And a few lines down Mammon tells us that we will "work ease out of pain / through labour and endurance."
在下面几行贪神告诉我们,我们将会“缓解那痛楚,经由劳动和忍耐“
We might be asked, for example, to determine what all of the different elements could be that would produce a spectrum that gave us 5 different lines.
那么我们会问,比如,有哪些不同的元素可以产生,一个有五条分立谱线的光谱?
So that's where it's easy to get lost, but let's see if these lines in the picture help us stay on track.
这就是容易迷惑的地方,下面看看,这幅图中的这些线能否帮助我们追踪。
I think now we can see why these lines about the autumnal leavesare so difficult for us to incorporate into a moral reading or a theological reading of the poem.
我们现在可以看到为什么,这些关于秋天的落叶的句子如此难以,与对这首诗的道德或者神学的理解相结合。
He wants us to see the row, the harvested rows as being like lines of verse.
他想要我们看见这一排排,割过的一排排像诗歌的字迹一样。
I think we're fully entitled to ask why: why Milton waits for the last eight lines of his poem to tell us that there's a difference, that there's a difference between the poet and the speaker.
我们完全有权利问为什么:,为什么弥尔顿要等到诗的最后8行,才告诉我们这里的区别,这里诗人和演说人之间的区别。
In "Mowing," the poem's lines are like sweeps of the scythe as it lays down rows of swale. Frost wants us to think about that.
在“割草“中字里行间就像是镰刀扫过,当它放倒一排排的麦子时,弗罗斯特想要我们仔细思考。
I think that Milton intends for us to think of the verse in Paradise Lost as he wanted us to think of books in Areopagitica: the lines of Milton's poetry are not absolutely dead things, but they do contain within them a potency of life.
弥尔顿在《论出版自由中》让我们把书看作是肉体,我想他也想让我们这样看待《失乐园》的诗句:,弥尔顿的诗句不是毫无生气的,它们蕴含着生命的潜质。
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