柳条

The blacksmith's wife was about to tap the wicker husband on the shoulder, but his arms were wrapped round the ugly girl.

那位铁匠的妻子想要轻轻地敲敲柳条丈夫的肩膀，可是他的双臂一直环绕着那位丑女孩。

Picasso created this assemblage from a shovel, a piece of twisted wicker, two forks, a gas spigot, screw nuts and a spike.

画家创造了从一把铁锹、一块扭曲的柳条、两把叉、一个煤气阀门、螺丝钉和长钉的集合体。

Plume of warm sunshine, a verdant wicker, dainty clusters of winter jasmine, constitute the most fascinating scenery of spring.

一缕温暖的阳光，一条嫩绿的柳条，一簇娇艳的迎春花，构成了春天最迷人的风景。

The term sticky wicket comes from a situation in which rain has dampened the pitch.

这种用法可能源於早期板球场外场是由牧羊啃食来保持草坪平整，而方球场则需要特殊预备，所以用轻柳条制的围栏保护起来。

There is the little domestic scenery of the well-known apartment;the chairs,with each its separate individuality;the center-table,sustaining a work-basket,a volume or two,and an extinguished lamp;the sofa;the book-case;the picture on the wall--all these details,so completely seen,are so spiritualised by the unusual light,that they seem to lose their actual substance,and become things of intellect,Nothing is too small or too trifling to undergo this change,and acquire dignity thereby,a child's shoe;the doll,seated in her little wicker carriage;the hobby-horse-whatever,in a word,has been used or played with during the day is now invested with a quality of strange ness and remoteness,though still almost as vividly present as ba daylight.

小小的房间里一切都是那么熟悉：一把把椅子，每把都有不同的特征，一张中心桌，上面放着一袋工具包，一两卷册，一盏熄灭的灯，沙发，书柜，强上壁画--所有的这一切尽收眼里。在月光的照射下，他们仿佛有了灵性，失去了实体，蕴含了思想感情。在渺小在微不足道的事物，也能体验这种转变，彰显高贵。孩子穿过的鞋，坐在柳条编成的小马车里的洋娃娃以及玩具马--无论什么在白天时用过或玩过的东西，现在都变得那么遥远而陌生，尽管白天的情景还历历在目。

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。