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No English poet before Milton ever suggested that he had been chosen by God at birth to be a poet.
在弥尔顿之前没有英国诗人敢说,自己是被上帝选中去做诗人的。
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He serves as something like a complicated double for the young, unpublished, and as of yet unproductive poet himself.
他就像一个复杂的替身，是那些年轻的，还没出版诗歌或是不多产的诗人自己的替身。
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This is a poet who, with his wife, practiced automatic writing, who believed that the dead spoke through the living.
他是这样的诗人，和他妻子一起，尝试着，自动写作，他们相信死人通过活人说话。
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Having said that, funny I was talking to somebody the other day who works for the Academy of American Poets.
有一天很巧，我遇到了一个朋友,她在美国诗人协会工作。
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In a certain poet, the image, the image patterns, can certainly be recognized as the dominant device.
对于特定的一个诗人，图像，或图像的组合，当然可以是占支配地位的方法。
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We need to deprive, again, the poets, the song makers, the lyricists, the musicians, the mythmakers, the storytellers, all of them, the power to enchant us.
我们必需剥去，诗人、作曲家、抒情诗人、,音乐家、神话创造者、说书人等，这类人迷幻我们的能力。
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They show us a poet taking language apart and putting it back together in new ways, new configurations, new anatomies.
它们给我们呈现的是一个顾此即彼的诗人,以新方式把他所言重新组合，新的形态，新的躯体。
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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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Milton, who had died in 1674, had established himself as a great English poet within twenty or so years of his death.
弥尔顿死于1674年，死前花了20多年,奠定了他伟大英国诗人的地位。
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They're capable of these extraordinarily delicate feats of dexterity, and that's because the poet has mastered his touch.
反而能够灵巧地完成精细的动作，这是因为诗人已经完全掌握了自己的触觉。
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And my academic adviser was an out lesbian and she wrote about it. She was also a poet and a brilliant teacher.
但是，我的大学导师是个出柜的女同性恋,她对此还进行写作，她是个诗人,也是一个很棒的老师。
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Milton represented himself as a poet more often and with more care and attention than any English poet before him.
弥尔顿比起之前的英国诗人,更经常把自己描绘成诗人。
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Any right-thinking printer or any right-thinking publisher would scoff at the presumption of a poet who demanded such a thing.
任何一个思想健全的印刷商和出版商,都会嘲笑你去假定诗人需要这样的东西。
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So in this guise with the mask of Saint Peter on he's -- Milton's -able to be both poet and minister.
因此在圣彼得的面具掩盖下,弥尔顿能够身兼诗人和牧师的双重职责。
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This was an act of compulsion, and the poet had to be forced to press this lyric out of himself.
这是一个强迫性的行为,诗人被迫绞尽脑汁写出这首诗来。
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Or whether or not they had no idea what they were doing, and they've given themselves over to this process.
还是说诗人并不完全理解自己写的文字，而是在创作过程中完全超然忘我。
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Unlike Prufrock, this one is full of color and of course it is the work of a poet of color.
不同于《普鲁弗洛克》，这本书里充满了色彩,当然这是一位注重色彩的诗人的作品。
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The image of a poet interrupted and chided by the god of poetry comes straight out of the opening of Virgil's Sixth Eclogue.
这段诗人被神明打断斥责的场景,直接明了地出现在维吉尔的里。
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With "Mowing" as the example, I said that in Frost, meaning is always something made, something the poet works on and works for.
用“割草“做例子，我说过对弗罗斯特来说，意义总是一些事情体现出的，是一些诗人一直致力于的，一直追求的。
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This is really, I think, a radical if not heretical idea for the national poet of a Christian people.
我真的觉得这是，激进的，甚至是异端邪说,对一个基督教国家的诗人来说。
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We naturally thought that it was the poet John Milton who was speaking the first 185 lines of the poem.
我们自然会认为是诗人弥尔顿自己,在言说着前185行诗。
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This is the story of the empowerment of the poet, his empowerment through his experience of a terrible loss.
这讲述的是诗人的力量，他因一次痛苦的失去而获得的力量。
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Milton has to develop a poetic voice that can actually combine those two vocations, the two offices, the office of poetry and the office of ministry.
弥尔顿不得不为这两种才能,诗歌之才和布道之才的结合，吐露诗人的心声。
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Milton's bogey seems to be the specter hovering over women poets or women writers who may find in Milton an identification of poetic strength with masculinity itself.
弥尔顿的惑众谣言似乎是指依附在女诗人,和女作家心中的幽灵，她们在弥尔顿身上发现,诗的力量与男性力量本身是同源的。
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Milton claims that epic poetry is the highest ambition for a poet and then he goes on to explain how it is that the epic poet should comport himself.
弥尔顿声称史诗就是诗人最高的理想抱负,然后他又解释到,史诗诗人该怎样表现自己。
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Obviously, these are poets who work usually in quite traditional meters.
很显然这些诗人都用平静的传统的节奏。
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There's naturally a lot of pressure on Milton to make this part of the simile beautiful and striking because he's echoing not just one epic poet, but essentially he's echoing just about every epic poet.
弥尔顿自然会感受到很多压力,必须得把这个比喻写的美丽动人,因为他不仅是在模仿一个诗人，实际上每个人史诗诗人都是他模仿共鸣的对象。
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So Milton is explaining to Charles Diodati that if you're going to become an epic poet, you have to start acting like one.
弥尔顿在这里像查尔斯，迪奥达蒂解释到,如果你想成为一名史诗诗人，你必须开始像一个史诗诗人那样做。
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This is Yeats in costume, costumed as a figure from Irish myth, as an ancient bard, mad King Goll, which is the furthest thing from a modern poet.
穿着奇装异服的叶芝，打扮成爱尔兰传说中的人物，过去的吟唱诗人，疯癫的郭尔王，他与这位现代诗人相隔甚远。
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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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