查询词典 Lydgate

Lydgate expressed it so because he thought Macabree was a French author, although he was actually dealing with the Old French phrase Danse Macabre,"the Dance of Death," a subject of art and literature.

利德盖特这样表达是因为他认为Macabree 是源于法语的词，实际上他指的是一个古老的法语短语Danse Macabre，"死神之舞，"一个艺术与文学的主题。

In brief , Lydgate was what is called a successful man.

总之，利德盖特是我们所说的飞黄腾达的人。

Lydgate divined some delicacy of feeling here, but did not half understand it.

这里包含的微妙情绪，利德盖特有些察觉，但一点也不理解。

This was a point on which Lydgate smarted as much as Wrench could desire.

伦奇所指望的这种后果，正是利德盖特最忌讳的事。

Several years later, it is believed that King Henry V hired a writer named John Lydgate to compose a valentine note to Catherine of Valois.

几年后，据说亨利五世也雇了一位叫做John Lydgate的作家给他的Catherine of Valois 写了一封情诗。

He threw out biting remarks on Lydgate's tricks.

他对利德盖特那些花招大加揶揄嘲笑。

Lydgate's conceit was of the arrogant sort, never simpering, never impertinent.

利德盖特的自负是一种傲气，它从不嗤笑，从不盛气凌人。

Macabre is first recorded in the phrase Macabrees daunce in a work written around 1430 by John Lydgate.

Macabre 最早见于短语 Macabrees daunce 是在1430年前后约翰·利德盖特写的一本书中。

But Lydgate's poems or Chaucer's, like a mirror in which figures move brightly, silently, and compactly, showed him the very skies, fields, and people whom he knew, but rounded and complete.

然而，利德盖特和乔叟的诗像是一面镜子，镜子中的人影蔟拥在一起晃动着，轻快，静默。他看见的是自己所熟悉的天空、田野和人们，但是更加生动和完整。

Attention is respectively directed to Dorothea's moral idealism, her controversial marriage with Will, and the fate of Lydgate's intellectual idealism.

关于利德盖特故事的创新点在于本文将其命运同古典悲剧相提并论，以探讨天性中的理想主义追求与毫无诗意的社会环境的冲突。

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。