Thus to go from one great novelist to another--from Jane Austen to Hardy, from Peacock to Trollope, from Scott to Meredith--is to be wrenched and uprooted; to be thrown this way and then that.

因此，从一位伟大小说家到另一位伟大小说家——从简·奥斯汀到哈代，从皮科克到特罗普，从斯科特到梅雷迪思——都是被扭曲和连；被扔到这里，然后扔到那里。

His day job was as a clerk in the British Postal Department (the red public mailboxes all over Britain were Anthony Trollope's invention) ; he wrote for two and a half hours each morning before leaving for work.

白天是大英邮政局一名职员（遍布英国红色信箱就是发明）；每天早晨都要坚持写作两个半钟头然后再去上班。

The lead singer of the Pet Shop Boys, Neil Tennant, wrote the song " Can You Forgive Her? " after reading Trollope's novel of the same name.

“宠物店男孩”乐队主唱尼尔·泰纳读过特罗普同名小说后，写了《你能原谅她吗》这首歌。

At the other end of the spectrum, there are writers like Anthony Trollope.

但还有些作家，例如安东尼·特罗普，却占了另外一个极端。

But part also lies in Trollope's knack for choosing subjects that echo powerfully today.

但部分原因还在于特罗普在选择今天能产生强烈反响题材方面技巧。

" The Way We Live Now" is an excellent place to begin an affair with Trollope.

《我们现在生活方式》是开始与特罗普交往绝佳之地。

If you don't like it, Trollope's world is not for you.

如果你不喜欢，那么特罗普世界不适合你。

The fastidious traveler, Mrs. Trollope, who thought the English system of church and state was ideal, saw in the United States only roughness and ignorance.

挑剔旅行者， 夫人。特罗普认为英国教会和国家制度是理， 在美国看到只是粗鲁和无知。

Trollope, we know, wronged himself by the tone and manner of his reminiscences; but that tone and manner indicated an inferiority of mind, of nature.

我们知道，特罗普在回忆时语气和方式让自己感到委屈。但是那种语气和举止表明了思和自然自卑。

1875. The Way We Live Now, a satirical novel by English writer Anthony Trollope, follows corrupt European financier Augustus Melmott and his American investments.

1875. 《我们现在活法》是英国作家安东尼·特罗普一部讽刺小说，讲述了腐败欧洲金融家奥古斯都·梅尔莫特和美国投资。

Already in its first year, Frances Trollope's controversial travelogue, Domestic Manners of the Americans, appeared in four editions, being one of about three hundred travel accounts about the United States published in Britain prior to the Civil War.

弗朗西斯·特罗普 （Frances Trollope） 备受争议游记《美国人国内礼仪》（Domestic Manners of the Americans） 已经出版了第一年，已经出版了四个版本，是南北战争前在英国出版大约 300 篇关于美国游记之一。

There was a difference, in truth, between the picture of Charles Dickens sitting down to a chapter of his current novel, and that of the broad-based Trollope doing his so many words to the fifteen minutes.

事实上，查尔斯·狄更斯坐下来阅读当前小说一章画面，与基础广泛特罗普在 15 分钟内完成这么多话画面之间是有区别。

On the other hand, if fiction had remained what it was to Jane Austen and Trollope, fiction would by this time be dead.

另一方面，如果小说对简·奥斯丁和特罗普来说仍然如此，那么小说此时就会消亡。

Trollope himself tells how he surprised the editor of a periodical, who wanted a serial from him, by asking how many thousand words it should run to; an anecdote savouring indeed of good old days.

特罗普自己讲述了是如何让一个期刊编辑感到惊讶，从那里得到一个连载，问应该写多少万字；一则轶事确实让人回过去美好时光。

He makes no attempt to preserve the sober reality of Trollope and Jane Austen; he has destroyed all the usual staircases by which we have learnt to climb.

没有试图保留特罗普和简·奥斯汀清醒现实；没有试图保留特罗普和简·奥斯汀清醒现实。毁掉了我们学会爬所有常用楼梯。

A big, blusterous, genial brute of a Trollope could very fairly hold his own, and exact at all events an acceptable share in the profits of his work.

一个高大、狂暴、和蔼可亲特罗普野蛮人可以非常公平地拥有自己财产，并且在任何情况下都可以从工作利润中获得可接受份额。

The broader aspects of what it felt like to be a Victorian are seized as surely and stamped as vividly upon us as in any novel by Trollope or Mrs. Gaskell.

与特罗普或加斯克尔夫人任何小说一样，维多利亚时代感受更广泛方面也像特罗普或加斯克尔夫人任何小说一样清晰地抓住了我们心，并给我们留下了生动印记。

Dickens — though he died in the endeavour to increase (not for himself) an already ample fortune, disastrous influence of his time and class — wrought with an artistic ingenuousness and fervour such as Trollope could not even conceive.

狄更斯——尽管死于增加（不是为自己）本已丰厚财富，时代和阶级灾难性影响——以特罗普甚至无法象艺术天真和热情创作。