加尔文

Picasso did not only paint, he also transposed the concepts of Cubism to metal sculptures, and did set design for one of Igor Stravinsky' s premiere performances, and sets and costumes for one of Eric Satie' s. He also did sets for Jean Cocteau' s play Antigone. He even wrote plays himself.

毕加索不仅作画，他还把立体主义的概念转移到金属雕塑中，并且为伊戈尔·斯特拉文斯基一部作品的初次公演做舞台设计，为埃里克·萨蒂的一部作品设计了布景和服装，还为简·科克托的戏剧《安提戈涅》做布景，他甚至自己写剧本。

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。