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He's starting to champ at the bit. He's ready to write an epic poem on much more important subjects than shepherds and shepherdesses.
他已经迫不及待地想要写一首史诗,写一些比田园牧羊生活更为重要的题材。
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It's at this point that Milton chose for the subject of his epic poem the subject of the tragedy that he'd been contemplating for so many years.
弥尔顿在这个时候决定用他多年来都在构思的,悲剧的主题作为他的史诗的主题。
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I think Hartman is absolutely right to note that it's this aspect of Milton's similes that sets them entirely apart from the similes in any other epic poem.
我认为他注意到了弥尔顿明喻中的这个方面,是突出区别于其他诗歌中的明喻的,此举是非常恰当无误的。
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But it's strictly a Christian epic poem that Milton seems to imagine himself as writing.
但是弥尔顿想象自己写的,是一本严格意义上的基督教史诗。
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Milton began writing his epic poem too late to celebrate a virtuous political realm.
弥尔顿写他的史诗的时候,要歌颂清明的政局已经为时过晚。
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In portraying the deity, I would think, if I were to write an epic poem - I would feel that I would be expected to stay within the fairly narrow parameters of religious decorum.
要表现神性，我认为，要是我要写一首史诗的话,-我肯定会觉得不能越出,宗教教义狭窄的界限。
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Virgil would go on to be a great epic poet but not until after he had written these pastoral eclogues and then after that, after he had written the georgic poems, only then does he write finally the great epic poem The Aeneid.
他会成为一个伟大的史诗家,但这一直到他写出这些抒情诗之后,在那之后，在他完成了那些田园诗篇之后，直到那时他才最终完成了史诗。
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Milton began his epic poem late.
弥尔顿的史诗写晚了。
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The story of Adam and Eve and of the fall of Satan may strike us - having read or about to read Paradise Lost -- may strike us as a natural subject for Milton to have chosen for his epic poem.
弥尔顿选择了亚当夏娃以及撒旦的溃败的故事,作为他史诗的主题在我们看来--不管我们读过,还是将要读《失乐园》--都是很自然的。
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Everyone agrees that the epic similes in Paradise Lost are different from the epic similes in any other epic poem, and everyone agrees - I'm just going to be presenting to you a sense of critical consensus here - everyone agrees that the similes are in some way absolutely essential to an understanding of this remarkable poem.
大家都同意中的诗意明喻,是和其他诗中的有所不同的，这是共识,-我将要向大家说明这一点,关于这点大家有决定性的共识,-大家都同意这些明喻某种程度上对于,理解这种异常卓越的诗是必然很重要的。
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Milton would insert into the printed text of his poem his own anticipation that his epic would receive the same universal approbation as Homer's and Virgil's.
弥尔顿会把自己的预想也写进他的诗里,他认为自己的史诗也会得到普遍的认可,就如荷马和维吉尔的史诗。
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It's a good sort of question that gets raised in such a problematic allusion: how do you set out to write an original poem within such a conventional genre like the epic?
对于这样一项有问题的引用,提出这些问题是很好的：,你怎么能开始写一篇标榜原创的诗作,却使用史诗这一传统的文体呢？
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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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But by the time Milton begins writing his epic, he abandons his plan for a nationalistic poem, a nationalist poem, and decides instead to use the subject matter that he had been intending for that prospective tragedy, Paradise Lost.
当弥尔顿开始写史诗的时候，他放弃了原来写民族主义诗歌的计划，转而决定用他本来打算写的悲剧,《失乐园》的主题。
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I suggest that we can hear echoes of that same youthful competitiveness in Milton's first major poem in these opening lines, in the beginning of the great epic of Milton's maturity.
在失乐园的开头几句,在弥尔顿成熟后所写的这首伟大史诗的开头，我们还可以看到这同样的他年轻时的雄心。
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Finally, Milton's poem is late by virtue of the simple fact that it's written in the form of an epic. An epic might have seemed like a great idea when Milton was nineteen, but by the time Milton gets actually around to writing it, it's an entirely superannuated, utterly outdated form.
最后，弥尔顿这么晚才写这首诗是因为,这是一首史诗，在弥尔顿19岁的时候,写首史诗看起来可能是个好主意，但到了弥尔顿真正要写的时候，史诗已经是一种完全落伍过时的诗体了。
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