-
The problems that Frost's poetry poses for us as readers are not problems of reference. They can't be solved by footnotes.
他的诗歌给我们的困难,不是参考的问题，它们不能就用脚注解决。
-
In Yeats people are always particulars who are fitted to types which are new versions of old identities that travel across time.
在他的诗歌里人总是特定的,某些类型，是穿越时间的,古老人物的现代化身。
-
And what he writes about is an extraordinary concept really: it's something called "the nobility of the poem".
他所写的是一个绝妙的理念,叫做，诗歌的高贵。
-
The thematic problems that Milton is attempting to tackle are written into the very grammar and the syntax of the poem.
弥尔顿想要处理的主题,就在诗歌的语法和句子结构里边。
-
But in any case, that's why Solon's pamphlets are written in poetry and apparently in really good poetry.
无论如何,这就是为何梭仑的小册子,要以诗歌的形式写出,而且显然是很好的诗歌
-
Even more dangerously, from the standpoint of anybody who likes poetry, he talks instead of "statement," meaning science, and "pseudo-statement," meaning poetry.
更危险的是，在任何一个热爱诗歌的人看来，他转用“陈述“指代科学，用“伪陈述“指代诗歌。
-
And the poem goes on, and this is the tone of a poem. It's a poem of crisis, a poem of a kind of hollow speaker, someone who emerges as, more or less, buried alive. And this is supposed to reflect both personal crisis and a historical crisis.
然后这首诗继续娓娓道来，这就是诗歌的韵律,这是首关于危机的诗，关于一个有点言之无物的叙述者,最后活活烧死的诗，这恰好反映了,个人和历史的危机。
-
Well, his poems themselves have an occult dimension of evoking this "great mind" and the spirits contained therein through symbols.
他的诗歌有玄秘的意境,能召唤“伟大的思想“,其中灵魂通过象征体现。
-
Book publication can be just as interesting and it can tell us just as much about modern poetry as magazines.
图书出版是很有意思的，而且也能像杂志本身那样,告诉我们很多关于现代诗歌的事情。
-
Nonetheless Oscar Wilde, a friend of Yeats nonetheless, Yeats's poetry does undergo an important and notable stylistic change.
王尔德也是叶芝的朋友,但叶芝的诗歌的确经历了,重要的值得一提的风格上的改变。
-
It's interesting that Milton certainly begins this headnote with suggesting directly to us that it's Milton speaking and not a fictional uncouth swain.
弥尔顿在开头就清楚明了的告诉我们,在吟诵诗歌的人是他，而不是某个粗鄙的年轻人,这非常有意思。
-
At the very end of the poem, the uncouth swain "rose, and twitch't his Mantle blue: tomorrow to fresh Woods and Pastures new."
在诗歌的最后，这个粗鄙的年轻人吟唱到,“慢慢上升，挥动了他蔚蓝色的丝巾“,向崭新的牧场和森林眺望明天“
-
He talks about the nobility of the poem, the force from within it being equal to the force that might be applied from without.
他认为诗歌的高贵，是指诗歌内部的力量,也可以运用到诗歌外部。
-
The experience of art, the experience of poetry, and the reconciliation of conflicting needs results in a kind of catharsis, a "calm of mind, all passion spent".
艺术的体验，诗歌的体验，还有对相互冲突需求的协调,让人得到精神的发泄，得到“平静的精神，耗尽的热情“
-
We don't refer--we have no reason to refer, - if we respect the autonomy of the poem as such, we don't refer-- we don't appeal to an authorial intention.
我们不能，我是说如果我们尊重，诗歌的意志自由的话，我们不能也没有理由-,为诗歌加上作者的意图。
-
The similes enable us to see something about the story that the rest of the poem doesn't enable us to see.
这些明喻使得我们能够深入了解一些,诗歌的剩余部分所不能让我们预见的事情。
-
The hay, that is, well, what? The payoff, what the poem is all about, what mowing is all about.
这堆草又是什么呢，是成果，诗歌的成果，割草的结果。
-
I think the answer may involve the possibility that at the beginning of the poem, there simply wasn't a clear distinction between the poet and the speaker.
答案可能包括了,在诗歌的开头,根本就没有一个清晰的区分的可能性。
-
Yeats spoke of the poem as a mad song, maybe not a kind of mad song we would--it's not what we would think of as a mad song, necessarily.
叶芝说这是首狂诗歌，也许不是我们所讲的狂诗歌,不一定是我们所认为的狂诗歌。
-
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。
-
Now in Virgil's early poem, the Sixth Eclogue, the speaker explains that the writing of pastoral poetry is the stuff that young poets do.
在维吉尔早期的诗篇里，诗人解释道,田园诗歌的创作是年轻诗人的必经之路。
-
As soon as he has expressed this epic ambition -Virgil explains that as soon as he's expressed this Phoebus Apollo, the god of poetry, stepped in and chided him.
一旦他表达出了这种野心,正如维吉尔写道，诗歌之神阿波罗，闯入诗歌的篇章并指责他。
-
And Milton's defense of controversy seems in a lot of ways continually to be slipping in to something like a defense of poetry, or certainly a defense of his own poetic practice.
弥尔顿对于论战的辩护似乎在某种程度上持续地,渐渐变为对诗歌的辩护，或是理所当然地变为对自己诗歌的尝试的辩护。
-
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？
-
If the meaning is not clear in the poem, we judge the poem a failure.
如果诗歌的意思表达不明确，那么它就称不上是首好诗。
-
It was the setting for almost all of his novels, almost all of his poetry.
这一视角也是他写小说和诗歌的视角。
-
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。
-
I'll say more about this next time with reference to Yeats's late poetry.
下次我会多谈些这方面的,关于叶芝晚期诗歌的内容。
-
In other words, poetry is capable of doing now what religion used to do.
也就是说，今天的诗歌具有从前的宗教的作用。
-
But the hymn at the same time is something like the process, the process by which Milton is attempting to purge and cleanse his poetic voice and make it a voice that will actually be equal to the extraordinary ambition that he has for it.
但颂歌同时又像一个过程，在这个过程中弥尔顿尝试净化,他诗歌的语言，把它变的,像他当初想的那样非同寻常,人人都渴望得到。
应用推荐