身躯

A glimpse of the aardvark's body and long snout brings the pig to mind.

随意的看上一眼土豚的身躯和它那长长的猪形鼻子，我们立刻就会想起猪。

Between its nose and its feet, you might think a tapir's body is a little strange.

你可能会觉得它鼻子和脚之间的身躯很奇怪，但此种身躯却极能适应自然环境，貘这种生物已存活了至少五千五百万年！

There should not be much throatiness about the skin.

背线和身躯：整个身躯很有特色，长而矮，背线水平。

Slowly, anodonta mother together on the other half of her body, her body began to run-in with the gravel.

慢慢地，河蚌妈妈合上了她的另一半身躯，用她的身躯开始磨合沙石。

When she baptizes a child, that action concernes mee; for that child is thereby connected to that Head which is my Head too, and engraffed into that body, whereof I am a member.

当教堂为一个孩子洗礼，这个行为涉及到我；因为受洗的这个孩子已经同本堂的头颅相连，而此头颅亦是我的头颅；因为受洗的这个孩子也已经同本堂的身躯相接，而我本人亦是此身躯的一部。

Minor faults are light eyes, white on chest, the deviation from proper height ranges, lightness of bone, shortness of body or a body that is flat-sided, and a bite other than scissors.

次要缺陷包括了浅色眼睛、胸部有白斑、背离正确的肩高范围、骨量不足、身躯太短或身躯侧面平坦、非剪状咬和。

The West Highland White Terrier is a small, game, well-balanced hardy looking terrier, exhibiting good showmanship, possessed with no small amount of self-esteem, strongly built, deep in chest and back ribs, with a straight back and powerful hindquarters on muscular legs, and exhibiting in marked degree a great combination of strength and activity.

西部高地白梗是一种体型娇小、活泼好动、身躯四肢协调良好、性情坚定的梗类犬，具有良好的优雅气质，非常自信，身体架构简密结实，前胸宽大和后腰较深，背线笔直，后身躯有力，腿部肌肉发达，外表显示出强大的力量和活力的组合。

For example, a character under the influence of both oak body and iron body benefits only from the stronger power.

举例来说，一名同时处于&橡木身躯&和&钢铁身躯&影响下的人物，只能从强度最高的那道异能中获益。

Bodies enlarge and legs compress: a balloon-like head surmounts a squashed body ending in massive pillar-shaped legs.

其身躯膨胀，腿脚紧缩：气球般的脑袋架在压扁了的身躯上，下面支着墩子般的粗腿。

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。