They wanted to bring back their lost paradise.
他们想恢复他们失去的天堂。
Nick meets resonance and finds his lost paradise in nature.
尼克在自然中找到共鸣，找回了失去的乐园。
The same, in truth, that is found in Proust's work or in the landscape of Plotinus: a nostalgia for a lost paradise.
事实上，普鲁斯特的作品或普罗·提诺的风景画中也均有相同的发现——对失落天堂的留恋之情。
So, there's a kind of lost paradise of European culture which he can't get back, even with this spectacular effort in English.
所以，这就是他不能再重新体验的，欧洲文化的失乐园，尽管在英语上做了惊人的努力。
The Lost Paradise has abstracted the attention of many readers , but the ordinary people just regard it as a story of extramarital love.
日本作家渡边淳一的《失乐园》曾引起许多读者的关注，但一般都仅仅把它看作是叙述一个“婚外情”的故事。
A popular story arose: Our ancestors created and main-tained "The Land of Peach Blossoms, " a lost paradise, a productive and harmonious basin discovered by a ?sherman.
于是流传开了这样一个故事：我们的祖先创造并护育着一块“桃花满园之地”，一个渔夫发现了这片丰饶、和谐的世外桃源。
I think the Lost Paradise is also a symbol which reveal the incompleteness of modern humanity and criticize the modern society and humanity. It is a summon and pray for completeness of humanity.
笔者认为《失乐园》还可以看作是一个象征符号，它揭示了现代人性的残缺，是对现代社会和人性的批判，同时又是对完满人性的祈祷和召唤。
Galileo is the only contemporary personage, the only seventeenth-century figure, even so much as mentioned in Paradise Lost.
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。
Samson begins to echo Milton from the invocation that we've been looking at, the invocation to Book Three of Paradise Lost.
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。
Harold Bloom has written, and I think he's absolutely right, that Milton begins Paradise Lost with a powerful defense against lateness.
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。
It has been argued, and I think this is a brilliant point, that the most important word in Paradise Lost is "or", the conjunction.
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。
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.
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。
Here's a mental exercise: picture a tropical paradise lost in an endless expanse of cerulean ocean.
以下是一个脑力练习：想象一个隐匿于广阔无垠的蓝色海洋之中的热带天堂。
This was the happiest period in Nietzsche's life and here a paradise once lost was briefly regained.
这是尼采一生当中最幸福的时光，使他重获了一个短暂的天堂。
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.
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。
The country I knew was one of revival and hope and "paradise lost" was a sentiment once reserved for the generation of my mother and father.
我眼中的那个国家曾经是一个复苏的，充满希望的，“失乐园”似的，感情上它曾经哺育过我母亲和父亲那一代人。
He would be a tragic figure, a one-man paradise lost, if his plight were not so common.
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。
We will see Milton returning to all of these questions in Paradise Lost.
我们会看到弥尔顿又在失乐园中回到这些问题上来了。
So, this is my question to you: how complete and perfect is the image of Providence that hovers moonlike over the pages of Paradise Lost?
因此，我的问题是：，这里如月亮一般,在的字里行间反复出现的天意的形象,到底是有多么的完整和美好？
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.
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。
这是《失乐园》里的一段。
He had not been so down since Milton had vilified him in that despicable piece of fiction, Paradise Lost.
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。
This is where Milton began to consider the problem of temptation that, of course, will become so important to Paradise Lost.
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。
I'd no more scribble all over a first edition of "Paradise Lost" than I'd give my baby a set of crayons and an original Rembrandt!
我绝不会在一本初版的《失乐园》上乱涂乱写，就像我不会把一幅伦勃朗的原作连同一盒蜡笔交给我的孩子任意涂抹一样！
It has been argued, and I think this is a brilliant point, that the most important word in Paradise Lost is or, the conjunction.
或者广受争议的，我个人认为是出色的一个想法，即中最重要的词就是这个连词，或者。
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。
Let's look at the first appearance of Mammon in Paradise Lost.
请看在《失乐园》中贪欲之神第一次出现的地方。
Hartman's absolutely right to insist that no theological concept is as important to Paradise Lost as free will on the one hand and divine providence on the other.
哈特曼有绝对的权利坚持说任何神学的概念,在中的意义都不足与匹敌自由意志的重要性,也不足以和神圣的天命相比。
We can't know anything certain about the eternal and the immortal world of Paradise Lost except through these faculties we have and those are uncertain, imperfect, fallen human capacities of reading.
我们无法了解任何确切的,有关中的永恒不灭的世界的认识,除非那些借助于已有的不确切不完美的阅读技巧。
We can't know anything certain about the eternal and the immortal world of Paradise Lost except through these faculties we have and those are uncertain, imperfect, fallen human capacities of reading.
我们无法了解任何确切的,有关中的永恒不灭的世界的认识,除非那些借助于已有的不确切不完美的阅读技巧。
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