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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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I have a daughter. So there's a lot of little parks for children, a lot of things for adults.
我有一个女儿。那里有很多小小的儿童乐园，也有许多成人玩的东西。
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There are some important signs, I think, especially in the first two books of Paradise Lost of what we can think of as Milton's - it's a literary fantasy, a literary fantasy of forgetfulness.
我认为有一些重要的迹象，尤其是在,《失乐园》的前两册书中,从那里我们可以思考弥尔顿之所想,这是一次对于遗忘的文学幻想。
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It is my favorite place. It's my Disneyland.
这是我最喜欢的地方。它就是我的迪士尼乐园。
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This is what I'll be proposing over the course of this lecture: that memory is a problem that Paradise Lost is continually confronting.
这就是我在这堂课上准备谈论的：,即记忆是《失乐园》这部作品始终要对抗的东西。
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I don't know who came up with this statistic but I love it: nearly three out of every five lines in Paradise Lost are enjambed - they embrace the practice of enjambment. The meaning or the sense of a verse paragraph is diffused throughout a series of lines.
不知道是谁得出这个数字，但我很喜欢：,《失乐园》中将近五分之三的诗句是连结的,-它们全都连结在一起，一段诗的意思或感觉,贯穿在这段诗的一系列诗句当中。
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She's alluding here, I think, to one of the most famous passages in Paradise Lost in which Milton is asserting nothing other than his poetic power.
我认为，她这里是在暗指，《失乐园》最著名的篇章之一,在这篇章中弥尔顿仅仅是在展示他诗句的力量。
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I think that Milton intends for us to think of the verse in Paradise Lost as he wanted us to think of books in Areopagitica: the lines of Milton's poetry are not absolutely dead things, but they do contain within them a potency of life.
弥尔顿在《论出版自由中》让我们把书看作是肉体,我想他也想让我们这样看待《失乐园》的诗句：,弥尔顿的诗句不是毫无生气的，它们蕴含着生命的潜质。
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And I can only assume that that is precisely the point, that Milton would -- later in 1667 when Paradise Lost is published, he would make his poem canonical just like The Iliad and just like The Odyssey and The Aeneid before anyone had actually read it.
我只能假设就是为了这点，当他在1667年出版《失乐园》后，弥尔顿会遵照《伊利亚特》的模式来创作诗歌,还有《奥德赛》和《埃涅阿斯纪》,在这之前人们还没有真正的读过这些书。
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