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The problems that Frost's poetry poses for us as readers are not problems of reference. They can't be solved by footnotes.
他的诗歌给我们的困难,不是参考的问题，它们不能就用脚注解决。
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Milton has wrenched this poem away from Christianity, and he's forced it into a direction that we could loosely call paganism.
弥尔顿的诗歌偏离了基督教，走了我们可以不严谨的称为异教的方向。
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Book publication can be just as interesting and it can tell us just as much about modern poetry as magazines.
图书出版是很有意思的，而且也能像杂志本身那样,告诉我们很多关于现代诗歌的事情。
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We are not talking about the cure for cancer, but it does have it within it to help us make sense of things.
虽然诗歌不能治愈癌症,但它确实能够帮助我们理解事物。
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Whereas we all know that the universe is of a certain kind-- -- we can't even call it Copernican anymore-- poetry has this odd preference for Ptolemaic astronomy.
虽然我们都知道宇宙是怎样的-,现在即使哥白尼的理论也不完全正确了-,但是诗歌偏爱托勒密的宇宙观。
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Well, let me turn to another aspect of the story of Homer and how the poems play into Greek society.
接着让我们转向荷马史诗的另一方面,看看诗歌是如何融入希腊社会的
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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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One of these sites is the ... Right now we're doing poetry. and it mentions about the arts and the music of Japan. It inspired me to use Haiku as the focus of poetry unit.
其中有一个是……,现在我们正在学习诗歌,它提到了日本的艺术和音乐,这启发我把俳句作为诗歌单元的重点。
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She subjects them to that posture of absolute paralysis that we've seen represented in a number of the early poems.
她使他们处于绝对麻痹的姿势,我们在很多早期的诗歌也能看到这一情景。
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Poetry is, in Frost, an encounter between fact and desire: what we want and what is.
诗歌，对弗罗斯特来说，是一种事实和渴望的相遇：,我们想要的和它本身。
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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。
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And I think it's possible to see that one of the purposes of this poem is precisely to correct that situation.
我们可以看到他这首诗歌的目的之一,就是去改变现状。
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The poems that matter the most to us today are those that he starts publishing around 1915, or 1914, and later.
他的对我们影响最大的诗,还是那些约于1915年后，或1914年后出版的诗歌。
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Yeats spoke of the poem as a mad song, maybe not a kind of mad song we would--it's not what we would think of as a mad song, necessarily.
叶芝说这是首狂诗歌，也许不是我们所讲的狂诗歌,不一定是我们所认为的狂诗歌。
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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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We know very well, by the way, that there are scientists who simply cannot stand to read poetry because it's false, right?
我们清楚的知道，有些科学家,不能忍受诗歌因为他们认为诗歌是伪造的？
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So, we need to take a look at the question of what they are, and how we know about them, and so on.
那么,我们得了解什么是诗歌,如何学习研究诗歌,等等
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The similes enable us to see something about the story that the rest of the poem doesn't enable us to see.
这些明喻使得我们能够深入了解一些,诗歌的剩余部分所不能让我们预见的事情。
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It's interesting that Milton certainly begins this headnote with suggesting directly to us that it's Milton speaking and not a fictional uncouth swain.
弥尔顿在开头就清楚明了的告诉我们,在吟诵诗歌的人是他，而不是某个粗鄙的年轻人,这非常有意思。
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We have a strained image of the composition of the poem at its very outset and we have an image of someone writing as if he were participating in a race.
如果一开始我们就对诗歌的创作有一种不友善的印象,那么我们就会对诗人有一种印象,就好像他正在参加一场竞赛。
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You could think of this as the poem's first -- by no means its last - its first act of poetic disobedience.
我们可以把这当做这首诗第一次--绝不可能是最后一次,-这首诗第一次违背诗歌规律。
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Modern poetry, as we study it in this class and, I think, as you see it in this anthology, is an international phenomenon.
我们课上学习的现代诗歌，你们在诗集中可以看到，我认为是一个国际现象。
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So the first question is, how do we understand the slippage here and more generally, what could poetry possibly have to do with virginity?
所以第一个问题是，我们怎么理解,更普遍来说，诗歌怎么能和童贞有关联？
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Apollo had touched Milton in a way that I think we can actually measure by the end of this poem because Milton at the conclusion of Lycidas seems to have assumed the authority of Apollo.
阿波罗以一种我们可以通过,诗歌的结尾来估测的方式轻抚着弥尔顿,因为弥尔顿本身在的最后,似乎也在假定着阿波罗的权威。
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You can think about Crane's images of the Brooklyn Bridge in this course that abandoned woodpile that some worker has left in the poem called "The Woodpile."
你可以想一想,在我们课程中，克兰诗中的布鲁克林大桥,那被抛弃的木柴堆,在诗歌“柴垛“中一些工人放弃的柴垛“
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The Lady, the Lady in Milton's mask, was stuck to her seat in the presence of the Shakespearian magician Comus, and Milton himself had claimed in the poem "On Shakespeare" that Shakespeare "dost make us Marble with too much conceiving."
这位戴着弥尔顿面具的女士，被卡在了莎士比亚塑造的酒宴之神,所处的位置上，弥尔顿在诗歌“论莎士比亚“中声称“,莎士比亚用太多设想出的东西是我们麻痹“
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Now, we mentioned how important the poems are.
现在,我们知道了诗歌的重要性
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It's juicy evidence that provides for Milton's intense fondness for - we might even think of it as a passion for - this earlier English poet.
它用大量的证据表明了弥尔顿,-我们可以视其为一种激情,对于早期英文诗歌的热爱。
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Verse in which there is nothing but the beat of the metre furnished by the accents of the polysyllabic words we call doggerel. Verse is not that.
诗句中没有其他的东西,只有节奏,这节奏是由多音节的词造成的,我们叫打油诗，诗歌不是这个。
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The elegiac tone of this final section of the poem should give us some clues to the type of victory over paganism that Christ's birth is actually heralding here.
诗歌最后一部分采用挽歌的口吻意在,告诉我们打败异教后的成功,预示着基督即将诞生。
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