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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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I want to say there are around 60 BFAs
我想说大概有60个美术专业文学学士。
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That is to say, if something causes literature, there must be some sort of authority behind it and therefore we find ourselves asking, "What is an author?"
即是说，如果文学有缘由的，它的背后一定存在作者,所以我们会问，“作者是谁？“
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What in the hell is all of this doing here? Milton's reporting to the English people how he imagines his future literary fame.
这究竟和他有什么关系？,他却对英国人说着他对自己未来文学名声的想象。
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Nabokov When we moved on to Nabokov, we had an author trying to imagine a work of art so autonomous from the world that it could be something like an autonomous form of life.
接下来我们说了，这是一位试图将文学作品想象为发自世界,以至于成为生活的一种自主形式的作家。
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Some people say that literature is kind of boring.
有些人说文学很枯燥。
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That makes the subject matter that we'll be discussing this week, as I say, as much a part of the history of criticism as it is of literary theory.
这样一来，我们这周的内容就变得至关重要了，就像我说过的那样，我们将学习到文学理论方面,乃至评论史上重要的一章。
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Literary theory, as I say, is skeptical about the foundations of its subject matter and also, in many cases, about the foundations of what it itself is doing.
就像我说的，文学理论，是对创作题材的怀疑,在很多情况下，也是对自身所做之事的基础的怀疑。
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And it's precisely a silencing of classical literature that Milton is attempting to effect here.
准确的说那是古典文学中缄默的一部分,弥尔顿在这想让人们注意它。
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You go on and say to yourself, "Good heavens. It's just talk about literature.
你会对自己说，这只是文学而已。
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We never even hear about "poetry."
文学作品“，甚至不会说“诗歌“
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You remember in the first lecture I said there's a difference between the history of criticism and theory of literature, one difference being that the history of criticism has a great deal to do with literary evaluation: that is to say, why do we care about literature and how can we find means of saying that it's good or not good?
你们还记得吗，第一节课我说过,文学评论历史和文学理论有一个重大区别，那就是文学评论的历史,很大程度上与文学评估有关：,意思就是我们为什么要关心文学,还有我们怎么能说一部作品是好还是坏？
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Again and again he says that the important thing is to insist on the difference between literature and other forms of discourse.
他一遍又一遍地说，重要的是坚持,文学和其它文体间的不同。
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Those are the facts for that field. For this field, these are the facts.
那就是那个领域的事例，在我们这个文学的领域，刚刚我说的就是事例。
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It's the model of investment and profit that characterized so many of Milton's own early writings, including that promise, you'll remember, to his fellow Englishmen that he would one day produce a work of literature that his countrymen would not willingly let die.
这是一种投资模式和带有很多弥尔顿早期写作特征的收益,它包括了那个诺言，你们应该记得,那个诺言指他说有一天要为自己的追随者们写一篇文学作品,他的同胞们不希望这个诺言落空。
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All of that is the legacy of literary theory, and as I say, it arises in part from the element of skepticism that I thought it best to emphasize today.
这都是文学理论的遗产，我说过，它部分源自于怀疑论元素,我想最好在今天强调一下。
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I think we can make the mistake, thinking about autobiography, that it's somehow not literary. But in fact it's very literary, and part of what makes it literary is the fact that you have to choose what scenes go into that narrative.
我觉得我们可以犯这个错误，想想自传，从某种程度上说它不是文学，但事实上它很文学,其中一个原因是你选择加入叙述的那些场景。
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Literature, when it says "It is raining," is not looking out of the window, right?
文学上，当说到“天在下雨“时“,并未在同时往窗外看，是吧？
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You'll remember that I mentioned several minutes ago that Milton appears -- literary historians, I think, have rightly seen the Milton who had written Lycidas as a different figure than the poet before having written Lycidas.
你们还记得我刚刚说过,精通文学的历史学家们，恰恰把写出了的弥尔顿,看作和之前的弥尔顿完全不同的一个人。
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It's neither in the text nor in the reader but the result of the negotiation back and forth between the text and the reader, he says, that sort of brings the literary work into existence in a virtual space.
它不在文本中，也不在读者的视域中,而在反复阅读文本和读者的视域之中，他说，那样会把文学作品,放到一个虚拟的空间中去。
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It poses other kinds of difficulty, let's say; but in the case of fiction, in order to be engaged, in order to enter the hermeneutic circle properly, we need the element of surprise, as I say, as a way of distinguishing between fiction and nonfiction.
它的确带来了其它困难，我们可以这样说;,但是在读文学时，为了投入进去，为了合适地进入解释循环，我们需要“惊讶“这个元素，正如我所说，作为区分文学和非文学的一点。
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