-
He says this verse. It speaks a lot about the sublimeness and glory of God, just how truly great he is.
他就说的这句诗，这句诗是赞美上帝的,崇高与光荣的，赞扬他有多么伟大。
-
The only fingers with which he'll be able to hold his pen and write this poem are his forced fingers rude.
他能用来执笔写诗的手指,是他粗鲁的手指。
-
The other character that's mentioned in the poem is the boy's father, whose trees they are, the property owner, who also is absent.
这首诗里提到的其他人是他的爸爸，这些树就是他爸爸的，这些财产的拥有者，但也没有出现。
-
And, I mean, I wouldn't just give it to him because he wrote a sonnet.
我不会只把周期表和十四行诗对应,因为他写的是十四行诗。
-
In almost every poem Walt Whitman wrote he seems to be fashioning himself, if not the whole of this American people, which sometimes he did call an American race, as a new Adam.
在沃尔特·惠特曼所写的的几乎每首诗中,他似乎都是在标榜自己,如果不是标榜美国人民的话,但他确实有时将美利坚民族,称为一个新的亚当
-
He also mentioned a poemby Rudyard Kipling called If. I didn't recognize what he was referring to immediately but I looked it up and it's a famous poem that you must have seen written in 1910 an inspirational poem.
他同时也提到了拉迪亚德？吉卜林的一首诗歌,名字叫做《如果》，我当时并没有迅速反应出,他到底指的是哪首诗，但是之后我查了一下发现,它是一首你肯定见过的著名的诗歌,写于1910年，一首启发性的诗。
-
In the eighteenth century, a poet named Mark Akenside wrote a long poem called The Pleasures of the Imagination, and in this poem there is the line "The great creator raised his plastic arm."
在十八世纪，一位名叫马克？阿肯赛德的诗人写了一首长诗,叫《想象的快乐》,诗中有一句是,伟大的造物主举起了他的plastic的手臂“
-
Could Milton actually have believed that poetic success was in some way contingent on what it is that you do, or what it is you don't do, with your body?
他真的信,诗的成功是某种程度上取决于你对你的身体，做了什么或没做什么吗？
-
Milton wants to create the illusion that he's predicting, or that he's prophesying, the actions recounted in the poem, as if Milton were prophesying what of course we know to be already past.
弥尔顿想给我们一种他在预言，诗中所叙之事的感觉，似乎他是在预言这些我们都知道已经发生了的事情。
-
Lycidas' death -- remember this is the poem that Milton didn't want to write, he was "forc'd" to write it -Lycidas' death allows the uncouth swain to grow up and to move on.
利西达斯的死-记住这是一首,弥尔顿并不想完成的诗，他是被迫的,使得这个粗鄙的年轻人能够成长并继续前进。
-
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。
-
It's this line, "And with forc'd fingers rude" - this is called a broken line or a half-line, and this broken line has been read, I think, rightly as Milton's indication to his reader that he's not even up to the task of writing a sonnet at this point.
是这句，“我不得已伸出我这粗鲁的手指“,-这叫做断裂句，或者半句，将这句理解为,弥尔顿向读者暗示他此时甚至,还不能写好十四行诗是正确的。
-
The poem never questions that, and it's ridiculous to lay his death at the church's door.
这是诗从未对此质疑过，并且把他的死归罪于教会也是十分荒唐的。
-
And so when the figure of Orpheus appears in this poem, it's the second half of the Orpheus story that Milton is forced to tell.
因此当俄耳甫斯的形象出现在这首诗中时，弥尔顿要讲的是他生平的后一段。
-
On Monday I stressed that poetry was, for Frost, always a mode of work, and that work was for him a model of poetic activity.
星期一我强调过诗歌对弗罗斯特来说，是工作的一种形式，这种工作对他来说是一种诗般的运动。
-
When Milton opens Lycidas with that phrase, "Yet once more," one of the things that he's telling the reader is that ; yet once more he'll be making the same argument for unreadiness; the same argument for nervous anticipation that he'd made a number of times before.
当弥尔顿用那句“然而再一次的“开始的篇章时“,他要告诉读者的是,他会再一次的对诗中的迟疑作出相同的论述;,和他之前无数次作出的,关于不安的预知的，一成不变的论述。
-
Back out of all this now too much for us, Back in a time made simple by the loss Of detail, burned, dissolved, and broken off Like graveyard marble sculpture in the weather, There is a house that is no more a house... And that is where he's going to take us in the poem.
回到那时对我们来说太沉重了，那个时代是由细节的遗失组成的,烧毁的，不见得，和被破坏的,像这样的天气，墓地里的大理石雕像，这是一个不再是房子的房子。,这就是诗里他要带我们去的地方。
-
This is Virgil: "He should sing thin - spun lays and he should be content feeding his fat sheep."
这是维吉尔的诗：“他哀唱着纤细的抒情诗“,“喂着肥硕的羊儿，他无比满足“
-
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.
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。
-
And I'm trying to suggest that Milton's composition of this poem is actually doing something for him, that it gets him somewhere, and that it's functional in a genuine sense.
我试图设想弥尔顿的这首诗,实际上是在为他做一些事情，使他，能够真正的发挥某些作用。
-
He's actually claiming that this poem had been prophetic, that Lycidas foretold the ruin of the clergy.
他实际上是在声称这首诗是先知的，它已然预示了教会崩溃的必然。
-
Instead, what's difficult in Crane is a kind of compression in his writing.
实际上，克莱恩的诗难读的原因,是在于他的作品中过分简要的阐述。
-
He says in the middle of the poem on page 225: First there's the children's house of make-believe, Some shattered dishes underneath a pine, The playthings in the playhouse of the children.
他在225页这首诗的中间说到：,首先是假扮的孩子们的房间，松树下的一碟碟食物，那些玩具室里孩子们的玩具。
-
Yeats explores that experience, which is an experience of suffering here and of violation, through a series of rhetorical questions, which are a crucial poetic device for Yeats.
叶芝探索了这种感受，这里这是一种痛苦,一种暴力，表现为一系列隐喻的问题，这是他写诗的一种手法。
-
Bitter constraint, and sad occasion dear, Compels me to disturb your season due: For Lycidas is dead, dead ere his prime... Milton is lamenting, once again, that Milton has been compelled to begin writing.
因为亲友的惨遇，痛苦的重压，迫使我前来扰乱你正茂的年华：,利西达斯死了，死于峥嵘岁月。,弥尔顿再一次哀叹道，他是不得以写这首诗的。
-
Now in the first original poem that Milton wrote in English, titled "At a Vacation Exercise," Milton and you will come to recognize this as so unbelievably Miltonic Milton doesn't write about love or about death or about any of the subjects that typically engage the youngest practitioners of poetry.
现在，在弥尔顿的英语诗歌中，第一首原创诗的名字叫做假日练习,弥尔顿和你们都将认为这是难以置信的弥尔顿风格的诗,他没有写爱或死亡,或者任何,常常吸引年轻诗歌创作者的主题。
-
In the poem that we looked at last time that was the poem Ad Patrem that Milton had addressed to his father Milton was attempting, as you remember, to justify to his father his own interest in becoming a poet.
上节课我们读的诗《Ad，Patrem》,是弥尔顿写给他父亲的,正如你们所记得的，弥尔顿正尝试着向父亲证明自己成为诗人的潜力。
应用推荐