在巴基斯坦，人们用“比山高、比海深、比蜜甜”这样诗歌般的语言来赞颂中巴友谊。
In Pakistan, our relationship is poetically hailed as a friendship "higher than mountains, deeper than oceans and sweeter than honey."
他那具有冒险精神的诗歌是这样的：“抛开了中途的旅程，要一飞冲天越过爱奥尼神山，同时追求的是散文或韵律中未曾尝试过的事物。”
His adventurous song is one that "with no middle flight intends to soar above the Aonian Mount, while it pursues things unattempted yet in Prose or Rhyme."
他相信诗歌的本质在于公众，这样的不羁只是这种信念的部分而已。
This discordance is part of his wider belief in the public nature of poetry.
例如，如果表示象源代码或诗歌这样空格确实很重要的内容，则坚持使用元素内容。
For instance, if you are representing something like source code or poetry, where exact spacing matters, stick to element contents.
对我来说，如果你愿意这样想的话，这就是现代诗歌语言环境的一幅图画。
It's a kind of picture for me of the linguistic environment, if you will, of modern poetry.
诗歌是这样一个地方，这里没有真理。
诗歌是这样一个地方，这里没有任何美好的东西。
像西尔维亚·普拉斯这样的诗人可能英年早逝，但这并不等于我们应该在诗歌欣赏课上警告学生：诗歌威胁身心健康。
"The fact that a Sylvia Plath may die young does not necessarily mean an Introduction to Poetry class should carry a warning that poems may be hazardous to one's health, " he said.
他说的就是这些，不只是语言，虽然人可以说很多这样的话，经常在他的诗歌中这样。
That's all but it's no mere figure of speech though one can make figures enough about it in his poetry very often.
诗歌应当是非凡而不唐突的，它是这样一种东西：它进入人的心灵，不是以其本身，而是以其主题使之震动或惊奇。
Poetry should be great and unobtrusive, a thing which enters into one's soul, and does not startle it or amaze it with itself, but with its subject.
这样的名声不仅为外国人知晓，也在俄国人中间流传，如一首写于1825年的诗歌所说：“害怕严冬无边的冰雪，无人来访，这悲惨的地方，这流放者的大监狱。”
As an 1825 poem has it: "Fearing the winters/ Endless and icy/ Nobody will visit/ This wretched country/ This vast prison house for exiles."
与此同时，在诸如诗歌艺术、精神分析这样比较偏远的学科，学者们将不得不重新考虑其对海德格尔思想的使用。
At the same time scholars in disciplines as far flung as poetry and psychoanalysis would be obliged to reconsider their use of Heidegger's ideas.
这样来界定创作诗歌的过程，是一种非常不好的方式。
It's an extraordinarily dark way to characterize the composition and the process of the poem.
尽管这本书仍以17世纪美国诗歌的萌芽开始讲起，但更关注一些近代的诗歌和那些作者尚存的诗歌上，读者读到四分之一的时候就沉醉其中，而这样就把读者带到了20世纪的诗歌世界之中。
The book still begins with American poetry in its 17th-century infancy, but pays much more attention to living and recent poets: a quarter way through, readers are well into the 20th century.
世上再没有什么地方，容得下你我这样的火焰。确定这不是意识流的诗歌？ ！
我的诗歌，也这样地和云彩与森林的音乐，在世界的心中平分席次。
Thus my songs share their seats in the heart of the world with the music of the clouds and forests.
诗歌是这样一个地方，这里既不安抚死亡，也不解决饥饿，更不鼓励梦想。
当你解释诗歌的时候，它就变得很平庸。用经验去感觉诗歌要比任何的解释都好，这样才能发现足够自然地去理解它。
When you explain poetry, it becomes banal. Better than any explanation is the experience of feelings that poetry can reveal to a nature open enough to understand it.
诗歌常常充满意象，《一朵红红的玫瑰》也是这样的。
Poetry is usually full of imagery, and 'a Red, Red Rose 'is no different.
这些经文实际上指出了这样一个事实就是有不同风格的诗歌来描述佛陀的生活和事迹。
These verses actually point to the fact that there were different ballads of popular character composed on the life and deeds of the Buddha.
你很可能不会尝试用这样的速度去读诗歌，或者一目十行地欣赏小说中你愿意仔细玩味的片段。
The chances are you will never attempt that speed with poetry or want to race through some passages in fiction over which you wish to linger.
用经验去感觉诗歌要比任何的解释都好，这样才能发现足够自然地去理解它。
Better than any explanation is the experience of feelings that poetry can reveal to a nature open enough to understand it.
比起荷马，汤婷婷说她与惠特曼更同流我把他的词语嵌入了我的，这样就能够与他一起吟唱，她说是父亲的诗歌影响了自己。
Rather than Homer, Kingston says she was channelling Walt Whitman - "I embed his words into mine so I can sing along with him" - and was influenced by her own father's poems.
这样的美好使我理解了为什么有人要使自己的生活沉浸在（或者说躲在）音乐中，美术中，文学中，诗歌中，沉浸在美当中。
This makes me a better understanding of why some people immerse (or hide) their lives in music, art, literature, poetry, or the beauty.
这样，萧纲诗歌中存在的致命问题，根本不是一个道德问题，而是一个诗学问题。
Therefore, the fatal problem existing in Xiao Gang's poems is absolutely not of morality, but poetics.
当然这样结论与诗歌的意义是完全相反的在旧约。
Such conclusions are of course completely contrary to the significance of poetry in the Old Testament.
叶芝的晚期诗歌从珍妮的角度讲话，经常是这样，但很有力，我们也确实发现他-，在不同的观点间举棋不定。
Yeats's late poems speak from the point of view of Jane, more often than not, and yet powerfully, - we do see him vacillating from different — between different points of view.
这样的人情味作为诗人主观之意，便通过诗歌中匠心独运的意象营造显露无疑。
Such feelings as subjective will of the poet are manifested to the full through creation of original conceptions.
这样的人情味作为诗人主观之意，便通过诗歌中匠心独运的意象营造显露无疑。
Such feelings as subjective will of the poet are manifested to the full through creation of original conceptions.
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