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Everyone, according to the logic ofAreopagitica everyone has the potential to assume the inner authority of conscience and self-discipline.
按照《论出版自由》的逻辑，每个人都有,用内在良心的统治和自律的潜力。
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Milton devotes a lot of time in Areopagitica to making a number of attempts to distinguish licensing from censorship.
弥尔顿在《论出版自由》中花了很大功夫,试图区分出版许可管理和出版控制。
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A lot has happened since the exuberant optimism of the political spirit that we see in a tract like Areopagitica.
弥尔顿在《论出版自由》中发表了极为乐观的政治思想之后,政治形势发生了很大变化。
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By the time we get to 1644, this is the year that Areopagitica appears, we're well into the English Revolution.
到1644年，就是《论出版自由》出版的那一年，我们真正进入了英国革命。
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We find ourselves in today's reading, Areopagitica in the middle of the English Revolution, sometimes called the Puritan Revolution.
我们在今天的阅读中发现自己，《论出版自由》,在英国革命，也就是有时被称为清教改革，的过程中。
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In fact, he even claims -- and he does this explicitly in Areopagitica he even claims to be in favor of censorship in a number of cases.
实际上，他更声明并且明确地在《论出版自由》中,他更在一些案例中声明他支持出版控制。
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It's a process of undoing and undermining that really eats away at the argument, we could argue, throughout the entirety of Areopagitica.
这是个论点开始慢慢被侵蚀破坏的过程,我们可以争论这点，贯穿整个《论出版自由》中。
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Mammon had surfaced -- I'm testing your memories here - in the text of Areopagitica.
贪欲之神以前在--我想考考你们的记性,《论出版自由》中出现过。
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I think you can see why Areopagitica has been memorialized for centuries now as one of the central precursors, well, to a number of things.
我认为你能看到《论出版自由》作为最主要的先驱,流传和纪念百年是有很多原因的。
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Because this is one of the most famous passages in the treatise, and it's not one that we actually looked at for Mammon himself, I'm going to ask you to turn to Areopagitica.
因为这是在那篇论文中最有名的篇章之一，而且这不是我们之前看到贪欲之神唯一的篇章，我想让你们翻开《论出版自由》
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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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And so much of Areopagitica involves Milton's bringing together competing images and traditions and arguments.
论出版自由》中也卷入了弥尔顿将挑战的形象,和传统还有他的论点结合起来。
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You'll note in this passage from Areopagitica that Milton himself calls Spenser a teacher.
你们可以在《论出版自由》的文章中看到,弥尔顿称斯潘塞为老师。
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Now in 1644 when he wrote the Areopagitica, Milton may have forgotten that Spenser's Guyon did in fact descend in to hell without the help of his teacher, the palmer.
644年他在《论出版自由》中写道，弥尔顿可能忘记斯潘塞笔下的盖恩事实上是在,没有自己的老师朝圣者的帮助下进入贪神之洞的。
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According to the 1643 Licensing Order against which Milton is directing this treatise, Areopagitica, a book has to be sent to the licensing office for approval before it can be published.
根据和弥尔顿《论出版自由》相斥的1643年《出版管制法》,每本书都要送去出版许可办公室,得到许可后才能出版。
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There's a sense in which you can see this happening all the time in Areopagitica.
你可以看到这个情况在《论出版自由》中,总是不断发生着。
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One of the structural elements that lends Areopagitica its curious power is a carefully crafted network of images that Milton has employed to structure the thing.
一个保持着《论出版自由》的奇妙力量的,结构上的重要因素是弥尔顿构架这本著作的,精心制作的网状的人物形象结构。
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There are some passages in Areopagitica that I would be remiss to overlook, so I'm going to ask you to turn to page 739 in the Hughes.
论出版自由》的段落中有一些我忽略了,你们把书翻到739页休斯。
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To so many readers it has seemed that Eve is actually quoting Milton's much earlier writing, Areopagitica, in her defense, and it has an incredibly unsettling effect. Evil has to be challenged.
对于很多读者，这似乎是夏娃引用弥尔顿,早期的作品《论出版自由》为自己辩护，这又造成了极大的混乱的影响，恶在这里被挑战了。
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It would completely dash any logical sense that Areopagitica still retains.
它完全冲撞了《论出版自由》里保留的所有逻辑性。
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It can't simply be avoided. This is Eve's and Areopagitica's argument.
这是不可避免的，这是夏娃和《论出版自由》的论点。
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The principle of monism had just introduced itself in England around the mid-1640s, around, it's been argued, the time that Milton's writing Areopagitica, and it met with all sorts of opposition.
一元论原理在17世纪40年代中期,弥尔顿写作《论出版自由》的时候,刚刚传到英格兰，即遭到各种反对。
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Present participles in general in Areopagitica being probably the most important form of speech, the act of gathering him may be more pleasurable, more desirable, than actually having him fully reconstituted.
大体上，现在分词在《论出版自由》中演讲的最,主要的时态形式，收集他的行为可能比,拥有真正再拼凑起的他更让人满足，更让人有欲望。
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And suddenly there are dozens and dozens of competing expressions of religious truth, and so you have a new proliferation of new religions and new religious ideas that comes about as the immediate product of the freedom of the press.
突然有许多许多,与之相对抗的宗教真理，所以我们有了迅速增多的新的宗教,和新的宗教观念,随着出版自由而产生的产物。
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I think that Milton intends for us to think of the verse in Paradise Lost as he wanted us to think of books in Areopagitica: the lines of Milton's poetry are not absolutely dead things, but they do contain within them a potency of life.
弥尔顿在《论出版自由中》让我们把书看作是肉体,我想他也想让我们这样看待《失乐园》的诗句：,弥尔顿的诗句不是毫无生气的，它们蕴含着生命的潜质。
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God's forbidding of the fruit removes from Adam and Eve any capacity for choosing and deciding, and you can see Milton worrying in Areopagitica about the uneasy relationship of his own argument to this central text in divine scripture.
上帝对果实的禁止抽离了亚当和夏娃选择和决定的,能力，你会看到弥尔顿在《论出版自由》中的焦急,因为这不安的关系,他的论证和虔诚的圣典中的中心段落。
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This is the freedom of the printing press.
这就是出版自由。
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What I am interested in here, and I think what a lot of readers are interested in when they approach Areopagitica, is why this treatise, why it can so easily be read as an argument against censorship.
我感兴趣的是，也是我觉得很多读者应该感兴趣的是,当他们阅读《论出版自由》时，到底是什么允许了，为什么这本著作这么容易就被理解为在批判控制。
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All matter contains within it something like a "potency of life"; that's Milton's phrase. It has a capacity for action, actually a capacity for motion, and, just as books can take on a life of their own in Areopagitica, so all matter for later Milton.
所有物质都更包含一种类似“生命的潜质“的东西;,这是弥尔顿的原话，所有物质都有行动的可能,运动的可能，正如《论出版自由》中书籍可以有自己的,生命一样，晚年的弥尔顿相信一切物质都是这样。
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There are a lot of perspectives discernible or extractable from this treatise, Areopagitica, from which the fallen state seems in so many ways, maybe in every way, superior to its unfallen counterpart.
有很多角度都可以从这个专著《论出版自由》中辨别和提取,出来，从很多方面或是一方面来说，从没落的政府比其他未没落的对手优越中来。
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