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。
叶芝还在写梦。
And this is our glory, Yeats says.
这是我们的光荣，叶芝说到。
But there's a difference in Yeats.
但叶芝有所不同。
The lyrics almost read like a W.B. Yeats poem.
歌词读起来几乎就象叶芝的诗。
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。
There's Yeats, too. All of them are in a sense internationals.
还有叶芝，他们在一定意义上来说都是国际的。
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？
In fact, Yeats is still writing about a solitary fisherman.
实际上，叶芝所写的还是，一个孤独的渔夫。
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。
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？
In a certain sense, Yeats, I think, really felt that he was King Goll.
我认为从某种意义上说叶芝，真的认为自己就是郭尔王。
Well, that's enough for today, and we will continue Yeats on Wednesday.
好，今天就到这里，周三我们继续我们的叶芝之旅。
Yeats has a long career, really beginning in the late nineteenth century.
叶芝有很长一段时间，其实是从19世纪后期开始。
Yeats is throwing off his early work as if throwing off a kind of costume.
叶芝抛弃了他的早期作品，就像抛弃一件外套一样。
The realization of desire for this young Yeats is something only possible in art.
对年轻的叶芝来说这种愿望的,实现只有在艺术里才可能。
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。
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