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Its difficulty lies in Milton's tendency in this poem to seek out what Dr. Johnson wonderfully calls remote allusions.
诗的难点在于弥尔顿想要在诗中极力追求,被约翰逊绝妙地称为不切实际的幻想的倾向。
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In such a world it seems writing poems is a kind of--well, even surviving is a kind of guilty privilege.
在这样的世界中，写诗看起来是一种，甚至幸存也是一种罪恶的特权。
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In fact nowhere else do we see Milton literally bursting out at the seams as he seems to in this poem.
其实弥尔顿在别处也没有,像在这首诗中一样离经叛道，完全爆发。
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Is that, in that comparison, is that a way we can judge what is a good poem?
在您的例子中，这也是我们评价一首好诗方法么？
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Think of the feeling that Wordsworth's blank verse just kind of disappears into prose.
想象一下华兹华斯诗中,留白的意境。
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Judges 5 is also another ancient song fragment in verses four to five.
士师记》5中也有古老歌谣的片段，诗4和。
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The allusion to Aristophanes and the comic poet is a part of what Plato calls in Book X of the Republic the old quarrel between philosophy and poetry.
提及亚里斯多芬尼斯,是柏拉图《理想国》第10卷中所述,哲学与诗学长时争论的一部份,这项争论亦是柏拉图辩证的主体。
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Now, one of the things the Greeks believed, as we discover from a poem written by one of their major poets, is something so far as I know unique to the Greeks.
在希腊的一位大诗人的一首诗中,我们发现了他们所信奉的一件事情,据我所知,这一点是希腊所特有的
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There's a way in which the context of the war, too, shadows the poem and remains present in it.
在战争的背景下，也投影于诗中同时也保持了它的现实性。
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In Lycidas, Milton looks back at the Elder Brother's theodicy, and it's almost as if he's attempting to test its validity.
在这首诗中，弥尔顿回顾了《科玛斯》中哥哥的斯奥迪斯，似乎是在验证斯奥迪斯正确与否。
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The character of Peter brought directly out of the New Testament is really slicing through the poem's fictive veneer.
彼得的形象是直接从中借鉴而来的,在这首诗虚构的伪饰中显得格外犀利。
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This intensely intimate focus on the human body is out of place in a Christian elegy and this, of course, Milton knows.
这对人类肉体的极端关注在一首基督教悼亡诗中,是不合时宜的，弥尔顿当然知道这点。
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In Hardy here, and in other poems, there's this sort of wonderfully, self-consciously archaic language.
哈迪的这首诗还有其他诗中，有一种,绝妙的不自然的古英语。
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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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Pearse is seen as, in Yeats's poetry and in popular lore, as Cuchulain, as a kind of avatar of the mythic Irish hero.
在叶芝的诗里皮尔斯被看作是，民间传说中，的英雄王库丘林，是爱尔兰神话里下凡的天神。
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Verse 5 contains God's stipulations.
诗5中有上帝方面的规定。
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He's without question the most compelling figure, certainly, in the first two books and, I think, arguably in the entire poem.
他是前两卷书中最引人注目的角色，当然，也可以认为是这首诗中最引人注目的。
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The sheer cacophony of the clustered consonants in this line sets off -or has the potential to set off -- a powerful cluster of feelings.
这句诗中辅音全然不和谐，使人觉得,或者有意向让人觉得-，有力量的层叠之感。
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Fish imagines Milton as always on some level slapping the reader's wrist, reminding the reader of his or her fallen-ness, that there's a constant pedagogical correction going on.
费什想象弥尔顿总是在某种程度上斥责着读者们，提醒他们自身的堕落，并且诗中有一种持续的教育性的纠正在重复出现。
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You can think of it as this reaction to the problem of lateness that accounts for one of the invocation's most distinctive features, and that's the repetition of the word "first."
你们可以把弥尔顿在这首诗中对“晚“的回应,当做这首诗最明显的特征之一，这表现在他反复使用“初/先“一词上“
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These are extraordinary lines These are among my most favorite lines in all of Milton Samson is questioning the wisdom and the justice of God's admittedly who can deny it?
这几行写的很好,弥尔顿的诗中这几行也是我最喜欢的之一,参孙不可否认的在质疑上帝的智商和公正性,谁能否认呢？
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Thou does make us Marble with too much conceiving," Milton had told Shakespeare in that poem.
你把我们变成了一个有太多设想的石头“,弥尔顿在这首诗中这样告诉莎士比亚。
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The hymn, the large part of the poem, can be divided roughly into three sections.
诗中有很大一部分都是颂歌，我们可以粗略把它分成三部分。
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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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In other Sassoon poems, the war comes home in other ways.
在沙逊的其他诗中，战争以其他方式回到家乡。
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He's making exactly the same disclaimer that he had made in Sonnet Seven.
他发表了和他的十四行诗第七首中同样的免责声明。
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It's in light of this ongoing cultural tension in the period that, I think, we can understand some of the strange confusions concerning chastity that we find in the poem that we're looking at.
根据那年代持续的文化紧张状态，我认为我们可以理解那些,在诗中读到的涉及贞节的困惑。
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The laurels and the myrtles that he addresses here are, of course, the traditional plants classically associated with great poets; but for Milton in this passage, importantly these plants simply aren't ripe yet.
诗中提到的月桂树和常青藤，传统上常常与伟大诗人相联系;,但在弥尔顿的这首诗，重要的是这些植物尚未成熟。
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It reveals maybe a little bit of the power and extravagance and glory that you feel in her poems but that she preferred always to restrain and bind and control in extraordinary ways, and not always to hide.
这可能显露出了她诗中所蕴含的,力量，铺张和骄傲，尽管她一直极力压制着,以及非凡的约束和自制，她并不总是隐藏这些。
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