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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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And with that realization, we see a very dramatic moment in Book I, even in the book as a whole.
当我们有此体认，我们看到一个非常戏剧性的时刻,就在第一册，而且贯穿全书。
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So, in fact, as Thucydides tells us beautifully in Book V, when the two armies actually hit each other they have already made a slight turn to the right.
因此,事实上,像修西得底斯在第五册里优雅描述的那样,当两军真正开始接触时,他们已经略微向右转了
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These books are without question more heavily allusive any other books in the epic.
这几册诗毫无疑问比其他几册,具有更加浓厚的暗示性意味。
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So all of Book I is really a kind of warm up for what follows in the rest of the book.
所以整个第一册其实是,类似一种为往后各册所做的暖身。
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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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Socrates wins the argument in Book I with a kind of, you might even say, sleight of hand.
苏格拉底赢得了第一册的辩论,你可能会说，这个作法是花招。
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And so it appears, the three conversations end, Book I ends with uncertainty about what justice is.
而这显露出在三段会话结束时，在第一册结束时,正义仍是无法确定的概念。
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He lays out these questions at the very beginning of the fourth book of the Politics.
他将这些问题安排在《政治学》,第四册起始的篇章中。
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This is page 238 of the Hughes, Book Two, line 249.
力士参孙》的第238页，第二册，第249行。
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This is page 228 of the Hughes, Book One, line 678.
在《力士参孙》的第228页，第一册，第678行。
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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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Now Spenser's hero in Book Two of the Faerie Queene is Sir Guyon, and Sir Guyon descends into Mammon's Cave - it's a Spenserian underworld - and it's in Mammon's Cave that he is tempted by the money god himself.
斯潘塞在《仙后》第二册中的英雄是盖恩先生，盖恩下到贪欲之神的洞穴中,这是斯潘塞笔下的地狱,就在贪欲之神的洞穴盖恩被贪欲之神诱惑了。
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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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This is line 582 of Book Two.
在第二册书的582行。
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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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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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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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He wants to deprive poets of their power to enchant, and something Socrates admits in the tenth book of the Republic, to which he himself has been highly susceptible to the enchantment of the poets.
他想剥去诗人使人着迷的力量，可苏格拉底,也在《理想国》的十册中承认，他个人,对诗人的魅力抵抗力很弱。
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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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As you may well have gleaned from your reading, the first books of the poem are particularly absorbed with the idea of forgetting, because more than any other part of Paradise Lost they display so ostentatiously the remarkable scope of Milton's own memory.
可能你们从阅读中也已经得知，这部诗的第一册,尤其表现了“遗忘“这一理念，因为相对于《失乐园》的其他部分,它们如此夸耀地展示了,弥尔顿自身记忆范围的宽广。
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So the question, that question is posed, that objection is posed by Adeimantus, you remember, at the beginning of Book IV.
依循那个理性推断的话，所以问题被呈现出来，异议由，Adeimantus，提呈出来，记得吗？就在第，IV，册一开始的地方。
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Consider this passage in Book VIII of the Republic that I encourage you to read but is not on your assigned list.
细想出现在《理想国》第，VIII，册的以下这一段,我鼓励大家阅读,虽然它并未列在我指定的清单上。
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And Socrates' answer is, of course, the predation of poetry and the arts in Books II and III.
苏格拉底的回答是，当然，见第，II，与，III，册中,对诗学与艺术的描述。
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But from these two definitions appearing in book III chapter 6 and Book IV chapter 1 we learn a number of important things.
但从这两个出现在,第，III，册第，6，章和第，IV，册第，1，章的定义1,我们得知一些重要的事。
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It occupies the theme of the middle three books books III through VI.
它是本书中段三册的主题,从第，III，到第，VI，册。
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But I want to start with what is one of the grand themes of the Republic, it is indicated in Book II by Adeimantus' speech about self-control.
但我想从《理想国》中的,一个重要主题开场，在第，II，册,由，Adeimantus，关于自控的谈话中所引出。
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