n. Wordsworth
然而,美国芝加哥大学的罗宾·华兹华斯(Robin Wordsworth)进一步研究了这种化学过程,他发现即使位于可居住区内,主要由水组成的死亡行星的空气里可能也具备大量氧气。
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蜜莉安.席尔给了她这个权利,更进而确认了从莎弗(Sappho)到华兹华斯(Dorothy Wordsworth)女性书写者绵延不断的奋斗史,把为自己发声的所有权交还给数千年来被迫噤声的无数女性。
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Coleridge, Wordsworth and Arnold. Eliot found Romantic critics many of his own concerns.
在艾略特与浪漫主义评论家中,我讨论了艾略特与济慈、华兹华斯、柯勒律治、阿诺德等思想中的契合处。
参考来源 - T.S.艾略特与浪漫主义·2,447,543篇论文数据,部分数据来源于NoteExpress
奥斯汀和浪漫主义诗人的比较大多集中在华兹华斯和拜伦身上,我们知道她读过他们的作品。
Most comparisons of Austen and the Romantic poets have focused on Wordsworth and Byron, whose works we know she read.
虽然这在当时可能还不明显,但这部作品中充满了浪漫主义逃避现实的精神,这是华兹华斯等人很容易理解的。
While it probably wasn't apparent at the time, much of this work is permeated by a spirit of romantic escapism that the likes of Wordsworth would have readily understood.
但从19世纪某个时间点开始,更多的艺术家开始认为幸福毫无意义,是虚假的,最糟糕的是有人认为它很无趣,就像我们从华兹华斯的《咏水仙》到波德莱尔的《恶之花》中读到的一样。
But somewhere from the 19th century onward, more artists began seeing happiness as meaningless, phony or, worst of all, boring, as we went from Wordsworth's Daffodils to Baudelaire's Flowers of Evil.
Poetry, in Frost, is action, not a matter, as Wordsworth would say, of emotion recollected in tranquility.
就像华兹华斯说的诗歌对于弗罗斯特是动作不是事情,不是冷静时收集的情绪。
I don't think that's quite true, but there's a general feeling that, as Matthew Arnold said, Wordsworth has no style.
虽然我不认为那一定正确,但是普遍认为,就像马修阿诺德说的,华兹华斯没有固定的风格。
Now that ignorance that I'm describing, what Wordsworth called "wise passiveness", ; what Keats described as "negative capability"; the great argument for it is very simple.
我所谈到的这种无知,华兹华斯笔下的,被动的聪悟,济慈描述的,自我否定力;,这背后的道理一点也不复杂。
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