在某种程度上,战争的背景也投影于这首诗,并一直存在于诗中。
There's a way in which the context of the war, too, shadows the poem and remains present in it.
有成长必有消亡,十四行诗中的这些,都是生命中的事实,是诗的理想化和浪漫主义所不能逾越的。
If there is development, there is also decline and decay, and these, as the sonnet form codes it, are simple facts of life that poetic idealism, that Romanticism, cannot override.
哈迪的这首诗还有其他诗中,有一种,绝妙的不自然的古英语。
In Hardy here, and in other poems, there's this sort of wonderfully, self-consciously archaic language.
Its difficulty lies in Milton's tendency in this poem to seek out what Dr. Johnson wonderfully calls remote allusions.
诗的难点在于弥尔顿想要在诗中极力追求,被约翰逊绝妙地称为不切实际的幻想的倾向。
In such a world it seems writing poems is a kind of--well, even surviving is a kind of guilty privilege.
在这样的世界中,写诗看起来是一种,甚至幸存也是一种罪恶的特权。
In fact nowhere else do we see Milton literally bursting out at the seams as he seems to in this poem.
其实弥尔顿在别处也没有,像在这首诗中一样离经叛道,完全爆发。
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