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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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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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We will revert, as others revert to Lycidas, to Tony the Tow Truck for the purpose of introducing questions of applied theory.
到时候，我们再来分析《拖运车托尼》,为了介绍应用理论的问题。
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Milton's Lycidas doesn't end up all soaked in this unhealthy brew of -neurotic brew of anxiety and shame and naked ambition.
终局时并未完全沉浸在这种非正常的,神经质的对焦虑羞愧和赤裸裸的野心的酝酿里。
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Okay, quickly I'm going to ask you to turn to the very beginning of Lycidas, page 120 in the Hughes.
现在翻到的最开始，休斯版的第120页。
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The corporeality of "Damon's Epitaph" illuminates we can see the unorthodox direction in which Milton's Lycidas is tending.
达蒙的墓志铭》的物质性刚好诠释了,《利西达斯》离经叛道的倾向。
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When we consider the particular circumstances that occasioned the poem Lycidas, we can see why Milton, I think, chose this pastoral form.
当我们把引发的创作的,特有的情况考虑进去，我们可以发现弥尔顿选择这种田园诗派的原因。
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He conjures the indecorous image of the dead Lycidas under the whelming tide visiting the bottom of the monstrous sea.
他想象死去的利西达斯,在排山倒海的浪潮覆盖下拜访尽是妖怪的海底。
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He asks the gods what has happened to Lycidas and who exactly was responsible for the sinking of Lycidas' ship.
他问众神利西达斯怎么了,是谁让他的船沉没的。
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We looked last time at Saint Peter's declamatory speech in Lycidas, and we spent a lot of time on it.
我们上次读过了圣彼得在“利西达斯“中说的话，花了很长时间研究这段话。
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You can see on the handout those poems by those classical authors that Milton's Lycidas is most indebted to.
讲义上有这些经典作者的经典诗作,弥尔顿的《利西达斯》是受这些诗作的启发写成的。
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Six years later when Milton writes Lycidas, he's employing the same fiction of unreadiness and filled with all of the same anxiety of under-preparedness.
六年后弥尔顿写《利西达斯》的时候，表现的还是这种未准备好的状态,充满了同样的为薄发而厚积时的焦躁。
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Professor John Rogers: The best way, I think, to introduce the central issues of this wonderful poem, Lycidas, is to return to Milton's Comus.
约翰·罗杰斯教授：我认为，要向你们介绍《利西达斯》,这首精彩的诗的精髓，最好的方法莫过于，回顾一下弥尔顿的《科玛斯》
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Johnson tells us that Lycidas is not to be considered as the effusion of real passion, for passion runs not after remote allusions and obscure opinions.
约翰逊说《利西达斯》不是,真挚情感的流露，因为真情不是通过遥远的幻境和隐晦的观点来表达的。
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It's safe to say that Lycidas is one of the last poetic works of Milton's that's really consumed with his problem, the problem of fruitless anticipation.
谨慎的说，是弥尔顿最后的,切实地与他自身的问题有关的诗篇之一，他自身关于毫无成果的期望的问题。
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Is Lycidas an appropriate expression of grief over the death of Edward King, and furthermore, ? does it console others for their grief over Edward King's death?
利西达斯》是否恰当的表达出了,对爱德华·金之死的哀悼？，进一步说，它能否抚慰人们为爱德华·金之死的悲痛？
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As in Sonnet Seven, Milton writes the first verse paragraph of this great poem, Lycidas -- the first fourteen lines - in essentially the form of a sonnet.
如同《十四行诗第七首》，弥尔顿写《利西达斯》,这首伟大的诗的开头--头14行时,-用的还是十四行诗的形式。
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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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To the extent that Lycidas' body has been recovered, that it's been redeemed, Milton is able -- perhaps successfully, Milton is able to justify the ways of God to men.
利西达斯的身体最终愈合了，被救赎了，这样弥尔顿就得以--或许是成功的，证明了上帝待人之法。
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Now for next time we'll be reading Lycidas, which is about the death of a friend -- and the death of a friend, in fact, who died a virgin, we have to assume.
下一次我们将开始阅读《利西达斯》,是关于一位朋友的死亡，事实上这位死去的朋友是位处女，这我们得设想。
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It's not about marriage, and marriage will still seem quite a ways off, I fear, when you read Lycidas, but we will be marking the transition to the poetry of marriage soon enough.
那不是讲婚姻的，我担心当你们读《利西亚斯》的时候，婚姻仍是一个走出的方法，但是我们,将很快标记诗篇中关于婚姻的转变。
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The fact that the death here in Lycidas is the death of a young, virginal poet at the very outset of his career, as you can imagine, resonates in a lot of powerful ways.
利西达斯》中的死者是一个年轻，还未失童真，事业刚要起步的年轻人，可以想象，这与弥尔顿有很强烈的共鸣。
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Okay. Famously, Dr. Johnson couldn't bear this poem, Lycidas - Dr. Johnson, the greatest of all literary critics of the eighteenth century.
好的，众所周知，约翰逊博士受不了《利西达斯》这首诗,-约翰逊博士，18世纪最伟大的文学评论家。
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Another way into this problem: let's look at the comments that Dr. Johnson made about Milton's Lycidas in the eighteenth century.
看这个问题的另一个角度：让我们看看,约翰逊博士在18世纪队弥尔顿的《利西达斯》所做的评论。
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And it's at the height of this vision of our floral decoration of Lycidas' hearse that the speaker is suddenly caught up short.
都到了用鲜花装饰利西达斯的灵车,的时候了读者才突然领会到。
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The speaker of the poem mourns the death of the shepherd-poet Lycidas and describes this parade, this procession of mourners who make their tribute to the deceased.
牧歌》第十首中的讲述者哀悼牧羊人诗人利西达斯的逝去,描述了一行送葬者们,向逝去的人献礼的情景。
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Lycidas' death -- remember this is the poem that Milton didn't want to write, he was "forc'd" to write it -Lycidas' death allows the uncouth swain to grow up and to move on.
利西达斯的死-记住这是一首,弥尔顿并不想完成的诗，他是被迫的,使得这个粗鄙的年轻人能够成长并继续前进。
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In Lycidas Milton doesn't let himself, thank God, go quite so far as he does in this amazing ending to "Damon's Epitaph."
感谢上帝，在《利西达斯》中，弥尔顿做的不像，他在《达蒙的墓志铭》的结尾那样过火“
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And as if that weren't terrible enough a realization, he goes on to envision an even more grotesque end for Lycidas' body.
似乎这还不够可怕，弥尔顿又进一步给利西达斯的尸体想象了更加怪诞的结局。
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