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But one of Milton's projects in Paradise Lost is to effect his forgetting of all of his literary precursors.
但是弥尔顿在《失乐园》中的一个计划是,让自己忘记所有文学前辈。
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Now this may suggest a certain condescension both toward theory and toward literary text, which is not at all intended.
选择这篇文章也许意味着,要对理论和文本进行一定的浓缩，这一点不是我想要的。
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Milton anticipated and lovingly invested all of his energy in his future literary power and his future literary fame.
米尔顿预测到了他将来在文学领域的力量和声望,并且钟情的将他所有的精力投入到文学中。
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What did we lose in our understanding of it as a literary object when the second half was not published?
将它置于文学作品之列来理解时,我们失去了什么？,书的后半部分没出版时？
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Literary analysis that is sensitive to the larger contours of the account will reveal the artistic hand of the final editor.
通常经过文学分析，会发现,最终版本都经过艺术加工。
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Is Milton powerful for the very straightforward reason that he's in possession of this tremendous literary strength, this unimaginable talent?
弥尔顿之所以强大是因为他有,无穷的文学力量，不可想象的天赋这显而易见的原因呢？
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Milton surveys the wealth of literary tradition before him, and he resists its allure without the help of any human guide.
弥尔顿在他之前就调查过文学传统的宝藏，他在没有人帮助的情况下抗拒了这一诱惑。
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Now in addition to defining literature, literary theory also asks questions obviously not unrelated but which open up the field somewhat.
除了定义文学以外，文学理论还提出一些,显然不是不相关，却开辟了新领域的问题。
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That is the modification of what would and does evolve in and of itself within an understanding of literary historiography.
这种修正会在文学历史的领域里,进化自己。
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Whatever you're reading, it's always worth thinking about and considering what the motives might be for such extraordinary literary risk taking.
不管是读什么，想想作者,为什么会不惜冒这么大的险,总是有意义的。
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It had been my accidental reading of fiction and literary criticism that had invoked in me vague glimpses of life's possibilities.
我偶尔会读小说和文学评述,这让我隐约地窥探到,生活的可能性，“
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Further, the significance of Moses is hinted at through literary allusions in the narrative of his birth, his infancy.
而且，摩西的重要性也有被暗示,在对他出生和婴儿期叙述中。
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He's a literary power, a figure who could be called upon to supply the voice of tradition in itself.
他是一种文化力量，一个,可以随时用来声援传统文化的人物。
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That is to say, what we're taking up this week, is as much really the history of criticism as literary theory.
也就是说，我们这周要讲的，与其说是文学理论，不如说是文学评论的历史。
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So, now, here's just a list for you: eight features of literary modernism that are all important to Nabokov.
现在我给大家一张列表,上面列举了八项对纳博科夫非常重要的文学现代主义的特征。
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As early as the late seventeenth century, Milton had already entered what we can think of as the English literary canon.
早在17世纪末，弥尔顿就跻身,我们现在认为是英国文学经典的殿堂。
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There's plainly a tendency in modern literary theory to reduce all the tropes of rhetoric to just these two terms.
在现代文学理论中有一个很明显的趋势,那就是减少一切华丽的辞藻，只保留这两个。
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Does Milton only seem powerful because he has the force or the strength of the age-old literary canon behind him?
他之所以看起来充满力量,是因为身后的作品被人们奉为文学经典呢？
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When we read the flood story in Genesis 6 through 9, we're often struck by the very odd literary style.
当我们在《创世纪》中读到关于大洪水故事时，会觉得文风非常奇怪。
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Dr. Samuel Johnson the greatest of all eighteenth-century literary critics is absolutely flabbergasted that Milton would have these brothers do something so stupid.
8世纪最伟大的文学评论家塞缪尔约翰逊博士,非常大吃一惊,弥尔顿居然会让小姐的弟弟干这些蠢事。
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All right. Now the question, "How does literary theory relate to the history of criticism?"
现在我们来思考这个问题：,“文学理论和评论的历史有什么联系？
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He's a standard literary device that you see in fables of this period, and later--the kind that you find for example in the fables of Aesop.
它只是当时在传说中，不可缺少的角色，你可以在随后的伊索寓言中，找到类似的例子。
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Milton is alluding so unashamedly here to Spenser's Errour because, I think, on some level he wants to brand Spenserian allegory as an erroneous literary practice.
弥尔顿是如此厚颜无耻地引用斯潘塞的“错误“因为，在某种程度上他想标榜斯潘塞的寓言,是文学上的一个错误尝试。
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How can you write an original poem when your literary consciousness is essentially made up of the memory of all the things that you've read before?
你怎么能说自己写的是原创的诗,当你的文思,主要是由你以前阅读积累下的记忆,组合成的呢？
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