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The decay of Christian belief and practice is not a loss but rather an opportunity for poetry, in Crane.
基督教信仰和践行的衰败,在克莱恩看来，并不是损失，反而是诗歌新生的机会。
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Crane is full of mixed metaphors; you're not supposed to mix your metaphors and he does, all the time.
克莱恩的诗里充满了相互交织的隐喻;,你们无法将这些隐喻结合而谈，但他做到了，一直都是。
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In Crane, the emphasis is not on what is lost in modernity but what is found or what might be.
在克莱恩看来，重点不是现代性丧失了什么,而在于新的发现或可能性。
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And keep in mind when Crane wrote those lines too, it was illegal to buy and sell wine in this country.
记住克莱恩写下这些诗句的时候，禁酒令还在适用，买卖酒都是非法的。
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In fact, a rough grasp on traditional English meter to Stevens, say, or to Crane, or to Auden or Bishop.
事实上，粗略的了解英国节律,比如史蒂文斯，克瑞恩，奥登和主教。
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modernity, in Crane's strange, gorgeous poetry, is all about getting high, about elevation, exultation.
在克莱恩古怪又绝美的诗篇里，现代性就是关于不断的上升，和狂喜之情。
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Instead, what's difficult in Crane is a kind of compression in his writing.
实际上，克莱恩的诗难读的原因,是在于他的作品中过分简要的阐述。
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You can think about Crane's images of the Brooklyn Bridge in this course that abandoned woodpile that some worker has left in the poem called "The Woodpile."
你可以想一想,在我们课程中，克兰诗中的布鲁克林大桥,那被抛弃的木柴堆,在诗歌“柴垛“中一些工人放弃的柴垛“
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New thresholds, new anatomies", ; well, that's not such a hard concept; that's an image of what the modern promises for Crane, and indeed those Gothic arches of the bridge seem to emblematize for him.
新的开端，新的躯体“,这并不是太难的概念;,这就是对于克莱恩而言现实希望的肖像，实际也是，布鲁克林桥上那些哥特式的拱门与他而言的象征。
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There's the New York of Crane, of Moore, of Stevens, too.
克兰，穆尔，史蒂文斯去了纽约。
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Crane shares these general ideas with Wallace Stevens.
克莱恩和史蒂文斯有着共同的这些思想。
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In Crane, in his great poem The Bridge- and here's another photo by Evans, this time of Crane on the rooftop of the apartment building in Brooklyn, 110 Columbia Heights where he lived and where he began the poem, with the bridge in the background.
在克莱恩杰出的诗篇《桥》里-,这里还有埃文斯拍的另一张照片，这次克莱恩站在他位于布鲁克林区，哥伦比亚高地,公寓楼的屋顶上,他就是在此开始创作诗篇，背后是布鲁克林大桥。
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Crane was an alcoholic.
他是一个酒鬼。
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