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The thematic problems that Milton is attempting to tackle are written into the very grammar and the syntax of the poem.
弥尔顿想要处理的主题,就在诗歌的语法和句子结构里边。
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because when you write here, it seems like every sentence you write, you have to cite to something else anyway.
因为在这里写作的时候，似乎你写的每一个句子你都要引用其它的东西。
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This sentence, which by the logic of the argument should be demonstrating to us the importance of bringing bad books to justice, seems to be doing something else.
这个句子，在逻辑上来讲，论点应该是,为我们说明把不好的书审判的重要性，但现在却是其他的效果了。
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So it's a useful way of not quite knowing in advance what you want to put in a string, but being able to create strings, phrases, sentences, dynamically.
这是一个很有用的方法，如果你之前不是很了解,在句子中要加入什么，但是这个方法可以,动态地创建字符串，短语，句子。
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A famous professor at a distant university was said to have begun his lectures on the Republic by saying, " "Now we will consider Plato, the fascist."
一位在远地的著名教授据说曾,以下列句子,开始讲授《理想国》,“我们现在要来谈柏拉图，法西斯份子“
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You've learnt what the words mean, but you have abstract and unconscious rules that take these words, figure out the order, and in a fraction of a second, give rise to understanding.
虽然你已经知道了这些单词的意思,但却是你所拥有的抽象且无意识的规则,让你认清单词,确认语序,然后在一瞬间让你理解整个句子
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But in a sentence, it may not always mean that.
但是在句子中，并不永远是这样的情况。
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There is a kind of goofiness at the center of it, "God is Pooh Bear."
在这段中间有一句疯癫的句子，“上帝是小熊维尼“
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When to use "the" in a sentence, when not to use "the", when to use "an" instead of "a" or "a" instead of "the".
在一个句子中，什么时候用“the”，什么时候不用“the”，什么时候用“an”代替“a”，什么时候用“a”代替“the”。
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You want to use "so ~ that" in the middle of the sentence.
so ~ that”句型用在句子的中间。
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So it's best to use "please" at the end of the sentence.
所以，最好在句子结尾加上“please”。
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The ostensible purpose of this sentence at this point, as I take it, in Milton's argument is to explain the importance of censorship; but surely this sentence has an entirely different effect on us as readers, a different effect than the syntax or the logic of this sentence may demand.
这句话表面上的目的，我认为，是在弥尔顿的论点里解释控制的重要性,但是这个句子却对读者产生了相反的作用，一个和这句话的句式逻辑的要求,不同的影响。
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Because remember I said that, typically, when you hear a sentence you make --you manufacture in your mind gaps between the words.
你们记得我之前说过,通常来说,当你听到一个句子时,你会通过心理活动,在词与词之间创造出间隔
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And for reference, incidentally, in case you ever forget what the point of some exercise was, I'll almost always comment the code up top with a quick sentence or two that reminds you what this program does.
顺便作为参考，为了避免我们可能忘记一些代码的意思，我通常会用一两个简单的句子,在上面作出注释,那样会提醒我们这个程序是干嘛的。
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In normal conversation, if I'm to say "S-- entence" you won't hear that as "S-- entence."
在正常对话中,如果我说"句-句子",你不会听成"句--子"
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And she reflects, just above that, on the mattress that he must sleep in, and this is one of those great Pynchon sentences.
接着在他睡觉的床垫上，她思考着这是Pynchon著名的句子之一。
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Look again at the sentence that I just read, the last lines: Soon had his crew Op'nd into the Hill a spacious wound And dig'd out ribs of Gold."
再看一下我刚刚读过的句子，在最后几行：,不久，他带去的人马,凿开了那座山，画出一条很大的伤口,挖出黄金的肋条“
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And now in a sentence, what does this one actually do?
现在在句子中可以看出，这行代码做了什么？
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And the way to read this rule is you make a sentence by taking a noun, any noun, putting a verb after it, and then following that verb with a noun.
这个规则的内容是,你这样来创造一个句子,用一个名词,任何一个名词,在名词后跟一个动词,再在动词后跟上一个名词
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And so in the sentence that we've just looked at at some length now we have embodied in the form of a shifting argument - a really slippery argument -- the two senses of the word vocation: vocation as a job and vocation as a divine calling.
所以在我们详细看过的句子里,现在我们把他具体化成为论点的形式,这是一种狡猾的论辩--vocation的两种含义：,作为工作或者作为神的召唤。
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