将注意力放在艺术作品本身或者说诗本身上,很显然,如果我们想考虑它所表达的意思的话,我们必须对三种证据作出让步。
If we're focused on the work of art in and of itself, on the poem, we obviously in thinking about what it means need to come to terms with three kinds of evidence.
我们现在读诗时已经懂得了这一点,对我们而言所有的诗都是,根据十九世纪的勃朗宁及其他人的模式,而创作出的戏剧性独白。
Now this is something that we just take for granted when we read poems. All poems for us are to some degree dramatic monologues on the model of Browning and others in the nineteenth century.
之后分古代、近现代和新时期三阶段概述边塞诗研究史,对不同时期的研究成就与贡献、不足与缺憾作出简要的评介。
After that, a brief commentary on the researching history of frontier poems was contributed by three stages which included ancient times, modem times and new times.
When Milton opens Lycidas with that phrase, "Yet once more," one of the things that he's telling the reader is that ; yet once more he'll be making the same argument for unreadiness; the same argument for nervous anticipation that he'd made a number of times before.
当弥尔顿用那句“然而再一次的“开始的篇章时“,他要告诉读者的是,他会再一次的对诗中的迟疑作出相同的论述;,和他之前无数次作出的,关于不安的预知的,一成不变的论述。
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