Hai cercato la traduzione di i never lose either i win or i l... da Inglese a Italiano

i never lose my hair
non faccio colazione

either i wait for instructions or i ask what i should do.
alla fine o aspetto delle indicazioni o chiedo che cosa devo fare.

i never use these because they just confuse me. i learn best from written directions.
io non uso mai queste, perché essi soli mi confondono. imparo meglio da indicazioni scritte.

either i think that god is at work, or i leave and i go".
o credo che dio è allâ opera, o lascio e me ne vadoâ .

i never thought i could learn english with my age! every day i learn something new for free thanks to the video classes!
non avrei mai pensato di poter imparare l’inglese a 70 anni! ogni giorno imparo qualcosa di nuovo gratis grazie alle videolezioni!

"either i behold a fata morgana, or i must be tipsy," groaned the counsellor.
"o questa è la fata morgana, come si dice, o io sono ubriaco!" si lamentò il consigliere.

i never lose hope to approach the orthodox and this is why i always keep returning to them to give them my testimony.
io non ho mai perso la speranza di avvicinare gli ortodossi ed è per questo che continuo sempre a ritornare da loro per dare loro la mia testimonianza.

and that boils down to the same thing. i can display this inclusion, i can show it. either i can demonstrate the identity or i can show the inclusion.
ed e lo stesso. io posso manifestare questa inclusione, io posso mostrarla. o io dimostro l identità oppure mostro l inclusione.

read the end-user license agreement carefully and select either "i agree" or "i disagree".
leggere il contratto di licenza con l'utente finale, quindi scegliere "accetto" o "non accetto".

either i will be elected and will leave the house, or i will be defeated and the socialist party will inevitably dismiss me from the group of the party of european socialists.
o sarò eletto e vi lascerò, o sarò sconfitto e il ps mi farà certamente escludere dal gruppo del pse.

madam president, under rule 128 i must move the admissibility of the document to be debated. either i can table it now or i can wait until you have formally opened the debate on this document, as you wish.
signora presidente, ai sensi dell' articolo 128 desidero porre una questione pregiudiziale sul testo di cui lei ha annunciato la discussione; posso illustrarla ora oppure aspetto che lei apra formalmente la discussione, come vuole.

the issue was money. either i had it or i did not. however, it was mildly encouraging to see that the court was keeping the case alive as if it would go to trial.
il problema erano i soldi. o ho avuto o non l'ho fatto. tuttavia, è stato leggermente incoraggiante vedere che la corte teneva il caso vivo come se volesse andare a processo.

thus, either i give the floor to the first two, which is simple enough for me, or i can ask you to make a thirty-second statement and we try to get round everybody.
pertanto, o do la parola ai primi due, che per me è abbastanza semplice, o posso chiedervi di parlare trenta secondi ciascuno e cerchiamo tutti di farcela.

relevant though these are, either i have failed to spot it when reading or i have not managed to find the documents, but i find no reference to you focussing on the economic dimension of the area as a topic in its own right.
per quanto questi siano pertinenti, forse leggendo mi è sfuggito, oppure non sono riuscita a trovare i documenti, ma non vedo alcun riferimento alla dimensione economica della regione come argomento a sé.

either i was told everything was my fault or i never even rated a response at all. no one was remotely interested in the kidnapping of my daughter.
sia mi dicevano che la situazione intera era la colpa mia sia non riuscivo ad ottenere nessuna risposta.

most folks i encounter respond with either “i wish i could do that” or “i don’t think i could do that” when i tell them what i do. i think most people can do this work if they want to or have to.
la maggior parte delle persone che incontro risponde con “”vorrei poter fare questo”” o “”non credo che potrei farlo”” quando dico loro quello che faccio. credo che la maggior parte delle persone possono fare questo lavoro se vogliono o devono.

i defend employment first and foremost and what is more, i never lose sight of the fact that public services constitute a unifying element and an element of the european social model that is so dear to your friend mr jacques chirac. they are of course, also a prerequisite for balanced regional planning whose failure or inexistence would cost far more than the savings you hope to achieve.
difendo l' occupazione a spada tratta, e soprattutto non dimentico che il servizio pubblico rappresenta sia un elemento di solidarietà sia una componente del modello sociale europeo tanto caro al suo amico, il presidente jacques chirac; e soprattutto è una condizione per un' equilibrata gestione del territorio, e il fallimento o l' assenza di quest' ultima costa molto più dei risparmi che lei dice, tra l' altro, di voler realizzare.

in 3 years (at least) i never got to find the good conditions to be back through the canyon of cornicello. once it was raining, another time stream was dry, or polluted, or i was not in calabria or i had to go through an unexplored canon instead ...
erano almeno 3 anni che mi proponevo di ridiscendere la gola del cornicello, ma regolarmente qualcosa mi impediva di farlo: una volta il maltempo, un'altra le cattive condizioni idriche, o l'inquinamento, o la precedenza data a un'altra escursione ritenuta più interessante, ...

i don't want to hear any more of your excuses. either you will be holy or i will say to you, "workers of iniquity, i never knew you."
io non voglio più sentire le vostre scuse! o siete santi, o io vi dirò “lavoratori d'iniquità, io non vi conosco!”

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