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So, this is my question to you: how complete and perfect is the image of Providence that hovers moonlike over the pages of Paradise Lost?
因此，我的问题是：，这里如月亮一般,在的字里行间反复出现的天意的形象,到底是有多么的完整和美好？
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I love these pieces because you can just see him struggling on the page.
从字里行间,你们可以看到他在挣扎。
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This tactile mastery attests to something remarkable that's happened over the course of the poem, somewhere below the surface of the poem, somewhere between the lines.
这种触觉的掌控证明了一些发生在诗歌里的意义非凡的事情,这些事情贯穿诗歌的整体，暗藏在诗歌的表面之下，深埋在字里行间。
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It doesn't depend on our going to the archive, finding out what the author said in his letters about it, finding out what he told his friends, or what he told the newspapers. It doesn't involve any of that.
而不是我们是否要把它保存起来，在作者的字里行间琢磨里面的意思，或者发现作者对他的朋友是怎么说的，对报纸是怎么说的，这些都没有。
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In "Mowing," the poem's lines are like sweeps of the scythe as it lays down rows of swale. Frost wants us to think about that.
在“割草“中字里行间就像是镰刀扫过,当它放倒一排排的麦子时，弗罗斯特想要我们仔细思考。
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She can hear when the ambiguity creeps in between the words, and that tells her that she needs to find something out.
当这些含糊的东西，出现在字里行间，她能够听到它们并且感觉自己需要发现些什么。
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We didn't know the god was there, and we didn't know he was underground until Milton tells us that he's coming up now.
我们不知道这位神在那儿，直到弥尔顿告诉我们，直到弥尔顿告诉我们我们才知道他隐匿在字里行间,才知道他会出现。
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Milton lends a special horror, I think, to this image of a blind Fury, and I hope you will agree with those critics -- I didn't make this up - who find embedded in these lines something like a figurative intimation of castration.
弥尔顿给这个暴怒形象添加了特殊的恐怖色彩，我希望你们同意--这不是我编造的,-有评论家发现这几句字里行间,在暗喻阉割。
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Even though there were people, mostly young men, willing and able to read to him, it's clear that the vast quantity of learning that gets poured - all of that erudition that gets poured into the pages of Paradise Lost - it's clear that this is not a product of Milton's last-minute review of the classics.
尽管有很多人，大多数是年轻人，愿意将材料读给他听，很显然这使得大量的知识被注入,所有这些广博的知识被注入到《失乐园》的字里行间,但很显然这不是,弥尔顿在最后一分钟对于古典文献回顾的产物。
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