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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。
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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。
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What I want to stress now is that Yeats sees passion at work in the same way in history.
我现在要强调的是,叶芝在工作中感到了激情,就如他在历史中感受到的一样。
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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。
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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。
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This is The Wind Among the Reeds, author William Butler Yeats, the year 1899, on the verge of the new century.
这是威廉巴特勒叶芝的《苇间风》,在新世纪即将到来之际的1899年出版。
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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“
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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。
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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向，一个神话，一个意识，一个比喻，一种诗意的安排和感受。
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The myth that Yeats takes up is of Zeus's rape of the maiden, Leda, whom he attacks as a swan.
叶芝此诗的神话原型是,宙斯强暴了一个美女，丽达，宙斯变成天鹅侵犯了她。
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Nonetheless Oscar Wilde, a friend of Yeats nonetheless, Yeats's poetry does undergo an important and notable stylistic change.
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。
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That "Spiritus Mundi" that Yeats refers to in "The Second Coming," well, this is Yeats talking about that idea here.
叶芝二次圣临里的宇宙之魂“,叶芝这里在谈这一观点。
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And there is finally, again, an affirmation of this joy and gaiety, here seen as a property of the artwork itself.
最后在这里又一次，叶芝又一次提到了快乐欢愉，这里应看作是这件艺术品的部分特性。
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It's a kind of dare demonstrating not just his indifference to the crowd but in fact his scorn for it.
叶芝这种胆量,不仅说明他对大众的漠然,其实还是对它的蔑视。
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That this great mind and great memory Let's see. On your handout I have Yeats on the subject of magic.
这一伟大的思想和记忆,在你们的讲义材料上,我提到了叶芝诗歌中的魔法。
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Yeats is always creating himself in his poems and creating himself as a kind of version of a type.
叶芝总是在他的诗歌中以一种,特定类型的变体来创造自己。
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Listen to how quickly Yeats modulates from one feeling, one image, to another in these really very short, quick, three-beat lines.
听一听叶芝是怎么快速地,从一种情绪，一个情景中，转换到另一个里去的,就在这些三音韵的短诗句中。
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Through Yeats's poem, Easter, 1916 goes on happening, happening in a sense in and even to us.
通过叶芝的这首诗，1916年复活节起义之事，就好像在我们眼前发生。
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Yeats counterposes Isaiah's prophetic coal to the blazing body of Section IV, where fire is spontaneous, imminent, something that arises from the body.
叶芝将比赛亚的预言性的煤,和第五节里燃烧的身体相对照，这里火是自燃的，迫在眉睫的，是从人身体里升出的。
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Here's a copy of a letter to Pound by Yeats when they were both living in London.
这有一份叶芝写给庞德的信,他们当时都住在伦敦。
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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。
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Yeats is talking about an event that has brought forth destruction, destruction of the world before the Easter Uprising.
叶芝描绘了这样一个事件,它带来了毁灭，对复活节前世界的毁灭。
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When Yeats aestheticizes the political, he makes it moving, moving in the literal sense of, I think, emotionally engaging and cathartic.
叶芝将政治艺术化时，他使之变得感人，在文字上很感人，我想它使人情绪感染，灵魂净化。
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There's a way in which Yeats's poetry of this period goes on resonating in the world we're living in.
叶芝这一时段的诗歌,有一个反应现实生活的方法。
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The divine enters the human in these poems of Yeats's through the bestial.
当圣降临于人,在叶芝诗歌里,圣以兽之形式降临于人。
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It is, in fact, a very deliberate and self-conscious repudiation of that late romantic aesthetic that Yeats's early book, and even the cover of that early book, represents.
实际上，这是一种非常从容不迫有意识的,对早期叶芝的书里体现出的后浪漫审美的抛弃，甚至连早期那本书的封面，都体现出了这种倾向。
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Yeats spoke of the poem as a mad song, maybe not a kind of mad song we would--it's not what we would think of as a mad song, necessarily.
叶芝说这是首狂诗歌，也许不是我们所讲的狂诗歌,不一定是我们所认为的狂诗歌。
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This was the kind of generalized story of Yeats's career.
这是叶芝创作生涯的,大致的介绍。
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You don't have to do this for Wednesday but let's say for next Monday, and that is: I'd like you to memorize a short poem by Yeats or by Frost, either one.
你们不用今天做,下星期一吧：,我想让你们背一首短诗,叶芝或者弗罗斯特的都行。
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