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We have already encountered on some level the importance of the figure of eating to John Milton. Think of Comus.
我们已经在某种程度上见识到了,对于弥尔顿来说吃的形象的重要性，想想司酒宴之神。
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The logic, the beauty, of Comus' rhetoric seems often to overpower the Lady's own, which is itself admittedly beautiful and powerful.
该逻辑，或者说美丽的修辞，压倒了小姐本身，是公认的美丽和强大。
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I'm using the word "stuck," of course, because the Lady had been stuck so famously and so prominently in Comus.
我用“束缚“这个词当然是因为在中，当然是因为在中那个显而易见被束缚着的妇人。
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She has way more power than she needs, it would seem, to destroy a petty little mages like Comus.
她会拥有更多的力量，那看上去足够，摧毁一个像科玛斯这样的英俊的法师。
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Professor John Rogers: The best way, I think, to introduce the central issues of this wonderful poem, Lycidas, is to return to Milton's Comus.
约翰·罗杰斯教授：我认为，要向你们介绍《利西达斯》,这首精彩的诗的精髓，最好的方法莫过于，回顾一下弥尔顿的《科玛斯》
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So look at line 423 of Comus, where the elder brother explains that the chaste Lady can actually travel anywhere she pleases utterly unafraid.
我们来看《科玛斯》423行，大哥哥解释说,贞节的女士实际上可以毫不畏惧的到她愿意的任何地方旅行。
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In Comus, the Lady had identified with Orpheus as she described to Comus what her speech about virginity would do if she were actually to deliver it.
在《科玛斯》中，女孩把自己当做俄耳甫斯,向科玛斯说她的关于贞洁的演说,将会有实际的作用。
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But these virtues, however great, I think, are also associated in the mask with the Lady's petrifaction, her fixation on the seat that Comus has fashioned for her.
但是我认为，无论美德是多么高尚，也是与女士在《面具》中的目瞪口呆，以及科玛斯为其设计的固定座椅相联系的。
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So yet once more -- and I promise this will be one of the last times that we look back at Milton's mask - but yet once more, let's look at Comus.
因此我们要再一次--我保证,这将是我们最后一次回顾弥尔顿所写的这出面具戏,不管怎么着，让我们再次回顾《科玛斯》
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She explains to Comus what would happen should she actually choose to break her silence, should she actually choose to unleash all of the rhetorical powers that she has pent up inside of her.
她向科玛斯解释,一旦她打破沉默将会发生些什么，一旦她真正选择揭开那些,禁锢在她内心许久的浮夸的力量。
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Now the Lady, it's been noted before, is never really able to respond to Comus' accusation of her hoarding.
现在小姐已经注意到，从来不能真正应对Comus对她的指控。
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Comus attempts to seduce the Lady, you'll remember, with something like an economic theory of natural beauty.
你们还记得吧，科玛斯试图色诱那位女士，用一套有利可图的自然美的理论。
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She'd love to tell Comus something about chastity, but he has neither ear nor soul to apprehend the sublime notion and high mystery.
她愿意告诉科玛斯关于贞节的事，但是科玛斯既没有耳朵也没有灵魂,去理解高尚的理念和谜团。
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We have to assume that the Lady is resisting Comus' advances because she has before her the higher ideal of married chastity.
我们要假设女士在抵制科玛斯的先进发展,因为在她之前就有了有关婚姻贞节的更崇高的理想。
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Comus She discusses what she would like to say in response to Comus, but she doesn't then go on significantly to say it.
她思考着她能说什么去回应，但她没有说下去。
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Now you will remember that the mask Comus was everywhere well, the strangely intertwined questions of the power of chastity on the one hand and the power of poetry on the other.
你们应该记得，面具戏《科玛斯》处处都,一方面是贞洁的力量，一方面是诗歌的力量,这两股奇特的纠缠在一起的力量。
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Now one of the moments in which this tension between virginity and chastity seems to be most pronounced is in the encounter between Comus and the Lady that we looked at in the last class.
在紧张状态中有一个时刻,涉及童贞和贞节，似乎最为明显,那就是我们上节课看到的,科玛斯和那位女士的相遇。
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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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Now as I noted earlier, there's a difference between the two existing texts of Milton's Comus.
正如我之前提到的,弥尔顿《科玛斯》的现存两个版本间有差异。
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At times when we read Paradise Lost it seems almost as if Satan were quoting or alluding to Comus.
有时当我们读《失乐园》时,就好像看到Satan在引用Comus的话或影射他。
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The eroticization of the Lady's beauty has up to this point come exclusively from Comus.
女士之美如此这般的色情之处,都是来自科玛斯。
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This is line 398 of Comus, page ninety-nine in the Hughes.
科玛斯》第398行，《休斯》的第99页。
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So this is line 768 of Comus, and in the Hughes edition it's on page 108.
科玛斯》的第768行，休斯版本的第108页。
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The Lady has claimed that she's hesitant to say anything at this point to Comus.
女士宣称她犹豫不决,不知道该不该对科玛斯说。
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The lady's refusal to drink of Comus' cup was just the first of Milton's attempts to bring the action of ingestion to the very center of a literary work.
拒绝司酒宴之神的杯子的女士,是弥尔顿第一次尝试把摄取食物的行动,注入到文学作品的中心去。
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They forget to reverse Comus' wand when they rush in to his lair.
当他们冲到科玛斯居所的时候忘记改变他棒子的方向了。
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that the actor playing Comus in this first and only performance in the seventeenth century was none other than our John Milton himself.
在17世纪,演员第一次也是唯一一次扮演Comus的,不是别人正是我们的弥尔顿。
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She would bring all of Comus' magic structures down around his head.
她将能解除科玛斯的所有魔力。
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Look at line 852 of Comus.This is page 110 in the Hughes.
看《科玛斯》第852行，在休斯版本的110页。
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I think we could make some estimation of its significance if we juxtapose it with Comus since The Mask attempts to tackle, in a much more expanded form, so many of the same issues.
我认为我们可以评估一下它的重要意义,如果我们将它与《科玛斯》并列，因为《面具》试图，以扩大许多的形式去处理许多相同的事件。
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