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Frost as a narrator, in these great poems I'm describing, frames his people's words minimally, with few bits of narrative information.
作为一个叙事者，弗罗斯特在我所说的那些伟大的诗歌中，最低程度地用框架框住人的语言，夹杂着少许叙事的信息。
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where I was looking primarily at old English poetry and English philology
我主要研究古代英国诗歌和英语语言学。
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It's not a question, in other words, of poetry or of a novel being somehow or another strictly a matter of poetic language.
毫无疑问，诗歌或小说是,诗化语言的严格体现。
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The Nativity Ode is continually presenting the speaker with temptations, with incitements to sin that need to be purged from the speaker's poetic voice.
圣诞清晨歌》继续呈现给诗歌发言者一些诱惑，对罪孽的激励需要,诗歌语言发言者来净化。
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It's a kind of picture for me of the linguistic environment, if you will, of modern poetry.
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。
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But, you know, the formalists' own basic distinctions are dualistic, aren't they: the distinction between poetic and practical language, the distinction between plot and story, the distinction between rhythm and meter?
但是，形式主义所认为的区别却是双重标准的，诗歌语言和实用语言的区别，情节和故事的区别，节奏和韵律的区别？
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Notice, in fact, the cleverness of all this discourse in the poem!
注意，事实上，整篇诗歌语言的巧妙！
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But the hymn at the same time is something like the process, the process by which Milton is attempting to purge and cleanse his poetic voice and make it a voice that will actually be equal to the extraordinary ambition that he has for it.
但颂歌同时又像一个过程，在这个过程中弥尔顿尝试净化,他诗歌的语言，把它变的,像他当初想的那样非同寻常,人人都渴望得到。
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There's an obvious sense in which they understand poetic languageto be that in which form is predominant and practical language to be that in which content is predominant, but the Russian formalists see it in a slightly different way.
他们认为,诗歌中形式占主导,实用语言中内容占主导，但是俄国形式主义者们不这么认为。
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Something remarkable is happening to the poet and to his language at the same time.
叶芝的诗歌发生了惊人的变化,他的语言也变了。
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That is to say, it coexists with poetic language.
这就是说，实用语言和诗歌语言并存。
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Content is a function -or let me say practical language, the purpose, in other words, of communicating facts or of communicating at all, which we associate with practical language -is a function of poetic language.
他们认为，内容即是功能,实用语言的目的，就是交流，我们总是把交流和实用语言联系,但其实它也是诗歌语言的功能。
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There's a kind of colloquial clarity and confidence, quite different from the vernacular language in the Hardy poems I was just reading, which are also poems of the countryside.
有一种口语式的清晰和自信，与哈迪诗中的地方语言十分不同,我也在阅读关于乡村的诗歌。
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There's an extraordinary sense of verbal chaos, a kind of word hoard that modern poetry and modernism -generally, a kind of linguistic environment of great complexity from which modern poetry and modernism emerge.
这里关于口头言论的混乱有一种独特的理解，关于现代诗歌和现代性的隐藏理解,总之，是一种关于语言环境的庞大复杂性的理解,现代诗歌和现代性即是由此产生发展。
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