-
Milton wants to write an epic that in some ways comes before, or prevents, the great epics of Homer and Virgil.
弥尔顿想写一首在某种程度上先于，荷马和维吉尔伟大史诗的史诗。
-
In this respect it would resemble Spenser's Faerie Queene, or perhaps more importantly, Virgil's Aeneid -- other nationalist epics.
这样的话它就会与斯宾塞的《仙后》，更重要的，维吉尔的《埃涅阿斯记》等一些民族主义史诗相类似。
-
This is Virgil: "He should sing thin - spun lays and he should be content feeding his fat sheep."
这是维吉尔的诗：“他哀唱着纤细的抒情诗“,“喂着肥硕的羊儿，他无比满足“
-
The image of a poet interrupted and chided by the god of poetry comes straight out of the opening of Virgil's Sixth Eclogue.
这段诗人被神明打断斥责的场景,直接明了地出现在维吉尔的里。
-
In that respect, it has a kind of priority over the hells or the underworlds of Homer and Virgil.
在这一点上，它优胜于荷马与维吉尔笔下描绘的,那些地狱或阴间。
-
The god told Virgil that he wasn't ready yet for the manly, the adult, and the public world, the important world, of epic poetry.
神明告诉维吉尔，他还没有准备好接受，成人世界和公众世界，以及史诗的重要领域。
-
So the structure of this poem is unquestionably Virgilian, but the sentiments that are voiced in this poem are unquestionably Miltonic, and we will recognize them.
因此这首诗的结构毫无疑问是维吉尔式的，但抒发的感情毫无疑问,是弥尔顿式的，这能看的出来。
-
Milton would insert into the printed text of his poem his own anticipation that his epic would receive the same universal approbation as Homer's and Virgil's.
弥尔顿会把自己的预想也写进他的诗里,他认为自己的史诗也会得到普遍的认可,就如荷马和维吉尔的史诗。
-
The language of Homer and of Virgil and of Pindar and of Ovid had become an inextricable part of his literary imagination and of his consciousness in general.
荷马，维吉尔，品达尔和奥维德的语言,成为弥尔顿文学想象还有文学觉悟中,无法摆脱的一部分。
-
Like Homer and like Virgil, Milton intends to soar above the wheeling poles of the visible world and describe the otherwise invisible comings and goings of the gods.
像荷马和维吉尔那样，弥尔顿想屹立于现实世界之上,去描绘无形世界中上帝的来来往往。
-
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“
-
It's a poem deeply invested in the tradition of pastoral poetry, pastoral poetry from Theocritus and Virgil onward.
这是一首深深植根于从忒俄克里托斯和维吉尔时代，不断发展而来的田园诗的传统中的诗。
-
Now in Virgil's early poem, the Sixth Eclogue, the speaker explains that the writing of pastoral poetry is the stuff that young poets do.
在维吉尔早期的诗篇里，诗人解释道,田园诗歌的创作是年轻诗人的必经之路。
-
So this is Virgil: "When I was fain to sing of kings and battles, the Cynthian god" -that's Phoebus Apollo -- "plucked my ear and warned me."
这就是维吉尔所写的：“我欣然乐意着笔于国王与战争“,“而辛西亚那之神“,即为阿波罗-“在我耳边低声警告我“
-
The only precedent Milton would have had even for the idea of line numbers would have been the great ancient classics, the magnificent Renaissance editions of Homer and Virgil.
弥尔顿曾经的唯一一个范例，甚至是印上行数的想法,都将是伟大的古老杰作，是荷马和维吉尔伟大的再生版。
-
It's to admit that this is in fact a late epic and that it derives from a close, studious, student-like imitation of the great epics of Homer and Virgil.
也就等于承认它事实上是一部晚期的史诗作品,是源自于雷同的，学究气的，小学生般的,对荷马与维吉尔写的伟大史诗的模仿。
-
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。
-
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。
-
Homer and Virgil and, well after them, Dante and innumerable others have all applied the simile of the leaves or some version of it to describe the numberless-ness of the dead.
荷马，维吉尔，在他们之后还有但丁,以及无法计数的曾经用过这个落叶比喻,或者变种版本来形容死者的数量极多的其他诗人们。
-
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。
-
Apollo warns Virgil that a pastoral poet simply shouldn't overstep his bounds.
阿波罗警告维吉尔，作为一个田园诗人,不要妄想着逾越他的界限。
-
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。
-
The poem is based most closely on Virgil's Tenth Eclogue.
这首诗取材于维吉尔的《牧歌》第十首。
-
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。
-
He has taken it from one of the pastoral poems of Virgil.
他是从维吉尔的一首田园诗中借鉴的。
-
in his great depiction of hell in Books One and Two) to avoid the standard epic scenes of the torture of the damned, for example, with which we're familiar if we've read Homer or Virgil or, of course, Dante much later.
在他第一和第二册书对地狱的精彩描述）,去避免提及传统史诗中关于恶者被折磨的场景，例如我们所熟悉的那些场景,如果我们读过荷马的，维吉尔的，当然还有但丁的作品。
-
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。
-
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。
-
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。
应用推荐