拿捏

Bonaparte had become an almost fabulous monster, and in order to paint him to the imagination of the people, which, as we lately pointed out, resembles the imagination of children, the party of 1814 made him appear under all sorts of terrifying masks in succession, from that which is terrible though it remains grandiose to that which is terrible and becomes grotesque, from Tiberius to the bugaboo.

于是波拿巴几乎成了一种传说中的怪物，而且，一八一四年的党人，为了要把它描绘在人民的幻想中？？我们前面说过，人民的幻想是和孩子的幻想相似的？？便给他捏了一连串形形色色的骗人的脸谱，从凶恶而不失威严直到凶恶得令人发笑，从提比利乌斯到马虎子，样样齐全。

She took his hand, which was outside the coverlet, and pressed it.

她就拿住他伸在被外的手，紧紧捏着。

He took her hand and pressed it so feelingly that all his kindly words seemed doubly emphasised to her.

他拿住了她的手，一在情深的紧紧捏牢它，使他说过的那些好话都对于她加强了力量。

At length he ventured to take me up behind by the Middle between his fore Finger and Thumb, and brought me within three Yards of his Eyes, that he might behold my Shape more perfectly.

最后，他从我的身后用食指和大拇指捏住我的腰部，把我提了起来，拿到离他的眼睛三码远的地方，以便更仔细地观察我的模样。

For seventy－ five years,Signor Seguso had stood in front of a blazing hot glassworks furnace——ten,twelve,eighteen hours a day——holding a heavy steel pipe in his hands,turning it to prevent the dollop of molten glass at the other end from drooping to one side or the other,pausing to blow into it to inflate the glass,then laying it across his workbench,still turning it with his left hand while,with a pair of tongs in his right hand,pulling,pinching,and coaxing the glass into the shape of graceful vases,bowls,and goblets.

这75年间，瑟谷梭先生每天在玻璃厂熊熊的熔炉前站上10个、12个或18个小时，两手握着铁管不停转动，以免另一头那团熔化的玻璃流向一侧，又得不时停止转动，朝着铁管吹气。然后把铁管横放在工作台上，左手还在转，右手拿着一把钳子不住地拉捏，巧妙地将玻璃弄成雅致的瓶子、碗钵和高脚杯形状。

If she has a pen and ink in her handsduring other three hours,writing answers for the penny post,again,shecannot have her pencil,and so ad infinitum through life.

但如果此外还有三个小时要捏着钢笔写许多一便士邮票的回信，她还是无法拿起画笔。

She had a bottle of Sauterne in one hand and a letter in the other.

她一手拿着一瓶白葡萄酒，一手捏着一封信。

She was quiet, taking one of the biggest and started peeling it with a knife and held the unpeeled bottom.

她没有做声，只伸手拿过一个最大的橘子来，用小刀削去上面的一段皮，又用两只手把底下的一大半轻轻地探捏着。

She was speechless and took the largest one, cutting out upper peel with a knife while stabilizing the underside and trying to maintain it intact.

她没有作声，只伸手拿过一个最大的桔子来，用小刀削去上面的一段皮，又用两只手把底下的一大半轻轻地揉捏着。

We picked these fruits into plastic bag, no long ,the bag wass fulled. Brought them home and niped the pulp slushed, washed and left the cores. After insolating, the fruit cores were the white eatable ginggo fruits.

我们拿上塑料袋去了，一会儿就捡了一堆，拿回家把果肉捏烂，用水冲净，剩下果核，晒干，那果核里面就是白白的可食用的银杏果。

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。