惹

Be in sympathy with; feel sorry forTo affect a wistful or languid air, especially in order to gain sympathy .

表现出惹人爱怜的倦态做出渴望的或疲倦的神态，尤其是为了赢得同情

Do that again and you'll be in trouble.

如果你再做那件事的话，你就会惹上麻烦的。

The number of people who consult psychiatrists today is not, as is sometimes felt, a symptom of increasing mental ill health, but rather the precursor of a world in which the hope of genuine mental health will be open to everyone, a world in which no individual feels that he needs be hopelessly broken-hearted, a failure, a menace to others or a traitor to himself.

现在许多人去找精神病医生咨询，并不像人们有时想的那样说明了越来越多的人得了精神疾患，而是预示着一个新世界的到来，在那里，人人都可以希望得到精神上真正的健康，不会因为自己屡屡失败，惹人讨厌，或背叛了自己的信仰而感到伤心绝望。

Little inn sat the bear leader, eating his supper; the bear was tied

小客栈的酒馆里一个耍熊人正在吃晚饭，他的熊拴在外面的一个木头堆后面——可怜的熊先生啊，他从没招过谁，也没惹过谁，虽然他看起来够吓人的。

But that's the nature of the beast, isn't it?

但那就会惹人讨厌的事，不是吗？

BEhAN: Gentlemen, I won't allow any trouble.

先生们，我不允许他们惹上任何的麻烦

But he can be super-dangerous when he gets angry and goes berserk.

不过，一旦被惹急了，他就会暴跳如雷，变得非常危险。

Trying to avoid the jealousy of Mary while keeping on good terms with Jane was like going between Scylla and Charybdis .

既要跟珍妮要好，又要不惹得玛丽妨忌，这真如腹背受敌，叫人进退两难。

Caught between two fires, he had beaten a heroic retreat towards a little dancer, a young girl named Nahenry, who was sixteen like himself, obscure as a cat, and with whom he was in love.

处在双方火力的夹攻之下，他英勇地退下阵来，投向一个二八年华和他一样的象猫儿一样不为人重视、但早已使他思惹情牵、名叫娜安丽的跳舞小姑娘那里去了。

Caught between two fires, he had beaten a heroic retreat towards a little dancer, a young girl named Nahenry, who was sixteen like himself, obscure as a cat, with whom he was in love.

处在双方火力的夹攻之下，他英勇地退下阵来，投向一个二八年华和他一样的象猫儿一样不为人重视、但早已使他思惹情牵、名叫娜安丽的跳舞小姑娘那里去了。

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。