I propose that we think of Milton at the opening of Lycidas as being stuck, stuck at a particular point in the imagined, the projected or fantasized, trajectory of his career.
我提议我们设想弥尔顿在的开头,是被他的一种假设的,设想中的或理想化的,职业生涯轨迹所束缚了。
For example, let's pretend that you are speaking with a friend who had been studying for a test for some time.
例如,我们假设你跟一位朋友在聊天,他已经为一门考试复习了好一段时间。
So where is--suppose he's pricing-- We'll say the prices are between 0 and 1, suppose he's pricing at .8, what would be a good price for me to set?
如果他定价,假设他的价格,取值在0和1之间,假设他的价格设定在0.8,我应该设定哪个价格比较好呢
Milton -- this will be the working assumption that I bring to my reading of this poem -Milton sets out to prove something in Lycidas, and the most important thing that he proves is his control over the learning that he has accumulated.
弥尔顿-这是我个人对于诗歌的理解之中,极为有益的一点假设,弥尔顿旨在在里证明一些事情,他所要证明的最重要一点在于,其自身对于他所学所积累的一种完全的掌控。
Suppose standing on the bridge next to the fat man, I didn't have to push him, suppose he was standing over a trap door that I could open by turning a steering wheel like that.
假设我站在桥上,胖子就在我旁边,我不用去推他,假设他踩在一扇活板门上方,而活板门可以通过转动方向盘来开启。
He's David Smith who grew up in Detroit or whatever.
假设他叫David,Smith,在底特律之类的地方长大。
And I can only assume that that is precisely the point, that Milton would -- later in 1667 when Paradise Lost is published, he would make his poem canonical just like The Iliad and just like The Odyssey and The Aeneid before anyone had actually read it.
我只能假设就是为了这点,当他在1667年出版《失乐园》后,弥尔顿会遵照《伊利亚特》的模式来创作诗歌,还有《奥德赛》和《埃涅阿斯纪》,在这之前人们还没有真正的读过这些书。
Like the sun, it was thought to be a perfect heavenly body and, as you probably know, it was Galileo though -the Tuscan artist, the Italian astronomer 0 -who disproved just that assumption in 1610 when he published the Sidereus Nuncius .
正如太阳那样,它被认为是完美的天体,也是伽利略,-那个托斯卡纳大师,意大利的天文学家,-他驳斥了1610年的假设0,在他出版的那本中。
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