我们正在创作一部面向国际的90分钟纪录电影《我的诗篇》(THE VERSE OF US),主角是中国工人;角度很特别,是诗歌——对,正是你很久没有读过的、和我们若即若离的诗歌。
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He wants us to see the row, the harvested rows as being like lines of verse.
他想要我们看见这一排排,割过的一排排像诗歌的字迹一样。
Few of us read as Twombly did, steeping himself in Greek, Latin and English verse, and teasing the beholder to follow up enigmatic quotations scrawled in a languid stain on his sighs of paintings.
我们极少有人像托姆·布雷一样阅读,将自己沉浸在希腊文、拉丁文和英文诗歌里,并引逗观看者追随他以懒散的着色在画作中做出高深莫测的引述。
He wants us to see the row, the harvested rows as being like lines of verse.
他想要我们看见这一排排,割过的一排排像诗歌的字迹一样。
I think that Milton intends for us to think of the verse in Paradise Lost as he wanted us to think of books in Areopagitica: the lines of Milton's poetry are not absolutely dead things, but they do contain within them a potency of life.
弥尔顿在《论出版自由中》让我们把书看作是肉体,我想他也想让我们这样看待《失乐园》的诗句:,弥尔顿的诗句不是毫无生气的,它们蕴含着生命的潜质。
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