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Beginning in the late 1630s at the moment in which Lycidas is being written, Milton is becoming increasingly radical.
在17世纪30年代的晚期,即的创作时期，弥尔顿正变得愈发的激进和极端。
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It's different. It's outside you and that's the reason for creating it.
是不一样的。它在创作者之外，那也是创作它的原因。
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I think it's telling that this kind of creation is a failure; it cannot succeed in the confines of this novel.
我想这告诉我们这种创作是失败的;,它在这本小说的界限内无法成功。
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Look at line 120. Milton writes that this choir had been singing at the moment of creation. Not bad.
看到120行，弥尔顿写到这个唱诗班是在一个,创作的时刻唱歌的，不是不好的时刻。
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Or whether or not they had no idea what they were doing, and they've given themselves over to this process.
还是说诗人并不完全理解自己写的文字，而是在创作过程中完全超然忘我。
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That's not just a set of functions--variables, as one might say in the lab.It's produced by genius.
它不仅仅只是一套机器，像人们在实验室所见的一样多变，它是由天才创作的。
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Yeats is obviously writing in the context of an Irish civil war, but it's also the case that he's writing in the shadow of the First World War as well.
叶芝显然是在爱尔兰国内战争时期进行创作的，但是同时他也是在,一战的阴影下写的。
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Very often in these creations stories there is some sense of some realm from which life begins to emerge usually beginning with gods.
通常在这些创作的故事里，都会说到,神是人类的最先。
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What is really significant -I created this plot just a couple of years, in 2005.
其重大意义在与,我创作的这部分内容,还没过几年,是在2005年写的
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Hesiod, whom I have not mentioned to you before, a poet who we think to have lived around 700 B.C., very early in the history of the polis, wrote one of his poems called, Works and Days.
赫西奥德,我之前跟你们提到过的,是一个生活在公元七百年左右的诗人,那还是在城邦历史的初期,创作了一首名为《工作与时日》的诗歌
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Now, Ludwig van Beethoven was in his fifties when he was working on his last symphony-- what would prove to be his last symphony-- his Ninth Symphony, and he'd been tinkering with this particular melody all the way back to probably 1803, so it's about twenty years or so.
路德维希·凡·贝多芬在五十多岁时,创作了他最后一首交响乐,后来成为他最后的交响曲,就是他的第九交响曲,他一直在锤炼这段旋律,也许要追溯到一八零三年,所以大概经历了二十个年头
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To give a text an Author is to impose a limit on that text, to furnish it with a final signified, to close the writing.
在创作的时候，作者会给文章加上个限制，他最后会给出一个象征意义来结束写作。
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But it's just this making haste toward publication writing something really great right now --that Milton's resisting here.
但就是这种想要发表什么的愿望,种想要创作出好文章的愿望，使得弥尔顿在这里坚持。
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Poets begin their careers with easy pastoral poems, but Virgil's speaker says that he is more ambitious now.
这些诗人在职业生涯初期创作一些简单的田园诗，但是维吉尔的叙述者称说，他现在更有抱负了。
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Over the course of that life, she wrote mostly short stories, and so she is very much known for her short stories.
在整个生命年华里，她主要创作短篇故事，并因此声名远播。
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He had a role in pushing Yeats in the direction in which he went.
他在叶芝创作方向上改变,起了一定作用。
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In our first Yeats lecture, I was talking about Yeats's early development and stylistic transformation over the course of, roughly,a twenty-, twenty-five year period.
在我们讲叶芝的第一节课，我谈到叶芝的早期发展,以及他创作风格的转变，在大约20到25年的时间里。
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What good is it -- you'll remember -- what good is it, Milton asks, ; "to tend the homely slighted shepherd's trade"; that's, of course, the vocation of poetry if that shepherd-poet is just going to be struck down in his prime as Edward King had been?
大家可以看到，弥尔顿在这里发出了疑问，“进行平凡微不足道的诗歌创作“，又有何益;,当然，就田园诗人而言，诗歌的天命,是否在于如同爱德华金一般的英年早逝？
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The appearance of this semi-epic rhyme scheme here at the end of Milton's poem suggests his readiness, and he's ready only here at the end of Lycidas to embark on the epic project.
弥尔顿诗篇的最后处半史诗韵律的设计,显示了他已准备就绪，他在的结尾处依然准备好了,在史诗的创作上留下自己的印迹。
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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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In Crane, in his great poem The Bridge- and here's another photo by Evans, this time of Crane on the rooftop of the apartment building in Brooklyn, 110 Columbia Heights where he lived and where he began the poem, with the bridge in the background.
在克莱恩杰出的诗篇《桥》里-,这里还有埃文斯拍的另一张照片，这次克莱恩站在他位于布鲁克林区，哥伦比亚高地,公寓楼的屋顶上,他就是在此开始创作诗篇，背后是布鲁克林大桥。
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Often, when I am teaching "creative writing", teaching "humility", a text which I appeal is actually a Zen text.
很多时候，在我教创作型写作，灌输谦逊的理念时，我经常谈到一步有关禅的作品。
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Again, there were actual sort of literary texts written directly under the influence of Freud.
也就是说，的确有一些文学文本,就是在弗洛伊德的影响下创作出来的。
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Literary theory, as I say, is skeptical about the foundations of its subject matter and also, in many cases, about the foundations of what it itself is doing.
就像我说的，文学理论，是对创作题材的怀疑,在很多情况下，也是对自身所做之事的基础的怀疑。
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Milton's taking pains here, and he does this with very few other poems, to let us know precisely when it is that he's written it.
弥尔顿在这里极力想让我们，知道他确切的创作时间。
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Barthes, while writing this--he's writing what has perhaps in retrospect seemed to be his most important book, it's called S/Z.
巴特在创作这篇文章的时候,根据他的回忆这应该是他最重要的一本书，名叫《S\Z》
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Rosenberg, besides a poet, was also an artist and created these self-portraits. "Self-Portrait in France, 1915."
罗森堡，除了是一个诗人还是一位艺术家,创作了这些自我画像，“在法国的自我画像，1915“
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Later writers take this poetic image and fill out the allusion to - drowning in this ancient song, and compose the prose accounts in Exodus 14, in which the metaphor is literalized.
随后，作者利用这个场景,用这个古老的歌谣进行影射，创作了这一段白话诗,《出埃及记》14，在这段文字中的暗喻被文学化了。
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Absolutely. Now generally, there is some little hook.
当然，创作在通常情况下都有一些小支点。
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So, what you have to imagine is sometime back, I would argue, in the Mycenaean Period, somebody began making up one of these songs, telling the story of Greeks going to attack the city of Troy.
所以,你们想象一下在过去的某时,我当然是说在迈锡尼文明时期,有人开始创作这些诗歌中的某一首,它描述了希腊人攻打特洛伊的故事
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