倦极的

Lo in the orient when the gracious light Lifts up his burning head, each under eye Doth homage to his new-appearing sight, Serving with looks his sacred majesty, And having climbed the steep-up heavenly hill, Resembling strong youth in his middle age, Yet mortal looks adore his beauty still, Attending on his golden pilgrimage: But when from highmost pitch with weary car, Like feeble age he reeleth from the day, The eyes now converted are From his low tract and look another way: So thou, thy self out-going in thy noon: Unlooked on diest unless thou get a son.

看，当普照万物的太阳从东方抬起了火红的头，下界的眼睛都对他初升的景象表示敬仰，用目光来恭候他神圣的驾临；然后他既登上了苍穹的极峰，象精力饱满的壮年，雄姿英发，万民的眼睛依旧膜拜他的峥嵘，紧紧追随着他那疾驰的金驾。但当他，象耆年拖着尘倦的车轮，从绝顶颤巍巍地离开了白天，众目便一齐从他下沉的足印移开它们那原来恭顺的视线。同样，你的灿烂的日中一消逝，你就会悄悄死去，如果没后嗣。

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。