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It was this semblance of Greek serenity that so outraged the profound and powerful minds of the first four centuries after Christ. This womanish escape from all seriousness and awe, this smug embracing of easy pleasure, seemed to them not only contemptible but the truly antiChristian frame of mind.

正是这种虚伪的"希腊的乐观",激怒了基督教时代最初四百年间那些深思而可畏的志士;在他们看来,这种女性似的逃避责任与困难,这种懦夫似的贪图安逸,不但是可鄙的,而且是尤其反基督教的精神状态的。

In any period of history, when mankind was able to perceive its own futility, its own smallness, and its own follies and inconsistencies, a humorist appeared, like Chuangtse of China, Omar Khayyam of Persia, and Aristophanes of Greece.

在历史的任何一个阶段里,当人类意识到他自身的无能,渺小,愚蠢和不协调时,幽默大师出现了,比如说中国的庄子,波斯的欧玛尔海亚姆,希腊的阿里斯托芬。

In this dissertation, we stress the relation of his theory to Platonism, Aristotelianism, Augustinianism, Christian mysticism in Middle Ages, and Franciscan idea.

我们在这里着重论述他的思想与古希腊的柏拉图和亚里士多德的哲学、教父中的奥古斯丁神哲学、中世纪神秘主义以及弗兰西斯修会理念之问的关系。

While excavations of temples dedicated to Gula have not revealed signs that patients were housed at the temple while they were treated (as was the case with the later temples of Asclepius in Greece), these temples may have been sites for the diagnosis of illness.

当供奉古拉的庙宇遗迹出土的时候,没有迹象显示,病人在接受治疗的时候是住在庙宇中(与后来希腊的阿斯克勒庇俄斯的情形一样),这些庙宇是用来诊断疾病的地方。

Wind god - Various other artistic influences from the Silk Road can be found in Asia, one of the most striking being that of the Greek Wind God Boreas, transiting through Central Asia and China to become the Japanese Shinto wind god Fujin.

风神——从丝绸之路而来的其他不同艺术的影响也可以在亚洲找得到,最显著的是希腊的北风之神,通过中亚和中国传播,变成了日本神道教的风神富士。

Poseidon's loves produced strange children.his wife bore him the children who were half man and half-fish in form.when demeter did not like his attention and changed herself into ahorse,shameless poseidon turned himself into a horse to continue his seeking.out of their love a wonderful horse,arion byname,was born.this horse had the power of speech and was sure to win all the car riageraces in greece.poseidon robbed the ophane,a beautiful maiden,and taking her to an island,changed her into a sheep and himself into a ram.as a result the golden-fleeced ram came into being.

得墨特尔不喜欢波塞冬对她的注意,就变成一匹马,不知羞耻的波塞冬也变成一匹马,继续追求她。一匹骏马,名为阿瑞翁,是他们的爱情之果。这匹马 SSBBww 说话,在希腊的 8 tt t8.com 马拉车大赛中必定独占鳌头。波塞冬还抢走了美丽的少女忒尔菲,把她掳到一个岛上,使她变成一只绵羊,他自己变成一只公羊。结果长有金色羊毛的公羊就出现 wWw.8tTt8.coM 了。

The clothes hung on the body with one-piece cloth like Chiton and Himation of ancient Greek and Toga of ancient Rome etc emphasized on the graceful frills formed when being hung,which also formed a special type of clothing shape and dressing way distinct from Chinese traditional clothes.

希腊的"希顿"和"希玛纯"、古罗马的"托加",这些用一块布披挂在身上的衣服,强调披挂时形成的优美的垂褶效果,这也形成了区别于中国传统服装形态和着装方式的一种独特类型。

The actors playing the gods made their appearance in Greek drama, evidently, hoisted and lowered by some sort of machinery whose details have not come down to us, but the use of the gods in this Euripidean way has been designated by a Latin phrase,"Deus ex machina"(English=God from the machine), which has become a term of contempt, designating the unartful way that a dramatist may wind up plot when unable to bring the story to a reasonable conclusion, as in some cheap films, where everything that has gone before turns out to be a dream.

希腊的戏剧中,饰演神的演员,多半由某种机械将他们提起或放下,但我们不清楚原来的细节。在《希波理特斯》中的神,主要是由拉丁文Deus ex machina所命名,这最后成为一种轻视的词汇,意指当戏剧家无法在剧情结尾做出合理的结论时最后所有一切都会消失,观众发现这原来只是一场黄粱大梦。

Ever since Dionysos danced ahead of his horde of bloody-footed maenads across the rocky highlands of prehistoric Greece, dance and song have been the province of boys.

自从狄厄尼索斯在他那大群的赤足血脚的女仕的队列前起舞,横穿古希腊的岩石林立的丘陵高地时起,舞与歌就是男孩的领地。

Greek playwright Aeschylus probably didn't, but according to the story, he was killed when an eagle or a bearded vulture dropped a tortoise on his bald head after mistaking his noggin for a stone in an attempt to crack open the tortoise's shell.

希腊的剧作家Aeschylus大概就没担心过,但是据传说,他是被鹰或者秃鹫扔下来的乌龟砸死的,因为那只笨鸟把他的光头当成了石头,企图用它来砸开乌龟的硬壳。

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But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊!不用提了。提到肉,真是糟透了。

Tristan, I have nowhere to send this letter and no reason to believe you wish to receive it.

Tristan ,我不知道把这信寄到哪里,也不知道你是否想收到它。