Later in this same passage Yeats resumes his argument for the Rose as an Irish symbol.
后来在这同一篇文章里，叶芝再次提到把玫瑰作为爱尔兰象征的观点。
"Man's heart" in Yeats is "resinous"; it's sticky filth that flames.
“人心”于叶芝看来是“树脂”；是粘乎乎会燃烧的脏东西。
It's a longish poem, not in your anthology, but you can find it in The Complete Yeats.
这是一首很长的诗，你们的选集里没有，但在《叶芝诗选》里可以找到。
Yeats insists that the heart is an organ of the body, and located in it. This is important.
叶芝坚持说，心脏是身体的器官，置于其中。这很重要。
You could go to Yeats' poem Adam's Curse to see how the poet talks about this aesthetic ideal.
你可以去看看叶芝的诗歌《亚当的诅咒》，看看诗人是如何谈论这一美学理想的。
Pablo Picasso, Charles Darwin, Mark Twain, Oliver Goldsmith, and William Butler Yeats all disliked school.
巴勃罗·毕加索、查尔斯·达尔文、马克·吐温、奥利弗·戈德史密斯和威廉·巴特勒·叶芝都不喜欢上学。
Yeats seems to be reversing this trick in "The Fisherman," which seems to be converting myth back into reality.
叶芝好像在《渔夫》一诗中，进行了这一转变，似乎把神话变成了现实。
Wilde is also a friend of Yeats, but Yeats' poetry has indeed undergone important and notable stylistic changes.
王尔德也是叶芝的朋友，但叶芝的诗歌的确经历了重要的值得一提的风格上的改变。
Yeats, in Adam's Curse, regrets that the beautiful is something to be labored for and he wants to conceal that labor.
在《亚当的诅咒》中，叶芝遗憾道，这种美丽是值得为之劳作的，他想掩盖这种劳作。
Yeats, in "Adam's Curse", regrets that the beautiful is something to be labored for and he wants to conceal that labor.
在《亚当的诅咒》中，叶芝遗憾地说，美丽是值得为之努力的，他想隐藏这种努力。
Yeats sees the Second Coming as an image, as a myth, an idea, a metaphor, a certain stylistic arrangement of experience.
叶芝把《第二次降临》看成一个意象、一个神话、一个意识、一个比喻、一种诗意感受的安排。
This is The Wind Among the Reeds, and the author is William Butler Yeats, published in 1899, on the verge of the new century.
这是的《苇间风》，作者是威廉·巴特勒·叶芝，在新世纪即将到来之际的1899年出版。
Yeats takes on self-consciously staged identities, requiring costumes, and he sees other people in similarly theatrical and mythic terms.
叶芝扮演了一种不自然的舞台身份，需要服装，他以同样戏剧化和神话化的方式看待他人。
For Wednesday — This is my — our first Yeats lecture.
星期三是我们第一次关于叶芝的课程。
In fact, as Yeats declares, the fisherman does not exist.
实际上如叶芝所说，渔夫并不存在。
But Yeats doesn't answer the question, does he? Well, why not?
但叶芝没有回答这个问题，为什么他不回答呢？
Well, how does Yeats stand in relation to the events he's describing?
那么，叶芝是怎么处理，他和他所描写的事件的关系的呢？
Well, and this is true for the Yeats poems that we've been talking about as well.
叶芝的诗确实是这样,我们也谈论过。
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。
He lives in Brooklyn with his wife Diane and four cats, Whitman, Yeats, Poe and Emily.
他与妻子黛安娜和4只猫(惠特曼、叶芝、爱伦坡和艾米丽)住在布鲁克林。
Well, Yeats begins in scorn of an audience that's unable to recognize true wisdom and great art.
叶芝以嘲讽一个不能识别真正的，的智慧和伟大的艺术的观众开始。
There are many other instances of this myth-making imagination that Yeats is always working with.
还有很多这样叶芝用想象力，进行神话创作的的例子。
In Section III below, Yeats says, "Get all the gold and silver that you can" — "provide, provide!"
在第三节里，叶芝说，获得你能获得的黄金和白银-，请拿出来，请拿出来！
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。
The occult gives Yeats aesthetic forms for understanding individual psychology and historical event.
神秘主义使叶芝从美学角度，理解个人的心理，和历史事件。
She speaks what Yeats calls in his general title for this group of poems Words for Music Perhaps.
她说的话，也即是这一组诗的名字，叫做可以配乐的诗。
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。
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。
Education is not the filling of a pail but the lighting of a fire. (William Butler Yeats, lrish poet)
教育不是注满一桶水，而且点燃一把火。
Education is not the filling of a pail but the lighting of a fire. (William Butler Yeats, lrish poet)
教育不是注满一桶水，而且点燃一把火。
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