罗利

Mary's got word that he was in the power of the Abbess. At that Hugo wrote to the woman, who, though he did not know it, was sister to Robin's mother, else Robin had not reckoned himself safe there, since Kirkless was under the government of Abbot Hugo of St. Mary's.

当他躺在那里，圣玛利亚寺的雨果修道院院长得到消息，他在女修道院院长的掌握中，因此雨果写信给这位女人，虽然他不知道她是罗宾母亲的姊妹，否则罗宾不会认为自己在那里安全，因为科克里斯在圣玛利亚寺雨果修道院院长的统辖下。

Louis of Savoy, the new owner, stored it in his capital at Chambery in the newly built Saint-Chapelle, which Pope Paul II shortly thereafter raised to the dignity of a collegiate church. In 1464, the duke agreed to pay an annual fee to the Lirey canons in exchange for their dropping claims of ownership of the cloth. Beginning in 1471, the shroud was moved between many cities of Europe, being housed briefly in Vercelli, Turin, Ivrea, Susa, Chambery, Avigliano, Rivoli and Pinerolo.

新的持有者，萨维的路易，把它贮藏在新建立的圣人礼拜堂的房间里，后来教宗保罗二世很快地为教堂主持祝圣仪式。1464年，这位公爵同意付给教庭续展费，为了交换他们对裹尸布所有权的落空声称。1471年起，裹尸布在欧洲很多大城市之间来回迁移，暂时收藏在维切利，都灵，日内瓦，苏萨，，吉伯利，Avigliano，Rivoli和皮尼罗。

The tragedies of this period are Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Troilus and Cressida, and Coriolanus.

第三阶段诞生了莎翁最伟大的悲剧和他自称的黑色喜剧，悲剧有：《哈姆雷特》，《奥赛罗》，《李尔王》《麦克白》《安东尼与克利奥佩特拉》《特罗伊勒斯与克利西达》及《克里奥拉那斯》。

Shakespeare's third period includes his greatest tragedies and his so-called dark comedies. The tragedies of this period are Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Troilus and Cressida, and Coriolanus.

第三阶段诞生了莎翁最伟大的悲剧和他自称的黑色喜剧，悲剧有：《哈姆雷特》，《奥赛罗》，《李尔王》《麦克白》《安东尼与克利奥佩特拉》《特罗伊勒斯与克利西达》及《克里奥拉那斯》。

Shakespeares third period includes his greatest tragedies and his so-called dark comedies. The tragedies of this period are Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Troilus and Cressida, and Coriolanus.

第三阶段诞生了莎翁最伟大的悲剧和他自称的黑色喜剧，悲剧有：《哈姆雷特》，《奥赛罗》，《李尔王》《麦克白》《安东尼与克利奥佩特拉》《特罗伊勒斯与克利西达》及《克里奥拉那斯》。

C6 o;{4 Z2 t% ^5 Awww.zikao5.com 19. Shakespeare's third period includes his greatest tragedies and his so-called dark comedies. The tragedies of this period are Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Troilus and Cressida, and Coriolanus.

第三阶段诞生了莎翁最伟大的悲剧和他自称的黑色喜剧，悲剧有：《哈姆雷特》，《奥赛罗》，《李尔王》《麦克白》《安东尼与克利奥佩特拉》《特罗伊勒斯与克利西达》及《克里奥拉那斯》。

Eyes .following the sound of the cyclopes' hammer,he went to hephaestus,who sent a guide to travel with him to the east,where the sun rose.exposing his eyeballs to the rays of the sun,he was restored to his eyesight.he became aconstant companion of artemis and followed the goddess in the chase with his dog sirius.apollo did not approve of this love,however.one day he dared his sister to shoot at a dark spot moving in the sea.little did she suspect that she was aiming herarrow at orion,for the dark spot turned out to be the head of orion swimming in the ocean.artemis was extremely sad.as she could not pull him back from the grasp of

随着"独眼巨人"大锤的敲响，他来到火神赫斐斯托斯跟前。火神派向导带他去太阳升起的东方。将眼球暴露于阳光后，他就恢复了视力，成了女神阿尔特弥斯永久的伴侣，并带着他的猎狗天狼跟随女神打猎。阿波罗并不赞成他们之间这种恋情。一天，阿波罗怂恿阿尔特弥斯向海中一移动的黑点射箭。她根本没想到自己是将箭瞄准奥利安。当看清黑点竟是在游泳的恋人奥利安的头时，阿尔特弥斯悲痛万分。

Where is he?" the king asked. Ziba answered,"He is at the house of Makir son of Ammiel in Lo Debar. So King David had him brought from Lo Debar, from the house of Makir son of Ammiel.

王说，他在哪里，洗巴对王说，他在罗底巴亚米利的儿子玛吉家堙C於是大卫王打发人去，从罗底巴亚米利的儿子玛吉家堨l了他来。

In all these adventures and achievements Chandragupta was assisted and advised by his minister , Kautilya, a shrewd brahman often called "the Machiavelli of India"

在所有的冒险活动和成就中，旃陀罗笈多一直得到了大臣考提利亚的帮助和指点。考提利亚是一个非常睿智的婆罗门，他经常被称为&印度的马基雅弗利&。

A few days later Sri Ramakrishna was blessed through Ramlala with a vision of Ramachandra, whereby he realized that the Rama of the Ramayana, the son of Dasaratha, pervades the whole universe as Spirit and Consciousness; that He is its Creator, Sustainer, and Destroyer; that, in still another aspect, He is the transcendental Brahman, without form, attribute, or name.

几天之后，罗摩拉拉通过罗摩占陀罗的异像向室利罗摩克里希纳祝福，罗摩克里希纳因此而意识到了《罗摩衍那》的罗摩，考莎丽雅的儿子，作为精神和意识而遍及整个宇宙；他是宇宙的创造者，维系者和毁灭者；他的另一面是超出人类经验的梵天，没有形态，属性和名字。

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。