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So we're talking about a poem being able to sustain itself in the world to be equal to the world.
因此，一首高贵的诗歌能够,在这个世界中维持自我并与这个世界媲美。
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Before long the speaker realizes that this fantasy is starting to sound a little extreme or maybe a little dangerous.
不久之后诗歌发言者意识到,这个幻景,开始听起来有点过头或危险了。
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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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in fact I want to use the word stitched together, because in the Ancient Greek world the people who sang, recited, created the poems of the Homeric epics were called rhapsodes, and that means stitchers of songs.
事实上,我想使用"串联"这个词,因为在古希腊,那些歌唱,朗诵,和创作《荷马史诗》的人,被称为吟诵者,就是说把诗歌串联在一起传唱
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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“
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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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I think Hartman is absolutely right to note that it's this aspect of Milton's similes that sets them entirely apart from the similes in any other epic poem.
我认为他注意到了弥尔顿明喻中的这个方面,是突出区别于其他诗歌中的明喻的,此举是非常恰当无误的。
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We have the god of poetry, Phoebus Apollo himself, who makes an appearance, and he chides Milton for being so concerned with earthly fame -- more on that later.
这里诗歌之神，科巴士·阿波罗，露面了，他责备弥尔顿,这么在意世俗的名声--下面再谈这个问题。
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And yet even apart from those there are many poems that use that word "love," often in crucial places in the poems.
除了这些,还有很多诗歌用到了爱这个词“,经常是诗歌中的关键位置。
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That's the case marvelously in this poem, and I'd be happy to talk about particular examples with any of you who'd like to work through it.
这个是在诗歌中非凡的例子，我很乐意谈论这个独特的例子,和你们中任何想研究这个的人。
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The popular, old-fashioned Frost and the elite, modern Frost--these roles point to a division in the audiences for poetry that emerges clearly in this period.
这个大受欢迎，旧式的弗罗斯特和那个高雅的，现代的弗罗斯特，这些角色指出了观众的分化,因为诗歌在这个阶段表现的是那个。
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But Milton's calling -- this is what John Milton knew his calling was to be a famous English poet, a famous English poet writing in English: a calling that he holds despite the fact that he appears to have written next to nothing in English verse.
但弥尔顿知道上帝对他的召唤,是成为一个有名的英语诗人，一个用英语写作的英语诗人：,他必须服从这个召唤,尽管他看上去不会写任何英语诗歌。
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Milton is narrating or representing the process by which they are silenced. They're rendered speechless or dumb, and the poem effects this process in order to give someone else an opportunity to speak.
弥尔顿在叙述或描绘这个,他们缄默的过程，他们都变得沉默或哑巴了，同时诗歌也影响了这个过程,为了使另外某个人有机会开口说话。
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Yeats's career is maybe the most famous one in modern poetry that is, a career that has been seen as a kind of representative story about modern poetry as a whole. What's that story?
叶芝的事业在现代诗歌史上,也许是最著名的,他的事业被认为是,代表了现代诗歌整个历程,那这个历程是什么呢？
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At least since the eighteenth century, these lines have been singled out for their beauty and, considering that Milton is describing the hideous demons under Satan's control, the pastoral elegance of this little simile really catches us off guard.
至少从19世纪起，这些句子因为它们的美感经常被单列出来，并被认为是弥尔顿在描述撒旦控制下的可怕的恶魔,这个小比喻诗歌上的优雅,确实使我们毫无防备。
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What exactly that purgation will entail and why Milton's voice needs to be purged at all I think these questions are really the subject of the entire rest of the poem.
这种净化是很有必要的,弥尔顿的语言为什么需要被完全净化,我认为这个问题才是所有剩余诗歌,真正的主题。
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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。
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This is Comus, line 588 -- the Elder Brother. The brother says: Virtue may be assail'd but never hurt, Surpris'd by unjust force but not enthrall'd, Yea even that which mischief meant most harm Shall in the happy trial prove most glory.
这是《科玛斯》，第588行--哥哥这个角色，他说：,诗歌大意：，贞操或许遭袭，却不会受损，或许为不义之力突袭，却不会乱了阵脚，是的，对于贞操最重的伤害也不过是玩笑,考验只是证明它无上的荣光。
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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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Further complicating the picture, Milton places this scene of observation with extraordinary care at the moment of evening.
为了使诗歌更复杂，弥尔顿把这个观察的场景,附加了更多的关注。
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As soon as Milton describes for us the events in heaven that lead up to the Nativity, he begins the this is the prelude of the poem, it's broken up in to two chunks: the prelude and then what Milton calls the hymn he begins the third stanza of the prelude to his poem with a plea to the Heavenly Muse for inspiration.
弥尔顿一给我们描述引导基督诞生的天堂的事情,他就开始描述,这就是诗歌的开端，分为两部分：,这个开端还有弥尔顿称之为颂歌的部分,他开篇的第三段用了,对天国的缪斯寻求创作灵感的请愿。
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