边线

A few seconds after this guy gets up, you need to have your simultaneous move happening on the tapeline.

当中场的这个人起身后的几秒内，你也必须开始在边线的行动。

Say your team wants to move down the tapeline, but there is a big bunker on that tape that is almost impossible to take or shoot out.

比方说你的队伍决定要沿著场地的边线前进，可是前方就是个驻有守兵的掩体，而掩体的位置是你无法打到的。

Everyone will be looking at the guy causing havoc in the center so a player should be able to get up and bunker the guy on the tapeline and take and live in his bunker in the process.

场上的每个人都会集中注意力在看场中央那个在制造混乱的人，这时边线就应该要有人上前bunker守在掩体的人并且夺取这个掩体。

At the moment, we have two new cameras in the game, called sideline and touchline.

还有比赛视角，现在我们有底线和边线两个新的视角，你们可以在视频中看到这些。

The outside left and outside right have to play as close as possible to the touchline.

他们要尽可能的靠近边线。

At the moment, we have two new cameras in the game, called sideline and touchline. What you can see of these in the videos is work in progress.

现在，我们在比赛中多了两个摄像机，叫做界线和边线，你们视频中可以看到的这些还在改进之中。

Tomorrow, as i've said, i'll be looking at advanced instructions and touchline shouts.

明天，就像我许诺的，我会谈一谈高级设置和边线训话（touchline shouts？？？

Exasperation showed on his boyish face every time he was forced to make the trudge to the touchline.

每一次恼怒的表情都出现在他孩童般的脸上，他只有步履缓慢的走向边线。

Even if I will no longer be involved in the game as team captain, I will be cheering on just as ardently from the touchline!

& &即使我将不再将其作为队长参加比赛，我会同样热烈欢呼从边线上！

Tomorrow, as I've said, I'll be looking at advanced instructions and touchline shouts.

明天，就像我许诺的，我会谈一谈高级设置和边线训话（Touchline Shouts？？？明天应该有答案吧）。

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。