The character of Peter brought directly out of the New Testament is really slicing through the poem's fictive veneer.

彼得的形象是直接从中借鉴而来的,在这首诗虚构的伪饰中显得格外犀利。

耶鲁公开课 - 弥尔顿课程节选

Literature knows itself to be fictive.

文学意识到自己是虚构的。

耶鲁公开课 - 文学理论导论课程节选

So it was a theme of the period and Freud's Beyond the Pleasure Principle contributes to this theme. Brooks himself likes to -- refer to the text of Beyond the Pleasure Principle as itself a master plot-- in other words as having a certain fictive character.

所以不难发现，这就是弗洛伊德时期的一大主题,而那本《超越快乐原则》也就响应了这个主题，布鲁克斯,本人很喜欢引用《超越快乐原则》中的片段-,换句话说，就好像有一个虚构的角色。

耶鲁公开课 - 文学理论导论课程节选