使人痴迷的人

I am devoted habitué of every show in New York of Chinese calligraphy and poetry/painting and have been affected by every aspect of the work, from the performative aspect of the making of the calligraphy, to the exhilarating visuality of the approach to writing, to the interaction of word and image, to the mind-expanding horizontally (especially but also, of course, verticality) of the writing space of the scrolls.

在纽约，我是对中国书法、诗歌、绘画展览非常痴迷的人，而且在多方面受到这些展览的影响，从书法的书写方面，从写作使人视觉愉悦的方法上，在字与画的相互作用方面，在字、画卷轴书写空间思维的横向拓展上等方面。

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。