查询词典 Iliad

Homer in the Iliad, represents Ares as the insatiable warrior of the heroic age, who, impelled by rage and lust of violence, exults in the noise of battle, revels in the horror of carnage.

荷马在《伊利亚特》中把他说成是英雄时代的一名百战不厌的武士。他肝火旺盛，尚武好斗，一听到战鼓声就手舞足蹈，一闻到血腥气就心醉神迷。

Homer in the Iliad, represents Ares as the insatiable warrior of the heroic age, who, impelled by rage and lust of violence, exults in the noise of battle, revels in the horror of carnage.

他肝火旺盛，尚武好斗，一听到战鼓声就手舞足蹈，一闻到血腥气就心醉神迷。

In the morning as the men prepare for battle, most think this day will be their last. But with his copy of the Iliad by his side, Alexander oversleeps.

隔日早晨，士兵在准备作战时多半认为自己活不过这一天，但将&伊利亚特&放在身边的亚历山大却睡过了头。

Comparable in scope to the Iliad, this skilfully crafted work combines the fragments of half-forgotten myths to create one of the greatest epic poems - the principal version of the heroic legends used by Richard Wagner, in The Ring.

在同等范围内的伊利亚特，这巧妙地结合了制作工作几乎被遗忘的神话片段，创造一个最伟大的史诗-由理查德瓦格纳所使用的主要英雄传说中的版本环。

Its subject(to use Maynard Macks categories)is "life-as-spectacle," for readers, diverted by its various incidents,observe its hero Odysseus primarily from without;the tragic Iliad,however,presents "life-as-experience":readers are asked to identify with the mind of Achilles,whose motivations render him a not particularly likable hero.

迈克的两个分类范畴的话〕是&人生作为外部景象&，因为读者的注意力被作品那形形色色的事件所分散，主要是从外部来观察其主人公奥德修斯的；然而，富于悲剧色彩的《伊利亚特》所表现的则是&人生作为内心体验&：读者被要求与阿基琉斯的心灵产生共鸣，而其行为动机却致使他变作一个并非特别惹人喜爱的主人公。

Its subject（to use Maynard Macks categories）is "life-as-spectacle," for readers, diverted by its various incidents,observe its hero Odysseus primarily from without;the tragic Iliad,however,presents "life-as-experience":readers are asked to identify with the mind of Achilles,whose motivations render him a not particularly likable hero.

其主题〔若借鉴梅纳德。迈克的两个分类范畴的话〕是&人生作为外部景象&，因为读者的注意力被作品那形形色色的事件所分散，主要是从外部来观察其主人公奥德修斯的；然而，富于悲剧色彩的《伊利亚特》所表现的则是&人生作为内心体验&：读者被要求与阿基琉斯的心灵产生共鸣，而其行为动机却致使他变作一个并非特别惹人喜爱的主人公。

In the Iliad Poseidon appears only in his capacity of ruler of the sea, inhabiting a brilliant palace in its depths, traversing its surface in a chariot, or sirring the powerful billows till the earth shakes as they crash upon the shore.

在荷马史诗《伊利亚特》中，波塞冬只被描述成一个主宰海洋的神。他住在海中华美的宫殿里，或驾驭战车在海面上巡幸，或掀起地动山摇的巨浪。

In the Iliad Poseidon appears only in his capacity of ruler of the sea, inhabiting a brilliant palace in its depths, traversing its surface in a chariot, or sirring the powerful billow s till the earth shakes as they crash upon the shore

在荷马史诗《伊利亚特》中，波塞冬只被描述成一个主宰海洋的神。他住在海中华美的宫殿里，或驾驭战车在海面上巡幸，或掀起地动山摇的巨浪。

Homer in the Iliad,represents Ares as the insatiable warrior of the heroic age, who

荷马在《伊利亚特》中把他说成是英雄时代的一名百战不厌的武士。

Schliemann illegally smuggled the loot to Berlin, convinced he had found evidence of the Iliad's famed ancient city.

谢里曼将其非法走私到了德国，他坚信自己找到了《伊里亚特》中著名古城特洛伊存在的证据。

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。