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So priests, ministers or pastors -- we still call them pastors -had long been referred to as shepherds.
因此牧师，神官或教会牧师-我们仍然这样叫他们,很长一段时间都以牧羊人来代指。
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It's supposed by many that Israel was formed from the merger, or the merging of diverse groups, including farmers and shepherds in Canaan.
许多人都认为犹太人由不同的群体混合而成,包括迦南的农民和牧羊人。
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He's starting to champ at the bit. He's ready to write an epic poem on much more important subjects than shepherds and shepherdesses.
他已经迫不及待地想要写一首史诗,写一些比田园牧羊生活更为重要的题材。
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They came to draw water, ; and filled the troughs to water their father's flock; but shepherds came and drove them off.
她们来打水，打满了槽，要饮父亲的群羊;,有牧羊的人来，把她们赶走了。
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To speak of shepherds and shepherding in a pastoral poem seems almost invariably to be a strategy or a way to speak of poets and their craft of poetry.
在田园诗里描绘牧羊人,看起来是一种固定不变的策略或者方式,用以描述诗人和他们的造诣。
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A pastoral, of course, features shepherds and shepherdesses as its most distinguishing characteristic.
田园诗理所当然是以描写牧羊生活,作为它最突出的特点。
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But this wish that other shepherds had died and not Edward King is so strange.
但是这种希望死去的是其他牧师,而并非爱德华金的想法，令人如此陌生。
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But there's another meaning given to shepherds as well.
但是还有另一个附加在牧羊人上的含义。
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You have semi-nomadic shepherds. You have city dwellers.
这里有半游牧的牧民，有城市居住者。
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One of the motives for his selection of this genre, the pastoral genre, is the tradition -and it's a tradition that goes all the way back to Theocritus and Virgil -that associates shepherds with poets.
他选择这个流派的动力之一，就是田园诗是一种传统,是一种可以追溯到忒俄克里托斯和维吉尔时代的传统,它把牧羊人和诗人紧密相连。
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Shepherds came to represent not only poets.
牧羊人开始不仅仅代表诗人。
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Weep no more, woeful Shepherds weep no more For Lycidas your sorrow is not dead, Sunk though he be beneath the wat'ry floor, So sinks the day-star in the Ocean bed, And yet anon repairs his drooping head.
诗歌大意：，悲伤的牧羊人们不要再哭泣,利西亚斯并没有死去，虽然他被海水吞没，启明星也会沉入海底，不久便会修复他疲惫的头颅。
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