就像弥尔顿笔下的罪恶之神，斯潘塞笔下的错误是一位半女人半毒蛇的怪物，她从各个方面具体化了宗教错误。

Like Milton's Sin, Spenser's Errour is half woman, half serpent, and in a lot of ways she embodies the very problem of religious error.

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在《圣诞清晨歌》中有一个无宗教信仰的人逃跑的画面，我认为弥尔顿同时也在描绘一个剧情，某种程度上他希望这样的事情也会发生在自己身上。

With the scene of the flight of the pagan gods at the nativity of Christ Milton is also depicting a scenario that, I think, on some level he's hoping will occur within himself.

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But for Milton's contemporaries in the seventeenth century, Milton's power really wasn't at all aesthetic or even religious in nature.

但在17世纪弥尔顿同时代的人看来，弥尔顿的力量却是毫无美感的，甚至本质上不是宗教上的。

耶鲁公开课 - 弥尔顿课程节选

But Milton was also beginning to develop in this period a much more strict, a much more disciplined religious temperament.

但弥尔顿这时也开始发展一种更严格，更符合一定规则的宗教性文字。

耶鲁公开课 - 弥尔顿课程节选

With this utterly original fable about the fragmentation of what we think of as religious truth, Milton goes out of his way -- this is remarkable.

用这个最原始的关于破碎,的宗教真理的寓言，弥尔顿又开始偏离自己的路线，这很值得注意。

耶鲁公开课 - 弥尔顿课程节选