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Now it's not entirely clear that Milton has been successful in sufficiently vilifying Mammon's project of the excavation of riches.
现在尚不清楚弥尔顿是否成功地,有力地咒骂贪神挖掘财富的这一行径。
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Milton has wrenched this poem away from Christianity, and he's forced it into a direction that we could loosely call paganism.
弥尔顿的诗歌偏离了基督教，走了我们可以不严谨的称为异教的方向。
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So these are forms of the experience of reading fiction of which Iser disapproves because there's no work being done.
这就是那些阅读小说经历的形式,伊瑟尔不赞同这种形式，因为这种阅读没有任何成就。
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And why is that? Within the perspective of Milton's free-will theology, sin can't exist as an external reality.
为什么呢？从弥尔顿自由意志的学说的角度来看，原罪是不可能以永久现实的形式存在的。
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Milton seemed to have decided against marriage as he was making the decision to wed himself to his poetry instead.
那里弥尔顿似乎已经决定不结婚了,因为他已经下定决心要致力于诗歌创作。
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Milton's language doesn't have the same kind of headlong rush that most declarative English sentences have.
弥尔顿的语言不像大部分英语陈述句一样,直接把意思说明白。
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In making this point, Milton has just made us, I think, almost utterly unwilling to effect this justice that he himself has called for.
在这个论点中，我认为弥尔顿让我们，几乎完全不情愿地影响了这个审判,这个他说需要的审判。
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At the very moment that Woolf advises women readers to look past Milton's bogey, she finds herself in the peculiar position of echoing the poetry of John Milton.
伍尔夫劝女性读者不去理会,弥尔顿的惑众谣言的时候，发现自己处境尴尬,因为她需要附和弥尔顿的诗歌。
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We don't even know where it is we're supposed to be looking from, and the choice between Fesole and Valdarno that Milton gives the reader is crucial here.
我们甚至不知道是否应该从此处着眼，而弥尔顿向读者提出的，菲索尔和瓦达诺之间的抉择,在这儿是至关重要的。
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Perhaps we want to write like Shakespeare, maybe we want to be a writer like the great Old Testament prophet Isaiah. But the last thing we should be burdened with, Milton's suggesting here, is the fear of being late.
也许我们想向莎士比亚一样，也许想成为,伟大的旧约先知以赛亚,但弥尔顿说我们最不应该被，担心迟到所困。
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So understand that hermeneutics isn't necessarily about, as Gadamer would put it, merging historical horizons.
所以，解释学不完全是，正如伽达默尔所说，历史观的碰撞。
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Milton wrote his epic in lines of unrhymed iambic pentameter or what we call, and what Milton would have called, blank verse.
弥尔顿的史诗由不押韵的抑扬格五音步诗句写成,我们，还有弥尔顿都称其为无韵诗。
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It's possible that in merely reading and in merely amassing more and more knowledge, Milton's doing little more than the unprofitable servant in Matthew 25.
弥尔顿不可能,仅仅读书和积累知识，他所做的就像,马修25中的那个无益的仆人所做的一样。
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We can't know exactly and this is one of the wonderfully unsettling things about this stanza we can't know exactly to whom Milton is addressing this stanza.
我们不能确切的知道,而这也是这一段很奇妙的不确定性所在,我们不能确切的知道弥尔顿这一段是在对谁讲话。
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The very idea that a figure so virtuous could have been dealt such a tragic and early death strikes Milton, or Milton's speaker here, as the rankest injustice.
这么贞洁的一个人竟然会这么早,就如此悲惨的死去，这极端不公平使弥尔顿，或者是诗中的讲述者，震惊。
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One can never come before something that, of course, has already happened, but this fiction of an impossible firstness is something that Milton is working very hard to accomplish here.
一个人绝不可能先于，已经发生的事情，但弥尔顿在这里就是要,努力达成这种不可能的先知。
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Milton acknowledges that the course he's chosen for himself may not be a natural one: Nature herself pushes a young man to begin a family and to seek credible employment .
弥尔顿知道他选择了一条,不那么正常的人生道路：,天性使得一个年轻人去结婚,去找一份可靠的工作。
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In Lycidas Milton doesn't let himself, thank God, go quite so far as he does in this amazing ending to "Damon's Epitaph."
感谢上帝，在《利西达斯》中，弥尔顿做的不像，他在《达蒙的墓志铭》的结尾那样过火“
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It's just a fact that Milton is shockingly unembarrassed about making public all of his highest literary ambitions.
事实上弥尔顿对于把他的文学野心,公之于众一点也不尴尬。
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He argued that this John Milton fellow simply couldn't be heeded on matters of the church, or on matters of the state, because Milton himself had absolutely no moral authority.
他批判到,弥尔顿根本不重视教会事务，或者国家事物，因为弥尔顿自己就没有绝对的道德权威。
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We didn't know the god was there, and we didn't know he was underground until Milton tells us that he's coming up now.
我们不知道这位神在那儿，直到弥尔顿告诉我们，直到弥尔顿告诉我们我们才知道他隐匿在字里行间,才知道他会出现。
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No sooner has the speaker asked this question -- and you see this rhythm, this dynamic, appear continually throughout Lycidas - he asks the question, and then immediately he acknowledges the inadequacy of the question.
刚问完这个问题--这种节奏，这种动态是贯穿《利西达斯》始终的,-刚问完这个问题，弥尔顿又立即承认了,这个问题是不适当的。
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It's, of course, not just John Milton who's authorized to determine his own actions.
这当然不只是弥尔顿,自己管制自己的行为。
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This structure -- and this is something that's important for Milton to convey to us -- is genuinely beautiful. It's not entirely clear that Milton wants us to think of Pandemonium as unambiguously evil.
这个结构是弥尔顿认为应该传达给我们的,很重要的事，它实在是很美，尚不清楚弥尔顿,是否想让我们决得这地狱是绝对的邪恶。
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It isn't exactly, though, the first poem that Milton wrote.
尽管说这是弥尔顿写的第一首诗不太确切。
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Milton's younger brother, Christopher, was already entering law school at this time, and it was clear, I guess, to everybody that John Milton, Jr. was not suited why that's the case.
弥尔顿的弟弟，克里斯多夫，在这时已经进入了法学院，我猜想，弥尔顿并不适合,我不清楚为什么）
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It's reasonable, I think, to invoke Dr. Johnson here, Samuel Johnson, who writes in his Life of Milton that Milton's unskillful allegory appears to be one of the greatest faults of the poem.
我认为在这引用塞缪尔·约翰逊的话是很合理的，他一生都在写关于弥尔顿的文章,他指出弥尔顿不熟练的寓言成为了这部诗的大败笔之一。
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The only thing that matters is the salvation of the incorporeal, the bodiless soul, but Milton is so unorthodox, or at least heterodox, in his insistence on the importance of the body in this poem.
基督教强调只有非物质的非肉体的心灵的救赎，才是重要的，但弥尔顿是如此异端，至少不正统，在诗中一直强调肉体的重要性。
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It's been said that to quote anybody is necessarily to misrepresent him, and this fact is obviously a very good thing for Lady Mary Chudleigh since Milton would certainly not himself have wanted to suggest that women are superior to men.
有这样一种说法，引用任何人的话都难免曲解其原意，很显然这对玛丽·恰德莱夫人的论证是有利的,因为弥尔顿的原意绝对不可能是说,女人的地位要高于男人。
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