跳上

His voice began on a medium key and climbed steadily up till it reached a certain point, where it bore with strong emphasis upon the topmost word and then plunged down as if from a spring-board: Shall I be car-ri-ed toe the skies, on flow'ry beds of ease, Whilst others fight to win the prize, and sail thro' blood-y seas?

他的音量先由中音部开始，逐渐升高，一直升到最高音的一个字，强调了一下，然后就像从跳板上跳下来一样，突然降低：为获功勋别人正浴血奋战在沙场我岂能安睡花床梦想进天堂大家一致认为他的朗诵很精彩，很美妙。

It was Top, who had sprung to his help.

那就是托普，它是从气球上跳下来救他的。

That is, in detail, he said one day the excellent Chinese students will assemble in a square, and dance.

他曾经说过，有一天，所有出色的中国学生会在一个露天的广场上跳舞，跳一阵子后，他们就会倒地变成石头人。

Members of her neighborhood tai chi club, dressed in black T-shirts and red shoes, practiced a fan dance on the square.

她旁边是来自一个太极俱乐部的成员，他们穿着黑T恤和红鞋子，在广场上跳着扇子舞。

Besides painting, I like Ballet dancing, well, it is not easy to stand on your toes.

除了画画之外，我还喜欢跳芭蕾舞，站在脚尖上可真不容易呢！

I put him on the pot before a whole audience, and he didn't dance a single step!

在所有的观众面前我把它放在盆上，它连一步舞都没跳。

The French officer was hopping along on the ground, with one foot caught in the stirrup.

那法军龙骑兵军官以一只脚在地上跳着，另一只脚挂在马蹬上了。

And with that, the sauage jumped up and stuck fast on the woodman's nose.

随着她的话，那条香肠跳了起来。牢牢的贴在樵夫鼻子上。

Walk to the end and then jump across to the sun disk.

步行到年底，然后跳在太阳上。

In aspect of eating, oriental would use many kinds of materials for cooking porridge and soup, such as Babao porridge, Fotiaoqiang, dumplings and sweetbread soup. All dishes can be cooked with meat.

在饮食方面，东方人会用各种材料来煲粥煲汤，有八宝粥，还有佛跳墙，有饺子，有杂碎汤，各种炒菜中都可以配上肉。

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。