诗意的

The GongBuCi have to describe according to the poem of DuFu behind with the structure and form of Ming Dynasty" grass shed view area" of recovering the reconstruction, re-appearing the pastoral appearance that poet so reside, constructing the thick thick poetry atmosphere;Have to set up in 1999 in flower arrangement park of" DuFu poem calligraphy wood-carved", display more than 100 DuFu's poem calligraphy wood-carved work, choose from the building hides several thousand in the pasts a hand book poem genuine calligraphy, engrave with the wood but, have to appreciate the value rather, its verse, calligraphy, have with the material, craft" four unique" it call;" big the hall" inside that locate the important male in a the third in building in thou in peaceful temple in original treasure , display the up to the present the large colored enamel of the local and biggest area(64 square meter) insets to whet to paint the mural with 12 in the pasts anthologist the person carves, image a development for displaying Du Fu usually with Chinese classic verse history;Building inside of basic display the 《 poem saint a thousand years 》, have the honor of acquiring the fifth" whole country ten big display the exhibition exquisite article" the best creativity prize.

工部祠后有依据杜诗描写和明代格局恢复重建的"茅屋景区"，重现了诗人故居的田园风貌，营造出浓厚的诗意氛围；在盆景园内有1999年建成的"杜诗书法木刻廊"，陈列着百余件杜诗书法木刻作品，是从馆藏数千件历代名人手书杜诗真迹中挑选出，用楠木镌刻而成，颇具观赏价值，其诗歌、书法、用材、工艺有"四绝"之称；位于原梵安寺古建筑群第三重大雄宝殿的"大雅堂"内，陈列着迄今为止国内最大面积（64平方米）的大型彩釉镶嵌磨漆壁画和12尊历代著名诗人雕塑，形象地展示了杜甫生平和中国古典诗歌的发展史；馆内的基本陈列《诗圣著千秋》，荣获了第五届"全国十大陈列展览精品"最佳创意奖。

In autumn, always bring people pleased celebrate, bring poetry, bring fancy, bring to imagine, bring a hope more, but this year's autumn, not- same sort, more and not and usually.in this fine season, arrive to°from chiang-nan water country a northland backland, from the gan river strand to pull sa lin ka, hot soils of republic each square kilometer soak through exultant and happiness, flow to drip sweet with sing.1,300,000,000 china childrens with heroic the singing arousing more put to fly aureate ideal and imagining of rose and put to fly hard go such as the conviction of huge rock and the poem lauding to the great motherland.

秋天，总给人们带来喜庆，带来诗意，带来遐想，带来憧憬，更带来希望，而今年的秋天，非同一般，更不寻常。在这美好的季节，从江南水乡到北国边陲，从赣江只滨到拉萨林卡，共和国每一平方公里的热土都浸透着欢欣与幸福，流淌着甜蜜与歌唱。十三亿华夏儿女以豪迈激越的歌声放飞金色的理想与玫瑰色的憧憬，放飞坚如磐石的信念与对伟大祖国赞美的诗行。

Opening offering, Summerfield Avenue, is dreamily pretty, if a little slight, but the album instantly moves up a gear with The Cottager's Reply; a passionate eulogy to the importance of family roots which epitomises Wood's gift for marrying delicate acoustic textures to poetic lyrics of real depth.

开场歌曲Summerfield Avenue，相当的轻柔悦耳，或许变化很轻微，但是接下来的The Cottager's Reply马上加快了专辑旋律的速度；这是一首热情洋溢的对家庭根基的赞歌，而家庭根基则象征着Wood的音乐天赋与精美的声音质地和有深度的诗意歌词的完美结合。

The first chapter focuses on the prototype image of 'Qingyi' (the Chang-er flies to the moon) and points out: The moon refers to a poetical while unreachable spiritual home. Chang-er implies an ivory-towered and irreconcilable soul driven by the clinging inner attitude. Qingyi symbolizes a sacred life ceremony that must be experienced in pursuing the ideal and the leading character Xiao Yanqiu fulfills her deep-rooted Chang-er complex through the Qingyi ceremony.

第一章谈作品的原型意象，提出：月亮在文本中指称一个诗意永恒而又难以企及的精神家园；嫦娥在文本中意味着一个被一份执著的内在态度所驱使并始终表现出脱离尘寰倾向的"不甘"的灵魂；青衣则象征着在追逐理想过程中所必须经验的一种神圣的生命仪式，剧中女主人公筱燕秋正是通过青衣仪式来实现自己根深蒂固的"嫦娥"心结。

The porch doors burst open with a fierce wind, and she arches her basically naked body into him in the most perfectly poetic form imaginable, the curves of her bare ass pressing into the front of his pants… He spins her around, lifts a leg to his waist and we see two short scenes of sex on the stairs and sex in a chair.

突然，一阵狂风把门吹开了，瑞贝卡·德·莫妮将她几乎赤裸的身体以最完美的诗意想象的方式缩进了克鲁斯的怀里，她赤裸的臀部也贴近了他的牛仔裤。克鲁斯将她旋转了一圈，将她的腿放在他的腰间，如此我们就目睹了两次短暂的性爱场景，一次在楼梯上，一次在椅子上。

Some work directly connects to traditional Chinese art. The relationship between the portrayer of the object and the objected being portrayed is fundamentally altered. Therefore, multiple visual layers emerge. By creating a self-content painting world, this type of work reinterprets the literati paintings in the Ming and Qing Dynasties. While addressing ontological issues for painting, the work implies the elegant literati taste the artist is born with. Some works emphasize the interaction between space and traditional art materials, mechanically carrying out a repetition of a traditional scene.

参加"诗意现实：对江南的再解读"展览的近三十位艺术家的作品，我以为，也许大体可以把它们分为下面几种类型：有的直接与中国的艺术精神相续，在媒介和再现对象之间进行图像"转译"，并形成多重的视觉套层，从而建立起一个自足的绘画世界，来实现对明清文人画的重新审看和临写，在对绘画的本体问题进行实验的同时，传达自己与身俱来的优雅的文人意趣。

I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic , sentiment with which the mind usually receives even the sternest natural images of the desolate or terrible, I looked upon the scene before me---upon the mere house, and the simple landscape features of the domain, upon the bleak walls, upon the vacant eye-like windows, upon a few randy sedges, and upon a few white trunks of decayed trees---with an utter depression of soul which I can compare to no earthly sensation more properly than to the afterdream of the reveler upon opium; the bitter lapse into everyday life ,the hideous dropping off of the veil.

我说难以忍受，那是因为即使人们看到最最严峻、荒凉或可怕的自然景象时，头脑里通常还有某种由景象的富有诗意所产生的几分快感，但此情此景却丝毫引不起此种感情。我看着眼前的情景――宅第本身，房子周围单调的景象，光秃秃的墙壁，空空的、眼睛窟窿似的窗户，几丛杂乱的菅茅，几株灰白的枯树――心情十分沮丧，同人世间任何心情相比，把它比作过足鸦片烟瘾的人，从梦幻中醒来，回到现实生活里的痛苦心情，最为适当了。

I say insufferable; for the feeling was unrelieved by any of that half pleasurable, because poetic,sent iment with which the mind usually receives even the sternest natural images of t he desolate or terrible, I looked upon the scene before me — upon the mere house, and the simple landscape features of the domain, upon the bleak walls, upon t he vacant eye like windows, upon a few randy sedges, and upon a few white trunk s of decayed trees with an utter depression of soul which I can compare to no e arthly sensation more properly than to the afterdream of the reveler upon opium; the bitter lapse into everyday life,the hideous dropping off of the veil.

我说难以忍受，是因为往常即使人们看到荒山野岭或其他令人生畏的自然景象时，也可能产生一些诗意，心中或许有几分快感，但此时此地的情景在我心中却丝毫引不起此种感情。我看着眼前的这番景象——宅第本身、房子周围单调的景象、光秃秃的墙壁、空空的圆窗、几丛杂乱的茅草、几株灰白的枯树——心情十分沮丧，这种沮丧，无法拿人世间的任何心情来比拟，除非把它比作过足鸦片烟瘾的人从梦幻中回到现实生活里的那种痛苦心情。我只觉心中一凉，往下一沉，异常难受。

With this embodiment, he merged the lively snap shots with the portrait shooting, combined the true reality with non-realistic poetry, and inserted the subjective intentions directly into the objective real scene.

以此&化身&为纽带，他将生动的抓拍瞬间与修饰过的摆拍结合在一起；将现实的真切与非现实的诗意结合在一起；将主观意图的元素，直接安插在客观的现实景象中。

The comedy of this period include the poetic creation of "Midsummer Night's Dream"(1596), promote good punishing evil,"The Merchant of Venice"(1597), reflecting the customs and life of the people's "The Merry Wives of Windsor"(1598), to promote chastity Love's "Much Ado About Nothing"(1599) and the ode to love another human study,"Twelfth Night"(1600), etc.

这一时期创作的喜剧包括诗意盎然的《仲夏夜之梦》（1596）、扬善惩恶的《威尼斯商人》（1597）、反映市民生活风俗的《温莎的风流娘儿们》（1598）、宣扬贞洁爱情的《无事生非》（1599）和歌颂爱情又探讨人性的《第十二夜》（1600）等10部。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失