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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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The first is the radical theology, and the second is this poem's equally radical and equally daring original verse form.
第一是它激进的神学观点，第二是这首诗,同样激进大胆的原始诗歌形式。
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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。
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So, the parody is of something very close to home. And this poem that I've given you will come back on page 134. You don't have to turn to that now, but you should think about that return.
所以拙劣的模仿说得有点太露骨了,下面我要讲的诗在134页，你们现在不需要翻到那页,但你们得思考那个回答。
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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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Milton has wrenched this poem away from Christianity, and he's forced it into a direction that we could loosely call paganism.
弥尔顿的诗歌偏离了基督教，走了我们可以不严谨的称为异教的方向。
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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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Now the subject matter that he's chosen for this poem, for this so-called first poem, couldn't possibly be more appropriate.
现在他选这首诗的主题很重要，这所谓第一首诗可能不太恰当。
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When we look carefully at this poem, in fact, the distinction that Frost seems to make between fact and dream starts to give way.
事实上当我们仔细看这首诗时，弗罗斯特特别地区分了,事实和梦开始不再这么重要。
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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。
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This shocking image, this impossible-to-imagine image of a brooding impregnation, establishes the foundation for two of this poem's most daring elements.
这个令人震惊，难以想象的,孵伏怀孕的景象为这首诗的两个,最为大胆的元素奠定了基础。
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You can figure Milton asking in this poem Lycidas if it's true: is it true what the Elder Brother said, ? that virtue is always rewarded and evil punished?
可以看出在《利西达斯》中弥尔顿是在问：,《科玛斯》中哥哥所说的，善有善报恶有恶报是真的么？
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In fact, this poem's power lies, I think, in its -not only its inability but its unwillingness to specify the content of that revelation.
实际上我觉得这首诗的力量，我想，在于,它不着重写启示的内容,也不愿意去写,启示的内容。
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So the Lady in the 1637 version of this poem, of this mask,is at an impasse.
所以在1637年版本的《面具》中，这位女士，陷入了僵局。
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And Milton reasonably alerts his reader to the timeliness of a lot of the material that would be covered in this poem.
弥尔顿合乎情理的向他的读者们,发出了这首诗所要描写的大量内容的警戒。
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The embroidery and decoration, all that now seems inauthentic, something that, in fact Yeats's audience had failed to value properly he's complaining here in this poem.
那些刺绣和装饰，所有那些看起来不真实的，所有他的读者未能正确欣赏的,他在这首诗里都有抱怨。
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Now we began Lycidas with an image of a poet who could only write this poem -- this is what we were told -with forced fingers rude.
现在我们带着一个只能创作出这首诗的诗人的印象,来看这首诗,手指粗暴的用力攥着。
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It's one of the purposes of this poem to allow Milton to grow out of his infancy, to incarnate or to put actually into words the talent that he believes himself to possess.
还有一个目的就是,使弥尔顿自己不断成熟，把他相信自己所拥有的,天赋变为文字。
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And so when the figure of Orpheus appears in this poem, it's the second half of the Orpheus story that Milton is forced to tell.
因此当俄耳甫斯的形象出现在这首诗中时，弥尔顿要讲的是他生平的后一段。
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Now when Milton publishes this poem, he makes it clear that it was written at age nineteen.
那时当弥尔顿要出版诗歌的时候，他就清楚自己是在19岁时写的。
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This poem, this entire poem before this point hasn't been sung by John Milton at all.
这首诗，这一句之前的整首诗,完全未被弥尔顿歌颂。
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And this poem could be the basis of a first paper, a topic for one.
这首诗可能会是第一篇论文,的基础，一个话题。
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And that is, in fact, one of the important points of departure for this poem.
其实这就是，这也是他诗歌创作的一种尝试。
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This momentary switch-off between the sun and the poet is just one of this poem's many substitutions.
这种太阳和诗人之间,短暂的互换只是这首诗众多替换中的一个。
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People can't deal with this poem until they can get a handle on the fact that it doesn't rhyme.
人们搞不懂这诗为什么不押韵,就无法理解它。
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Here is, in this poem, an example of irony, of a really comparatively simple kind.
这里有一首诗，就是讽刺的手法，是一首相对简单的手法。
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