Look at line 423 of Comus, where the elder brother explains that the chaste Lady can actually travel anywhere she pleases utterly unafraid.
看到《科玛斯》的第423行，大哥哥解释说，贞节的女士实际上可以毫不畏惧地到她愿意的任何地方旅行。
It's about eight years after Comus.
在《Comus》成书8年之后。
She doesn't end the mask stuck to Comus' chair.
她并未理会粘在科玛斯座椅上的面具。
You'll remember that Milton published Comus in 1637.
你们应当记得弥尔顿是在1637年发表了《科玛斯》。
They forget to reverse Comus' wand when they rush in to his lair.
当他们冲到科玛斯居所的时候忘记改变他棒子的方向了。
She would bring all of Comus' magic structures down around his head.
她将能解除科玛斯的所有魔力。
So this is line 768 of Comus, and in the Hughes edition it's on page 108.
科玛斯》的第768行，休斯版本的第108页。
I know we haven't gotten to Comus yet, but I'm trying to put this in to context.
我知道我们还没有讲到《Comus》，但我试着把这个放在上下文中来讲。
The Lady in Milton's mask is placed in a similar predicament by the Shakespearean power of Comus.
弥尔顿面具里的小姐也同样处于这样的困境，在莎士比亚对Comus的影响力下。
Now as I noted earlier, there's a difference between the two existing texts of Milton's Comus.
正如我之前提到的，弥尔顿《科玛斯》的现存两个版本间有差异。
At times when we read Paradise Lost it seems almost as if Satan were quoting or alluding to Comus.
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。
Now the Lady, it's been noted before, is never really able to respond to Comus' accusation of her hoarding.
现在小姐已经注意到，从来不能真正应对Comus对她的指控。
We have already encountered on some level the importance of the figure of eating to John Milton. Think of Comus.
我们已经在某种程度上见识到了，对于弥尔顿来说吃的形象的重要性，想想司酒宴之神。
Comus She discusses what she would like to say in response to Comus, but she doesn't then go on significantly to say it.
她思考着她能说什么去回应，但她没有说下去。
That the actor playing Comus in this first and only performance in the seventeenth century was none other than our John Milton himself.
在17世纪，演员第一次也是唯一一次扮演Comus的，不是别人正是我们的弥尔顿。
The logic, the beauty, of Comus' rhetoric seems often to overpower the Lady's own, which is itself admittedly beautiful and powerful.
该逻辑，或者说美丽的修辞，压倒了小姐本身，是公认的美丽和强大。
It's the speeches of Comus far more than those of any other character that are filled with echoes and allusions to the great plays of Shakespeare.
和其他角色相比，是Comus的讲话，有很多模仿和典故来自莎士比亚的伟大戏剧。
So yet once more — and I promise this will be one of the last times that we look back at Milton's mask - but yet once more, let's look at Comus.
因此我们要再一次——我保证，这将是我们最后一次回顾弥尔顿所写的这出面具戏，不管怎么着，让我们再次回顾《科玛斯》。
But the standoff between Milton and Shakespeare, much like the standoff between Comus and the Lady, is not as easily resolved as it might seem to be.
但弥尔顿和莎士比亚之间的对峙，更像Comus和小姐之间的对峙，是不易解决的，因为它看起来如此。
Objective To study the occurrence rate of comus and the relation between comus and the degree of nearsightedness and the length of optical axis;
目的了解近视眼近视弧形斑的出现率及其近视度、视轴长度；
In Comus, the Lady had identified with Orpheus as she described to Comus what her speech about virginity would do if she were actually to deliver it.
在《科玛斯》中，女孩把自己当做俄耳甫斯，向科玛斯说她的关于贞洁的演说，将会有实际的作用。
And so it's an understandable ploy on Milton's part that he needs to vilify Shakespeare by identifying that great poet, his older contemporary, with Comus.
所以就弥尔顿而言，是一个可理解的事，他需要通过认同那伟大的诗句来贬低莎士比亚，用Comus来压倒比他年纪较大的同时代人。
She doesn't spend her bodily wealth and fulfill the terms of nature's loan And so for Comus, the Lady is hoarding the natural asset of her physical beauty.
她不花费自己的身体财富和不履行自然的贷款条件,对于Comus来说，小姐在囤积自然给她的美貌资产。
The lady's refusal to drink of Comus' cup was just the first of Milton's attempts to bring the action of ingestion to the very center of a literary work.
拒绝司酒宴之神的杯子的女士，是弥尔顿第一次尝试把摄取食物的行动，注入到文学作品的中心去。
With this accusation of the misuse of borrowed funds, we recognize the strange and, I think in this context, rather ill-fitting subtext behind Comus' seduction.
通过误用钱币的指责，在这个文本中，我们发现了Comus其中的诡异，和其唆使背后的潜台词。
For Comus, nature has given us all of her riches and it's our duty, it's our obligation, to spend them, to consume them, and to luxuriate in nature's generosity.
科玛斯认为，自然赋予我们她所有的财富，我们有职责有义务去使用消费它们，自然如此慷慨大方，我们有义务去享用。
So I want to propose that the literary traditions' renaming of this piece from a Mask to Comus is more than just a slip, or more than just a random shift of terms or of names.
所以我想提出，从面具到Comus的文学传统的重命名，不仅仅是一个失误，更不仅仅是一个术语或名称的随机变化。
For Comus, nature is just like the harsh master who had given each of his servants a portion of money and who expects those COINS, who expects those talents, to be put to use.
对于Comus来说，大自然就像是一个令人不悦的主人，他给了他每个仆人一部分金钱，并希望这些金钱和才能都可以得到充分利用。
When Comus is first performed, Milton's poetry hasn't yet been printed, but it's almost as if Sabrina seems to have died printless or unpublished so that Milton wouldn't have to.
当科玛斯首先完成后，弥尔顿的诗篇还没有印刷，但是，就像Sabrina要不留痕迹的死去或出版，所以弥尔顿不会那么做。
I think we could make some estimation of its significance if we juxtapose it with Comus since the Mask attempts to tackle, in a much more expanded form, so many of the same issues.
我认为我们可以评估一下它的重要意义，如果我们将它与《科玛斯》并列，因为《面具》试图，以扩大许多的形式去处理许多相同的事件。
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