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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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Nonetheless, The Faerie Queenecan be said, however strangely, to be the first great poetic celebration in English of the institution of marriage.
然而无论《仙后》多么与众不同，它仍可被称为，第一部伟大的有关婚姻的,英文诗歌体盛典。
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Milton seems to have dug around rather carefully in his copy of the Faerie Queene, and he's come up with this illusion.
弥尔顿似乎极其小心地模仿着《仙后》,且他出现了这样一种幻想。
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Edmund Spenser in the Faerie Queene does not bring Sir Guyon with his palmer through the cave of Mammon.
埃蒙德·斯潘塞在《仙后》中并没有让盖恩,带着朝圣者穿越贪婪之神的洞穴。
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Now I asked you to read for today, and I'm hoping you remember some of the reading, the canto from Spenser's Faerie Queene that features the cave of Mammon.
现在我要求你们为今天的课阅读，且我希望你们能从中记住一些东西，斯潘塞的长诗《仙后》，这篇描写了贪欲之神的洞穴。
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You actually see this near the top of your handout, the allusion from the Faerie Queene.
事实上你们可以在自己讲义的上方看到，那源自《仙后》的暗喻。
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Milton uses for his source for the character Sabrina another character named Sabrina from Spenser's The Faerie Queene.
弥尔顿将Sabrina这一角色用作他的资源,另一个Sabrina是斯宾塞《仙后》中的。
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This little bit of the Faerie Queene is important for Milton in all sorts of ways.
这一在《仙后》中的小细节对于弥尔顿,在很多方面都是十分重要的。
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Now Spenser's hero in Book Two of the Faerie Queene is Sir Guyon, and Sir Guyon descends into Mammon's Cave - it's a Spenserian underworld - and it's in Mammon's Cave that he is tempted by the money god himself.
斯潘塞在《仙后》第二册中的英雄是盖恩先生，盖恩下到贪欲之神的洞穴中,这是斯潘塞笔下的地狱,就在贪欲之神的洞穴盖恩被贪欲之神诱惑了。
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In this respect, he seems to have followed Spenser -- Edmund Spenser, whose Faerie Queeneis in large part a tribute to the sacrament of marriage, although interestingly The Faerie Queene, the great Spenserian poem, never actually manages to feature a marriage between two human beings.
这样看来，他似乎是,秉承了斯宾塞--埃德蒙·斯宾塞，他的作品《仙后》,很大程度上来说是对婚姻圣礼的颂词，尽管有趣的是，《仙后》,这一伟大的斯宾塞体诗歌，从没有真正意义上,在两人的婚姻中发挥重要作用。
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