克罗利

Referring to one of the songs, Sri Ramakrishna said: I didn't enjoy that song very much.

室利罗摩克里希纳一提到其中一首歌曲，就说：我不太喜欢那首歌。

He was very much impressed by Sri Ramakrishna even at their first meeting.

他被室利罗摩克里希纳吸引住，甚至首次见面就有了深刻的印象。

Sri Ramakrishna smiled and said,"Yes, excitement indeed."

室利罗摩克里希纳微笑着说：&对，是真正的兴奋。&

But they did have their chores, Riccardo and the others-they were to scoop up the prints and engravings of the German painters for our Master, pictures made by the new printing presses of old wonders by Memling, Van Eyck, or Hieronymus Bosch.

但他们必定是有他们的份类事，利卡多以及其他男孩子为我们的主人抢购着德国画家的油彩画与版画作品，有梅姆灵、温艾克或是希罗尼穆斯·博斯的画作，都是用最新印刷机印制出来的。

One could point to examples in the works of Hieronymus Bosch (late fifteenth/early sixteenth century), Hogarth and Goya, Henry Fuseli and William Blake, and Francis Bacon, which have a prophetic undertone in their visions of conflict, torment, and the sinful nature of human extravagance and excess.

可以参照的例子比如希罗尼穆斯·博斯（15世纪末16世纪初）、贺加斯、戈雅（皆18世纪）、亨利·傅斯理、威廉·布莱克（19世纪）及弗朗西斯·培根（20世纪）──他们的作品呈现出的人性极端与放纵的矛盾、苦难与罪恶，具有一种预言般的隐性基调。

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。