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This intensely intimate focus on the human body is out of place in a Christian elegy and this, of course, Milton knows.
这对人类肉体的极端关注在一首基督教悼亡诗中,是不合时宜的，弥尔顿当然知道这点。
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Now I spoke last time about the familiar sense of hesitation, that apology with which Milton had opened the elegy.
我要最后一次说明一下弥尔顿写在挽歌开头的，那句道歉，那种熟悉的犹疑感。
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Yeats's elegy here recalls her youth and that of her sister, both friends of the younger Yeats: Eva Gore-Booth a youth spent in the Sligo mansion, Lissadell, where Yeats visited in 1894.
叶芝的挽歌回忆她的少年,还有她妹妹，伊娃戈尔。布斯，她们都是叶芝少时朋友,这一年少时期是指1894年叶芝，在里萨德尔的斯莱格庄园。
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The pastoral elegy is clearly one of the most stylized and most self-consciously artificial of all of the poetic genres.
田园挽歌明显是所有诗歌类型中,最程式化，最具人工雕琢痕迹的诗种之一。
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You have an elegy here, a beautiful and plangent lament for something or someone lost. And we have to ask ourselves, "Could this be a paradise lost?"
它变成了挽歌，一首优美的如泣如诉的挽歌,因为某些东西或某些人消失了，我们不得不问自己，这就是失乐园吗“
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The answer to the question, I think, gets at the very heart of the meaning of this elegy.
问题的答案，在于这首挽歌的中心意义。
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Eight years after its initial composition, Milton looks back at this elegy, rereads it, and picks out the Saint Peter passage on the corrupted clergy as that specific feature of the poem worth singling out and introducing.
在第一版出版的8年后，弥尔顿重新审视了这首挽歌，把圣彼得关于腐朽教会的篇章,单独挑出来并作了介绍。
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You remember that Milton had vowed to his friend Charles Diodati in the Sixth Elegy that he would become an epic poet some day, and that he was taking all of the necessary steps to transform himself into an epic poet.
弥尔顿曾在第六挽歌中向他的朋友查尔斯，迪奥达蒂宣布,他有一天将成为一名史诗诗人，他也在不断努力,把自己变为一名史诗诗人。
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Now Lycidas, and this is undeniable, is ostensibly, and maybe more than ostensibly, an elegy.
利西达斯》，不可否认，显而易见，或许不止是显而易见，是一首悼亡诗。
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Now the most distinguishing feature of Milton's elegy is the fact that it's a pastoral elegy.
弥尔顿这首悼亡诗最显著的特点是,它是一首田园挽歌。
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So we have in the pastoral elegy a generic form that's highly predictable.
因此田园挽歌的形式是很固定的。
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Anything he writes is going to be forced, compelled - and with his forced fingers rude he violates the formal prosodic, the metrical, scheme of his elegy at its very opening.
他写什么都是被迫的，不得已而为之的,-用他这粗鲁的手指，他在这悼亡诗的一开头，就没能遵守写诗的韵律规范。
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We will hear again of Milton's intention to write an epic in a versified letter that he writes to his best friend, Charles Diodati. This is the letter to Diodati which Milton publishes as the Sixth Elegy.
我们又一次听到弥尔顿想写史诗,是在他给最好的朋友查尔斯，迪奥达蒂的一封信里，这就是那封信,弥尔顿以第六挽歌的名字出版。
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The poet of a pastoral elegy usually represents himself as a shepherd, a shepherd mourning the death of a fellow shepherd, and he often explains that the death of his shepherd friend is exerting a magical effect on the entire natural world.
田园挽歌诗人通常把自己写成一个牧羊人，哀悼自己的同伴的逝去，这个牧羊人常常描绘自己同伴的死,使整个自然界为之动容。
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It's at this point in the pastoral elegy - the conventional, stereotypical pastoral elegy - that the poet-shepherd sings a mournful song.
在田园挽歌中,-传统的，老套路的田园挽歌中,-牧羊人诗人就在此时唱起哀悼的歌。
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It's this sense of injustice that keeps pushing this elegy in the direction of a theodicy: an attempt to justify the ways of God.
正是这种愤愤不平使这首悼亡诗,越来越像斯奥迪斯：试图证明上帝之所为。
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Now readers have always seemed to have agreed that Milton's Lycidas is an enormously admirable poem, but for a few hundred years now there has been a controversy over how admirable Milton's Lycidas is, specifically as an elegy.
现在读者们一致认为,弥尔顿的《利西达斯》是一首极其非凡的诗作，但是几百年来，对于这首诗，特别是作为一首悼亡诗,到底有多么非凡一直有所争论。
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It's at this moment that the poem reaches a remarkable climax, and I have to say that this is actually only one of the poem's remarkable climaxes. This poem has amazing ebbs and flows throughout its entirety, but without question this is one of the most intense personal moments in the elegy.
这个时候这首诗达到了非凡的高潮，这其实只是这首诗的众多高潮,之一，这首诗从头到尾都充满起伏,但毫无疑问,这是这首悼亡诗里最私人的几处之一。
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Now Milton was born in 1608 and he wrote the Nativity Ode along with the Sixth Elegy, the Elegia Sexta, that we read for today in December of 1629, a couple of weeks presumably after he turned twenty-one.
弥尔顿出生于1608年,并于1629年12月写下《圣诞清晨歌》,《第六挽歌》和《Elegia，Sexta》,大概是他刚过21岁后两周。
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I hope you remember from the Sixth Elegy, the Sexta Elegia, that we read a few classes ago that Milton had told his friend Charles Diodati ; that an aspiring epic poet should only drink water; ; two, should refrain from eating meat; and three, should keep his body chaste.
我希望你们还记得《Sexta，Elegia》的第六挽歌,我们前几课读的，讲弥尔顿跟他的朋友查尔斯说,一个有抱负的史诗诗人应该只记得喝水;,二，应该避免食肉;,三，应该保持自己身体的纯洁。
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