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We looked last time at Saint Peter's declamatory speech in Lycidas, and we spent a lot of time on it.
我们上次读过了圣彼得在“利西达斯“中说的话，花了很长时间研究这段话。
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So, where is Nabokov in here? I think that's one of the places where Nabokov is. It's Nabokov meditating on this problem.
那么，在这一段中纳博科夫在哪里呢？我，认为这是他所,存在的一个地方，纳博科夫正在沉思这个问题。
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It's in this period that Milton increasingly begins to adopt, or assume, Saint Peter's confident and denunciatory rhetoric.
就是在这段时间弥尔顿越来越接受，去采用，圣彼得的有信心的责难似的语言。
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And, during the time of his interactions with Thompson and Rutherford, he got to thinking about a way to explain the observations of Rutherford.
通过在这段时期,和汤姆逊及卢瑟福的交流，他想到了一个办法,来解释卢瑟福的观察。
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How would you recommend that investors protect their wealth during this period to ? take advantage of upcoming investment opportunities?
那你对投资者在这段时间内,如何保护他们的财产并且,进一步利用这即将到来的投资机会有什么建议呢？
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So that was Beethoven's Fifth Symphony, the beginning of it, a famous passage in the history of classical music.
这是贝多芬的第五交响曲,开始的一段,在古典音乐史上非常有名一段
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So this really rips the material that I'd like to cover in this brief conversation with you.
这就是,我在和你们这段简短的,交谈中想要含盖的内容。
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Some time around this period of time,in early Christianity, somebody got the big idea, "Hey,let's cut up the scroll into pages, and sew the pages together. And then,put it all in a book.
大概在这段时期，在早期的基督教里，有人想出了一个好主意，即把书卷断成张页，并用线一张张连起来使之成书。
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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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Later writers take this poetic image and fill out the allusion to - drowning in this ancient song, and compose the prose accounts in Exodus 14, in which the metaphor is literalized.
随后，作者利用这个场景,用这个古老的歌谣进行影射，创作了这一段白话诗,《出埃及记》14，在这段文字中的暗喻被文学化了。
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For those who don't know what this cake means-- fix this in post production.
对于那些不知道蛋糕含义的人-,咦，在后期制作中把这段修复了。
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I want to just use it, I shouldn't have to worry about what variables I use inside of it, I have shouldn't have to worry about where that is in the code, I should be able to just abstract it away. And that's what we want to add today, are those two things.
我只是想使用它,我不用考虑我在这段代码中,使用的是什么变量,我完全不用考虑代码的内容,只要抽象就好,我们今天想补充的内容就是这两点。
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Here, in one second, it seems to have gone much further, so it's probably traveling faster.
在这一秒内,它似乎运动了更远的距离,所以这段时间它可能运动得更快
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It emerged from a unique history in which chance and accident often played a vital part.
它出现在这段独特的历史中,其中机遇和偶然性扮演了重要角色
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This is on page 1166, bottom of the right-hand column, and then over to 1167, a relatively long passage: Hence Freud is able to proffer, with a certain bravado, the formulation: "the aim of all life is death."
这在1166页，右边底部，然后跨到1167页，这段比较长：,所以弗洛伊德可以冒险提出一个公式：,“生命的目的是死亡“
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In an 1850s anti-slavery speech she said, among other things, this conclusion in effect, she's answer the question now, "Why has slavery boomed and persisted and grows still?"
她在1850年反奴隶制演讲中说过,这段很精辟,在所有论述中尤为抢眼,她给出了问题的答案,"为何奴隶制度仍然能够蓬勃发展呢"
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Now, in the course of this discussion, Socrates and his disciples argue about not so much the existence of the soul, but the question really is the immortality of the soul.
在这段谈话中,苏格拉底和他的学生们,讨论的主要不是灵魂存在的问题,而是灵魂不朽的问题
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And so, all this will change during this period.
所以在这段时间所有都要变
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Milton's infusing this passage with a powerful sense of -- I don't know, what can we call it? -- of gender nonconformity and cultural relativity.
弥尔顿在这段中注入了一个很强烈的思想，我也不清楚，我们怎么叫这种思想呢？这种性别的不一致和文化的相对性。
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Milton becomes increasingly in this period and this is the period of the English Revolution.
在这段时间里，弥尔顿变得越来越像这样的作家,这个英国革命的时期。
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But then there is this very explicit discussion of her Catholicism, a little further down: My background and my inclinations are both Catholic, and I think this is very apparent in the book.
然后这里有一段非常明确的,关于她的天主教义的讨论，在往下看一点：,“天主教是我的背景和取向，我想这在书中有很明显的体现。
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He greets his former rival and enemy with these words 1 This is in Genesis 33:10-11 If you would do me this favor, accept for me this gift, for to see your face is like seeing the face of God, And you have received me favorably.
他用以下的话来迎接往昔的仇敌,这段话出现在《创世纪》10章第10到11节中1,不然，我若在你眼前蒙恩，就求你从我手里收下这礼物，因为我见了你的面，如同见了神的面，并且你接纳了我。
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And then in the early eighteen twenties, he decided to incorporate this as the main theme of the last movement, the finale of his last symphony.
之后,在十九世纪二十年代早期,他决定将这一段,作为结尾乐章的主旋律,也就是他最后一部交响曲的最终乐章
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Now, you might think of this as, indeed, gullible.
现在,你们或许也在纠结于这段历史
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It's an amazing passage because in a lot of ways, I think, Milton is actually directly enacting for us, the reader, the impossibility of such sweet forgetfulness.
我认为这段诗在很多方面都是令人惊叹的，弥尔顿事实上在直接为我们读者上演着，取得甜美遗忘的不可能。
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And so when the figure of Orpheus appears in this poem, it's the second half of the Orpheus story that Milton is forced to tell.
因此当俄耳甫斯的形象出现在这首诗中时，弥尔顿要讲的是他生平的后一段。
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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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Milton's quoting Dionysius Alexandrinus in this passage.
弥尔顿在这段中引用狄奥尼修斯的话。
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Okay, so I'd say he's got about four things he's working with here.
好吧,因此我想说说他在这段作品中,重要的四个特点
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You're going to hear the violins play a running scale, If our beat is this, what note values are in the music of the violinists at this particular moment?
大家待会要听段小提琴演奏连续音阶,如果我们这样打拍子,在这个特定的时间点,这段音乐中小提琴手演奏的时值是什么
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