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Milton shows unusually little interest in the miraculousness of the conception or anything like the domestic details of the manger scene.
不同寻常的是，弥尔顿没有太对,怀孕这一奇迹或其他的事情感兴趣,像马槽这个内在的细节。
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and a good old English breakfast where you have a load of cereal and then bacon, eggs, tomatoes,
一顿好的老式英国早餐有一条燕麦面包，然后夹培根、鸡蛋、西红柿，
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She represents a power that might enable Milton perhaps someday actually to fulfill, to consummate his much-anticipated poetic promise.
她象征着一种力量,也许有一天那力量可以，使弥尔顿圆满完成他那备受期待的理想诺言。
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I've done it from the Princeton Ok, great. - I don't want you to get Jesus complex.
在普林斯顿斯顿大学就做过,很好，-，我不是说您有一种宗教神秘感。
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And so when it was time to have a Coke or a Pepsi you had eight ounces, and then you were considered done.
当时一顿饭配有八盎司的可乐,大家都认为那足够了
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In another situation, you could be at a casual lunch setting with friends, eating pizza.
在另一种情况中，你可能正与朋友一起吃一顿便饭，你们吃的是披萨。
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I was one of those kids, and I remember rather vividly walking through the hall way of my high school having people split me, call me names, threaten to beat me up.
我还清楚地记得有这么一个孩子,穿过我所在的高中的大厅,让周围的人朝我吐痰，骂脏话，威胁着要把我狠狠打一顿。
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Another book, another book cover, The Weary Blues, by Langston Hughes, 1926.
另一本书，另一本的封面，这是1926年由兰斯顿，休斯所著的《萎靡的布鲁斯》
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You do owe her a meal after she solved your attire problem after all.
她把你的外貌问题给解决了，你确实得请她吃一顿饭。
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It's an important one for Milton, and it's important because it touches on a lot of more consequential questions.
这是弥尔顿的一段重要思考，因为,因为它涉及到了很多更具深远重要性的问题。
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Professor John Rogers: Milton is typically cited by literary historians as one of the first major English poets to praise in verse the institution of marriage.
约翰·罗格斯教授：文学家们说弥尔顿,是英国早期诗人中,赞美婚姻制度的一员。
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Now, in writing in these genres, Milton is, of course, confronted with a dilemma. He's a humanist scholar.
当然，弥尔顿用这种风格来写，就会面临一种窘境，他是一位人文主义学者。
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I mean, think of going out to a nice dinner, you're completely full, your body doesn't really need more calories necessarily, your stomach has had enough, and then the dessert cart comes by, or there are the mints on the way out of the restaurant or something.
我是说,比如出去享用一顿丰盛的大餐,你已经完全吃饱了,你的身体确实不再需要更多的能量,胃也填满了,这时甜品车经过身边,或者在出餐厅时门口时有人给你薄荷糖
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I think there's a connection here between the image from the commonplace book and the treatment in Milton's mask of this strangely conjoint phenomenon of virginity and speechlessness.
我认为,笔记书中的形象,和弥尔顿《面具》中有关童贞和无语这一共同现象,是有联系的。
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Milton wants to create the illusion that he's predicting, or that he's prophesying, the actions recounted in the poem, as if Milton were prophesying what of course we know to be already past.
弥尔顿想给我们一种他在预言，诗中所叙之事的感觉，似乎他是在预言这些我们都知道已经发生了的事情。
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This is decidedly the last of all the funeral mourners, and Peter provides Milton's poem with an important element of finality, of closure.
毫无疑问这是最后一名哀悼者，彼得给弥尔顿的诗带来了一种重要的终局性，最终章的结尾。
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Milton has just been entertaining the glorious moment of the apocalypse at the end of time because he's always looking further and further and further ahead.
弥尔顿刚要享受,基督启示最后这一辉煌的时刻,因为他总是不断努力朝前看。
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We're being asked to accept the fiction that Milton is having this very poem laid at the blessed feet of the infant Christ.
它想让我们接受这一幻景,幻景中弥尔顿正把这首诗,谦虚的在上帝圣洁的脚下安放。
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The position that Milton -- this is how I like to read it - the position that Milton would like to be able to take on this question of virtue's reward is formulated by the Elder Brother in Comus.
弥尔顿的立场--我下面要读,-弥尔顿关于贞操的报偿这一问题的立场,通过《科玛斯》中的哥哥这一角色表达出来。
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And so when the figure of Orpheus appears in this poem, it's the second half of the Orpheus story that Milton is forced to tell.
因此当俄耳甫斯的形象出现在这首诗中时，弥尔顿要讲的是他生平的后一段。
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She represents a power that might enable Milton to warble a right or proper song.
她象征着一种力量,也许那种力量可以让弥尔顿也婉转的唱出一首恰如其分的歌。
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It's as if Milton is saying, "Look at me. I may be a poet. I may actually -I'm simply writing a pastoral poem, but I'm actually doing something in the world.
正如弥尔顿所说的，“看着我，我或许是一名诗人“,或许只是写着一首诗，但我的确在做着一些事。
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And so in the case of A Mask here, it's the Lord John Egerton, the Earl of Bridgewater who commissioned Milton to write a piece honoring his own inauguration in his new role as the Lord President of Wales.
所以在《面具》这个例子中，是贵族约翰埃杰顿，布里奇沃特伯爵,指派弥尔顿去写一篇文章,来歌颂他掌管威尔士的就职典礼的。
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Well, we should be shocked, and I think beyond that we have every right to feel a little bit betrayed, because Milton quite simply has -- and he's doing this deliberately -he has just violated an important law.
我们应该非常吃惊，除了这点以外,我们有着充分的权利感到有点被背叛的感觉，因为弥尔顿只是-并且他非常刻意,他只是违背了一项重要的原则。
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This learning springs from the recesses of Milton's memory.
这一知识之泉源自于弥尔顿的记忆深处。
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I propose that we think of Milton at the opening of Lycidas as being stuck, stuck at a particular point in the imagined, the projected or fantasized, trajectory of his career.
我提议我们设想弥尔顿在的开头，是被他的一种假设的，设想中的或理想化的，职业生涯轨迹所束缚了。
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It's the model of investment and profit that characterized so many of Milton's own early writings, including that promise, you'll remember, to his fellow Englishmen that he would one day produce a work of literature that his countrymen would not willingly let die.
这是一种投资模式和带有很多弥尔顿早期写作特征的收益,它包括了那个诺言，你们应该记得,那个诺言指他说有一天要为自己的追随者们写一篇文学作品,他的同胞们不希望这个诺言落空。
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The heaven in this poem is so far from being the incorporeal - the spiritual heaven of orthodox Christianity that you have an image of an actual orgy, the festal orgy raging under the thyrsus .
这首诗所描绘的天堂与正统基督教所宣扬的,非物质的，精神的天堂是如此大相径庭,弥尔顿描绘了一副纵欲狂欢的场景,在神杖下纵欲狂欢。
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So the satisfactions of the moment are for Milton deferred here; and it's something like a recognizable process of deferral and postponement that you will see beginning to form themselves at the very center of Milton's poetic imagination.
因此对这一时刻的满意就是因为弥尔顿把它推迟到这;,而且就像一个可以察觉的推迟过程,从一开始你就会看到这些推迟是顺其自然的,这在弥尔顿的诗歌想象中可以看到。
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This is reading from the packet assigned for today, and I'm going to ask you to do what you can to get through the biography of Milton in the packet, as well as the notes on Milton's poetry that we have from Dr. Samuel Johnson.
这是今天发的阅读材料里的，我要求你们尽量把材料里的,弥尔顿传记读一遍，还有,塞缪尔·约翰生博士为弥尔顿诗歌做的注释。
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