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Sixth chapter is "writing analysis of mountain of poet far away from home and the local poet". It discusses the writing highly homogeneous reason of poet far away from home and the local poet, and points out the different aesthetic standard from the resident and appreciator.

第六章「流寓诗人与本土诗人山岳书写分析」,讨论流寓诗人与本土诗人山岳书写高度同质性的原因,及源自观赏者与生活者不同的审美观而产生的异质性。

Let every land have joy of its poet; for the poet is the land itself, all its greatness and its sweetness, all that incommunicable heritage for which men live and die.

让每个国度都为它的诗人感到欣慰吧,因为诗人就意味着这国度本身,诗人就是这国度的伟大和甜蜜所在,诗人就是人们生死与共的,难以言表的珍贵遗产。

Delicate Francis DaPavia read, from delicate onionskin, yellow pages, or pink, which he kept flipping carefully with long white fingers, the poems of bis dead chum Altman who'd eaten too much peyote in Chihuahua but read none of his own poems—a charming elegy in itself to the memory of the dead young poet, enough to draw tears from the Cervantes of Chapter Seven, and read them in a delicate Englishy voice that had me crying with inside laughter though I later got to know Francis and liked him.

单薄的弗朗西斯达帕维亚拿着一叠像洋葱皮一样薄的黄色,或是粉红的纸,用细长白皙的手指小心翼翼地不停翻着,一页一页地念着他已故的密友奥尔特曼所写的诗,他前不久才在济华花Chihuahua)因为吸了过量的佩奥特碱过世,但达帕维亚没有念自己的诗——这本身便可以算是一首纪念这位诗人的挽歌,足够从《堂吉诃德》的第七章里挤出眼泪来,但他念诗时所用的那种单薄的纤巧的英国腔调却让我不由得在肚子里大笑起来,不过稍后同他熟悉之后我还是挺喜欢他的。

Wordworth in his preface contended,and most ably contended, for a reformation in our poetic diction,as he has envinced the truth of passion, and the dramatic propriety of those figures and metaphors in the original poets,which,stript of their justifying reasons and converted into mere artifices of connection or ornament, constitute the characteristics falsity in the poetic style of the moderns;and as far as ha has,with equal acuteness and clearness, pointed out the process by which this change was effected and the resemblances between that state into which the reader's mind is thrown by the pleasurable confusion of thought from an unaccustomed train of words and images and that state which is induced by the natural language of impassioned feeling,he undertook a useful task and deserves all praise,both for the attempt and for the execution.

正如当时Mr.Wordworth在序言中写的最能干争论一样,在我们的诗用词改革中,他提升了那些创造诗人的激情,其中s隐喻戏剧性礼他们的辩护理由和转换为连接或装饰只是手腕上,构成了现代人的诗意风格特征是虚假的,并尽量医管局指出同样尖锐和明晰,出过程,这种变化是影响和在其中间的读者的心灵抛出的思想愉悦混乱的文字和图像习惯培养和该国是由慷慨激昂的感觉自然语言诱导国家有相似之处,他进行了有益的工作,值得所有的赞扬,既是为了尝试和执行

The poet in the amount of white hair, I found a deep depression; in Beijing, I also see the last descendant of a lonely man, he was exhausted toward the graves of his trip to limp along, from one side of the late The family can not afford the existence of illusory draw is the joy of Men Tong, looking down at the land and in the cold wind shake in the deep grass Yu uncertain, while paying lip service to call:"There is a travelers will come, he had seen I have a good youth "; he would ask: Your QQ's that for the singers there?

在白发诗人的额间,我发现了深深的苦闷;我在北京时也看见了这最后的一位孤独伟人的后代,他正在精疲力竭地向着自己的坟墓蹒跚行去,一边不断从已故亲人的虚幻无力的存在中吸取令人感到闷痛的欢乐,俯视着冰冷的土地和在狂风中摇驭不定的深草,一边口里呼道:"有个漂泊者将会到来,他曾见过我的好青春";他将会问:你的QQ里的那为歌手在那里?

From the ideology angle of view, combined with the characteristic of the medium dissemination, this paper expounds the "authenticity" of medium dissemination from the following three aspects:(1)"Individual viewpoint does not represent that of the station";(2)"Poets" steeple outdoes garret of parties;(3)Medium function the authenticity of medium dissemination with Chinese characteristic.

该文从意识形态的视角,结合媒介传播的特性,从三个方面对媒介传播的&真实性&进行了深入的讨论。第一,&个人观点不代表本台&;第二,&诗人的尖塔高出党派的阁楼&;第三,媒介功能-中国特色的媒介传播的真实。

In detailed study, this paper will base on extractive reading and classifying a large amount of poetic texts to review the creation of female poets in this period: their writing subjects come down to various aspects of social life, which shows that they have walked out their boudoirs in this revolution and held a wider world; they have primary female consciousness, so their poets display everywhere their pursuit for independence and equality; they also seek for artistic invention and change, and have made a new breakthrough in language, style, etc.

在具体研究中,本文以对大量诗歌文本的细读、分类为基础,考察了五四女诗人的创作:她们的创作题材涉及到社会生活的各个方面,这表明她们在革命中已经走出闺阁,拥有了更为宽广的世界;她们有了初步的女性意识,诗歌中无处不表现出她们对自立、平等的追求;在艺术上,她们也努力求新求变,在语言、诗歌体式等各方面有了新的突破。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称;三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起,称之为挽歌体诗人或者史诗诗人,他们被称为诗人,似乎只是因为遵守格律写作,而非他们作品的模仿本质。

The book includes, for example, Qu Yuan, a poet from Chu at the end of the Warring States Period in China, an outstanding statesman and the first great patriotic poet to be loved and esteemed by the Chinese people, and his long poem Lisao; Li Bai, the great poet of the Tang Dynasty, who has been honored as "The Immortal Poet," and his representative masterpiece extolling wine-drinking, Being Invited to Drink; Du Fu, the great Tang poet of realism in China, and his Expressing Feelings in Five Hundred Words on the Way to Fengxian County from the Capital, which is representative of his five-word poems; Su Shi, a great litterateur of the Song, one of the eight famous writers of the Tang and Song Dynasties, and one of his representative works, Prelude to Water Melody--The Mid-Autumn Festival; Li Qingzhao, the most famous woman poet of the Nansong Dynasty, and her famous ditty, The Plucked Blossom: The Gloom of Separation; and several other prominent poets.

譬如,本书中收录的诗人及其诗词包括:中国战国末期楚国杰出的政治家、深受中国人民热爱和景仰的中国历史上第一位伟大的爱国诗人屈原及其长篇诗作《离骚》;人们奉为&诗仙&的唐朝大诗人李白和他咏酒的代表杰作《将进酒》;中国唐代伟大的现实主义诗人杜甫及其五言诗代表作《自京赴奉先县咏怀五百字》;唐宋八大家之一的宋代大文豪苏轼及其代表作之一的《水调歌头--中秋词》;南宋最著名的女诗人李清照及其小令词作名篇《一剪梅》;还有一些其他著名诗人。

Although generally seen as an era of stagnation, it can more be described as a very complex mix of periods of economic and cultural devlopments (Music and poems of the Troubadours and Trouveres, building of the Romanesque, then gothic cathedrals), and recessions due to pandemic disease and wars.

虽然这个时代被普遍视为停滞不前的时代,但是这应该被形容为一个经济和文化(民谣歌手的音乐和叙事诗人的诗赋,罗马式和后来的格特式的建筑)相互混合的复杂体,后来的衰落是由于全国性的疾病和战争。

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