身材

He is in a good physcial condition.

他的身材状况良好。

She is in a good shape.

她的身材很好。

You are in a great shape.

你的身材很好。

The tendency of violence and sadism/masochism in his paintings is in sharp contrast with his thin figure and kind character.

而他画中的暴力与施虐的倾向，也与他本人那种瘦弱的身材和善良待人的品格适成对比。

Instead of using a sharp tool to incise lines, the painters used a fine brush, pen or reed to apply lines of purplish, red and brown color for the inner details of the figures.

而非使用一个锐利的工具切割线，画家用了好的刷子，钢笔或者芦苇为身材的内部细节应用带紫色的，红色的和褐色颜色的线。

She was beautiful—blond hair with azury eyes. Her tender and delicate body was swathed by a dark blue jean-skirt, looking back with an unrecognizable and mature smile inconstantly on me. I was hypnotized. I had a gorgeous encounter!

美眉实在是漂亮，蓝眼睛，金头发，身材娇小的她裹在一条深蓝的牛仔裙中，似笑非笑夹杂着一丝成熟的她不断地回头看我，真是一次华丽的邂逅！

His solid form towered over the pair of them, and the expression on his face was still indecipherable

他的魁梧的身材在他们两人面前居高临下，他脸上的表情仍旧使人捉摸不透。

Dr. Hans-Guenther Wagner is a small, energetic man with an infectiously enthusiastic smile. A native of the central German city of Kassel, Dr.

汉斯·古瑟·瓦格纳博士身材不高，却精力充沛，有着一双淡蓝色的眼睛，他的笑容很富有感染力。

It frequently happened that when M. Madeleine was passing along a street, calm, affectionate, surrounded by the blessings of all, a man of lofty stature, clad in an iron-gray frock-coat, armed with a heavy cane, and wearing a battered hat, turned round abruptly behind him, and followed him with his eyes until he disappeared, with folded arms and a slow shake of the head, and his upper lip raised in company with his lower to his nose, a sort of significant grimace which might be translated by: What is that man, after all?

常常，马德兰先生恬静和蔼地在街上走过，在受到大家赞叹时，就有一个身材高大，穿一件铁灰色礼服，拿条粗棍，戴顶平边帽的人迎面走来，到了他背后，又忽然转回头，用眼睛盯着他，直到望不见为止；这人还交叉着两条胳膊，缓缓地摇着头，用下嘴唇把上嘴唇直送到鼻端，做出一种别有用意的丑态，意思就是说：这个人究竟是什么东西呢？

Madeleine was passing along a street, calm, affectionate, surrounded by the blessings of all, a man of lofty stature, clad in an iron-gray frock-coat, armed with a heavy cane, and wearing a battered hat, turned round abruptly behind him, and followed him with his eyes until he disappeared, with folded arms and a slow shake of the head, and his upper lip raised in company with his lower to his nose, a sort of significant grimace which might be translated by: What is that man, after all?

常常，马德兰先生恬静和蔼地在街上走过，在受到大家赞叹时，就有一个身材高大，穿一件铁灰色礼服，拿条粗棍，戴顶平边帽的人迎面走来，到了他背后，又忽然转回头，用眼睛盯着他，直到望不见为止；这人还交叉着两条胳膊，缓缓地摇着头，用下嘴唇把上嘴唇直送到鼻端，做出一种别有用意的丑态，意思就是说：这个人究竟是什么东西呢？

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。