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We're not being merely churlish, I think, if we want to ask why someone would want to write a poem in such a form.
我们要问为什么会有人,想要写这种形式的诗并非毫无道理。
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But I think Milton would probably feel a little uncomfortable with our easy attribution of so much of the poem's learning to his memory.
但我想弥尔顿可能会感到小小的不悦,因为我们把他的诗中丰富知识,简单地归功于他的记忆。
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There are also audio recordings of the poets that we will be reading that come from Sterling and you can get to on the Center for Language Study website.
还会有一些关于诗人们的录音文件,在史德林图书馆里有，我们会在课上读到,这些文件你们可以在语言学习中心的网页上找到。
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The second half of verse 5 and 6 gives the reward: God is conferring on the Israelites this elevated status ; of royalty, of priesthood; "You'll be to me a kingdom of priests, and a holy nation."
诗5余下的部分和诗6，说明了遵守的奖赏：,上帝将会使犹太人的地位提升,忠诚的，祭司的国家;,“你们要归我作祭司的国度，为圣洁的国家“
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Anyone who is acquainted with these works will immediately recognize in the poem certain references to vegetation ceremonies.
熟悉这些作品的人,会马上在诗里认出,某些提及植物仪式的部分。
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And one indeed may bring that particular system to bear on reading a poem.
我们也会把这种思想,带入读诗的过程中。
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We would think that Milton's contemporaries might be aghast that such a sympathetic portrait of Satan could be used at the beginning of the poem.
我们很可能以为，与弥尔顿同时代的人,看到本诗开头就对撒旦有如此具体系统的描述,定会感到惊骇。
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Milton will only use the word career once in his poetic oeuvre and it comes -- it will come pretty soon, actually, in Sonnet Number Seven.
弥尔顿在他的全部诗歌作品中只用过一次事业这个词,我们马上就会看到，在十四行诗的第七行。
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Milton would insert into the printed text of his poem his own anticipation that his epic would receive the same universal approbation as Homer's and Virgil's.
弥尔顿会把自己的预想也写进他的诗里,他认为自己的史诗也会得到普遍的认可,就如荷马和维吉尔的史诗。
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The very idea that a figure so virtuous could have been dealt such a tragic and early death strikes Milton, or Milton's speaker here, as the rankest injustice.
这么贞洁的一个人竟然会这么早,就如此悲惨的死去，这极端不公平使弥尔顿，或者是诗中的讲述者，震惊。
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Now, the simile concludes with the strong sense of a hideous change -and you will recognize this pattern again and again in Milton -the hideous change undergone by the fallen angels.
这个比喻用一个强烈的可怕的转折来结尾,-你们会在弥尔顿的诗里一再看到这个特点,-一个堕落的天使们遭受到的可怕的转折。
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You could compare this poem to the poem placed last in Yeats's last poems called "Politics" that might seem to say something similar.
你们可以将这首诗与,叶芝诗篇的最后一首“政治“相比较“,它们可能会说一些相似的东西。
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Up to this point in literary history, only verse written for the theater had been written in unrhymed lines of iambic pentameter, in blank verse.
文学发展到那时候，只有为戏剧写的诗,才会用不押韵的抑扬格五音步，即无韵诗。
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It's a very funny poem, and you've got triplet rhymes there to make sure you know that Frost is joking, and it feels like light verse.
这是首有趣的诗，你会得到三连音的押韵,让你确实觉得弗罗斯特在开玩笑，这就像光的韵律一样。
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So, if in Frost you can't look to God for it, what kind of hope can be offered?
所以你不能从弗罗斯特的诗中寻找上帝，他会给我们怎样的希望？
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The final section of the poem presents us with the most powerful temptation that John Milton can confront, and we will find that this is a problem that continues for the rest of his writing life.
诗的最后一部分呈现给我们,弥尔顿会面对的最强有力的诱惑，我们将发现这是个,贯穿他以后写作生涯的问题。
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And this poem could be the basis of a first paper, a topic for one.
这首诗可能会是第一篇论文,的基础，一个话题。
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The poetry that Yeats wants from this place, the place that the fisherman takes him to, it's going to be cold and passionate as he describes it.
叶芝想从诗里这个地方得到的，渔夫把他带往的，正如他所描写,将会是寒冷而有激情的。
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And in so far as it is possible for me, to try to preempt what that impact or effect might be in the sense of trying to figure out whether or not it will have an impact on you and what it might be.
只要有可能，我就会通过自己对诗歌的感受,来试图推断这首诗,是否会对读者产生冲击，会产生怎样的冲击。
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And if we wish to continue this analogy, and I certainly do, between the poet Milton and the virgin Lady, we can see that this is a release that John Milton the poet has been waiting some time for.
如果我们希望继续这个弥尔顿的诗与小姐贞操的类比，我肯定会，我们可以看到,这是弥尔顿的诗等了很久的一种解脱。
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The first paper is going to ask you to write about one short poem; the second will ask you to write about two or more poems, or poems perhaps by two authors, or perhaps a poem and some other kind of text or image.
第一篇论文会要求你们介绍一篇短诗;,另一篇则是要求描述几首诗，或者是任意两位作者的诗，又或者是一首诗以及一篇课文或者一幅图画。
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And when you reread this poem and you look at it in your discussion section, you may want to think about the tenses it sounds tedious but I am convinced that it's not tedious the tenses of the verbs that Milton's using.
当你重新读这首诗,并在讨论时再看它的时候，你可能会思考它的时态,这听起来很乏味，但我确信,弥尔顿用的动词的时态一点都不乏味。
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When Milton opens Lycidas with that phrase, "Yet once more," one of the things that he's telling the reader is that ; yet once more he'll be making the same argument for unreadiness; the same argument for nervous anticipation that he'd made a number of times before.
当弥尔顿用那句“然而再一次的“开始的篇章时“,他要告诉读者的是,他会再一次的对诗中的迟疑作出相同的论述;,和他之前无数次作出的,关于不安的预知的，一成不变的论述。
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There's no question that the shock experienced by the first readers of Paradise Lost had next to nothing to do with the content of this poem, which might strike us as shocking in itself.
毫无疑问，初次阅读《失乐园》的读者,会觉得震惊全然是因为它的内容，这首诗内容本身就是令人震惊的。
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For Monday, we're going to start talking about Robert Frost, and I'd like you to pay special attention to his poem "Mowing," in the RIS packet, and to his poem "Birches" in The Norton.
周一，我们会开始讨论罗伯特，弗罗斯特，特别要注意他的诗《割草》，在RIS的版本里有这首“,同时也要注意诺顿那本里的《桦树林》
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