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So in this context, the river of oblivion serves an obvious purpose in the context we have here in Book Two.
故在这部分文本中，遗忘之河便是为了遗忘而存在的,在第二册书正是这样体现的。
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Now in these two books we've seen Milton dig up and discard just about the entire tradition of epic poetry.
现在在我们看到的两册书中弥尔顿,挖出并丢弃了所有史诗的传统。
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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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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。
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They pour with such a force, I think, that Milton permits - I think this is a significant rift that fissures or fractures the otherwise seamless text that we have in Book Two.
他们的出现是这样的有力与突然，我认为这是弥尔顿允许的,我认为这是一个极有价值的裂痕,这些裂痕持续地在我们读到的第一册书中出现。
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Adam will tell us later -- this is in Book Eight when Adam recounts for us the creation of Eve -- that God: op'n'd up my left side, and took he Rib He form'd and fashion'd with his hands.
亚当稍后会告诉我们，在第八册书当亚当让我们想起,夏娃的诞生，上帝说：,打开我的左侧身体，…,他用双手塑造那根肋骨。
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in his great depiction of hell in Books One and Two) to avoid the standard epic scenes of the torture of the damned, for example, with which we're familiar if we've read Homer or Virgil or, of course, Dante much later.
在他第一和第二册书对地狱的精彩描述）,去避免提及传统史诗中关于恶者被折磨的场景，例如我们所熟悉的那些场景,如果我们读过荷马的，维吉尔的，当然还有但丁的作品。
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Next time reread for the third time - you will be repaid by your dedication - Books One and Two, this time focusing on the similes. Also, as I mentioned at the beginning of class, read the essays by Stanley Fish and Geoffrey Hartman.
下次再把这两册书读一遍,你们的付出终将得到回报,第一二册书，这次的重点在明喻上，同时，正如我在课的一开始提到的，看斯坦利·费什和杰弗里·哈特曼写的文章。
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This is in Book Two, line 249.
第二册书，第249行。
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This is line 582 of Book Two.
在第二册书的582行。
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The problem of memory is just as important to the psychological dynamics of the fall of Adam and Eve, but as we will see when we look at Book Four, surely it's the problem of the poet's memory that's the most troubling in Paradise Lost.
记忆的问题的重要性与,亚当与夏娃堕落后心里的变化相当，但是我们将在第四册书看到，确实是诗人自己记忆的问题,困扰着《失乐园》这部作品。
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There are, of course, dozens of figures taken from the texts of classical mythology who are alluded to throughout the first two books, but invariably they appear, just as Tantalus does in this very passage, within the context of a simile.
当然，这部作品有很多人物是取材自,经典神话故事，他们是用来表达隐喻的,贯穿着前两册书，他们始终出现，就像丹达罗斯在这一诗篇中，给予诗内容一种喻示。
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