悲痛的

This feeling was so strong at the moment of setting out from Voronezh that all her retinue were persuaded, looking at her careworn, despairing face, that she would certainly fall ill on the journey.

她的这种感情，在从沃罗涅日动身前的时刻里表现得如此强烈，以致送行的人见她那痛苦绝望的面孔，都相信她会在路上病倒，但正是旅途的劳顿和操心（她是以她的干练去应付着的），使她暂时去掉悲痛，并给了她力量。

Eyes .following the sound of the cyclopes' hammer,he went to hephaestus,who sent a guide to travel with him to the east,where the sun rose.exposing his eyeballs to the rays of the sun,he was restored to his eyesight.he became aconstant companion of artemis and followed the goddess in the chase with his dog sirius.apollo did not approve of this love,however.one day he dared his sister to shoot at a dark spot moving in the sea.little did she suspect that she was aiming herarrow at orion,for the dark spot turned out to be the head of orion swimming in the ocean.artemis was extremely sad.as she could not pull him back from the grasp of

随着"独眼巨人"大锤的敲响，他来到火神赫斐斯托斯跟前。火神派向导带他去太阳升起的东方。将眼球暴露于阳光后，他就恢复了视力，成了女神阿尔特弥斯永久的伴侣，并带着他的猎狗天狼跟随女神打猎。阿波罗并不赞成他们之间这种恋情。一天，阿波罗怂恿阿尔特弥斯向海中一移动的黑点射箭。她根本没想到自己是将箭瞄准奥利安。当看清黑点竟是在游泳的恋人奥利安的头时，阿尔特弥斯悲痛万分。

Over the course of next few days, admist the haze of the funeral and hundreds of visitors, Donna was 100%present for her friend,she held her close while she cried endless tears, sat by her side as the waves of grig\fe washed over her friend. and slept on the floor next to her friend's bed to make sure she did not wake up alone in the middle of the night. during that time she hardly feel any pain at all in her knee and none of the depression she had been experiencing

出事后的几天里，在张罗朋友弟弟的葬礼和接待来访者期间，唐娜总是陪在朋友身边，寸步不离，朋友痛不欲生的时候，唐娜紧紧的搂着她，朋友悲痛万分的时候，唐娜给她以慰藉，为了不让朋友在半夜惊醒后肚子黯然伤神，唐娜就睡在她旁边的地板上，那段时间里，唐娜全然忘记了身边的疼痛，心中的伤痛沉寂下来。

Deiphobus then came close up to Idomeneus to avenge Asius, and took aim at him with a spear, but Idomeneus was on the look-out and avoided it, for he was covered by the round shield he always bore- a shield of oxhide and bronze with two arm-rods on the inside.

其时，德伊福波斯，怀着对阿西俄斯之死的悲痛，逼近伊多墨纽斯，投出闪亮的铜枪，但后者紧盯着他的举动，弯身躲过飞来的枪矛，蹲藏在溜圆的战盾后面――此盾是他常用之物，坚实的牛皮，箍着闪光的铜圈，安着两道套把。

In the movie, the Tom Hanks's performance is extremely splendid, loses the wife after the performance the sorrowful lonely life, to son's great grandfather Ido brand performance incisiveness, Mei Jie the performance not too so has been on the other hand outstanding, this is I first time saw she in the movie the long hair appearance, has been short that simply, perhaps is in order to coordinate the disorderly relations which in the movie cannot clear off to stay behind sedulously.

在影片中，汤姆汉克斯的表演极为精彩，在表现失妻后悲痛孤独的生活，对儿子的伟大父爱都表现的淋漓尽致，相对来说梅姐的表现就不太那么抢眼了，这还是我第一次看到她在电影中长发的样子，少了那份干脆，也许是为了配合电影中理不清的杂乱关系而刻意留下的吧。

When this Mourning King loses the light of his life, his beloved daughter…Elika…Ahriman sees his chance and pours his whispered poison into the King's ear. Why should the King lose all that is dear to him? He's spent his life in the service of Ormazd and yet has lost first his wife and now his daughter and where is Ormazd? Where is the great God of Light in the King's moment of need?

此时的奥拉斯人由悲恸之王领导着，这位不幸的国王之前失去了他深爱的妻子，悲痛和负罪感几乎击垮了他，而当他的爱女--他生命中最后的光明--艾莉卡也离他而去时，阿瑞曼嗅出他的机会来了，他拼命的将诱惑和唆使灌入国王的耳中：为什么一个王竟然会失去所有他最爱的人？

A reeler retorted:"Because cheap imports come at a cost-like distress to families that have been driven to poverty and destitution, the psychological trauma of wage earners who find themselves unemployed, and the loss of one's cultural and artistic heritage."

卷轴反驳："ad。因为便宜的输入到达成本-象悲痛到家庭那有是受驱策的到贫穷和穷困，工资的心理的外伤earners谁查找自己失业的，和一个的损失's文化的和艺术的遗产。"

A mute appeal; a silent curse; best grief is tongueless- Emily Dickinson; the words stopped at her lips unsounded; unspoken grief; choking exasperation and wordless shame- Thomas Wolfe.

无语的请求；无语的咒骂；最深的悲伤是沉默——艾米丽·狄金森；话到了她的嘴边又沉默了；无语的悲痛；憋闷的愤怒和无语的羞愧——托马斯·乌尔夫。

"She thought of the dim forest, with its little dell of solitude, and love, and anguish, and the mossy tree-trunk, where, sitting hand in hand, they had mingled their sad and passionate talk with the melancholy murmur of the brook ."

她回忆起那阴暗的树林，那孤寂的山谷，那爱情，那极度的悲痛，那长满青苔的树干，他们携手并坐，将他们哀伤而热情的谈活交溶在小溪的忧郁的低语之中。

"She thought of the dim forest, with its little dell of solitude, and love, and anguish, and the mossy tree-trunk, where, sitting hand in hand, they had mingle d their sad and passionate talk with the melancholy murmur of the brook."

她回忆起那阴暗的树林，那孤寂的山谷，那爱情，那极度的悲痛，那长满青苔的树干，他们携手并坐，将他们哀伤而热情的谈活交溶在小溪的忧郁的低语之中。

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。