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We all know about "Liebestod" in "Tristan and Isolde," the moments of death in literature which obviously are sexually charged.
我们都知道李斯特创作的《崔斯坦和伊索德》中“,文学中的死亡瞬间由性管控。
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And I produce different events, and I actually just had a big opening this past weekend. I had forty seven artists,
我创作不同的作品，而实际上，上个周末我刚办了一个开幕式。我请来了四十七个艺术家，
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Beginning in the late 1630s at the moment in which Lycidas is being written, Milton is becoming increasingly radical.
在17世纪30年代的晚期,即的创作时期，弥尔顿正变得愈发的激进和极端。
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So it might be something like that, a tiny little something that one would set down like a couple of elements.
所以创作的支点可能是类似这些的，很小很小的事情，作者会把它们列出来,就像一系列元素一样。
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I think it's telling that this kind of creation is a failure; it cannot succeed in the confines of this novel.
我想这告诉我们这种创作是失败的;,它在这本小说的界限内无法成功。
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In other words, in a way it's a disputed text and it is not written by Aristotle, but it's also a foundational text.
所以，诗学是一个充满争议的著作,它并不是由亚里士多德创作的，却非常重要。
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Yeats is obviously writing in the context of an Irish civil war, but it's also the case that he's writing in the shadow of the First World War as well.
叶芝显然是在爱尔兰国内战争时期进行创作的，但是同时他也是在,一战的阴影下写的。
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It's based on the ancient form of Japanese poetry, which is something that I had never tried myself.
这些诗是根据日本古代诗歌形式创作的，我自己都从没试过。
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Very often in these creations stories there is some sense of some realm from which life begins to emerge usually beginning with gods.
通常在这些创作的故事里，都会说到,神是人类的最先。
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What is really significant -I created this plot just a couple of years, in 2005.
其重大意义在与,我创作的这部分内容,还没过几年,是在2005年写的
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This is the vacation shot, it gives us something to work with.
这是假期拍的，它给了我们创作的素材。
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That's the idea of the game, and then Parry demonstrated by careful scholarship of the Homeric poems, that that is the way the Homeric poems were.
他们从游历中获取灵感,之后帕里通过严谨的学术论证证明了,这就是《荷马史诗》的创作方式
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So musical notation: the first grid pattern in Western culture-- but it does lock us in in interesting ways that we may-- you perhaps have never considered-- compared to how music is made in other cultures.
因此音乐记谱法,是西方文化中最早的网格图示,但这也限制了我们以某种有趣的方式,你们也许从来没有想过的方式创作,相对其他文化中音乐创作的过程而言
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But I'm not sure that you can really make that assumption based on something that someone creates
但我不确定你真的能基于某人创作的某些作品来做那样的推断，
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back when America was first getting its feet and like, started to write its own literature.
那个时候的美国刚刚站稳脚跟准备创作自己的文学。
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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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It's very simple. It's this: if I know what I'm doing, it is almost inevitably the case that you would know also.
实际上十分简单：,如果我知道我创作的是什么，那么你很可能也知道我创作的内涵。
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When we consider the particular circumstances that occasioned the poem Lycidas, we can see why Milton, I think, chose this pastoral form.
当我们把引发的创作的,特有的情况考虑进去，我们可以发现弥尔顿选择这种田园诗派的原因。
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She was a Catholic, and she very much made her Catholicism at the center of all the things that she said about her fictional practice.
她是天主教徒,而且很大程度地将,天主教义作为所有创作内容的中心。
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And we are going to consider today the program and the work of this so-called Deuteronomistic school.
今天我们将要考虑大纲,和作品，由所谓申命记学院派所创作的。
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I want you to draw some conclusions about its authorship and the way it was compiled or composed." And so you pick it up and you start reading and you notice features like this.
关于作者的身份，以及创作的方式,做一个总结,带着这些问题，开始读书的时候，你会发现这样的特点。
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There are many other instances of this myth-making imagination that Yeats is always working with.
还有很多这样叶芝用想象力,进行神话创作的的例子。
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It seems that Lawes himself actually played the role of the attendant spirit, that beneficent, slightly frightening figure who hovers over the entire landscape of the mask.
看起来好像,劳斯自己扮演了跟班精神，那善行微妙地,让那些参与《面具》创作的人员产生了恐惧。
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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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In our first Yeats lecture, I was talking about Yeats's early development and stylistic transformation over the course of, roughly,a twenty-, twenty-five year period.
在我们讲叶芝的第一节课，我谈到叶芝的早期发展,以及他创作风格的转变，在大约20到25年的时间里。
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Instead, things in Frost are "made" in the sense of "constructed."
相反，弗罗斯特是以一种建造观来创作诗歌的“
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Well, "Home Burial" is a poem about the limits of work, the inability of the worker to bring a knowable world, a safe world, into being.
家冢“是他创作的极限之作，一个无能的工人让一个可知的世界，一个安全的世界存在。
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The appearance of this semi-epic rhyme scheme here at the end of Milton's poem suggests his readiness, and he's ready only here at the end of Lycidas to embark on the epic project.
弥尔顿诗篇的最后处半史诗韵律的设计,显示了他已准备就绪，他在的结尾处依然准备好了,在史诗的创作上留下自己的印迹。
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And in conclusion he imagines giving up that terrific drive towards imagination and idealization and a return to the "rag and bone shop of the heart."
结尾时他想象,放弃这一想象力和理想化的,极妙的创作驱动力,回到污秽的心的废品铺“
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At the same time, I do mean to give you some sense of the period in which they're writing, some sense of modernism as a field, as one of the richest fields in English language writing.
同时，我也会给你们提供一些背景知识,来了解作者创作的年代，以及现代主义的思想领域，就其作为英语文学创作最丰富的领域之一而言。
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