身躯

With my hands many of the objects there exhibited, but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there-animals and the race of men pictured in their native environment, gigantic carcasses of dinosaurs and mastodons which roamed the earth long beforeman appeared, with his tiny stature and powerful brain, to conquer the animal kingdom, realistic presentations of the processes of evolution in animals, in man, and in the implements which man has used to fashion for himself a secure home on this planet, and a thousand and one other aspects of natural

我经常到纽约自然历史博物馆去，用双手无数次地抚摸过那里陈列的展品，我多么渴望能用自己的眼睛看一看这浓缩的地球的历史，以及陈列在那里的地球上的居民——各种动物和以他们生活的天然环境为背景描绘的不同肤色的人种；以及早在人类出现以前就漫游在地球上的恐龙和柱牙象的巨大骨架，当时的人类靠自己矮小的身躯和发达的大脑征服了动物的王国；还有表现动物和人类进化过程的逼真画面，和人类用来为自己在这个星球上建造安全居处的工具，以及另外许许多多自然历史的其他方面的事物。

Often I have visited the New York Museum of Natural History to touch with my hands many of the objects there exhibited but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there animals and the races of men pictured in their native environment;gigantic carcasses of dinosaurs and mastodons which roamed the earth long before man appeared with his tiny stature and powerful brain to conquer the animal kingdom;realistic presentations of the processes of development in animals in man and in the implements which man has used to fashion for himself a secure home on this planet;and a thousand and one other aspects of natural history.

我经常参观纽约自然历史博物馆，用手触摸过那里展出的许多物品，但是我多么渴望能用自己的眼睛看一看这经过浓缩的地球历史，以及陈列在那里的地球居民——各种动物以及处于本土环境对不同种族的描摹；看看恐龙巨大的骨架和早在人类出现以前就漫游在地球上的柱牙象，人类就是靠渺小的身躯和发达的大脑征服了动物王国；看看那些展现动物和人类进化过程的逼真画面，和人类用来为自己在这个星球上建造安全居所的那些工具；还有自然历史中许许多多其他方面的东西。

Eyes and flaming maws and bodies made of fire and shadow. They stalkedforward, snarling.

眼睛和燃烧着烈焰的血盆大口，还有暗影和烈焰的身躯，他们咆哮着大步向前。

Ribs well sprung and springing gradually to mid-body, taperingto back ribs which are of good depth and extend well back.

肋骨支撑良好，并逐渐向身躯中间撑起，后端略细，有足够的深度，并充分向后扩展。

Ribs well sprung and springing gradually to mid-body, tapering to back ribs which are of good depth and extend well back.

肋骨支撑良好，并逐渐向身躯中间撑起，后端略细，有足够的深度，并充分向后扩展。

After a wholes days busy running around , I dragged by exhausted body home .

在外边奔波一天的我，拖着疲惫的身躯回到家。

When he dragged himself here one night, weary and starving, with the warders hard at his heels, what could we do?

一天晚上，他拖着又累又饿的身躯来到这里，身后紧跟着狱警，当时我们能做什么呢？

When he dragged himself here one night,weary and starving,with the warders hard at his heels,what could we do?

一天晚上，他拖著又累又饿的身躯来到这里，身后紧跟著狱警，当时我们能做什么呢？

The curious wondered what made him so very assured in the top job; for, despite all his tumblings on the ski-slopes or down the steps of Air Force One, assured he was.

虽然他曾经站在滑雪橇上丑态百出，从空军一号下来时笨拙的身躯险些摔倒，但是很多人都好奇为什么他能够在总统宝座上如此自信、游刃有余。

And then, if we are true to plan, our statures touch the skies.

如果我们恪守计划，我们的身躯可以触到天空。

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。