Results for cuz i never take them and that al... translation from English to Italian

so try to let go of them, and have faith that all will turn out as promised.
liberatevene, dunque, e abbiate fede che tutto avverrà come promesso.

i hope that something concrete will come of them and that they will not merely remain aims.
mi auguro che si otterranno risultati concreti e che non rimangano soltanto obiettivi.

believe us they are far more extensive than you can possibly imagine, but all will come out in due course.
credeteci quando asseriamo che detti problemi sono di gran lunga più grandi di quanto possiate immaginare, ma tutto sarà rivelato a tempo debito.

it the first of a series of pieces that the couple mogol - minghi is developing and that will come out in a cyclic manner.
“vivi e vedrai” è il primo di una serie di brani di prossima pubblicazione che faranno parte di un originale progetto, attualmente in fase di realizzazione.

although there is still some way to go, i am confident that these efforts will be met with success and that europe will come out of this experience stronger, economically and politically.
sebbene vi sia ancora cammino da fare, confido nel successo di questi sforzi e nel fatto che da questa esperienza uscirà un'europa più forte dal punto di vista sia economico, sia politico.

the thing to remember is that all live organisms have to deal with them and that all knowledgeable people must consider this . . .
la cosa per ricordare è che tutti gli organismi vivi devono trattare con loro e che tutte le persone bene informato devono considerare questo . . .

i hope the commissioner feels that this report reflects not only his own priority but also his own personal sense of urgency, and that all will agree that the real work starts now.
spero che il commissario Špidla possa riconoscere nella relazione non soltanto le sue priorità, ma anche il suo personale senso di urgenza, e che tutti concordino sul fatto che il vero lavoro comincia adesso.

this verse tells us that the antichrist was found among the kings of the old ages, and that though he is not in this world now, he will come out to the world in the future.
questo versetto ci dice che l anticristo ci fu tra i re dei vecchi tempi, e che anche se egli non è in questo mondo ora, verrà fuori nel mondo in futuro.

so, in a dream what happens is that all these hidden sentiments, all the hidden feelings will come out. that’s called ‘catharsis’.
sì. in un sogno tutti questi sentimenti nascosti vengono fuori.

theses times are exciting if you look at what lies ahead, because out the chaos will come a definite plan that all will understand.
per quanto riguarda il futuro, state vivendo un periodo molto appassionante, perché dal caos emergerà un piano ben definito, che tutti comprenderanno.

until the men in the european union take them seriously we will not achieve them. and that begins at the very top, in the leadership of the council of ministers: all those male leaders who are not taking it seriously.
non li conseguiremo finché gli uomini nell'unione europea non li prenderanno sul serio, iniziando dal vertice, dalla leadership del consiglio dei ministri: tutti quei leader uomini che non prendono sul serio il conseguimento di tali obiettivi.

we learn also from rev 1,7 that the lord will come on the clouds of the sky, and that all people will see him then – the godless in fear, the faithful in joy:
che il signore verrà sulle nuvole del cielo, e poi tutte le persone lo vedranno - gli empi nella paura, i credenti nella gioia - ce lo dice anche apoc1,7:

the post-2012 framework must contain binding and effective rules for monitoring and enforcing commitments so as to build the confidence that all countries will live up to them, and that there will be no backsliding as recently observed.
il regime che entrerà in vigore dopo il 2012 deve prevedere norme vincolanti ed efficaci per verificare e far applicare gli impegni assunti: in tal modo verrà a crearsi un clima di fiducia nel fatto che tutti i paesi manterranno i rispettivi impegni e che non ci saranno inversioni di rotta come quelle rilevate di recente.

they also believe that there will come a day of judgment, and that all believers come to paradise everyone else goes to hell. musa is a writing and is also a thing that is important for a muslim this scripture found in the quran and it is only where they are absolutely correct.
credono anche che ci sarà un giorno del giudizio, e che tutti i credenti giungere in paradiso tutti gli altri sta andando all'inferno. musa è una scrittura ed è anche una cosa che è importante per un musulmano questa scrittura che si trova nel corano ed è solo dove sono assolutamente corrette.

of course, i insisted on going in- i never refuse my daughter cristina anything- but once inside i remembered to check that all the european union ' s health rules had been applied, and that everything was labelled.
naturalmente ho insistito per entrare- io dico sempre di sì quando mia figlia cristina mi chiede qualcosa- ma, una volta entrato, mi sono ricordato di controllare che tutte le norme sanitarie dell' unione europea fossero state applicate, che tutte le etichette fossero state apposte.

it could be that all will not join at the same time and that the conference will have to define, depending on the timetable of accession, the appropriate arrangements and eventual transitional provisions for the composition of the institutions and organs of the union in the interim period.
È possibile che non tutti i paesi aderiscano all'unione nello stesso momento e la conferenza dovrà definire, secondo il calendario delle successive adesioni, le modalità adeguate e le eventuali disposizioni transitorie per la composizione delle istituzioni e organi dell'unione durante il periodo transitorio.

it is important that the honey is dark and that it is fluid. heat the honey in a water bath to approxemately 40 °c. peel the cloves, put them in a glass container and then fill up with the heated honey. the mixture should then be put aside for six months so that the alliin and the other substances of the garlic will come out.
e' importante che il miele sia scuro e fluido. scaldare il miele in un bagno d'acqua a circa 40 °c. sbucciare l'aglio, metterlo in un contenitore di vetro e riempire col miele caldo. la mistura deve essere lasciata da parte per sei mesi, in modo da far venire fuori l'alliina e le altre sostanze dell'aglio.

we think that is the number-one issue -- and that all we need to do is abstain from evil, come out from the world and remain clean. as long as we don't smoke, drink, fornicate or commit adultery, we think we are pure.
pensiamo che sia il requisito numero uno - quindi tutto ciò di cui abbiamo bisogno è di astenerci dal male, rimanere fuori dal mondo e restare netti. per cui se non fumiamo, non ci ubriachiamo, non fornichiamo o commettiamo adulterio, crediamo di essere puri.

after four years since i finished writing the sonata op.38, i can eventually listen to its first performance because, when i write music, i never play a note on the piano but i just write and that's all: and you'll listen to what a wonderful and rigorous performance with these outstanding musicians!
dopo quattro anni da quando ho finito la sonata op.38, oggi finalmente ascolto la prima esecuzione in quanto, quando io compongo, non suono una nota al pianoforte ma scrivo e basta: e sentirà che interpretazione meravigliosa e rigorosa con questi straordinari interpreti!

the last leaf in a little district west of washington square the streets have run crazy and broken themselves into small strips called 'places.' these 'places' make strange angles and curves. one street crosses itself a time or two. an artist once discovered a valuable possibility in this street. suppose a collector with a bill for paints, paper and canvas should, in traversing this route, suddenly meet himself coming back, without a cent having been paid on account! so, to quaint old greenwich village the art people soon came prowling, hunting for north windows and eighteenth-century gables and dutch attics and low rents. then they imported some pewter mugs and a chafing dish or two from sixth avenue, and became a 'colony.' at the top of a squatty, three-story brick sue and johnsy had their studio. 'johnsy' was familiar for joanna. one was from maine, the other from california. they had met at the table d'hôte of an eighth street 'delmonico's,' and found their tastes in art, chicory salad and bishop sleeves so congenial that the joint studio resulted. that was in may. in november a cold, unseen stranger, whom the doctors called pneumonia, stalked about the colony, touching one here and there with his icy finger. over on the east side this ravager strode boldly, smiting his victims by scores, but his feet trod slowly through the maze of the narrow and moss-grown 'places.' mr. pneumonia was not what you would call a chivalric old gentleman. a mite of a little woman with blood thinned by californian zephyrs was hardly fair game for the red-fisted, short-breathed old duffer. but johnsy he smote; and she lay, scarcely moving, on her painted iron bedstead, looking through the small dutch window-panes at the blank side of the next brick house. one morning the busy doctor invited sue into the hallway with a shaggy, grey eyebrow. 'she has one chance in - let us say, ten,' he said, as he shook down the mercury in his clinical thermometer. 'and that chance is for her to want to live. this way people have of lining-up on the side of the undertaker makes the entire pharmacopoeia look silly. your little lady has made up her mind that she's not going to get well. has she anything on her mind?' 'she - she wanted to paint the bay of naples some day,' said sue. 'paint? - bosh! has she anything on her mind worth thinking about twice - a man, for instance?' 'a man?' said sue, with a jews'-harp twang in her voice. 'is a man worth - but, no, doctor; there is nothing of the kind.' 'well, it is the weakness, then,' said the doctor. 'i will do all that science, so far as it may filter through my efforts, can accomplish. but whenever my patient begins to count the carriages in her funeral procession i subtract 50 per cent from the curative power of medicines. if you will get her to ask one question about the new winter styles in cloak sleeves i will promise you a one-in-five chance for her, instead of one in ten.' after the doctor had gone, sue went into the workroom and cried a japanese napkin to a pulp. then she swaggered into johnsy's room with her drawing-board, whistling ragtime. johnsy lay, scarcely making a ripple under the bedclothes, with her face toward the window. sue stopped whistling, thinking she was asleep. she arranged her board and began a pen-and-ink drawing to illustrate a magazine story. young artists must pave their way to art by drawing pictures for magazine stories that young authors write to pave their way to literature. as sue was sketching a pair of elegant horseshow riding trousers and a monocle on the figure of the hero, an idaho cowboy, she heard a low sound, several times repeated. she went quickly to the bedside. johnsy's eyes were open wide. she was looking out the window and counting - counting backward. 'twelve,' she said, and a little later, 'eleven'; and then 'ten,' and 'nine'; and then 'eight' and 'seven,' almost together. sue looked solicitously out the window. what was there to count? there was only a bare, dreary yard to be seen, and the blank side of the brick house twenty feet away. an old, old ivy vine, gnarled and decayed at the roots, climbed half-way up the brick wall. the cold breath of autumn had stricken its leaves from the vine until its skeleton branches clung, almost bare, to the crumbling bricks. 'what is it, dear?' asked sue. 'six,' said johnsy, in almost a whisper. 'they're falling faster now. three days ago there were almost a hundred. it made my head ache to count them. but now it's easy. there goes another one. there are only five left now.' 'five what, dear? tell your sudie.' 'leaves. on the ivy vine. when the last one falls i must go too. i've known that for three days. didn't the doctor tell you?' 'oh, i never heard of such nonsense,' complained sue, with magnificent scorn. 'what have old ivy leaves to do with your getting well? and you used to love that vine so, you naughty girl. don't be a goosey. why, the doctor told me this morning that your chances for getting well real soon were - let's see exactly what he said - he said the chances were ten to one! why, that's almost as good a chance as we have in new york when we ride on the street-cars or walk past a new building. try to take some broth now, and let sudie go back to her drawing, so she can sell the editor man with it, and buy port wine for her sick child, and porkchops for her greedy self.' 'you needn't get any more wine,' said johnsy, keeping her eyes fixed out the window. 'there goes another. no, i don't want any broth. that leaves just four. i want to see the last one fall before it gets dark. then i'll go too.' 'johnsy, dear,' said sue, bending over her, 'will you promise me to keep your eyes closed, and not look out of the window until i am done working? i must hand those drawings in by to-morrow. i need the light or i would draw the shade down.' 'couldn't you draw in the other room?' asked johnsy coldly. 'i'd rather be here by you,' said sue. 'besides, i don't want you to keep looking at those silly ivy leaves.' 'tell me as soon as you have finished,' said johnsy, closing her eyes, and lying white and still as a fallen statue, 'because i want to see the last one fall. i'm tired of waiting. i'm tired of thinking. i want to turn loose my hold on everything, and go sailing down, down, just like one of those poor, tired leaves.' 'try to sleep,' said sue. 'i must call behrman up to be my model for the old hermit miner. i'll not be gone a minute. don't try to move till i come back.' old behrman was a painter who lived on the ground floor beneath them. he was past sixty and had a michael angelo's moses beard curling down from the head of a satyr along the body of an imp. behrman was a failure in art. forty years he had wielded the brush without getting near enough to touch the hem of his mistress's robe. he had been always about to paint a masterpiece, but had never yet begun it. for several years he had painted nothing except now and then a daub in the line of commerce or advertising. he earned a little by serving as a model to those young artists in the colony who could not pay the price of a professional. he drank gin to excess, and still talked of his coming masterpiece. for the rest he was a fierce little old man, who scoffed terribly at softness in anyone, and who regarded himself as especial mastiff-in-waiting to protect the two young artists in the studio above. sue found behrman smelling strongly of juniper berries in his dimly-lighted den below. in one corner was a blank canvas on an easel that had been waiting there for twenty-five years to receive the first line of the masterpiece. she told him of johnsy's fancy, and how she feared she would, indeed, light and fragile as a leaf herself, float away when her slight hold upon the world grew weaker. old behrman, with his red eyes plainly streaming, shouted his contempt and derision for such idiotic imaginings. 'vass!' he cried. 'is dere people in de world mit der foolishness to die because leafs dey drop off from a confounded vine? i haf not heard of such a thing. no, i vill not bose as a model for your fool hermit-dunderhead. vy do you allow dot silly pusiness to come in der prain of her? ach, dot poor little miss yohnsy.' 'she is very ill arid weak,' said sue, 'and the fever has left her mind morbid and full of strange fancies. very well, mr. behrman, if you do not care to pose for me, you needn't. but i think you are a horrid old - old flibberti-gibbet.' 'you are just like a woman!' yelled behrman. 'who said i vill not bose? go on. i come mit you. for half an hour i haf peen trying to say dot i am ready to bose. gott! dis is not any blace in which one so goot as miss yohnsy shall lie sick. some day i vill baint a masterpiece, and ve shall all go avay. gott! yes.' johnsy was sleeping when they went upstairs. sue pulled the shade down to the window-sill and motioned behrman into the other room. in there they peered out the window fearfully at the ivy vine. then they looked at each other for a moment without speaking. a persistent, cold rain was falling, mingled with snow. behrman, in his old blue shirt, took his seat as the hermit-miner on an upturned kettle for a rock. when sue awoke from an hour's sleep the next morning she found johnsy with dull, wide-open eyes staring at the drawn green shade. 'pull it up! i want to see,' she ordered, in a whisper. wearily sue obeyed. but, lo! after the beating rain and fierce gusts of wind that had endured through the livelong night, there yet stood out against the brick wall one ivy leaf. it was the last on the vine. still dark green near its stem, but with its serrated edges tinted with the yellow of dissolution and decay, it hung bravely from a branch some twenty feet above the ground. 'it is the last one,' said johnsy. 'i thought it would surely fall during the night. i heard the wind. it will fall to-day, and i shall die at the same time.' 'dear, dear!' said sue, leaning her worn face down to the pillow; 'think of me, if you won't think of yourself. what would i do?' but johnsy did not answer. the lonesomest thing in all the world is a soul when it is making ready to go on its mysterious, far journey. the fancy seemed to possess her more strongly as one by one the ties that bound her to friendship and to earth were loosed. the day wore away, and even through the twilight they could see the lone ivy leaf clinging to its stem against the wall. and then, with the coming of the night the north wind was again loosed, while the rain still beat against the windows and pattered down from the low dutch eaves. when it was light enough johnsy, the merciless, commanded that the shade be raised. the ivy leaf was still there. johnsy lay for a long time looking at it. and then she called to sue, who was stirring her chicken broth over the gas stove. 'i've been a bad girl, sudie,' said johnsy. 'something has made that last leaf stay there to show me how wicked i was. it is a sin to want to die. you may bring me a little broth now, and some milk with a little port in it, and - no; bring me a hand-mirror first; and then pack some pillows about me, and i will sit up and watch you cook.' an hour later she said - 'sudie, some day i hope to paint the bay of naples.' the doctor came in the afternoon, and sue had an excuse to go into the hallway as he left. 'even chances,' said the doctor, talking sue's thin, shaking hand in his. 'with good nursing you'll win. and now i must see another case i have downstairs. behrman, his name is -- some kind of an artist, i believe. pneumonia, too. he is an old, weak man, and the attack is acute. there is no hope for him; but he goes to the hospital to-day to be made more comfortable.' the next day the doctor said to sue: 'she's out of danger. you've won. nutrition and care now - that's all.' and that afternoon sue came to the bed where johnsy lay, contentedly knitting a very blue and very useless woollen shoulder scarf, and put one arm around her, pillows and all. 'i have something to tell you, white mouse,' she said. 'mr. behrman died of pneumonia today in hospital. he was ill only two days. the janitor found him on the morning of the first day in his room downstairs helpless with pain. his shoes and clothing were wet through and icy cold. they couldn't imagine where he had been on such a dreadful night. and then they found a lantern, still lighted, and a ladder that had been dragged from its place, and some scattered brushes, and a palette with green and yellow colours mixed on it, and - look out the window, dear, at the last ivy leaf on the wall. didn't you wonder why it never fluttered or moved when the wind blew? ah, darling, it's behrman's masterpiece - he painted it there the night that the last leaf fell.' enry
l'ultima foglia storia inglese con lo scrittore o henry