哪里热闹,哪里就没有诗歌。
再也没有孩子气的信仰,没有诗歌,没有浪漫,没有快乐,生活变得无可容忍。
There would be no childlike faith then, no poetry, no romance to make tolerable this existence. We should have no enjoyment, except in sense and sight.
我的母语是傈僳语。在我的母语故乡,没有诗歌理论,没有诗歌批评,没有诗歌稿费,没有诗人责任,甚至没有诗歌文本。
My mother tongue is the Lisu language, in my village, there is no poetry theory, not poetry criticism, no remuneration for poetry and no poets' responsibility, there is even no poetry text.
Things are not "made up" in Frost, "not made up" in the sense of imagined, called up out of thin air, like fairies and elves.
弗罗斯特的诗歌里没有编造,没有想象,像仙女和精灵那样的凭空想象。
I think the answer may involve the possibility that at the beginning of the poem, there simply wasn't a clear distinction between the poet and the speaker.
答案可能包括了,在诗歌的开头,根本就没有一个清晰的区分的可能性。
And he does the same thing, in fact, to those around him, famously to his lover, Maude Gonne, who becomes Helen of Troy in "No Second Troy"and in other poems.
他也这样表现他周围的人,著名的就要数他的爱人,昴德·冈昂,她在没有第二个特洛伊,和其他诗歌中化身为海伦。
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