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The passage is also famous because in it Milton does something that he almost never does. Milton has made a mistake.
这篇文章有名也是因为弥尔顿做了一些,他几乎从未做过的事，弥尔顿犯了一个错误。
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couple of streets away that is Edgware, so you know, things like that are really interesting,
过了几条街就是埃奇韦尔，所以，这类事情真的很有趣，
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And here, I'm going to suggest we've seen numbers, we've seen strings, and I'm going to add Booleans here as well.
我要提醒下大家我们学习过数字数据了,学习过字符串了，今天还要学习布尔类型，这是当我们谈到条件的时候。
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On the other hand, when I was at Swarthmore, we had a football team. They don't longer have one.
另一方面，我在斯沃斯莫尔时，我们有过一个橄榄球队，现在他们没了。
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Milton will only use the word career once in his poetic oeuvre and it comes -- it will come pretty soon, actually, in Sonnet Number Seven.
弥尔顿在他的全部诗歌作品中只用过一次事业这个词,我们马上就会看到，在十四行诗的第七行。
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situates the poem in a dialogue as if someone had just said, "Have you ever been to Adlestrop?"
使诗处在像是有人刚刚说过的语境中，你去过艾德尔索普吗？
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Here's where I come back to that example that I already gave you with a question mark next to it when I was talking about Saussure.
我这就要再讲一下我已经讲过的例子,就是我们讲索绪尔时讲到的那个存疑的例子。
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Even such concepts, such great American concepts let's call it that--as self-reliance about which Ralph Waldo Emerson may have written his greatest essay I go read Emerson's "Self-Reliance" at least once a year.
这样的观念,伟大的美国式的观念,让我们称呼它为,自助,这是拉尔夫·华尔多·爱默生写过的,最具影响力的作品,我每年至少读一次爱默生的《自助》
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In the Ancient Near East, destroyed cities tended to be leveled, and then a new city would just be built on top of the ruins, Tell Dor each one of those is called a tell These are mounds which represent the successive layers of destroyed and rebuilt cities.
在古代近东地区，被摧毁的城市一般较平坦，那么新城就可以建于废墟之上，这些土丘被称作“退尔“你们也许听过,这些就是小土丘,它们代表着一层层被摧毁又重建的城市。
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And to illustrate one of the studies, I'll tell you about a study that I did with Valerie Kuhlmeier and Karen Wynn.
给大家举一个研究的例子,给你们讲述一个我曾经和,瓦莱里·库尔迈耶以及凯伦·韦恩,一起合作过的研究
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I was going to the Bahamas with my family and with Jeremy Siegel's family-- we'll come back to Jeremy Siegel in a minute.
我们家和杰里米·西格尔一家,一起去巴哈马群岛旅行,过会还会提到杰里米·西格尔
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We've seen Milton's account there of how he had attempted to reconcile, on the one hand, his obligation to become a minister and his desire, on the other hand, to become a poet.
我们读到过弥尔顿关于他如此试图妥协和解的描写，一方面，他想要成为牧师，另一方面，他又渴望着成为一名诗人。
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Actually I had thought I was going north when I went to colleges. We're only after I got to saw the Ohio and cross the Ohio River did people remind me that well, it was maybe north of the Ohio River, it was not the northeast.
其实我以为是在往北走,到斯沃斯莫尔去，只是,等到我看到俄亥俄，过了俄亥俄河,才有人提醒我,那儿可能是俄亥俄河北岸，而不是美国东北部。
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Whenever Johnson is being arrogant and mean about Paradise Lost, invariably he's on to something, and here he's telling us that Milton's gone too far. He's taken his allegory too far.
约翰逊任何时候都对《失乐园》报以傲慢且刻薄的态度，不可避免地，他是想表达着什么，在这里他想告诉我们,弥尔顿做得太过了，他在寓言上走得过远。
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I suggested just a minute ago that one of the relevant stories that is always lying behind Milton's discussion of human choice is the story from the Book of Genesis about Adam and Eve's choice to eat the forbidden fruit.
我一分钟前刚说过一个相关的故事,总是藏在弥尔顿对人类选择权问题的探讨背后,是《创世纪》中,亚当和夏娃选择偷吃禁果。
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Now we've seen Milton do this before.
我们看到弥尔顿此前也这么做过。
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It's just this double bind of vocation that's the subject of Sonnet VII, "How soon hath Time." That's the sonnet in which Milton laments the fact that he has turned twenty-three years old and has yet produced nothing that would indicate a shining poetic future.
第七篇十四行诗的主题就是这种职业窘境，“时间过得多快啊，“弥尔顿在这首诗里表达了,对自己都快23岁却没创作出什么,可以显示出他卓越天赋的诗的哀伤。
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It's almost as if the flower passage is Milton's reward for having written the Saint Peter passage.
似乎描写花朵的段落是对于弥尔顿,描写过圣彼得的章落之后的奖赏。
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This is by far the most learned and the most demanding lyric poem that Milton writes.
这是目前为止弥尔顿所写过的,最博学读来也最吃力的一首抒情诗了。
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After all, this is an extremely pious Puritan. But as late as the 1640s, this was not at all the epic subject that Milton was intending to use.
不管怎么说，弥尔顿是个很虔诚的清教徒，但是到了17世纪，40年代的时候，弥尔顿都根本没想过要写这个主题。
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Milton explains the preposterous of the idea that he has ever visited a prostitute.
弥尔顿对这个荒谬的说法解释到,他曾经拜访过一个妓女。
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Now Milton never writes a formal autobiography.
虽然弥尔顿从没写过正式的自传。
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Everything that we had thought that Milton was telling us in the lyric present -- telling us directly, now -- suddenly gets shoved back into the narrative past: "thus sang the uncouth swain." The past tense is important there.
我们想过的弥尔顿在这首抒情诗里,直接告诉我们的所有事，现在，都突然在过去的旁白中一涌而现了：,“吟唱着粗鄙的青年人“，这里的过去时态很重要。
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Merritt Hughes usefully notes this in one of the notes at the bottom of the page, that Milton in that line, "things unattempted yet in Prose or Rhyme," Milton's actually alluding to the opening of another romance epic.
梅里特修斯发现,在这页最下面有一条笔记，显示弥尔顿写到，“在《散文和韵律》中都未被人们尝试过的事“,事实上弥尔顿是暗指另一部浪漫史诗的开头。
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I mentioned earlier that it's Virginia Woolf who's largely responsible for our sense of Milton's identity as an oppressive patriarchal literary voice, but Virginia Woolf, too, had inherited these contradictory ways of thinking about Milton and about Milton's power.
我先前提到过，我们之所以会,把弥尔顿看作是男权主义在文学领域的发言人,在很大程度上是由于佛吉尼亚·伍尔夫，但佛吉尼亚也继承了这互相矛盾的,思考弥尔顿及其力量的方式。
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Milton surveys the wealth of literary tradition before him, and he resists its allure without the help of any human guide.
弥尔顿在他之前就调查过文学传统的宝藏，他在没有人帮助的情况下抗拒了这一诱惑。
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So the distance of the gap needs to be between the outer limits of boredom and overstrain according to Iser.
因此，据伊瑟尔说，间隙的大小应该,以无聊与过劳作为外缘界限，处于两者之中。
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Now the treatises that Milton wrote on the rights of divorce in the 1640s are also extravagantly pro-marriage.
弥尔顿在17世纪四十年代写过关于离婚权利的论文,其中他也大力的支持婚姻。
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There's every indication that Milton believed, as I had mentioned before, at an unconscionably early age, that poetry was his vocation.
就像我之前说过的，有很多的迹象表明，弥尔顿在很早之前就相信诗人就是他的天职。
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