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You can see him, in a sense Yeats, cooling the fire in the head of Aengus at this moment.
你们可以感受到此时叶芝正从,安古斯的狂热里冷静下来。
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And you have bread and cheese and tomatoes, and some oregano in the house.
你有面包、芝士和西红柿，屋子里还有一些牛至叶。
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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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And when we look at this, it's actually split by what's called a nodal plane, which is pointed out in light orange here on this picture, but what we just mean is that there is this whole plane that separates the two lobes where there is absolutely no electron density.
我们来看这里，实际上它被一个节面分开，在这图里用淡黄色表示，这意味着这个分开,两个叶瓣的平面上,是完全没有电子密度的。
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You could go to Yeats's poem "Adam's Curse" to see the poet talking about this aesthetic ideal.
叶芝在他的诗歌亚当的诅咒里,谈论了他这一美学理想。
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Yeats counterposes Isaiah's prophetic coal to the blazing body of Section IV, where fire is spontaneous, imminent, something that arises from the body.
叶芝将比赛亚的预言性的煤,和第五节里燃烧的身体相对照，这里火是自燃的，迫在眉睫的，是从人身体里升出的。
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The divine enters the human in these poems of Yeats's through the bestial.
当圣降临于人,在叶芝诗歌里,圣以兽之形式降临于人。
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This is Yeats rather later, still dressed, however, in his study as an aesthete and dandy.
这是叶芝在晚年时在书房里，打扮成美学家和花花公子的原因。
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This is one of the events, I think, that Yeats is thinking about in "The Fisherman" when he speaks of "great Art beaten down."
这就是叶芝，我想，在《打鱼人》里想法之一“,当他说，伟大的艺术败了“
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Does it represent Yeats's own early cultural nationalism and the work represented in The Wind Among the Reeds and other early poems?
它是否代表了叶芝早期,文化民族主义和苇间风里,收录的及其他一些早期诗歌？
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Again, notice how bodily, how material and physical Yeats's images of human energy are.
注意叶芝诗里人类能量,多和肉体物质相关的。
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The poetry that Yeats wants from this place, the place that the fisherman takes him to, it's going to be cold and passionate as he describes it.
叶芝想从诗里这个地方得到的，渔夫把他带往的，正如他所描写,将会是寒冷而有激情的。
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This is an important phase of his career, when with the help of Lady Augusta Gregory and John Synge, Yeats tries to establish an Irish national drama.
这是他人生中重要的时段，在奥古斯塔格雷戈里夫人,和约翰辛格的帮助下，叶芝尝试爱尔兰民族戏剧。
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Fire is symbolically important throughout his poetry.
火是叶芝诗里重要的象征。
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The realization of desire for this young Yeats is something only possible in art.
对年轻的叶芝来说这种愿望的,实现只有在艺术里才可能。
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In Section III below, Yeats says, "Get all the gold and silver that you can"-- "Provide, provide!" But just as in Frost, this strategy isn't going to work.
在第三节里，叶芝说，获得你能获得的黄金和白银-,请拿出来，请拿出来！，但正像弗罗斯特，这个方法行不通。
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It's a longish poem, not in your anthology, but you can find it in The Complete Yeats, and I've given you on this handout page just a couple stanzas from it, so you have a sense of it.
这是一首很长的诗，你们的选集里没有，但在叶芝全集里可以找到，我给你们发的材料上就有,只是其中的几节，你们可以大概有个了解。
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Yeats seems to be reversing this trick in "The Fisherman," seems to be converting myth back into reality the ideal object of desire from a glimmering girl back into a trout.
叶芝好像在渔夫一诗里,颠倒了这一转变“,好象是把神话转回现实,欲望的理想载体从,若隐若现的姑娘变成了鳟鱼。
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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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You could look at a similar attitude in "A Prayer for My Daughter," another important big Yeats poem from slightly earlier, where Yeats says, "An intellectual hatred is the worst, so "that opinions are accursed."
在为我的女儿祈祷中,叶芝表达了相似的态度,这首诗稍早，也很重要，叶芝在诗里说，理智的仇恨为害最甚,把观念视为可憎“
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That "Spiritus Mundi" that Yeats refers to in "The Second Coming," well, this is Yeats talking about that idea here.
叶芝二次圣临里的宇宙之魂“,叶芝这里在谈这一观点。
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It is, in fact, a very deliberate and self-conscious repudiation of that late romantic aesthetic that Yeats's early book, and even the cover of that early book, represents.
实际上，这是一种非常从容不迫有意识的,对早期叶芝的书里体现出的后浪漫审美的抛弃，甚至连早期那本书的封面，都体现出了这种倾向。
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Pearse is seen as, in Yeats's poetry and in popular lore, as Cuchulain, as a kind of avatar of the mythic Irish hero.
在叶芝的诗里皮尔斯被看作是，民间传说中，的英雄王库丘林，是爱尔兰神话里下凡的天神。
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And this is related to Yeats's idea that the poet and this is something he wrote about in the prose that the poet is more type than man.
这和叶芝关于诗人的观点,他在一篇散文里提到的,诗人更多是形象而不是个人。
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Contrast Yeats's old age and the freshness of his desire in this poem.
在这首诗里对比叶芝的年纪,和他愿望的朝气。
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Remember how Yeats represents history as rape in "Leda and the Swan."
记住叶芝在丽达与天鹅里,把历史表述成强奸“
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And interestingly, strangely, make of it what you will, the man who detonated that bomb, as I understand it, had studied Yeats at school in Leeds.
有趣而奇特的是，你们可以对此有自己的想法，制造爆炸的那个人，我觉得他肯定，在利兹大学学院里学过叶芝。
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Yeats's elegy here recalls her youth and that of her sister, both friends of the younger Yeats: Eva Gore-Booth a youth spent in the Sligo mansion, Lissadell, where Yeats visited in 1894.
叶芝的挽歌回忆她的少年,还有她妹妹，伊娃戈尔。布斯，她们都是叶芝少时朋友,这一年少时期是指1894年叶芝，在里萨德尔的斯莱格庄园。
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