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But the unmistakable physicality of the heaven imagined in the poem about Diodati gives us some idea, I think, of how to read the end of Lycidas.
但在关于迪奥达蒂的这首诗中弥尔顿所想象的,天堂的物质性是无可置疑的，这能给我们一些启发，帮我们理解《利西达斯》的结尾。
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Now,it's very tempting at this point to say,look,of course Nothing could be easier ? Just imagine being in heaven forever,right?
现在我很想说，当然了,这没什么难的,只要想象永远在天堂就行了对不对？
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We're up there in heaven thinking about our lives in the future, as people, and what would we do?
我们在天堂某处思考着将来,生而为人的生活，我们会怎么做？
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They are individual creatures who seem really to be in hell just as they seem really to have been in heaven; but the figures of Sin and Death, they are entirely different animals.
他们是独立的生灵，身处于地狱,也曾经生活在天堂;,但是罪恶之神和死神却是两个完全不同的生物。
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And then he goes back to hell and then back up to heaven -goes back and forth between these two rhythmically very different concepts.
然后它回到了地狱,接着又升到了天堂,在这两种节奏非常不同的概念之间,来回往复
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There's the ladder to heaven in "After Apple-Picking."
在“摘完苹果“中有通向天堂的梯子“
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She's safe in heaven. Her soul is there."
她在天堂平安无事，她的灵魂在那儿“
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Sometimes the notion is that it is just terrible for everybody with actual pain and suffering, and others have a notion of a wonderful kind of a heaven in which marvelous things happen to you, sometimes spiritual, sometimes physical depending on the religion.
有时候一些观念是很可怕的,每个人死后,都要受苦受难,而另一些观念就很美好,有一个美妙天堂,在那里你会有非凡的体验,或是精神上的,或是肉体上的,不同的宗教里说法不同
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He gets to go up to Plato's heaven where he can have more direct contact with these things, with the forms.
他可以飞升至柏拉图的天堂,在那里他可以更直接地,接触到型相
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So much of the pathos of Satan's fallen condition involves his painful memory of that blissful state in heaven from which he had fallen.
很多撒旦堕落后的悲怆,夹杂了他憾失此前在天堂的幸福生活的,苦痛的回忆。
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My body dies,but he sort of swoops up my information about my personality and recreates somebody up in heaven with that similar personality.
在我肉体消亡时，将关于我的人格的信息,提取出来在天堂创造了另一个人。
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Milton wants the reader to know that she's fallen, we are all fallen, and any problem that we have in understanding the theology of heaven and hell is our problem as fallen readers.
弥尔顿希望读者认识到她在堕落，我们也在堕落，以及我们在理解天堂中遇到的任何问题,以及地狱式我们这些堕落了的读者们的心魔。
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Now, their bodies were lying there on the operating table; their bodies weren't in heaven.
但是他们的肉体那时却躺在手术台上,他们的肉体并不在天堂
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Everyone in Milton's heaven has a body, even God Himself.
在弥尔顿的天堂里，人人都有肉体，上帝自己也是。
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So let's listen to Mozart's depiction of hell and heaven here.
那么,让我们来听下莫扎特,在这里对地狱和天堂的描述吧
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For a moment at least, it's almost as if there were a strange moral equivalence between the palaces up there and the palaces down here.
至少在一瞬间，在天堂的宫殿与地狱的宫殿之间,存在着一种奇怪的道德上的平等。
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to high rewards in heaven as a virgin and as a poet.
作为一个有童贞的人和一个诗人在天堂的回报。
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This is how this logic goes -- we are all familiar with this: our body remains to molder in the earth or welter in the ocean , but our incorporeal spirit rises to heaven where it can enjoy an ethereal, a bodiless, world of eternity.
就是这种逻辑--我们都熟悉这个：,我们的肉体在地下或是海底归于腐朽,但灵魂却会升入天堂,在那里享受无形的永生。
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There's some space up in heaven where all the unborn babies are that will live in the future and, unfortunately, they're not able to have a town meeting; but, let's suppose they could.
想象一下在天堂的某处,所有尚未出生但即将诞生的小婴儿们在那儿，可惜的是，他们开不了人民大会吧;,不过，我们假设这能成真。
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He journeys heroically through chaos in order to find that new planet that he had heard about in heaven, and he's stopped by a figure who holds the keys to hell's gate and who can determine who is able to leave and who is able to enter.
他英勇地穿越过混乱以找到他在天堂听闻过的新星球,他被一个人拦下了,这个人掌管着地狱大门的钥匙并能决定,谁能够从此间进出。
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We need to posit the soul, something immaterial that survives the death of the body, that can leave the body, go up to heaven; though, as it happens in these cases, the tie is never completely broken.
我们需要假设灵魂,某种非物质的,能在肉体死后还存在的东西,能离开肉体,升入天堂,尽管,正如在这些例子里发生的,它们之间的联系从未完全破裂
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The heaven imagined here is able actually to supply us, in fact, with a better body than the one we had down here.
弥尔顿在这里想象的天堂其实能给我们，比在地上时更好的躯体。
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It has been tempered in a celestial fire in ether, and it was the ether of the ethereal heavens that had always been thought -throughout the Renaissance and long before, of course -- to be the most perfect substance imaginable.
它是在广阔苍穹的天国之火中被锻造出，也是飘渺的天堂中的以太,不断地被提及,-贯穿于文艺复兴的始终，当然--是可想见的最完美的物质。
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This is exactly, of course, what he will do in Paradise Lost.
将天堂物化正是弥尔顿在《失乐园》中所做的。
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And even more important, Lycidas will continue to sing in heaven just as he had sung on earth, except now he can hear the unexpressive - that means "inexpressible" -- nuptial song.
更重要的是，利西达斯在天堂依旧会唱歌,正如他在人间唱歌一样，除了现在他听到的是unexpressive的,-意思是“难以言传的“--婚礼之歌。
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