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Shining treasures filled the tomb, including a solid gold mask of Tutankhamen's face.
VOA: special.2009.12.15
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So in this guise with the mask of Saint Peter on he's -- Milton's -able to be both poet and minister.
因此在圣彼得的面具掩盖下,弥尔顿能够身兼诗人和牧师的双重职责。
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I think there's a connection here between the image from the commonplace book and the treatment in Milton's mask of this strangely conjoint phenomenon of virginity and speechlessness.
我认为,笔记书中的形象,和弥尔顿《面具》中有关童贞和无语这一共同现象,是有联系的。
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But study author Kristine Funk, the Kaiser Permanente Center for Health Research says those averages mask significant differences within the group of website users.
VOA: standard.2010.07.30
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It's as if Nabokov allows us to see the mask of literature, to actually see it there palpably doing its work, so we can become self-aware of how we respond.
就好像Naboko让我们看到了文学的面具，让我们看到了它的功能，所以我们对自己的回应有感知了。
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One newspaper vendor is one of the people wearing a mask.
VOA: standard.2009.04.30
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Remember the rubber band on the back of that mask?
还记得面具后面的橡皮筋不？
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Anyway, if you imagine sort of putting on a modern football helmet, with that mask in front of you, you would begin to get an idea, only begin to get an idea of what it was like to have that bronze helmet on your head.
总之,如果你戴着一个现代橄榄球头盔,前面还有面具,你就能稍微体会一下那种感觉了,但这还是跟铜质头盔的感觉,相去甚远的
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The heroine of the mask, as you know, doesn't seem to have a Christian name. She's not Britney or Lindsay.
你们也知道《面具》里的女主角，似乎没有教名，她不是布兰妮或林赛。
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I think that the entry could be seen as in some way helpful for our understanding of this poem, the Mask.
我觉得这个条目某种程度上来说,对我们理解《面具》这首诗是有帮助的。
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We have no choice but to understand that Milton's mask is serious business The whole production is one of the utmost seriousness.
我们没有选择只能理解《面具》是件很严肃的事,整个演出都是很严肃的事情。
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And I'm going to ask you to think of all of the images here, the figurations of listening and hearing in the mask.
我叫你们想象下这场景，《面具》里听觉和视觉的轮廓。
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He had just come from writing the music for a number of masks by the celebrated playwright and mask-writer Ben Johnson.
他刚刚为著名的剧作家和面具作者本约翰,写的《面具》作了很多曲。
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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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But first we need to establish a few things about the occasion for this piece and about the genre, the literary genre of the mask in general.
但首先我们必须建立一些,关于此作品与流派，一般文学体裁《面具》的场合。
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Now you will remember that the mask Comus was everywhere well, the strangely intertwined questions of the power of chastity on the one hand and the power of poetry on the other.
你们应该记得，面具戏《科玛斯》处处都,一方面是贞洁的力量，一方面是诗歌的力量,这两股奇特的纠缠在一起的力量。
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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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The Elder Brother has obviously upped the ante in the mask's overvaluation of virginity.
很显然,大哥提高了面具中高估贞操的赌注。
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It seems that Lawes himself actually played the role of the attendant spirit, that beneficent, slightly frightening figure who hovers over the entire landscape of the mask.
看起来好像,劳斯自己扮演了跟班精神，那善行微妙地,让那些参与《面具》创作的人员产生了恐惧。
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I think we could make some estimation of its significance if we juxtapose it with Comus since The Mask attempts to tackle, in a much more expanded form, so many of the same issues.
我认为我们可以评估一下它的重要意义,如果我们将它与《科玛斯》并列，因为《面具》试图，以扩大许多的形式去处理许多相同的事件。
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And so in the case of A Mask here, it's the Lord John Egerton, the Earl of Bridgewater who commissioned Milton to write a piece honoring his own inauguration in his new role as the Lord President of Wales.
所以在《面具》这个例子中，是贵族约翰埃杰顿，布里奇沃特伯爵,指派弥尔顿去写一篇文章,来歌颂他掌管威尔士的就职典礼的。
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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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The two brothers in the mask engaged in that philosophical debate about the force, or the strength, of virginity.
戏中的两兄弟曾为,贞洁的力量这一哲学问题争论过。
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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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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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it's too easy but it's also too delicious to take this little biographical fact of Milton's college nickname and use it in some way as a tool for reading A Mask.
这简单却有趣,把弥尔顿大学时的昵称记事,利用并作为一种工具去阅读《面具》
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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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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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It's one of the interesting and curious features of the Protestant mask, Comus,that this is a distinction that's never really observed or acknowledged. Virginity and chastity seem to be used often and kind of awkwardly, I think, interchangeably.
这是新教徒面具里一种有趣而不寻常的特征，《科玛斯》，这是一种永远,不会被发现或是承认的区别，我觉得童贞和贞节,似乎经常被笨拙的互换使用。
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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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