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So in this guise with the mask of Saint Peter on he's -- Milton's -able to be both poet and minister.
因此在圣彼得的面具掩盖下,弥尔顿能够身兼诗人和牧师的双重职责。
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Milton recognizes that way of thinking as a double standard, ; and he isn't satisfied with this vulgar double standard; so he comes up with a vulgar double standard of his own.
弥尔顿认为这种思维方式有双重标准，他并不满足于低俗的双重标准;,因此他提出了一个他自己的庸俗双重标准。
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This is a moment when the narrative voice begins to split in a very conscious way.
一种很有意识的声音,因而成了双重声音。
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It's a difference, or differance, that comes into being precisely in writing, and it's only in writing that we suddenly grasp the twofold nature of differance as difference and deferral.
这是一个差异，或者说是延异，它就是在书写中产生的，而就是在书写中，我们突然掌握到,延异的双重本质，这便是区别和迟延。
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And all of a sudden, I moved from being a professor here, which previously had been my greatest opportunity, to leading this very large non-for-profit organization that had both national and international responsibilities.
所以突然间，我从普林斯顿的教授，这曾经是我最大的机遇，变成了这个公益组织的领导者,负有国内和国际的双重责任。
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And that's another kind of doubleness in Frost.
这也是弗罗斯特的另一种双重写照。
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But, you know, the formalists' own basic distinctions are dualistic, aren't they: the distinction between poetic and practical language, the distinction between plot and story, the distinction between rhythm and meter?
但是，形式主义所认为的区别却是双重标准的，诗歌语言和实用语言的区别，情节和故事的区别，节奏和韵律的区别？
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You see, this is the way in which you avoid the form-content distinction.
这样我们就避免了形式和内容的双重性的悖论。
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Well, I actually think the Russian formalists can be defended against the charge that, unbeknownst to themselves, they fall back in to form-content distinctions by insisting on this variety of dualities.
但是我认为,这些形式主义者们在不自觉中，对于形式和内容的双重性,太过偏执。
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The split voice, the development of what you could say is that racial double consciousness that W. E. B. Du Bois talks about, that double consciousness of the racial reality, is manifested in that split in the narrative.
在双重叙述中,双重语气表现了出来,这就是W。，E。，B，Du，Bois所说的，种族双重意识，的发展。
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