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The Old Testament prophet had said, "All flesh is grass," an important verse for the new dispensation of Christianity.
旧约里说，“凡有血气的，尽都如草“,这是基督教教义新体系中的重要一条。
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The first is the radical theology, and the second is this poem's equally radical and equally daring original verse form.
第一是它激进的神学观点，第二是这首诗,同样激进大胆的原始诗歌形式。
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Here, this image of the lines of trees and the metrical regularity of that verse that describes them.
这里，排列成行的树的画面和,诗里韵律的规律描绘的画面。
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He says this verse. It speaks a lot about the sublimeness and glory of God, just how truly great he is.
他就说的这句诗，这句诗是赞美上帝的,崇高与光荣的，赞扬他有多么伟大。
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Genesis 3:7 is a very critical verse and it's rarely properly translated Most translations read like this: "She took of its fruit and ate.
创世纪》第3章第7节，很关键，却很少被正确的翻译,很多翻译都是，她看到了智慧果，吃了它。
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And again in one of the functional magnetic insonance image experiments, we could ask Mike to examine faces verse other things.
与在一个功能性核磁共振成像试验中一样，我们告诉迈克去仔细看人脸和其他东西。
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Think of the feeling that Wordsworth's blank verse just kind of disappears into prose.
想象一下华兹华斯诗中,留白的意境。
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We'll talk about verse and chorus when we get to the issue of form.
我们会谈到主歌和副歌,等我们遇到那种曲式的类型再说
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In the second verse paragraph, Milton tells his father: "do not despise divine poetry, creation of the prophetic bard.
在诗的第二段，弥尔顿对他父亲说：,不要轻视神圣的诗歌，诗人预示性的创作。
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Milton wrote his epic in lines of unrhymed iambic pentameter or what we call, and what Milton would have called, blank verse.
弥尔顿的史诗由不押韵的抑扬格五音步诗句写成,我们，还有弥尔顿都称其为无韵诗。
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The genius of Fish's reading of Milton's similes is to understand the particularly time-bound nature of Milton's verse.
费什解读弥尔顿的比喻的天赋,能够帮助我们理解弥尔顿的韵诗在特定时代下的本质。
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An ear and an appetite for these sounds of sense is the first qualification of a writer, be it of prose or verse.
这些感性的声音的耳朵和胃口,是作家最基本的素质，不论是写散文还是诗歌。
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In the tradition, one of the companions asked the prophet what's the most powerful verse in Koran.
在传统故事中，有个人问先知,《可兰经》里最有力度的一句诗是什么。
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The second half of verse 5 and 6 gives the reward: God is conferring on the Israelites this elevated status ; of royalty, of priesthood; "You'll be to me a kingdom of priests, and a holy nation."
诗5余下的部分和诗6，说明了遵守的奖赏：,上帝将会使犹太人的地位提升,忠诚的，祭司的国家;,“你们要归我作祭司的国度，为圣洁的国家“
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It's a very funny poem, and you've got triplet rhymes there to make sure you know that Frost is joking, and it feels like light verse.
这是首有趣的诗，你会得到三连音的押韵,让你确实觉得弗罗斯特在开玩笑，这就像光的韵律一样。
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Looking at the continuation of the verse, of the passage, We have some idea because humans, we see, are going to be charged with specific duties towards, and rights over, the created world.
让我们来看这一节还讲了什么，这一章还有什么，我们便会有一些想法，因为我们知道人类将会,被赋予一些职责和权利来管理被创造的世界。
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Meter is--it's a scheme for organizing verse, for organizing lines of verse.
抑扬格是安排韵文的一种体系，是为了安排每一行诗的韵文。
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This is the verse form, you'll recognize it, in so many of the long speeches of characters in the plays of Marlowe and of Shakespeare.
这就是你们经常在马洛和莎士比亚戏剧中的,角色的大段独白中看到的诗体。
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You can actually see the mechanics of end-stopped verse quite clearly in the rhymed version of Paradise Lost that, admittedly, the great poet John Dryden wrote.
在大诗人约翰·德莱顿所写的,押韵版的《失乐园》中能很明显看到，这中孤联诗句的机制。
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Look at the verse paragraph that begins at line 132. Oh, this passage!
看从第132行开始的那一节，啊，这一节！
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So Milton imagined that his own verse was to be read and experienced something like a body.
因此弥尔顿想让人们把他的诗句,当做是肉体去阅读和体验。
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Feet, of course, has a lot of meanings, and Milton's poetic feet, the material of the verse written in six and eight and ten syllables in this poem, are also in 1634 printless -- they're unpublished.
双脚，当然有很多意义，而弥尔顿富有诗意的双脚,这首六，八，十音节的诗，在1634年也是不留痕迹的--因为那时候还没有出版。
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An end-stopped line is one in which the grammatical unit of sense stops precisely at the end of the line. The next line of verse picks up a different thought and the next one after that, and so on.
孤联诗句到了句尾语法和句意,都刚好停止，下一句,又表达一个新的意思，下一句又是，依次类推。
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So if you say Genesis 1:1, I mean chapter one, verse one.
如果你说《创世纪》1：1，就是指第一章第一节。
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Free verse is non-metrical poetry, another thing altogether.
自由诗体是无韵律的诗，总的来说是另一种诗体。
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There is first the understandable aesthetic power, the power of the beauty of Milton's verse, an aesthetic power that's often thought or felt to inhere somewhere in the poetry itself.
首先是美学上的力量，这是可以理解的，弥尔顿的诗句之美的力量，一种美学意义上的力量,大家通常认为或觉得这是弥尔顿诗歌本身固有的一种力量。
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What's important in My Fair Lady is to - repeat the repetitiousness of verse-- the rain in spain falls mainly on the plain -in terms of the tautology of the plot.
重要的是窈窕淑女中,这种韵律的加强-,“西班牙之雨大多洒落于平原之上“,韵律的反复加强了情节。
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