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This doesn't happen, but at the same time it's a world of illusion in which the reader lives all too comfortably. Right?
这些不会发生，但是同时这是一个幻境,读者太舒适地生活于其中，对吧？
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He's the friend of women everywhere, at least for a few of his female readers in the eighteenth century, and for many he's the very embodiment of oppressive patriarchy.
他到处都有女人缘，至少在18世纪他有不少女性读者，但对很多人来说他是压抑的男权主义的象征。
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That belief in Christ is to some a matter of life and death has been a stumbling block for readers who would prefer to think it a matter of no great consequence.
有些读者认为,对基督的信仰是关乎生死的大事,这对于那些对基督教,不以为然的人是一个障碍。
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It's so amazing it can be equally surprising the poem to the person who was writing it and to the reading it.
真的是太奇妙了，一首诗可能,对作者和读者来说都是一个惊喜。
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Now if this is the case, it seems to me that one has found a loophole in Gadamer's conservatism about what the reader can do.
如果是这样的话，我认为大家在葛达玛对,读者理解能力的保守主义论中,能找到一个漏洞。
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I mention this because such complications ? should alert the careful reader. Right?
我提到这个是因为这样的复杂度,是细心读者应要留神的地方，对吗？
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He does tell you all about the legends first, but he puts them aside and says they're just legends--now let's talk history, and he doesn't begin that until the eight century B.C.
他先将神话传说展示给读者,然后将其放到一边,对读者说,这些只是神话而已,现在咱们说说历史,而他讲的历史是从公元前八世纪开始的
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Now, as I say, many times when you read the dialogue, this or other dialogues by Plato, it seems as though he's fully cognizant of the objections that at least an attentive reader will raise about earlier stages of the argument.
很多时候当你阅读柏拉图的对话录,不管是这篇还是其他篇,柏拉图似乎很清楚至少有一个留心的读者,会对早期的一些观点,提出反驳意见
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Now readers of English literature talk about Milton very differently from the way they talk about other writers.
如今英国文学的读者对米尔顿的说法,与他们对其他作家的说法极为不同。
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It's Woolf's image that's probably the one that's most firmly rooted in the minds of Milton's readers today.
伍尔夫对弥尔顿的刻画可能是,如今弥尔顿读者们心中对他最深刻的印象了。
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This fact is a continually troubling phenomenon both for Milton and, of course, for Milton's readers.
这个事实对弥尔顿和读者而言，都一直是令人烦恼的现象。
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For Hartman, the Miltonic simile actually permits the reader something like the perspective of eternity, a divine perspective, and of course, this is exactly what Stanley Fish had told us was impossible.
对他而言，弥尔顿式的比喻实际上使得读者能够,得知一些类似于永恒的透视，一个神圣的看法，当然，这是据费什所有，不可能的事情。
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He wants us to feel, and it is in fact feeling, that he credits to novels, that allows him to imagine that he himself could have a different life.
而是让读者身临其境，这里其实表现了,作者对小说的自信。
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He always zooms in on something, thinks about it for a while and then goes away and thinks about something else, leaving us to decide whether it has a genuine bearing on the entirety or on the literary wholeness or unity of Macbeth.
他常常是放大一些细节，思考一会儿，然后放弃了,又开始想别的，让读者自己思考这部分,是不是对麦克白,整体有影响。
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So for Stanley Fish, Milton is always reminding us of our fallen-ness as readers and we're continually being encouraged to submit all of our uncertainties and all of our doubts to the power of faith.
对费什来说，弥尔顿总是在提醒我们自身作为读者的,堕落，我们也不断的被激励着,屈从于自身的不确定和,对信仰的力量的犹疑。
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We need to avoid the temptation, in many ways understandable as it might be, to airbrush or sanitize Aristotle, to make him seem more politically correct for modern readers.
我们要避开这个诱惑，虽然在很多方面看来，他可能在经过喷雾与消毒之后较易理解，亚里士多德,也许会对现代的读者变得比较政治正确。
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When Milton opens Lycidas with that phrase, "Yet once more," one of the things that he's telling the reader is that ; yet once more he'll be making the same argument for unreadiness; the same argument for nervous anticipation that he'd made a number of times before.
当弥尔顿用那句“然而再一次的“开始的篇章时“,他要告诉读者的是,他会再一次的对诗中的迟疑作出相同的论述;,和他之前无数次作出的,关于不安的预知的，一成不变的论述。
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We have to image the relation of the female Osiris with the implicitly male reader's search for his lost lover, which is the feminine Truth.
我们不得不想象到这段关系，女性的欧西里斯和,男性读者对他失去的爱人，女性真理的含蓄地追寻。
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The reader projects before himself a meaning for the text as a whole as soon as some initial meaning emerges in the text.
一旦文本开始构成意义读者,就会对整个文本,做出自己的解读。
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So in the fourth stanza we as readers have no idea where we are or when it is the speaker of the poem imagines himself to be speaking, and it's at this point that something quite strange happens.
所以作为读者，对第四段我们不知道,自己在哪，诗的代言者在哪,什么时候想说话，而且就是在这时非常奇怪的事情发生了。
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She was very generous in her letter writing.
她对读者的态度很好。
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I'm convinced that it's the reader's job to apply the same degree of critical scrutiny, a kind of Galilean critical scrutiny, to the image of Providence that will be elaborated, as you will see, at extraordinary length in Book Three of Paradise Lost.
我相信，把同等程度的细致的挑剔的观察,一种伽利略式的吹毛求疵的观察精神，运用到对将要被详细说明的天命的形象上去，是读者该做的事，你们往后会发现，卷三里洋洋洒洒写了很多。
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For Empson, there's a kind of a fluid and easy movement back and forth between what for hermeneutics are three very different phenomena: author, text, reader.
对Empson来说，在作者，文本，读者之间,诠释学里认为这是三种非常不同的现象：,在三者之间有一种流畅的反复的关联。
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For most readers in Milton's time, rhyme was actually constitutive of poetry, and Milton's lines of unrhymed verse here may well have not seemed poetry at all. It was shocking.
对大部分弥尔顿时期的读者来说，押韵是,诗歌的组成部分，弥尔顿这不押韵的诗句,很可能看起来根本不是诗，它令人震惊。
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And in so far as it is possible for me, to try to preempt what that impact or effect might be in the sense of trying to figure out whether or not it will have an impact on you and what it might be.
只要有可能，我就会通过自己对诗歌的感受,来试图推断这首诗,是否会对读者产生冲击，会产生怎样的冲击。
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Here is Hobbes' rewriting of the Golden Rule in terms of these laws of nature but these raise a question for us ? as readers of Hobbes. Right? Don't they?
这里霍布斯从自然法的角度,重写的黄金法则,但是这给我们这些霍布斯的的读者们,带来了一个问题，对吧！不是吗？
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The ostensible purpose of this sentence at this point, as I take it, in Milton's argument is to explain the importance of censorship; but surely this sentence has an entirely different effect on us as readers, a different effect than the syntax or the logic of this sentence may demand.
这句话表面上的目的，我认为，是在弥尔顿的论点里解释控制的重要性,但是这个句子却对读者产生了相反的作用，一个和这句话的句式逻辑的要求,不同的影响。
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But how we want to know does Aristotle reconcile his account of the term baseleia the king of overall with his earlier emphasis upon democratic deliberation and shared rule the citizen recall is one who takes turn ruling and being ruled in turn.
但我们想知道的是亚里士多德,如何调配，Baseleia，宇宙王,与他先前对民主商议与分享统治公民的强调,回想一下，即大家轮流统治,且被统治者相对服从,当读者探究亚里士多德对王权的论述。
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