时常

So take this book and use it as a workbook. Come back to it often.

所以，你需要时常带着这本书，就像一本工具书一样，要经常地复习。

Children, who play life, discern its true law and relations more clearly than men, who fail to live it worthily, but who think that they are wiser by experience, that is, by failure.

嬉戏地生活着的儿童，反而更能发现生活的规律和真正的关系，胜过了大人，大人不能有价值地生活，还以为他们是更聪明的，因为他们有经验，这就是说，他们时常失败。

Something is missing in my life, but I don't know wot.

因为我时常困惑，不知道该如何处事，生活。

For this reason, we sometimes feel, wrongfully, that God is not as gracious to us.

为此，我们时常错误的觉得神对我们不够慈爱。

Xerosis is usually a long-term problem that recurs often, especially in the winter.

Xerosis 通常是时常回到的一个长期的问题，尤其在冬天。

He always believed better times laying ahead, and this was reflected in his high school yearbook entry.

他时常相信更好的时期在向方，这在他高中的年鉴词条被反映出来。

Discovered from time to time in relation to products,攒机 the 劣品 market, consumers purchase brand 买到假货 almost zero probability of being cheated.

相对于时常曝出假货、劣品的攒机市场，购买品牌机的消费者买到假货受骗的概率几乎为零。

The expression of performance requires some united systematic variations from the score, so this trend of exactness, evenness has gradually restricted the artistic creation. From the aspect of tradition, most of the performance conventions such as tempo flexibility, independence of melody and accompaniment, tenuto and agogic accent, over-dot, under-dot, notes in gales and unwritten arpeggiation etc. have a long history and they are usually part of the composer ' s expectation.

由于音乐表演的表现力因素必然要求演奏相对于乐谱有一定偏离，因此这种精确化、规整化的趋势从科学角度来看实际上是逐渐限制了艺术创造的基本空间；而从传统角度来看，诸如速度弹性、&旋律自由而伴奏保持严格速度&的声部错位、时值缓急重音、过符点、欠符点、不平均音符、和弦的琶音处理等演奏惯例大都具有久远的历史，时常是创作阶段完整艺术构思的一部分。

The expression of performance requires some united systematic variations from the score, so this trend of exactness, evenness has gradually restricted the artistic creation. From the aspect of tradition, most of the performance conventions such as tempo flexibility, independence of melody and accompaniment, tenuto and agogic accent, over-dot, under-dot, notes inegales and unwritten arpeggiation etc. have a long history and they are usually part of the composers expectation.

由于音乐表演的表现力因素必然要求演奏相对于乐谱有一定偏离，因此这种精确化、规整化的趋势从科学角度来看实际上是逐渐限制了艺术创造的基本空间；而从传统角度来看，诸如速度弹性、&旋律自由而伴奏保持严格速度&的声部错位、时值缓急重音、过符点、欠符点、不平均音符、和弦的琶音处理等演奏惯例大都具有久远的历史，时常是创作阶段完整艺术构思的一部分。

The Ampyx is an ancient beast, now long-extinct. A docile, water-dwelling omnivore, it cruised along the sandy coastline, scavanging plankton, algae, and detritus.

Ampyx是一种早已灭绝的上古动物，性情温顺，水居杂食，时常巡游于海岸边，以浮游生物，藻类和微生物腐质为食。

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。