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Milton shows unusually little interest in the miraculousness of the conception or anything like the domestic details of the manger scene.
不同寻常的是，弥尔顿没有太对,怀孕这一奇迹或其他的事情感兴趣,像马槽这个内在的细节。
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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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But it's a difficult claim because even as Milton makes this claim, he manages to undermine its force.
但这是困难的，因为即便是弥尔顿做出了这一宣告，他也打算降低它所蕴含的威力。
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Now, in writing in these genres, Milton is, of course, confronted with a dilemma. He's a humanist scholar.
当然，弥尔顿用这种风格来写，就会面临一种窘境，他是一位人文主义学者。
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But Milton was also beginning to develop in this period a much more strict, a much more disciplined religious temperament.
但弥尔顿这时也开始发展一种更严格，更符合一定规则的宗教性文字。
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It's a perfectly reasonable sentiment to include in an example of the particular genre that Milton is writing his mask in.
弥尔顿在他的《面具》,这一特别的流派中包含这个例子,是完全合理的。
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So this passage is extreme and Milton's poem, wonderfully, is perfectly able to identify it as such.
因此这一段诗句是很偏激的，而弥尔顿的诗恰好能够完美的辨认出这个。
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It's an important one for Milton, and it's important because it touches on a lot of more consequential questions.
这是弥尔顿的一段重要思考，因为,因为它涉及到了很多更具深远重要性的问题。
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For Milton then, at least at that point in his career, his literary career, such a trip without a guide may well have seemed unthinkable.
对于弥尔顿，至少这一点在他的文学职业生涯中,这一趟没有向导指引的旅途是无法想象的。
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Professor John Rogers: Milton is typically cited by literary historians as one of the first major English poets to praise in verse the institution of marriage.
约翰·罗格斯教授：文学家们说弥尔顿,是英国早期诗人中,赞美婚姻制度的一员。
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It's juicy evidence that provides for Milton's intense fondness for - we might even think of it as a passion for - this earlier English poet.
它用大量的证据表明了弥尔顿,-我们可以视其为一种激情,对于早期英文诗歌的热爱。
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You get an image of Milton here twitching his blue mantle, his cape over his shoulder, and dusting his hands and letting us know that that's over.
从中你们可以看到一幅弥尔顿撕扯着丝巾的图象，他的斗篷搭在肩上，拍了拍手，好让我们知道都结束了。
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I think there's a connection here between the image from the commonplace book and the treatment in Milton's mask of this strangely conjoint phenomenon of virginity and speechlessness.
我认为,笔记书中的形象,和弥尔顿《面具》中有关童贞和无语这一共同现象,是有联系的。
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Up until this period, the early 1650s, Milton was a devoted contributor to the ideal Puritan notion of this government, and it was really the height of his political idealism.
直到这一时期，17世纪50年代早期，弥尔顿还忠诚,的拥护这一清教徒政府的理想化理念，这是他的政治理想主义的顶峰。
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Milton wants to create the illusion that he's predicting, or that he's prophesying, the actions recounted in the poem, as if Milton were prophesying what of course we know to be already past.
弥尔顿想给我们一种他在预言，诗中所叙之事的感觉，似乎他是在预言这些我们都知道已经发生了的事情。
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This is decidedly the last of all the funeral mourners, and Peter provides Milton's poem with an important element of finality, of closure.
毫无疑问这是最后一名哀悼者，彼得给弥尔顿的诗带来了一种重要的终局性，最终章的结尾。
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In 1928, and this is the next quotation on the handout, Milton has come to represent for Virginia Woolf a very different type of cultural force.
在1928年，这是讲义中的下一条引语，弥尔顿对佛吉尼亚·伍尔夫又成了,一种不同类型的文化力量的代表。
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Milton has just been entertaining the glorious moment of the apocalypse at the end of time because he's always looking further and further and further ahead.
弥尔顿刚要享受,基督启示最后这一辉煌的时刻,因为他总是不断努力朝前看。
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We might be able to understand some of the weird, anxious energy behind this stanza if we think of the phrase that Milton uses here: the phrase "Infant God."
如果我们想一下这些句子，也许能够明白，这一段中古怪和焦急的心情,弥尔顿在这用到“圣婴“这个词语“
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We're being asked to accept the fiction that Milton is having this very poem laid at the blessed feet of the infant Christ.
它想让我们接受这一幻景,幻景中弥尔顿正把这首诗,谦虚的在上帝圣洁的脚下安放。
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We know, of course, that Adam and Eve are going to eat the stupid fruit; but Milton is developing a style that works to resist our drive to get to the end of the story.
我们知道亚当夏娃会吃掉那愚蠢的果子;,但弥尔顿创造了一种体式,抗拒我们想要读到故事结局的冲动。
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Milton had begun the sentence not with calm, prophetic certainty about his divine vocation. He began it with a far more secular set of images, a set of images that comes from the world of business.
弥尔顿并不是以一种先知对他天职，的冷静确信开始写的，他以,更世俗的比喻开始,生意上的比喻。
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The position that Milton -- this is how I like to read it - the position that Milton would like to be able to take on this question of virtue's reward is formulated by the Elder Brother in Comus.
弥尔顿的立场--我下面要读,-弥尔顿关于贞操的报偿这一问题的立场,通过《科玛斯》中的哥哥这一角色表达出来。
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And if we wish to continue this analogy, and I certainly do, between the poet Milton and the virgin Lady, we can see that this is a release that John Milton the poet has been waiting some time for.
如果我们希望继续这个弥尔顿的诗与小姐贞操的类比，我肯定会，我们可以看到,这是弥尔顿的诗等了很久的一种解脱。
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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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She represents a power that might enable Milton to warble a right or proper song.
她象征着一种力量,也许那种力量可以让弥尔顿也婉转的唱出一首恰如其分的歌。
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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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It's as if Milton is saying, "Look at me. I may be a poet. I may actually -I'm simply writing a pastoral poem, but I'm actually doing something in the world.
正如弥尔顿所说的，“看着我，我或许是一名诗人“,或许只是写着一首诗，但我的确在做着一些事。
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It also provides Milton with the figure of Mammon who will, as you will see over the course of this semester become - well, here in Paradise Lost he's one of the key fallen angels in Milton's hell.
它也为弥尔顿提供了贪欲之神这一形象，正如在本学期这一门课中你们将始终看到的，贪欲之神,在《失乐园》中会变成,弥尔顿地狱中主要的堕落天使之一。
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