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In Lycidas, Milton looks back at the Elder Brother's theodicy, and it's almost as if he's attempting to test its validity.
在这首诗中，弥尔顿回顾了《科玛斯》中哥哥的斯奥迪斯，似乎是在验证斯奥迪斯正确与否。
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Orpheus had provided Milton with a paradigm of the poet, the poet whose discipline and whose abstinence nourished and strengthened his poetry.
俄耳甫斯在弥尔顿看来是诗人的模范,他严于律己，节制禁欲，让诗作更加出色。
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So I had classmates from Hawaii and Klamath Falls, Oregon So you were in the situation.
所以我的同学中有来自夏威夷的,来自俄勒冈州克拉马斯福尔斯市的,所以当时在那样的形势下。
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The reason we picked these two cities we asked realtors- Karl Case, who's my colleague, he teaches at Wellesley College.
我们选择这两个城市的原因,我询问了房产经纪人,卡尔·科斯是我的同事,他在韦尔兹利大学教书
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And Mars has this sort of human, flabby torso that's not-- it's sympathetic, but it's a different portrayal of war.
马尔斯看起来像一个普通人,略微虚胖,这一点让人同情,但这是对战争的不同描写
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Blank verse: it is the heroic language of Shakespeare, of Milton, of Wordsworth.
无韵诗：它是英雄的语言,是莎士比亚，弥尔顿，沃兹沃斯的语言。
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They were taken back to Falmouth in England where they were arrested and tried.
把他们带回了英国的法尔茅斯,并在那被逮捕，接受审判。
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What Tyrtaeus tells us very, very specifically how bad that is; it's bad.
提尔泰奥斯很明确地告诉我们,这是多么丢人的事情,这非常糟糕
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So reception history has been a kind of partly theoretical, partly scholarly field, one that's really still flourishing and has been ever since the early work in the great Konstanz seminars of Iser, Jauss and others.
因此感受历史成了一个,半理论半学术的领域，在康斯坦的讨论会上,在伊瑟尔，姚斯和其他人的早期影响下,接受史一直处于繁盛期。
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So today and Monday we're going to talk about two very big ideas and these ideas are associated with Sigmund Freud and B. F. Skinner and are psychoanalysis and behaviorism.
所以在今天和星期一,我们将学习两大心理理论,其代表人物分别是,西格蒙特·弗洛伊德和,伯尔赫斯·弗雷德里克·斯金纳,这两个理论便是精神分析理论,和行为主义理论。
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Take Jedidiah Morse, for example, the great geographer.
比如杰迪代亚·莫尔斯,伟大的地理学家
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Another way into this problem: let's look at the comments that Dr. Johnson made about Milton's Lycidas in the eighteenth century.
看这个问题的另一个角度：让我们看看,约翰逊博士在18世纪队弥尔顿的《利西达斯》所做的评论。
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You can see on the handout those poems by those classical authors that Milton's Lycidas is most indebted to.
讲义上有这些经典作者的经典诗作,弥尔顿的《利西达斯》是受这些诗作的启发写成的。
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Lycidas' death -- remember this is the poem that Milton didn't want to write, he was "forc'd" to write it -Lycidas' death allows the uncouth swain to grow up and to move on.
利西达斯的死-记住这是一首,弥尔顿并不想完成的诗，他是被迫的,使得这个粗鄙的年轻人能够成长并继续前进。
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Swarthmore. This is very interesting 'coz after Swarthmore, you went to Duke. And when I think of Swarthmore, I think I've like a super intellectual.
斯沃斯莫尔，我想到一点很有趣，因为这之后，你去了杜克大学，我一想到斯沃斯莫尔，我就觉得自己像一个超级天才。
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Well, what Thersites had done that was wrong, of course the poet and Odysseus didn't like his policy suggestion, but he had no right to speak at all.
诚然,书中认为忒尔西忒斯的做法是不对的,显然诗人和奥德修斯不喜欢他的政策建议,但他却根本连发言的权利都没有
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Professor John Rogers: Milton is typically cited by literary historians as one of the first major English poets to praise in verse the institution of marriage.
约翰·罗格斯教授：文学家们说弥尔顿,是英国早期诗人中,赞美婚姻制度的一员。
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You can figure Milton asking in this poem Lycidas if it's true: is it true what the Elder Brother said, ? that virtue is always rewarded and evil punished?
可以看出在《利西达斯》中弥尔顿是在问：,《科玛斯》中哥哥所说的，善有善报恶有恶报是真的么？
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To the extent that Lycidas' body has been recovered, that it's been redeemed, Milton is able -- perhaps successfully, Milton is able to justify the ways of God to men.
利西达斯的身体最终愈合了，被救赎了，这样弥尔顿就得以--或许是成功的，证明了上帝待人之法。
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Actually I had thought I was going north when I went to colleges. We're only after I got to saw the Ohio and cross the Ohio River did people remind me that well, it was maybe north of the Ohio River, it was not the northeast.
其实我以为是在往北走,到斯沃斯莫尔去，只是,等到我看到俄亥俄，过了俄亥俄河,才有人提醒我,那儿可能是俄亥俄河北岸，而不是美国东北部。
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And so when the figure of Orpheus appears in this poem, it's the second half of the Orpheus story that Milton is forced to tell.
因此当俄耳甫斯的形象出现在这首诗中时，弥尔顿要讲的是他生平的后一段。
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It's as if Lycidas has died so that Milton could live to become a great poet.
似乎利西达斯依然死去，因此弥尔顿才得以继续存活,并成为一个伟大的诗人。
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The body of Lycidas, even in death, is of an unusual interest to our poet.
利西达斯的身体，即使死了，对弥尔顿来说也很重要。
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Milton can't allow himself to embrace the wonderful fiction, : that beautiful fiction that had been espoused by the Elder Brother: the fantasy that virgins don't even die, that their bodies are simply reconstituted somehow as angelic spirits.
弥尔顿实在无法认同《科玛斯》中哥哥，的美好奇妙的幻想：,这仅仅是虚幻而已，处子不会死去，他们的身体,会被重构，成为天国里的灵魂。
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Milton's quoting Dionysius Alexandrinus in this passage.
弥尔顿在这段中引用狄奥尼修斯的话。
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Milton's nearly twenty-nine years old when he writes Lycidas.
写《利西达斯》的时候弥尔顿将近29岁了。
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You'll remember that Milton published Comus in 1637.
你们应当记得弥尔顿是在1637年发表了《科玛斯》
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Astell distinguishes Milton's cry against political tyranny from her own critique, her own cry against the patriarchal tyranny, and in making this distinction she's exposing something that I take to be extremely interesting.
阿斯苔将弥尔顿反对政治暴政的呼声,与她自己反抗男权暴政的呼声区分开来，通过这样的区分，她揭露了一些,我认为很有意思的东西。
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As a virginal orator, should she choose to unleash her powers, she would have the power of an Orpheus moving dumb things to sympathize -- Orpheus being one of Milton's most prized mythological figures of the powerful poet.
作为一名处女演说家，如果她选择释放自己的力量，她应该会有像俄耳甫斯一样的力量,使哑的东西也受到感动而有同情心,俄耳甫斯是弥尔顿最为称赞的有权利的神话传说诗人。
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Merritt Hughes usefully notes this in one of the notes at the bottom of the page, that Milton in that line, "things unattempted yet in Prose or Rhyme," Milton's actually alluding to the opening of another romance epic.
梅里特修斯发现,在这页最下面有一条笔记，显示弥尔顿写到，“在《散文和韵律》中都未被人们尝试过的事“,事实上弥尔顿是暗指另一部浪漫史诗的开头。
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