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So I'm partially going to retract what I had said about the Lady's place at the very heart of this work.
所以我要部分收回,我之前说的关于小姐在这个作品中的核心地位。
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It depends on the piece. Each piece is very unique.
这个根据作品而定。每部作品都是独一无二的。
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This is all really a very unfortunate and heavy burden to place on this fascinating little library of writings from late antiquity.
这就将不幸的重担强加给了这个,收藏近古时期作品的迷人的小文库。
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So, Barth is taking a risk that this little craft project emphasizes and that the stories in the book act out.
所以，这个小小的手工作品强调了，书中的故事,展示了巴斯冒的风险。
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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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Right. You really have to have a wise passiveness that moment to really think that every piece of art have that kind of duty behind it.
的确，一个人必须要有这种聪悟的被动,才能在那一瞬间理解到每一个艺术作品,背后都有这个的意义。
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Meaning is in the intention of the author, and that is what we need to arrive at as we work through the text.
含义在作者的意图之中，也是我们在读这个作品时需要领会到的。
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He doesn't fully develop it in this work or in saying.
这个论点并未全面地发展于,他的作品或演讲中。
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Well now, before we go any further-- in your Herodotus readings and elsewhere, you will come across many a story in which an oracle is consulted and gives an answer.
现在,在我们深入这个问题之前,当你们阅读希罗多德或其他作品时,里面有大量的故事,都跟某些请示神谕,寻求答案有关
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So for our purposes, we don't have to ask ourselves when Socrates in the dialogue says something, is this a view that the dead man Socrates actually would have held or is this simply a view that the dead man Plato put in the mouth of the character Socrates?
所以,出于这门课程的目的,我们无需深究,苏格拉底在对话中的某个观点,到底是属于那个真实的受死之人苏格拉底的,还是属于已故之人柏拉图,通过作品中苏格拉底这个角色所表述的
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Dakota And this is one of them from 2002 called Dakota, and I think you will see immediately how and why it is related to On the Road.
而这个作品是其中2002的系列之一叫做，我想你们能很快地明白,这个作品和《在路上》有什么样的关联。
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The word "defamiliarization" we will encounter soon when we take up the Russian Formalists.
我们立马遇到了“陌生化“这个词,当我们开始读俄国形式主义者的作品时。
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And while it would be ridiculous for us to read the entire mask as the poet's own completely unfettered autobiographical fantasy, a Miltonic set of interests and a Miltonic set of anxieties charging and fueling this work.
虽然要我们读完整篇文章有点荒谬,因为诗人的自传幻想太无拘无束了，这个作品有弥尔顿式的嗜好,和弥尔顿式的焦虑控诉及刺激因素。
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Section for On the Road will probably be next week unless your TF wants to bring up some brief questions about it, but that's all for today.
在路上这个作品的讨论课可能是在下周,除非你们的TF想让你们提出一些简单的问题，好吧今天就到这里。
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And how can Milton have anything to show for his talent until he has -- this is the logic - until he has patiently waited for God to inspire him to write?
弥尔顿怎样才能证明自己有才除非,他有作品面世--就是这个逻辑,-直到他耐心地等待上帝指示去创作？
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All right. Okay. So, if you ever doubted that the dream of an immediate language that is somehow the correlate to jazz and experience, that's your dream living on. Okay.
好了，如果你们还有对如何通过文字或语言,和爵士乐及人生经历产生联系的疑问，这个作品就是那一巧妙结合的梦幻。
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It was probably produced there in the eighth century, and that is supported by the fact that Deuteronomy has affinities with the writings of some prophets we'll be looking at later from the Northern Kingdom of the eighth century, such as the prophet Hosea, and we'll see this when we look at Hosea's writings.
它也许是在八世纪产生的，这被,申命记与一些先知的作品的紧密联系,这个事实所支持我们稍后会从八世纪的北部王国,开始仔细的讲，例如何西阿先知,我们会在学习何西阿的作品时学习它。
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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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