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Now it's not until the fourth stanza of the prelude that we can fully understand the magnitude of the strange anxieties here.
直到序曲的第四段,我们才能完全明白这种奇怪焦虑的严重性。
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We can't know exactly and this is one of the wonderfully unsettling things about this stanza we can't know exactly to whom Milton is addressing this stanza.
我们不能确切的知道,而这也是这一段很奇妙的不确定性所在,我们不能确切的知道弥尔顿这一段是在对谁讲话。
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This idea leads him to the meditation that's in the second stanza there.
这一想法使他在,第二节里冥想。
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And there's a self-consciousness about the temporal strangeness of this poem that leads, I think, to its crisis moment. Look at stanza sixteen.
他自己也意识到,诗歌暂时性的古怪会导致，危机的到来，看第六段。
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We'll talk about humble in a minute, but I'm interested now in the word prevent, which for me is really the central word of this remarkable stanza.
我们待会再讲这个谦逊，我现在对阻止这个词很感兴趣，我认为这是这一行的中心词。
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In the last stanza then there is that extraordinary shift of perspective.
在最后一节，突然转到了一个非凡的视角。
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We might be able to understand some of the weird, anxious energy behind this stanza if we think of the phrase that Milton uses here: the phrase "Infant God."
如果我们想一下这些句子，也许能够明白，这一段中古怪和焦急的心情,弥尔顿在这用到“圣婴“这个词语“
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It has a goal, however, that's described in that last stanza.
但却有一个目标，这在最后一节里有描写。
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But it may be the case that it's something like a situation in which over the course of the previous stanza, Milton has actually usurped the role of the muse and has begun providing something like his own inspiration.
情况也可能是这样的,在之前的那一段里，弥尔顿确实用了缪斯这一角色,并且开始用他自己的一些灵感。
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Yeats is describing his interaction with and his distance from Pearse and the others in that first stanza, and then in the second.
叶芝在描述他对此的感受,他和皮尔斯那些人离得很远,他在第一节诗里谈到这个，在第二节诗中。
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In your RIS packet, I gave you the short poem "Two Songs from a Play." The first stanza of that interesting poem repeats themes from "The Magi" and "The Second Coming."
我给你们的资料里有首短诗,一出剧里的两支歌,这首有趣的诗的第一节重复了,东方三贤和二次圣临的主题“
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So in the fourth stanza we as readers have no idea where we are or when it is the speaker of the poem imagines himself to be speaking, and it's at this point that something quite strange happens.
所以作为读者，对第四段我们不知道,自己在哪，诗的代言者在哪,什么时候想说话，而且就是在这时非常奇怪的事情发生了。
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The conflictedness that Milton is encapsulating here is probably most intense in the last lines of this wonderful stanza: / "With flow'r-inwov'n tresses torn / the Nymphs in twilight shade of tangled thickets mourn."
弥尔顿在这想要化解的冲突,可能在这一段中最激烈：,少女的头发被扯断/,黄昏时在杂乱的灌木丛中哀叹“
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The palmer accompanies him on all of his adventures but this one, and Spenser in stanza two of this canto makes a big deal of the fact that Guyon is descending in to the Cave of Mammon by himself.
朝圣者陪着他经历了除了这里之外的所有冒险，斯潘塞在这篇长诗的第二节对这一事件大做文章,他想表达盖恩是独自一人进入贪婪之神的洞穴的。
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This is the stanza that begins with line 150.
这段从150行开始。
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Look at the last stanza.
看这首诗的最后一段。
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The desire to be first is really central to this poem and it continues in this stanza: Have thou the honor first thy Lord to greet And join thy voice unto the Angel Choir, From out his secret Altar toucht with hallow'd fire.
想得第一的欲望是这首诗的主题,在这一段中也还是主题：,你要抢先，争取最初迎主的荣光,放开你的歌喉，宛若天使的合唱，接触神坛的圣火像是热烈的篇章。
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As soon as Milton describes for us the events in heaven that lead up to the Nativity, he begins the this is the prelude of the poem, it's broken up in to two chunks: the prelude and then what Milton calls the hymn he begins the third stanza of the prelude to his poem with a plea to the Heavenly Muse for inspiration.
弥尔顿一给我们描述引导基督诞生的天堂的事情,他就开始描述,这就是诗歌的开端，分为两部分：,这个开端还有弥尔顿称之为颂歌的部分,他开篇的第三段用了,对天国的缪斯寻求创作灵感的请愿。
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