Milton uses for his source for the character Sabrina another character named Sabrina from Spenser's The Faerie Queene.

弥尔顿将Sabrina这一角色用作他的资源,另一个Sabrina是斯宾塞《仙后》中的。

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The power of verse has everything to do with the power wielded by Sabrina to save the Lady from her paralysis.

诗篇的力量与Sabrina试图将女士,从僵局中解救出来所运用的力量密切相关。

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Think of the delicate, really beautiful sensuality here in Sabrina's speech. I don't think we were expecting this.

想一想Sabrina演说中柔美的淫欲,我想这不是我们所期望的。

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In touching the Lady's fingertip, it's as if Sabrina were awakening for the first time the Lady's sense of touch.

碰触着女士的指尖，Sabrina似乎在,头一次唤醒女士的触觉。

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And you can see in the song that Sabrina sings something of the mechanism, perhaps, by which this transition is effected. Look at line 897.

你们也可以在Sabrina唱的那首歌中看出,由转变引起的，一些办法，看第897行。

耶鲁公开课 - 弥尔顿课程节选

I don't want to suggest that Sabrina's work is purely erotic here.

我不想说Sabrina的做法就是纯粹的性欲的。

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The fact that Sabrina, this little character here, has her origin in Spenser is important.

实际上Sabrina，这个小角色，来自斯宾塞是很重要的。

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When Comus is first performed, Milton's poetry hasn't yet been printed, but it's almost as if Sabrina seems to have died printless or unpublished so that Milton wouldn't have to.

当科玛斯首先完成后，弥尔顿的诗篇还没有印刷，但是,就像Sabrina要不留痕迹的死去或出版,所以弥尔顿不会那么做。

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