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It's a huge book which is all about this short story by Balzac, "Sarrasine," that he begins this essay by quoting.
这本大部头的书都是在讲巴尔扎克的短篇小说《沙拉辛》的，在文章开头他引用道。
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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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Aristotle appears to give two different accounts in the opening pages of the book that you might pay attention to.
亚里士多德在其书开头前几页,给出了两种不同的说法,你们要多加留意。
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The majority of the sacrifices that are described in the opening chapters of Leviticus, in Leviticus 1 through 7, are voluntary sacrifices.
大部分祭品,在《利未记》的开头，第一章到第七章所提到的那些，都是自愿作为祭品的。
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You notice at the beginning one-two, At the beginning these chords are holding for four measures or a total of eight beats.
注意在开头，在开始的部分，和弦持续了4小节也就是8拍。
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And you saw some of the beginnings of an explanation offered in the reading by Schick and Vaughn.
你们可以看到希克和沃恩在阅读材料里,对某个解释做了一个开头
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PROFESSOR: I want to take a few minutes at the start of today's lecture to wrap up a few more things about debugging.
教授：我想在今天讲座的开头,再花几分钟讲完调试的剩余内容,然后我们再讲主要内容。
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Now Descartes, you remember, in his Meditations begins by asking a series of questions about how we can know anything, and one of the skeptical questions he asks is, "Well, might I not be crazy?"
大家应该记得，在《沉思录》的开头，笛卡尔问了一系列,关于我们如何知道一切的问题，其中的一个问题是，我可能疯了？
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Another example is at the very opening of the book: The train was racing through treetops that fell away at intervals and showed the sun standing very red on the edge of the farthest woods.
在书的最开头还有一个例子：,“在树林中，火车疾驰，若隐若现,时不时地露出远方树林,边缘的火红的夕阳,一旁是弯弯曲曲。
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So that part of Locke, that beginning of 138, seems to support Ben's reading.
洛克在138节开头说的这几句，似乎支持了本的解读。
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This is copy2.c. At the very beginning I, again, demand say something and then I declare s1 to be a string, aka char *, and I store in s1 the string the user types in.
这是copy2。c，在开头打印一句话，然后声明s1是一个字符串，也叫做char，*，然后把用户输入的字符串存储在s1中。
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It's interesting that Milton certainly begins this headnote with suggesting directly to us that it's Milton speaking and not a fictional uncouth swain.
弥尔顿在开头就清楚明了的告诉我们,在吟诵诗歌的人是他，而不是某个粗鄙的年轻人,这非常有意思。
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Now I spoke last time about the familiar sense of hesitation, that apology with which Milton had opened the elegy.
我要最后一次说明一下弥尔顿写在挽歌开头的，那句道歉，那种熟悉的犹疑感。
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And the appearance of conventionality is supported by the opening words of the book in his dedicatory letter.
且常规的表面,有本书开头前几个字正面背书,就在他的献辞中。
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You can see these opening pages of the book, dense argument being condensed in very deep ways, carry a great deal of freight.
你们可以看到书的开头前几页，密集的辩论都集结在那,且探得很深，包含很大量的材料。
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He makes this clear in a famous passage at the beginning of chapter 15 of The Prince.
这个论点在一段著名的段落中清楚提及,就在《君王论》第，15，章的开头。
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I think the answer may involve the possibility that at the beginning of the poem, there simply wasn't a clear distinction between the poet and the speaker.
答案可能包括了,在诗歌的开头,根本就没有一个清晰的区分的可能性。
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And so, to use the words with which Milton would begin Paradise Lost, " a theodicy is an attempt "to justify the ways of God to men."
因此，用弥尔顿在《失乐园》开头的话说，斯奥迪斯就是试图“证明上帝待人之法“
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Anything he writes is going to be forced, compelled - and with his forced fingers rude he violates the formal prosodic, the metrical, scheme of his elegy at its very opening.
他写什么都是被迫的，不得已而为之的,-用他这粗鲁的手指，他在这悼亡诗的一开头，就没能遵守写诗的韵律规范。
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All right? A linear search, I start at the beginning of the list and walk all the way through it. All right, if I'm lucky and it's at the low end, If it's not, if it's at the far end, I've got to go forever, and you saw that last time where this thing paused for a little while while it actually searched a list this big.
如果很幸运就在开头,那运行起来很快，如果是在末尾,那就一直得走到头，上次看到了,如果搜索空间很大,程序都会暂停一会,好的，那我希望你们。
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Otherwise, we find the midpoint, and notice what it does.
这个开头已开始可能是在那，但是过一会可能就指向。
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I suggest that we can hear echoes of that same youthful competitiveness in Milton's first major poem in these opening lines, in the beginning of the great epic of Milton's maturity.
在失乐园的开头几句,在弥尔顿成熟后所写的这首伟大史诗的开头，我们还可以看到这同样的他年轻时的雄心。
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And at considerable length about debugging.
我曾经尝试过在学期的开头。
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At the beginning of the dialogue when Polemarchus brought his friends back to the house, Cephalus we see the aged father, Cephalus.
在对话的开头,当，Polemarchus，领着他的友人,回到家中，我们看到其年迈的父亲。
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I propose that we think of Milton at the opening of Lycidas as being stuck, stuck at a particular point in the imagined, the projected or fantasized, trajectory of his career.
我提议我们设想弥尔顿在的开头，是被他的一种假设的，设想中的或理想化的，职业生涯轨迹所束缚了。
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All states, all dominions that have held and do hold empire over man " are either republics or principalities," he says in the opening sentence of chapter 1.
所有国家，所有领地,只要是曾或正让君权凌驾人民之上,要不是共和就是君权“,他在第一章的开头即如是说到。
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Those relationships take place in the context of continual negotiations of sexual relationships, and so the book begins with that explanation that: I first met Dean not long after my wife and I split up.
他们之间的关系是建立在,不断协商和性关系的基础上，所以书的开头有这样一段说明：,我第一次见到迪恩时刚和我妻子分开。
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And when we remember that God will dig a rib out of Adam's wound in order to create the beautiful, the golden Eve, we realize how complicated, how complex and how ambivalent, Milton's little image is here at the beginning of the poem.
当我们想起上帝从亚当的伤口中取出一根肋骨,以创造美丽的金色的夏娃，我们意识到弥尔顿在诗的开头描绘的景象，是多么的复杂巧妙，多么的矛盾纠结。
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Let's go on to the finale now, and as we listen to the finale let's think about what we heard at the very beginning and talked about last time, about the mood that the beginning of the Fifth Symphony created for it.
现在要接近终曲了,当我们听最后乐章时,让我们想想在乐曲开头听到了什么,还有上次我们谈到的内容,关于第五交响曲开头的感情基调
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Am I thinking back there, "Well, it starts in C and that's got an E up there and it's got a G"?
我当时是不是在想,这曲子是C调开头的,是在这里升到E调然后到G调吗
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