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Milton wants to write an epic that in some ways comes before, or prevents, the great epics of Homer and Virgil.
弥尔顿想写一首在某种程度上先于，荷马和维吉尔伟大史诗的史诗。
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One of them, his name is Gil, he is very... he knows his math, well, that's not the right way to put it.
其中一位教授名叫吉尔，他十分……他对数学有两把刷子，嗯，这个描述不是很恰当。
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You'll remember that in his search for immortality Utnapishtim Gilgamesh sought out Utnapishtim, the one human who had been granted immortality.
他对永生的追求,吉尔伽美什找到，唯一可以长生不老的人类。
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In this respect it would resemble Spenser's Faerie Queene, or perhaps more importantly, Virgil's Aeneid -- other nationalist epics.
这样的话它就会与斯宾塞的《仙后》，更重要的，维吉尔的《埃涅阿斯记》等一些民族主义史诗相类似。
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On the far right is Christina Roberto, next to her is Anna Newheiser, Jeremy Chen in the middle, Ashley Gearhardt and Julie Huang.
最右边的是克里斯蒂娜·罗伯特,她旁边是安娜·纽海瑟,往中间依次是杰里米·陈,艾希莉· 吉尔哈特和朱莉·黄
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And it took Dr. Penfield at McGill University to do the same thing with people.
而麦吉尔大学的彭菲尔德教授,则在人类身上进行相同的实验研究
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So they've got a lot of-- Will Goetzmann and Geert Rouwenhorst are collectors of old bonds and they've got lots of bonds with their coupons still attached.
他们那有很多,威尔·杰茨曼和吉尔特·陆文霍斯特,是旧债券的收藏家,他们收集了许多,还贴有息票的债券
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And it was taken the lab of Donald Olding Hebb at McGill University by a couple of graduate students, post-doc of that time, James Olds and Peter Milner And what they've done?
地点是麦吉尔大学的唐纳德·赫布试验室,由当时的两名博士后研究生，詹姆斯·奥尔兹和皮特·米尔纳拍摄,他们做什么了？
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Okay. Now Eva has another gig out in Gilford this morning so she's going to run off, and I'm going to show you, maybe, if we can get our slides up, this overtone series stuff.
伊娃今早在吉尔福特还有其他表演,所以她得告辞了,现在,要是我的幻灯片能用的话,我要用幻灯片为你们演示,这些有泛音列的乐器
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The Aeneid of Virgil based, of course,on the Iliad and the Odyssey, begins arma virumque cano, I sing of arms and the man, the man Aeneas.
维吉尔所作的《埃涅伊德》当然是基于,《伊利亚特》和《奥德赛》,它以"arma virumque cano" 开头,"我歌颂战事和那个人,埃涅阿斯"
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This is Virgil: "He should sing thin - spun lays and he should be content feeding his fat sheep."
这是维吉尔的诗：“他哀唱着纤细的抒情诗“,“喂着肥硕的羊儿，他无比满足“
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Gilgamesh was apparently a historical character, an actual king of Uruk but the story of course has fantastic and legendary qualities to it.
吉尔伽美什在历史上，是乌鲁克的国王,但是这系列故事，具有史诗般的传奇色彩。
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Like Homer and like Virgil, Milton intends to soar above the wheeling poles of the visible world and describe the otherwise invisible comings and goings of the gods.
像荷马和维吉尔那样，弥尔顿想屹立于现实世界之上,去描绘无形世界中上帝的来来往往。
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Then in addition, one of the other teaching fellows here, Ashley Gearhardt--Ashley would you mind standing up-- is very active in this research.
另外,这还有一个助教,艾希莉· 吉尔哈特,能起来下吗,她在这个领域很活跃
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The story of the first human pair in the Garden of Eden, which is in Genesis 2 and 3 has clear affinities with the Epic of Gilgamesh, that's a Babylonian and Assyrian epic in which a hero embarks on this exhausting search for immortality.
创世纪2至3，里，伊甸园亚当和夏娃的故事,与《吉尔迦美什史诗》有着密切的联系，《吉尔迦美什史诗》是巴比伦人和亚叙人的,一个英雄竭尽全力追求永生的故事。
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The image of a poet interrupted and chided by the god of poetry comes straight out of the opening of Virgil's Sixth Eclogue.
这段诗人被神明打断斥责的场景,直接明了地出现在维吉尔的里。
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So the structure of this poem is unquestionably Virgilian, but the sentiments that are voiced in this poem are unquestionably Miltonic, and we will recognize them.
因此这首诗的结构毫无疑问是维吉尔式的，但抒发的感情毫无疑问,是弥尔顿式的，这能看的出来。
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The language of Homer and of Virgil and of Pindar and of Ovid had become an inextricable part of his literary imagination and of his consciousness in general.
荷马，维吉尔，品达尔和奥维德的语言,成为弥尔顿文学想象还有文学觉悟中,无法摆脱的一部分。
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It's a poem deeply invested in the tradition of pastoral poetry, pastoral poetry from Theocritus and Virgil onward.
这是一首深深植根于从忒俄克里托斯和维吉尔时代，不断发展而来的田园诗的传统中的诗。
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The only precedent Milton would have had even for the idea of line numbers would have been the great ancient classics, the magnificent Renaissance editions of Homer and Virgil.
弥尔顿曾经的唯一一个范例，甚至是印上行数的想法,都将是伟大的古老杰作，是荷马和维吉尔伟大的再生版。
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It's to admit that this is in fact a late epic and that it derives from a close, studious, student-like imitation of the great epics of Homer and Virgil.
也就等于承认它事实上是一部晚期的史诗作品,是源自于雷同的，学究气的，小学生般的,对荷马与维吉尔写的伟大史诗的模仿。
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Homer and Virgil and, well after them, Dante and innumerable others have all applied the simile of the leaves or some version of it to describe the numberless-ness of the dead.
荷马，维吉尔，在他们之后还有但丁,以及无法计数的曾经用过这个落叶比喻,或者变种版本来形容死者的数量极多的其他诗人们。
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They are steeped in the entire literary tradition of the underworld journey that stretches from The Odyssey of Homer up through Virgil's Aeneid, and of course up through all of the Renaissance romance epics.
它们被浸泡在整套文学传统中,穿越了从荷马的《奥德赛》上升到,维吉尔的《埃涅阿斯纪》的地下之旅，当然它也经历了所有文艺复兴时期的浪漫史诗。
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It turns out that Utnapishtim can't help him, and we'll come back to Utnapishtim later in the flood story, and Gilgamesh is devastated.
结果他并不能帮助吉尔伽美什，等一会，我们在洪水的,故事中，还会提到Utnapishtim，吉尔伽美什几乎绝望了。
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After the long sway of Theocritus' and Virgil's pastorals, ; of course Christianity entered the scene,a new dispensation; and Christianity began to load this pastoral literary tradition with its own set of associations.
在维吉尔等两人对田园诗的长久统治之后，基督教义作为新的统治思想兴起了;,并且开始以它自身的一套体系,附在田园诗的文学传统之上。
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The poem is based most closely on Virgil's Tenth Eclogue.
这首诗取材于维吉尔的《牧歌》第十首。
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All of this anxiety, and when you think of it, all of this shame as well as the shame of ambition -all of this gets packed into this allusion to Virgil that Milton brings to this very disturbing moment in Lycidas.
当你定下心来思考，所有这些忧虑，羞愧,等同于野心所带来的羞愧,所有这些都被整合进维吉尔的幻想里,而这又被弥尔顿写进了这令人困扰的一段里。
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On the one hand it's clearly good that humans rise above the animals and build cities and wear clothes and pursue the arts of civilization and develop bonds of love and duty and friendship the way that animals do not; these are the things that make humans like the gods in The Epic of Gilgamesh.
一方面，成为人类也未尝不是一件好事,人类优于动物，穿着衣服，用自己的双手建造城市,打造文明的生活方式，而爱和责任,把人类联结起来，这些是动物无法比拟的,在《吉尔伽美什史诗》中，这些特质让人类具有神性。
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In that respect, it has a kind of priority over the hells or the underworlds of Homer and Virgil.
在这一点上，它优胜于荷马与维吉尔笔下描绘的,那些地狱或阴间。
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In The Epic of Gilgamesh we have no motive given for the divine destruction whatsoever. It just seems to be pure capriciousness.
在《吉尔伽美什史诗》中，并没有引起这场大灾难的原因,似乎就像是一场自然灾难。
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