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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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In my future? Well, I actually own a studio space in Kingston, New York.
我的未来？我在纽约金斯顿有个工作室。
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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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I've done it from the Princeton Ok, great. - I don't want you to get Jesus complex.
在普林斯顿斯顿大学就做过,很好，-，我不是说您有一种宗教神秘感。
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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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This is what I think is probably the best thing about Euston,
我想这可能就是尤斯顿最好的地方了，
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Some of them we've already talked about. Andrew talked about the class list and gave you some ways of understanding those pictures in Gaston Godin's apartment.
其中一些我们已经讨论过了，安德鲁讲授过课程单,并且给了你们关于加斯顿·戈汀公寓中的画的,的几种理解方式。
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Winston Churchill never, never conceded that it was Istanbul; he called it Constantinople till the day he died.
温斯顿·丘吉尔从没承认那里是伊斯坦布尔,直到死前他还叫那个地方君士坦丁堡
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You can go up Bayswater Road, you're on to Kensington Park.
你可以沿着贝斯沃特路上行，就到了肯辛顿公园。
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Winston- Salem is, has a large growing Hispanic population,
那就是来自温斯顿-塞勒姆的拉美裔人群不断增加，
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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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Both Guillory and Angus Fletcher are examining the troubled relation of Milton to one of his favorite poets.
无论是古伊洛还是安格斯弗莱彻,他们都在研究弥尔顿最爱的一首诗中和他相关的问题。
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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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In Lycidas Milton doesn't let himself, thank God, go quite so far as he does in this amazing ending to "Damon's Epitaph."
感谢上帝，在《利西达斯》中，弥尔顿做的不像，他在《达蒙的墓志铭》的结尾那样过火“
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And as if that weren't terrible enough a realization, he goes on to envision an even more grotesque end for Lycidas' body.
似乎这还不够可怕，弥尔顿又进一步给利西达斯的尸体想象了更加怪诞的结局。
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If you've read L'Allegro and Il Penseroso, you know that the image of the great mythological poet Orpheus is always a loaded one for Milton.
如果你们读过《快乐的人》和《沉思的人》，就会知道,伟大的神话诗人俄耳甫斯对弥尔顿来说一直是个沉重的形象。
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But Astell resents, of course, Milton here, and what she resents is the limitation of his subversiveness.
但很显然，阿斯苔对米尔顿也有反感，她反感的是弥尔顿的颠覆的局限性。
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And so, to use the words with which Milton would begin Paradise Lost, " a theodicy is an attempt "to justify the ways of God to men."
因此，用弥尔顿在《失乐园》开头的话说，斯奥迪斯就是试图“证明上帝待人之法“
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So Milton for Astell is hardly the embodiment of orthodoxy that he is for Lady Mary Chudleigh.
因此，对阿斯苔来说，弥尔顿不是那个,玛丽·恰德莱心目中代表正统的标志。
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It's just this Orphic power that Milton, like the Lady, was always anticipating for himself.
像这个女孩一样，弥尔顿想要的，就是这种俄耳甫斯式的力量。
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Now as I noted earlier, there's a difference between the two existing texts of Milton's Comus.
正如我之前提到的,弥尔顿《科玛斯》的现存两个版本间有差异。
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Lycidas' untimely death seems to enable Milton to master his own fears of untimeliness.
利西达斯不合时宜的死亡似乎,使得弥尔顿能够掌握他自己对于不合时宜的恐惧。
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I'm hoping that it feels a little strange to you and it seems strange, I think, when you consider what is obviously here the Christian context of Milton's Lycidas.
我希望你们会觉得这有些奇怪，考虑到弥尔顿写《利西达斯》时的基督教背景,这就显得很奇怪了。
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This really provides the central rhetorical base for Milton's Lycidas.
这为弥尔顿的《利西达斯》提供了行文基调。
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Look at line 183. Milton imagines Lycidas in heaven now.
看一下183行，弥尔顿想象着利西达斯身在天堂。
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The next major poem that Milton writes after Comus is Lycidas.
弥尔顿在《科玛斯》之后的重要诗作是《利西达斯》
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After the passage is over, Milton addresses Alpheus, a river god -the god who was noted for plunging the course of his river underground in order to chase the nymph Arethuse who had been turned into a fountain.
这段结束后，弥尔顿引用了河神阿尔甫斯,那位因私底下掀起河流的波浪而闻名的神,以此来与被变成海底之泉的女神阿托瑞萨相互融合。
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Now given this, the romance frame of Milton's Comus, - we're not surprised actually to see -- even though we don't see at the end her actually getting married, we're not surprised to see the Lady in this speech embracing the form of chastity that promises something like an eventual turn to marriage.
这样看来，弥尔顿《科玛斯》的传奇结构，我们实际上并不诧异看到-,虽然我们没有看到她最终结婚了，我们看到这个演说的女士,拥护承诺像是最终转向婚姻的贞节时,并不感到诧异。
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Professor John Rogers: The best way, I think, to introduce the central issues of this wonderful poem, Lycidas, is to return to Milton's Comus.
约翰·罗杰斯教授：我认为，要向你们介绍《利西达斯》,这首精彩的诗的精髓，最好的方法莫过于，回顾一下弥尔顿的《科玛斯》
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