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Milton seems to have dug around rather carefully in his copy of the Faerie Queene, and he's come up with this illusion.
弥尔顿似乎极其小心地模仿着《仙后》,且他出现了这样一种幻想。
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The moon was compared to Satan's shield, and Milton was preparing us then for this radically ambiguous status of this providential moon.
月亮在这里被比作撒旦的盾，弥尔顿准备着让我们了解到这个充满神意的月亮,所处的基本的暧昧不清的地位。
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I was one of those kids, and I remember rather vividly walking through the hall way of my high school having people split me, call me names, threaten to beat me up.
我还清楚地记得有这么一个孩子,穿过我所在的高中的大厅,让周围的人朝我吐痰，骂脏话，威胁着要把我狠狠打一顿。
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This is a myth that has and will continue to haunt Milton all the way up through Paradise Lost.
这个神话曾一度而且会一直萦绕着弥尔顿,并贯穿了《失乐园》全诗。
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We naturally thought that it was the poet John Milton who was speaking the first 185 lines of the poem.
我们自然会认为是诗人弥尔顿自己,在言说着前185行诗。
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You get an image of Milton here twitching his blue mantle, his cape over his shoulder, and dusting his hands and letting us know that that's over.
从中你们可以看到一幅弥尔顿撕扯着丝巾的图象，他的斗篷搭在肩上，拍了拍手，好让我们知道都结束了。
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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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God is in control of the universe and if the poem seems -not that Stanley Fish believes in God, but nonetheless his Milton certainly does -God is in control of the universe.
上帝掌控着整个世界，如果这首诗看起来,-并不是费什信仰上帝，不过他的弥尔顿的确是,-上帝控制着整个世界。
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It's the rhetoric of liberation that - this is the rhetoric that permeates all of Milton's political prose.
对自由的歌颂,-弥尔顿所有的政治文章都渗透着对自由的歌颂。
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It's an amazing passage because in a lot of ways, I think, Milton is actually directly enacting for us, the reader, the impossibility of such sweet forgetfulness.
我认为这段诗在很多方面都是令人惊叹的，弥尔顿事实上在直接为我们读者上演着，取得甜美遗忘的不可能。
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She says nothing after this encounter, remaining silent or speechless for the rest of the mask, but Milton clearly finds, I think, something threatening here.
在这次相遇中她什么都没说，在接下来中也保持着沉默寡言，可我认为弥尔顿在这里找到了一些威胁。
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She represents a power that might enable Milton to warble a right or proper song.
她象征着一种力量,也许那种力量可以让弥尔顿也婉转的唱出一首恰如其分的歌。
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This is the first moment that the poet John Milton is actually speaking in his own voice, and he's speaking directly to us.
这是第一次诗人弥尔顿,在以本尊的声音做着叙述，并且是在直接的向我们叙述。
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We don't actually hear John Milton until we hear this line: "Thus sang the uncouth swain."
直到这行诗我们才听到了弥尔顿的声音：,“歌颂着粗鄙的青年人“
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He gets to ask all of those questions that are most pressing to him, John Milton.
在诗中弥尔顿得以问那些,最困扰着他的问题。
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Milton participated with extraordinary enthusiasm and considerable zeal in the establishment of England's new, non-monarchic government, initially a commonwealth and then what we can think of as a republic.
弥尔顿带着极大的热情,参与了组建英国的非君主制新政府的过程，这一政府起先是联邦制,后来可认为是共和制。
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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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Apollo had touched Milton in a way that I think we can actually measure by the end of this poem because Milton at the conclusion of Lycidas seems to have assumed the authority of Apollo.
阿波罗以一种我们可以通过,诗歌的结尾来估测的方式轻抚着弥尔顿,因为弥尔顿本身在的最后,似乎也在假定着阿波罗的权威。
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Why doesn't -- this is one way of putting the question -why doesn't Apollo harass or bother Milton at the end of Lycidas in the same way that he harasses Milton at the poem's beginning?
为什么-这是提出问题的一种方式,为什么阿波罗没有在诗歌的最后以同样的方式,不断烦扰着弥尔顿呢？
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Milton's pushing here toward a fantasy of physical invulnerability imagining an alternative -- this is science fiction an alternative model of bodily configuration that would render impossible the all-too-easy quenching of the tender eyeballs.
弥尔顿在这幻想着人的身体可以刀枪不入,他在想象一个另类的-这只是科幻,他在想象一个另类的身体构造模型,这样脆弱的眼球,就不会轻易受到伤害。
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Look at line 183. Milton imagines Lycidas in heaven now.
看一下183行，弥尔顿想象着利西达斯身在天堂。
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It can't exist as a force that conceives a human individual from the outside without that individual's consent because we all freely sin. No one can be compelled to do anything within the Miltonic theology of free will.
不存在那种不经人类同意就从外界,构造人类个体的力量,因为我们都自由地带着原罪，在弥尔顿自由意志的学说下,没有人被强迫做任何事。
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The Lady, the Lady in Milton's mask, was stuck to her seat in the presence of the Shakespearian magician Comus, and Milton himself had claimed in the poem "On Shakespeare" that Shakespeare "dost make us Marble with too much conceiving."
这位戴着弥尔顿面具的女士，被卡在了莎士比亚塑造的酒宴之神,所处的位置上，弥尔顿在诗歌“论莎士比亚“中声称“,莎士比亚用太多设想出的东西是我们麻痹“
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She's a daughter of Mnemosyne, the goddess of memory, and she represents that force that prevents Milton from forgetting all of the pagan and all of the classical literature that, of course, he had spent so much of his life reading.
她是记忆女神摩涅莫辛涅的女儿，她代表着力量,这种力量阻止着弥尔顿忘记所有的异教神,以及所有的古典文学，当然，那些文学他已经花了大半辈子阅读了。
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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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Now it goes without saying that Milton has not been up to this point writing an allegorical poem. The creatures moving and speaking have been actual creations of the deity, with the strange exception of Medusa.
不用说，弥尔顿从未,写过寓言诗，这些移动着的说着话的生灵,是由神创造的，除了美杜莎这个奇怪的例外。
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The rest of contemporary history, including all of the stormy events leading up to Milton's own beloved Puritan Revolution, in which Milton himself, of course, had participated -all of that has been at least at the literal level, at the explicit level, expunged from the poem.
接下来的当代历史，包括所有引领着弥尔顿所钟爱的清教徒革命的,暴风性事件，在那场革命中，弥尔顿本人也参与其中,-所有那些至少在文义层面，在独立于本诗之外可说清的层面，都是很重要的。
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Now Mr. Milton took some risks when he separated himself from his cash and lent money to his clients, or lent more money to his clients than the collateral, the gold, was actually worth. And the motive for that risk, of course, the motive for that investment, was the expectation of a profit.
但是弥尔顿先生却冒着把自己和他的现金,也丢了的风险，或者借出去的钱比担保财产还要多，他这么投资的动机是，希望获得收益。
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In the poem that we looked at last time that was the poem Ad Patrem that Milton had addressed to his father Milton was attempting, as you remember, to justify to his father his own interest in becoming a poet.
上节课我们读的诗《Ad，Patrem》,是弥尔顿写给他父亲的,正如你们所记得的，弥尔顿正尝试着向父亲证明自己成为诗人的潜力。
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