跳上

In others, they play peekaboo with the characters as they appear and disappear, or make them jump on the bed and splash in puddles.

在另一些国家，他们玩躲躲猫，因为它们的人物出现和消失，或让他们跳床上，并在水坑飞溅。

This essay plans to leap from the mode of theory, get rid of the inevitable demonstration of a 'martyr' and the thoughtfulness of '仁学', but to explore how Tan Si-tong's character was built before the maturity of his thought through the texts he left behind, and to inquire through the four dimensions of 'ancestor','family affection','life and death', and 'peregrination', into Tan Si-tong's character which was based on the keynote of 'tradition', and dragged out the two poles of 'life' and 'death', so that the various contradictious factors crashed and shocked each other, and then condensed into the unacceptable absolute solitude.

本文拟跳脱理论模式、摆脱「烈士」的必然论证，以及《仁学》的思想内涵，而是透过谭嗣同留下的文本，追索其人在思想成熟时期之前的性格养成；从「先祖」、「亲情」、「生死」和「游历」四个面向，深入探讨谭嗣同的性格是在「传统」的基调上，拉出「生」和「死」的两极，让多元矛盾的因子相互冲撞、震荡后，凝聚成为不容於世的绝对孤独。

If Pickles goes for it right there, that's a dead cat.

如果猫猫从这楼顶上跳下去的话它就死定了

And we're dancing out on the pier and I have all my dancers with me.

我们去到码头上跳，我所有的舞蹈人员都在。

The bride and groom will dance while guests pin money to their clothes.

新娘和新郎会在宾客把钱别在他们衣服上的时候跳起舞蹈。

Music is usually piped over a loud speaker, and when dance music comes on ... the entire track has the multitudes moving to the music!

音乐由扬声器播放出来，当跳舞的音乐响起的时候，整个操场上的学生便随着音乐跳起来！

The melody of the work is reformed on thebasis of the traditional music melody, whose characteristic can summarize as: thehorizontal polytonality, asymmetric phrase, often using the jumped interval, and theexpanded melodic range.

作品的旋律是在传统的基础上加以创新，其特点可以概括为：多调性横向进行、乐句的不对称、广泛使用大跳音程、旋律的上限与下限之间音域的扩展等。

At this moment, the ability austral pood says to him: This pail in replete onion, not be dynamite.

看到旁观者都纷纷走出帐篷，少将再也坚持不住，从小桶上跳了起来，承认自己输了。

My cat likes to pounce on my feet as I walk around in my apartment.

我在公寓里走来走去的时候，我养的猫总喜欢跳到我的脚上。

The children prance d on the stage.

孩子们在舞台上腾跃蹦跳着。

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。