情感地

The two lovers are only happy in the wide, unfenced outdoors, where exuberant shots of enormous skies and vast landscapes suggest, tellingly, that what the men feel for each other is "natural."

这两个恋人只有在野外才会开心，那儿，广阔天空丰富的色彩还有那开阔的景观，都生动地暗示了这两个男人之间的情感是自然的，天生的，淳朴的。

Not too mad, I hope,"and Nick would say,"She's fine, she's fine, shielding his eyes from the dropping August sun, and smiling back at him with reassurance, among other unguessed emotions.

没有很疯吧，我希望。"然后尼克回答说，"她挺好，她挺好，随着八月西沉的太阳慢慢地闭阖上眼睛，带着安心的神情回头给他一个微笑，沉溺在其余无法捉摸的情感之中。

Berryman's life was filled with unpurified passion and energy, which, like a tight bo...

贝里曼生活中充满没有净化的激情和能量，经常处于情绪激昂、神经紧张的状态之中，他这张弓的弦总是紧紧地绷着，最后终于无法以血肉之躯对付神经、情感的巨大张力。

People with this emotional style unrelentingly hold themselves to the highest standards .

具备这一种情感类型的人会不懈地对自己以最高的标准来要求。

He portrays people's fear ---the unrepressed emotion which survives the Age of Reason---towards the death, the unknown and the uncertainty.

他认真地描画我们经过了三百年启蒙运动的理性思想的熏陶仍然无法遏止的情感---对死亡的恐惧，对宇宙未知的疑虑和对生活的不确定。

The unhappiness of his married life and his strange infatuation for Mme Clotilde de Vaux (1845-46) greatly influenced his naturally sentimental character.

在他的不幸婚姻生活和他的奇怪的迷恋的太太克洛蒂尔德德沃克斯（ 1845年至1846年）极大地影响了自然的情感特徵。

Seligman argues that the new science he writes about is shifting psychology's paradigm away from its narrow-minded focus on pathology, victimology, and mental illness towards positive emotion, virtue and strength, and positive institutions that increase people's happiness quotient.

Seligman 认为他著书阐述的新科学正在改变心理学的模式，使其从仅狭窄地注重病理学、受害心理学和精神症学的模式转变到关注能创造更多幸福的积极情感、品质、力量和积极机制。

These pretty superlatives, dropping glibly from the tongue, vitiate the taste, and create a kind of sickly delicacy that turns away from simple unadorned truth, and a deluge of false sentiments and overstretched feelings, stifling the natural emotions of the heart, render the domestic pleasures insipid, that ought to sweeten the exercise of those severe duties, which educate a rational and immortal being for a nobler field of action.

这些漂亮话言过其实，油嘴滑舌，败坏了品味，造成一种与质朴的真理相悖的病态的精致；铺天盖地的虚饰和极力夸张的情感窒息了天真的心情，使家庭的乐趣变得味同嚼蜡----而家庭的乐趣本应使人心情愉快地担负起能锻炼出充满理性力量的不朽人物的艰巨责职，使他们能在更伟大的天地里大展身手。

Don't mechanically repeat the phrase, but give yourself time to explore the actual feeling tone connected with the well-wishing.

不要机械地重复这个短语，给自己时间探究伴随这个祝愿的实际情感。

These passions, like great winds, have blown mehither and thither, in a wayward course, over adeep ocean of anguish, reaching to the verge ofdespair.

这三种情感，像一阵阵飓风一样，任意地将我吹的飘来荡去，越过痛苦的海洋，抵达绝望的彼岸。

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。