Now you also may remember that we have already run into Spenser's Mammon before this point, before Paradise Lost.

现在你们可能也记得我们已经,在遇到《失乐园》之前就与斯潘塞的贪欲之神相遇了。

耶鲁公开课 - 弥尔顿课程节选

It's in relation to all of these forms of lateness that we can best understand the opening invocation of Paradise Lost.

带着所有这些“晚“,我们才能很好的理解《失乐园》的开头。

耶鲁公开课 - 弥尔顿课程节选

At this point it's wonderful: Samson begins to echo Milton from the invocation that we've been looking at, the invocation to Book Three of Paradise Lost.

这里很奇妙：,参孙开始附和弥尔顿的祈求,我们刚才看到的失乐园第三卷中的祈求。

耶鲁公开课 - 弥尔顿课程节选

There are some important signs, I think, especially in the first two books of Paradise Lost of what we can think of as Milton's - it's a literary fantasy, a literary fantasy of forgetfulness.

我认为有一些重要的迹象，尤其是在,《失乐园》的前两册书中,从那里我们可以思考弥尔顿之所想,这是一次对于遗忘的文学幻想。

耶鲁公开课 - 弥尔顿课程节选

Now you'll remember from our discussion of the opening invocation to Paradise Lost, that insistent bid that Milton was making: the bid to be first.

现在从我们对失乐园开篇,的讨论中可以得知，弥尔顿一直坚持的是：,敢为天下先。

耶鲁公开课 - 弥尔顿课程节选

I think that Milton intends for us to think of the verse in Paradise Lost as he wanted us to think of books in Areopagitica: the lines of Milton's poetry are not absolutely dead things, but they do contain within them a potency of life.

弥尔顿在《论出版自由中》让我们把书看作是肉体,我想他也想让我们这样看待《失乐园》的诗句：,弥尔顿的诗句不是毫无生气的，它们蕴含着生命的潜质。

耶鲁公开课 - 弥尔顿课程节选

That was supposed to be a tragedy that, in some manuscript drafts that we still have today -- in some manuscript drafts, he titled this prospective tragedy Paradise Lost and in other drafts Adam Unparadised.

他打算写一部悲剧，在一些目前还存留的草稿中,我们看到弥尔顿将这部要写的悲剧命名为,《失乐园》，在另外一些草稿中又叫做《亚当失乐园》

耶鲁公开课 - 弥尔顿课程节选