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The corporeality of "Damon's Epitaph" illuminates we can see the unorthodox direction in which Milton's Lycidas is tending.
达蒙的墓志铭》的物质性刚好诠释了,《利西达斯》离经叛道的倾向。
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It's in the period in which Milton is writing that the tide is beginning to turn.
弥尔顿写作的时候,正是那种趋势在转变的时候。
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But this of course, as we know, is only one of the ways in which Milton's power, or what Woolf thinks of as his leadership, can be thought of.
但我们知道，这不是看待,弥尔顿的力量，或者伍尔夫所指的他的领导力，的唯一方式。
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She's alluding here, I think, to one of the most famous passages in Paradise Lost in which Milton is asserting nothing other than his poetic power.
我认为，她这里是在暗指，《失乐园》最著名的篇章之一,在这篇章中弥尔顿仅仅是在展示他诗句的力量。
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There's a real sense, I think, in which Milton wanted to re-create all of Western culture or to re-create all of Western culture in his own image.
我认为，米尔顿想要完全重建西方文化,或者说是按他自身的形象重建西方文化,是有切实意义的。
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There's a sense in which Milton will have to forget everything he's learned up to this point.
弥尔顿有意识地强迫自己,在这时忘记一切自己所学过的东西。
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But John Milton is also recompensed and, by the weird sacrificial logic that Saint Peter has already sketched out for us, you can see a really disturbing way in which Milton has benefited as well.
但是在圣彼得铺陈开来的诡异的牺牲逻辑下,弥尔顿也得到了回报，你会看到弥尔顿从中得益的方式,确实非常让人困惑。
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My guess is that our sense of Milton's power, however that power is imagined, is intimately related to the way in which Milton himself represents power in the characters of Satan and of God in Paradise Lost.
我猜我们对弥尔顿力量的理解，不管我们如何想象这力量，与弥尔顿在《失乐园》中所写撒旦和上帝两角色对,力量的展方式切密切相关。
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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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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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If Milton as a poet who had never really published anything significant thinks of himself as a virginal writer, then there's an important way in which Milton loses his virginity with his published version of Comus in 1637.
如果弥尔顿作为一个诗人,或者作为一个童贞情节的作家,从来没有出版过任何自我思考的重要作品，那么就有很重要的一点,弥尔顿在1637年出版的《Comus》中失去了童贞。
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Beginning in the late 1630s at the moment in which Lycidas is being written, Milton is becoming increasingly radical.
在17世纪30年代的晚期,即的创作时期，弥尔顿正变得愈发的激进和极端。
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This is a brief theatrical piece that Milton writes in 1634 and which he publishes in 1637.
这是一个简短的戏剧作品,弥尔顿写于1634年，1637年出版。
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And Milton, or the Elder Brother here, is clearly thinking of Revelation 14, in which it's only the pure spirit or the virgin -- that can even begin to hear the new song being sung before the throne of God.
弥尔顿，或者大哥，显然说的是《启示录》第14章的内容，那里说只有纯净的精神或有童贞,才可以听到在上帝面前唱的新歌。
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We will hear again of Milton's intention to write an epic in a versified letter that he writes to his best friend, Charles Diodati. This is the letter to Diodati which Milton publishes as the Sixth Elegy.
我们又一次听到弥尔顿想写史诗,是在他给最好的朋友查尔斯，迪奥达蒂的一封信里，这就是那封信,弥尔顿以第六挽歌的名字出版。
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But there's an important and, I think, a very real sense in which Milton wanted to make it seem as if the Nativity Ode were the first poem that he had written.
但我有种非常强烈的感觉,弥尔顿好像还是想让人觉得,《圣诞清晨歌》才是他的第一首诗。
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There's also an important and, I think, a very real sense in which Milton wanted to make it seem and obviously this is a much more difficult feat wanted to make it seem as if the Nativity Ode were the first poem that anyone had written.
我还有一种强烈的感觉,弥尔顿想让人觉得,显然这很困难,想使《圣诞清晨歌》看上去像,任何一个人写的第一首诗。
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It's the ottava rima in which all of the great Italian romance epics by poets -- favorite poets of Milton's like Ariosto and Tasso -- had been written.
这是弥尔顿所钟爱的所有伟大的意大利浪漫诗人,例如阿里奥斯多和塔索,曾经用过的体裁。
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But it may be the case that it's something like a situation in which over the course of the previous stanza, Milton has actually usurped the role of the muse and has begun providing something like his own inspiration.
情况也可能是这样的,在之前的那一段里，弥尔顿确实用了缪斯这一角色,并且开始用他自己的一些灵感。
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Now shortly after Milton composed the sonnet "How soon hath Time," he wrote a letter to a friend in which he enclosed this poem, the sonnet.
在他创作“时间过得真快“后不久“,他给朋友写了封信，把这首十四行诗也附了进去。
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The extent to which Milton succeeds in justifying such a God in Paradise Lost will be, of course, one of the questions that we will be exploring over the next couple of weeks. So You will read for Wednesday's class the first two books of Paradise Lost.
在失乐园中弥尔顿成功地证实了,这样一个上帝,扩展出了一个我们下几周要研究的一个问题,所以在周三前阅读失乐园的前两部。
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But at the time period that we are examining, the period in which he writes Comus, the early 1630s, Milton seems very much interested in remaining virginal forever, avoiding even the sanctioned loss of virginity which is the state of marriage.
但在我们研究这段时期时，17世纪30年代初他写《Comus》的时期，弥尔顿似乎还对永远保持童贞非常感兴趣，甚至避开支持婚姻所必须经历的一个阶段,失去童贞。
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