脱身

I disentangled myself from the merry throng .

我由那欢乐的人群中脱身而走。

I disentangled yself from the merry throng .

我由那欢乐的人群中脱身而去。

I was engulfed in labyrinths of trouble too great to get out at all.

我陷入困难的迷宫中去，简直无法脱身。

He fumbles for a way out.

他在找办法脱身。

It provides the only safe, romantic release from the severe Confucian classic restraint, and humanizes the very humanists themselves ; therefore when a Chinese succeeds, he is always a Confucianist, and when he fails, he is always a Taoist.

唯有道家思想能以安全，浪漫的方式使人从严肃古老的儒家思想的束缚中脱身，并能使他们这些人道主义者更人性化。一个人成功时，他总推崇儒家思想，但他失败时，却会相信道家思想。

He won't give up his powers willingly. I'd thought of imprisoning him, but he would escape.

他决不会心甘情愿的放弃权力，我是想囚禁他，可他总能脱身。

The scene with Harry going back to his dorm from figuring out the egg clue is cut out so we don't see his foot get stuck in the stairs, instead Moody justs asks Harry for the Map.

哈利在得知金蛋线索后回寝室的那幕被剪掉了，所以我们不会看到他如何陷在楼梯里无法脱身。电影只拍了穆迪向哈利索要活点地图。

These nips and tucks include giving emerging economies a greater say in its affairs, tapping new sources of administrative income, and getting out of the World Bank's way in sub-Saharan Africa.

这些讨论将包括给予新兴经济体更大的发言权，解决行政开支的新来源，找出让世界银行在次撒哈拉地区脱身的办法。

If you want to get out of rut, slow down your bike and turn your bike's wheel towards the ruts side to get out.

如果你想摆脱车辙，降低您的自行车，把您的自行车的车轮对ruts方脱身。

A narrow opening is left in the neck of the flask, through which the perfect insect forces its way, so that a forsaken cocoon is as entire as one still tenanted, no rupture of the interlacing fibers having taken place.

一头是一条细管，一头是一个球形的囊，很像试验室中的细颈瓶。当蛾出茧的时侯，它必须从球形囊那里爬过那条极细的管儿，然后才能脱身，飞翔在空中。

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。