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U.S.authorities say Nabhan was involved in the 2002 bombing of the Israeli-owned Paradise Hotel that killed 13 people in the Kenyan port city of Mombassa.
VOA: standard.2009.09.15
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This is a little paradise, a paradise on the verge of being lost as the shades lose their leaves.
这是一个微小的天堂，一个随着叶子的凋落,即将失去的天堂。
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Now you also may remember that we have already run into Spenser's Mammon before this point, before Paradise Lost.
现在你们可能也记得我们已经,在遇到《失乐园》之前就与斯潘塞的贪欲之神相遇了。
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For many years, adventure writer Peter Heller had nurtured a secret dream: to drop everything and go off to a tropical paradise and learn how to surf.
VOA: standard.2010.08.04
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He says in another moment, "I was Mexican." He's always trying to be more exotic than himself, than simple Sal Paradise.
在另一个时刻他说过：“我是墨西哥人“，他总是在,设法让自己变得更具有异国情调，而不做那个简单的萨尔。
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Innocent was the same as ignorant because knowledge gets in the way of their innocence and they have solitude,living in paradise.
或说愚昧无知,因为知识使人不再清白,他们在天堂里感到了孤独
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Leviathan is to prose what Milton's Paradise Lost is to epic poetry.
利维坦》之于散文,就像弥尔顿的《失乐园》之于史诗。
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But one of Milton's projects in Paradise Lost is to effect his forgetting of all of his literary precursors.
但是弥尔顿在《失乐园》中的一个计划是,让自己忘记所有文学前辈。
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It's in relation to all of these forms of lateness that we can best understand the opening invocation of Paradise Lost.
带着所有这些“晚“,我们才能很好的理解《失乐园》的开头。
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Harold Bloom has written, and I think he's absolutely right, that Milton begins Paradise Lost with a powerful defense against lateness.
哈罗德·布卢姆写道，我认为他说得对极了，他说弥尔顿,在《失乐园》的开头对这些“晚“进行了有力的辩护。
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So, this is Chad King talking to Sal Paradise: A quavering twang comes out when he speaks.
以下是乍得王对萨尔·佩拉提斯说的：,他说话时带一阵颤动的鼻音。
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Galileo is the only contemporary personage, the only seventeenth-century figure, even so much as mentioned in Paradise Lost.
伽利略是唯一的一个当代人物，唯一的一个17世纪的人物，甚至在里也提到了这点。
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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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Hartman describes Milton's tendency in Paradise Lost, and he takes this term from Coleridge: the tendency to stand ab extra, to stand from outside.
哈特曼描述了弥尔顿在中的写作趋向，并且从柯勒律治那里借用了这个习语：,由外而内俯视自身的趋势。
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So, this is my question to you: how complete and perfect is the image of Providence that hovers moonlike over the pages of Paradise Lost?
因此，我的问题是：，这里如月亮一般,在的字里行间反复出现的天意的形象,到底是有多么的完整和美好？
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You'll find Eve in Book Nine of Paradise Lost voicing essentially this same sentiment when she's explaining to Adam why she needs to work separately.
你会在失乐园第十部看到夏娃说出了实际上是,同样的意见，当她向亚当解释,她需要和他分开工作的时候。
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At this point it's wonderful: Samson begins to echo Milton from the invocation that we've been looking at, the invocation to Book Three of Paradise Lost.
这里很奇妙：,参孙开始附和弥尔顿的祈求,我们刚才看到的失乐园第三卷中的祈求。
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Hartman's absolutely right to insist that no theological concept is as important to Paradise Lost as free will on the one hand and divine providence on the other.
哈特曼有绝对的权利坚持说任何神学的概念,在中的意义都不足与匹敌自由意志的重要性,也不足以和神圣的天命相比。
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Now it has to be said that Mary Astell's image of Milton is probably the product of a much closer reading of Paradise Lost than Lady Mary Chudleigh's was.
不得不说，玛丽·阿斯苔对弥尔顿有如此印象,很可能是因为她对《失乐园》的解读,比玛丽·恰德莱夫人的更加细致。
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This is one of the primary strategies that Milton develops, especially in the first two books of Paradise Lost, as a kind of defense against his dependence on classical literature.
这是弥尔顿发展出的早期策略之一，尤其是在《失乐园》的前两册书中,这似乎是在反驳他对古典文学的依赖。
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So, there's a kind of lost paradise of European culture which he can't get back, even with this spectacular effort in English.
所以，这就是他不能再重新体验的,欧洲文化的失乐园，尽管在英语上做了惊人的努力。
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And it may well be that no poem has ever been since Paradise Lost published with line numbers in its very first edition.
只有《失乐园》首次印刷的时候把行数印上,之后的诗歌都没被这么出版过。
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That's a moral reading of Paradise Lost that I've just given you; but of course, it's only a partial one because we haven't gone further enough.
这是我告诉你们的一种从道德上看待的方法;,不过当然，这只是其中的一部分,鉴于我们还不够深入。
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At times when we read Paradise Lost it seems almost as if Satan were quoting or alluding to Comus.
有时当我们读《失乐园》时,就好像看到Satan在引用Comus的话或影射他。
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Now we know that Milton was blind probably well before the time he began writing Paradise Lost, and therefore, of course, he was then unable to read.
现在我们知道弥尔顿很可能失明了,这早于他开始写《失乐园》的时间，因此，他不能通过眼睛阅读。
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Let's look at the first appearance of Mammon in Paradise Lost.
请看在《失乐园》中贪欲之神第一次出现的地方。
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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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It also provides Milton with the figure of Mammon who will, as you will see over the course of this semester become - well, here in Paradise Lost he's one of the key fallen angels in Milton's hell.
它也为弥尔顿提供了贪欲之神这一形象，正如在本学期这一门课中你们将始终看到的，贪欲之神,在《失乐园》中会变成,弥尔顿地狱中主要的堕落天使之一。
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Now, one of the earliest -- and I think this is a remarkable fact - one of the earliest citations of Paradise Lost that actually appears in print in the seventeenth century comes from the proto-feminist writer Lady Mary Chudleigh.
最早的--我认为这很重要,-17世纪最早的以印刷形式出现的,对《失乐园》的引用,来自于原型女性主义作家玛丽·恰德莱夫人。
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Paradise Lost will be filled with the activity of eating.
失乐园里都是吃的活动。
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