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Virgil alludes to just this passage in Homer when he describes the entrance of a whole crowd of people in to the underworld as "the falling of leaves in the early frost of autumn."
维吉尔只是在荷马中影射了这点,他描述了通往人群拥挤的地狱的入口,如同“在深秋严寒中无情飘落的叶子“
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It's a river that, I think, all classical writers, and a lot of Renaissance writers, are very comfortable placing in the underworld.
我认为对于所有的经典作家，和很多文艺复兴时期的作家，忘川在地狱中都是一个舒适的所在。
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Some cultures have you going to Heaven or descending to Hell.
在一些文化中,你会上天堂或是下地狱
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When Milton instructs his muse, "Say first, for Heav'n hides nothing from thy view," there's something more here than the primary sense of the word, which is just "first in sequence."
弥尔顿写到缪斯的时候，“请先说，天界和地狱深渊在您的眼中，一切都了如指掌“,这句中“先“除了它本身的意思“最先“之外，还有其他的含义“
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Finally, Dante alludes to this image of the Virgilian underworld in The Inferno when he describes the descent of humanity, the evil seed of Adam, into the Christian hell.
最后，但丁又在中描述到人性的败坏,亚当在基督教的地狱中撒下的邪恶种子时，含沙射影了维吉尔关于地狱的描写。
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It also provides Milton with the figure of Mammon who will, as you will see over the course of this semester become - well, here in Paradise Lost he's one of the key fallen angels in Milton's hell.
它也为弥尔顿提供了贪欲之神这一形象，正如在本学期这一门课中你们将始终看到的，贪欲之神,在《失乐园》中会变成,弥尔顿地狱中主要的堕落天使之一。
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There are nonetheless a few details from the classical underworld that he seems to have lifted more or less wholesale and one of them - I'm going to ask you to look at page 246 in the Hughes.
然而弥尔顿书中还是有一些描写传统地狱的小细节,他似乎多多少少大规模地盗用了那些细节,我想让你们看《力士参孙》一书的246页。
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They're not actually present in the real world of Milton's hell, or if it's a pagan god who's mentioned, Milton will tell us that the pagan god was just an early manifestation of one of the fallen angels.
事实上他们没有在弥尔顿笔下的地狱中出现，或者作为异教的神被提及，弥尔顿将告诉我们那些异教的神只是堕落天使中,一名天使早期的表象。
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Satan and the fallen angels are entering the magnificent structureof Pandemonium, and at one instant all of the angels shrink in order to fit in to the building, however big it is.
撒旦和堕落天使们正在进入,混战地狱绝妙的建筑中去，突然，所有的天使们都缩小了身形,以来进入那栋建筑中。
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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 Spenser's hero in Book Two of the Faerie Queene is Sir Guyon, and Sir Guyon descends into Mammon's Cave - it's a Spenserian underworld - and it's in Mammon's Cave that he is tempted by the money god himself.
斯潘塞在《仙后》第二册中的英雄是盖恩先生，盖恩下到贪欲之神的洞穴中,这是斯潘塞笔下的地狱,就在贪欲之神的洞穴盖恩被贪欲之神诱惑了。
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in his great depiction of hell in Books One and Two) to avoid the standard epic scenes of the torture of the damned, for example, with which we're familiar if we've read Homer or Virgil or, of course, Dante much later.
在他第一和第二册书对地狱的精彩描述）,去避免提及传统史诗中关于恶者被折磨的场景，例如我们所熟悉的那些场景,如果我们读过荷马的，维吉尔的，当然还有但丁的作品。
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Now for my money, it's Belial who gives us the most beautiful and the most seductive contribution to the debate in hell, but it has got to be Mammon who most resembles Milton himself.
我敢打赌，是贝利亚给了我们在那场地狱的辩论中,最美的和最有魅力的演说，但是这份殊荣,给了最像弥尔顿他自己的贪神。
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