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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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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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The character of Peter brought directly out of the New Testament is really slicing through the poem's fictive veneer.
彼得的形象是直接从中借鉴而来的,在这首诗虚构的伪饰中显得格外犀利。
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The very structure, in fact, of Milton's poem here is what Dr. Johnson would be obliged to call a remote allusion.
约翰逊称弥尔顿这首诗的结构,是遥远的幻境是不得已的。
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When we look carefully at this poem, in fact, the distinction that Frost seems to make between fact and dream starts to give way.
事实上当我们仔细看这首诗时，弗罗斯特特别地区分了,事实和梦开始不再这么重要。
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This shocking image, this impossible-to-imagine image of a brooding impregnation, establishes the foundation for two of this poem's most daring elements.
这个令人震惊，难以想象的,孵伏怀孕的景象为这首诗的两个,最为大胆的元素奠定了基础。
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The woman's objection, as the poem unfolds, is summed up by his choice, the father's choice, to bury the child himself.
这首诗里揭示的这个女人的反对，从这个父亲的选择中就可以总结出，亲自埋葬这个孩子。
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God is in control of the universe and if the poem seems -not that Stanley Fish believes in God, but nonetheless his Milton certainly does -God is in control of the universe.
上帝掌控着整个世界，如果这首诗看起来,-并不是费什信仰上帝，不过他的弥尔顿的确是,-上帝控制着整个世界。
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Geoffrey Hartman's theory had a similar tendency to align the poem with a kind of a religious orthodoxy.
哈特曼的理论有着相似的趋势,给这首诗附加上一种宗教上的正统思想。
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And the poetry that he stands for the fisherman stands for like all of Yeats's poetry is a poetry again of symbols.
这首诗代表了,渔夫代表了,和叶芝所有的诗一样,这是关于象征的诗。
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In fact, this poem's power lies, I think, in its -not only its inability but its unwillingness to specify the content of that revelation.
实际上我觉得这首诗的力量，我想，在于,它不着重写启示的内容,也不愿意去写,启示的内容。
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And Milton reasonably alerts his reader to the timeliness of a lot of the material that would be covered in this poem.
弥尔顿合乎情理的向他的读者们,发出了这首诗所要描写的大量内容的警戒。
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It is, well, it's a great poem. There are lots of them that when I first started teaching this course I decided I wouldn't teach.
它是一首伟大的诗，有很多诗都是,我开始教这门课的时候就决定不去说这首诗。
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Now we began Lycidas with an image of a poet who could only write this poem -- this is what we were told -with forced fingers rude.
现在我们带着一个只能创作出这首诗的诗人的印象,来看这首诗,手指粗暴的用力攥着。
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I think now we can see why these lines about the autumnal leavesare so difficult for us to incorporate into a moral reading or a theological reading of the poem.
我们现在可以看到为什么,这些关于秋天的落叶的句子如此难以,与对这首诗的道德或者神学的理解相结合。
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We're being asked to accept the fiction that Milton is having this very poem laid at the blessed feet of the infant Christ.
它想让我们接受这一幻景,幻景中弥尔顿正把这首诗,谦虚的在上帝圣洁的脚下安放。
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The other character that's mentioned in the poem is the boy's father, whose trees they are, the property owner, who also is absent.
这首诗里提到的其他人是他的爸爸，这些树就是他爸爸的，这些财产的拥有者，但也没有出现。
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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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And so when the figure of Orpheus appears in this poem, it's the second half of the Orpheus story that Milton is forced to tell.
因此当俄耳甫斯的形象出现在这首诗中时，弥尔顿要讲的是他生平的后一段。
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So look at the first lines of the poem. This is page 211 in the Hughes.
看这首诗的前几行，在休斯版的211页。
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I'll bet you, even if you're reading this for the second or the third time, you were surprised again when you came to this point.
我敢说，即使是第二遍或第三遍读这首诗,读到这儿时你们还是会感到惊讶。
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