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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 fact nowhere else do we see Milton literally bursting out at the seams as he seems to in this poem.
其实弥尔顿在别处也没有,像在这首诗中一样离经叛道，完全爆发。
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And this poem seemed like one you might find and be able to read yourself, without me there to explain it.
而这首诗似乎是一首,你们自己就可以读懂的，不用我多做解释的诗。
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I am sure you recognize this as Stevens' "Anecdote of the Jar," but I will quickly quote to you the poem.
大家一定知道这首诗就是史蒂文斯的《坛子轶事》,但是我还是想快速地给大家读一下。
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It's called Death and Transfiguration, and I hear this as a companion piece, a kind of pendant to the Zarathustra.
这首曲子名叫死亡与净化,我听说它是查拉图斯特拉的姊妹篇,某种对查拉图斯特拉的补充
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who was it who sang the song "Two Out of Three Ain't Bad" ? Was that Meat Loaf? Who was it?
三个中占有两个就不错了“，这首歌是谁唱的来着“,是肉块乐队吗？，是么？
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In Lycidas, Milton looks back at the Elder Brother's theodicy, and it's almost as if he's attempting to test its validity.
在这首诗中，弥尔顿回顾了《科玛斯》中哥哥的斯奥迪斯，似乎是在验证斯奥迪斯正确与否。
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The first is the radical theology, and the second is this poem's equally radical and equally daring original verse form.
第一是它激进的神学观点，第二是这首诗,同样激进大胆的原始诗歌形式。
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The poem's connection to music signifies the difference in point of view in these poems from reasoned speech.
这首诗和音乐的联系显示了,它和那些理由充分的演说在观点上的不同。
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Now the subject matter that he's chosen for this poem, for this so-called first poem, couldn't possibly be more appropriate.
现在他选这首诗的主题很重要，这所谓第一首诗可能不太恰当。
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Everyone agrees that what Milton is doing in the similes is educating the reader, the reader of this poem.
大家都同意弥尔顿想要通过这些直白的明喻,来教育这首诗的读者。
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In fact, this is the Harvard student who wrote Prufrock; Eliot wrote Prufrock largely when still at Harvard and in the years immediately following.
实际上，写这首诗时他还是哈佛的一名学生;,艾略特在哈佛时以及随后的几年里,完成了这首诗的大部分。
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Genre" Is simply a fancy word for "Type" Or "Kind" so what genre of piece is this by Beethoven?
风格,只是某种比种类或类别,更花哨的说法,那这首贝多芬作品属于什么风格呢
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In other words, the poem is full of complexities, but who says they're being reconciled?
其实，这首诗充满了矛盾，但是谁又说了这首诗协调了矛盾呢？
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Yeats develops this idea or develops another version of it in a somewhat earlier poem that's interesting in relation to this one.
叶芝进一步发展了这一想法,并在早期的一首诗里,写了另一个版本,那首与这首的关系很有趣。
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I think that the entry could be seen as in some way helpful for our understanding of this poem, the Mask.
我觉得这个条目某种程度上来说,对我们理解《面具》这首诗是有帮助的。
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And it's virgins who get to sing the nuptial song at the wedding of the lamb that John also envisions.
只有处子才可以在约翰想象,的羔羊婚礼上唱这首婚礼之歌。
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This was an act of compulsion, and the poet had to be forced to press this lyric out of himself.
这是一个强迫性的行为,诗人被迫绞尽脑汁写出这首诗来。
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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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And I think it's possible to see that one of the purposes of this poem is precisely to correct that situation.
我们可以看到他这首诗歌的目的之一,就是去改变现状。
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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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In Hardy here, and in other poems, there's this sort of wonderfully, self-consciously archaic language.
哈迪的这首诗还有其他诗中，有一种,绝妙的不自然的古英语。
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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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But the unmistakable physicality of the heaven imagined in the poem about Diodati gives us some idea, I think, of how to read the end of Lycidas.
但在关于迪奥达蒂的这首诗中弥尔顿所想象的,天堂的物质性是无可置疑的，这能给我们一些启发，帮我们理解《利西达斯》的结尾。
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A poem published after the Second World War, written about the post-war world.
这首诗发表在二战后，写的是战后的世界。
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When in 1645 Milton finally publishes that first volume of poetry, the first poem that he places in this volume is the Nativity Ode, our poem today.
当1645年出版了首个诗集，他把《圣诞清晨歌》放在最前面，就是我们今天看到的这首诗。
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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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And I'm trying to suggest that Milton's composition of this poem is actually doing something for him, that it gets him somewhere, and that it's functional in a genuine sense.
我试图设想弥尔顿的这首诗,实际上是在为他做一些事情，使他，能够真正的发挥某些作用。
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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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