Question

求翻译，不要给我软件翻译的，谢谢

9.her career Smith plays with voice and stance, channelling male precursors like Goethe or Petrarch; ventriloquising her own characters, both male and female, in her novel-sonnets; reprising her own plots as she moves from poetry to fiction to drama.

18.In using poetry to create and model the Romantic poet, Smith and Wordsworth show how deeply they understand the malleable nature of this figure. The spectacle of the poet, someone who speaks through the act of writing, whose audience reads in a visual act that is presented as auditory, grows out of a display-oriented society, but Smith and Wordsworth do more than merely react to this trend. They recognise that in order to compose poetry they must also compose the Poet, and they assemble their raw materials from what is to hand: imaginative reconstructions of autobiography, generic convention, the utility of voice, their own skill at constructing and deconstructing poetic form. The very nature of autobiography comes into question, as does the viability of a successful poetic sincerity. Both Smith and Wordsworth seem to understand that committing an identity to print immediately compromises its authenticity, and so instead of making futile attempts to write actuality, they shape “Is” whose “I-ness” they repeatedly undermine. This is not to deny that for both poets, the personal could be poetical, or to suggest that basing poetry on or writing out of experience did not interest them. But their investment of autobiography with the ideology of performance, and their manipulations of the speaking “I” intimate that both poets enlivened poetry not just with images drawn from life, or from an irrepressible egotism, but also with a strong understanding that, in an age of poetry, the most complex model was that of the Poet.

Answer 1

9. 她的事业史密斯游戏用声音和态度，引导像歌德或意大利诗人一样的男性先驱者；ventriloquising 她自己的个性，男性和女性，在她的小说－十四行诗中；她从到小说的诗移到戏剧时，重复她自己的阴谋。

18.在使用诗产生并且做模型浪漫的诗人、史密斯和华兹华斯表演方面他们了解这一个身材的有延展性性质地多深。诗人的值得看的东西，说过写作的行为的人，听众阅读在被呈现如耳的一个视觉的行为中，戒除展览导向社会，但是史密斯和华兹华斯做比只还要多对这一个趋势产生反应。他们承认那为了要组成他们也一定组成诗人，而且他们集合他们的原料的诗从什么是给：自传的想像重建、一般性的大会、声音的实效，在构造而且没有建筑诗的形式他们自己的技能。自传的最性质进入疑问，因为做成功诗的诚实的生存能力。史密斯和华兹华斯似乎了解，犯一个身份立刻印刷损害它的确实性，而且如此改为，作无用的尝试写实在，他们塑造 " 是 " 他们重复地渐渐破坏谁的 " 我－突端 "。这是不否认为两者的诗人，个人者可能是诗的，或建议，将诗建立于或者之上写出经验没有使他们感兴趣。但是有表现的观念学的他们的自传的投资，和他们的处理那说， " 我 " 暗示，诗人两者使活泼诗了不仅仅具有从生活被画的图像，或从一个镇压不住的自我中心癖，但是也以强烈的理解哪一，在一个诗的年龄中，最复杂的模型是诗人的。