查询词典 Iliad

Latium . It was well understood in Virgil's own time that The Aeneid was in its first half an Odyssey and in its second an Iliad .

这是很好理解的维吉尔自己的时间，是在其伊尼伊德上半年一支 Odyssey和在其第二次的伊利亚特。

If we add together the three great poems of antiquity -- the twenty-four books of the Iliad, the twenty-four books of the Odyssey, and the twelve books of the Aeneid -- we get at the dimensions of only one-half of The Faerie Queen.

如果我们加在一起的三个古代伟大的诗-对伊利亚特，在奥德赛的04年书，和埃涅阿斯纪的12个图书24书籍-我们只在一半的尺寸得到女王的仙灵。

Virgil is known for his epic, the AENEID (written about 29 BCE, unfinished), which had taken as its literary model Homer''s epic poems Iliad and Odyssey.

维吉尔是他的史诗，在埃涅阿斯纪（约29公元前书面，未完成），已采取作为其文学模型荷马史诗诗伊利亚特和奥德赛。

In Homer's Iliad and Odyssey the gods are depicted throughout as capriciously deceiving human beings, compelling them knowingly and unknowingly to do specific things, and generally interfering quite frequently in human affairs.

在荷马的伊利亚德和奥德赛中，神被通过善变而欺骗的人类而描写出来，强迫人类知道和不知道特定的事情，时常妨碍人类的事务。

You know the first lines of the Iliad, in which the poet says that Chryses prayed Agamemnon to release his daughter, and that Agamemnon flew into a passion with him; whereupon Chryses, failing of his object, invoked the anger of the God against the Achaeans .

你应该熟悉《伊利亚特》的开头几行诗，诗人在诗句中谈到克莱塞斯乞求阿伽门农释放他的女儿，阿伽门农对他大发雷霆之怒；克莱塞斯的哀求不成，因此将神的愤怒转嫁到亚该亚人身上。

This paper aims to study the meeting of Diomedes and Glaucus in Book 6 of the Iliad in relation to the practice of the religious and cultural code of xenia (guest-friendship), which the ancient Greeks formulated as the major institution for consolidating the inter-household and intercity relationships.

本文主要是在探讨古希腊时期存在於两个异邦家族间的宾主之谊（xenia， guest-friendship），如何在荷马史诗《伊里亚德》的战场中呈现为希腊生活哲学中的基本伦理规范。

The episode of Diomedes and Glaucus' confrontation with each other on the battlefield in the Trojan War from Book 6, the Iliad, is examined as an example to demonstrate the importance of this ethical code. The description of the two great warriors' refusal to fight with each other on the battlefield provides a social and cultural space to elucidate the significance of this religious and cultural custom. Through this, the epic narrative transforms the battlefield into a social space of production where ethics and the religious and cultural code reinforce each other's necessity and importance in a society that obeys not just the edicts of the kings but also the law of Olympus.

本文将以《伊里亚德》第六章堙A戴奥米迪斯与葛劳可斯这两位互相敌对的骁勇主将如何在战场中确认其祖父辈们之间曾建立起的宾主之谊，因而握手言欢，互赠礼物为起始，探讨荷马史诗《伊里亚德》第六章的叙事如何将战场空间转化为社会空间，并且在此转换的空间中，藉由对宾主之谊这个伦理规范的阐述与演绎，生产并强化伦理与宗教、文化、政治间的互相关联。

Greek grammarian and critic noted for his arrangement of and commentary on the Iliad and the Odyssey.

阿里斯塔克斯希腊语法学家和鉴赏家，闻名于其校订和研究伊利亚特和奥德赛

An ancient Greek grammarian remembered for his commentary on the Iliad and Odyssey ca.

以注释《伊利亚特》和《奥德赛》而见称的古希腊文法家。

The Iliad (Greek:λι, Iliás) is an epic poem recounting significant events during a portion of the final year of the Trojan War — the Greek siege of the city of Ilion — hence the title ("pertaining to Ilion").

伊里亚特（ΙΛΙΑΣ，Ilias，Iliad，又译《伊利昂记》，今译《伊利亚特》。）是古希腊盲诗人荷马(Homer， 800BC-600BC)的叙事诗史诗。是重要的古希腊文学作品，也是整个西方的经典之一。

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。