于是瓦格纳创作出了诗歌《四部曲》，那时他对很多东西都没有把握，也怀疑自己。 他不确定是否该放弃他所有的艺术，以此换取身体健康和平凡正常——作一个自然的孩子。
Thus the poem of the Tetralogy was written with doubts, as he said, as to whether he should abandon art and all belonging to it and become a healthy, normal man—a son of nature.
就像他们的诗歌，每件行李的身体，始终着眼于人类的经验。
Just like their poesy, the physical presence of each piece is always geared towards human experience.
他们习惯于安逸，勤于修养，老于世故，头脑发达，身体退化，喜爱诗歌，喜欢舒适。
They are diligent in cultivating themselves, worldly-wise, highly intelligent but physically retrograded and fond of poetry and comfort.
西方女性主义“身体写作”理论是在弗洛伊德、荣格心理学理论及德里达学说影响下，在西方盛行自白派诗歌创作的文学氛围中产生的。
Under the influence of the theories of Flued, Roge and Dreda, western feminist theory of "body writing" is brought forth in the fashion of the poetic group of confession.
他地诗歌是引见本身，简单地歌，出格是教徒庆贺本身，爆炸地生活乐趣在一小我类地身体中。
His poems were about himself, plain and simple, especially the ecstatic Song of Myself, which celebrated the explosive joy of living inside a human body.
文章探讨了新时期诗歌创作中身体写作的接受问题，认为身体写作的出现对于整个文学界都是具有存在意义的。
The article discusses the new period of writing poetry in the body to accept the problem, that the physical appearance of writing is a whole literature has a meaning for existence.
不论是唱凯旋的诗歌或是悔罪的诗歌，我们的面容和身体都应表露出诗歌的内容来。
If we sing triumphantly, our faces and bodies should show that. If we sing in penitence, our faces and bodies should show that.
不论是唱凯旋的诗歌或是悔罪的诗歌，我们的面容和身体都应表露出诗歌的内容来。
If we sing triumphantly, our faces and bodies should show that. If we sing in penitence, our faces and bodies should show that.
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