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A group of about 100 African Catholics were in Saint Peter's Square waving African flags and banners that read "Africa Loves the Pope".
VOA: standard.2009.03.29
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And finally at lines 108 through 131, we have Saint Peter, he of the pearly gates. Peter bursts onto the scene.
最后108到131行，圣彼得出现了，他掌管珍珠之门，彼得的出现很突兀。
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We looked last time at Saint Peter's declamatory speech in Lycidas, and we spent a lot of time on it.
我们上次读过了圣彼得在“利西达斯“中说的话，花了很长时间研究这段话。
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It's in this period that Milton increasingly begins to adopt, or assume, Saint Peter's confident and denunciatory rhetoric.
就是在这段时间弥尔顿越来越接受，去采用，圣彼得的有信心的责难似的语言。
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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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The men against whom Saint Peter is really spitting his venom are bad pastors in every sense of the word.
圣彼得这个表露出恶意的男人,是通常意义上的低劣的牧师们。
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There's a lapse in logic here, and this lapse should focus our interest all the more on the urgency that we feel in Saint Peter's speech.
这里有一处逻辑的空缺，这块空缺将我们所有的兴趣都集中在了,圣彼得的演说中体现出的急迫感。
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It's almost as if the flower passage is Milton's reward for having written the Saint Peter passage.
似乎描写花朵的段落是对于弥尔顿,描写过圣彼得的章落之后的奖赏。
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The most striking, the most powerful, of all of the mourning voices here is that of Saint Peter.
哀悼之声中最令人印象深刻，最有力的,来自于圣彼得。
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Alpheus is also the god of erotic pastoral poetry, it turns out, and this god is literally gone underground during the terrifying appearance of Saint Peter.
阿尔甫斯也是描写爱欲的诗歌之神，从诗句上来看，这位神灵在圣彼得面前,悄无声息的隐匿了踪影。
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But John Milton is also recompensed and, by the weird sacrificial logic that Saint Peter has already sketched out for us, you can see a really disturbing way in which Milton has benefited as well.
但是在圣彼得铺陈开来的诡异的牺牲逻辑下,弥尔顿也得到了回报，你会看到弥尔顿从中得益的方式,确实非常让人困惑。
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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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The very mention of Saint Peter naturally violates the classical, pastoral fiction of the poem.
对圣彼得的提及自然而然触犯了，这首诗的田园古典的基调。
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So Saint Peter concludes with -- it goes on, and he concludes with a couplet that is as terrifying in its threat of finality as it is for me utterly baffling in its significance.
因此圣彼得以一句如同这首诗结尾的威胁般,可怕的对句作了总结,我很难读出这句话的重要性。
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You saw earlier Saint Peter making a related set of substitutions, and it was crazy.
早些时候圣彼得做了一系列相互关联的替代，这个举动是非常疯狂的。
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The speech of Saint Peter seems, I think, in a lot of ways to be a lot more like a fire and brimstone sermon than it is a passage in a pastoral poem.
我认为圣彼得的演说，在很多方面似乎很像是一场关于炼狱磨难的布道,而不是田园诗中的一段。
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Milton can allow himself a literary indulgence in the rich sensuality of this passage because he has mastered the dread voice, he has mastered the fatherly sternness of Saint Peter.
他能够允许自己沉溺于这种丰富的感官享受中,因为他已经能够掌控了这种恐怖的声音，他能够处理圣彼得的父亲般的严厉。
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There are no less than twenty pages devoted to the critical debate on these two lines: what the hell Saint Peter's two-handed engine is, what it looks like, what it does, what -- and everything about it.
集中描写这两行里的争论的,不少于20页：,圣彼得的双手引擎到底是什么，长什么样，用来干什么-和关于它的所有所有。
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Now what's Saint Peter doing in this poem?
那么圣彼得在诗里做了什么呢？
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He throws his high prophetic talents into the construction ; of the Saint Peter speech; and in 1645, historical circumstances being what they were, he was able to look back at this passage and actually claim that it had been a genuinely prophetic utterance.
他把自己预示的才能投入在,圣彼得的演说之中;,在164年，历史背景如此复杂，他能够重新回顾这段,并且做出一段真诚的预知性的论调。
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