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The genius of Fish's reading of Milton's similes is to understand the particularly time-bound nature of Milton's verse.
费什解读弥尔顿的比喻的天赋,能够帮助我们理解弥尔顿的韵诗在特定时代下的本质。
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You can actually see the mechanics of end-stopped verse quite clearly in the rhymed version of Paradise Lost that, admittedly, the great poet John Dryden wrote.
在大诗人约翰·德莱顿所写的,押韵版的《失乐园》中能很明显看到，这中孤联诗句的机制。
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Meter is--it's a scheme for organizing verse, for organizing lines of verse.
抑扬格是安排韵文的一种体系，是为了安排每一行诗的韵文。
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What's important in My Fair Lady is to - repeat the repetitiousness of verse-- the rain in spain falls mainly on the plain -in terms of the tautology of the plot.
重要的是窈窕淑女中,这种韵律的加强-,“西班牙之雨大多洒落于平原之上“,韵律的反复加强了情节。
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Now most rhymed poems in Milton's day were end-stopped lines of verse.
弥尔顿时期的大部分押韵诗都使用孤联诗句。
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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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Feet, of course, has a lot of meanings, and Milton's poetic feet, the material of the verse written in six and eight and ten syllables in this poem, are also in 1634 printless -- they're unpublished.
双脚，当然有很多意义，而弥尔顿富有诗意的双脚,这首六，八，十音节的诗，在1634年也是不留痕迹的--因为那时候还没有出版。
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I write it out in a verse-- MacDonagh and MacBride And Connolly and Pearse Now and in time to be, Wherever green is worn, Are changed, changed utterly: A terrible beauty is born.
我在诗中把它表达出来-,麦克多纳和麦克布莱德,还有康诺利和皮尔斯,现在，或是将来，那所有披上绿色的地方，一切都变了，彻底变了：,一种惊人的美已经诞生。
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Free verse is non-metrical poetry, another thing altogether.
自由诗体是无韵律的诗，总的来说是另一种诗体。
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I don't know who came up with this statistic but I love it: nearly three out of every five lines in Paradise Lost are enjambed - they embrace the practice of enjambment. The meaning or the sense of a verse paragraph is diffused throughout a series of lines.
不知道是谁得出这个数字，但我很喜欢：,《失乐园》中将近五分之三的诗句是连结的,-它们全都连结在一起，一段诗的意思或感觉,贯穿在这段诗的一系列诗句当中。
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