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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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You can think of it as this reaction to the problem of lateness that accounts for one of the invocation's most distinctive features, and that's the repetition of the word "first."
你们可以把弥尔顿在这首诗中对“晚“的回应,当做这首诗最明显的特征之一，这表现在他反复使用“初/先“一词上“
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The poem represents a kind of as does the short poem, "A Coat" represents a kind of ascetic move, an active imaginative and rhetorical stripping-down.
和短诗一件外套一样,这首诗代表了“,一种禁欲主义，主动的想象和对华丽辞藻的摆脱。
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It kind of brings us to the end of Richard Strauss, our discussion of Richard Strauss.
我们对理查·施特劳斯的探讨,将由这首乐曲画上句号
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This is palpably false because here's the poet praising her, right?
这似乎不合理因为这首诗是在赞扬她，对么？
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And in so far as it is possible for me, to try to preempt what that impact or effect might be in the sense of trying to figure out whether or not it will have an impact on you and what it might be.
只要有可能，我就会通过自己对诗歌的感受,来试图推断这首诗,是否会对读者产生冲击，会产生怎样的冲击。
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204 So the stele of Merneptah dates to about 1204, and in this victory hymn he's boasting of his victory over various groups in Canaan, and one of the groups he claims to have defeated is Israel.
因此Merneptah石碑可以追溯至，而在这首胜利颂歌中,他在炫耀对迦南部族的胜利，他也提到一个被打败的部族是以色列。
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The similes are for him instrument in the poem's larger agenda to reinforce our faith in the coexistence of free will and divine providence -- difficult, huge concepts.
这些比喻在这首诗更深的议程中是作为工具,来深化我们对自由意志和神圣天命的共存,所持的信念--这是两个艰深宏大的概念。
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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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So Saint Peter concludes with -- it goes on, and he concludes with a couplet that is as terrifying in its threat of finality as it is for me utterly baffling in its significance.
因此圣彼得以一句如同这首诗结尾的威胁般,可怕的对句作了总结,我很难读出这句话的重要性。
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The poem seems unusually self-conscious about the role that its similes play.
这首诗看起来不同于往常地,对明喻在其中扮演的角色有所自知。
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The Nativity for Milton is purely an anticipatory event.
圣诞清晨歌》这首诗对米尔顿来说就是一个预言。
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It's difficult to imagine that as an expression of genuine grief over the death of a genuinely close friend would take the form of a poem so learned, so filled with remote literary allusions and obscure opinions.
这首诗是为表达对挚友逝去的真挚悲痛,却采取了这样一种如此博学，如此充满,遥远的幻境和隐晦的观点的形式,这确实是难以想象的。
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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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The poem nonetheless harbors this wonderfully primitive and irrational accusation.
尽管如此，这首诗却对这种原始的,毫无理性的控诉进行了维护。
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It's just this double bind of vocation that's the subject of Sonnet VII, "How soon hath Time." That's the sonnet in which Milton laments the fact that he has turned twenty-three years old and has yet produced nothing that would indicate a shining poetic future.
第七篇十四行诗的主题就是这种职业窘境，“时间过得多快啊，“弥尔顿在这首诗里表达了,对自己都快23岁却没创作出什么,可以显示出他卓越天赋的诗的哀伤。
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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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But, as I mentioned briefly in the last class, the notorious difficulties attending this poem seem to have very little to do with Milton's grief over the death of Edward King, which may well not have been all that troubled or complicated.
不过，正如我上节课简要提到的,这首诗的阅读障碍和弥尔顿对爱德华金之死的,悲啜之情并无太大关系，他的哀悼也不是使这首诗艰深复杂的全部原因。
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Yeah, Piano Concerto Number One of Tchaikovsky, and the third one?
对,柴可夫斯基的第一钢琴协奏曲,那第三首呢
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This is a simile that Stanley Fish brilliantly describes ; as central to a certain temporal procedure common in Milton's verse; Fish is interested in the temporal process of reading in general.
这被斯坦利费什独具匠心地形容为,弥尔顿诗中极为常见的时间步骤的核心;,费什对总体上这首诗的时间顺序非常感兴趣。
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