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.
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.
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.
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.
它也为弥尔顿提供了贪欲之神这一形象，正如在本学期这一门课中你们将始终看到的，贪欲之神，在《失乐园》中会变成，弥尔顿地狱中主要的堕落天使之一。
It also provides Milton with the figure of Mammon who will, as you will see over the course of this semester become - well, here in Paradise Lost he's one of the key fallen angels in Milton's hell.
正是从这里弥尔顿开始思考诱惑的问题，当然，诱惑的问题在《失乐园》中变得十分重要。
This is where Milton began to consider the problem of temptation that, of course, will become so important to Paradise Lost.
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。
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.
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.
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.
这对弥尔顿来说是至关重要的，在《失乐园》中有一个让人印象深刻的片段-,如果你们读过那首诗也许还记得-,那是一首赞美诗，以“致敬，已婚的爱情“开头
This was important to Milton, - and one of the big set-piece speeches in Paradise Lost -- - and you may remember it if you've read that poem -- is the hymn that begins "Hail, wedded Love."
伟大的弥尔顿，严肃的作家，在《失乐园》中，让亚当对夏娃如是说，“哦，最美丽的生物，上帝最后却是最好的作品。”
The great Milton, a grave author, brings in Adam thus speaking to Eve in Paradise Lost, "Oh, fairest of creation, last and best of all God's works."
失乐园(约翰·弥尔顿)-下载。
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.
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.
弥尔顿在《失乐园》中塑造的撒旦形象是所有著作中最伟大的创造之一，他让撒旦如撒旦本该有的邪恶一样邪恶。
Milton, when he created Satan in Paradise Lost, which is one of the greatest creations in all of literature, made Satan as evil as Satan should be.
真正出处：约翰·弥尔顿的《失乐园》。
我认为，她这里是在暗指，《失乐园》最著名的篇章之一，在这篇章中弥尔顿仅仅是在展示他诗句的力量。
She's alluding here, I think, to one of the most famous passages in Paradise Lost in which Milton is asserting nothing other than his poetic power.
弥尔顿选择了亚当夏娃以及撒旦的溃败的故事，作为他史诗的主题在我们看来--不管我们读过，还是将要读《失乐园》--都是很自然的。
The story of Adam and Eve and of the fall of Satan may strike us - having read or about to read Paradise Lost -- may strike us as a natural subject for Milton to have chosen for his epic poem.
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".
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。
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.
从公众生活中隐退后，弥尔顿完成了他的代表作：叙事诗《失乐园》（1667）、续篇《复乐园》（1671）和诗体悲剧《力士参孙》（1671）。
During his retirement from public life he produced his masterpieces: the epic Paradise Lost (1667), its sequel, Paradise Regained (1671); and the poetic tragedy Samson Agonistes (167i).
弥尔顿的《失乐园》是著名的史诗。
不得不说，玛丽·阿斯苔对弥尔顿有如此印象，很可能是因为她对《失乐园》的解读，比玛丽·恰德莱夫人的更加细致。
Now it has to be said that Mary Astell's image of Milton is probably the product of a much closer reading of Paradise Lost than Lady Mary Chudleigh's was.
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。
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.
本文通过分析弥尔顿的《失乐园》第四卷，阐释了他既保守又前卫的爱情、婚姻观。
Through the analysis of Paradise Lost, Book IV, the paper deals with Milton's ideas of love and marriage, which are conventional and avantgarde at the same time.
荷马的《伊利亚特》和弥尔顿的《失乐园》是史诗。
荷马的《伊利亚特》和弥尔顿的《失乐园》是史诗。
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