以利亚撒

And he went from thence to mount Carmel, and from thence he returned to Sama***a.

2：25 以利沙从伯特利上迦密山，又从迦密山回到撒马利亚。

And it came to pass, when they were come into Sama***a, that Elisha said, LORD, open the eyes of these men, that they may see.

6：20 他们进了撒马利亚，以利沙祷告说，***阿，求你开这些人的眼目，使他们能看见。

They were to play the lyres and harps, Asaph was to sound the cymbals

16：5 为首的是亚萨、其次是撒迦利雅、雅薛、示米拉末、耶歇、玛他提雅、以利押、比拿雅、俄别以东、耶利、鼓瑟弹琴。

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。