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Virgil alludes to just this passage in Homer when he describes the entrance of a whole crowd of people in to the underworld as "the falling of leaves in the early frost of autumn."
维吉尔只是在荷马中影射了这点,他描述了通往人群拥挤的地狱的入口,如同“在深秋严寒中无情飘落的叶子“
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Poets begin their careers with easy pastoral poems, but Virgil's speaker says that he is more ambitious now.
这些诗人在职业生涯初期创作一些简单的田园诗，但是维吉尔的叙述者称说，他现在更有抱负了。
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In The Epic of Gilgamesh they were the ones who got the plant of eternal youth. It's etiological.
在《吉尔伽美什史诗》中,蛇得到了可以永葆年轻的植物，所以蜕皮。
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So they've got a lot of-- Will Goetzmann and Geert Rouwenhorst are collectors of old bonds and they've got lots of bonds with their coupons still attached.
他们那有很多,威尔·杰茨曼和吉尔特·陆文霍斯特,是旧债券的收藏家,他们收集了许多,还贴有息票的债券
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And it was taken the lab of Donald Olding Hebb at McGill University by a couple of graduate students, post-doc of that time, James Olds and Peter Milner And what they've done?
地点是麦吉尔大学的唐纳德·赫布试验室,由当时的两名博士后研究生，詹姆斯·奥尔兹和皮特·米尔纳拍摄,他们做什么了？
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Okay. Now Eva has another gig out in Gilford this morning so she's going to run off, and I'm going to show you, maybe, if we can get our slides up, this overtone series stuff.
伊娃今早在吉尔福特还有其他表演,所以她得告辞了,现在,要是我的幻灯片能用的话,我要用幻灯片为你们演示,这些有泛音列的乐器
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As soon as he has expressed this epic ambition -Virgil explains that as soon as he's expressed this Phoebus Apollo, the god of poetry, stepped in and chided him.
一旦他表达出了这种野心,正如维吉尔写道，诗歌之神阿波罗，闯入诗歌的篇章并指责他。
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Finally, Dante alludes to this image of the Virgilian underworld in The Inferno when he describes the descent of humanity, the evil seed of Adam, into the Christian hell.
最后，但丁又在中描述到人性的败坏,亚当在基督教的地狱中撒下的邪恶种子时，含沙射影了维吉尔关于地狱的描写。
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They are steeped in the entire literary tradition of the underworld journey that stretches from The Odyssey of Homer up through Virgil's Aeneid, and of course up through all of the Renaissance romance epics.
它们被浸泡在整套文学传统中,穿越了从荷马的《奥德赛》上升到,维吉尔的《埃涅阿斯纪》的地下之旅，当然它也经历了所有文艺复兴时期的浪漫史诗。
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Now we all know what Virgil's poetic career would go on to look like.
现在我们都知道维吉尔的诗歌职业是如何发展的了。
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It turns out that Utnapishtim can't help him, and we'll come back to Utnapishtim later in the flood story, and Gilgamesh is devastated.
结果他并不能帮助吉尔伽美什，等一会，我们在洪水的,故事中，还会提到Utnapishtim，吉尔伽美什几乎绝望了。
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or nymphs and satyrs than you or I know and later urban poets - and Theocritus was an urban poet -later urban poets like Virgil or Milton knew even less than Theocritus, we have to assume.
的森林之神），忒奥克里托斯知道的不比你我或是后来的,都市诗人多--忒奥克里托斯就是个都市诗人,-后来的都市诗人像维吉尔和弥尔顿,我们得假定，对这些知道的就比忒奥克里托斯还少了。
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After the long sway of Theocritus' and Virgil's pastorals, ; of course Christianity entered the scene,a new dispensation; and Christianity began to load this pastoral literary tradition with its own set of associations.
在维吉尔等两人对田园诗的长久统治之后，基督教义作为新的统治思想兴起了;,并且开始以它自身的一套体系,附在田园诗的文学传统之上。
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All of this anxiety, and when you think of it, all of this shame as well as the shame of ambition -all of this gets packed into this allusion to Virgil that Milton brings to this very disturbing moment in Lycidas.
当你定下心来思考，所有这些忧虑，羞愧,等同于野心所带来的羞愧,所有这些都被整合进维吉尔的幻想里,而这又被弥尔顿写进了这令人困扰的一段里。
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The Virgilian echo gives this passage in Milton an unmistakable pathos and an undeniable beauty.
这个维吉尔式的共鸣在弥尔顿而言,传递了一种一目了然的悲怆和不可否认的绝美。
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Virgil had written a poem in the Sixth Eclogue that had touched Milton, and it had touched Milton, I think, because it begins with Virgil's own brooding meditation on the course of his poetic career.
维吉尔在里的一首诗触动了弥尔顿，之所以这首诗能够触动他，是因为那首诗是以维吉尔本身关于诗歌职业的,忧伤的沉思，开篇的。
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As presumptuous as that desire is, to come before Homer or to come before Virgil, it's by no means the final sense, I think, of Milton's ambitious drive to be first. Milton invokes the same heavenly muse here who inspired Moses, that shepherd.
尽管想要先于荷马或维吉尔的雄心,很冒失，这却绝不是弥尔顿想要做第一，的壮志的终点，他在这里所写的,缪斯正是那个启示了牧羊人摩西的缪斯。
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It engages the ancient art of pastoral poetry initiated and made famous by the great Greek poet Theocritus, which was later imitated by Moscus and then finally by the Roman poet Virgil in his celebrated pastoral eclogues.
它沿用了古老的田园诗艺术,田园文学是由希腊伟大诗人忒奥克里托斯创始并发扬开来的，后来为摩斯科斯所模仿，最终,罗马诗人维吉尔的著名田园诗也是模仿的此诗体。
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