Moore is quoting here in that phrase "business documents and school-books," as she tells us, from Tolstoy, a prose writer.
穆尔在那个短语里引用了这句,“商业文书和教科书“,正如她告诉我们的,引用来自托尔斯泰,俄国小说家。
He was having lunch and next to me was Demi Moore.
他在吃午餐,而且我旁边就是黛咪·摩尔。
The drive to include the world--Moore's omnivorous poems claim for poetry all the subjects that she mentions here and indeed many, many more.
在穆尔涉及广泛的诗篇中蕴藏着包含万物的动机,向她提及的诗歌的所有主题发出了声明,而且实际上比此更甚。
This is the image of a child, also named Marianne Moore, with delicious, prodigious locks.
这是一个名为玛丽安穆尔的小孩的图,她脸上的表情甜美而奇妙。
There's the New York of Crane, of Moore, of Stevens, too.
克兰,穆尔,史蒂文斯去了纽约。
But Moore's hair was not always done up.
然而穆尔的头发并不总是梳得一丝不苟的。
Moore, who revised her poems, just the same way she ended up binding her hair, republished this poem eventually in short form, very short, where three pages were reduced to two sentences.
穆尔,以和梳理她的发型的相同方式,将这首诗进行了改编,最终以极为简短的形式重新发表了这首诗,三张纸的诗被删到只剩下两句。
One of the enduring works written in 1922, the amazing year that The Waste Land and Ulysses appeared and The Criterion started its publication -one of those amazing works is Marianne Moore's poem called Poetry.
她其中一篇流传甚久的诗篇作于1922年,这一年那个《荒原》和《尤利西斯》都发表了,《标准》也开始出版,那年的杰出作品其一就是穆尔的《诗歌》
And yet, it's also important for reading Pound and for reading Eliot and for reading Moore, who sound the way they do partly because they make a point of not writing pentameter, the meter that Frost often, but not always, chooses.
也对于阅读庞德和,艾略特,莫尔的诗歌很重要,他们听起来是做到了一部分,因为它们提议不要写五音部格诗,这种形式弗罗斯特很常用,但不是总用到。
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