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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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She has way more power than she needs, it would seem, to destroy a petty little mages like Comus.
她会拥有更多的力量，那看上去足够，摧毁一个像科玛斯这样的英俊的法师。
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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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So look at line 423 of Comus, where the elder brother explains that the chaste Lady can actually travel anywhere she pleases utterly unafraid.
我们来看《科玛斯》423行，大哥哥解释说,贞节的女士实际上可以毫不畏惧的到她愿意的任何地方旅行。
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In Comus, the Lady had identified with Orpheus as she described to Comus what her speech about virginity would do if she were actually to deliver it.
在《科玛斯》中，女孩把自己当做俄耳甫斯,向科玛斯说她的关于贞洁的演说,将会有实际的作用。
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But these virtues, however great, I think, are also associated in the mask with the Lady's petrifaction, her fixation on the seat that Comus has fashioned for her.
但是我认为，无论美德是多么高尚，也是与女士在《面具》中的目瞪口呆，以及科玛斯为其设计的固定座椅相联系的。
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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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So yet once more -- and I promise this will be one of the last times that we look back at Milton's mask - but yet once more, let's look at Comus.
因此我们要再一次--我保证,这将是我们最后一次回顾弥尔顿所写的这出面具戏,不管怎么着，让我们再次回顾《科玛斯》
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She explains to Comus what would happen should she actually choose to break her silence, should she actually choose to unleash all of the rhetorical powers that she has pent up inside of her.
她向科玛斯解释,一旦她打破沉默将会发生些什么，一旦她真正选择揭开那些,禁锢在她内心许久的浮夸的力量。
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Comus attempts to seduce the Lady, you'll remember, with something like an economic theory of natural beauty.
你们还记得吧，科玛斯试图色诱那位女士，用一套有利可图的自然美的理论。
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She'd love to tell Comus something about chastity, but he has neither ear nor soul to apprehend the sublime notion and high mystery.
她愿意告诉科玛斯关于贞节的事，但是科玛斯既没有耳朵也没有灵魂,去理解高尚的理念和谜团。
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We have to assume that the Lady is resisting Comus' advances because she has before her the higher ideal of married chastity.
我们要假设女士在抵制科玛斯的先进发展,因为在她之前就有了有关婚姻贞节的更崇高的理想。
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Now you will remember that the mask Comus was everywhere well, the strangely intertwined questions of the power of chastity on the one hand and the power of poetry on the other.
你们应该记得，面具戏《科玛斯》处处都,一方面是贞洁的力量，一方面是诗歌的力量,这两股奇特的纠缠在一起的力量。
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Now one of the moments in which this tension between virginity and chastity seems to be most pronounced is in the encounter between Comus and the Lady that we looked at in the last class.
在紧张状态中有一个时刻,涉及童贞和贞节，似乎最为明显,那就是我们上节课看到的,科玛斯和那位女士的相遇。
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The position that Milton -- this is how I like to read it - the position that Milton would like to be able to take on this question of virtue's reward is formulated by the Elder Brother in Comus.
弥尔顿的立场--我下面要读,-弥尔顿关于贞操的报偿这一问题的立场,通过《科玛斯》中的哥哥这一角色表达出来。
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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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The eroticization of the Lady's beauty has up to this point come exclusively from Comus.
女士之美如此这般的色情之处,都是来自科玛斯。
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This is line 398 of Comus, page ninety-nine in the Hughes.
科玛斯》第398行，《休斯》的第99页。
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So this is line 768 of Comus, and in the Hughes edition it's on page 108.
科玛斯》的第768行，休斯版本的第108页。
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Now this is a debate that fits into the same category, as far as I'm concerned, as the one between the elder and the Second Brother.
此争论与，在我看来,与《科玛斯》中兄弟俩的那场争论是同一类的。
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The Lady has claimed that she's hesitant to say anything at this point to Comus.
女士宣称她犹豫不决,不知道该不该对科玛斯说。
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They forget to reverse Comus' wand when they rush in to his lair.
当他们冲到科玛斯居所的时候忘记改变他棒子的方向了。
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She would bring all of Comus' magic structures down around his head.
她将能解除科玛斯的所有魔力。
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Look at line 852 of Comus.This is page 110 in the Hughes.
看《科玛斯》第852行，在休斯版本的110页。
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I think we could make some estimation of its significance if we juxtapose it with Comus since The Mask attempts to tackle, in a much more expanded form, so many of the same issues.
我认为我们可以评估一下它的重要意义,如果我们将它与《科玛斯》并列，因为《面具》试图，以扩大许多的形式去处理许多相同的事件。
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For Comus, nature has given us all of her riches and it's our duty, it's our obligation, to spend them, to consume them, and to luxuriate in nature's generosity.
科玛斯认为，自然赋予我们她所有的财富，我们有职责有义务去使用消费它们，自然如此慷慨大方，我们有义务去享用。
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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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First, though, I need to say a couple of words about the word chastity as I've been using it throughout the discussion so far of Comusboth today and Monday.
首先我要就贞节这个词说几句,鉴于我在今天和周一课上有关《科玛斯》的,讨论中一直在使用这个词。
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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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She doesn't end the mask stuck to Comus' chair.
她并未理会粘在科玛斯座椅上的面具。
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