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Milton seemed to have decided against marriage as he was making the decision to wed himself to his poetry instead.
那里弥尔顿似乎已经决定不结婚了,因为他已经下定决心要致力于诗歌创作。
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He doesn't even give Homer the credit of being singular in having composed The Iliad. "They" -- who's "they"?
他甚至都没有给荷马创作《伊利亚特》中的非凡才能,以应有的名分，“他们“--谁是“他们“？
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But frankly, I'm convinced, insofar as I'm convinced of anything, that if one doesn't live by that, nothing of any interest is going to happen.
不过，坦率来讲，我相信，或者说，我确信，如果一个人不相信这一点，那么他的艺术创作只会平淡无奇。
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To give a text an Author is to impose a limit on that text, to furnish it with a final signified, to close the writing.
在创作的时候，作者会给文章加上个限制，他最后会给出一个象征意义来结束写作。
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Yeats is obviously writing in the context of an Irish civil war, but it's also the case that he's writing in the shadow of the First World War as well.
叶芝显然是在爱尔兰国内战争时期进行创作的，但是同时他也是在,一战的阴影下写的。
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He heard a string quartet by a man named Cambini.
他听到一首由坎姆比尼创作的弦乐四重奏
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Read Thoreau's Walden. What's Thoreau up to?
读下梭罗的《瓦尔登》他的创作意图是什么
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Wouldn't a later writer have cleaned up this ancestral record if this were in fact something composed at a later period? Also, he notes that the representation of inter-ethnic relationships in the patriarchal stories does not accord with the reality of a later period.
后世的作者难道不会把祖先不光彩的记录抹去吗,如果事实上这故事是后来创作的话？同时，他还提出，宗族故事中所展示的种族间关系,与后世的现实是不相一致的。
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That's not what Welles wanted He wanted to examine the myth of the past, even the rest of being a little nostalgic about the whole stuff, and to build the work of art, so we can live with that.
这不是威尔斯想要做的,他想检验过去之谜，甚至对这一切,和创作艺术作品，有一点怀念,所以我们可以生活在他的艺术里。
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Milton's taking pains here, and he does this with very few other poems, to let us know precisely when it is that he's written it.
弥尔顿在这里极力想让我们，知道他确切的创作时间。
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He claims to be studying and learning rather than producing right now; and there's a problem with just studying and learning, and it's a problem that Milton can't avoid.
他坚持学习而不是创作;,但这种单纯地学习存在一个问题，这是个弥尔顿无法回避的问题。
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And how can Milton have anything to show for his talent until he has -- this is the logic - until he has patiently waited for God to inspire him to write?
弥尔顿怎样才能证明自己有才除非,他有作品面世--就是这个逻辑,-直到他耐心地等待上帝指示去创作？
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Now not only does Phoebus Apollo make a sudden appearance, but he seems actually to interrupt the speaker of the poem in order to correct him.
不仅是他的登场让人措手不及，他似乎也打断了诗歌创作者的叙述,以此来对他进行纠正。
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Barthes, while writing this--he's writing what has perhaps in retrospect seemed to be his most important book, it's called S/Z.
巴特在创作这篇文章的时候,根据他的回忆这应该是他最重要的一本书，名叫《S\Z》
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In Crane, in his great poem The Bridge- and here's another photo by Evans, this time of Crane on the rooftop of the apartment building in Brooklyn, 110 Columbia Heights where he lived and where he began the poem, with the bridge in the background.
在克莱恩杰出的诗篇《桥》里-,这里还有埃文斯拍的另一张照片，这次克莱恩站在他位于布鲁克林区，哥伦比亚高地,公寓楼的屋顶上,他就是在此开始创作诗篇，背后是布鲁克林大桥。
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Now shortly after Milton composed the sonnet "How soon hath Time," he wrote a letter to a friend in which he enclosed this poem, the sonnet.
在他创作“时间过得真快“后不久“,他给朋友写了封信，把这首十四行诗也附了进去。
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So Milton implies to Diodati that he isn't yet up to the task of epic, but as he describes the Nativity Ode that he's just written, it's almost as if he considers it something of a mini-epic.
所以弥尔顿暗示迪奥达蒂自己还不能完成创作史诗的任务，但他提到了他刚写完的《圣诞清晨歌》,好像这就是一篇迷你史诗。
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He isn't yet able or he hasn't yet produced epic speech.
他还不能或没有创作出什么史诗语言。
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All right. Now de Man's early career was influenced -I'm not speaking of the very early career in which he wrote these articles, but the early career involving the essays which were collected in his first book, Blindness and Insight.
好了，德曼的早期事业被影响到了,我不是指最早的时期,他写这些文章的时期,而是指收集在他在创作第一本书里的论文的这个事业早期，他的第一本书叫，《盲点与洞见》
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It's not until Book Three of Paradise Lost that the poet explicitly reveals to us, to his readers, the fact of the physical handicap that might reasonably be thought to render impossible his composition of the poem.
直到失乐园第三卷,诗人才明确告诉读者们，自己失明的事实,这可能被合理的认为是他无法完成诗歌创作的原因。
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It's the last movement that he was working on, but he has a student there, Franz Xaver Suessmayr, and Suessmayr was given instructions and probably sketch pages as to how to finish this.
这是他创作的最后一个乐章,但是莫扎特有一个学生,弗朗兹·克萨韦尔·苏斯迈尔,苏斯迈尔得到了指示,或许还有草稿,把它完成了
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Now, Ludwig van Beethoven was in his fifties when he was working on his last symphony-- what would prove to be his last symphony-- his Ninth Symphony, and he'd been tinkering with this particular melody all the way back to probably 1803, so it's about twenty years or so.
路德维希·凡·贝多芬在五十多岁时,创作了他最后一首交响乐,后来成为他最后的交响曲,就是他的第九交响曲,他一直在锤炼这段旋律,也许要追溯到一八零三年,所以大概经历了二十个年头
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How can Milton know that he was really and truly called by God to be a great poet until he writes something - it's not a bad question - until he has something actually to show for his talent?
弥尔顿怎么知道他是不是真的被,上帝选中了去做一个伟大的诗人,除非他真的创作出点儿什么--这是一个不坏的问题,-直到他真有可以证明自己才能的作品？
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He kept himself solitary and chaste. He devoted himself to poetry.
他过着孤独朴素的生活，致力于诗歌创作。
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It's just this double bind of vocation that's the subject of Sonnet VII, "How soon hath Time." That's the sonnet in which Milton laments the fact that he has turned twenty-three years old and has yet produced nothing that would indicate a shining poetic future.
第七篇十四行诗的主题就是这种职业窘境，“时间过得多快啊，“弥尔顿在这首诗里表达了,对自己都快23岁却没创作出什么,可以显示出他卓越天赋的诗的哀伤。
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Composed 1629" -- whether or not that's actually true, and there's some controversy about that -- but nonetheless, the subtitle announces to all who know John Milton that the poet was twenty-one years old at the moment of its composition and that he had therefore just reached his majority.
作于1629“-不管它是否属实，尽管对此也有一些争议，但它向所有知道他的人宣告,诗人创作这首诗时只有21岁,因此他已经超过了多数同龄人。
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We want to be more--a bit more sophisticated than that, if you will, and use other terms, so we'll talk generally about Beethoven's composition or Beethoven's piece or Beethoven's work or his master work or chef d'oeuvre or however fancy you want to get with it.
我们想用些更精确的词藻,用其他措辞表现,我们一般会说贝多芬的音乐创作,或贝多芬的乐章,贝多芬的乐曲,他的杰作,或名曲,或是任何你想到的花哨词汇称呼它
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Let's listen to an erhu play a melody by a traditional Chinese composer— we call him in English "Abbing" and you can read about him there in your textbook.
让我们听听一段二胡旋律吧,它由一位中国早年的作曲家创作,英语中我们称呼他Abbing,当然,课本上有他相关的信息
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He had a role in pushing Yeats in the direction in which he went.
他在叶芝创作方向上改变,起了一定作用。
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And that is, in fact, one of the important points of departure for this poem.
其实这就是，这也是他诗歌创作的一种尝试。
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