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Its difficulty lies in Milton's tendency in this poem to seek out what Dr. Johnson wonderfully calls remote allusions.
诗的难点在于弥尔顿想要在诗中极力追求,被约翰逊绝妙地称为不切实际的幻想的倾向。
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Here, the stopping of the train is like the interruption by memory of normal consciousness that's the basis of the poem.
这里，火车的停止就像是,被正常知觉的记忆所打断，那是这首诗的基础。
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In the second verse paragraph, Milton tells his father: "do not despise divine poetry, creation of the prophetic bard.
在诗的第二段，弥尔顿对他父亲说：,不要轻视神圣的诗歌，诗人预示性的创作。
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Now, ancient Hebrew descriptions of Yahweh employ very similar language in the poetic passage here in Exodus 15, but also in other poetic passages.
出埃及记》15，犹太人对耶和华的描述,借用了这段诗的片段，还有其他的。
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It's a poem which begins, "I have heard that hysterical women say they are sick of the palette and fiddle-bow, of poets that are always gay..."
诗的开头写道，我曾听见歇斯底里的女人们说,她们厌恶调色板和提琴弓，厌恶那些永远快乐的诗人们“
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And one indeed may bring that particular system to bear on reading a poem.
我们也会把这种思想,带入读诗的过程中。
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And then there are particular notes for the different parts of the poem.
然后还有对诗的不同部分的详细注释。
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So, The Norton Anthology, this book, this heavy book, I order it as a way to, well, reduce your expenses.
叫《一首诗的心路历程》，就在这本诺顿诗集里，我自己订购了一本，这样可以减少你们的花费。
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Let me conclude by just pointing to another poem, a late poem, "Directive," a poem published in 1947.
让我们看看另一首诗来作为结尾吧，一首晚期的诗，1947年发表的“指令“
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The only fingers with which he'll be able to hold his pen and write this poem are his forced fingers rude.
他能用来执笔写诗的手指,是他粗鲁的手指。
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Here, in the first part of the poem, Yeats talks about death and remorse as the end of all debate, the last word.
在这首诗的第一部分，叶芝,谈及悔恨和死亡是所有争论的结果。
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The poem's great final question concerns that perception: "Did she put on his knowledge with his power"?
诗的最后一个很好的问题,就响应了前面那种看法：,她是否借他之力获得了知识？
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Now, he hasn't yet settled on the topic of the Fall, the fall of Adam and Eve from their place of bliss in the Garden of Eden.
现在他还没有定下《降临》这首诗的主题，亚当和夏娃从伊甸园这个极乐的地方降临人间。
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The notion of autonomy, the notion of the freedom of the poem from any kind of dependence in the world, is something that is very easy to undermine critically.
自主的观念，世界上各种,独立的诗的自由，很容易被破坏。
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And one of the things one may immediately detect is whether or not the person who wrote the poem was indeed writing the poem and thought that she or he was in command, right?
一个人在阅读时很快就能发现,写这首诗的作者是否,真的是在独立作诗,认为自己对文字完全具有掌控权？
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Professor John Rogers: The best way, I think, to introduce the central issues of this wonderful poem, Lycidas, is to return to Milton's Comus.
约翰·罗杰斯教授：我认为，要向你们介绍《利西达斯》,这首精彩的诗的精髓，最好的方法莫过于，回顾一下弥尔顿的《科玛斯》
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The human body, the world of flesh and blood that we all inhabit, has in some way at the end of this poem reasserted itself.
人体，我们所居住着的血肉的世界，在这首诗的末尾似乎重新为自己做了宣言。
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So the structure of this poem is unquestionably Virgilian, but the sentiments that are voiced in this poem are unquestionably Miltonic, and we will recognize them.
因此这首诗的结构毫无疑问是维吉尔式的，但抒发的感情毫无疑问,是弥尔顿式的，这能看的出来。
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Milton's bogey seems to be the specter hovering over women poets or women writers who may find in Milton an identification of poetic strength with masculinity itself.
弥尔顿的惑众谣言似乎是指依附在女诗人,和女作家心中的幽灵，她们在弥尔顿身上发现,诗的力量与男性力量本身是同源的。
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As in Sonnet Seven, Milton writes the first verse paragraph of this great poem, Lycidas -- the first fourteen lines - in essentially the form of a sonnet.
如同《十四行诗第七首》，弥尔顿写《利西达斯》,这首伟大的诗的开头--头14行时,-用的还是十四行诗的形式。
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This is why he's continually placing the imaginative origin of the poem back to the very dawn of time, perhaps even back before if you can imagine such a time -- before the very dawn of time.
这就是为什么弥尔顿总是试图把想象中的这首诗的起源,推至时间开始的时候，甚至更早,-如果你们能想象这样一个时间--在时间开始之前。
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Yeats said that the voices that he communicated with on the other side gave him "metaphors for poetry."
叶芝说,来自异界的和他讲话的声音,给了他诗的隐喻“
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It's moving and just about everyone concedes that at many junctures it's extraordinarily learned - it's obviously learned, but it's also very moving.
它很感人，几乎每个人都会认同,在诗的多处都体现出了它的作者是很博学的,-很明显它的作者很博学，同时这首诗也很感人。
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We, of course, know as we read the prelude to this poem that this is a work consumed with questions of temporal disjunction, with that problem of temporal discontinuity.
当然我们理解这首诗的序曲,这首诗里有许多暂时脱节，还有暂时的不连续的问题。
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Vacillation." The poem was written following a series of poems called the "Crazy Jane" poems, written as a kind of summary of them, a kind of resolution of the debates that go on in them.
踌躇一诗写于系列诗,疯狂的珍妮之后，作为对这一系列诗的总结，作为对其中的争论的解决方式。
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And if we wish to continue this analogy, and I certainly do, between the poet Milton and the virgin Lady, we can see that this is a release that John Milton the poet has been waiting some time for.
如果我们希望继续这个弥尔顿的诗与小姐贞操的类比，我肯定会，我们可以看到,这是弥尔顿的诗等了很久的一种解脱。
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The very mention of Saint Peter naturally violates the classical, pastoral fiction of the poem.
对圣彼得的提及自然而然触犯了，这首诗的田园古典的基调。
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I think we're fully entitled to ask why: why Milton waits for the last eight lines of his poem to tell us that there's a difference, that there's a difference between the poet and the speaker.
我们完全有权利问为什么：,为什么弥尔顿要等到诗的最后8行,才告诉我们这里的区别，这里诗人和演说人之间的区别。
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And the ode, too -- the form in which this poem is written is a pagan form invented by the Greek poet Pindar to express the sublimities of emotion arising from a contemplation of the actions of the gods.
而颂歌这首诗的形式,是由希腊抒情诗人品达尔发明,来抒发从思考上帝的行为中,得到的崇高情感。
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The lines have distinctly a sonnet rhyme-scheme, but look closely.
这14行明显使用了十四行诗的押韵规则，但仔细看。
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