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Listen to how quickly Yeats modulates from one feeling, one image, to another in these really very short, quick, three-beat lines.
听一听叶芝是怎么快速地,从一种情绪，一个情景中，转换到另一个里去的,就在这些三音韵的短诗句中。
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It's an image of ascent toward heaven, from which the boy returns.
这是接近天堂的的样子，从那里，这个孩子又回到地面。
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I think there's a connection here between the image from the commonplace book and the treatment in Milton's mask of this strangely conjoint phenomenon of virginity and speechlessness.
我认为,笔记书中的形象,和弥尔顿《面具》中有关童贞和无语这一共同现象,是有联系的。
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You'd like your mirror image more because the mirror image is what you tend to see from day to day.
你会更喜欢镜子中的自己,因为镜子中的你是你每天都看到的。
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Finally, let's talk about the image of the world That emerges from the creation story in Genesis 1.
最后让我们来谈谈世界的景象,在《创世纪》第一章中所体现的景象。
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Can you make a novel, as he says in the essay, that will "sprout wings and grow claws" in secret in his mind? That's an image taken from the metamorphosis of the butterfly within the chrysalis.
你能够让一本小说，就像他在那篇文章里说的那样，会在他,脑海里秘密的“展开翅膀，伸出爪子“？，这是从蝴蝶羽化中,借鉴来的比喻。
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In a little scene from the early English history that Milton had selected from his reading, you have an image of silencing, of a horrifying and unredeemable speechlessness that is so closely connected to virginity.
早期英国文学中的一个小场景,那是弥尔顿从他的阅读中选出的，你们，对于可怕的不可挽回的哑口无言有种寂静感,这与童贞紧密相连。
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Power is a conceptual category that Milton brooded on and cultivated his entire writing life. From a very early age, Milton nursed the image of himself as a powerful poet.
米尔顿终其写作生涯都在思考，创建,力量这一概念范畴，还在很小的时候，米尔顿就开始把自己想做是一个强有力的诗人。
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It's a late Victorian image of an archaic singer rendered in the melodramatic manner of Pre-Raphaelite art and thoroughly removed from the aesthetic values of modernism, such as naturalism, formal clarity, emotional restraint and so on.
这是维多利亚时代晚期古代吟唱诗人的肖像,用戏剧化的前拉斐尔派,风格表现，完全摒弃了,现代主义的审美观，比如自然主义，形式明确，感情自制等等。
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It's a woodcut image from Blast.
这是《暴风》中的一幅木雕版画。
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The heaven in this poem is so far from being the incorporeal - the spiritual heaven of orthodox Christianity that you have an image of an actual orgy, the festal orgy raging under the thyrsus .
这首诗所描绘的天堂与正统基督教所宣扬的,非物质的，精神的天堂是如此大相径庭,弥尔顿描绘了一副纵欲狂欢的场景,在神杖下纵欲狂欢。
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And that's why in Genesis 9:6 we read, "Whoever sheds the blood of man, In exchange for that man shall his blood be shed, For in the image of God was man created" 1 invoke that rationale from Genesis 1 in the absolute prohibition on murder.
因此我们会在《创世纪》第9章第6节中读到，“那些让人类流血的人，他们必须用自己的血液来偿还，因为人类是依照上帝的形象所创造“,在《创世纪》第一章中，它们便提供了逻辑根据1,杀生是绝对被禁止的。
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So, if those are the distinctive characteristics that earn the human being certain rights over creation But also give them duties towards creation, And the human is distinct from animals In being created in the image of God, To be godlike is to perhaps possess some of these characteristics.
那么，如果这些都是与众不同的特点,它们让人类有权利管理其他创造物,但是也让他们对其他创造物负有责任，人类与其他动物不同,因为他们是依照上帝的形象所创造，与上帝相像便可以获得一些这样的特点。
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So Collins suggests that the poem in Exodus 15 is celebrating and preserving a historical memory of an escape from or a defeat of Pharaoh and that the drowning image is used metaphorically as it is elsewhere in Hebrew poetry to describe the Egyptians' humiliation and defeat.
所以Collins，指出在《出埃及记》15中的诗中,是对逃脱或者打败法老统治的这一历史性时刻的庆祝,溺水这一画面被赋予象征意义，就像犹太诗中,经常出现描写埃及人被打败被侮辱的场景一样。
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