晒焦

The entire proletariat prosperous Si area has the differentcommon charm - weather because of the extremely rich change cloudyclear not to decide, warm wind genial, cold wind wild, topographyunconstrained fluctuation, plain broad, mountain ridges precipitous,lonely canyon, the desolate old castle, winds the sierra and is livelycan - all deduct ten thousand kind of characters and styles in on thisFrance's earth. During 7-8 month aspic blooms against the wind,浓艳the color decoration Paris green mountain valley, slightly the pungentfragrance mixes is being exposed to the sun the burnt green grass tobe fragrant, interweaves south France most the unforgettable breath.

整个普罗旺斯地区因极富变化而拥有不同寻常的魅力--天气阴晴不定，暖风和煦，冷风狂野，地势跌宕起伏，平原广阔，峰岭险峻，寂寞的峡谷，苍凉的古堡，蜿蜒的山脉和活泼的都会--全都在这片法国的大地上演绎万种风情。7-8月间的薰衣草迎风绽放，浓艳的色彩装饰翠绿的山谷，微微辛辣的香味混合着被晒焦的青草芬芳，交织成法国南部最令人难忘的气息。

And when the sun rose, it was scorched; and because it had no root, it withered.

4：6 日头一出来，就晒焦了，又因没有根，便枯干了。

And when the sun rose it was scorched, and it withered for lack of roots.

但太阳一出来，就被晒焦；又因为没有根，就枯干了。

And when the sun rose, it was scorched and it withered for lack of roots.

太阳一出来，被晒焦了；又因为没有根，就干枯了

From their fatigued yet swinging gait, and from their sun-burnt faces, one could see they had come from a long distance.

从他们疲惫而遥动的步伐中，从他们被太阳晒焦的脸上，可以看出他们远道而来。

I like turning a corner from the shade of a house into the full torrid glare of an open space.

我喜欢将来自房子的色度的一个角落变成开着空间的完整晒焦的闪耀光。

Other seed fell on rocky ground, where it had not much soil, and immediately it sprang up, since it had no depth of soil; 6 and when the sun rose it was scorched, and since it had no root it withered away. 7 Other seed fell among thorns and the thorns grew up and choked it, and it yielded no grain. 8 And other seeds fell into good soil and brought forth grain, growing up and increasing and yielding thirtyfold and sixtyfold and a hundredfold.

他撒种的时候，有的落在路旁，飞鸟来把它吃了；有的落在石头地里，那里没有多少土壤，即刻发了芽，因为所有的土壤不深，太阳一出来，被晒焦了；又因为没有根，就乾枯了；有的落在荆棘中，荆棘长起来，把它窒息了，就没有结实；有的落在好地里，就长大成熟，结了果实，有的结三十倍，有的六十倍，有的一百倍。

He was cast in the coarsest mould; a stout but sluggish body, yet gracefully carried, with a thick sunburnt neck, dark bushy hair, and dull sleepy blue eyes, which were occasionally lit up with expression.

他是从最粗糙的模型里做出来的，一个大而呆板的身体，态度却非常文雅，一个晒焦了的大脖子，一头浓密的黑头发，一双无神欲睡的蓝眼睛，有时却闪烁出表情，变得明亮。

This pile of bars is all bent.

晒焦的 翻译这堆棒子都已经弯曲了。

One little Jigaboo boy left all alone

一个被晒焦，只剩一个人。

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。