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Now we can't neglect the first question here, which is at least for me: did Milton really believe this?
现在至少对我来说，我们不能忽略一个问题：,弥尔顿真的信这个吗？
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It shouldn't be difficult to see a kind of problem that is beginning to arise in Milton's text here.
这是一个很容易看出的问题,在弥尔顿的作品中也被提了出来。
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This of course brings us to the issue of "gaps" and the role that they play in the act of reading as Iser understands it.
这理所当然地把我们引到了“间隙“的问题上“,以及照伊瑟尔的理解,间隙在阅读中起到的作用。
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This is where Milton began to consider the problem of temptation that, of course, will become so important to Paradise Lost.
正是从这里弥尔顿开始思考诱惑的问题,当然，诱惑的问题在《失乐园》中变得十分重要。
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It only stands to reason, I think, that Milton would want to inscribe within this poem the problem posed by this extraordinarily compelling characterization of Satan.
理所当然，弥尔顿会想要在始终写明这个问题,关于撒旦过分引人注目的性格的问题。
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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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We have the god of poetry, Phoebus Apollo himself, who makes an appearance, and he chides Milton for being so concerned with earthly fame -- more on that later.
这里诗歌之神，科巴士·阿波罗，露面了，他责备弥尔顿,这么在意世俗的名声--下面再谈这个问题。
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What exactly that purgation will entail and why Milton's voice needs to be purged at all I think these questions are really the subject of the entire rest of the poem.
这种净化是很有必要的,弥尔顿的语言为什么需要被完全净化,我认为这个问题才是所有剩余诗歌,真正的主题。
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You just have to extend for a little bit this Pauline philosophy of freedom to the situation of the unfallen Eden of Adam and Eve to see a kind of logical trouble that Milton is getting himself in to.
你只是不得不扩展一点彼得的哲学,自由在亚当和夏娃永不坠落的失乐园的情况中,似乎有一点逻辑问题，弥尔顿把自己绕了进去。
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All right. Let's hope we can free our minds of these matters now and turn to something a little more substantive, which is the question--before we plunge in to Gadamer really: what is hermeneutics?
现在让我们把思想从这些事物中解放出来,转向更实质性的问题，在我们探讨伽达默尔之前：,曾提出这样一个问题：诠释学是什么？
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Both Guillory and Angus Fletcher are examining the troubled relation of Milton to one of his favorite poets.
无论是古伊洛还是安格斯弗莱彻,他们都在研究弥尔顿最爱的一首诗中和他相关的问题。
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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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So the first parable that we have to look at is the one that without question instilled the most anxiety in Milton, and that's the parable of the talents from Matthew 25.
我们要看的第一个寓言,毫无疑问,就是关于弥尔顿最为焦虑的，问题的马修25中关于天资的寓言。
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Now, Milton understands the problems besetting ; what we could think of as the poem's confused temporality; he understands this a lot better than we do.
现在，弥尔顿明白了我们,认为诗歌暂时性混乱问题的原因所在;,他比我们要明白的多。
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He gets to ask all of those questions that are most pressing to him, John Milton.
在诗中弥尔顿得以问那些,最困扰着他的问题。
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No sooner has the speaker asked this question -- and you see this rhythm, this dynamic, appear continually throughout Lycidas - he asks the question, and then immediately he acknowledges the inadequacy of the question.
刚问完这个问题--这种节奏，这种动态是贯穿《利西达斯》始终的,-刚问完这个问题，弥尔顿又立即承认了,这个问题是不适当的。
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In some ways I think that that's because the poem Lycidas seems in some ways to solve the problem of Milton's waiting, this problem that he has of needing to wait.
就某些方面而言，我认为是因为,看起来以某种方式解决了弥尔顿耽搁多时，却又的确有等待的必要的问题。
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I suggested just a minute ago that one of the relevant stories that is always lying behind Milton's discussion of human choice is the story from the Book of Genesis about Adam and Eve's choice to eat the forbidden fruit.
我一分钟前刚说过一个相关的故事,总是藏在弥尔顿对人类选择权问题的探讨背后,是《创世纪》中,亚当和夏娃选择偷吃禁果。
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The question of providential justice is of course of primary significance to Milton's poem, but Hartman goes on to say that the moon, which reminds us of a calm and perfect sense of Providence, also works to guarantee the principal of free will.
这里，关于天佑的公平的问题,是其对于弥尔顿的诗最基本的重要性，但是哈特曼接着又说月亮是，这提醒了我们天意的冷静和完美感，月亮在这儿也是为了保障自由意志的原则。
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It's in response to what seems to have been an aesthetic reaction to the poem that the printer of Paradise Lost asked Milton, went back to Milton and asked him to append a note to the book's second printing -- to append a note that explains why the poem rhymes not.
这是弥尔顿对《失乐园》的出版商的答复,出版商问弥尔顿关于此诗的美学问题，他找到弥尔顿，让他给此诗的第二次印刷附一个,注解--附个注解解释这诗为什么不押韵。
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Milton was always wrestling with the problem of vocation in all of its meanings, and the problem of what a calling actually is and how one actually knows one has a calling is a problem that pulsates somewhere beneath most of the lines of poetry that Milton writes.
弥尔顿经常纠结于这两个,含义，以及到底什么是神的招唤,还有人们是怎么知道他被召唤了,这些问题反复出现在,弥尔顿的诗句中。
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We'll be doing this in one week, and the disjunction between the two works, this disjunction at least with respect to their treatment of the Fall, should dramatize the nature, or just the enormity, of a lot of the conceptual problems and conflicts that Milton is tackling here.
我们在一周内都会来做这个工作，将这两部著作分离开来，这种分离至少要尊重他们对秋天不同的理解，应该将自然戏剧化，还是只是极恶,弥尔顿在这里应对的很多观念上的问题和冲突。
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It goes without saying that these are questions that it's impossible for us to try to answer certainly now, but Milton lets us know later in Paradise Lost that Satan was wrong to embark on his dangerous deconstruction of divine power.
毫无疑问，这些问题,我们现在无法给出确切回答，但弥尔顿后来在《失乐园》中告诉我们，撒旦,想要毁灭神权力量的危险行动是错误的。
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