战士被我自己的真实俘获不时地我想冒犯你狠狠的打击你有时我又想克服这个想法，把你深深地拥在怀里到永远有时候我明白你的心知道你努力的有多么辛苦我看到爱情支配你的行动我亦看到你是怎么错过了它有的时候我会想我们都是流浪的孩子仍在寻找自己的好伙伴一个兄弟或者姐妹可是激情，它又一次爆发了出来有时候我们抚摸着对方真实让我几乎无法承受我不得不闭上双眼来掩饰真想拥抱着你直到我离开这个世界直到我们因崩溃而哭泣真想拥抱着你到我心中的恐惧能平静的那一天

She went upstairs to her bedroom. There she heard the loudspeaker begin to bellow, in an idiotically velveteen-genteel sort of voice, something about a series of street-cries, the very cream of genteel affectation imitating old criers. She pulled on her old violet coloured mackintosh, and slipped out of the house at the side door. The drizzle of rain was like a veil over the world, mysterious, hushed, not cold. She got very warm as she hurried across the park.

那妇人！要是她能够在城和他在一起，而除了他俩以外，世界绝无第三者了，那么多情欲重新涌了起来，他的阴茎象一只活的小鸟似地兴奋着，同时他又觉得被一种恐惧压制着，他恐惧着自己和她要被外面那些电灯光里含恶意地闪耀着的"东西"所吞食，她，这可怜的年轻的人儿，在他看来，她只是一个年轻的女性的生物罢了，但是这却是一个你曾深进过，并且他还在欲望着进去的一个年轻的生物。

It involves repetitive exposure in a nonthreatening way to help patients confront their fears and gradually weaken the fear response, a process known as extinction.

具体做法是，以不会产生伤害的方式让患者多次暴露于引起恐惧的刺激，让他们直面自己的恐惧，从而循序渐进地弱化他们的恐惧反应，这一过程被称为"恐惧记忆退化"。

If you rationalize your fears, you can understand them better.

如果你分析自己恐惧的成因，你就会更清楚地了解这些恐惧。

The third point may seem a bit vague, but Henrik uses dialogue from a film to illustrate how fear comes first, then courage. And after doing something more than once, the scariness starts to wear off

第三点似乎对你有点用，但Henrik借用一句电影中的对白阐释了恐惧第一，勇气第二是如何形成的，他同时还说当你反复做同一件事情后，恐惧就会地渐渐消失

In his works, he revealed people's horror towards supernature, nothingness, death, evil and disintegration of personality. He tried to demonstrate that horror originates from our soul.

坡在作品中深刻地揭示出人们本能的对超自然的恐惧，对虚无、死亡的恐惧，对人性本能的恶、对人格分裂的恐惧，他竭力向人们证明"恐怖的源头在于人的心灵"。

Chenayya saw the woman's eyes grow large with anxiety. To dispel her fear, he grinned ingratiatingly at her—it was the exaggerated death-mask grin of a person not used to grovelling—then he looked around to figure out where he had left the table.

看见恩哲尼尔夫人的眼睛由于恐惧越睁越大，为了缓解她的恐惧，成内亚讨好地对着她露齿一笑——那个笑容夸张地尤如一个死人面部模型上的笑容，而不是讨巧那种，然后环视四周，看看要把柜子放在什么位置。

I'm scared for children yet to be abducted, scared for the pregnant woman raped at knife point on the New Jersey Turnpike, scared for what violence does to one's life, how it squats inside the hollow heart like a dead cricket.

我对儿童遭受诱拐深感恐惧，对孕妇在新泽西州因为刀尖的威胁而遭受强奸感到恐惧，对那些施加于生命的强暴深感恐惧，它是如何地像一只死蟋蟀蜇伏在空洞洞的心脏里。

But Athena sprang quickly from the immortal head and stood before Zeus who holds the aegis, shaking a sharp spear: great Olympus began to reel horribly at the might of the bright-eyed goddess, and earth round about cried fearfully, and the sea was moved and tossed with dark waves, while foam burst forth suddenly: the bright Son of Hyperion stopped his swift-footed horses a long while, until the maiden Pallas Athene had stripped the heavenly armour from her immortal shoulders.

女神跳出那不朽的头颅，站到了手持埃癸斯的宙斯面前，摇动着手中的长矛：在明眸的雅典娜的神力中，雄伟的俄林波斯圣山发出可怕的颤抖，周遭的大地恐惧地哭喊着，大海中翻滚着黑色的波涛，夹杂着白色的泡沫，汹涌前行：光明的许珀里翁之子（注：指赫利俄斯，太阳神，驾驭由四匹喷火快马拽引的太阳车）勒住了快马的缰绳，直到纯洁的帕拉斯·雅典娜从她不巧的肩膀上脱下神圣的甲胄。

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。