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So, the poetry that is part and parcel of the conversation between Dean and Carlo--Carlo's poetry--seeps out of that basement room.
所以，诗歌是迪恩和卡洛的对话中不可缺少的一部分,-卡洛的诗歌--从那间地下室里渗出。
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It was a kind of powerful moment in American culture where the president allied himself with poetry in this way.
这在美国文化中是个伟大的时刻,这时总统用这种方法把自己和诗歌连接。
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The pastoral elegy is clearly one of the most stylized and most self-consciously artificial of all of the poetic genres.
田园挽歌明显是所有诗歌类型中,最程式化，最具人工雕琢痕迹的诗种之一。
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In many passages too Yahweh is represented as presiding over a counsel of gods. Certainly in the Psalms we have these sort of poetic and metaphoric descriptions where God is, "Okay guys, what do you think?" presiding--or he's one of them, actually.
在很多文章里，耶和华,统领着整个神界的法律，在《诗篇》中,我们能看到这种类型的诗歌或隐喻，上帝会是这样的：,“嘿伙计们，感觉怎么样？“，甚至和众神打成一片。
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We all know what "to die" means in early modern poems.
我们都知道早期现代诗歌中，“去死“这两个字是什么意思。
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But it began a Critical Study of the poems for the first time and Critical Methods were applied to history for the first time ever, really, in the early nineteenth century and thereafter.
这开启了诗歌批判研究的先河,十九世纪初期,人们首次将批判理论应用于,历史文献的研究中
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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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The drive to include the world--Moore's omnivorous poems claim for poetry all the subjects that she mentions here and indeed many, many more.
在穆尔涉及广泛的诗篇中蕴藏着包含万物的动机,向她提及的诗歌的所有主题发出了声明,而且实际上比此更甚。
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Milton will only use the word career once in his poetic oeuvre and it comes -- it will come pretty soon, actually, in Sonnet Number Seven.
弥尔顿在他的全部诗歌作品中只用过一次事业这个词,我们马上就会看到，在十四行诗的第七行。
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This is the line that begins the poem's final verse paragraph and it has to be one of the most amazing moments in all of English literature.
这行是以诗篇最后的韵诗开端的,是英语诗歌文学中,最惊艳的段落之一了。
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So in "At a Solemn Music" and in the poem "Arcades," Milton turns to what he considered to be the greatest song of all: the music of the heavenly spheres.
所以在“在庄严的音乐“和诗歌的“商场“中“,弥尔顿指出了他认为的最美妙的音乐：,天体音乐。
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Facts are made and not found in Frost's poetry of work.
事实是创造的而不是在他的诗歌中找到的。
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Contradictions and inconsistencies in contemporary religious society are so much like, or at least look so much like, the contradictions and inconsistencies that we find in a work of literature, that we find in a poem.
在永久的宗教社会中矛盾和对立,很像，或者是至少看起来很像，我们从文学著作和诗歌中,发现的矛盾和对立。
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So the satisfactions of the moment are for Milton deferred here; and it's something like a recognizable process of deferral and postponement that you will see beginning to form themselves at the very center of Milton's poetic imagination.
因此对这一时刻的满意就是因为弥尔顿把它推迟到这;,而且就像一个可以察觉的推迟过程,从一开始你就会看到这些推迟是顺其自然的,这在弥尔顿的诗歌想象中可以看到。
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And in the group of poems that were assigned for a section last week, you saw Milton alluding to just this passage, although you might not have known it, in Revelation 14 whenever he would speak of the music of the spheres.
上周规定阅读的那些诗歌中，你们看到弥尔顿暗指了这一段，虽然你们可能不知道，在《启示录》第14章，每次他讲到天体音乐时。
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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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The special sound of Frost's poems result from the tensions between these pairs of opposing forces as they are embodied in his language.
这种诗歌的特别声音来自这种紧张,这种反抗力量之间的紧张,都在他的诗歌中得到体现。
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All Milton has at the beginning of his poetic career is the promise of greatness, the anticipation of a luminous body of English poetry.
弥尔顿在诗歌生涯开始的时候只有,上帝传达给他必将伟大的希望，和必将成为英语诗人中最耀眼的人物的预期。
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My long scythe whispered and left the hay to make" returns us to the work of mowing and the work of reading and interpretation and deciphering.
我的长长的镰刀低语着留下一堆稻草“,这让我们重新回到割草的劳动中,来朗读，解释，解密这首诗歌。
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This is where Milton describes the outpouring of enthusiasm that he received for his poetry from a number of learned Italians during his recent travels to Italy.
这就是弥尔顿对于他近期去意大利的旅行中,从一些知识渊博的意大利人那里得来的,对于他诗歌的无限热情的描述。
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But it's still a promise, and it's a promise of the powers of imagination and of poetry, and of poetry made out of play, of a child's play.
但始终还是一个希望，一个想象力和诗歌伟大力量的希望，这些诗是从玩中来的，从孩子们的玩耍中。
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This move roots Frost's poetry of work in the lives of rural workers, people who have to sustain and entertain themselves, often on their own or alone.
这运动将弗罗斯特的诗歌扎根进,乡村工人的生活中，扎根进必须独自，支撑和娱乐他们自己的人中。
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Think of other tools in those poems.
想想这些诗歌中其他的工具。
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There's an obvious sense in which they understand poetic languageto be that in which form is predominant and practical language to be that in which content is predominant, but the Russian formalists see it in a slightly different way.
他们认为,诗歌中形式占主导,实用语言中内容占主导，但是俄国形式主义者们不这么认为。
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This is, I think, how we need to understand the various occult symbols in another great poem from this phase in his career, a little bit further on, "The Second Coming," on page 111.
我想这就是，我们去理解叶芝同时期另一首,伟大诗歌中神秘意象的方法，以更深刻地理解它，《第二次降临》在111页。
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He says in The Bridge, he asks the bridge to lend a myth to God, and he suggests that this is something that every age must do because our names for God are always metaphors, poems, something imagined, acts of speech.
他在《桥》中写道，他请求大桥借与上帝一个神话，他暗示到有些事情是每个年纪的人都必须做的,因为我们给予上帝的名总是一些隐喻啊诗歌啊，一些想象的事物，对言辞的表演。
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Now in the first original poem that Milton wrote in English, titled "At a Vacation Exercise," Milton and you will come to recognize this as so unbelievably Miltonic Milton doesn't write about love or about death or about any of the subjects that typically engage the youngest practitioners of poetry.
现在，在弥尔顿的英语诗歌中，第一首原创诗的名字叫做假日练习,弥尔顿和你们都将认为这是难以置信的弥尔顿风格的诗,他没有写爱或死亡,或者任何,常常吸引年轻诗歌创作者的主题。
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In this respect, he seems to have followed Spenser -- Edmund Spenser, whose Faerie Queeneis in large part a tribute to the sacrament of marriage, although interestingly The Faerie Queene, the great Spenserian poem, never actually manages to feature a marriage between two human beings.
这样看来，他似乎是,秉承了斯宾塞--埃德蒙·斯宾塞，他的作品《仙后》,很大程度上来说是对婚姻圣礼的颂词，尽管有趣的是，《仙后》,这一伟大的斯宾塞体诗歌，从没有真正意义上,在两人的婚姻中发挥重要作用。
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