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What I want to stress now is that Yeats sees passion at work in the same way in history.
我现在要强调的是,叶芝在工作中感到了激情,就如他在历史中感受到的一样。
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Yeats insists that the heart is an organ of the body, and located in it. This is important.
叶芝相信心灵是身体的器官，置于心灵中，这很重要。
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I realize that I'm out of time, and so I'll begin the next lecture by talking about a poem of Yeats called "Lapis Lazuli" written in 1935, in which he talks about the way in which people who build up things that have been destroyed are always "gay."
好像时间差不多了，那么下节课一开始，我们就来,一起讨论叶芝的一首诗，名为《青金石》写于1935年，在这首诗中，叶芝写了那些重建家园,的人们，他们一直很快乐“
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Yeats is always creating himself in his poems and creating himself as a kind of version of a type.
叶芝总是在他的诗歌中以一种,特定类型的变体来创造自己。
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Listen to how quickly Yeats modulates from one feeling, one image, to another in these really very short, quick, three-beat lines.
听一听叶芝是怎么快速地,从一种情绪，一个情景中，转换到另一个里去的,就在这些三音韵的短诗句中。
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Finally, he destroys his harp, in the scene represented by Yeats's father's portrait.
最后他毁掉了自己的竖琴,叶芝父亲画中表现的就是这一幕。
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Pearse is seen as, in Yeats's poetry and in popular lore, as Cuchulain, as a kind of avatar of the mythic Irish hero.
在叶芝的诗里皮尔斯被看作是，民间传说中，的英雄王库丘林，是爱尔兰神话里下凡的天神。
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In effect, in that middle part of the poem, Yeats collapses creation and destruction, suggesting that the same bestial energy flows through both of these acts.
事实上，在此诗中间部分，叶芝于创造与毁灭中徘徊，暗喻，此间也贯穿着兽性的力量。
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And you can hear them together, Yeats moving from one to another with, oh, incredible speed and agility in that final strophe of the poem, on the next page.
而你可以听出所有，在诗的第三节中，叶芝转换得很快,很敏捷，翻到下一页。
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Yeats is a poet who asks questions.
叶芝在诗中问问题。
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There's an aggression towards the urban crowd here that recalls and exaggerates Yeats's attitude at the same time, really in the same years, in poems like "A Coat" or "The Fisherman."
对城市群众有一种侵略,同时重新想起并夸大了叶芝的态度，真的是在同一年，在诗中像是“一件外套“或是“渔夫“
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One consequence of this view is that for Yeats history starts to look like a poem, or it starts to conform to laws of poetic imagination or of tragedy, if you like, of myth.
这导致了,叶芝的历史观诗化了，或说是符合悲剧中,诗意想象的规律了，也可以说，神秘主义了。
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You could look at a similar attitude in "A Prayer for My Daughter," another important big Yeats poem from slightly earlier, where Yeats says, "An intellectual hatred is the worst, so "that opinions are accursed."
在为我的女儿祈祷中,叶芝表达了相似的态度,这首诗稍早，也很重要，叶芝在诗里说，理智的仇恨为害最甚,把观念视为可憎“
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This is, I think, how we need to understand the various occult symbols in another great poem from this phase in his career, a little bit further on, "The Second Coming," on page 111.
我想这就是，我们去理解叶芝同时期另一首,伟大诗歌中神秘意象的方法，以更深刻地理解它，《第二次降临》在111页。
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