Milton wants to write an epic that in some ways comes before, or prevents, the great epics of Homer and Virgil.
弥尔顿想写一首在某种程度上先于,荷马和维吉尔伟大史诗的史诗。
So the structure of this poem is unquestionably Virgilian, but the sentiments that are voiced in this poem are unquestionably Miltonic, and we will recognize them.
因此这首诗的结构毫无疑问是维吉尔式的,但抒发的感情毫无疑问,是弥尔顿式的,这能看的出来。
The language of Homer and of Virgil and of Pindar and of Ovid had become an inextricable part of his literary imagination and of his consciousness in general.
荷马,维吉尔,品达尔和奥维德的语言,成为弥尔顿文学想象还有文学觉悟中,无法摆脱的一部分。
Like Homer and like Virgil, Milton intends to soar above the wheeling poles of the visible world and describe the otherwise invisible comings and goings of the gods.
像荷马和维吉尔那样,弥尔顿想屹立于现实世界之上,去描绘无形世界中上帝的来来往往。
The Virgilian echo gives this passage in Milton an unmistakable pathos and an undeniable beauty.
这个维吉尔式的共鸣在弥尔顿而言,传递了一种一目了然的悲怆和不可否认的绝美。
or nymphs and satyrs than you or I know and later urban poets - and Theocritus was an urban poet -later urban poets like Virgil or Milton knew even less than Theocritus, we have to assume.
的森林之神),忒奥克里托斯知道的不比你我或是后来的,都市诗人多--忒奥克里托斯就是个都市诗人,-后来的都市诗人像维吉尔和弥尔顿,我们得假定,对这些知道的就比忒奥克里托斯还少了。
Virgil had written a poem in the Sixth Eclogue that had touched Milton, and it had touched Milton, I think, because it begins with Virgil's own brooding meditation on the course of his poetic career.
维吉尔在里的一首诗触动了弥尔顿,之所以这首诗能够触动他,是因为那首诗是以维吉尔本身关于诗歌职业的,忧伤的沉思,开篇的。
As presumptuous as that desire is, to come before Homer or to come before Virgil, it's by no means the final sense, I think, of Milton's ambitious drive to be first. Milton invokes the same heavenly muse here who inspired Moses, that shepherd.
尽管想要先于荷马或维吉尔的雄心,很冒失,这却绝不是弥尔顿想要做第一,的壮志的终点,他在这里所写的,缪斯正是那个启示了牧羊人摩西的缪斯。
All of this anxiety, and when you think of it, all of this shame as well as the shame of ambition -all of this gets packed into this allusion to Virgil that Milton brings to this very disturbing moment in Lycidas.
当你定下心来思考,所有这些忧虑,羞愧,等同于野心所带来的羞愧,所有这些都被整合进维吉尔的幻想里,而这又被弥尔顿写进了这令人困扰的一段里。
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