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Milton wants to write an epic that in some ways comes before, or prevents, the great epics of Homer and Virgil.
弥尔顿想写一首在某种程度上先于，荷马和维吉尔伟大史诗的史诗。
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In this respect it would resemble Spenser's Faerie Queene, or perhaps more importantly, Virgil's Aeneid -- other nationalist epics.
这样的话它就会与斯宾塞的《仙后》，更重要的，维吉尔的《埃涅阿斯记》等一些民族主义史诗相类似。
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Dante He mentions Virgil and Dante, and it seems like the desperation of bringing up such grand figures makes me think that he does have doubts.
他提到了Virgil和，提到的那些伟大的人物时他的绝望,让我觉得他也心存疑惑。
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The Aeneid of Virgil based, of course,on the Iliad and the Odyssey, begins arma virumque cano, I sing of arms and the man, the man Aeneas.
维吉尔所作的《埃涅伊德》当然是基于,《伊利亚特》和《奥德赛》,它以"arma virumque cano" 开头,"我歌颂战事和那个人,埃涅阿斯"
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This is Virgil: "He should sing thin - spun lays and he should be content feeding his fat sheep."
这是维吉尔的诗：“他哀唱着纤细的抒情诗“,“喂着肥硕的羊儿，他无比满足“
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The image of a poet interrupted and chided by the god of poetry comes straight out of the opening of Virgil's Sixth Eclogue.
这段诗人被神明打断斥责的场景,直接明了地出现在维吉尔的里。
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In that respect, it has a kind of priority over the hells or the underworlds of Homer and Virgil.
在这一点上，它优胜于荷马与维吉尔笔下描绘的,那些地狱或阴间。
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The god told Virgil that he wasn't ready yet for the manly, the adult, and the public world, the important world, of epic poetry.
神明告诉维吉尔，他还没有准备好接受，成人世界和公众世界，以及史诗的重要领域。
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The language of Homer and of Virgil and of Pindar and of Ovid had become an inextricable part of his literary imagination and of his consciousness in general.
荷马，维吉尔，品达尔和奥维德的语言,成为弥尔顿文学想象还有文学觉悟中,无法摆脱的一部分。
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Like Homer and like Virgil, Milton intends to soar above the wheeling poles of the visible world and describe the otherwise invisible comings and goings of the gods.
像荷马和维吉尔那样，弥尔顿想屹立于现实世界之上,去描绘无形世界中上帝的来来往往。
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It's a poem deeply invested in the tradition of pastoral poetry, pastoral poetry from Theocritus and Virgil onward.
这是一首深深植根于从忒俄克里托斯和维吉尔时代，不断发展而来的田园诗的传统中的诗。
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The only precedent Milton would have had even for the idea of line numbers would have been the great ancient classics, the magnificent Renaissance editions of Homer and Virgil.
弥尔顿曾经的唯一一个范例，甚至是印上行数的想法,都将是伟大的古老杰作，是荷马和维吉尔伟大的再生版。
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It's to admit that this is in fact a late epic and that it derives from a close, studious, student-like imitation of the great epics of Homer and Virgil.
也就等于承认它事实上是一部晚期的史诗作品,是源自于雷同的，学究气的，小学生般的,对荷马与维吉尔写的伟大史诗的模仿。
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Homer and Virgil and, well after them, Dante and innumerable others have all applied the simile of the leaves or some version of it to describe the numberless-ness of the dead.
荷马，维吉尔，在他们之后还有但丁,以及无法计数的曾经用过这个落叶比喻,或者变种版本来形容死者的数量极多的其他诗人们。
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They are steeped in the entire literary tradition of the underworld journey that stretches from The Odyssey of Homer up through Virgil's Aeneid, and of course up through all of the Renaissance romance epics.
它们被浸泡在整套文学传统中,穿越了从荷马的《奥德赛》上升到,维吉尔的《埃涅阿斯纪》的地下之旅，当然它也经历了所有文艺复兴时期的浪漫史诗。
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After the long sway of Theocritus' and Virgil's pastorals, ; of course Christianity entered the scene,a new dispensation; and Christianity began to load this pastoral literary tradition with its own set of associations.
在维吉尔等两人对田园诗的长久统治之后，基督教义作为新的统治思想兴起了;,并且开始以它自身的一套体系,附在田园诗的文学传统之上。
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The poem is based most closely on Virgil's Tenth Eclogue.
这首诗取材于维吉尔的《牧歌》第十首。
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All of this anxiety, and when you think of it, all of this shame as well as the shame of ambition -all of this gets packed into this allusion to Virgil that Milton brings to this very disturbing moment in Lycidas.
当你定下心来思考，所有这些忧虑，羞愧,等同于野心所带来的羞愧,所有这些都被整合进维吉尔的幻想里,而这又被弥尔顿写进了这令人困扰的一段里。
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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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Virgil alludes to just this passage in Homer when he describes the entrance of a whole crowd of people in to the underworld as "the falling of leaves in the early frost of autumn."
维吉尔只是在荷马中影射了这点,他描述了通往人群拥挤的地狱的入口,如同“在深秋严寒中无情飘落的叶子“
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