-
I said that Yeats looks on the modern with a sense of both horror and a fascination, a compulsion almost.
我说过叶芝看待现代是,以一种害怕和好奇的感觉，一种难以压抑的冲动。
-
You can see him, in a sense Yeats, cooling the fire in the head of Aengus at this moment.
你们可以感受到此时叶芝正从,安古斯的狂热里冷静下来。
-
Yeats bridges Irish and English cultures, and he is importantly Protestant with social and family ties to English life.
叶芝连接了爱尔兰和英国文化，作为新教徒，他和英国,在社会和家庭方面联系紧密。
-
Yeats develops this idea or develops another version of it in a somewhat earlier poem that's interesting in relation to this one.
叶芝进一步发展了这一想法,并在早期的一首诗里,写了另一个版本,那首与这首的关系很有趣。
-
Here, this destruction brings forth a new order, a new form of life that Yeats calls "terrible beauty."
这时，毁灭带来了新秩序，带来了新生活,叶芝称之为，惊人之美“
-
Yeats is, in fact, a far less nostalgic thinker than either Eliot or Pound, at least as I understand them.
其实叶芝不如,艾略特或庞德那么怀旧，至少我是这么理解的。
-
It's only what it means to write a poetry of passion that Yeats is now beginning to rethink.
叶芝只是重新开始思考,写作关于激情的诗意味着什么。
-
Yeats insists that the heart is an organ of the body, and located in it. This is important.
叶芝相信心灵是身体的器官，置于心灵中，这很重要。
-
In fact, Yeats sees his poems as a kind of summoning of spirits or evocation of spirits, as he refers to it.
实际上，叶芝认为他的诗歌,如他所说在召集传唤灵魂。
-
Last time I talked just briefly about Yeats's interest in automatic writing, a practice that he engaged in with his wife.
上次我简要提到叶芝对,自动书写的兴趣，他和妻子所实践的。
-
Notice how very casual Yeats is in that second strophe, how self-consciously fantastic and speculative he is.
注意叶芝在第二节,是多么随意，多么自觉的神奇,多么敏锐。
-
In "Easter, 1916" I talked about Yeats's partial, complicated identification with the suffering martyrs of that poem.
在《1916年复活节》我谈到叶芝，对受难的殉道者的同情和偏向。
-
You could go to Yeats's poem "Adam's Curse" to see the poet talking about this aesthetic ideal.
叶芝在他的诗歌亚当的诅咒里,谈论了他这一美学理想。
-
Yeats represents that moment of consummation as the plucking of the silver and the gold apples.
叶芝用采撷银苹果和金苹果,来表现这一极致的时刻。
-
Yeats takes on self-consciously staged identities, requiring costumes, and he sees other people in similarly theatrical and mythic terms.
叶芝扮演这些舞台身份时,觉得不自然，总需要乔装一番，他看待别人也是用同样的,戏剧和神话的术语。
-
You can look at it with those poems in mind where Yeats imagines a new world coming into being, ushered in through the blood of the old.
你们可以回忆一下那两首诗,其中叶芝想象了一个新的世界，那从旧世界鲜血里开辟。
-
Notice here how Yeats images what is at the core of Christ's birth.
注意这让叶芝是怎么描写,基督诞生的核心内容的。
-
Finally, he destroys his harp, in the scene represented by Yeats's father's portrait.
最后他毁掉了自己的竖琴,叶芝父亲画中表现的就是这一幕。
-
And in fact today, right now, we're going to move back the furthest we go, all the way into the nineteenth century to talk about the early Yeats.
实际上今天，现在，我们会回到很早的时候，直到十九世纪,来谈谈早期的叶芝。
-
I think it's possible to see that "they" as the sort of general forces of modernity, of everything at odds with the aristocratic culture Yeats and these women shared, inhabited.
我认为可以把它们看作“,某种现代性的力量，所有和贵族文化不一致的,叶芝和两个女人所共有的。
-
Yeats is obviously writing in the context of an Irish civil war, but it's also the case that he's writing in the shadow of the First World War as well.
叶芝显然是在爱尔兰国内战争时期进行创作的，但是同时他也是在,一战的阴影下写的。
-
Part of the resonance and power of that famous refrain, "a terrible beauty is born," is that this beauty is being born not only in the world but in Yeats's poetry.
部分激发联想的力量,以及那著名的叠唱的力量，一中惊人之美诞生了“,那种美,不仅诞生于现实世界,也诞生于叶芝的诗歌。
-
And the poetry that he stands for the fisherman stands for like all of Yeats's poetry is a poetry again of symbols.
这首诗代表了,渔夫代表了,和叶芝所有的诗一样,这是关于象征的诗。
-
The answer that Yeats is giving here is different from saying either "yes" or "no" to that question.
叶芝此处给的答案,既不肯定也不否定。
-
So this is a kind of model for the late Yeats in poetry the voice of the angry and wild slum woman.
这是叶芝晚期诗的一种模式,狂怒野蛮的贫民窟人的话。
-
Truth is something to be embodied in Yeats, embodied rather than known; embodied in the sense of lived, not merely understood but experienced.
真理是叶芝要表现的，表现而不是理解，通过存活,表现，不仅是理解而是体验。
-
And the bestial is identified in Yeats with the heart and with the irrational and with the uncontrollable.
存于人身的野兽就是心灵,是无理智的，不可控制的。
-
The frightening experience that Yeats evokes here is the imposition of the divine on the human.
这里写的这种令人害怕的体验,圣对人的强占。
-
Does it represent Yeats's own early cultural nationalism and the work represented in The Wind Among the Reeds and other early poems?
它是否代表了叶芝早期,文化民族主义和苇间风里,收录的及其他一些早期诗歌？
-
At that point Yeats was--1894, Yeats is 29, and the two women were slightly younger.
894年当时叶芝29岁，两个女人年纪稍轻。
应用推荐