风格的诗

Nothing that belongs to Homer seems to have been more commonly mistaken than the just pitch of his style: some of his translators having swelled into fustian in a proud confidence of the sublime; others sunk into flatness in a cold and timorous notion of simplicity.

荷马诗中不偏不倚的风格为后世普遍误解，一些翻译家在翻译他的作品时夸大其词、华而不实，自以为庄重古雅，一些翻译家却谨小慎微，使译作流于呆滞平淡。

During the 19th and 20th centuries there were huge achievements on philosophy literature art and music; a variety of activities were also booming at that time Richard Strauss(1864-1949) born at that era when the social phenomena influenced his music learning process combined the classical and romantic music styles and further developed his unique composing style There were 5 chapters in the dissertation The research motivation purposes methodology and the literature review were included in Chapter One Chapter 2 focused on understanding how the history background and personal attitude influenced Richard Strauss' composing style Through the study of the romantic musicians like Franz Schubert1797-1828 Robert Schumann(1810-1856 Johannes Brahms(1833-1897) Hugo Wolf(1860-1903) Gustav Mahler(1860-1911) and etc I attempted to get a complete picture of musical evolution in Chapter 3 In addition Richard's classic compositions were categorized and organized in order to gain a deep understanding of his music From the study and the analysis of Strauss'"Vier letzte Lieder" the features styles the format and the life of the two poets Hermann Hesse1877-1962）and Joseph von Eichendorff(1788-1857 were explored and the relationship between the music of this composition and the poetry were also discussed Chapter 5 summarized the main arguments to give a short account of Strauss' lifetime rich experiences and thinking in his eighties

横跨十九、二十世纪的理察·史特劳斯（Richard Strauss，1864-1949）正是欧洲人文发展空前灿烂的年代，无论在哲学思想、文学、美术以及音乐方面，都有辉煌的成就。在他音乐学习历程中，结合了古典时期及浪漫时期两种音乐风格，发展出独特的作曲风格。本论文分成五章：第一章绪论包括研究动机、研究目的、研究方法及步骤以及文献探讨；第二章则从对理查史特劳斯生平的详实记载中，了解他创作作品的时代背景和心情；第三章则就浪漫时期艺术歌曲作家舒伯特（Franz Schubert1797-1828）、舒曼（Robert Schumann1810-1856）、布拉姆斯（Johannes Brahms1833-1897）、沃尔夫（Hugo Wolf1860-1903）及马勒（Gustav Mahler1860-1911）等，以诗人、旋律、伴奏型态及曲式和声，稍加整理并说明，以便了解艺术歌曲在此时期之演变过程。并将理查史特劳斯艺术歌曲作品分类统整，藉此对他的艺术歌曲能有更深一步的了解。第四章《四首最后的歌》之音乐探究与分析，则探讨此部作品诗人赫塞（Hermann Hesse 1877 - 1962）及艾辛朵夫（Joseph von Eichendorff﹐1788-1857）的生平和作品特色，以及诗的结构与格式，和此部作品音乐与诗的关系。第五章结语说明史特劳斯一生丰富经历与晚年想法，创作出一组宁静感人又深刻的终曲。

But Wordsworth sought to make poetry out of the most commonplace language, while Auden invented a style of reading poetry which was indistinguishable from ordinary talking - so for all anyone could tell, Moliere's M. Jourdain could have been speaking poetry rather than prose all his life.

但是，华兹华斯试图从最平凡的语言中弄出诗歌来，而奥登发明了一种读诗的风格，与寻常的拉呱难以分辨——因此，对所有那些能讲事情的人来说，莫里哀的茹尔丹先生一辈子说的都是诗，而非散文。

In this period of time, the kaiserdom'control to the scholars was declining, and the poetic heart was releasing. The communication between the different style and different esthetics of poems was increasingly abroad, which desalted the diverge between the Tang and Song pome factions.

在本时期，政权对士子人心的控制力在下降，诗心自由、诗歌自由发展的束缚正在渐见消除，不同诗歌风格、不同美学宗尚的诗人之间的交流日益普遍广泛，从而淡化了以唐、宋诗之争为主的诗坛门户派别之见。

Most of these poets show a style of"Laoshupingdan",which is especially distinct in responsories with Taoqian.

苏轼岭海诗作整体上呈现出一种&老熟平淡&的艺术风格，这在和陶诗中体现得尤为明显。

From the forewords,we can understand his thought,the artistic style and so on.

透过这些诗序，同样能了解陶渊明的思想和艺术风格。

The author thinks : On thought content, Su Shun has a strong sense of calling and suffering consciousness to admire poems, Embody very strong reality show loving care for spirit, promote Song show loving care for spirit and patriotism spiritual the formings of theme s by poem reality; At the artistic style, Su poem plentiful high and steep gas ambition, have distinct era characteristic and individual character makings, Have opened up the road of main air of the poem of Song.

作者认为：思想内容上，苏舜钦诗具有强烈的使命感和忧患意识，体现了很强的现实关怀精神，促进了宋诗现实关怀精神和爱国主义精神主题的形成；艺术风格上，苏诗志气充盈、气体嵯峨，具有鲜明的时代特色和个性气质，开拓了宋诗主气的道路。

German poet who was influenced by Nietzsche and the French symbolists.

乔治，斯忒藩：(8'8-933)德国诗人，受尼采和法国象征主义作家影响，作诗风格新颖，出版了《心灵的岁月》（897年）及其它诗集

In the hands of the composer Chopin, originates from folk music sublimation of the rich ethnic style, highly artistic charm of the "Symphonic Poem."

在作曲家肖邦手中，玛祖卡已由民间音乐升华为富有民族风格、极具艺术魅力的&音诗&。

He used to utilize concise language and plain poetic form: vocabulary in his poems is mainly informal, and most of them belong to monosyllables; on syntax, Frost mainly adopts normal, prosaic lingual orders and strict and orthodox grammars; on the poetic form, he often writes traditional blank verse, sonnet and pays more attention to the phonetic natural rhythm, lines' musical effect and the relations between sound and meaning, which form his unostentatious artistic style.

他的诗歌通常运用简洁凝炼的语言和平淡的诗歌形式：诗歌中出现的大多是口语化的词语，并且大多数词都属于单音节词；在句法方面，大多的句式采用的都是正常的、散文化的语序和严格正统的语法；在诗歌形式上，他主要使用无韵诗和104行诗，他也10分重视语音的自然节奏和诗句的音乐效果以及音与义之间的联系，从而形成质朴无华的艺术风格。

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