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What should be established I think is an artistic, harmonious balance between the reader's mind and the author's mind.
我觉得需要建立一种能艺术地协调，读者和作者思想之间的平衡,我们要保持些许冷漠。
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There are at least two varieties of imagination in the reader's case, so let us see which of the two is the right one to use in reading a book.
读者至少有两种不同的想象方式,所以让我们来看看,哪一种,适合读书。
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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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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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But our readers already know that.
但这些我们的读者都已经知道了。
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We could think of it as the contractual relation that a writer makes with his reader.
我们可以把它看作一种契约关系,作者与读者之间订立的契约。
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It's an amazing passage because in a lot of ways, I think, Milton is actually directly enacting for us, the reader, the impossibility of such sweet forgetfulness.
我认为这段诗在很多方面都是令人惊叹的，弥尔顿事实上在直接为我们读者上演着，取得甜美遗忘的不可能。
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The circuitous, logical route that we had to take in order to arrive at this new sense of Satan's size has everything to do with our status as temporally bound, temporally constrained readers.
我们需要经历一个迂回曲折的逻辑过程,来从新的意义上理解撒旦的高大,和我们目前处在的，作为世俗压制下的读者的地位，有着紧密的联系。
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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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I want to start my lecture today looking back to that handout I gave you -but didn't give you a discussion of--a couple of days ago, ] from that essay Good Readers and Good Writers that I quoted at the very beginning of class this term.
今天我将用几天前发给你们的,却没有进行讨论的资料，开始我们的课程，从那篇叫做“好的作家和好的读者“的文章开始,我曾在本学期课程的最开始引用过它。
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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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Finally, literary theory asks one other important question it asks many, but this is the way at least I'm organizing it for today it asks one other important question, the one with which we will actually begin: not so much "What is a reader?" but "How does reading get done?"
最后，文学理论给人们提出其它重要的问题,它提出许多问题，但我今天是这样组织的,它提出一个重要的问题，也就是我们今天开始要提出的问题：,不是“读者是谁“而是“阅读是如何开展的？“
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As readers, it's our duty, it's our obligation, to sort out and to reassemble.
作为读者，我们的任务和责任，就是鉴别挑选和重组。
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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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" What can you tell our readers?"
能否告诉我们的读者“
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There is also the question of what kind of reader we are that this preface brings up and sort of puts in front of us.
有一个问题，我们是什么样的读者呢,在这个序言面前。
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Milton has dug up a gem from the pages of The Iliad, and this gem has something like a Medusa effect on the poem or perhaps on us as readers. Time almost seems to stop when we begin appreciating this image solely on aesthetic grounds.
弥尔顿从《伊利亚特》中挖出了一块瑰宝，这块瑰宝对于诗或我们读者起得作用,如同美杜莎一样，在我们只欣赏着,精美绝伦的地面上的场景时，时间仿佛停止。
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So the question for us remains, which deeply challenged readers in Hobbes' own time, what makes Hobbes' story, as I am calling it, his story about the state of nature ? being a condition of war, what makes it plausible?
所以我们的问题依然存在，这使霍布斯时代的读者感到深深的挑战，是什么使得霍布斯的故事，关于自然状态的故事,战争状态的故事，是什么使它真实合理？
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