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And Milton uses the language of these two parables to get at this problem that has resonances in every conceivable sphere.
弥尔顿用这两则寓言来解释,可以想象出的与此有共鸣的问题。
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So the distance of the gap needs to be between the outer limits of boredom and overstrain according to Iser.
因此，据伊瑟尔说，间隙的大小应该,以无聊与过劳作为外缘界限，处于两者之中。
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Why this struggle, and why must Milton struggle with such awkward metaphysical categories in order simply to address properly the power of light?
为什么弥尔顿必须,与这样一个奇怪的抽象的东西斗争,仅仅是为了恰当的描述光明的力量？
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This is Yeats in costume, costumed as a figure from Irish myth, as an ancient bard, mad King Goll, which is the furthest thing from a modern poet.
穿着奇装异服的叶芝，打扮成爱尔兰传说中的人物，过去的吟唱诗人，疯癫的郭尔王，他与这位现代诗人相隔甚远。
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I think that the distinction Iser is making between reading and interpretation can be understood in much the same way.
我想伊瑟尔想指出的,阅读与诠释之间的差异也基本上也可以这样理解。
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Now, probably the form of power that we most readily associated with John Milton involves his position at the dead center of the English literary canon.
我们最容易由约翰·弥尔顿,联想到的力量形式很可能,与他处在英国文学经典的中心位置有关。
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It's safe to say that Lycidas is one of the last poetic works of Milton's that's really consumed with his problem, the problem of fruitless anticipation.
谨慎的说，是弥尔顿最后的,切实地与他自身的问题有关的诗篇之一，他自身关于毫无成果的期望的问题。
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Milton's bogey seems to be the specter hovering over women poets or women writers who may find in Milton an identification of poetic strength with masculinity itself.
弥尔顿的惑众谣言似乎是指依附在女诗人,和女作家心中的幽灵，她们在弥尔顿身上发现,诗的力量与男性力量本身是同源的。
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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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Satan resembles us as readers as we attempt to dissect and to anatomize the power of Milton's poetry.
作为读者撒旦与我们相似,试图解构剖析弥尔顿诗歌的力量。
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And that's not simply because Satan bears such a strong resemblance to Milton, as, of course, he does.
这不单单是因为撒旦与弥尔顿是如此相像,当然了，他们确实很相似。
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You can learn a lot by comparing Milton's poem to those of so many of his contemporaries.
通过把弥尔顿的诗与他的很多同时代人的诗比较,你能学到很多东西。
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She implies that she's the equal to any of the great poetic heroes that Milton so admires.
她暗示她与弥尔顿钦佩的,其他理想化的英雄人物一样。
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There's a fear here that the ambition of this bid for paternal light is presumptuous, perhaps it's even satanic Satan of course in the next book, Book Four will have his invocation to light.
人们会担心弥尔顿认为光与上帝差不多的想法,过于胆大妄为，或许是极恶的,当然，第四卷里的撒旦,也会祈求光明。
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They pour with such a force, I think, that Milton permits - I think this is a significant rift that fissures or fractures the otherwise seamless text that we have in Book Two.
他们的出现是这样的有力与突然，我认为这是弥尔顿允许的,我认为这是一个极有价值的裂痕,这些裂痕持续地在我们读到的第一册书中出现。
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You'll remember it features a succession of four mourners, and we could think of each of these mourners providing Milton with an opportunity to try out a different voice.
你们会记得它写到了四名送葬者的相互交替，我们可以把他们,看作弥尔顿想要发出与世不同的论道。
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In some important way, I think, the Lady can be seen as being in the same position that Milton had been representing himself in so many of the early poems.
在某种重要的意义上来说，女士可以被看做是与弥尔顿,在许多早期诗篇中表现的自己处在同样的位置。
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The soul for Milton though isn't distinct from body. It is the body.
在弥尔顿看来灵魂并不与肉体格格不入，灵魂就是肉体。
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You may remember that I had suggested in the lecture on the Nativity Ode that Milton may have thought of his career as if it were something like a race.
你们可能记得我在的演说中,曾经设想的，弥尔顿或许把他的职业,看作无休止的竞赛与追逐。
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And if we wish to continue this analogy, and I certainly do, between the poet Milton and the virgin Lady, we can see that this is a release that John Milton the poet has been waiting some time for.
如果我们希望继续这个弥尔顿的诗与小姐贞操的类比，我肯定会，我们可以看到,这是弥尔顿的诗等了很久的一种解脱。
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We're struck by the arrogance implicit in Milton's active identification here.
我们感叹弥尔顿在这里暗示,自己可以与基督相提并论。
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Milton claims that his love of learning might seem to contradict the parable of the talents.
弥尔顿说这种对学习的热爱,看起来与才能的寓言是相背的。
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Clearly this is a myth that Milton is identifying with very strongly here.
很明显弥尔顿与这神化产生了强烈的共鸣。
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That's the difference for Iser between nonfiction and fiction.
这就是伊瑟尔所说的文学与非文学之间的差别。
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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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What's at stake, or what might be at stake in this connection between Milton's own postprandial groaning and moaning and the even more poignant post-lapsarian groaning of Adam and Eve and the entire earth?
这里为什么要把,弥尔顿餐后的这种呻吟,与甚至更悲伤的亚当和夏娃的餐后呻吟,还有整个大地的呻吟联系起来呢？
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Astell distinguishes Milton's cry against political tyranny from her own critique, her own cry against the patriarchal tyranny, and in making this distinction she's exposing something that I take to be extremely interesting.
阿斯苔将弥尔顿反对政治暴政的呼声,与她自己反抗男权暴政的呼声区分开来，通过这样的区分，她揭露了一些,我认为很有意思的东西。
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One of those sins, I think, that needs to be purged is clearly the sin of eagerness or over-anticipation, the drive to move ahead of oneself and the drive to get ahead of others .
我认为有一种罪孽需要净化，显然是欲望的罪孽,或过度预言的罪孽，想要超越自己,超越其他人,正如我们看到弥尔顿与术士们的竞争。
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