伽利略是唯一的当代人物，唯一的17世纪人物，甚至在《失乐园》里也有提及。
Galileo is the only contemporary personage, the only seventeenth-century figure, even so much as mentioned in Paradise Lost.
它备受争议，我个人认为是出色的一个想法，“失乐园”中最重要的词是“或”，即连词。
It has been argued, and I think this is a brilliant point, that the most important word in Paradise Lost is "or", the conjunction.
哈罗德·布卢姆写道，我认为他说得对极了，弥尔顿在《失乐园》的开头对迟到进行了有力的辩护。
Harold Bloom has written, and I think he's absolutely right, that Milton begins Paradise Lost with a powerful defense against lateness.
哈特曼描述了弥尔顿在《失乐园》中的倾向，他借用了柯勒律治的这个习语：由外而内俯视自身的趋势。
Hartman describes Milton's tendency in Paradise Lost, and he takes this term from Coleridge: the tendency to stand ab extra, to stand from outside.
从我们一直看的祈祷，从《失乐园》第三卷中的祈求，参孙开始附和弥尔顿。
Samson begins to echo Milton from the invocation that we've been looking at, the invocation to Book Three of Paradise Lost.
失乐园(约翰·弥尔顿)-下载。
这是《失乐园》里的一段。
弥尔顿的《失乐园》是著名的史诗。
直到22年后，弥尔顿才真正出版《失乐园》。
And it wouldn't be another twenty-two years after that until Milton actually published Paradise Lost.
请看在《失乐园》中贪欲之神第一次出现的地方。
Let's look at the first appearance of Mammon in Paradise Lost.
利维坦之于散文，就像弥尔顿的失乐园之于史诗。
Leviathan is to prose what Milton's Paradise Lost is to epic poetry.
从《失乐园》你学到什么？一无所获。
《失乐园》是一部古典作品。
真正出处：约翰·弥尔顿的《失乐园》。
失乐园里都是吃的活动。
我们会看到弥尔顿又在失乐园中回到这些问题上来了。
We will see Milton returning to all of these questions in Paradise Lost.
人生的失乐园在哪里。
我除了他的“失乐园”，对约翰·弥尔顿不甚了解。
I don't know much about John Milton except his "Paradise Lost".
那么当然了，这就是之后他在《失乐园》当中所做的。
And, of course, this is what he would go on to do in Paradise Lost.
“对，《失乐园》缺少那种悲观主义的基础。”她赞成。
"No. Paradise Lost lacked the substructure of pessimism." She did.
这个神话曾一度而且会一直萦绕着弥尔顿，并贯穿了《失乐园》全诗。
This is a myth that has and will continue to haunt Milton all the way up through Paradise Lost.
但是弥尔顿在《失乐园》中的一个计划是，让自己忘记所有文学前辈。
But one of Milton's projects in Paradise Lost is to effect his forgetting of all of his literary precursors.
他会是个悲剧人物，如果他的困境不是那么普遍的话，就是一个人的失乐园。
He would be a tragic figure, a one-man paradise lost, if his plight were not so common.
当时人们对《失乐园》的格式,似乎有过强烈反对，翻到休斯版的210页。
There seems to have been something of a kind of outcry about the style of Paradise Lost. Look at page 210 in the Hughes.
自从被密尔顿在那部无耻的小说《失乐园》里诋毁名誉以来，生活从未如此低落。
He had not been so down since Milton had vilified him in that despicable piece of fiction, Paradise Lost.
有时当我们读《失乐园》时，就好像看到Satan在引用Comus的话或影射他。
At times when we read Paradise Lost it seems almost as if Satan were quoting or alluding to Comus.
首先，pandemonium是由约翰·弥尔顿在其著作《失乐园》中首创的。
First of all the word Pandemonium was invented by John Milton in his poem Paradise Lost.
在大诗人约翰·德莱顿所写的，押韵版的《失乐园》中能很明显看到，这中孤联诗句的机制。
You can actually see the mechanics of end-stopped verse quite clearly in the rhymed version of Paradise Lost that, admittedly, the great poet John Dryden wrote.
我十六岁时突然发觉文字本身的乐趣，如文字的声调和联系。《失乐园》中的几行。
When I was about sixteen I suddenly discovered the joy of mere words, i. e. the sounds and associations of words. The lines from Paradise Lost.
是玛丽·海明威把这一段放在了书的末尾，传递出结局难以忘怀的感觉——让人看到一个失乐园。
Mary Hemingway was the one who placed this passage near the close of the book, where it delivers a sense of haunting finality—a glimpse of a paradise lost.
应用推荐