我把你又带回家了,我就要留住你。
你怎么可能一边完全客观的作画,一边又带有感情的去使之变形呢?
How can you portray something exactly as it is and at the same time distort it with emotions?
因此你会看到一个音乐互相影响而形成的环状效应——意大利人发明了歌剧,法国人修改了它,英国人吸收了它,意大利人又带回本国。
So that you have this circle of musical influences—the Italians invented opera, the French adapted it, the English adopted it, the Italians took it back.
And, again, that seems to point back to Thrasymachus' point of view in the first book of the Republic.
这又把我们带回到,第一本书《理想国》中,特拉西马库斯的观点上。
Severe, unsentimental, dry, so much so as to be maybe even a little bit funny.
严肃,不带感情色彩,晦涩难懂,如此这般以至于又多了一份滑稽有趣。
We can only imagine the fallen angels with a kind of dim uncertainty just as the belated peasant sees, or perhaps he only dreams he sees, the dance of fairy elves by a forest side.
我们只能想象出堕落的天使们带着暗淡的变幻的光,正如他见到的,又或者是他梦见的,林边跳舞的精灵们。
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