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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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And the figure of the poetic rewards for chastity continues to surface throughout Milton's early works.
同时，因为操守贞洁而受到诗意赞美的人,贯穿了弥尔顿的早期作品。
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We don't even know where it is we're supposed to be looking from, and the choice between Fesole and Valdarno that Milton gives the reader is crucial here.
我们甚至不知道是否应该从此处着眼，而弥尔顿向读者提出的，菲索尔和瓦达诺之间的抉择,在这儿是至关重要的。
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When Milton met him, Galileo would have been old and blind, not unimportant to the later Milton, and Galileo was under house arrest at his home in Fiesole.
当弥尔顿遇见他是，伽利略已经又老又瞎，而这点对后来的弥尔顿至关重要，伽利略当时被软禁在他菲索尔的家中。
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How troubling though -- this seems undeniable -- and how strange that Woolf really at her most radical is echoing the very words of the power that she's opposing!
多么让人不解--但这又是不可否认的--多么奇怪,伍尔夫在她最激进的言论中附和弥尔顿的字字句句,而弥尔顿的力量正是她所反对的！
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As you know, in classical literature the dead are referred to as shades, but here in Milton's simile "shades" merely means "shade trees."
在古典文学里，逝者常被用树荫来指代，而在这里弥尔顿的比喻“树荫“仅表示“叶绿成荫的树“
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His contemporaries are doing a kind of thing with their representation of the birth of Christ that Milton seems carefully to have avoided.
他的同龄人都在描述基督的诞生,而这正是弥尔顿极力避免的。
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And I think it's impossible not to see that when Milton substitutes the virtue charity with the far more circumscribed ideal of chastity.
而我认为当弥尔顿把更加局限的贞操去代替局限的仁爱时,这不可能读不出来,虽然贞洁更加局限。
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In the works that Milton is going to be publishing now with greater and greater frequency, it's this Spenserian ideal of marriage that will be the new and, believe me, the endlessly complex Miltonic subject.
在弥尔顿准备出版的作品中,越来越常出现的，是斯宾塞式的婚姻理想，那将是崭新的，相信我，也是无尽而复杂的弥尔顿风格的题材。
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just like the line numbers in any modern edition of Milton that's been produced for the likes of you, for the consumption of college English majors.
跟现在版本的弥尔顿诗歌标有行数一样,这是为像你们这样喜欢弥尔顿的人而印上的，还有大学里英语系的学生们。
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Alice is fifteen years old at the time, not an entirely unreasonable age for an actress or an amateur actress playing the maidenly but strong-headed Lady of Milton's mask.
当时爱丽丝，15岁，她的年龄完全不适合演弥尔顿所描绘的,沉稳而意志坚强的小姐。
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Feet, of course, has a lot of meanings, and Milton's poetic feet, the material of the verse written in six and eight and ten syllables in this poem, are also in 1634 printless -- they're unpublished.
双脚，当然有很多意义，而弥尔顿富有诗意的双脚,这首六，八，十音节的诗，在1634年也是不留痕迹的--因为那时候还没有出版。
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Milton has just returned home after seven years at the university, a university education so generously financed by his father who was actually now 70 years old, and John Milton, Jr.
弥尔顿在7年的大学学习结束之后回到家中，他父亲如此慷慨的资助他完成了学业,而此时弥尔顿的父亲已经70岁了。
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Milton had borrowed this claim for an absolute originality.
弥尔顿为了追求极致的创新而借用了这一说法。
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Milton may well blush at this extraordinary confession.
弥尔顿很可能会为这大胆的坦白而脸红。
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Milton actually wrote that it was the duty, not just the right but the duty, of a nation to rise up and dethrone through execution an unjust, though legitimate, king.
弥尔顿实际上写道，站起来通过处决而废黜，一个尽管合法却不公正的国王是一个国家的义务,不仅仅是权利，而且还是义务。
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And it's important to remember that Milton will - this is probably an invariable truth, but I'll qualify it nonetheless - that Milton will typically imitate his predecessors only with a difference.
重要的是我们要记住弥尔顿将,这应是无可否认的事实，但我还是要验证一下,弥尔顿通常将,模仿他的文学前辈而仅留一个不同之处。
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This is the effect that we get, I think, from reading Milton - is this notion that he seems to have had one of the largest memories imaginable and that he's remembered just about everything he's ever read.
我认为，我们从阅读弥尔顿而得到的,是这样一种说法，即他似乎,拥有我们可以想象的最大容量的记忆,他记下了所有他读过的东西。
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It's just this kind of rhetorical trick that Milton uses - so many rhetorical tricks like this that Milton will use throughout the poem -- that led Dr. Johnson to say in utter exasperation, but admiration, that "Milton wrote no language": this isn't English that Milton is writing here.
正是弥尔顿使用的这种修辞手法,-弥尔顿全诗使用了大量这样的修辞手法,-让约翰逊博士懊恼而又钦佩的说，“弥尔顿所写不是语言“,弥尔顿这里写的不是英语。
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As a virginal orator, should she choose to unleash her powers, she would have the power of an Orpheus moving dumb things to sympathize -- Orpheus being one of Milton's most prized mythological figures of the powerful poet.
作为一名处女演说家，如果她选择释放自己的力量，她应该会有像俄耳甫斯一样的力量,使哑的东西也受到感动而有同情心,俄耳甫斯是弥尔顿最为称赞的有权利的神话传说诗人。
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Obviously, it goes without saying that today the assessment of Milton as some kind of imminent social threat or some sort of social force in terms of the radical nature of political power - that has taken a sharp turn.
显然--这是不言而喻的--现在，这一种基于弥尔顿,政治力量的激进性而把他看做是,危险的社会威胁或社会力量的观点,已经有了180度大转弯。
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We have an image here of the reconstituted, repaired body of Orpheus whose gory, severed head had been sent down the swift Hebrus to the Lesbian shore. It's as if Milton can't let go of this most un-Christian attachment to the human body.
想到一个完整的被修复好了的俄耳甫斯的身体,他血淋淋的被割下来的头颅曾,被赫伯鲁河一路冲下去直到莱斯博斯岛，似乎弥尔顿放不开,这对人体的眷恋，而这与基督教教义正相反。
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Milton has shown so much promise. He possessed so many obvious talents that could be poured into the profession for which he was so clearly suited the profession of the ministry but Milton was remaining at his father's house in what seemed like a perpetual state of humiliating self-infantilization.
弥尔顿表现出了很大的决心,他拥有那么多,这个职业需要的天赋,例如牧师,而弥尔顿却选择呆在他父亲的房子里,像是一种永远羞耻的不成熟状态。
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All of this anxiety, and when you think of it, all of this shame as well as the shame of ambition -all of this gets packed into this allusion to Virgil that Milton brings to this very disturbing moment in Lycidas.
当你定下心来思考，所有这些忧虑，羞愧,等同于野心所带来的羞愧,所有这些都被整合进维吉尔的幻想里,而这又被弥尔顿写进了这令人困扰的一段里。
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And a twenty-four-year-old Milton, after seven years of education, simply decides not to go. Instead of joining the ministry, Milton instead returns home and he stays at home without any means of supporting himself for six years.
而24岁的弥尔顿，在结束了7年的学业之后，却决定不那么做,他反而是回到了家中,在家里呆了6年。
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That's because to suggest -- just think of it - to suggest that Milton is relying on his memory as he composes so allusively and so dependently, in a lot of ways, so much of Paradise Lost - to say that is simply to say that the poem has been generated by Milton and not by God.
让我们来设想一下其中的原因吧,假设弥尔顿全靠着他的记忆,正如他隐晦而连续地在《失乐园》中引经据典，并将这些以多种方式组合，这在《失乐园》中随处可见,以至于人们可以简单地说这部诗,是出自弥尔顿而非上帝的创作。
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