is not to be considered as the effusion of real passion; for passion runs not after remote allusions and obscure opinions.

不是真挚情感的流露;,真情不是通过遥远的幻境和隐晦的观点来表达的。

耶鲁公开课 - 弥尔顿课程节选

This doesn't happen, but at the same time it's a world of illusion in which the reader lives all too comfortably. Right?

这些不会发生，但是同时这是一个幻境,读者太舒适地生活于其中，对吧？

耶鲁公开课 - 文学理论导论课程节选

The very structure, in fact, of Milton's poem here is what Dr. Johnson would be obliged to call a remote allusion.

约翰逊称弥尔顿这首诗的结构,是遥远的幻境是不得已的。

耶鲁公开课 - 弥尔顿课程节选

And he says on page 884: A poet writes always of his personal life, in his finest work out of its tragedies, whatever it be, ; remorse, lost love or mere loneliness; he never speaks directly as to someone at the breakfast table there is always a phantasmagoria.

84页他说道：,诗人总写自己的生活，最好的作品总是悲剧，不管是后悔，失恋或孤独;,这是他不会在餐桌上讲的,总是有这样一种幻境。

耶鲁公开课 - 现代诗歌课程节选

In other words, an illusion is created; a never-never land is created.

换言之，幻觉形成的时候，幻境就形成了。

耶鲁公开课 - 文学理论导论课程节选

We know it's an illusion, but we get to live in it so comfortably with so little alteration of the nature of the illusion or of the way in which we negotiate the illusory world, that it becomes kind of womb-like and cozy.

我们知道那是幻觉，但是我们活在其中，如此舒适地,基本不去改变幻觉的本质,也不改变我们在这个幻境中生活的方式，它变得如子宫般安全舒适。

耶鲁公开课 - 文学理论导论课程节选

Johnson tells us that Lycidas is not to be considered as the effusion of real passion, for passion runs not after remote allusions and obscure opinions.

约翰逊说《利西达斯》不是,真挚情感的流露，因为真情不是通过遥远的幻境和隐晦的观点来表达的。

耶鲁公开课 - 弥尔顿课程节选

It's difficult to imagine that as an expression of genuine grief over the death of a genuinely close friend would take the form of a poem so learned, so filled with remote literary allusions and obscure opinions.

这首诗是为表达对挚友逝去的真挚悲痛,却采取了这样一种如此博学，如此充满,遥远的幻境和隐晦的观点的形式,这确实是难以想象的。

耶鲁公开课 - 弥尔顿课程节选