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。

耶鲁公开课 - 文学理论导论课程节选

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。

耶鲁公开课 - 现代诗歌课程节选

Everyone agrees that what Milton is doing in the similes is educating the reader, the reader of this poem.

大家都同意弥尔顿想要通过这些直白的明喻,来教育这首诗的读者。

耶鲁公开课 - 弥尔顿课程节选

If we're focused on the work of art in and of itself, on the poem, we obviously in thinking about what it means need to come to terms with three kinds of evidence."

将注意力放在艺术作品本身或者说诗本身上，很显然，如果我们想考虑它所表达的意思的话,我们必须对三种证据作出让步“

耶鲁公开课 - 文学理论导论课程节选

And one of the things one may immediately detect is whether or not the person who wrote the poem was indeed writing the poem and thought that she or he was in command, right?

一个人在阅读时很快就能发现,写这首诗的作者是否,真的是在独立作诗,认为自己对文字完全具有掌控权？

普林斯顿公开课 - 人性课程节选

Fishing is seen here, as in the earlier poem, as an image of quest and an image of desire.

和早期是一样，这里渔夫，代表探索和欲望。

耶鲁公开课 - 现代诗歌课程节选

This is the poem in which the speaker grieves over a death by imagining a procession of mourners at the funeral.

在《牧歌》第十首中，讲述者想象葬礼上,的一行送葬者，来哀悼一个死者。

耶鲁公开课 - 弥尔顿课程节选

This is a poem written in the depth of the Depression and also at the height of Frost's fame.

这是一首写在经济危机时候的诗,也是在弗罗斯特最有名的时候。

耶鲁公开课 - 现代诗歌课程节选

Here, the issue in this poem is grief, how the mother and father each express how they deal with the death of their child.

这首诗谈论的问题很悲伤，这个父亲和母亲表达,他们对死去孩子的处理方式。

耶鲁公开课 - 现代诗歌课程节选

So I just wanted to give another example a little closer to home in the poem of Yeats, the 1935 poem "Lapis Lazuli."

再举一个,更贴近我们的例子,1935年，Yeats在“Lapis，Lazuli“一诗中写道“

耶鲁公开课 - 文学理论导论课程节选

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。

耶鲁公开课 - 弥尔顿课程节选

And we see in the poem itself an anticipation of the struggle that results eventually in the eighteenth century in the new title of the mask.

我们看到，诗本身是一个预期的斗争,在18世纪面具的新标题中最终出现了。

耶鲁公开课 - 弥尔顿课程节选

When in 1645 Milton finally publishes that first volume of poetry, the first poem that he places in this volume is the Nativity Ode, our poem today.

当1645年出版了首个诗集，他把《圣诞清晨歌》放在最前面，就是我们今天看到的这首诗。

耶鲁公开课 - 弥尔顿课程节选

But the unmistakable physicality of the heaven imagined in the poem about Diodati gives us some idea, I think, of how to read the end of Lycidas.

但在关于迪奥达蒂的这首诗中弥尔顿所想象的,天堂的物质性是无可置疑的，这能给我们一些启发，帮我们理解《利西达斯》的结尾。

耶鲁公开课 - 弥尔顿课程节选

As in Sonnet Seven, Milton writes the first verse paragraph of this great poem, Lycidas -- the first fourteen lines - in essentially the form of a sonnet.

如同《十四行诗第七首》，弥尔顿写《利西达斯》,这首伟大的诗的开头--头14行时,-用的还是十四行诗的形式。

耶鲁公开课 - 弥尔顿课程节选

These are drives that the poem seems to be struggling to keep in check, or that Milton is representing the poem as struggling to keep in check, or to purge in some way.

这就是促使诗歌努力去抑制竞争，或者弥尔顿代表诗歌去抑制竞争，或以某些方式去净化。

耶鲁公开课 - 弥尔顿课程节选