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Now you also may remember that we have already run into Spenser's Mammon before this point, before Paradise Lost.
现在你们可能也记得我们已经,在遇到《失乐园》之前就与斯潘塞的贪欲之神相遇了。
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I have a daughter. So there's a lot of little parks for children, a lot of things for adults.
我有一个女儿。那里有很多小小的儿童乐园，也有许多成人玩的东西。
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But one of Milton's projects in Paradise Lost is to effect his forgetting of all of his literary precursors.
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。
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So, Descartes would walk around the French Royal Gardens and the French Royal Gardens were set up like a seventeenth-century Disneyland.
笛卡尔曾经在法国皇家园林中散步,当时的法国皇家园林被建造得,犹如17世纪的迪斯尼乐园一般
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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。
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Leviathan is to prose what Milton's Paradise Lost is to epic poetry.
利维坦》之于散文,就像弥尔顿的《失乐园》之于史诗。
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So we are sitting there in Woolsey Hall with New Haven Symphony or whatever,New York Philharmonic.
那么我们现在在乌尔西大厅来欣赏新天堂交响乐，纽黑文交响乐园或其他的，纽约爱乐乐团。
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It's in relation to all of these forms of lateness that we can best understand the opening invocation of Paradise Lost.
带着所有这些“晚“,我们才能很好的理解《失乐园》的开头。
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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，他说弥尔顿,在《失乐园》的开头对这些“晚“进行了有力的辩护。
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This is a myth that has and will continue to haunt Milton all the way up through Paradise Lost.
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。
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You'll find Eve in Book Nine of Paradise Lost voicing essentially this same sentiment when she's explaining to Adam why she needs to work separately.
你会在失乐园第十部看到夏娃说出了实际上是,同样的意见，当她向亚当解释,她需要和他分开工作的时候。
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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.
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。
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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.
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。
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This is one of the primary strategies that Milton develops, especially in the first two books of Paradise Lost, as a kind of defense against his dependence on classical literature.
这是弥尔顿发展出的早期策略之一，尤其是在《失乐园》的前两册书中,这似乎是在反驳他对古典文学的依赖。
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And it may well be that no poem has ever been since Paradise Lost published with line numbers in its very first edition.
只有《失乐园》首次印刷的时候把行数印上,之后的诗歌都没被这么出版过。
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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。
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Now we know that Milton was blind probably well before the time he began writing Paradise Lost, and therefore, of course, he was then unable to read.
现在我们知道弥尔顿很可能失明了,这早于他开始写《失乐园》的时间，因此，他不能通过眼睛阅读。
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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。
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Whenever Johnson is being arrogant and mean about Paradise Lost, invariably he's on to something, and here he's telling us that Milton's gone too far. He's taken his allegory too far.
约翰逊任何时候都对《失乐园》报以傲慢且刻薄的态度，不可避免地，他是想表达着什么，在这里他想告诉我们,弥尔顿做得太过了，他在寓言上走得过远。
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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。
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Now, one of the earliest -- and I think this is a remarkable fact - one of the earliest citations of Paradise Lost that actually appears in print in the seventeenth century comes from the proto-feminist writer Lady Mary Chudleigh.
最早的--我认为这很重要,-17世纪最早的以印刷形式出现的,对《失乐园》的引用,来自于原型女性主义作家玛丽·恰德莱夫人。
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Paradise Lost will be filled with the activity of eating.
失乐园里都是吃的活动。
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Milton, in fact, soon goes on in Paradise Lost - right after this very passage that she cites, Milton the narrator berates Adam for his overvaluation of his wife through the character of the Archangel Raphael.
实际上，弥尔顿紧接着就在《失乐园》中,-紧接着恰德莱引用的这一段后面，米尔顿这个叙事者通过大天使拉斐尔这个角色,批评了亚当，批评他高估了他妻子的地位。
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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.
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。
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In fact for readers of Paradise Lost, and this has been an experience now for a few hundred years, it does often seem as if there were some mysterious life force, a pulsating through Milton's dense and driving lines of unrhymed, iambic pentameter.
实际上，《失乐园》的读者们，几百年来一直都有这种体验，确实，似乎真有一种神秘的生命力，一种脉搏，贯穿在弥尔顿密集，强劲，没有韵律，长短不一的五音步格诗之中。
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Even though there were people, mostly young men, willing and able to read to him, it's clear that the vast quantity of learning that gets poured - all of that erudition that gets poured into the pages of Paradise Lost - it's clear that this is not a product of Milton's last-minute review of the classics.
尽管有很多人，大多数是年轻人，愿意将材料读给他听，很显然这使得大量的知识被注入,所有这些广博的知识被注入到《失乐园》的字里行间,但很显然这不是,弥尔顿在最后一分钟对于古典文献回顾的产物。
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If you're not taking notes in this lecture, you have to write down at least one sentence. You must write this down because this will be the most important thing I say all morning: Milton's Paradise Lost is the first narrative poem in English that didn't rhyme.
就算你们这堂课不记笔记，也一定要记下至少一句话，一定要把这记下来,这是我一早上说的最重要的一句话了：,弥尔顿的《失乐园》是,第一首不押韵的英语叙事诗。
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It goes without saying that these are questions that it's impossible for us to try to answer certainly now, but Milton lets us know later in Paradise Lost that Satan was wrong to embark on his dangerous deconstruction of divine power.
毫无疑问，这些问题,我们现在无法给出确切回答，但弥尔顿后来在《失乐园》中告诉我们，撒旦,想要毁灭神权力量的危险行动是错误的。
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There seems to have been something of a kind of outcry about the style of Paradise Lost. Look at page 210 in the Hughes.
当时人们对《失乐园》的格式,似乎有过强烈反对，翻到休斯版的210页。
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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。
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