Dylan brought high poetic traditions into the popular vernacular.

迪伦把诗学传统转化成了流行的白话文。

Everyone was wounded. As for him, he was a tragic hero straight out of the Poetics: neither a villain nor a virtuous man, but someone in between.

每个人都受伤了。来说，是《诗学》中的悲剧英：既不是坏人也不是好人，而是介乎两者之间的人。

According to poetic accounts, he once carved runes on a horn filled with poison, causing the horn to shatter.

据诗学记载，曾将如尼文字雕刻在盛满毒药的动物角上，这一举动粉碎了这只角。

Editions of Terence appeared late in the fifteenth century, followed by translations of Greek tragedies and Aristotle's Poetics.

特伦斯的法语版本出现于15世纪晚期 之后是希腊悲剧和亚里士多德诗学的翻译版。

Moreover, several years of poetic study, and, if the truth must be told, poetic efforts, had tended to develop the affective side of his constitution still further, in proportion to his active faculties.

此外，几年的诗学研，如果必须说实话，诗学的努力，倾向于进一步发展体质的情感方面，与活跃的能力成正比。

The classical influence was most apparent in French drama, which during the 17th century adopted a reinterpretation of the conventions of Greek theatre, as described in Aristotle's Poetics.

古典影响在法国戏剧中表现得最为显著，17世纪时，法国戏剧采纳了亚里士多德《诗学》中所述的希腊戏剧传统的新诠释。

It's not just about supply side poetics, like who's telling the story, but it's also about audience need and their response to it.

这不仅仅关乎供给方的诗学，比如谁在讲述故事， 还涉观众的需求此的反应。

Ours Poetica brings you a new poem three times a week, read by poets, writers, artists, and unexpected but familiar voices.

《我们的诗学》每周三次为你带来一首新诗，由诗人、作家、艺术家以一些意想不到但熟悉的声音朗读。

On the use of multiple parallel texts as a comparative method in cognitive poetics.

关于在认知诗学中使用多个平行文本作为比较方法。

Heywood's interludes were written between 1520 and 1540, among which the most famous is The Four P's, a contest of wit between" a Pardoner, a Palmer, a Pedlar and a Poticary." The characters here strongly suggest those of Chaucer.

海伍德的插曲写于 1520 年至 1540 年之间，中最著名的是 The Four P's，这是一场“赦免者、帕尔默、小贩和诗学家”之间的智慧竞赛。这里的人物强烈暗示了乔叟的人物。

Lucas, Frank L. Tragedy: Serious Drama in Relation to Aristotle's Poetics.

Lucas, Frank L. 悲剧：与亚里士多德诗学相关的严肃戏剧。

Aristotle, in his Poetics, insists that this is the mark of every good story, novel, or play.

亚里士多德在的《诗学》中坚持认为这是每一个好故事、小说或戏剧的标志。

3 Goldhill writes, " Aristotle's Poetics, in short, is a theory of tragedies, not a theory of the tragic." 4 I think this is right.

3 戈德希尔写道， “简而言之，亚里士多德的诗学是一种悲剧理论，而不是悲剧理论。 ” 4 我认为这是的。

But this is a precious indication that by the time of the composition of the Poetics, the texts of the tragedies were available.

但这是一个宝贵的迹象， 表明在诗学创作的时候，悲剧的文本已经存在。

Aristotle, Poetics, trans. Stephen Halliwell (Cambridge, MA: Harvard University Press, 1995), 19. All subsequent references to this edition are given in the text with reference to the Greek pagination.

1. 亚里士多德，《诗学》，译。 Stephen Halliwell（剑桥，马萨诸塞州：哈佛大学出版社，1995 年），19。此版本的所有后续参考文献均在正文中参考希腊文页码给出。

The latter is the transition from ignorance to knowledge and Aristotle is clear in Poetics XVI that the best kind of recognition is accompanied by reversal.

后者是从无知到知识的转变， 亚里士多德在《诗学 XVI》中明确指出， 最好的认识伴随着逆转。

This is why Aristotle is so insistent in the Poetics that a tragic plot should be plausible and its events convincing.

这就是为什么亚里士多德在《诗学》中如此坚持悲剧的情节应该是合理的， 它的事件应该是令人信服的。

The relative or perhaps apparent absence of judgment in the Poetics is striking.

《诗学》相或明显缺乏判断力是引人注目的。

Imitation is best thought of as enactment, and, in the final words of his discussion of tragedy in Poetics XXIII, Aristotle even speaks of to prattein mimeseos, enactive imitation (1459a16).

模仿最好被认为是表演，而且，在在《诗学 XXIII》中讨论悲剧的最后一句话中，亚里士多德甚至谈到了 prattein mimeseos，即主动模仿 (1459a16)。

In a passing clause of Poetics XXV, Aristotle appears to quote Sophocles when he said that the latter " created characters as they ought to be, Euripides as they really are" (1460b32–33).

在《诗学 XXV》的一个从句中， 亚里士多德似乎引用了索福克勒斯的话， 说后者“创造了们应该成为的人物，欧里庇得斯创造了们本来的样子” （1460b32-33）。