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He's the very voice of traditional wisdom for some, as he was for Lady Mary Chudleigh.
对于一些人来说，正如对玛丽·恰德莱夫人，弥尔顿是传统智慧的发言人。
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So Milton for Astell is hardly the embodiment of orthodoxy that he is for Lady Mary Chudleigh.
因此，对阿斯苔来说，弥尔顿不是那个,玛丽·恰德莱心目中代表正统的标志。
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He said to shine them for the Fat Lady."
他说要为那位胖太太照亮他们“
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It's been said that to quote anybody is necessarily to misrepresent him, and this fact is obviously a very good thing for Lady Mary Chudleigh since Milton would certainly not himself have wanted to suggest that women are superior to men.
有这样一种说法，引用任何人的话都难免曲解其原意，很显然这对玛丽·恰德莱夫人的论证是有利的,因为弥尔顿的原意绝对不可能是说,女人的地位要高于男人。
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Milton's Lady doesn't proceed as we expect her to, to marshal further arguments for the moderate fulfillment of one's conjugal obligations.
弥尔顿笔下的女士没有按我们期望的那样进行，整理有关人们适当满足婚姻权利义务,的进一步论点。
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In touching the Lady's fingertip, it's as if Sabrina were awakening for the first time the Lady's sense of touch.
碰触着女士的指尖，Sabrina似乎在,头一次唤醒女士的触觉。
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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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The Lady had claimed for herself a remarkable set of powers, but she wasn't yet ready to use them.
女士要求给她自己一系列权力，但是她并未做好准备使用这些权力。
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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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The potential danger besetting the Lady is certainly a subject of some concern for her dutiful brothers.
包围着这位女士的潜在危险，当然是,一个思考他那顺从的兄弟的话题。
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It's just this Orphic power that Milton, like the Lady, was always anticipating for himself.
像这个女孩一样，弥尔顿想要的，就是这种俄耳甫斯式的力量。
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It was one thing for the Lady to imagine -- you know, crazy as it was, for the Lady to imagine -- a rescue squad of angels to zip to her aid at the first hint of a physical assault.
这是一件令小姐想象的事，你可以看出，让小姐去想象很疯狂,一个天使救援队会在她做出第一个被侵犯暗示的时候去救她。
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There's the performance version of 1634 and the printed version of 1637, and the additions to the text that Milton is making for the published version reflect, I think, his sense that he, like the Lady, is in the process of making an important transition.
634年的表演版本4,和1637年的印刷版本,弥尔顿在出版版本中添加的部分，我认为那表现出，就像是女士吧，是正在做转变的重要进程中。
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The power that the Lady claims for herself as a virgin is titanic, and it allows us to understand, I think, why she has slipped from her discussion of married chastity - to this new discussion of what seems to be -- or what she claims is -- virginity.
女士宣称作为一个处女所拥有的力量是巨大的，那让我们明白，为什么她从关于婚姻贞节的讨论,转到这个新的讨论-,看上去--或者是她所说的--童贞。
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While Milton wrote most of the mask in 1634, he published it in 1637, and it's at this point three years later that he seems to have inserted into the Lady's speech, and also elsewhere in the poem, certain lines for the published version.
弥尔顿在1634年写了《面具》的大部分，他于1637年出版，就是在三年后,他似乎在印刷版女士的演讲中，或者在诗篇的其他地方插入了一些行。
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She doesn't spend her bodily wealth and fulfill the terms of nature's loan And so for Comus, the Lady is hoarding the natural asset of her physical beauty.
她不花费自己的身体财富和不履行自然的贷款条件,对于Comus来说，小姐在囤积自然给她的美貌资产。
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