Real love lies not in what that is done and known,but in wha

See you real soon 是对的 I hope this e-mail finds you well Will talk to you later.是错的

你必须输入你的真实姓名
：）

真爱的方式不是像表现流行曲那般.
Real Love = 真爱
Stuff = 炫耀,表现.
Pop Songs = 流行音乐.

站在你面前的,才是真的我
如果不对,请勿生气~~

winne

我真迷恋上了你

eally
what do you(really)think about it ?
真的你感觉那是怎么样?

你能告诉我你的真实年龄吗?我希望我们能成为好朋友.

定语从句,先行词为 car,在从句中作 主语,故关系词用 which.
as .as 句式 ,so .as 只用于否定句,即 not so...as 故选as

eally

Are you sure it's real?
你肯定这是真的吗?

eally
我对自己说的真的很抱歉.
feel 是动词
动词前面或后面用副词来修饰

就是cycle threshold value的standard deviation (STD.DEV).
你做realtime的时候同样的样品肯定有replicate或者triplicate的.这个指标就是检验你的replicate／triplicate的可重复性.这个值越小就表明你各replicate间可重复度越高,你的realtime的可信度就越高...
CT MEAN就是平均值了.
CT呢...就是看某个基因表达强度的指标.对于同一个标准来说,某个特定基因的CT越高,表达强度越低,反之亦然...

(a) f(x)=25x^2+kx+2=0 has equal roots
delta=k^2-4*25*2=0 k=±10√2
(b) one root is half of the other
hence the larger root is double of the smaller root a
(i) 2a
(ii) 2a^2
a*2a=2/25
a is positive
a=1/5 2a=2/5
1/5+2/5=-k/25
k=-15
the two roots are 1/5 and 2/5
k is -15

需要做什么?

RICHARD CROOKSSongs from Operetta, Musical Comedy and FilmsOriginal Recordings 1924—1933Probably the finest lyric tenor America ever produced — and in the 1930s on radio and in opera and concert certainly the most popular — Richard Crooks was born into a family of modest means, of Scottish and English ancestry, in Trenton, New Jersey on 26 June, 1900. His mother, Elizabeth Gore, herself a gifted amateur singer, gave Richard the boy-soprano his earliest musical education until 1910, when his first serious engagement, as soprano soloist in Mendelssohn’s Elijah in his native town, before a 10,000-strong audience, pro-vided the necessary spur to his talent. His stage-partner at that baptism of fire, Ernestine Schumann-Heink (1861-1936), the German-American contralto star of the Metropolitan Opera, predicted great things for her ten-year-old colleague, all of which duly came to pass. Having reached puberty, Crooks began to re-train as a tenor. At fourteen he was already earning his own living, and financed his studies by manual occupations until 1917 when, with the US entry into World War I, he entered the US Armed Forces flying corps. A year later Crooks was on active service with the US Airforce over France but, the war over, he returned to the USA and continued his vocal studies with vigour, principally (from 1920 onwards) with Schumann-Heink’s accompanist, the influential, New York-based pianist-composer and vocal coach Frank La Forge (1879-1953), whose illustrious pupils included Crooks’ fellow-Americans Marian Anderson and Lawrence Tibbett as well as the much-admired Spanish soprano import, Lucrezia Bori. Under La Forge’s tutelage Crooks first won fame in oratorio (the curriculum in which he would also end his career) and in 1922 the hopeful young tenor sang in nine concerts with the New York Symphony Orchestra under its prestigious conductor Walter Damrosch. The success of these led to a further series of engagements across the States and, indirectly, to his first Victor recording contract, in 1923. In an item from an early session, Red, Red Rose (from incidental music to Rudolph Valentino’s 1924 Paramount silent-screen vehicle Monsieur Beaucaire) Crooks simultaneously offers us a fine sample of his youthful voice and a prime early example of recorded film-music.During 1925 Crooks made his first European concert tour. His venues included London, Belgium, Holland and Germany, where his lieder recitals won him particular acclaim. On his return to the States in 1926 the European reputation he had gained appears to have excited considerable further interest. His voice already had passion and thrust and a certain endearing lyrical quality which most — if not quite all — of his records seem to have preserved for posterity. At home, the public took him to their hearts and further concert successes followed, crowned by two performances of Beethoven’s Choral Symphony at Carnegie Hall, under Toscanini, in 1927. Later that same year he embarked on the first of several recital tours of Great Britain, Scandinavia, the Low Countries and Germany which would continue until 1932. Meanwhile, Crooks’ growing list of recordings, which hitherto at least comprised mostly popular ballads and items from operetta, distributed on both sides of the Atlantic, were already beginning to sell in such quantities that Victor saw in him an inexpensive replacement in their Red Seal catalogue for McCormack as well as a viable promoter of the latest in film-ballads. Although comprehensive in his art as a recitalist, on records he veered, predictably, towards the popular repertoire. Richard Crooks made his opera début in Hamburg, in Puccini’s Tosca, in May 1927, and his subsequent accounts of the tenor leads in Faust, Carmen and La traviata, as well as in Wagner’s Meistersinger and Lohengrin, left a lasting impression on his German audiences. Back in New York, in 1928, he was chosen by Mengelberg for the New York première of Mahler’s Das Lied von der Erde and in 1930, with the Philadelphia Company, made so resounding a US opera début that he was at once offered a contract by the New York Metropolitan Opera. Sensing himself unprepared for such a step, however, Crooks passed up the offer in favour of further European tours and weekly guest appearances on the coast-to-coast radio programme Firestone Hour, which was to be his intermittent Monday evening niche for several years to come. He first trod the boards of the Met as Des Grieux in Massenet’s Manon in February 1933 (at this début he reportedly took 37 curtain-calls) and thereafter appeared at intervals with the company, between concert tours to Australia, Canada and elsewhere, until his retirement in 1946.The Crooks discography of the late 1920s and early 1930s reflects a rebirth of interest in operetta, on both stage and screen. In Overhead the moon is beaming, the Serenade from the long-running 1924 escapist best-seller The Student Prince by the Hungarian Sigmund Romberg (1887-1951) — later famously revived in a film starring Mario Lanza — Crooks is joined by the Rounders male chorus headed by sometime Reveler Lewis James. In this Crooks gives us a tantalising aftertaste of a Broadway show which he all but premiered, while in I bring a love song, a charming albeit now neglected item from the pioneering film-musical Viennese Nights — a 1930 collaboration by Romberg and Oscar Hammerstein II (1895-1960) — the tenor complements his soprano colleague to perfection. The Student Prince’s long-running "twin" rival on Broadway, the 1925 hit Vagabond King by the Czechoslovakian-American Rudolf Friml (1879-1972) also affords him a golden opportunity to show off his superbly-managed head voice in Only a rose.Similar qualities are brought to bear by Crooks on gems from a wide range of other operetta landmarks, both contemporary and of older vintage. Especially fine are his selections from the shows of the Irish-American Victor Herbert (1859-1924), including Ah, sweet mystery of life and I’m falling in love with someone (from Naughty Marietta, 1910; filmed by MGM, 1935), When you’re away (a lingering waltz from The Only Girl, 1914) and Neapolitan Love Song (from The Princess Pat, 1915). He also displays an endearingly lyrical quality in Rio Rita (the title-song of a long-running Broadway musical of 1927 by Harry Tierney (1890-1965), filmed by RKO in 1929) and One alone (hit-song of Romberg’s mega-hit 1926 show The Desert Song — filmed by Warner Brothers in 1929, 1943 and 1953). In selections recorded simultaneously with the 1932 Broadway revival of The Dubarry by the Austrian Karl Mill?cker (1842-1899 — Crooks’ partner on disc Grace Moore appeared in this show, Crooks did not) he shows something of the imaginativeness of tone-colouring which made him famous, while his treatment of other generically ‘Viennese’ favourites place him stylistically on an easy par with Richard Tauber, including Just two hearts and a waltz refrain (a translation of the title waltz-song from the 1931 German film Zwei Herzen in Dreivierteltakt, by the Austrian Robert Stolz — 1880-1975), Yours is my heart alone (American translation of "Dein is mein ganzes Herz", hit-song from Das Land des L?chelns — Berlin, 1929; produced in London in 1931, as Land of Smiles — by the Hungarian Franz Lehár, 1870-1948), Castles in the air (from Frau Luna (1899) by the German Paul Lincke (1866-1946) and I walked in the blossoming garden (the famous Waltz Song from A Waltz Dream, in the 1908 London version by Felix Doerman and Leopold Jacobson, with lyrics by Adrian Ross and music by the Viennese Oskar Straus, 1870-1954). Crooks concludes the recital with Tell me tonight (in this title-song from the 1932 film-musical landmark (US title Be Mine Tonight) in which Polish tenor Jan Kiepura sang the music of the Russian-born pianist-composer and conductor Mischa Spoliansky (1898-1984), he is ably backed by a fine orchestral adaptation under the baton of HMV’s then house-conductor Ray Noble). Richard Crooks died in Portola Valley, California, on 29 September, 1972.Peter Dempsey, 2002The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.Peter DempseyA tenor singer of wide range and performing experience, Peter Dempsey specialises in Victorian and Edwardian genre ballads and art-song, and has recorded various CDs, including Love’s Garden Of Roses for Moidart. Quite apart from his personal enthusiasm for music in the broadest sense, through his assiduous collecting and study of 78s over many years, Peter has acquired not only a wide knowledge of recorded musical performance but also a heartfelt awareness of the need to conserve so many "great masters" who — were it not for CD — might now be lost for future generations. A recognised authority on old recordings, Peter now regularly researches and produces CD albums from 78s.

the real issue is that he is the right man to do that.:确确实实他正是做那事的人

填写：really
这里使用副词really修饰形容词busy
如果我的回答对你有帮助,请及时选为满意答案,谢谢~~

A
They have made this a real not to smoke in the room.
他们提出这是一个真正的不吸烟的房间.

I never dream to love,I don't know where is my real love.I'm afriad I'll lost my way in the dark
我从不梦想去爱,我不知道我的真爱在哪里.我害怕我会在黑暗中失去我人生的路~~
如果满意,请记得采纳,谢谢(*^__^*) 嘻嘻

Certainly there is true love in the world .Can't you feel your mom's words full of kindness,also your dad,friends?Haven't you ever been effected by someone ,even moved into tears?It's just the power of love.

注意不需要代词it,后面的疑问句缺少疑问词is,所以正确的翻译是：Is what I need really what I want?Is what I possess/have really what I need?

leather(real leather真皮)

It is okay to have flaws ,which makes you real
==
【优缺点没关系.这让你更为真实!】

B

So what? 意为“那又怎么样呢？”，用来表示说话人对某事不在意，认为其不重要；符合语境。

你好!正确答案为：
really 副词 真地
修饰形容词cool and fun,要用副词形式
翻译为
这个男孩看起来真得又酷又有趣

他是一个漂亮的男孩

Become brave,loyal,honest and humorous.

C
hit 名词,意思是受欢迎
你的榚饼很受欢迎
例句：
his novel was a great hit.
他的小说大受欢迎

A 这件衣服是真丝或是呢绒的?

我有一个真正的宠物,你可以吗?
百度翻译是这样的,但我觉得是
我有一个真正的玩物,你有吗?

ased 基于

Hope you can be very happy and happy.希望你能特别特别的开心
Can find real right for you to is good for you.你能找到一个真正适合你的人吗?
My friend's identity early to wish you a merry Christmas.我以朋友的身份提前祝贺你圣诞快乐

它从来没有真正容易过,但它的对的.never 从来,real 真的,easy 容易

1.really
2.B
3.all over the world

If you work__(real)hard,you can catch up.
答案：
If you work really hard,you can catch.
如果你真正努力的话,就一定能赶上.
原题中给的real为形容词,而此句要求用副词really

ur=your
抓住你真正的生活

Life is a dream.A dream not a real life is like drama.Show not help people
中文意思是什么:
人生如梦,梦不是真实的,生活就像一出戏.演出对人们无益.
.

A,John离开是在过去的时间,所以用一般过去时.

你让我感觉很真实./你是一个真诚的人.
看上下文,再翻译吧,要有语境的

是

题目翻译过来意思是“看那些模型船.我知道,可是它看起来就像是一条真船.他只是（）”
从题目的意思可以看出是用现在这条模型船和其他真船比较,是最小的,所以用最高级,选B.
不明白再问哦

eally,用的是real 的副词形式,
因为funny是一个形容词,修饰形容词要用副词,而 real是一个形容词,要变成副词形式就要在后面加-ly变成really.

A其他的不是名词或不妥

真正的男人不会和时间上最美丽的女孩约会,而会选择让他的时间变得最美丽的女孩.

1==
D 在文中说“Its flames are very much hotter and bigger than any fire on the earth,”所以在地球上就不会有比它更强更大的火焰了.
2==
C 根据常识我们都知道地球绕着太阳转而月球围着地球转.
3==
D 在文中只提到了“The moon has no light of its own.Moon light is only sunlight shining on the moon.”,至于为什么不发光没有提到.所以就选D.
4==
C 因为“the light from the sun is so bright that you can not see them.”.
5==
C 所谈论的不管是月亮还是星星,都是以太阳为参照物的,所以选C.

第一行same改为some
第六行winner改为winners
最后一行lost改为lose

全对了,你真聪明