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，从一位伟大的小说家另一位伟大的小说家——从简·奥斯汀哈代，从皮科克特罗普，从斯科特梅雷迪思——都是被扭曲和连根拔起的；被扔这，然后扔。

Trollope is sometimes considered a niche author for greying Anglophiles.

特罗普有时被认为是一位专为亲英老年人士写的小众作家。

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的题材方面的技巧。

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

如果你不喜欢，么特罗普的世界不适合你。

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

《我们现在的生活方式》是开始与特罗普交往的绝佳之地。

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”乐队的主唱尼尔·泰纳读过特罗普的同名小说后，写了《你能原谅她吗》这首歌。

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，么小说此时就会消亡。

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.

剔的旅行者， 夫人。特罗普认为英国的教会和国家制度是理想的， 他在美国看的只是粗鲁和无知。

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，特罗普在回忆时的语气和方式让自己感委屈。但是种语气和举止表明了思想和自然的自卑。

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、和蔼可亲的特罗普野蛮人可以非常公平地拥有自己的财产，并且在任何情况下都可以从他的工作利润中获得可接受的份额。

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.

他没有试图保留特罗普和简·奥斯汀的清醒现实；他没有试图保留特罗普和简·奥斯汀的清醒现实。他毁掉了我们学会爬的所有常用楼梯。

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的任何小说一样，维多利亚时代的感受的更广泛的方面也像特罗普或加斯克尔夫人的任何小说一样清晰地抓住了我们的心，并给我们留下了生动的印记。

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.

特罗普自己讲述了他是如何让一个期刊的编辑感惊讶的，他想从他得一个连载，问他应该写多少万字；一则轶事确实让人回想起过去的美好时光。

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.

他白天是大英邮政局的一名职员（遍布英国的红色信箱就是他发明的）；每天早晨他都要坚持写作两个半钟头然后再去上班。

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·狄更斯坐下来阅读他当前小说的一章的画面，与基础广泛的特罗普在 15 分钟内完成他的这么多话的画面之间是有区别的。

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） 备受争议的游记《美国人的国内礼仪》（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的大约 300 篇关于美国的游记之一。

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——尽管他死于增加（不是为他自己）本已丰厚的财富，他的时代和阶级的灾难性影响——以特罗普甚至无法想象的艺术天真和热情创作。