Now it's not until the fourth stanza of the prelude that we can fully understand the magnitude of the strange anxieties here.

直到序曲的第四段,我们才能完全明白这种奇怪焦虑的严重性。

耶鲁公开课 - 弥尔顿课程节选

We, of course, know as we read the prelude to this poem that this is a work consumed with questions of temporal disjunction, with that problem of temporal discontinuity.

当然我们理解这首诗的序曲,这首诗里有许多暂时脱节，还有暂时的不连续的问题。

耶鲁公开课 - 弥尔顿课程节选

So let's listen to a pattern that Rossini is using here in this opera overture.

这里罗西尼在这部歌剧的序曲中用了这个模式。

耶鲁公开课 - 聆听音乐课程节选

In alluding to the prophet Isaiah in the prelude, Milton suggested that the iniquity of his lips had to be purged off -- burned off, with the live coal supplied by one of the seraphim.

弥尔顿在序曲中提到预言家艾赛亚，就是要表示他唇齿的邪恶,应该被净化，被其中一个，六翼天使用炭火烧掉。

耶鲁公开课 - 弥尔顿课程节选

No.He just keeps that same E-flat chord for about six minutes at the beginning of the Overture to Rheingold, and on the basis of that you know there's going to be a very long opera.

没有莱茵的黄金序曲的前6分钟全部是E大调和弦，由此可见这是一部非常长的歌剧。

耶鲁公开课 - 聆听音乐课程节选