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Langston Hughes's poetry comes out of this experience in a community of black intellectuals and artists it created specifically in Harlem.
休斯的诗歌灵感来源于他曾经在一个,有着大量黑人知识分子和艺术家的社区的居住经验,在哈莱姆居住时的影响尤为明显。
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The decay of Christian belief and practice is not a loss but rather an opportunity for poetry, in Crane.
基督教信仰和践行的衰败,在克莱恩看来，并不是损失，反而是诗歌新生的机会。
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This is actually a recurrent figure in the early poems, isn't it wonderful that there's a term for being turned to marble?
这事实上是在早期诗歌多次出现的一个形象，有一个术语形容变成石头，是不是很美妙？
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Poetry is constantly getting itself in trouble in all sorts of ways-- on page 768, for example.
诗歌不断给自己制造麻烦-,比如在课本768页。
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The fount of poetic inspiration is not to be found in an archive.
诗歌灵感的源泉并不在档案馆里。
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In many passages too Yahweh is represented as presiding over a counsel of gods. Certainly in the Psalms we have these sort of poetic and metaphoric descriptions where God is, "Okay guys, what do you think?" presiding--or he's one of them, actually.
在很多文章里，耶和华,统领着整个神界的法律，在《诗篇》中,我们能看到这种类型的诗歌或隐喻，上帝会是这样的：,“嘿伙计们，感觉怎么样？“，甚至和众神打成一片。
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In Yeats people are always particulars who are fitted to types which are new versions of old identities that travel across time.
在他的诗歌里人总是特定的,某些类型，是穿越时间的,古老人物的现代化身。
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In fact, Yeats sees his poems as a kind of summoning of spirits or evocation of spirits, as he refers to it.
实际上，叶芝认为他的诗歌,如他所说在召集传唤灵魂。
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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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The thematic problems that Milton is attempting to tackle are written into the very grammar and the syntax of the poem.
弥尔顿想要处理的主题,就在诗歌的语法和句子结构里边。
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That this great mind and great memory Let's see. On your handout I have Yeats on the subject of magic.
这一伟大的思想和记忆,在你们的讲义材料上,我提到了叶芝诗歌中的魔法。
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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“
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At a very early age, Milton brooded on his poetic vocation as if it were an actual calling from God.
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。
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Beside this one of many tools in Frost, I asked you to pay attention to tools in his poetry as you read it over the weekend.
除了找一个弗罗斯特的工具，我想让你们注意到他诗中的工具,在你们读这周的诗歌时。
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The divine enters the human in these poems of Yeats's through the bestial.
当圣降临于人,在叶芝诗歌里,圣以兽之形式降临于人。
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Milton wants to arrive in Bethlehem to hand Christ his poem before the wise men are able to bring their gold and their frankincense and their myrrh.
他想到达伯利恒把他的诗歌亲手交给基督,在术士们拿走他们的黄金,乳香精油和没药树之前。
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That is to say, we're going to focus on the question of what a poem is, and the question "What criteria should we invoke in order to read it for the best and correctly?"
换句话说，我们将把注意力集中在,“什么是诗歌“,和“为了读懂诗歌,我们需要具备哪些素质“的问题上“
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The special sound of Frost's poems result from the tensions between these pairs of opposing forces as they are embodied in his language.
这种诗歌的特别声音来自这种紧张,这种反抗力量之间的紧张,都在他的诗歌中得到体现。
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All Milton has at the beginning of his poetic career is the promise of greatness, the anticipation of a luminous body of English poetry.
弥尔顿在诗歌生涯开始的时候只有,上帝传达给他必将伟大的希望，和必将成为英语诗人中最耀眼的人物的预期。
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This tactile mastery attests to something remarkable that's happened over the course of the poem, somewhere below the surface of the poem, somewhere between the lines.
这种触觉的掌控证明了一些发生在诗歌里的意义非凡的事情,这些事情贯穿诗歌的整体，暗藏在诗歌的表面之下，深埋在字里行间。
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Alpheus is also the god of erotic pastoral poetry, it turns out, and this god is literally gone underground during the terrifying appearance of Saint Peter.
阿尔甫斯也是描写爱欲的诗歌之神，从诗句上来看，这位神灵在圣彼得面前,悄无声息的隐匿了踪影。
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The poets we'll be reading--well, they knew about science, music, politics, economics, and they presumed to talk about those things, in their poetry and out of their poetry too.
我们将要阅读的诗歌，涉及到科学，音乐，政治，经济，并且作者也认为，不论在诗歌内外，我们都将谈及这些话题。
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There's a good selection from Thomas in your anthology.
在你们的诗集中有精选的托马斯诗歌。
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It's characterized by a kind of high formal bearing It has a careful decorum, a kind of high sheen, especially this early poetry.
它的特点是一种很正式的风格,它很端庄，散发着一种光辉,尤其是在他的早期诗歌里。
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Consider that even this early on in his career, Milton is harboring epic ambitions, as we've seen.
弥尔顿在事业的早期，就拥有我们看到的诗歌抱负。
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Now this passage that we're looking at, the passage from the Apology, has been written, well, after all of the poems that we're reading for today.
现在我们看的来自《致歉》的文章，已经被写入了，在今天我们读了所有的诗歌后。
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don't you doubt me there. I want to be a poet for all sorts and kinds.
不要在这点上怀疑我，我希望能写所有人都能接受的诗歌。
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The popular, old-fashioned Frost and the elite, modern Frost--these roles point to a division in the audiences for poetry that emerges clearly in this period.
这个大受欢迎，旧式的弗罗斯特和那个高雅的，现代的弗罗斯特，这些角色指出了观众的分化,因为诗歌在这个阶段表现的是那个。
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Orpheus devotes himself to his beautiful poetry, and he keeps himself sexually abstinent.
俄耳甫斯致力于写优美的诗歌，在性方面保持节制。
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To work in Frost is to use a tool.
读他的诗歌就是在使用一种工具。
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