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This lowly variety is not the kind of imagination I would like readers to use. What a crime!
我不希望读者们用到这种相对低端的想象方式,罪过啊！你们中有多少人为你们！
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Fish imagines Milton as always on some level slapping the reader's wrist, reminding the reader of his or her fallen-ness, that there's a constant pedagogical correction going on.
费什想象弥尔顿总是在某种程度上斥责着读者们，提醒他们自身的堕落，并且诗中有一种持续的教育性的纠正在重复出现。
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So this is what he asked them to do: Select four answers to the question 'What should a reader be to be a good reader?' "The reader should belong to a book club."
这就是他要求学生们做的：,从以下四个选项中选取问题,“读者如何才能成为好读者”的答案：,“读者应该是书友会的成员“
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Here is Hobbes' rewriting of the Golden Rule in terms of these laws of nature but these raise a question for us ? as readers of Hobbes. Right? Don't they?
这里霍布斯从自然法的角度,重写的黄金法则,但是这给我们这些霍布斯的的读者们,带来了一个问题，对吧！不是吗？
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It's Woolf's image that's probably the one that's most firmly rooted in the minds of Milton's readers today.
伍尔夫对弥尔顿的刻画可能是,如今弥尔顿读者们心中对他最深刻的印象了。
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And Milton reasonably alerts his reader to the timeliness of a lot of the material that would be covered in this poem.
弥尔顿合乎情理的向他的读者们,发出了这首诗所要描写的大量内容的警戒。
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And readers of Milton ever since have had to confront not just Milton's writing but this unspeakable sense of empowerment that underlies just about everything that Milton writes.
自那之后，米尔顿的读者们面对的就,不仅是他的作品，还有这种难以言喻的充满力量的感觉,这种感觉暗含在几乎米尔顿的一切写作中。
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Milton wants the reader to know that she's fallen, we are all fallen, and any problem that we have in understanding the theology of heaven and hell is our problem as fallen readers.
弥尔顿希望读者认识到她在堕落，我们也在堕落，以及我们在理解天堂中遇到的任何问题,以及地狱式我们这些堕落了的读者们的心魔。
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It's not until Book Three of Paradise Lost that the poet explicitly reveals to us, to his readers, the fact of the physical handicap that might reasonably be thought to render impossible his composition of the poem.
直到失乐园第三卷,诗人才明确告诉读者们，自己失明的事实,这可能被合理的认为是他无法完成诗歌创作的原因。
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Is that the primary model of readership?
这是读者们的原始模型吗？
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May the reader find these stories likewise.
希望读者们也能发现这些故事。
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Now readers have always seemed to have agreed that Milton's Lycidas is an enormously admirable poem, but for a few hundred years now there has been a controversy over how admirable Milton's Lycidas is, specifically as an elegy.
现在读者们一致认为,弥尔顿的《利西达斯》是一首极其非凡的诗作，但是几百年来，对于这首诗，特别是作为一首悼亡诗,到底有多么非凡一直有所争论。
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In fact for readers of Paradise Lost, and this has been an experience now for a few hundred years, it does often seem as if there were some mysterious life force, a pulsating through Milton's dense and driving lines of unrhymed, iambic pentameter.
实际上，《失乐园》的读者们，几百年来一直都有这种体验，确实，似乎真有一种神秘的生命力，一种脉搏，贯穿在弥尔顿密集，强劲，没有韵律，长短不一的五音步格诗之中。
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