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Now you also may remember that we have already run into Spenser's Mammon before this point, before Paradise Lost.
现在你们可能也记得我们已经,在遇到《失乐园》之前就与斯潘塞的贪欲之神相遇了。
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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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Virtu That, of course, is Machiavelli's virtu, princely virtue, what you do to leave the people satisfied and stupefied.
那当然是就马奇亚维利的，君权美德，让人们感到,满足与失觉的作为。
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Their eyes are intact but rather what happens in agnosia is they lose the ability to recognize certain things.
他们的眼睛并未受到损伤,相反,失认症的症状是,患者失去识别某些事物的能力
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So, there's a kind of lost paradise of European culture which he can't get back, even with this spectacular effort in English.
所以，这就是他不能再重新体验的,欧洲文化的失乐园，尽管在英语上做了惊人的努力。
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So, these are poor electron donors but also a good electron acceptors, and we call these non-metals.
所以这些元素都不易失电子,但是它们是很好的电子受体，我们把这些叫做非金属。
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Well, if this kinase happens to turn this protein on then you would like to have a mechanism to turn it off as well.
那么在激酶激活蛋白质后,你会希望有一种方法能够使它失活
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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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Harold Bloom has written, and I think he's absolutely right, that Milton begins Paradise Lost with a powerful defense against lateness.
哈罗德·布卢姆写道，我认为他说得对极了，他说弥尔顿,在《失乐园》的开头对这些“晚“进行了有力的辩护。
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This is where Milton began to consider the problem of temptation that, of course, will become so important to Paradise Lost.
正是从这里弥尔顿开始思考诱惑的问题,当然，诱惑的问题在《失乐园》中变得十分重要。
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There seems to have been something of a kind of outcry about the style of Paradise Lost. Look at page 210 in the Hughes.
当时人们对《失乐园》的格式,似乎有过强烈反对，翻到休斯版的210页。
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There is agnosia and agnosia is a disorder which isn't blindness because the person could still see perfectly well.
还有失认症,失认症并非失明,因为患者的视觉没有任何问题
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Somebody with apraxia can move, do simple movements just fine but they can't coordinate their movements.
失用症患者是可以行动的,可以做简单的动作,但是他们无法协调他们的动作
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"The ferocity of this spectacle," Machiavelli concludes, " "left the people at once satisfied and stupefied."
马奇亚维利总结“,“这个残暴场面，让人们立即感到满足与失觉“
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So, I've got ion pair formation, and I've got a huge decrease in energy because a donor is able to express that urge, an acceptor is able to express that urge.
所以我能得到形成的电子对，同时能量也大幅下降,因为失电子方要表达它的迫切，得电子方也要表达它的迫切。
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We will see Milton returning to all of these questions in Paradise Lost.
我们会看到弥尔顿又在失乐园中回到这些问题上来了。
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You have an elegy here, a beautiful and plangent lament for something or someone lost. And we have to ask ourselves, "Could this be a paradise lost?"
它变成了挽歌，一首优美的如泣如诉的挽歌,因为某些东西或某些人消失了，我们不得不问自己，这就是失乐园吗“
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The fact that the death here in Lycidas is the death of a young, virginal poet at the very outset of his career, as you can imagine, resonates in a lot of powerful ways.
利西达斯》中的死者是一个年轻，还未失童真，事业刚要起步的年轻人，可以想象，这与弥尔顿有很强烈的共鸣。
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This is what I'll be proposing over the course of this lecture: that memory is a problem that Paradise Lost is continually confronting.
这就是我在这堂课上准备谈论的：,即记忆是《失乐园》这部作品始终要对抗的东西。
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With the abhorred shears she cruelly punishes the virgin poet for his failure on the one hand to use the sexual body that God has endowed him with, but you also have the image here of the poet's death.
她用剪刀残忍了惩罚了未失童真的诗人,一方面因为他没能利用上帝赋予他的,性的肉体，但这里也有诗人死亡的形象。
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This is exactly, of course, what he will do in Paradise Lost.
将天堂物化正是弥尔顿在《失乐园》中所做的。
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And so, they may get visual agnosia and lose the ability to recognize objects.
因此,他们可能患有视觉失认症,从而失去识别物体的能力
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My guess is that our sense of Milton's power, however that power is imagined, is intimately related to the way in which Milton himself represents power in the characters of Satan and of God in Paradise Lost.
我猜我们对弥尔顿力量的理解，不管我们如何想象这力量，与弥尔顿在《失乐园》中所写撒旦和上帝两角色对,力量的展方式切密切相关。
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That was supposed to be a tragedy that, in some manuscript drafts that we still have today -- in some manuscript drafts, he titled this prospective tragedy Paradise Lost and in other drafts Adam Unparadised.
他打算写一部悲剧，在一些目前还存留的草稿中,我们看到弥尔顿将这部要写的悲剧命名为,《失乐园》，在另外一些草稿中又叫做《亚当失乐园》
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This was supposed to be the libretto for an opera.
这押韵版的《失乐园》本来是用作歌剧剧本的。
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He also shows, however, that normal politics is, itself, dependent upon extraordinary politics, periods of crisis, anarchy, instability, revolution, where the normal rules of the game are suspended.
然而他也同时了解到常态政治，本身有赖于破例政治，诸如危机，失序，不稳定，革命等时期，当游戏的常态规范,遭搁置。
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Leviathan is to prose what Milton's Paradise Lost is to epic poetry.
利维坦》之于散文,就像弥尔顿的《失乐园》之于史诗。
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This is a myth that has and will continue to haunt Milton all the way up through Paradise Lost.
这个神话曾一度而且会一直萦绕着弥尔顿,并贯穿了《失乐园》全诗。
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You'll find Eve in Book Nine of Paradise Lost voicing essentially this same sentiment when she's explaining to Adam why she needs to work separately.
你会在失乐园第十部看到夏娃说出了实际上是,同样的意见，当她向亚当解释,她需要和他分开工作的时候。
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At this point it's wonderful: Samson begins to echo Milton from the invocation that we've been looking at, the invocation to Book Three of Paradise Lost.
这里很奇妙：,参孙开始附和弥尔顿的祈求,我们刚才看到的失乐园第三卷中的祈求。
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