诗人

The thesis concentrates on the research on the autobiographic quality of the confessional poetry of Sylvia Plath, who was an important poet of the important poetry school, the confessional poetry school, in the 20~ century in America.

本论文的论题集中于对美国20世纪重要的诗歌流派自白派中的重要诗人希尔维亚·普拉斯自白诗的自传性研究。研究的重点是努力阐明诗人的"自我"，诗人的生活与诗歌文本三者之间的关系。

After discerning, making statistics and comparing the condition of the literary men inditing which was recorded by the historical bibliographic literary such as Preceding Qin Han Wei Jin South and North Dynasty poems, WeiShu and LuoYang Temple Recording, etc, I believe that compared with the actual condition of BeiWei poets and poems, the quantity of existent BeiWei poets and poems only shares the few specific weight. And these poems have not the sufficient elucidation on the quality. The dubiety is also existed on the poets' achievements.

在分别对《先秦汉魏晋南北朝诗》之"北魏卷"、"北齐卷"、"北周卷"和《魏书》、《洛阳伽蓝记》等历史文献所记载的北魏文人赋诗情形进行甄别、统计、比较之后，论文认为：现存北魏诗人及其诗歌与北魏实际的诗人诗作相比，在数量上只占很少的比重，在诗歌的质量上不具有充分的说明性，在诗人的成就上也存在可疑性。

Perhaps if people knew the kinds of poems being talked about in the literary circle by poets such as Ted Kooser, Louise Gluck, or many of the other poets (yes, there are poets who are still living, thank you), then maybe the people would be a little more apt to purchase a book or two of poetry.

或许，如果有人知道该种诗正在谈论在文学圈，由诗人，如泰德kooser ，路易丝格鲁克，或许多其他诗人（是的，有一些诗人谁仍然生活，谢谢你），那么也许人将是一个小更容易购买一本书或二诗。

How little that which thou denisest me is,Me it sucked first, and now sucks thee,And in this flea our two bloods mingled be;A sin, or shame, or loss of maidenhead,Yet this enjoys before it woo,And pampered swells with one blood made of two,And this, alas, is more than we would do.Oh stay, three lives in one flea spare,Where we almost, nay more than married are.This flea is you and I, and thisOur marriage bed and marriage temple is;Though parents grudge, and you, we are met,Andcloistered in these living walls of jet.Though use make you apt to kill me,Let not to that, self-murder added be,And sacrilege, three sins in killing three.

第一段诗人看见了那只先后叮过两人的跳蚤，便指着它向情人证明两人的鲜血已通过一只先后叮咬了双方的跳蚤溶为一体，而血的交融则意味着生命的交融，诗人因此推断，两人的生命已经在事实上结合在一起了；第二段，诗人发现情人正抬手欲向跳蚤打去，便急忙劝阻，说这样一来，被害的就是三条性命；第三段，对方显然已经下手，掐死了跳蚤，所以诗人戏谑地称对方为"残忍"、"用无辜者的鲜血把自己的指甲染得红紫"。

The writer chose representative poets' works to launch the treatise, owing to the popularity and influences of poems.The full text was divided into five parts, the first part reviewed the achievements of minority Chinese language poem; the second part analyzed the imago of the poem and explained the deep artistic connotation; the third part emphasized to analyze Jidi Maja's poems, which represented the Yi's poem at Cold Mountain and Liemei Pingcuo's poems, which represented the Tibetan poem. The fourth part discussed the innovation of minority poet about the poem pattern and artistic personality, commented on pioneer poets' conception and practice, and the attention to soul of the minority female poets. The fifth part pointed out the limitations of the new period national minority poem.

本文具体分为五个部分：第一部分从民族意识的自觉和自审，诗美建构的探索与实践等方面综论少数民族汉诗的创作成就；第二部分为精神原型的诗意体现——意象系统分析，分别从原型意识的现代演绎和宗教神性家园的守望等角度分析诗歌意象，阐释深层的艺术内涵；第三部分着重分析以吉的马加为代表的凉山彝族诗歌，以列美平措为代表的藏族诗歌，****其作品对民族灵魂的传承和文化内涵的重构；第四部分探讨少数民族诗人关于诗歌范式与艺术个性的创新，评论先锋诗人的诗歌理念与实践，少数民族女性诗人对心灵的观照；第五部分通过整合得出新时期少数民族汉语诗歌创作存在的局限，指出汉化和西化倾向导致本民族文化特色的缺失。

And if a poet writes of the sufferings of Niobe --the subject of the tragedy in which these iambic verses occur--or of the house of Pelops , or of the Trojan war or on any similar theme, either we must not permit him to say that these are the works of God, or if they are of God, he must devise some explanation of them such as we are seeking; he must say that God did what was just and right, and they were the better for being punished; but that those who are punished are miserable, and that God is the author of their misery-- the poet is not to be permitted to say; though he may say that the wicked are miserable because they require to be punished, and are benefited by receiving punishment from God; but that God being good is the author of evil to any one is to be strenuously denied, and not to be said or sung or heard in verse or prose by any one whether old or young in any well-ordered commonwealth.

如果诗人去描写尼俄柏丧尽儿女令石头也流泪的悲痛——这些悲剧主题在诸如此类的抑扬格诗歌中随处可见——或者去描写佩罗普斯王族的父子相残，或者去描写特洛伊战争之类的主题，那么我们不能允许诗人说这些残暴故事都是神造的孽，就算跟神有关，那也应该解释清楚来龙去脉；他应该说明神帮扶正义和真理，而那些罪人的下场都是罪有应得；而不是去描写受到惩罚的人是如何如何的悲惨，神则是炮制这些悲惨的罪魁祸首——我们是不会让诗人这么去胡编乱造的；然而诗人可以去描写邪恶之人其所以都会其悲惨的结局是因为他们必须遭受惩罚，并因他们接受神的惩罚而使大家受益匪浅；说神代表着善却又是恶的帮凶会遭到所有人的极力反对，诗文中就再也不要去传播、歌唱或者道听途说地去宣扬这些恶事了，秩序井然的联邦中人民不论老少都不应该听到这些恶事。

The institute sends our so-called institute to send the poet roughly to contain such several characteristics: The poet has accepted the strict institute type education, or a longer time teaches at the institute of higher education, proselytizes instructs with the culture deliberated is important part which his enterprise composes, the knowledge, study raised the value to constitute his main life pursue We discovered that, in sparsely to sends the poet by "the institute" to society's institute and moves towards the society to experience the life the non- institute to send between the poet, a more important difference also lies in them regarding in the artistic understanding.

我们所谓的学院派诗人大体包含这样几个特点：诗人接受过严格的学院式教育，或者较长时间任教于高等学府，传道授业与文化研讨是他事业组成的重要部分，对知识、学养的重视构成了他主要的人生追求。我们发现，在以&学院&疏离于社会的学院派诗人和以走向社会来体验人生的非学院派诗人之间，更重要的差别还在于他们对于艺术的理解上。

It's an experimental creation period from "Boatman's Elegy" to "Sirius" during which the performance of poetry's perception and the knowing are not mature/Under the influence of the west modernism art, his poetry has been experienced from the new moon romantic to the modernism. It's his mature period from "Lotus's Association" to"Separates the Water Goddess of Mercy". During this time his poetry's intellectuality and sensibility tends to be mature. Through the reconsidering of the westernization, the poet starts to inaugurate a new sky, and the poetry displays a bright neoclassic principle characteristic, then penetrates into the traditional nationality culture;and the "Bestows on from Cercis chinensis" is the deepened time until now which the poet displays for all kinds of practical styles, which includes multiplex characteristic.In his poetry, the intellectuality blends with sensibility, the sensation combined with logos.

从《舟子的悲歌》到《天狼星》是诗人创作的实验期，这一时期诗歌的感性和知性的表现还不成熟，其间由于受西方现代主义艺术的影响，其诗歌经历了从新月浪漫派到现代主义的变化；从《莲的联想》到《隔水观音》是诗人创作的成熟期，这一时期诗歌的感性和知性表现趋于成熟，诗人通过对西化的反思开始&浪子回头&，诗歌表现出鲜明的新古典主义特征，进而深入到民族传统文化之中；而自《紫荆赋》至今是诗人创作的深化期，表现为兼容并蓄的写实风格，并具有多元取向的特征。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The third chapter analyses Taoist Priestess Poet the Group Research which take Li Ye, Xue Tao and Yu Xuanji as the representative, through analyzing the three poetesses research of Tang Dynasty study conditions and results.

第三章简要分析了以李冶、薛涛、鱼玄机为代表的唐&女冠诗人&群体研究，通过分析唐三女诗人研究现状与成果，探寻唐三女诗人的研究规律，以此来窥视性别视角在古代女诗人研究中的运用。

I'm strongly against the death penalty — it's an eye for an eye.

我不赞成死刑——这是以牙还牙的报复行为。

And to get you the support you need, we're enlisting all elements of our national power: our diplomacy and development, our economic might and our moral suasion, so that you and the rest of our military do not bear the burden of our security alone.

并给你们所须的支援，我们正徵召国家所有各种的力量：我们的外交及发展，我们的经济力量与道德劝说，所以你们与其他军人不须要孤独地负起国家安全的责任。