英语翻译关于引用的部分最好要有原句,尽量不要自己翻译~不要用翻译工具复制粘贴~翻得好的再追加分~虽然爱伦•坡与苏轼两人对亡妻的悲悼之情都是极其沉痛而且不可扼制的,但在作品

英语翻译关于引用的部分最好要有原句,尽量不要自己翻译~不要用翻译工具复制粘贴~翻得好的再追加分~虽然爱伦•坡与苏轼两人对亡妻的悲悼之情都是极其沉痛而且不可扼制的,但在作品
英语翻译
关于引用的部分最好要有原句,尽量不要自己翻译~不要用翻译工具复制粘贴~翻得好的再追加分~
虽然爱伦•坡与苏轼两人对亡妻的悲悼之情都是极其沉痛而且不可扼制的,但在作品中我们捕捉到的只是源于语言深层的情感共鸣,而非语言表层之上,有的只是作品细致委婉的抒写.华兹华斯指出：“我曾经说过,诗是强烈情感的自然流露.它起源于在平静中回忆起来的情感.诗人沉思这种情感直到一种反应使平静逐渐消逝,就有一种与诗人所沉思的情感逐渐发生,确实存在于诗人的心中.”在这里,我们不仅可以读出诗人所表现的情感经验的再体验,而且伴随着这种体验有一种自觉的沉思,从而于内心产生一种与过去情感同样的有一定组织形式的情感体验.二者皆以悲情为胜,句句沉痛,而音响凄厉,千古之下,令人为之潸然.
“文艺作品的风格指的是一个时代、一个民族、一个流派或一个人的文艺作品所表现的主要思想特点和艺术特点.”不同的时代有不同的风格,不同民族的文学作品其风格也会有诸多差异.爱伦•坡的诗歌风格浪漫,追求寻找一种古典的、忧郁的、遥远的美.他崇尚的古典美在《安娜贝尔•李》中得到了充分的应证,其诗中“kingkom by the sea”等背景材料明显带有浓郁的中世纪欧洲情调.爱伦•坡认为,是转瞬即逝使我忧郁,而忧郁在一切音调中最富有诗意.这种忧郁的情调和他的许多诗歌的意境是一脉相承的（如《致海伦》）.爱伦•坡在该诗中使用象征创造了意境的“忧郁”：“风”（wind）象征疾病,预示少女以后不详的命运；“天使们”（jealous angles）象征超自然的力量；“高贵的亲属”（high-born kinsman）象征人间的强大势力；海洋和陆岸象征生命和死亡、今生和来世、生者和死者的交汇和融合.《安娜贝尔•李》对凄美的咏叹和忧郁的吟唱为晚辈诗人所惊叹和赞美.我们阅读他的诗歌,处处都是感伤,有对飞花流云的沉思,也有对我们生与死的思索.爱伦•坡的创作风格使《安娜贝尔•李》达到了空旷、高远和神秘的境界.而在北宋这个具体的文化环境中,苏轼是一个富于浪漫气质和自由个性的人物,他在创作中所表现出来的洒脱无羁与无可奈何、随缘自适与诗失意彷徨,深刻的反映了他的内心苦闷.苏轼推崇自然平淡的诗歌语言,他对陶渊明抱有一种近似崇拜的心理,认为陶渊明的成就在其他所有诗人之上,这多少包含着他那追求平衡、淡远的精神状态.他的词同他的诗文一样,往往以意为主,追求道家的“贵真”审美观,任情流泻,故其风格也随着内容特点、情感基调的变化而变化.苏轼写伤感的词,委婉而细密.《江城子》幽深清绝,每个意象都突现幽寒的气氛,全词笼罩了一层浓厚的孤独与感伤,写出了苏轼对去世十年的妻子的既真挚浓烈,又曲折多变的思念之情.在《江城子》中,苏轼以虚写实,虚中见实,创造出不同于爱伦•坡的境界：既有超常的感情境界（生者与死者的感情交流）,又有超前的思想境界（对女子的尊重）.

英语翻译关于引用的部分最好要有原句,尽量不要自己翻译~不要用翻译工具复制粘贴~翻得好的再追加分~虽然爱伦•坡与苏轼两人对亡妻的悲悼之情都是极其沉痛而且不可扼制的,但在作品
虽然爱伦•坡与苏轼两人对亡妻的悲悼之情都是极其沉痛而且不可扼制的,但在作品中我们捕捉到的只是源于语言深层的情感共鸣,而非语言表层之上,有的只是作品细致委婉的抒写.华兹华斯指出：“我曾经说过,诗是强烈情感的自然流露.它起源于在平静中回忆起来的情感.诗人沉思这种情感直到一种反应使平静逐渐消逝,就有一种与诗人所沉思的情感逐渐发生,确实存在于诗人的心中.”在这里,我们不仅可以读出诗人所表现的情感经验的再体验,而且伴随着这种体验有一种自觉的沉思,从而于内心产生一种与过去情感同样的有一定组织形式的情感体验.二者皆以悲情为胜,句句沉痛,而音响凄厉,千古之下,令人为之潸然.
Although Ellen • slope and two of Su Shi's Mourning Becomes Electra亡妻are extremely painful feelings and can not contain, but in his works is that we capture the emotion stems from the language of deep resonance, not the language on the surface, there are Euphemism is the Writing and meticulous work. Wordsworth said: "I have said, poetry is very natural to us a strong emotion. It originated in China and recalled them in a calm feelings. Poet thought such an emotional reaction until calm gradually fade away, there is a poet Meditation by the gradual emotional indeed exist in the hearts of poets. "Here, we will not only poets read out by the performance of the re-experience the emotional experience, and experience along with that there is a conscious thought, thus resulting in a heart species of the same feelings with the past organizations have some form of emotional experience. Sadness for the two always wins sentence deep, and shrill sound, through the ages, the likelihood is it Shan.
文艺作品的风格指的是一个时代、一个民族、一个流派或一个人的文艺作品所表现的主要思想特点和艺术特点.”不同的时代有不同的风格,不同民族的文学作品其风格也会有诸多差异.爱伦•坡的诗歌风格浪漫,追求寻找一种古典的、忧郁的、遥远的美.他崇尚的古典美在《安娜贝尔•李》中得到了充分的应证,其诗中“kingkom by the sea”等背景材料明显带有浓郁的中世纪欧洲情调.爱伦•坡认为,是转瞬即逝使我忧郁,而忧郁在一切音调中最富有诗意.这种忧郁的情调和他的许多诗歌的意境是一脉相承的（如《致海伦》）.爱伦•坡在该诗中使用象征创造了意境的“忧郁”：“风”（wind）象征疾病,预示少女以后不详的命运；“天使们”（jealous angles）象征超自然的力量；“高贵的亲属”（high-born kinsman）象征人间的强大势力；海洋和陆岸象征生命和死亡、今生和来世、生者和死者的交汇和融合.《安娜贝尔•李》对凄美的咏叹和忧郁的吟唱为晚辈诗人所惊叹和赞美.我们阅读他的诗歌,处处都是感伤,有对飞花流云的沉思,也有对我们生与死的思索.爱伦•坡的创作风格使《安娜贝尔•李》达到了空旷、高远和神秘的境界.而在北宋这个具体的文化环境中,苏轼是一个富于浪漫气质和自由个性的人物,他在创作中所表现出来的洒脱无羁与无可奈何、随缘自适与诗失意彷徨,深刻的反映了他的内心苦闷.苏轼推崇自然平淡的诗歌语言,他对陶渊明抱有一种近似崇拜的心理,认为陶渊明的成就在其他所有诗人之上,这多少包含着他那追求平衡、淡远的精神状态.他的词同他的诗文一样,往往以意为主,追求道家的“贵真”审美观,任情流泻,故其风格也随着内容特点、情感基调的变化而变化.苏轼写伤感的词,委婉而细密.《江城子》幽深清绝,每个意象都突现幽寒的气氛,全词笼罩了一层浓厚的孤独与感伤,写出了苏轼对去世十年的妻子的既真挚浓烈,又曲折多变的思念之情.在《江城子》中,苏轼以虚写实,虚中见实,创造出不同于爱伦•坡的境界：既有超常的感情境界（生者与死者的感情交流）,又有超前的思想境界（对女子的尊重）.
Refers to the style of literary and artistic works of an era, a nation, a school or a person's literary works have shown the characteristics of the main ideas and artistic characteristics. "Different times have different styles, different ethnic literature will have a lot of their differences in style. Ellen • slope romantic style of poetry, the pursuit of looking for a classic, melancholy, the distant United States. He advocates the United States and the classical In "Annabel Lee •" be sufficient to permit, the poem "kingkom by the sea" with an obvious background material, such as a strong atmosphere of medieval Europe. Ellen • slope that is a very brief period I depression, and the melancholy tone in all the most poetic. this melancholy mood and many of his poems is the same strain of the mood (such as "To Helen"). Ellen • slope in the use of a symbol of the poem created a mood of "melancholy" : "wind" (wind) a symbol of the disease, indicating the fate of young girls after the unknown; "Angels" (jealous angles) a symbol of supernatural power; "noble relatives" (high-born kinsman) a powerful symbol of human power; marine and land An symbol of life and death, this life and the afterlife, the living and the deceased's convergence and integration. "• Annabel Lee" on the melancholy beauty of the chant and sing for the younger generation of poets and praise the amazing. we read his poetry, there are sentimental, and the contemplation of the convective clouds fly, but also to our thinking about life and death. Ellen • slope of the writing style of "• Annabel Lee" has reached the open, lofty and mysterious realm. and in the Northern Song Dynasty of the specific cultural environment, Su Shi is a very romantic personality temperament and free people, he manifested creation kept without the free and easy and do nothing, adaptive随缘frustrated and helpless poetry, reflects his profound depression of the heart. Su Shi praised the poetry of natural plain language, he had a similar worship of Tao Yuan-ming's psychological, that the Tao Yuan-ming's achievements above all other poets, which includes a number of his pursuit of balance, mental state淡远. his words with him Like the poems, often based in Italy, the pursuit of Taoist "your truth" aesthetic,任情pouring, so the characteristics of style with the content, emotional tone changes. Su Shi wrote sad words, euphemism and fine. "江城子" deep clearance must, for each image are cold conflict the atmosphere is quiet, all the words over a layer of deep loneliness and pathos, Su Shi wrote on the death of the wife of a decade of strong both sincere and twists and turns thinking of changing the situation. In "江城子" in Su Shi's realism to virtual, virtual in the See is to create a slope different from Ellen • realm: the feelings of both extraordinary realm (of Health and the feelings of the deceased ), and ahead of the ideological level (respect for women).