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Milton has wrenched this poem away from Christianity, and he's forced it into a direction that we could loosely call paganism.
弥尔顿的诗歌偏离了基督教，走了我们可以不严谨的称为异教的方向。
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In the second verse paragraph, Milton tells his father: "do not despise divine poetry, creation of the prophetic bard.
在诗的第二段，弥尔顿对他父亲说：,不要轻视神圣的诗歌，诗人预示性的创作。
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The thematic problems that Milton is attempting to tackle are written into the very grammar and the syntax of the poem.
弥尔顿想要处理的主题,就在诗歌的语法和句子结构里边。
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It's too late for this to be a political poem, but Paradise Lost is late for all sorts of reasons.
要写一首政治诗歌太晚了，但弥尔顿这么晚才写《失乐园》有多方面的原因。
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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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We've looked at Milton's earliest poem, or what Milton wants us to think of as his earliest poem, from a couple of different perspectives.
我们已经看了弥尔顿最早期的诗歌，或者说弥尔顿希望我们认为是他最早的诗，从一些不同的角度。
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At a very early age, Milton brooded on his poetic vocation as if it were an actual calling from God.
在很早的时候，弥尔顿就在沉思他的诗歌事业,就像是来自上帝真实的召唤。
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While Milton decided against writing an explicitly political nationalist poem, he did see himself as writing a poem that performed some kind of political function.
尽管弥尔顿决定要写的不是,有政治性的民族主义诗歌，他也让这首诗,发挥了一定政治作用。
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Milton will only use the word career once in his poetic oeuvre and it comes -- it will come pretty soon, actually, in Sonnet Number Seven.
弥尔顿在他的全部诗歌作品中只用过一次事业这个词,我们马上就会看到，在十四行诗的第七行。
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Milton has to develop a poetic voice that can actually combine those two vocations, the two offices, the office of poetry and the office of ministry.
弥尔顿不得不为这两种才能,诗歌之才和布道之才的结合，吐露诗人的心声。
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It's juicy evidence that provides for Milton's intense fondness for - we might even think of it as a passion for - this earlier English poet.
它用大量的证据表明了弥尔顿,-我们可以视其为一种激情,对于早期英文诗歌的热爱。
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At the very moment that Woolf advises women readers to look past Milton's bogey, she finds herself in the peculiar position of echoing the poetry of John Milton.
伍尔夫劝女性读者不去理会,弥尔顿的惑众谣言的时候，发现自己处境尴尬,因为她需要附和弥尔顿的诗歌。
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I think Hartman is absolutely right to note that it's this aspect of Milton's similes that sets them entirely apart from the similes in any other epic poem.
我认为他注意到了弥尔顿明喻中的这个方面,是突出区别于其他诗歌中的明喻的,此举是非常恰当无误的。
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So in "At a Solemn Music" and in the poem "Arcades," Milton turns to what he considered to be the greatest song of all: the music of the heavenly spheres.
所以在“在庄严的音乐“和诗歌的“商场“中“,弥尔顿指出了他认为的最美妙的音乐：,天体音乐。
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He sang songs of such beauty that the entire natural world would move and dance in response. This is the story of Orpheus that we have received up to this point in Milton's poetry.
他的歌声是如此动听，整个大自然,都会随之翩翩起舞，这是到目前为止,弥尔顿的诗歌所讲述的俄耳甫斯的故事。
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These are drives that the poem seems to be struggling to keep in check, or that Milton is representing the poem as struggling to keep in check, or to purge in some way.
这就是促使诗歌努力去抑制竞争，或者弥尔顿代表诗歌去抑制竞争，或以某些方式去净化。
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Satan resembles us as readers as we attempt to dissect and to anatomize the power of Milton's poetry.
作为读者撒旦与我们相似,试图解构剖析弥尔顿诗歌的力量。
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Further complicating the picture, Milton places this scene of observation with extraordinary care at the moment of evening.
为了使诗歌更复杂，弥尔顿把这个观察的场景,附加了更多的关注。
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Milton's subject in his first English poem is -- we can guess it it's his future literary career.
弥尔顿在他的第一首英语诗歌里的主题，我们可以猜一下,是他将来的文学事业。
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All Milton has at the beginning of his poetic career is the promise of greatness, the anticipation of a luminous body of English poetry.
弥尔顿在诗歌生涯开始的时候只有,上帝传达给他必将伟大的希望，和必将成为英语诗人中最耀眼的人物的预期。
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I think it stands to reason to assume that this figure of Galileo is of some importance to Milton and the workings of the poem.
我认为理所当然应当假设,伽利略的形象对弥尔顿和诗歌的作用而言,有着无以言表的重要性。
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Now, Milton understands the problems besetting ; what we could think of as the poem's confused temporality; he understands this a lot better than we do.
现在，弥尔顿明白了我们,认为诗歌暂时性混乱问题的原因所在;,他比我们要明白的多。
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Milton even claims that poetry is equal to preaching in its ability to move people, to get them to do something, to make things happen in the world.
弥尔顿甚至声称诗歌,就其打动人心鼓舞人和促进事务发展的能力而言，是和宗教平起平坐的。
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It's an allusion that has everything to do with Milton's own sense of his unreadiness, and I'm thinking of that. Oh, it's just -- it's wonderful, that strange moment that happens fairly early on in the poem.
这是一个和弥尔顿自身的迟疑感,息息相关的幻想，我认为，就诗歌创作的早期而言，这是非常美妙的。
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We last left the poet in the 1640s. Areopagitica, you'll remember, was written in 1644.
上节课讲到17世纪40年代的诗歌，《论出版自由》,是弥尔顿在1644年写的。
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Consider that even this early on in his career, Milton is harboring epic ambitions, as we've seen.
弥尔顿在事业的早期，就拥有我们看到的诗歌抱负。
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Now when Milton publishes this poem, he makes it clear that it was written at age nineteen.
那时当弥尔顿要出版诗歌的时候，他就清楚自己是在19岁时写的。
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just like the line numbers in any modern edition of Milton that's been produced for the likes of you, for the consumption of college English majors.
跟现在版本的弥尔顿诗歌标有行数一样,这是为像你们这样喜欢弥尔顿的人而印上的，还有大学里英语系的学生们。
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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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Apollo had touched Milton in a way that I think we can actually measure by the end of this poem because Milton at the conclusion of Lycidas seems to have assumed the authority of Apollo.
阿波罗以一种我们可以通过,诗歌的结尾来估测的方式轻抚着弥尔顿,因为弥尔顿本身在的最后,似乎也在假定着阿波罗的权威。
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