表情的

Of course, the accompanist has to respond to the different expressiveness of the chords in supporting the melody.

当然，伴奏者必须对那些为旋律所配和弦的不同"表情"做出反应。

Beyond his preternatural affability there is some acid and some steel .

在他异常和蔼可亲的表情之下，有着尖刻和钢铁般的坚毅。

Below his preternatural affability there is some acid and steelGeorge F.

在他异常和蔼可亲的表情之下，有着尖刻和钢铁般的坚毅乔治F。

All who have acquaintance with the dead know the curious smile that may creep over the human face ms rigor mortis sets in,4 a smile of special quality called by doctors risus sardonicus.5 The dog had this look, and it seemed to me probable that some ancient Oriental sculptor, in seeking an expression for temple guardians that would drive off evil spirits, had taken this death grin .s his model, and thus it had come down through hundreds of years to this beast looking out on Hiroshima.

见过死人的人肯定记得尸僵来临时，死者的脸上会隐隐现出一种奇特的笑容，医生把这种笑容称作"痉笑"。石狗脸上挂的正是这种表情。依我想来，某位古代的东方雕刻家大概就是以这种死亡微笑为蓝本来给寺庙的门神刻画一副足以驱邪避凶的神态的。于是，这种表情便流传了下来，历经数百年而不消；如今它又攀附在一只石狗的脸上，凝望着这废墟中的广岛。

Such self-mockery and ambiguity appears as a virtual attitude in his works. The colors are dim and the expressions, in particular their eyes, are moving and hesitant. But all the faces and bodies express a sexy message, which makes the figures confident, despite their expressions.

这种自嘲式的暧昧态度，在他的作品中就表现为一种貌似虚无虚构和虚拟的语气，画面的颜色犹豫朦胧，人物表情、特别是眼神飘忽散乱不够坚定，但所有的面孔和身体都流露出性感的信息，是这种信息而非表情，使画中人物充满自信。

He looked that day rather thinner after his illness than he had been at the review of Olmütz, where Bolkonsky had seen him for the first time abroad. But there was the same bewitching combination of majesty and mildness in his fine, grey eyes, and on his delicate lips the same possibility of varying expressions and the predominant expression of noble-hearted, guileless youth.

微恙痊愈之后，他今天比博尔孔斯基首次在国外奥尔米茨阅兵场上，看见他时更瘦弱，但在他那俊秀的灰色眼睛中，令人惊叹的庄重与温厚的神情兼而有之，他那薄薄的嘴唇上现出他能流露的各种表情，主要是心地善良而且天真无邪的青年的表情。

All at once the angry squirrel expression of the princess's lovely little face changed to an attractive look of terror that awakened sympathy. She glanced from under her brows with lovely eyes at her husband, and her face wore the timorous, deprecating look of a dog when it faintly but rapidly wags its tail in penitence.

公爵夫人那副魅人的、令人怜悯的、畏惧的表情替代了她那漂亮脸盘上像松鼠似的忿忿不平的表情；她蹙起额角，用一双秀丽的眼睛望了望丈夫，俨像一只疾速而乏力地摇摆着下垂的尾巴的狗，脸上现出了胆怯的、表露心曲的神态。

Ive only seen him in Hanibal and at first i really couldnt work out if he was ugly or extreamelly good looking, then as the show went on, something about his face and mannerisms is so very captivating, he has a stare and look of ice that would send chills through anyones spine, especially with the slicked back hair, but he is an immensly handsome looking guy with intense looks.

我只看过他在汉尼拔里的表演，一开始我真的很难说他究竟是难看还是好看到极点，随着剧情的发展，他脸上的某些东西以及他的特殊风格显得非常吸引人，他有着像寒冰一样的眼神和表情，能让每个人感到背脊发凉，特别是当他梳着背头的时候，他是一个非常英俊的男人with intense looks（不晓得怎么翻，强烈的表情？

All who have acquaintance with the dead know the curious smile that may creep over the human face ms rigor mortis sets in,4 a smile of special quality called by doctors risus sardonicus.5 The dog had this look, and it seemed to me probable that some ancient Oriental sculptor, in seeking an expression for temple guardians that would drive off evil spirits, had taken this death grin .s his model, and thus it had come down through hundreds of years to this beast looking out on Hiroshima.

见过死人的人肯定记得尸僵来临时，死者的脸上会隐隐现出一种奇特的笑容，医生把这种笑容称作&痉笑&。石狗脸上挂的正是这种表情。依我想来，某位古代的东方雕刻家大概就是以这种死亡微笑为蓝本来给寺庙的门神刻画一副足以驱邪避凶的神态的。于是，这种表情便流传了下来，历经数百年而不消；如今它又攀附在一只石狗的脸上，凝望着这废墟中的广岛。

The fury and cruelty of this battle is quite revealed in the figure's complexion and body, or we say that to create these faces and bodies, Yin retrospected the genealogy from Goya to Francis Bacon, including many expressionists, such as Van Gogh, Munck, Oskar Kokoschka. All these artists painted 'anxious people', their brush touches looked intense and sensitive, their paints gave a horrible sense of solidity. The faces and bodies they painted are distorted and twitched under the burden of mental nightmare, so the organs are deformed, or even blurred; in 'Myth', the mental nightmare is incarnated as a stone, a battle between man and stones. Therefore, the deformed and distorted bodies look more vivid, when man strives to raise up a stone, all his muscles and expression are in an intense condition.

这种搏斗的激烈与残酷也充分表露画中人的表情和肌体之中，不妨说，在对这些面孔和身躯的塑造中，尹朝阳回顾了一个从戈雅到弗朗西斯·培根的谱系，其中应该包括了众多的表现主义者们，例如凡高、蒙克、奥斯卡·科柯施卡，所有这些画家都绘制了&焦虑的人&，他们的笔触显得激烈而敏感，颜料有一种可怕的实体感，他们所绘制的人物面孔和身躯，都具有精神梦魇的重负之下引发出的扭曲和抽搐感，器官因此而变形，甚至模糊不清；在《神话》之中，精神梦魇具化成了石头，具化成了人与石头之间的搏斗，人体的扭曲和变形的理由因此来得更为具体，当人奋力地举起一块石头时，他全身的肌肉和表情都自然地处在极度紧张的状态之中。

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。