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And this poem seemed like one you might find and be able to read yourself, without me there to explain it.
而这首诗似乎是一首,你们自己就可以读懂的，不用我多做解释的诗。
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Its difficulty lies in Milton's tendency in this poem to seek out what Dr. Johnson wonderfully calls remote allusions.
诗的难点在于弥尔顿想要在诗中极力追求,被约翰逊绝妙地称为不切实际的幻想的倾向。
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In this sense, "The Fisherman" is not, after all, a poem that's very different from "The Song of the Wandering Aengus."
从这个角度看，渔夫一诗，和流浪者安古斯之歌,区别并不是很大“
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He says, "Poetry in our own time-- -- such is the complexity of the world we live in-- must be difficult."
他写道，“我们这一时代的诗-,正如我们生活着的世界-,让人费解“
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So is this something you do in your own artistic practice with when you are sitting down, writing a poem?
您在静下心来，写诗，进行艺术,创造时，也是实践这种理念么？
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This doesn't look forward to Humbert's poem; it already is a poem and it is a poem to the crazed, aroused mind of Humbert.
不期待亨伯特自己的诗，它已经是一首,让其疯狂，引其深思的诗。
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One thing that most people do in fact agree on is that the oldest account of the event is a poetic fragment 12 that's found in Exodus 15, verses one to 12, in particular.
大家都同意的一点事,这个故事的最老版本来自于诗残本,尤其体现在《出埃及记》15中的诗1和。
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And, I mean, I wouldn't just give it to him because he wrote a sonnet.
我不会只把周期表和十四行诗对应,因为他写的是十四行诗。
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Many of you've probably read this, come across this, but I think this captures so well the foundation of what it means to be actively accepting.
很多同学可能读到过这首诗，听说过这首诗，它非常好地阐述了,主动接受含义的基础。
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Here, the stopping of the train is like the interruption by memory of normal consciousness that's the basis of the poem.
这里，火车的停止就像是,被正常知觉的记忆所打断，那是这首诗的基础。
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In fact nowhere else do we see Milton literally bursting out at the seams as he seems to in this poem.
其实弥尔顿在别处也没有,像在这首诗中一样离经叛道，完全爆发。
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There's a way in which the context of the war, too, shadows the poem and remains present in it.
在战争的背景下，也投影于诗中同时也保持了它的现实性。
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In Lycidas, Milton looks back at the Elder Brother's theodicy, and it's almost as if he's attempting to test its validity.
在这首诗中，弥尔顿回顾了《科玛斯》中哥哥的斯奥迪斯，似乎是在验证斯奥迪斯正确与否。
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In the second verse paragraph, Milton tells his father: "do not despise divine poetry, creation of the prophetic bard.
在诗的第二段，弥尔顿对他父亲说：,不要轻视神圣的诗歌，诗人预示性的创作。
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Yes, this, too, is an utterly regular iambic pentameter line: unstressed syllable followed by a stressed syllable, five in a row.
是的，这是个典型的抑扬格五步格诗：,不重读的音节后面一个重读的音，五个成一行。
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That's why the poem, the lyric poem, is privileged among the forms of literary discourse in the New Criticism.
这就是为什么诗，一首抒情诗，在新批评派眼里要优于其他各种文学形式。
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He says this verse. It speaks a lot about the sublimeness and glory of God, just how truly great he is.
他就说的这句诗，这句诗是赞美上帝的,崇高与光荣的，赞扬他有多么伟大。
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It's a poem which begins, "I have heard that hysterical women say they are sick of the palette and fiddle-bow, of poets that are always gay..."
诗的开头写道，我曾听见歇斯底里的女人们说,她们厌恶调色板和提琴弓，厌恶那些永远快乐的诗人们“
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There's lyric poetry, there's love poetry, there are proverbs, there are psalms of thanksgiving and lament.
有抒情诗，有爱情诗，有谚语，有感恩，悲叹时的圣咏诗。
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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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Let me conclude by just pointing to another poem, a late poem, "Directive," a poem published in 1947.
让我们看看另一首诗来作为结尾吧，一首晚期的诗，1947年发表的“指令“
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Here, this image of the lines of trees and the metrical regularity of that verse that describes them.
这里，排列成行的树的画面和,诗里韵律的规律描绘的画面。
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Milton wrote his epic in lines of unrhymed iambic pentameter or what we call, and what Milton would have called, blank verse.
弥尔顿的史诗由不押韵的抑扬格五音步诗句写成,我们，还有弥尔顿都称其为无韵诗。
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It's a scheme that in English counts accents or stresses per line and then arranges them in a pattern.
这种体系里的英文诗每行都有重读,然后将他们按一定模式排列。
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The poem's connection to music signifies the difference in point of view in these poems from reasoned speech.
这首诗和音乐的联系显示了,它和那些理由充分的演说在观点上的不同。
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This intensely intimate focus on the human body is out of place in a Christian elegy and this, of course, Milton knows.
这对人类肉体的极端关注在一首基督教悼亡诗中,是不合时宜的，弥尔顿当然知道这点。
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You can think of it as this reaction to the problem of lateness that accounts for one of the invocation's most distinctive features, and that's the repetition of the word "first."
你们可以把弥尔顿在这首诗中对“晚“的回应,当做这首诗最明显的特征之一，这表现在他反复使用“初/先“一词上“
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You could think of this as the poem's first -- by no means its last - its first act of poetic disobedience.
我们可以把这当做这首诗第一次--绝不可能是最后一次,-这首诗第一次违背诗歌规律。
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You remember Sonnet Seven, "How Soon Hath Time," the sonnet that he had written on the sad occasion of his twenty-third birthday.
你们记得《十四行诗第七首》么，“时光飞逝,弥尔顿写给自己23岁生日那个悲伤的日子的十四行诗。
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The poem on the morning of Christ's nativity serves as Milton's preparation for something greater than itself.
圣诞清晨歌》这首诗,在弥尔顿准备阶段起到一个比诗本身要大的作用。
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