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The relativity of truth, the profusion of languages, these things that afflict Eliot are a source of faith for Stevens.
真理的相关性，语言的丰富性，这些折磨着艾略特的事物，对于史蒂文斯而言却是信仰的来源。
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So the top ones at the moment, you've got "Billy Eliot", "The Lion King",
而且，现在最热门的几部有《比利•艾略特》、《狮子王》、
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In English it begins with the late novels of Henry James around 1900, in poetry with Eliot and with Ezra Pound.
在英国现代主义萌芽于1900年左右，体现在亨利·詹姆斯,的后期小说，艾略特和艾兹拉·庞德的诗歌上。
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Yeats is, in fact, a far less nostalgic thinker than either Eliot or Pound, at least as I understand them.
其实叶芝不如,艾略特或庞德那么怀旧，至少我是这么理解的。
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That is a course that I like to teach, too; usually I teach Plato to T.S. Eliot or Plato to I.A. Richards or some other important figure in the early twentieth century.
这也是我喜欢教的一门课;,我通常教从柏拉图到T。S。艾略特,或从柏拉图到T。A。理查兹,或者其他20世纪初的重要人物。
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Elliott Gorn, a wonderful historian up at Brown, wrote a brilliant, fascinating, half-crazy essay once about eye-gouging and Southern fighting.
艾略特·龚是布朗时期一个伟大的历史家,他写了一本很有趣,很引人入胜,口味很重的一本小说,是关于南方式打架和挖眼珠的
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E. E. Cummings, T. S. Eliot, W. H. Auden
. E. 康明斯、T. S. 艾略特、W. H. 奥登，
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So first I want to read to you the footnote to T.S. Eliot's The Wasteland.
首先给你们读一段艾略特的《荒原》的脚注。
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Modern poetry arises, in Eliot's case, with the death of God, with the loss of a theological justification for life, with a sense of disenchantment, a sense of depletion, depletion of meaning and value.
在艾略特而言，现代诗歌的兴起，与对上帝信仰的消失，以及对生活不再在理论使其合理化，及人们的觉醒，对意义和价值的耗尽是相伴相随的。
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That word, "impersonality"-- made famous by T.S. Eliot who advocated that is the stance from which all great art should proceed.
非个人化”之所以出名-,是因为T。S。艾略特所提倡的,是所有伟大的艺术都应该归于的状态。
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In fact, this is the Harvard student who wrote Prufrock; Eliot wrote Prufrock largely when still at Harvard and in the years immediately following.
实际上，写这首诗时他还是哈佛的一名学生;,艾略特在哈佛时以及随后的几年里,完成了这首诗的大部分。
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But, Nabokov's relationship to this modernist past is not just the burlesque that he visits on Eliot, is not just this complicated attraction and dis-identification that he works on with Proust.
但是，纳博科夫和现代主义者的关系不只是,他对艾略特的滑稽模仿，也不只是和普鲁斯特,复杂的吸引和不认同。
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According to Eliot, the modern world lacks a center, a kind of set of collective beliefs and commitments that would enable communication between us.
根据艾略特所说，现代世界缺少一个中心，缺少一套共有的信仰和承诺,来促成人与人之间的交流。
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Modernism in Eliot and Pound is, in some ways, founded on expatriation, on a kind of internationalism.
艾略特和庞德的现代主义在某种程度上是，建立在他们被驱逐国外后的一种国际主义。
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The magazine, in many ways, announced and facilitated Eliot's rise to a kind of cultural authority as a taste maker, and with it certain ideas of modernism.
在很多方面，这本杂志宣告并且促进了艾略特的崭露头角,把他上升为一个测定文化品位的权威人士，同时也预示了杂志本身关于现代主义的一些思想。
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Contrast his images of joyous or demonic assent with the images of catastrophe, of descent, of collapse in Eliot, "London Bridge is falling down."
对比他关于喜悦或着迷的描写,这些都是和灾难，对衰退的描写，或者艾略特描写的崩塌“伦敦桥在倒塌“，相一致的“
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It's much more serious and strange. Okay. So that's enough on Eliot.
那个更严肃更奇怪，好吧，关于艾略特的讨论就到这。
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This issue here, October 1922, includes The Waste Land by T.S. Eliot.
922年十月的这一期，内容包括艾略特的《荒原》
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There's something in Eliot's--the presentation of Eliot's work and indeed in the work itself that is affronting, resistant, impersonal. And the typography, the presentation of the book is part of that.
艾略特的作品中有一点别的意义，作品展现出来的,本身有点冒犯，具有反抗性和个人性，印刷和，外观也展现了那些特征。
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Here's the editor, great editor of the publisher Faber & Faber, thirty years later, or more, surrounded by books, ; the cultural arbiter of the English speaking world; T.S. Eliot at sixty.
0年后，这就是费伯-费伯出版社的大编辑，被成堆的书籍包围着，被视为英语语言世界的文化标尺;,这就是60岁的艾略特。
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Eliot was there, in that essay on the metaphysical poets that I'm quoting from, defending as necessary what is the primary characteristic, not only of his own poetry, but really of modern poetry generally, what is often called its difficulty.
艾略特在描写那些抽象派诗人的文章里,就是我引用的那篇，极力维护,诗人的首要特征，不仅是因为他自身的诗性，更因为维护现代诗歌的必要，这是非常困难的一件事。
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Compare the footnotes in the Frost poems to the footnotes in The Norton that you find next to Eliot or Pound's poems.
把弗罗斯特的脚注跟诺顿的比较,就是在艾略特和庞德旁边的那个。
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In other words, art for art's sake. That's Eliot's autotelic poem.
为了艺术而艺术，那就是艾略特目的存在于本身的诗歌。
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Eliot would go further and say that there is no common form of modern speech, and that's the problem.
艾略特涉及的更加深入,他认为谈话并没有什么通常的形式，而这就是问题所在。
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Eliot's poetry, the poetry he created out of this experience, is a poetry of spiritual agony.
艾略特的诗歌，他以自身经验写成的那些诗，是一种精神上的爆发。
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The editor is T.S. Eliot.
它的编辑是托马斯艾略特。
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Contrast this book, Prufrock and Other Observations, the subtitle left off here of the cover of T.S. Eliot's great book, published in 1917. This is a different object, isn't it?
把这本《普鲁弗洛克的情诗》和其他的《观察》相比，注意艾略特这本史诗般的书上方的这个副标题，这是在1917年出版的，这是一个截然不同的主题，不是吗？
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And yet, it's also important for reading Pound and for reading Eliot and for reading Moore, who sound the way they do partly because they make a point of not writing pentameter, the meter that Frost often, but not always, chooses.
也对于阅读庞德和,艾略特，莫尔的诗歌很重要，他们听起来是做到了一部分,因为它们提议不要写五音部格诗，这种形式弗罗斯特很常用，但不是总用到。
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There's T.S. Eliot, the only great English poet born in America.
有唯一一个出生在美国的英国诗人，T。S。艾略特。
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