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Now it's not entirely clear that Milton has been successful in sufficiently vilifying Mammon's project of the excavation of riches.
现在尚不清楚弥尔顿是否成功地,有力地咒骂贪神挖掘财富的这一行径。
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Its difficulty lies in Milton's tendency in this poem to seek out what Dr. Johnson wonderfully calls remote allusions.
诗的难点在于弥尔顿想要在诗中极力追求,被约翰逊绝妙地称为不切实际的幻想的倾向。
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By the same token, what Iser is saying is that the space of meaning is "virtual" -this is the word he uses.
同样地，伊瑟尔说,含义所在的空间是“虚拟的“,他用的就是这个词。
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Something that takes two inputs, a left operant - and a right operant and it just returns a Boolean value is-- or rather it returns a left to right value.
它有两个输入，一个是左边的作用物,一个是右边的作用物，然后返回一个布尔值-,或者更确切地说，返回一个从左到右的值。
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What Tyrtaeus tells us very, very specifically how bad that is; it's bad.
提尔泰奥斯很明确地告诉我们,这是多么丢人的事情,这非常糟糕
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Milton seems to have dug around rather carefully in his copy of the Faerie Queene, and he's come up with this illusion.
弥尔顿似乎极其小心地模仿着《仙后》,且他出现了这样一种幻想。
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It's easy for us to say that it was Milton's memory that facilitated his grasp of the Christian and the classical traditions.
我们也可以轻易地说那是弥尔顿的记忆,使他对于基督教和经典传统的理解更为容易了。
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If the poem seems momentarily to suggest otherwise, that's simply Milton's way of reminding us of the extent of our fallen-ness.
如果这首诗暂时地看起来持相反态度，这只是这就是弥尔顿提醒我们,自身堕落的程度的特有方式。
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Read everything you can, Milton insists, because only then can you overcome what he thinks of and characterizes as the temptation of reading.
尽可能地阅读，弥尔顿坚持到，因为只有这样你才能抵抗他认为以及标榜为的,阅读对人产生的诱惑。
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Milton is alluding so unashamedly here to Spenser's Errour because, I think, on some level he wants to brand Spenserian allegory as an erroneous literary practice.
弥尔顿是如此厚颜无耻地引用斯潘塞的“错误“因为，在某种程度上他想标榜斯潘塞的寓言,是文学上的一个错误尝试。
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It's safe to say that Lycidas is one of the last poetic works of Milton's that's really consumed with his problem, the problem of fruitless anticipation.
谨慎的说，是弥尔顿最后的,切实地与他自身的问题有关的诗篇之一，他自身关于毫无成果的期望的问题。
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He claims to be studying and learning rather than producing right now; and there's a problem with just studying and learning, and it's a problem that Milton can't avoid.
他坚持学习而不是创作;,但这种单纯地学习存在一个问题，这是个弥尔顿无法回避的问题。
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This moment is also striking because Milton has lifted this entire scene of this interruption from somewhere else.
这一刻给人印象深刻,也在于弥尔顿从别处完完整整地,将这段打断的场景借鉴而来。
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And Milton's defense of controversy seems in a lot of ways continually to be slipping in to something like a defense of poetry, or certainly a defense of his own poetic practice.
弥尔顿对于论战的辩护似乎在某种程度上持续地,渐渐变为对诗歌的辩护，或是理所当然地变为对自己诗歌的尝试的辩护。
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I take this to be an undeniable fact, but this is easy for us to say - it's easy for us to say that it's Milton's memory which is the fount of so much of the poem's erudition.
我认为这是无可辩驳的，但我们可以轻易地说,我们可以说那是弥尔顿的记忆,作为了这部诗篇如此广博知识的源泉。
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In making this point, Milton has just made us, I think, almost utterly unwilling to effect this justice that he himself has called for.
在这个论点中，我认为弥尔顿让我们，几乎完全不情愿地影响了这个审判,这个他说需要的审判。
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People enjoy that in ways that Iser may not be fully acknowledging in this argument, but there's no question that it doesn't involve the violation of expectations.
人们很开心地看到，从某种程度上伊瑟尔可能,没有在他的论点中完全承认，但是毫无疑问,论点中并没有期望的违背。
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Now in order to illustrate the way in which what Iser calls virtual work gets done in this regard, let me just run through a few passages quickly.
现在，为了阐释,在这点上，伊瑟尔所说的虚功是怎样做的，下面我们来快速地浏览几段话。
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Milton's looking in at his own work from a distance, according to Coleridge and then Hartman.
据柯勒律治和哈特曼所言，弥尔顿是遥远地从外俯视自己的作品。
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There's a sense in which Milton will have to forget everything he's learned up to this point.
弥尔顿有意识地强迫自己,在这时忘记一切自己所学过的东西。
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The plot around the simile is glorifying the heroic Satan here, and Hartman ingeniously locates throughout a number of Milton's similes this same dynamic of a redemptive counter-plot.
这个比喻中的情节在这里美化了英雄主义的撒旦，哈特曼非常精明地在弥尔顿的大量比喻中,布置了同样的拯救性的反计。
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Well, Gadamer doesn't talk about this obviously, but it is an aspect of that prejudice that one might share with tradition if one weren't somewhat more critical than this gesture of sharing might indicate.
伽达默尔并没有明确地这样说，但一个人有可能有这样的偏见,如果他不对传统中的某些东西,加以批判。
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I don't know it positively. I'm about to give an example of this which I hope will flesh out what I'm trying to get across; let's look at a couple of passages in Saussure that may make the point.
不能主动地认识,更具体地举例来说;,我们来看看索绪尔是怎么论述这一点的。
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He wants to keep anticipating producing the great speech, ; which is exactly what the Lady has been doing; but on the other hand Milton's possessed of a competing desire to speak and to speak now -- to publish, to succeed, to consummate his talents.
他想要一直预先准备好伟大的演说，这也正是女士一直在做的;,但是另一方面，弥尔顿也有强烈矛盾地的欲望想要,演说--立即演说，想要出版，成功，最大程度发挥他的才能。
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The extent to which Milton succeeds in justifying such a God in Paradise Lost will be, of course, one of the questions that we will be exploring over the next couple of weeks. So You will read for Wednesday's class the first two books of Paradise Lost.
在失乐园中弥尔顿成功地证实了,这样一个上帝,扩展出了一个我们下几周要研究的一个问题,所以在周三前阅读失乐园的前两部。
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It's as if a gap has opened up, a gap between the official argument of and the rhetorical figures or the metaphors, Milton's elaborately construed language, which he uses to illustrate that argument.
这就像是一个鸿沟在专著中的正式论点,和运用修辞和比喻的部分之间打开了，弥尔顿精心地解释和分析他用来，阐述这个论点的语言。
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This is a simile that Stanley Fish brilliantly describes ; as central to a certain temporal procedure common in Milton's verse; Fish is interested in the temporal process of reading in general.
这被斯坦利费什独具匠心地形容为,弥尔顿诗中极为常见的时间步骤的核心;,费什对总体上这首诗的时间顺序非常感兴趣。
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So Milton will continually be saying in his prose tracts, "Oh! I just had an idea. Dear reader, before I go on, perhaps I should say something about myself. I need to explain something to you about where I'm coming from. You wonder who I am to tell you this?
所以弥尔顿会在他的散文中不停地说，“哦！我有一个主意，亲爱的读者，在我继续下去之前,也许我应该介绍下自己，我需要向你们,解释一下我从哪里来，你们会想我是谁呀？
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As you may well have gleaned from your reading, the first books of the poem are particularly absorbed with the idea of forgetting, because more than any other part of Paradise Lost they display so ostentatiously the remarkable scope of Milton's own memory.
可能你们从阅读中也已经得知，这部诗的第一册,尤其表现了“遗忘“这一理念，因为相对于《失乐园》的其他部分,它们如此夸耀地展示了,弥尔顿自身记忆范围的宽广。
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