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Yeats is always creating himself in his poems and creating himself as a kind of version of a type.
叶芝总是在他的诗歌中以一种,特定类型的变体来创造自己。
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Poetry is, in Frost, an encounter between fact and desire: what we want and what is.
诗歌，对弗罗斯特来说，是一种事实和渴望的相遇：,我们想要的和它本身。
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It's juicy evidence that provides for Milton's intense fondness for - we might even think of it as a passion for - this earlier English poet.
它用大量的证据表明了弥尔顿,-我们可以视其为一种激情,对于早期英文诗歌的热爱。
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Poetry is that which just sort of spills out of me.
诗歌“是一种从我内心深处迸发的东西。
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We have a strained image of the composition of the poem at its very outset and we have an image of someone writing as if he were participating in a race.
如果一开始我们就对诗歌的创作有一种不友善的印象,那么我们就会对诗人有一种印象,就好像他正在参加一场竞赛。
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This may be the most memorable sentence in modern poetry: "a terrible beauty is born".
这是现代诗歌里,最令人难忘的句子了：,一种惊人之美诞生了。
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This is Wallace Stevens, Wallace Stevens who said, "Poetry is a means of redemption", and meant it.
这就是华莱士史蒂文斯，他说过，“诗歌是赎罪的一种方式“，并且他也是这样践行的。
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When there's a speaker of a poem who is not to be confused with the poet himself, there is typically a framing device.
当诗歌的演说人没有被诗歌自身困惑时,这里就有一种典型的框架。
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On Monday I stressed that poetry was, for Frost, always a mode of work, and that work was for him a model of poetic activity.
星期一我强调过诗歌对弗罗斯特来说，是工作的一种形式，这种工作对他来说是一种诗般的运动。
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And that is, in fact, one of the important points of departure for this poem.
其实这就是，这也是他诗歌创作的一种尝试。
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Why doesn't -- this is one way of putting the question -why doesn't Apollo harass or bother Milton at the end of Lycidas in the same way that he harasses Milton at the poem's beginning?
为什么-这是提出问题的一种方式,为什么阿波罗没有在诗歌的最后以同样的方式,不断烦扰着弥尔顿呢？
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Apollo had touched Milton in a way that I think we can actually measure by the end of this poem because Milton at the conclusion of Lycidas seems to have assumed the authority of Apollo.
阿波罗以一种我们可以通过,诗歌的结尾来估测的方式轻抚着弥尔顿,因为弥尔顿本身在的最后,似乎也在假定着阿波罗的权威。
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Instead, things in Frost are "made" in the sense of "constructed."
相反，弗罗斯特是以一种建造观来创作诗歌的“
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The poem identifies also cold and passion with dawn the moment of awakening, which is also a moment of coming into reality from dream and sleep.
诗歌还将黎明的寒冷与激情,比作一种觉醒时刻,从睡梦和幻想回到现实的时刻。
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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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It's characterized by a kind of high formal bearing It has a careful decorum, a kind of high sheen, especially this early poetry.
它的特点是一种很正式的风格,它很端庄，散发着一种光辉,尤其是在他的早期诗歌里。
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It's an extraordinarily dark way to characterize the composition and the process of the poem.
这样来界定创作诗歌的过程,是一种非常不好的方式。
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Eliot's poetry, the poetry he created out of this experience, is a poetry of spiritual agony.
艾略特的诗歌，他以自身经验写成的那些诗，是一种精神上的爆发。
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To work in Frost is to use a tool.
读他的诗歌就是在使用一种工具。
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This is ambition for a career, but it's also a desire for personal autonomy. For Frost, poetry is invested with a longing for autonomy in, well, both simple and complex senses.
这是事业心，也是一种,个人自由的渴望，对他来说，诗歌是,结合了自由的渴望，呈现出一种既简单又复杂的感觉。
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For all these reasons, "The Fisherman" is really a re-writing and even a kind of continuation, rather than a repudiation, of "The Song of the Wandering Aengus" and the poems from that period.
就这些原因而言，渔夫,实际上是对流浪者安古斯之歌，和其他早期诗歌的一种重写,甚至是继续而不是否定。
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There's an extraordinary sense of verbal chaos, a kind of word hoard that modern poetry and modernism -generally, a kind of linguistic environment of great complexity from which modern poetry and modernism emerge.
这里关于口头言论的混乱有一种独特的理解，关于现代诗歌和现代性的隐藏理解,总之，是一种关于语言环境的庞大复杂性的理解,现代诗歌和现代性即是由此产生发展。
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This weird temporal disjunction is an important part of the poem, and it not only gives the poem its peculiar air of something like a conceptual time-warp, but it's an important part of Milton's profoundly anticipatory imagination.
这个古怪的暂时的脱节是诗歌中很重要的一部分，它不仅带给诗歌一种不寻常的感觉,就像概念性的时光隧道，但他确实是弥尔顿,深奥的预言性想象的重要部分。
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