The notions of Dryden were formed by comprehensive speculation, those of Pope by minute attention.

德莱的观念源于综合推断，而蒲伯的观念成因于细微的观。

Today I have an interview with the Dryden academy.

今天我要去德莱顿学院进行一场面试。

The style of Dryden is capricious and varied, that of Pope cautious and uniform.

德莱的风格变幻莫测，富于变化，而蒲伯的小心谨慎，趋于单一。

Dryden obeys the motions of his own mind; Pope constrains his mind to his own rules of composition.

德莱恪守自己内心的活动，而蒲伯将内心活动置于自己的创作原之下。

If the flights of Dryden are higher, Pope continues longer on the wing.

如果说德莱能飞得更高的话，那么蒲伯更注重的是翅膀能扑扇得更久。

There is more dignity in the knowledge of Dryden, more certainty in that of Pope.

德莱的认体系更严谨，要比蒲伯的认有更多的确定性。

If, of Dryden's fire, the blaze is brighter, of Pope's the heat is more regular and constant.

如果说德莱的文章绽放出的火焰更明亮的话，那么蒲伯的文章所散发出的炽热更有规律、更持久。

Later, Henryson, Shakespeare and Dryden also took the subject and rewrote it.

后来，亨利森、莎士比亚和德莱顿也接受了这个主题并重写了它。

To bring this prose to perfection (and Dryden's prose is very near perfection) only the discipline of the stage was necessary and the growth of self-consciousness.

为了使这篇散文达到完美（德莱顿的散文非常接近完美），只需要舞台的纪律和自我意的成长。

Because of this, Samuel Johnson, who followed Dryden, applied the term" metaphysical" to Donne and others in derogation of their excessive use of philosophy and deliberate show-off of their cleverness and learning.

正因为如此，追随德莱顿的塞缪尔·约翰逊 （Samuel Johnson） 将“形而上学”一词用于多恩等人，以贬低他们对哲学的过度使用和故意炫耀他们的聪明才智和学。

There was a volume of Pope, with the Rape of the Lock in it, and another of the Tatler, and an odd one of Dryden's Miscellanies, all with tarnished gilding on their covers, and thoughts of tarnished brilliancy inside.

还有另一本《闲谈家》， 还有一本奇怪的德莱顿杂记， 封面上的镀金都失去了光泽， 里面的思想也失去了光泽。

Jim Dryden of member station KWMU in St. Louis reports.

下面请听我台记者吉姆·屈莱顿从圣路易斯下属县城为您发回的报道。