When we consider the particular circumstances that occasioned the poem Lycidas, we can see why Milton, I think, chose this pastoral form.
当我们把引发的创作的,特有的情况考虑进去,我们可以发现弥尔顿选择这种田园诗派的原因。
The pastoral elegy is clearly one of the most stylized and most self-consciously artificial of all of the poetic genres.
田园挽歌明显是所有诗歌类型中,最程式化,最具人工雕琢痕迹的诗种之一。
Their New England, importantly, is not an ideal, pastoral place.
他们的新英格兰,非常重要,不是一个理想的田园的地方。
Let's turn to a piece of Beethoven now, his Symphony number Six, the Pastoral Symphony.
让我们现在来听一点贝多芬,他的第六交响曲,田园交响曲。
So, so far the American landscape is already a work of art, already part of a European memory. Then something else happens: "But gradually the models of those elementary rusticities became stranger and stranger to the eye, the nearer I came to know them.
至此关于美国景色的回忆已经是一件艺术品了,已经包含一部分欧洲记忆,之后发生了一些事:,然而渐渐地,我越熟悉那些田园风光的基本模式,越看它们越觉得陌生。
He's starting to champ at the bit. He's ready to write an epic poem on much more important subjects than shepherds and shepherdesses.
他已经迫不及待地想要写一首史诗,写一些比田园牧羊生活更为重要的题材。
It's at this point in the pastoral elegy - the conventional, stereotypical pastoral elegy - that the poet-shepherd sings a mournful song.
在田园挽歌中,-传统的,老套路的田园挽歌中,-牧羊人诗人就在此时唱起哀悼的歌。
Now the most distinguishing feature of Milton's elegy is the fact that it's a pastoral elegy.
弥尔顿这首悼亡诗最显著的特点是,它是一首田园挽歌。
Now in Virgil's early poem, the Sixth Eclogue, the speaker explains that the writing of pastoral poetry is the stuff that young poets do.
在维吉尔早期的诗篇里,诗人解释道,田园诗歌的创作是年轻诗人的必经之路。
Apollo warns Virgil that a pastoral poet simply shouldn't overstep his bounds.
阿波罗警告维吉尔,作为一个田园诗人,不要妄想着逾越他的界限。
So I'm spending a little extra time on the Pastoral Symphony here.
所以我准备多花一点时间来说说田园交响曲。
The very mention of Saint Peter naturally violates the classical, pastoral fiction of the poem.
对圣彼得的提及自然而然触犯了,这首诗的田园古典的基调。
It's almost as if the entire point of a pastoral is that it is set in a world that neither the urbane poet nor the urbane reader has actually any real experience with.
似乎田园诗的全部意义就在于它的背景设在田园,而不管是都市诗人还是都市读者,都没有任何实际的田园经历。
The poet of a pastoral elegy usually represents himself as a shepherd, a shepherd mourning the death of a fellow shepherd, and he often explains that the death of his shepherd friend is exerting a magical effect on the entire natural world.
田园挽歌诗人通常把自己写成一个牧羊人,哀悼自己的同伴的逝去,这个牧羊人常常描绘自己同伴的死,使整个自然界为之动容。
What good is it -- you'll remember -- what good is it, Milton asks, ; "to tend the homely slighted shepherd's trade"; that's, of course, the vocation of poetry if that shepherd-poet is just going to be struck down in his prime as Edward King had been?
大家可以看到,弥尔顿在这里发出了疑问,“进行平凡微不足道的诗歌创作“,又有何益;,当然,就田园诗人而言,诗歌的天命,是否在于如同爱德华金一般的英年早逝?
So we have in the pastoral elegy a generic form that's highly predictable.
因此田园挽歌的形式是很固定的。
Virgil would go on to be a great epic poet but not until after he had written these pastoral eclogues and then after that, after he had written the georgic poems, only then does he write finally the great epic poem The Aeneid.
他会成为一个伟大的史诗家,但这一直到他写出这些抒情诗之后,在那之后,在他完成了那些田园诗篇之后,直到那时他才最终完成了史诗。
This has always been a part of the pastoral genre.
这一直都是田园诗派的组成部分之一。
It engages the ancient art of pastoral poetry initiated and made famous by the great Greek poet Theocritus, which was later imitated by Moscus and then finally by the Roman poet Virgil in his celebrated pastoral eclogues.
它沿用了古老的田园诗艺术,田园文学是由希腊伟大诗人忒奥克里托斯创始并发扬开来的,后来为摩斯科斯所模仿,最终,罗马诗人维吉尔的著名田园诗也是模仿的此诗体。
We're going to go now to the last movement of his Pastoral Symphony, and I keep hitting on the Pastoral Symphony 'cause in two weeks- or maybe three weeks--we're going to go hear, I guess,the Saybrook Orchestra play the Pastoral Symphony.
我们来听田园交响曲的最后一个乐章,我总是说田园交响曲是因为这-,两周或三周我们将会听到,我想可能是赛布鲁克交响乐团演奏田园交响曲。
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