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It's based on the ancient form of Japanese poetry, which is something that I had never tried myself.
这些诗是根据日本古代诗歌形式创作的，我自己都从没试过。
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Now we began Lycidas with an image of a poet who could only write this poem -- this is what we were told -with forced fingers rude.
现在我们带着一个只能创作出这首诗的诗人的印象,来看这首诗,手指粗暴的用力攥着。
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It will mean reading a lot of poems and writing about them some.
就是通过阅读一些诗并动手去进行创作。
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Now I am mentioning these dates here because the dates on which Milton wrote and published his poems, the temporal sequence of these publications, have a peculiar and particular importance for the poet.
我为什么要在这里提到这些日期,因为创作和出版诗的日期，和当时的顺序，对一个诗人有特殊的重要性。
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It's just this double bind of vocation that's the subject of Sonnet VII, "How soon hath Time." That's the sonnet in which Milton laments the fact that he has turned twenty-three years old and has yet produced nothing that would indicate a shining poetic future.
第七篇十四行诗的主题就是这种职业窘境，“时间过得多快啊，“弥尔顿在这首诗里表达了,对自己都快23岁却没创作出什么,可以显示出他卓越天赋的诗的哀伤。
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The poems come to you abstracted from the contexts in which they were originally produced and read, from their place in a body of work, in a book, in a magazine, in a life that produced it.
一首首诗，从原始创作和阅读的形态,被分割的分离错杂，从它们在书，杂志，一系列的作品中，在最初的创作生命中，都是如此。
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Composed 1629" -- whether or not that's actually true, and there's some controversy about that -- but nonetheless, the subtitle announces to all who know John Milton that the poet was twenty-one years old at the moment of its composition and that he had therefore just reached his majority.
作于1629“-不管它是否属实，尽管对此也有一些争议，但它向所有知道他的人宣告,诗人创作这首诗时只有21岁,因此他已经超过了多数同龄人。
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That's because to suggest -- just think of it - to suggest that Milton is relying on his memory as he composes so allusively and so dependently, in a lot of ways, so much of Paradise Lost - to say that is simply to say that the poem has been generated by Milton and not by God.
让我们来设想一下其中的原因吧,假设弥尔顿全靠着他的记忆,正如他隐晦而连续地在《失乐园》中引经据典，并将这些以多种方式组合，这在《失乐园》中随处可见,以至于人们可以简单地说这部诗,是出自弥尔顿而非上帝的创作。
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