想要了解弥尔顿诗歌的关注点，了解经济和精神上的联系是很重要的。
To understand the concerns of Milton's poetry, it is important to understand this massive conjunction of economic and spiritual thought.
作为读者撒旦与我们相似，试图解构剖析弥尔顿诗歌的力量。
Satan resembles us as readers as we attempt to dissect and to anatomize the power of Milton's poetry.
想要了解弥尔顿诗歌的关注点，了解经济和精神上的联系是很重要的，这就是英国新教教义的核心。
To understand the concerns of Milton's poetry, it is important to understand this massive conjunction of economic and spiritual thought that's really at the heart of English Protestantism.
本公开课主要研究学习了弥尔顿的诗歌文学，以及他本人的一些基本资料个信息，并研究弥尔顿诗歌在他的时代在英国文学史上的影响力。
A study of Milton's poetry, with some attention to his literary sources, his contemporaries, his controversial prose, and his decisive influence on the course of English poetry.
首先是美学上的力量，这是可以理解的，弥尔顿的诗句之美的力量，一种美学意义上的力量,大家通常认为或觉得这是弥尔顿诗歌本身固有的一种力量。
There is first the understandable aesthetic power, the power of the beauty of Milton's verse, an aesthetic power that's often thought or felt to inhere somewhere in the poetry itself.
弥尔顿试图解决的主题问题被写进了诗歌的语法和句法中。
The thematic problems that Milton is attempting to tackle are written into the very grammar and the syntax of the poem.
有各种迹象表明，弥尔顿相信，正如我之前提到的，在一个无意识的早期，诗歌是他的职业。
There's every indication that Milton believed, as I had mentioned before, at an unconscionably early age, that poetry was his vocation.
弥尔顿似乎已经决定不结婚了，因为他决定把自己和诗歌结合起来。
Milton seemed to have decided against marriage as he was making the decision to wed himself to his poetry instead.
这里就是弥尔顿对于他近期去意大利的旅行中，因为他的诗歌，从许多知识渊博的意大利人收到热情的描述。
This is where Milton describes the enthusiasm that he received for his poetry from many learned Italians during his recent travels to Italy.
这首赞美诗，弥尔顿称之为“卑微的颂歌”，在其引言之后，是弥尔顿想要呈现给上帝的诗歌。
The hymn, what Milton calls the "humble ode", that follows this introduction is the poem that Milton wants to present to the Lord.
在很早的时候，弥尔顿就在沉思他的诗歌事业，就像是来自上帝真实的召唤。
At a very early age, Milton brooded on his poetic vocation as if it were an actual calling from God.
这就是弥尔顿对于他近期去意大利的旅行中，从一些知识渊博的意大利人那里得来的，对于他诗歌的无限热情的描述。
This is where Milton describes the outpouring of enthusiasm that he received for his poetry from a number of learned Italians during his recent travels to Italy.
弥尔顿在他的第一首英语诗歌里的主题，我们可以猜一下，是他将来的文学事业。
Milton's subject in his first English poem is — we can guess it it's his future literary career.
我们已经看了弥尔顿最早期的诗歌，或者说弥尔顿希望我们认为是他最早的诗，从一些不同的角度。
We've looked at Milton's earliest poem, or what Milton wants us to think of as his earliest poem, from a couple of different perspectives.
这种净化是很有必要的，弥尔顿的语言为什么需要被完全净化，我认为这个问题才是所有剩余诗歌，真正的主题。
What exactly that purgation will entail and why Milton's voice needs to be purged at all I think these questions are really the subject of the entire rest of the poem.
阿波罗以一种我们可以通过，诗歌的结尾来估测的方式轻抚着弥尔顿，因为弥尔顿本身在的最后，似乎也在假定着阿波罗的权威。
Apollo had touched Milton in a way that I think we can actually measure by the end of this poem because Milton at the conclusion of Lycidas seems to have assumed the authority of Apollo.
对大部分弥尔顿时期的读者来说，押韵是，诗歌的组成部分，弥尔顿这不押韵的诗句，很可能看起来根本不是诗，它令人震惊。
For most readers in Milton's time, rhyme was actually constitutive of poetry, and Milton's lines of unrhymed verse here may well have not seemed poetry at all. It was shocking.
所以在“在庄严的音乐“和诗歌的“商场“中“,弥尔顿指出了他认为的最美妙的音乐：,天体音乐。
So in "At a Solemn Music" and in the poem "Arcades," Milton turns to what he considered to be the greatest song of all: the music of the heavenly spheres.
那时当弥尔顿要出版诗歌的时候，他就清楚自己是在19岁时写的。
Now when Milton publishes this poem, he makes it clear that it was written at age nineteen.
弥尔顿在他的全部诗歌作品中只用过一次事业这个词，我们马上就会看到，在十四行诗的第七行。
Milton will only use the word career once in his poetic oeuvre and it comes — it will come pretty soon, actually, in Sonnet Number Seven.
我认为理所当然应当假设，伽利略的形象对弥尔顿和诗歌的作用而言，有着无以言表的重要性。
I think it stands to reason to assume that this figure of Galileo is of some importance to Milton and the workings of the poem.
现在，弥尔顿明白了我们，认为诗歌暂时性混乱问题的原因所在，他比我们要明白的多。
Now, Milton understands the problems besetting; what we could think of as the poem's confused temporality; he understands this a lot better than we do.
弥尔顿纠正道-正如他纠正那种单调的枯燥感，他用诗歌的开头句进行了纠正，他还通过重写开头句来纠正那种枯燥感。
Milton corrects -- it's as if he's correcting the sense of monotony with which he had begun the poem, and he corrects that sense of monotony by rewriting that initial phrase.
瞧瞧弥尔顿的女儿们：她们为他准备好垫子和毯子，然后蹑手蹑脚地走开，以便他能创作诗歌。
Look at Milton's daughters arranging his cushions and blankets before they silently creep away, so he can create poetry.
弥尔顿对于论战的辩护似乎在某种程度上持续地，渐渐变为对诗歌的辩护，或是理所当然地变为对自己诗歌的尝试的辩护。
And Milton's defense of controversy seems in a lot of ways continually to be slipping in to something like a defense of poetry, or certainly a defense of his own poetic practice.
这里诗歌之神，科巴士·阿波罗，露面了，他责备弥尔顿，这么在意世俗的名声——下面再谈这个问题。
We have the god of poetry, Phoebus Apollo himself, who makes an appearance, and he chides Milton for being so concerned with earthly fame — more on that later.
伍尔夫劝女性读者不去理会，弥尔顿的惑众谣言的时候，发现自己处境尴尬，因为她需要附和弥尔顿的诗歌。
At the very moment that Woolf advises women readers to look past Milton's bogey, she finds herself in the peculiar position of echoing the poetry of John Milton.
在诗的第二段，弥尔顿对他父亲说：，不要轻视神圣的诗歌，诗人预示性的创作。
In the second verse paragraph, Milton tells his father: "do not despise divine poetry, creation of the prophetic bard."
为什么-这是提出问题的一种方式，为什么阿波罗没有在诗歌的最后以同样的方式，不断烦扰着弥尔顿呢？
Why doesn't — this is one way of putting the question -why doesn't Apollo harass or bother Milton at the end of Lycidas in the same way that he harasses Milton at the poem's beginning?
为什么-这是提出问题的一种方式，为什么阿波罗没有在诗歌的最后以同样的方式，不断烦扰着弥尔顿呢？
Why doesn't — this is one way of putting the question -why doesn't Apollo harass or bother Milton at the end of Lycidas in the same way that he harasses Milton at the poem's beginning?
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