It argues that the books must be exactly twenty-four, because Revelation 4:10 has twenty-four elders in God's throne room.
它声称书的总数必须为24卷,因为启示录第四章第十节有24位老者,在上帝的正殿里。
and you can get loads of different lunches, wraps, sandwiches and all that, which is really nice.
你可以吃不同的午餐、面卷、三明治,所有的这些,真的很棒。
By extension we have our attempt as readers to arrive at an understanding of the first two books in general.
延伸开来,我们作为作者,试图,达成对这两卷书的大体上的理解。
May no fate willfully misunderstand me And half grant what I wish and snatch me away not to return.
别来个命运之神,故意曲解我,只成全我愿望的一半,把我卷了走。
Well, I guess it's the problem that people who teach the eighteenth-century novel always have, or the Victorian novel: the Victorian novel like the triple-decker, the three-volume novel.
好吧,我猜这个问题是,讲授十八世纪小说,或维多利亚时期小说的人经常遇到的:,像维多利亚时期的三层小说,三卷本小说。
But 00:55 you stop and we will have people collect them either down here or at the back.
但是在00:55你要停下来,我会找人收卷的,在这儿,或者在最后面。
Some of the things that I'm about to talk about are drawn from chapters in that particular volume.
我将要讲到的一些内容,都取材于其中的一卷
- These ones should curl, see if I can - oh, not bad. Let's run it.
这些东西可以卷上去,让我们看看,结果不错,让我们来运行一下程序。
She's either made to look very good or she's made to look kind of ugly with this frizzy wig and they talk to her.
她要么非常漂亮,要么带个卷假发显得有点对不起观众,然后他们和这个女人谈话。
When Plato writes his Republic and devotes Book Ten, as I'm sure most of you know, to an argument in effect banishing the poets from the ideal republic, part of the argument is that poets are terrible imitators.
当柏拉图写《理想国》和《第十卷》的时候,你们肯定都听过这两部著作,他提出了一个一个论点,要把诗人从理想国中驱逐出境,他提到,诗人都是拙劣的仿造者。
Well, if you look at the catalog of ships in Homer's Iliad, the island of Salamis had its ships lined up next to the island of Athens. Ballgame.
如果你看荷马伊利亚特的《船舶名录》这一卷,萨拉弥斯人把自己的船排列在了,雅典人的船旁边,就那么简单
The allusion to Aristophanes and the comic poet is a part of what Plato calls in Book X of the Republic the old quarrel between philosophy and poetry.
提及亚里斯多芬尼斯,是柏拉图《理想国》第10卷中所述,哲学与诗学长时争论的一部份,这项争论亦是柏拉图辩证的主体。
This tube, this hollow tube, which food passes through is made up of many, many epithelial cells which directly abut one another and would be a flat sheet except that it's rolled up into a tube.
这个管道,这个中空的管道,食物可以穿行其中,而它就是由许多许多上皮细胞构成的,上皮细胞一个连着一个,形成了一个平坦的细胞层,但实际上它们还在肠管中卷成管状
basically the guy just fries the fish in front of you, put it in a wrap
基本上就是,店主当着你面炸鱼,把它放在一个面卷上,
He's without question the most compelling figure, certainly, in the first two books and, I think, arguably in the entire poem.
他是前两卷书中最引人注目的角色,当然,也可以认为是这首诗中最引人注目的。
You've got to think about that and what it means and how were they transmitted and preserved without ; the means of technology, obviously, that we have today; and what was so exciting in the middle of the twentieth century was the discovery of the Dead Sea Scrolls.I'm sure that you've heard of them.
你们需要考虑到这点及这意味着什么,还有在没有当今我们所拥有的技术的年代,是如何传播和留传下来的;,在20世纪中期时最令人兴奋的就是发现了,死海古卷,我确定你们曾经听说过。
But you might have to,also, refer to a Psalm over here or to another passage over here. And it's too difficult if you're unraveling scrolls and everything.
但你也许还要查阅,诗篇或者另一段文字,而解卷展轴太麻烦了。
It's not until Book Three, until after Milton presents his heroic portrait of Satan and his heroic portrait of the fallen angels when he establishes the fact of his blindness.
直到第三卷弥尔顿呈现,他对撒旦和降落的天使们的英勇形象后,他才证实自己失明的事实。
So if you wanted to read Isaiah, it actually was more than one scroll.
所以如果你想读以赛亚书,它实际上不止一卷。
God the Father will make a similar argument in Book Three.
上帝,人类之父会在卷三中做出相似的回应。
John the Divine had written in Revelation 14 -- you know this: and no man could learn that song but the one hundred and forty and four thousand, which were redeemed from the earth.
圣约翰在《启示录》第14卷中写道--你们都知道:,没人唱的了这首歌,除了那四千一百四十人,那些被从人间救赎的人。
So those are the 24 that we're going to focus on.
所以这24卷是我们将主要研究的对象。
It's not until Book Three of Paradise Lost that the poet explicitly reveals to us, to his readers, the fact of the physical handicap that might reasonably be thought to render impossible his composition of the poem.
直到失乐园第三卷,诗人才明确告诉读者们,自己失明的事实,这可能被合理的认为是他无法完成诗歌创作的原因。
I'm convinced that it's the reader's job to apply the same degree of critical scrutiny, a kind of Galilean critical scrutiny, to the image of Providence that will be elaborated, as you will see, at extraordinary length in Book Three of Paradise Lost.
我相信,把同等程度的细致的挑剔的观察,一种伽利略式的吹毛求疵的观察精神,运用到对将要被详细说明的天命的形象上去,是读者该做的事,你们往后会发现,卷三里洋洋洒洒写了很多。
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