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This is Lena Reyna reading part of her winning poem, "The Weight of Words in Reverse."
VOA: special.2010.04.05
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Its difficulty lies in Milton's tendency in this poem to seek out what Dr. Johnson wonderfully calls remote allusions.
诗的难点在于弥尔顿想要在诗中极力追求,被约翰逊绝妙地称为不切实际的幻想的倾向。
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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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This is how the poem begins: When lilacs last in the dooryard bloomed, And the great star early drooped in the western sky in the night, I mourned, and yet shall mourn with ever-returning spring.
VOA: special.2009.04.12
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Here, the issue in this poem is grief, how the mother and father each express how they deal with the death of their child.
这首诗谈论的问题很悲伤，这个父亲和母亲表达,他们对死去孩子的处理方式。
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In the eighteenth century, a poet named Mark Akenside wrote a long poem called The Pleasures of the Imagination, and in this poem there is the line "The great creator raised his plastic arm."
在十八世纪，一位名叫马克？阿肯赛德的诗人写了一首长诗,叫《想象的快乐》,诗中有一句是,伟大的造物主举起了他的plastic的手臂“
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So is this something you do in your own artistic practice with when you are sitting down, writing a poem?
您在静下心来，写诗，进行艺术,创造时，也是实践这种理念么？
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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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You can figure Milton asking in this poem Lycidas if it's true: is it true what the Elder Brother said, ? that virtue is always rewarded and evil punished?
可以看出在《利西达斯》中弥尔顿是在问：,《科玛斯》中哥哥所说的，善有善报恶有恶报是真的么？
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The heavenly reward in this poem involves all of the sensuality, all of the sensual experience, that was denied and repressed on earth.
这首诗里所写的天国里的奖赏包含了，所有在人间时被克制压抑的感官享受和体验。
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The embroidery and decoration, all that now seems inauthentic, something that, in fact Yeats's audience had failed to value properly he's complaining here in this poem.
那些刺绣和装饰，所有那些看起来不真实的，所有他的读者未能正确欣赏的,他在这首诗里都有抱怨。
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The only thing that matters is the salvation of the incorporeal, the bodiless soul, but Milton is so unorthodox, or at least heterodox, in his insistence on the importance of the body in this poem.
基督教强调只有非物质的非肉体的心灵的救赎，才是重要的，但弥尔顿是如此异端，至少不正统，在诗中一直强调肉体的重要性。
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Yeats imagines a kind of active arson in this poem.
叶芝在诗里想象了主动燃火。
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This is where evaluation comes in. The success or failure of a poem depends on the realization of meaning.
这时就需要评估介入了，一首诗好与坏,取决于它含义表达是否清晰。
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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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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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The heaven in this poem is so far from being the incorporeal - the spiritual heaven of orthodox Christianity that you have an image of an actual orgy, the festal orgy raging under the thyrsus .
这首诗所描绘的天堂与正统基督教所宣扬的,非物质的，精神的天堂是如此大相径庭,弥尔顿描绘了一副纵欲狂欢的场景,在神杖下纵欲狂欢。
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Now what's Saint Peter doing in this poem?
那么圣彼得在诗里做了什么呢？
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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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It's always worth asking yourself what a line of poetry that is as aggressively unpleasant as this one is doing in a poem.
你需要不断的问自己，一句让人感到被侵犯，不悦的诗,正如这里的这句，到底想要表达什么。
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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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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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So the Lady in the 1637 version of this poem, of this mask,is at an impasse.
所以在1637年版本的《面具》中，这位女士，陷入了僵局。
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They're more like propositions, like speculations, that we're asked to test through empathic identification with, in this case, the poem's subject, Leda.
它们更像观点，像推测，而不是问题，叶芝问这些问题,以同情的口吻关注着，此诗的主题，丽达。
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Okay. This is only the first mention of Galileo in the poem and, as you will see if you're careful in looking at your footnotes in the Hughes, appears two other times within the later similes in the poem, always in a simile.
这只是此诗中第一次提到伽利略，如果认真读的话，会发现更多,特别是在休斯版的脚注里，在后面的比喻里伽利略又出现了两次，他总是出现了比喻里。
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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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And that is, in fact, one of the important points of departure for this poem.
其实这就是，这也是他诗歌创作的一种尝试。
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All of the self-discipline and all of the self-denial in the world can do nothing -- this seems to be one of the implications of this poem - can do nothing to protect the poet from an untimely death.
所有的自律和自我克制,都无能为力--这似乎是《利西达斯》的含义之一,-所有这些都无法避免这位诗人的早逝。
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The similes are continually working to unleash -and they're really quite unruly in this respect -to unleash the moral and the theological confusion that so much of the rest of the poem seems really quite eager to pin down and to fix.
这里的比喻不断的想要解脱束缚,-它们从这个方面来看也的确不受什么束缚,-解脱道德上和理论上的混乱无序,这首诗的剩余部分都显得急切于,下定论进行弥补。
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Milton seems to have accomplished something in writing Lycidas, ; almost as if he accomplishes it over the course of this very poem; and one of the things that he's accomplished is his ability to see himselfas someone who has accomplished something.
弥尔顿似乎在写作的过程中，得到了什么;,他所得到的其中之一就是,把自己看作有所成就之人的资格。
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