One day, Tom discovers the secret of a bad man named Injun Joe, so the bad man is looking for him.
一天，汤姆发现了一个叫印第安·乔的坏人的秘密，所以这个坏人正在找他。
The bad man is looking for Tom because he takes the treasure box away.
坏人在找汤姆，因为他拿走了宝箱。
Tom has more trouble because a bad man named Injun Joe is looking for him.
汤姆遇到了更多的麻烦，因为一个叫印第安·乔的坏人正在找他。
A bad man, Pang Meng heard about the magic medicine and wanted to steal it.
庞蒙是个坏人，他听说了这种神药，想要偷走它。
His beard is blue, but he is not a bad man. He is very good in some ways.
他的胡子是蓝色的，但他不是一个坏人。在有些方面，他是很好的。
The bad man didn't have gold, so he painted gold with the magic paintbrush.
那个坏人没有金子，所以他用神笔把金子变出来了。
Hart's good-bad man was always an outsider.
哈特扮演的被误为坏人的好人总是一个局外人。
Hart's good-bad man was always an outsider, always one of the disinherited.
哈特扮演的被误为坏人的好人总是一个局外人，总是一个被剥夺继承权的人。
The bad man didn't have gold. So he painted gold with the magic paintbrush.
有个不帮助别人的坏人，他把马良的神笔拿走了。
Discreet counselors implored the royal brothers not to countenance this bad man.
谨慎的法律顾问们恳求王室兄弟不要容忍这个道德败坏的家伙。
However, a bad man, Feng Meng, tried to steal the medicine when Hou Yi was not home.
然而，一个坏人，冯孟，试图在后羿不在家时丢药。
A bad man is an untrue man, a man who does not behave as his notion or his vocation requires.
坏人就是不真的人，就是其行为和他的概念或他的使命不相符的人。
Sometimes books can't change behaviour or mitzvah of a man, and can't make a bad man become a great man.
有时候书不能改变一个人的品性和德行，不能让坏人变成好人。
Some people wrote to the Bishop to say that Francken was a bad man. They said that Francken was a magician.
维堡市民不喜欢尼古拉斯.弗兰肯，有些人给主教写信说弗兰肯是个巫师，是个坏蛋，他们想把他赶出维堡市。
It is what they do that makes them good or bad. A moment of love even in a bad man can give meaning to a life.
是好是坏要看他们做什么，即使一个坏人，一点点的爱，也能让他的生命有价值。
It is what they do that makes them good or bad. A moment of love, even in a bad man, can give meaning to a life.
翻译过来应该是这样：“他们的所作所为决定了他们的善恶，在表现爱心的片刻，即使是坏人，也会让生命有意义。”
When Popeye stands next to the bad man, Bluto, he (4) (look) small and weak, and when they fight, he always (5) (lose).
当大力水手站在坏人布鲁托旁边时，他(4)看起来又小又弱，当他们战斗时，他总是(5)输。
Xunzi affirmed the possibility that a bad man can be cultivated into a good one under the condition of external moral norms.
荀子肯定了性本恶之人在礼义法度等外在道德规范的约束下不断弃恶从善、积善成德的可能性。
The man was evidently living by himself, and York Minster said he was "very bad man, " and that probably he had stolen something.
那个人很明显是孤身一人住在那里，约克·明斯特说他是一个“很坏的男人，”很可能是他偷了别人的什么东西。
Chen Shi enlightened him by saying: "Judging from your appearance, you don't look like a bad man. Perhaps you are driven by poverty to steal."
陈宴开导他说：“看你的样子并不像坏人，你这样做，恐怕也是被贫困逼出来的。”
"Perhaps he thought there wouldn't be enough time," her father replied, "in any case, the bad man pushed the customer in front of a car while escaping."
“也许他认为来不及了，”爸爸回答道，“不管怎样，那坏人逃跑时在汽车面前推了那个顾客一把。”
The myth was that Nero was such a terrible, terrible, terrible bad man that even though he had been assassinated he was going to rise from the dead someday.
在这个传说里，尼禄是如此之恶劣，即使他已经被杀了，有一天他也将复活。
Of course, Mencius was not such a bad man. He simply thought that according to the standards of women's virtue of the time, his wife had been ill-mannered.
孟子当然不是这种人，他只是根据那个时代对妇德的标准，认为妻子不知礼。
He embodied “the good-bad man”, a figure in search of redemption, and reached his peak with Hell’s Hinges (1916) and The Toll Gate (1920), and he bowed out in 1925 with the epic Tumbleweeds.
他将寻求赎罪而“徘徊于善恶之间”的角色表现得活灵活现，将内心世界的纠葛与矛盾展现得淋漓尽致。 1916年上映的《地狱的铰链》与1920年的《关税》达到了他的艺术顶峰。
Fears about the appearance of bad, powerful, man-made intelligent machines have been reinforced (强化) by many works of fiction—Mary Shelley's Frankenstein and the Terminator film series, for example.
人们恐惧邪恶的、强大的、人造的智能机器的出现，这种恐惧已经被许多小说作品所强化，例如玛丽·雪莱的《弗兰肯斯坦》和《终结者》系列电影。
The man said, "You're always doing bad things. Are you different from the tiger or the flood dragon?"
这个人说：“你总是做坏事。难道你跟老虎和蛟龙不一样吗？”
The man said, "You're always doing bad things. Are you different from the tiger or the flood dragon?"
这个人说：“你总是做坏事。难道你跟老虎和蛟龙不一样吗？”
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