Let's look at the comments that Dr. Johnson made about Milton's Lycidas in the eighteenth century.
让我们看看约翰逊博士在18世纪对弥尔顿的《利西达斯》所做的评论。
In Lycidas, Milton looks back at the elder brother's theodicy, and it's almost as if he's attempting to test its validity.
在《黎西达斯》中，弥尔顿回顾了他哥哥的神正论，他似乎在尝试验证它的正确性。
It's not irrelevant to our understanding of Lycidas.
这和我们对的理解并不是完全无关的。
The faithful herdman's art in Lycidas is a double one.
虔诚的牧人在里是一个双关语。
Look at line 183. Milton imagines Lycidas in heaven now.
看一下183行，弥尔顿想象着利西达斯身在天堂。
But the subject of Lycidas isn't the empowerment of the poet.
但《利西达斯》讲的不是诗人的力量。
Milton's nearly twenty-nine years old when he writes Lycidas.
写《利西达斯》的时候弥尔顿将近29岁了。
The poet's fingers by the end of Lycidas aren't forced or rude.
在的最后，诗人的手指并没有紧扣着。
Why after all should we expect the nymphs to have helped poor Lycidas?
我们凭什么希冀女神们会帮助可怜的利西达斯？
It's as if Lycidas has died so that Milton could live to become a great poet.
似乎利西达斯依然死去，因此弥尔顿才得以继续存活，并成为一个伟大的诗人。
So this is the situation that Milton finds himself in as he's writing Lycidas.
因此这就是弥尔顿创作时,所处的环境。
Lycidas' untimely death seems to enable Milton to master his own fears of untimeliness.
利西达斯不合时宜的死亡似乎，使得弥尔顿能够掌握他自己对于不合时宜的恐惧。
It's as if the distinction between John Milton and the speaker of Lycidas wasn't really operative.
似乎弥尔顿和的演说人之间的区分，并不是那么重要的。
He's actually claiming that this poem had been prophetic, that Lycidas foretold the ruin of the clergy.
他实际上是在声称这首诗是先知的，它已然预示了教会崩溃的必然。
You can see on the handout those poems by those classical authors that Milton's Lycidas is most indebted to.
讲义上有这些经典作者的经典诗作,弥尔顿的《利西达斯》是受这些诗作的启发写成的。
He asks the gods what has happened to Lycidas and who exactly was responsible for the sinking of Lycidas' ship.
他问众神利西达斯怎么了，是谁让他的船沉没的。
He conjures the indecorous image of the dead Lycidas under the whelming tide visiting the bottom of the monstrous sea.
他想象死去的利西达斯，在排山倒海的浪潮覆盖下拜访尽是妖怪的海底。
In Lycidas Milton doesn't let himself, thank God, go quite so far as he does in this amazing ending to "Damon's Epitaph."
感谢上帝，在《利西达斯》中，弥尔顿做的不像，他在《达蒙的墓志铭》的结尾那样过火。
Another way into this problem: let's look at the comments that Dr. Johnson made about Milton's Lycidas in the eighteenth century.
看这个问题的另一个角度：让我们看看，约翰逊博士在18世纪队弥尔顿的《利西达斯》所做的评论。
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。
Lycidas is going to shampoo his hair in heaven much as he shampooed his hair on earth, except in heaven there's always a difference.
利西达斯在天堂也要洗头发，正如在人间一样，但在天堂总会有点不同。
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。
He could have begun Lycidas with this, with something like a description of the uncouth swain: "Oh, let me tell you about this uncouth swain."
他可以以类似于对粗鄙的年轻人的描写，来开始叙述：，“让我告诉你，那个粗鄙的年轻人吧。”
Later in the seventeenth century the term was applied particularly to poems of mourning for particular person in England from Miltons Lycidas.
挽歌在英国真正作为一种哀歌来哀掉一个特定的人是从弥尔顿的《黎西达斯》开始的。
Johnson tells us that Lycidas is not to be considered as the effusion of real passion, for passion runs not after remote allusions and obscure opinions.
约翰逊说《利西达斯》不是，真挚情感的流露，因为真情不是通过遥远的幻境和隐晦的观点来表达的。
Six years later when Milton writes Lycidas, he's employing the same fiction of unreadiness and filled with all of the same anxiety of under-preparedness.
六年后弥尔顿写《 利西达斯》的时候，表现的还是这种未准备好的状态，充满了同样的为薄发而厚积时的焦躁。
It's safe to say that Lycidas is one of the last poetic works of Milton's that's really consumed with his problem, the problem of fruitless anticipation.
谨慎的说，是弥尔顿最后的，切实地与他自身的问题有关的诗篇之一，他自身关于毫无成果的期望的问题。
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？
In some ways I think that that's because the poem Lycidas seems in some ways to solve the problem of Milton's waiting, this problem that he has of needing to wait.
就某些方面而言，我认为是因为，看起来以某种方式解决了弥尔顿耽搁多时，却又的确有等待的必要的问题。
We hear in the 1637 Lycidas those same cries of unripeness and under-preparation that we had heard in the 1631 sonnet, "How soon hath Time, the subtle thief of youth."
我们在1637年的里听到过,与1631年的十四行诗相同的不成熟和未完成的呼喊，“时光如此飞快，如同偷走青春的窃贼
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