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In the tradition, one of the companions asked the prophet what's the most powerful verse in Koran.
在传统故事中，有个人问先知,《可兰经》里最有力度的一句诗是什么。
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Verse in which there is nothing but the beat of the metre furnished by the accents of the polysyllabic words we call doggerel. Verse is not that.
诗句中没有其他的东西,只有节奏,这节奏是由多音节的词造成的,我们叫打油诗，诗歌不是这个。
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I think that Milton intends for us to think of the verse in Paradise Lost as he wanted us to think of books in Areopagitica: the lines of Milton's poetry are not absolutely dead things, but they do contain within them a potency of life.
弥尔顿在《论出版自由中》让我们把书看作是肉体,我想他也想让我们这样看待《失乐园》的诗句：,弥尔顿的诗句不是毫无生气的，它们蕴含着生命的潜质。
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And again in one of the functional magnetic insonance image experiments, we could ask Mike to examine faces verse other things.
与在一个功能性核磁共振成像试验中一样，我们告诉迈克去仔细看人脸和其他东西。
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One of the things we are taught is a verse of Koran, in English it's as "all you who believe, fasting has been prescribed for you as was prescribed for those before you."
在《可兰经》里有一句诗是，大意是，虔诚的人们啊，斋戒不仅是你需要做的,也是你的前人所需要做的“
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What's important in My Fair Lady is to - repeat the repetitiousness of verse-- the rain in spain falls mainly on the plain -in terms of the tautology of the plot.
重要的是窈窕淑女中,这种韵律的加强-,“西班牙之雨大多洒落于平原之上“,韵律的反复加强了情节。
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Nothing that long, but long enough in which they would tell the same stories in verse and music, and you could recognize the story as you went from bard to bard.
没那么长,但也足够长了,他们会以诗韵或者音乐的节调传唱同样的故事,你能从不同的吟游诗人口中认出这个故事
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And so in Milton's verse here, sense or meaning is variously drawn out from one verse into another. Sense, the very spirit of meaning, is infused throughout an entire line rather than being singled out and separated or segregated to the end of the line in the form of the rhyme word.
弥尔顿的诗句里，感觉或意思在句与句,之间传递，感觉，意思的灵魂,贯穿于整句，而不是被分离出来,以韵脚词的形式放在句末。
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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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Now this allusion here in this verse epistle to his father is to a passage from the book of Revelation.
在这封给他父亲信里的诗中所含的暗示,是从《启示录》中的一段话来的。
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The primary metrical pattern in Frost is the primary metrical pattern in English poetry, which is to say blank verse or unrhymed iambic pentameter.
弗罗斯特基本的诗歌韵律,是英国诗歌的基本韵律，也就是无韵诗或不押韵的五音部抑扬格。
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I write it out in a verse-- MacDonagh and MacBride And Connolly and Pearse Now and in time to be, Wherever green is worn, Are changed, changed utterly: A terrible beauty is born.
我在诗中把它表达出来-,麦克多纳和麦克布莱德,还有康诺利和皮尔斯,现在，或是将来，那所有披上绿色的地方，一切都变了，彻底变了：,一种惊人的美已经诞生。
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This is the line that begins the poem's final verse paragraph and it has to be one of the most amazing moments in all of English literature.
这行是以诗篇最后的韵诗开端的,是英语诗歌文学中,最惊艳的段落之一了。
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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。
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Now most rhymed poems in Milton's day were end-stopped lines of verse.
弥尔顿时期的大部分押韵诗都使用孤联诗句。
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Milton naturally wrote his friend letters in impeccable Latin verse, and this one he seems to have composed almost immediately after having written, having completed,the Nativity Ode.
弥尔顿用毫无瑕疵的拉丁文很自然的给朋友写信，而且这首诗,是在弥尔顿一写完《圣诞清晨歌》,就拿去排版的。
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But Milton's calling -- this is what John Milton knew his calling was to be a famous English poet, a famous English poet writing in English: a calling that he holds despite the fact that he appears to have written next to nothing in English verse.
但弥尔顿知道上帝对他的召唤,是成为一个有名的英语诗人，一个用英语写作的英语诗人：,他必须服从这个召唤,尽管他看上去不会写任何英语诗歌。
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Professor John Rogers: Milton is typically cited by literary historians as one of the first major English poets to praise in verse the institution of marriage.
约翰·罗格斯教授：文学家们说弥尔顿,是英国早期诗人中,赞美婚姻制度的一员。
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Up to this point in literary history, only verse written for the theater had been written in unrhymed lines of iambic pentameter, in blank verse.
文学发展到那时候，只有为戏剧写的诗,才会用不押韵的抑扬格五音步，即无韵诗。
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This is a simile that Stanley Fish brilliantly describes ; as central to a certain temporal procedure common in Milton's verse; Fish is interested in the temporal process of reading in general.
这被斯坦利费什独具匠心地形容为,弥尔顿诗中极为常见的时间步骤的核心;,费什对总体上这首诗的时间顺序非常感兴趣。
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In verse 8, the people solemnly undertake to fulfill the terms of the covenant, so we have at least three of the steps that we find in the Hittite treaties, as well.
诗8中，所有的人庄严的承诺,将履行契约的条款，所以我们至少找了三个步骤,和在Hittite条约中看到的一样。
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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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This is the verse form, you'll recognize it, in so many of the long speeches of characters in the plays of Marlowe and of Shakespeare.
这就是你们经常在马洛和莎士比亚戏剧中的,角色的大段独白中看到的诗体。
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You can actually see the mechanics of end-stopped verse quite clearly in the rhymed version of Paradise Lost that, admittedly, the great poet John Dryden wrote.
在大诗人约翰·德莱顿所写的,押韵版的《失乐园》中能很明显看到，这中孤联诗句的机制。
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Feet, of course, has a lot of meanings, and Milton's poetic feet, the material of the verse written in six and eight and ten syllables in this poem, are also in 1634 printless -- they're unpublished.
双脚，当然有很多意义，而弥尔顿富有诗意的双脚,这首六，八，十音节的诗，在1634年也是不留痕迹的--因为那时候还没有出版。
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There is first the understandable aesthetic power, the power of the beauty of Milton's verse, an aesthetic power that's often thought or felt to inhere somewhere in the poetry itself.
首先是美学上的力量，这是可以理解的，弥尔顿的诗句之美的力量，一种美学意义上的力量,大家通常认为或觉得这是弥尔顿诗歌本身固有的一种力量。
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Those are plays though, and all English narrative poems, including all of Shakespeare's narrative poems, they had all been written in rhyme, either long verse paragraphs of rhymed heroic couplets or in intricately rhymed stanzas.
但那些是戏剧，所有的英语叙事诗，包括所有莎士比亚的叙事诗，都是押韵的，不管是英雄双韵体的大段诗篇,还是精巧押韵的诗节。
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So let's look at an example of how this might actually happen, a way in which the verse actually seems to generate this sensation of bodily freedom. Just look at the first line of the poem: "Of Man's First Disobedience and the Fruit."
让我们来看一个具体例子，看看诗句是怎么样产生,躯体自由的快感的，整首诗的第一句：,“关于人类最初违反天神命令偷尝禁树的果子“
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