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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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And then there's the possibility of romance with someone she meets there.
然后，她偶然和一个遇到的人开始了浪漫的恋情。
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It is not to be found in Miss Jessie Weston's book on ritual and romance.
在韦斯顿的书仪式和传奇里也找不到。
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They are steeped in the entire literary tradition of the underworld journey that stretches from The Odyssey of Homer up through Virgil's Aeneid, and of course up through all of the Renaissance romance epics.
它们被浸泡在整套文学传统中,穿越了从荷马的《奥德赛》上升到,维吉尔的《埃涅阿斯纪》的地下之旅，当然它也经历了所有文艺复兴时期的浪漫史诗。
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it's a tool from romance quest.
是追求浪漫的工具。
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That's romance. That's romantic love.
这就是浪漫，浪漫式爱情。
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Merritt Hughes usefully notes this in one of the notes at the bottom of the page, that Milton in that line, "things unattempted yet in Prose or Rhyme," Milton's actually alluding to the opening of another romance epic.
梅里特修斯发现,在这页最下面有一条笔记，显示弥尔顿写到，“在《散文和韵律》中都未被人们尝试过的事“,事实上弥尔顿是暗指另一部浪漫史诗的开头。
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It's a Hollywood romance.
好莱坞式的爱情。
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You've probably heard the phrase "Birds of a feather flock together" and that's true when it comes to romance.
你们可能听过一个成语,物以类聚，人以群分“,恋爱还真是这样。
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Now given this, the romance frame of Milton's Comus, - we're not surprised actually to see -- even though we don't see at the end her actually getting married, we're not surprised to see the Lady in this speech embracing the form of chastity that promises something like an eventual turn to marriage.
这样看来，弥尔顿《科玛斯》的传奇结构，我们实际上并不诧异看到-,虽然我们没有看到她最终结婚了，我们看到这个演说的女士,拥护承诺像是最终转向婚姻的贞节时,并不感到诧异。
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It's best if you don't know what that is or even if you do mistakenly attribute it, misattribute it, to physical attraction, romance, intimacy, passion and commitment, it's love.
最好是如果你不知道是什么,甚至如果你错误认定，以为是生理吸引力，浪漫，亲密，激情和承诺，那是爱情。
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