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It's in relation to all of these forms of lateness that we can best understand the opening invocation of Paradise Lost.
带着所有这些“晚“,我们才能很好的理解《失乐园》的开头。
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Hartman describes Milton's tendency in Paradise Lost, and he takes this term from Coleridge: the tendency to stand ab extra, to stand from outside.
哈特曼描述了弥尔顿在中的写作趋向，并且从柯勒律治那里借用了这个习语：,由外而内俯视自身的趋势。
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Now it has to be said that Mary Astell's image of Milton is probably the product of a much closer reading of Paradise Lost than Lady Mary Chudleigh's was.
不得不说，玛丽·阿斯苔对弥尔顿有如此印象,很可能是因为她对《失乐园》的解读,比玛丽·恰德莱夫人的更加细致。
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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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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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Let's look at the first appearance of Mammon in Paradise Lost.
请看在《失乐园》中贪欲之神第一次出现的地方。
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It also provides Milton with the figure of Mammon who will, as you will see over the course of this semester become - well, here in Paradise Lost he's one of the key fallen angels in Milton's hell.
它也为弥尔顿提供了贪欲之神这一形象，正如在本学期这一门课中你们将始终看到的，贪欲之神,在《失乐园》中会变成,弥尔顿地狱中主要的堕落天使之一。
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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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It's not until Book Three of Paradise Lost that the poet explicitly reveals to us, to his readers, the fact of the physical handicap that might reasonably be thought to render impossible his composition of the poem.
直到失乐园第三卷,诗人才明确告诉读者们，自己失明的事实,这可能被合理的认为是他无法完成诗歌创作的原因。
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The extent to which Milton succeeds in justifying such a God in Paradise Lost will be, of course, one of the questions that we will be exploring over the next couple of weeks. So You will read for Wednesday's class the first two books of Paradise Lost.
在失乐园中弥尔顿成功地证实了,这样一个上帝,扩展出了一个我们下几周要研究的一个问题,所以在周三前阅读失乐园的前两部。
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There's no question that the shock experienced by the first readers of Paradise Lost had next to nothing to do with the content of this poem, which might strike us as shocking in itself.
毫无疑问，初次阅读《失乐园》的读者,会觉得震惊全然是因为它的内容，这首诗内容本身就是令人震惊的。
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The problem of memory is just as important to the psychological dynamics of the fall of Adam and Eve, but as we will see when we look at Book Four, surely it's the problem of the poet's memory that's the most troubling in Paradise Lost.
记忆的问题的重要性与,亚当与夏娃堕落后心里的变化相当，但是我们将在第四册书看到，确实是诗人自己记忆的问题,困扰着《失乐园》这部作品。
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That Satan is still able to doubt the legitimacy of God's power is a testimony to the complexity, I think, of the analysis of power in Paradise Lost. No power, not even God's power, can be irresistibly and indisputably proven.
我认为，撒旦尚能怀疑上帝力量的正统性,就证明了，《失乐园》中对力量的分析的复杂性，即使是上帝的力量，也不能被不可抗拒，无可置疑的证明。
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It's in response to what seems to have been an aesthetic reaction to the poem that the printer of Paradise Lost asked Milton, went back to Milton and asked him to append a note to the book's second printing -- to append a note that explains why the poem rhymes not.
这是弥尔顿对《失乐园》的出版商的答复,出版商问弥尔顿关于此诗的美学问题，他找到弥尔顿，让他给此诗的第二次印刷附一个,注解--附个注解解释这诗为什么不押韵。
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If you're not taking notes in this lecture, you have to write down at least one sentence. You must write this down because this will be the most important thing I say all morning: Milton's Paradise Lost is the first narrative poem in English that didn't rhyme.
就算你们这堂课不记笔记，也一定要记下至少一句话，一定要把这记下来,这是我一早上说的最重要的一句话了：,弥尔顿的《失乐园》是,第一首不押韵的英语叙事诗。
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Even though there were people, mostly young men, willing and able to read to him, it's clear that the vast quantity of learning that gets poured - all of that erudition that gets poured into the pages of Paradise Lost - it's clear that this is not a product of Milton's last-minute review of the classics.
尽管有很多人，大多数是年轻人，愿意将材料读给他听，很显然这使得大量的知识被注入,所有这些广博的知识被注入到《失乐园》的字里行间,但很显然这不是,弥尔顿在最后一分钟对于古典文献回顾的产物。
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As you may well have gleaned from your reading, the first books of the poem are particularly absorbed with the idea of forgetting, because more than any other part of Paradise Lost they display so ostentatiously the remarkable scope of Milton's own memory.
可能你们从阅读中也已经得知，这部诗的第一册,尤其表现了“遗忘“这一理念，因为相对于《失乐园》的其他部分,它们如此夸耀地展示了,弥尔顿自身记忆范围的宽广。
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In the invocation to Book Nine of Paradise Lost, Milton describes and it's wonderful to see this representation of this process that, I think, we've been wondering about he describes the process by which the heavenly muse inspires, and he says inspires nightly, the composition of his epic.
在《失乐园》第九卷中，弥尔顿描绘了,看到弥尔顿对这一过程的描述很是奇妙，我们都对这一过程很好奇,弥尔顿描绘了天神缪斯启示他，他说是在晚上启示的，启示他写作史诗的过程。
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One of the labors of reading Paradise Lost is the reader's obligation to supply the analog for the X, and this poem is filled with such X's.
读的一个麻烦就是,读者需要自行类比出X究竟是什么，偏偏诗中又充满了这种不确定物。
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