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The music for the mask, which still exists at least, the melody still exists, was written by Henry Lawes, the most important musician working in England.
现在流传下来了的《面具》的音乐，亨利劳斯写的旋律依然存世，亨利是英国最伟大的作曲家。
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So yet once more -- and I promise this will be one of the last times that we look back at Milton's mask - but yet once more, let's look at Comus.
因此我们要再一次--我保证,这将是我们最后一次回顾弥尔顿所写的这出面具戏,不管怎么着，让我们再次回顾《科玛斯》
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So the Lady in the 1637 version of this poem, of this mask,is at an impasse.
所以在1637年版本的《面具》中，这位女士，陷入了僵局。
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At this original performance of the mask, the Lady's speech read by the Lady Alice Egerton, age fifteen, ended at line 779 in your text.
面具》最初的表演中，这位女士的演讲由15岁的爱丽丝，埃杰顿女士朗读，在你们书上的第779行结束。
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Now as I mentioned, the title of this piece was originally A Mask Presented at Ludlow Castle, and it seems actually to have been known by the reading public by this title for a good hundred years or so.
现在正如我提到的，这部作品的标题,最初是拉德洛城堡里上演的《面具》,它似乎已经在好几百年前,就因为这个标题被广大读者熟知了。
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While Milton wrote most of the mask in 1634, he published it in 1637, and it's at this point three years later that he seems to have inserted into the Lady's speech, and also elsewhere in the poem, certain lines for the published version.
弥尔顿在1634年写了《面具》的大部分，他于1637年出版，就是在三年后,他似乎在印刷版女士的演讲中，或者在诗篇的其他地方插入了一些行。
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But at some point in the eighteenth century, the mask seemed informally to acquire an alternative title, Comus, and it's as Comus that all readers since have almost always referred to the mask -- and this, of course, is a mistake.
但在18世纪的某个时候，《面具》似乎还有一个不太正式的名，《Comus》,因为《Comus》，后来读者都将它代指《面具》了,当然这是一个错误。
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In any case, the question of value and valuation is an important one in Comus, and it's important in part because the rhetoric of the mask is saturated in the economic, the commercial, and the financial imagery that we were looking at in the last lecture.
在任何情况下，价值和评价对于Comus来说很重要，这个很重要有部分原因是,面具里的语言充满了经济的，商业的，和金融比喻的，这都是上次课我们想要寻找的。
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