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Milton wrote his epic in lines of unrhymed iambic pentameter or what we call, and what Milton would have called, blank verse.
弥尔顿的史诗由不押韵的抑扬格五音步诗句写成,我们，还有弥尔顿都称其为无韵诗。
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Milton's lines, we say, are enjambed: they run in to one another, and a syntactical unit for Milton is continually spilling out.
弥尔顿的诗句是连结的：，它们句句相撞，弥尔顿总不在一句话中将一个意思表达完整。
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Listen to how quickly Yeats modulates from one feeling, one image, to another in these really very short, quick, three-beat lines.
听一听叶芝是怎么快速地,从一种情绪，一个情景中，转换到另一个里去的,就在这些三音韵的短诗句中。
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And we bring that prejudice to bear on our interpretation of the line, then that is a constructive way into the circle according to Heidegger and Gadamer.
我们把我们的先见带入了我们对诗句的解读，按照海格德尔和伽达默尔的意思就是,良性的循环。
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First we have the "Pilot of some small night-founder'd Skiff," and the pilot stands ab extra, from outside, in the simile.
首先我们有这句“迷茫深夜中，轻舟的导航人“,并且这个导航人在明喻中，体现为从诗句之外向内眺望。
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So this passage is extreme and Milton's poem, wonderfully, is perfectly able to identify it as such.
因此这一段诗句是很偏激的，而弥尔顿的诗恰好能够完美的辨认出这个。
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And keep in mind when Crane wrote those lines too, it was illegal to buy and sell wine in this country.
记住克莱恩写下这些诗句的时候，禁酒令还在适用，买卖酒都是非法的。
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You can actually see the mechanics of end-stopped verse quite clearly in the rhymed version of Paradise Lost that, admittedly, the great poet John Dryden wrote.
在大诗人约翰·德莱顿所写的,押韵版的《失乐园》中能很明显看到，这中孤联诗句的机制。
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Verse in which there is nothing but the beat of the metre furnished by the accents of the polysyllabic words we call doggerel. Verse is not that.
诗句中没有其他的东西,只有节奏,这节奏是由多音节的词造成的,我们叫打油诗，诗歌不是这个。
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Now most rhymed poems in Milton's day were end-stopped lines of verse.
弥尔顿时期的大部分押韵诗都使用孤联诗句。
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She will not only include Tolstoy's prose, she will not even discriminate against business documents and school books.
她不会仅仅引用托尔斯泰的诗句,甚至不会在商业文书和教科书之间进行区分。
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Like that phrase, "a terrible beauty," the poem is full of contradictions, of contradictory feelings.
就如诗句，可怕的美，惊人之美“,此诗充满矛盾，和情感的冲突。
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Alpheus is also the god of erotic pastoral poetry, it turns out, and this god is literally gone underground during the terrifying appearance of Saint Peter.
阿尔甫斯也是描写爱欲的诗歌之神，从诗句上来看，这位神灵在圣彼得面前,悄无声息的隐匿了踪影。
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She's alluding here, I think, to one of the most famous passages in Paradise Lost in which Milton is asserting nothing other than his poetic power.
我认为，她这里是在暗指，《失乐园》最著名的篇章之一,在这篇章中弥尔顿仅仅是在展示他诗句的力量。
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So Milton imagined that his own verse was to be read and experienced something like a body.
因此弥尔顿想让人们把他的诗句,当做是肉体去阅读和体验。
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For most readers in Milton's time, rhyme was actually constitutive of poetry, and Milton's lines of unrhymed verse here may well have not seemed poetry at all. It was shocking.
对大部分弥尔顿时期的读者来说，押韵是,诗歌的组成部分，弥尔顿这不押韵的诗句,很可能看起来根本不是诗，它令人震惊。
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He permits his own unconstrained indulgence in poetic enjambment.
他放任自己无限制的使用连结体诗句。
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They're invariably cited as among the most beautiful and exquisite lines in Paradise Lost but on some level they've proven the bane of scholars because they can't be squared with any of the poem's theological message.
它们被单调地引证为,中最美最细致的诗句,但在某些层面他们证明了学者的祸害,因为它们并不能与诗歌所传达的神学信息相一致。
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The iniquity of his lips must be burned off by a live angelic coal, that the sinfulness of his lips we could think of it as the sinfulness of his voice, his poetic voice -- will have to be purged.
他邪恶的嘴唇必定会被天国燃烧的煤块烧掉，他的嘴唇的罪孽,我们可以认为是他所说的话的罪孽，他的诗句必将被净化。
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An end-stopped line is one in which the grammatical unit of sense stops precisely at the end of the line. The next line of verse picks up a different thought and the next one after that, and so on.
孤联诗句到了句尾语法和句意,都刚好停止，下一句,又表达一个新的意思，下一句又是，依次类推。
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I think these lines at this point -- I'm going to read them again.
我认为这些诗句--我得再读一遍。
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There is first the understandable aesthetic power, the power of the beauty of Milton's verse, an aesthetic power that's often thought or felt to inhere somewhere in the poetry itself.
首先是美学上的力量，这是可以理解的，弥尔顿的诗句之美的力量，一种美学意义上的力量,大家通常认为或觉得这是弥尔顿诗歌本身固有的一种力量。
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Modern poetry is difficult and these are difficult lines.
现代诗是很难读的，这些诗句也非常难以理解。
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His verse actually had a physical impact on the world.
他的诗句能对外界产生具体的影响。
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I think that Milton intends for us to think of the verse in Paradise Lost as he wanted us to think of books in Areopagitica: the lines of Milton's poetry are not absolutely dead things, but they do contain within them a potency of life.
弥尔顿在《论出版自由中》让我们把书看作是肉体,我想他也想让我们这样看待《失乐园》的诗句：,弥尔顿的诗句不是毫无生气的，它们蕴含着生命的潜质。
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He permits enjambment to become the verbal medium.
他用连结体诗句来表意。
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