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Milton surveys the wealth of literary tradition before him, and he resists its allure without the help of any human guide.
弥尔顿在他之前就调查过文学传统的宝藏，他在没有人帮助的情况下抗拒了这一诱惑。
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The passage is also famous because in it Milton does something that he almost never does. Milton has made a mistake.
这篇文章有名也是因为弥尔顿做了一些,他几乎从未做过的事，弥尔顿犯了一个错误。
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She represents a power that might enable Milton perhaps someday actually to fulfill, to consummate his much-anticipated poetic promise.
她象征着一种力量,也许有一天那力量可以，使弥尔顿圆满完成他那备受期待的理想诺言。
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In the second verse paragraph, Milton tells his father: "do not despise divine poetry, creation of the prophetic bard.
在诗的第二段，弥尔顿对他父亲说：,不要轻视神圣的诗歌，诗人预示性的创作。
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What may be most important here is the mere fact that Milton is expressing these political convictions at all.
这里最重要的不过是,弥尔顿只是在表达他的政治信念。
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So we have this anonymous attacker who dismisses Milton's earlier political treatises, especially The Reason of Church Government and other early works.
所以我们有这个匿名的抨击者,他否定了弥尔顿早期的政治论文，特别是《教会当局的原因》和其他早期作品。
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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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And it's this rhetoric of anticipation, this language of looking forward, that structures all of Milton's own narratives about his own literary career.
正是这种预期修辞学，这种期待的文字，构建了所有弥尔顿的自述,和他自己的文学事业。
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It wasn't until 1645 at the age of thirty-six or thirty-seven that Milton would publish his first volume of poems, which he titled simply Poems.
直到1645年他36或37时,弥尔顿才出版了第一部诗集，就叫《弥尔顿十四行诗集》
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Milton himself, and this seems to be true, is said to have had one of the most capacious, one of the largest memories in English letters.
这似乎是真的，弥尔顿他自己，据传拥有对英文字词数一数二，的超大容量记忆。
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Milton will only use the word career once in his poetic oeuvre and it comes -- it will come pretty soon, actually, in Sonnet Number Seven.
弥尔顿在他的全部诗歌作品中只用过一次事业这个词,我们马上就会看到，在十四行诗的第七行。
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So in "At a Solemn Music" and in the poem "Arcades," Milton turns to what he considered to be the greatest song of all: the music of the heavenly spheres.
所以在“在庄严的音乐“和诗歌的“商场“中“,弥尔顿指出了他认为的最美妙的音乐：,天体音乐。
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God is in control of the universe and if the poem seems -not that Stanley Fish believes in God, but nonetheless his Milton certainly does -God is in control of the universe.
上帝掌控着整个世界，如果这首诗看起来,-并不是费什信仰上帝，不过他的弥尔顿的确是,-上帝控制着整个世界。
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Milton's subject in his first English poem is -- we can guess it it's his future literary career.
弥尔顿在他的第一首英语诗歌里的主题，我们可以猜一下,是他将来的文学事业。
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If Milton's true muse, or so he hopes or so he wants us to believe, has a Christian origin, then this counter-muse is unquestionably classical.
如果弥尔顿他望或想要我们相信，他真正的缪斯女神，有一个基督教的原型，那么这位与缪斯女神相对的人物毫无疑问是经典的。
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You can learn a lot by comparing Milton's poem to those of so many of his contemporaries.
通过把弥尔顿的诗与他的很多同时代人的诗比较,你能学到很多东西。
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Milton has mastered his poetic touch, perhaps because Milton himself has been touched.
弥尔顿已经掌握了他的诗意触感，或许是因为他自己曾被触动过。
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For Hartman, the Miltonic simile actually permits the reader something like the perspective of eternity, a divine perspective, and of course, this is exactly what Stanley Fish had told us was impossible.
对他而言，弥尔顿式的比喻实际上使得读者能够,得知一些类似于永恒的透视，一个神圣的看法，当然，这是据费什所有，不可能的事情。
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Milton is adamant throughout the epic in his insistent imagining Adam and Eve quite specifically as a married couple - and a married couple -- and this is important to Milton -- a married couple with an active sex life.
弥尔顿在他的叙事诗中坚定不移的认为,作为已婚的夫妇，亚当和夏娃,已婚的夫妇--这一点对弥尔顿来说很重要-,有频繁性生活的夫妇。
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And so when the figure of Orpheus appears in this poem, it's the second half of the Orpheus story that Milton is forced to tell.
因此当俄耳甫斯的形象出现在这首诗中时，弥尔顿要讲的是他生平的后一段。
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Milton shows us he's fully escaped from the repetitiveness of the "yet once more"-beginning.
弥尔顿向我们展示他已经完全逃脱了,“然而再一次“的开头多次的重复。
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In a little scene from the early English history that Milton had selected from his reading, you have an image of silencing, of a horrifying and unredeemable speechlessness that is so closely connected to virginity.
早期英国文学中的一个小场景,那是弥尔顿从他的阅读中选出的，你们，对于可怕的不可挽回的哑口无言有种寂静感,这与童贞紧密相连。
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What seems so obvious, at least to me here in reading Lycidas, is that at this point in 1637 there's a stumbling block or a hurdle that Milton in his race simply can't get over.
在我读的过程中，显而易见的是，是在1637年时弥尔顿在他的职业生涯里,有一道无论如何也过不去的坎。
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It's reasonable, I think, to invoke Dr. Johnson here, Samuel Johnson, who writes in his Life of Milton that Milton's unskillful allegory appears to be one of the greatest faults of the poem.
我认为在这引用塞缪尔·约翰逊的话是很合理的，他一生都在写关于弥尔顿的文章,他指出弥尔顿不熟练的寓言成为了这部诗的大败笔之一。
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Milton continues his defense of what he calls the poet's task.
弥尔顿继续为他所谓的诗人任务做辩护。
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This is the argument: Milton's pursuing his learning.
这是他的理由：弥尔顿正在继续他的学习。
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Finally, John Milton leaves his father's house.
最终，弥尔顿离开了他父亲的家。
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Like Milton, he wrote verses.
像弥尔顿一样，他也写诗。
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pastor The word pastoral comes from the Latin pastor, which literally means "shepherd," and Milton knew perfectly well how artificial his use of the pastoral mode of poetry would seem as well as how out of fashion, how completely outdated, it would seem.
这个词来源于拉丁语中的，字面上表示“牧羊人“,弥尔顿非常清楚他对这种田园诗的运用,看起来有多么的不自然，过时，多么的落伍。
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