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It must have fourteen lines, with three groups of four lines that set up the subject or problem of the poem.
VOA: special.2010.01.06
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The first paper is going to ask you to write about one short poem; the second will ask you to write about two or more poems, or poems perhaps by two authors, or perhaps a poem and some other kind of text or image.
第一篇论文会要求你们介绍一篇短诗;,另一篇则是要求描述几首诗，或者是任意两位作者的诗，又或者是一首诗以及一篇课文或者一幅图画。
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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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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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We've looked at Milton's earliest poem, or what Milton wants us to think of as his earliest poem, from a couple of different perspectives.
我们已经看了弥尔顿最早期的诗歌，或者说弥尔顿希望我们认为是他最早的诗，从一些不同的角度。
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It was nice because it wasn't just, "Okay, Let's write a story" or "Let's do a research about the animal" or "Let's do a poem about fish".
说它出色，因为孩子们这样做，不是因为老师要求“,或布置的任务“,或学校强制。
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And the poem goes on, and this is the tone of a poem. It's a poem of crisis, a poem of a kind of hollow speaker, someone who emerges as, more or less, buried alive. And this is supposed to reflect both personal crisis and a historical crisis.
然后这首诗继续娓娓道来，这就是诗歌的韵律,这是首关于危机的诗，关于一个有点言之无物的叙述者,最后活活烧死的诗，这恰好反映了,个人和历史的危机。
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And the question is, as when one might read a paper one wrote six months ago or ten years ago when one was a college student, or a poem one wrote as a teenager, and looked at it and think: "Ha! Is it possible that I could have written that?".
同时，一个人可能重新阅读,六个月前，或者十年前,还是大学生时写的论文，或者青年时写的一首诗，然后问自己：,哈，这个东西是我写的么？
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So Collins suggests that the poem in Exodus 15 is celebrating and preserving a historical memory of an escape from or a defeat of Pharaoh and that the drowning image is used metaphorically as it is elsewhere in Hebrew poetry to describe the Egyptians' humiliation and defeat.
所以Collins，指出在《出埃及记》15中的诗中,是对逃脱或者打败法老统治的这一历史性时刻的庆祝,溺水这一画面被赋予象征意义，就像犹太诗中,经常出现描写埃及人被打败被侮辱的场景一样。
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To speak of shepherds and shepherding in a pastoral poem seems almost invariably to be a strategy or a way to speak of poets and their craft of poetry.
在田园诗里描绘牧羊人,看起来是一种固定不变的策略或者方式,用以描述诗人和他们的造诣。
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Milton wants to create the illusion that he's predicting, or that he's prophesying, the actions recounted in the poem, as if Milton were prophesying what of course we know to be already past.
弥尔顿想给我们一种他在预言，诗中所叙之事的感觉，似乎他是在预言这些我们都知道已经发生了的事情。
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He's introducing the reader to a mode of vision different from the vision typically permitted him from within the poem's more or less straightforward, linear, narrative boundaries.
他在向读者介绍一种不同于这首诗里,直白的线状叙述的界限,或多或少已经容许他，显露出的设想有所不同的先见之明。
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The New Criticism delights in showing how all five or six of those meanings do have some bearing on the meaning of the poem.
新批评派将很乐意为你展示这5-6种含义,是怎样将诗想表达的意思表达出来的。
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Well, in Frost's case, as I'm suggesting, there's often very skillful and complex imitation going on between Frost's sounds and what he's imaging or describing or the actions and events in the poem.
对弗罗斯特的诗来说，像我所说的，有很多非常有技巧并且很复杂的仿照,在弗罗斯特的音律,和他所描绘的画面,或者诗里的行为和事件之间。
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Since the poem's initial appearance, the institution of episcopacy, or church hierarchy, has been seriously eroded.
从这首诗初次面世以来，主教制度，或者说教会的等级制就已经被严重腐蚀了。
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So in the fourth stanza we as readers have no idea where we are or when it is the speaker of the poem imagines himself to be speaking, and it's at this point that something quite strange happens.
所以作为读者，对第四段我们不知道,自己在哪，诗的代言者在哪,什么时候想说话，而且就是在这时非常奇怪的事情发生了。
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You don't have to do this for Wednesday but let's say for next Monday, and that is: I'd like you to memorize a short poem by Yeats or by Frost, either one.
你们不用今天做,下星期一吧：,我想让你们背一首短诗,叶芝或者弗罗斯特的都行。
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These are drives that the poem seems to be struggling to keep in check, or that Milton is representing the poem as struggling to keep in check, or to purge in some way.
这就是促使诗歌努力去抑制竞争，或者弥尔顿代表诗歌去抑制竞争，或以某些方式去净化。
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Milton is narrating or representing the process by which they are silenced. They're rendered speechless or dumb, and the poem effects this process in order to give someone else an opportunity to speak.
弥尔顿在叙述或描绘这个,他们缄默的过程，他们都变得沉默或哑巴了，同时诗歌也影响了这个过程,为了使另外某个人有机会开口说话。
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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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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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One consequence of this view is that for Yeats history starts to look like a poem, or it starts to conform to laws of poetic imagination or of tragedy, if you like, of myth.
这导致了,叶芝的历史观诗化了，或说是符合悲剧中,诗意想象的规律了，也可以说，神秘主义了。
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Milton's own faculty of memory - this is the idea that I'm going to be floating here - seems to provide something like, or pose a stumbling block or an obstacle for, his attempt to write an original, divinely inspired poem.
在这里我想说,弥尔顿自己的记忆系统,似乎想提供某种东西，或者想在他写出一部原创的，伟大的诗作的尝试上设置一个障碍。
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Milton has dug up a gem from the pages of The Iliad, and this gem has something like a Medusa effect on the poem or perhaps on us as readers. Time almost seems to stop when we begin appreciating this image solely on aesthetic grounds.
弥尔顿从《伊利亚特》中挖出了一块瑰宝，这块瑰宝对于诗或我们读者起得作用,如同美杜莎一样，在我们只欣赏着,精美绝伦的地面上的场景时，时间仿佛停止。
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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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We're prevented from rushing to the end of the sentence, or to the end of the poem, because at least as far as the -- well, you can understand why.
想直接读到句末，到,诗的结尾，因为--你们知道为什么。
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It's one of the purposes of this poem to allow Milton to grow out of his infancy, to incarnate or to put actually into words the talent that he believes himself to possess.
还有一个目的就是,使弥尔顿自己不断成熟，把他相信自己所拥有的,天赋变为文字。
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