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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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And I think of that front and back of the page as another kind of knight's move. You think you're looking at one thing, and you land on another.
这让我想到这页的开头和结尾都是一种迂回前进,你认为你正在看某样事物,事实上你在看另一个。
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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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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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And so this is why in problem set 5 last year when I took photographs on campus with a compact flash card, just standard consumer media and I accidentally formatted that compact flash card, I only lost the first few kilobytes, the first few thousand bits on that compact flash card.
这也是去年的套题5中,我们在校园里面用配有，简易闪存卡的标准摄像机拍照片,我不小心格式化了这个简易闪存卡,其实我只是丢失的最开头的几千个字节的数据。
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One of the great short stories of the last century begins with a sentence by Franz Kafka: "As Gregor Samsa woke one morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect."
上世纪最伟大的短篇小说之一,弗朗茨·卡夫卡所写的名篇是这样开头的,"一天早晨,格里高尔·萨姆沙,从不安的睡梦中醒来,发现自己躺在床上,变成了一只巨大的甲虫"
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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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This was important to Milton, - and one of the big set-piece speeches in Paradise Lost -- - and you may remember it if you've read that poem -- is the hymn that begins "Hail, wedded Love."
这对弥尔顿来说是至关重要的，在《失乐园》中有一个让人印象深刻的片段-,如果你们读过那首诗也许还记得-,那是一首赞美诗，以“致敬，已婚的爱情“开头“
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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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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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I started by saying, "Could you come up with any kind of-- well,you tell me in fifty words or less what I said in lecture yesterday about harmony.
我是这样开头的，你们能够想起任何-,好吧，你们用五十个以内单词告诉我在昨天的课上我就和声问题说了些什么。
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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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And at considerable length about debugging.
我曾经尝试过在学期的开头。
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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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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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Merritt Hughes usefully notes this in one of the notes at the bottom of the page, that Milton in that line, "things unattempted yet in Prose or Rhyme," Milton's actually alluding to the opening of another romance epic.
梅里特修斯发现,在这页最下面有一条笔记，显示弥尔顿写到，“在《散文和韵律》中都未被人们尝试过的事“,事实上弥尔顿是暗指另一部浪漫史诗的开头。
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