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。
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。
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。
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。
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。
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。
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》
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