At the very end of the poem, the uncouth swain "rose, and twitch't his Mantle blue: tomorrow to fresh Woods and Pastures new."

在诗歌的最后，这个粗鄙的年轻人吟唱到,“慢慢上升，挥动了他蔚蓝色的丝巾“,向崭新的牧场和森林眺望明天“

耶鲁公开课 - 弥尔顿课程节选

Then he could tell us the mournful lay that the uncouth swain sang, and then he could say, "Thus sang the uncouth swain."

然后他可以告诉我们这个年轻吟唱的哀悼诗，然后说，“粗鄙的青年人吟唱着“

耶鲁公开课 - 弥尔顿课程节选

This is Yeats in costume, costumed as a figure from Irish myth, as an ancient bard, mad King Goll, which is the furthest thing from a modern poet.

穿着奇装异服的叶芝，打扮成爱尔兰传说中的人物，过去的吟唱诗人，疯癫的郭尔王，他与这位现代诗人相隔甚远。

耶鲁公开课 - 现代诗歌课程节选

Thus sang" -- these five words: "Thus sang the uncouth swain."

粗鄙的青年人向橡树和溪流吟唱着“

耶鲁公开课 - 弥尔顿课程节选

This is the first moment, right now, "thus sang the uncouth swain."

这是第一次，“粗鄙的青年人吟唱着“

耶鲁公开课 - 弥尔顿课程节选

It's a late Victorian image of an archaic singer rendered in the melodramatic manner of Pre-Raphaelite art and thoroughly removed from the aesthetic values of modernism, such as naturalism, formal clarity, emotional restraint and so on.

这是维多利亚时代晚期古代吟唱诗人的肖像,用戏剧化的前拉斐尔派,风格表现，完全摒弃了,现代主义的审美观，比如自然主义，形式明确，感情自制等等。

耶鲁公开课 - 现代诗歌课程节选

Everything that we had thought that Milton was telling us in the lyric present -- telling us directly, now -- suddenly gets shoved back into the narrative past: "thus sang the uncouth swain." The past tense is important there.

我们想过的弥尔顿在这首抒情诗里,直接告诉我们的所有事，现在，都突然在过去的旁白中一涌而现了：,“吟唱着粗鄙的青年人“，这里的过去时态很重要。

耶鲁公开课 - 弥尔顿课程节选