...女性既咬其脚后跟,此后女性便起头怕蛇,而男许多人则见蛇就打其七寸不外,厥后有个大文豪弥尔顿写了篇《掉乐土(the lost paradise)》,专门为这条蛇昭雪呢只惋惜夏娃没想到把另外一棵树上的苹果偷了来吃,否则也就不会每个世代城市出一些妄想家费劲心思追求永生不...
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Return to the Lost Paradise 重返失乐园 ; 重回失乐园
Galapagos - The Lost Paradise 失乐园
Pursuing the Lost Paradise 追寻迷失的乐园
The Lost Paradise has abstracted the attention of many readers , but the ordinary people just regard it as a story of extramarital love.
日本作家渡边淳一的《失乐园》曾引起许多读者的关注,但一般都仅仅把它看作是叙述一个“婚外情”的故事。
I think the Lost Paradise is also a symbol which reveal the incompleteness of modern humanity and criticize the modern society and humanity. It is a summon and pray for completeness of humanity.
笔者认为《失乐园》还可以看作是一个象征符号,它揭示了现代人性的残缺,是对现代社会和人性的批判,同时又是对完满人性的祈祷和召唤。
Hartman describes Milton's tendency in Paradise Lost, and he takes this term from Coleridge: the tendency to stand ab extra, to stand from outside.
哈特曼描述了弥尔顿在《失乐园》中的倾向,他借用了柯勒律治的这个习语:由外而内俯视自身的趋势。
This is a little paradise, a paradise on the verge of being lost as the shades lose their leaves.
这是一个微小的天堂,一个随着叶子的凋落,即将失去的天堂。
It's in relation to all of these forms of lateness that we can best understand the opening invocation of Paradise Lost.
带着所有这些“晚“,我们才能很好的理解《失乐园》的开头。
Galileo is the only contemporary personage, the only seventeenth-century figure, even so much as mentioned in Paradise Lost.
伽利略是唯一的一个当代人物,唯一的一个17世纪的人物,甚至在里也提到了这点。
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