感觉到

Applications of Piaget's work have found that even preverbal children can tell from the distress of the adults around them that something terrible has happened and are aware of the absence of a loved person.5 Thus, not telling a young child about the death of a parent only serves to prevent discussion of what is uppermost in everyone's minds, rather than protecting the child from pain, as intended.3,6 Some cultures—for example, some Japanese, Indian, Armenian, and Iranian cultural groups—believe that bad news is potentially damaging to people.

皮亚杰理论的实际应用表明，即使不会说话的孩子都可以从他们身边的大人身上的悲伤情绪中感觉到一定是有什么很不好的事情发生了。他们也会意识到他们所爱的人不见了。因此，是否告诉孩子亲人去世的事实真相，也取决于不同人的文化层面上的信仰和价值观。这一点有时候可能会胜过你想要保护孩子免受痛苦的初衷。比如日本，印度，伊朗等国的文化中就相信，坏的消息会对人有潜在的破坏作用。

In this novel.the hero resembles Jesus in more than one aspect To probe into this likeness,and ,more importantly,the significance of the author's intention ,such personal qualities of Jim's are analyzed as his pursuit of purgation,benevolence,sympathy,forgiveness,returning good for evil,suffering for others,and so on.

评论家们在研究他的作品时经常谈到他的"艺术宣言"："艺术家应该像思想家和科学家一样，探求真理并发出呼吁……我所努力完成的任务是通过文字的力量使你听到，使你感觉到，更重要的是使你看到。"〔1〕他宣称道德上的探索应

I had a feeling that you'd realise your mistake and come back to me.

我感觉到你已经意识到了错误并回到了我的身边

There are many things that you thought must continue in the next day; there are many persons that you thought must present in front you again in the following day. That is why all in your mind is simply the hopes of reencounter (even no feeling of such a little hope sometimes) when you put the things aside just for a while or you shy away from somebody just in a short time.

这个世界上有很多事情，你以为明天一定可以再继续做的；有很多人，你以为明天一定可以再见到面的；于是，在你暂时放下先或者暂时转过身的时候，你心中所有的，只是明日又将重聚的希望，有时候甚至连这点希望也不会感觉到。

It was not an age of delicacy; and her position, although she understood it well, and was in little danger of forgetting it, was often brought before her vivid self-perception, like a new anguish, by the rudest touch upon the tenderest spot.

地方，使她清晰地自我感觉到一次次新的剧痛。如前所述，她一心一意接济穷苦人，但她伸出的救援之手所得到的回根却是谩骂。同样，她由於职业关系而迈入富室时，上流社会的夫

Lean on me, let our hearts beat in time, Feel strength from the hands that have held you so long. Who cares where we go on this rutted old road In a world that may say that we're wrong.

依靠着我，让我们的心有节奏的跳动感觉到力量来自长久怀抱你的双手有谁注意到我们走在了这条有车辙的老路上在这个世界上可能会说我们是错的

If you decide to hang up your sea legs, if you just want to feel something more solid beneath your feet, and then you no longer hear the music of God's around you.

如果你决定要离开海上的颠簸，如果你想感觉到脚下的东西更加***，那么在你的周围，你再也听不到上帝的音乐

If you decide to hang up your sea legs, if you just want to feel somethingmore solid beneath your feet, and then you no longer hear the music of God's

如果你决定要离开海上的颠簸，如果你想感觉到脚下的东西更加坚实，那么在你的周围，你再也听不到上帝的音乐

If you decide to hang up your sea legs, if you just want tofeel something more solid beneath your feet, and then you nolonger hear the music of God's around you.

如果你决定要离开海上的颠簸，如果你想感觉到脚下的东西更加坚实，那么在你的周围，你再也听不到上帝的音乐

If youdecide to hang up your sea legs, if you just want to feel somethingmore solid beneath your feet, and then you no longer hear the musicof God's around you.

如果你决定要离开海上的颠簸，如果你想感觉到脚下的东西更加坚实，那么在你的周围，你再也听不到上帝的音乐

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。