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I said that Yeats looks on the modern with a sense of both horror and a fascination, a compulsion almost.
我说过叶芝看待现代是,以一种害怕和好奇的感觉，一种难以压抑的冲动。
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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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And so both of these lobes together constitute a pi bond.
上下两片叶一起组成了一根π键。
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Do you want to be lobotomized where that's the only way, at least that we've got so far, to imagine a life that you would enjoy forever.
你们想接受额叶切除术吗,至少那是我们想到的唯一办法，去想象一种永远享受的生活。
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And Elliot had a tumor in his frontal lobe.
埃利奥特前额叶上有肿瘤。
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The myth that Yeats takes up is of Zeus's rape of the maiden, Leda, whom he attacks as a swan.
叶芝此诗的神话原型是,宙斯强暴了一个美女，丽达，宙斯变成天鹅侵犯了她。
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It's only what it means to write a poetry of passion that Yeats is now beginning to rethink.
叶芝只是重新开始思考,写作关于激情的诗意味着什么。
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Last time I talked just briefly about Yeats's interest in automatic writing, a practice that he engaged in with his wife.
上次我简要提到叶芝对,自动书写的兴趣，他和妻子所实践的。
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Yeats is always creating himself in his poems and creating himself as a kind of version of a type.
叶芝总是在他的诗歌中以一种,特定类型的变体来创造自己。
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And these are called lobes. This is a lobe.
这称为叶。
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Yeats sees the Second Coming as an image, as a myth, an idea, a metaphor, a certain stylistic arrangement of experience.
叶芝把第二次降临看成一个意向，一个神话，一个意识，一个比喻，一种诗意的安排和感受。
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Through Yeats's poem, Easter, 1916 goes on happening, happening in a sense in and even to us.
通过叶芝的这首诗，1916年复活节起义之事，就好像在我们眼前发生。
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And there is finally, again, an affirmation of this joy and gaiety, here seen as a property of the artwork itself.
最后在这里又一次，叶芝又一次提到了快乐欢愉，这里应看作是这件艺术品的部分特性。
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Yeats spoke of the poem as a mad song, maybe not a kind of mad song we would--it's not what we would think of as a mad song, necessarily.
叶芝说这是首狂诗歌，也许不是我们所讲的狂诗歌,不一定是我们所认为的狂诗歌。
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Pearse is seen as, in Yeats's poetry and in popular lore, as Cuchulain, as a kind of avatar of the mythic Irish hero.
在叶芝的诗里皮尔斯被看作是，民间传说中，的英雄王库丘林，是爱尔兰神话里下凡的天神。
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Yeats has a long career, really beginning in the late nineteenth century.
叶芝有很长一段时间，其实是从19世纪后期开始。
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This occult Yeats is a genuinely and wonderfully strange thinker.
在神秘主义方面，叶芝,真是个奇异的思想者。
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There's Yeats, too. All of them are in a sense internationals.
还有叶芝，他们在一定意义上来说都是国际的。
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In fact, Yeats is still writing about a solitary fisherman.
实际上，叶芝所写的还是,一个孤独的渔夫。
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Yeats's elegy here recalls her youth and that of her sister, both friends of the younger Yeats: Eva Gore-Booth a youth spent in the Sligo mansion, Lissadell, where Yeats visited in 1894.
叶芝的挽歌回忆她的少年,还有她妹妹，伊娃戈尔。布斯，她们都是叶芝少时朋友,这一年少时期是指1894年叶芝，在里萨德尔的斯莱格庄园。
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This is related, again, to the frontal lobes and this comes out with the A, not B error.
这也与额叶有关,并且解释了A非B错误
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It's a serendipitous and moving, momentary experience Yeats describes.
叶芝描述的是种侥幸得到的，感人的短暂的体验。
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This is Yeats in costume, costumed as a figure from Irish myth, as an ancient bard, mad King Goll, which is the furthest thing from a modern poet.
穿着奇装异服的叶芝，打扮成爱尔兰传说中的人物，过去的吟唱诗人，疯癫的郭尔王，他与这位现代诗人相隔甚远。
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In a way, Yeats is always in costume.
从某种程度上说，叶芝常作此装扮。
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Yeats is a poet who asks questions.
叶芝在诗中问问题。
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Yeats explores that experience, which is an experience of suffering here and of violation, through a series of rhetorical questions, which are a crucial poetic device for Yeats.
叶芝探索了这种感受，这里这是一种痛苦,一种暴力，表现为一系列隐喻的问题，这是他写诗的一种手法。
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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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I have two lobes in a p-orbital.
在一个p轨道上我们有两个叶。
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Significantly, this picture of Yeats as King Goll was used as an illustration for his first appearance in an English periodical a magazine of art and ideas called The Leisure Hour.
叶芝扮作郭尔王的这幅画,首先出现在一份英国艺术和思想,期刊休闲时刻上，作为他首次,公开亮相，这很重要。
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Yeats is throwing off his early work as if throwing off a kind of costume.
叶芝抛弃了他的早期作品,就像抛弃一件外套一样。
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