Sometimes we refer to them as "great books"-- in other words, the sort of text that speaks, or we feel as though it's speaking, to all places and times.
有时我们把这些称作为“伟大的书“,也就是说,在各个时空都有影响力的那些作品。
So, could be, those are his reasons that he's not crazy because he gets all of it out.
所以,或许那些可以证明他不是个疯子,因为他已抽身于作品之外了。
Then later on, if I wish, I can establish a canon by saying certain texts have certain significance and those are the texts that I care about and want to read, but I can only do that if I can distinguish between meaning and significance.
而后来,如果我希望,我可以通过说什么来树立一个标准,比如说,一些作品有固定意义,因此我只关心只想读那些作品,但是我只有,能够分清意思和意义之后,才能那样做。
The patriarchal stories are clearly not the work of the Deuteronomist, and these stories must have had very longstanding traditional authority if they were adopted without serious modification by the Deuteronomist redactor some modification, but not serious.
那些宗法故事显然不是预言师的作品,这些故事必然经过了传统权威的检验,如果他们是未经更改直接引用的话,由那些预言编写者,这里有一些改动,但不是太多。
So, therefore, we must take up, he suggests, an ascetic path,engaging only, as he says, in "those works" that are fit "for such men as come proud, open-eyed" and laughing to the tomb.
因此我们必须采取,如他所说,一条美学的道路,这些作品只适合于,对那些骄傲的、睁着眼笑嘻嘻“,走向坟墓的人。
so, like Dickens and Hardy and those kind of classic books. They're really nice.
那么,比如狄更斯和哈代的作品,还有那些经典读物。他们都非常不错。
Whoever was writing the poems of Homer, whichever poets were contributing to that over the ages after the Mycenaean Period, they hadn't seen those Mycenaean sites.
不管是谁写的《荷马史诗》,无论那些诗人在迈锡尼文明之后,为该作品作出了多大贡献,他们都没见过迈锡尼文明遗址
J'ai toujours admire la supreme l'oeuvre ormonde du sublime Dublinois.
我总是羡慕来自神圣都柏林的奥蒙德那些高尚的作品。
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