Think of your home as a drawing from a children's book. Color the lines, but not everything in between them.
这时不禁想起了儿童书上的一幅画,只是涂了线条,而不是涂了所有东西。
One of my contacts in Libya managed to call last night just before all lines were cut. He said, “It's awful, much worse than you think.
在所有通讯被切断前,我在当地的一位联络人昨晚打来电话:“太可怕了,可怕得远远超出您的想像。
Those who did try to return calls found the lines busy (just in case people think I mean deliberately jammed), leading to critical communication lags amid a constantly shifting situation.
有些人想打电话回去的,但线路总是忙音(这让人认为是故意把线给卡了),形势瞬息万变的时刻,通信偏偏拖慢了后腿。
And Milton's asking in these lines not simply about actual erotic entanglements -- although I think that's there, a relation with women -- but it's a question about erotic poetry as well.
在这几句弥尔顿问的不仅是,实际的性的缠绵--尽管我认为确实有这一方面,同女人的关系--他也是在问情诗的问题。
At this point in our reading of Milton, I think these lines have an amazing impact.
读弥尔顿读到这里,这几句有很强的冲击力。
In fact, this is an argument that's been made a number of times, and I think there's a lot of sense to it -the last eight lines of Lycidas are written in a very specific line form the Italian scheme of the ottava rima.
这是一个的确曾被无数次提到的观点,并且我也认为这个观点确实有一定道理,利西达斯的最后8行是以一种非常特殊的体裁写的,即意大利式的八行诗。
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