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It's first of all a depiction of an underworld, and so it provides Milton with an important Christian representation of a hell.
它首先是对地狱的一个描述，它为弥尔顿提供了,一个重要的基督教式的地狱的描绘。
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What do you think of Gordon Ramsay from the TV show "Hell's Kitchen"?
你觉得电视节目《地狱厨房》里的戈登•拉姆齐怎么样？
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The low registers, and they're way down in the twenty-ninth canto of hell or somewhere.
低音区,它们远在,第二十九层地狱之类的地方
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The kind of myth of the commune was, of course, that from the conservatives' point of view was that these were the furies of hell, the men and the women who rose up to slay their social betters.
有关公社还有一种传说,当然,这是保守派的看法,传说这些人都是来自地狱的怒火,人们揭竿而起去打倒上层社会阶级
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Then, in the last book of the Republic, Book X, there is, once again, a descent to the underworld, to the world of Hades.
接着，在《理想国》的最后一部，第，X，部，再度下降到阴间，地狱的世界。
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Her people are gonna end up in tomb.
而像她之类的人只能下地狱了。
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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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They're prostrate on the burning lake of this miserable new realm called hell, yet nonetheless Satan pulls himself together and begins to analyze, to theorize, his situation.
他们匍匐在这个痛苦的被叫做地狱的国度,身边是燃烧的湖水，然而撒旦还是振作了起来,开始分析思考他的处境。
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Such is her power. But we have every right to ask what Medusa - this is a figure from Greek mythology - what Medusa is doing in a Christian hell.
她有那样的力量，但我们有权问问美杜莎,这一希腊神话里的人物,在基督教的地狱里做什么。
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So let's listen to Mozart's depiction of hell and heaven here.
那么,让我们来听下莫扎特,在这里对地狱和天堂的描述吧
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They are individual creatures who seem really to be in hell just as they seem really to have been in heaven; but the figures of Sin and Death, they are entirely different animals.
他们是独立的生灵，身处于地狱,也曾经生活在天堂;,但是罪恶之神和死神却是两个完全不同的生物。
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They've been clearly been hurled into hell by a Judeo-Christian deity. So this little moment, this Medusa moment, we can call it, is really quite strange.
他们被犹太教和基督教共同的上帝扔进地狱,所以在这一时刻，我们可以说美杜莎的出现是十分奇怪的。
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Finally, Dante alludes to this image of the Virgilian underworld in The Inferno when he describes the descent of humanity, the evil seed of Adam, into the Christian hell.
最后，但丁又在中描述到人性的败坏,亚当在基督教的地狱中撒下的邪恶种子时，含沙射影了维吉尔关于地狱的描写。
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For me the absolutely shocking fact of this simile ] is that its primary purpose is merely to describe the number of angels who are prostrate on the burning lake of hell.
为了他们悲惨的境遇黯然神伤,对我来说，这个比喻令人震惊的事实,是它最初的目的只不过,是为了描述葬身于地狱火海的天使的数量之多。
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This structure -- and this is something that's important for Milton to convey to us -- is genuinely beautiful. It's not entirely clear that Milton wants us to think of Pandemonium as unambiguously evil.
这个结构是弥尔顿认为应该传达给我们的,很重要的事，它实在是很美，尚不清楚弥尔顿,是否想让我们决得这地狱是绝对的邪恶。
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There are nonetheless a few details from the classical underworld that he seems to have lifted more or less wholesale and one of them - I'm going to ask you to look at page 246 in the Hughes.
然而弥尔顿书中还是有一些描写传统地狱的小细节,他似乎多多少少大规模地盗用了那些细节,我想让你们看《力士参孙》一书的246页。
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This is Mammon's speech during the great consult in hell.
这是贪神在地狱里大听证会里发表的演讲。
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Look at Milton's description of the architect of Pandemonium.
看看弥尔顿对于地狱建筑师的描述。
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I think this is an important distinction because what you have here in the middle of this simile in Milton's account of hell is an image of a bower.
我认为这是一个非常重要的区别,因为读到半途,弥尔顿对地狱的描述仅给了我们一个阴暗的印象。
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Virgil alludes to just this passage in Homer when he describes the entrance of a whole crowd of people in to the underworld as "the falling of leaves in the early frost of autumn."
维吉尔只是在荷马中影射了这点,他描述了通往人群拥挤的地狱的入口,如同“在深秋严寒中无情飘落的叶子“
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When Milton instructs his muse, "Say first, for Heav'n hides nothing from thy view," there's something more here than the primary sense of the word, which is just "first in sequence."
弥尔顿写到缪斯的时候，“请先说，天界和地狱深渊在您的眼中，一切都了如指掌“,这句中“先“除了它本身的意思“最先“之外，还有其他的含义“
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Satan and the fallen angels are entering the magnificent structureof Pandemonium, and at one instant all of the angels shrink in order to fit in to the building, however big it is.
撒旦和堕落天使们正在进入,混战地狱绝妙的建筑中去，突然，所有的天使们都缩小了身形,以来进入那栋建筑中。
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Milton wants the reader to know that she's fallen, we are all fallen, and any problem that we have in understanding the theology of heaven and hell is our problem as fallen readers.
弥尔顿希望读者认识到她在堕落，我们也在堕落，以及我们在理解天堂中遇到的任何问题,以及地狱式我们这些堕落了的读者们的心魔。
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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 his great depiction of hell in Books One and Two) to avoid the standard epic scenes of the torture of the damned, for example, with which we're familiar if we've read Homer or Virgil or, of course, Dante much later.
在他第一和第二册书对地狱的精彩描述）,去避免提及传统史诗中关于恶者被折磨的场景，例如我们所熟悉的那些场景,如果我们读过荷马的，维吉尔的，当然还有但丁的作品。
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Now for my money, it's Belial who gives us the most beautiful and the most seductive contribution to the debate in hell, but it has got to be Mammon who most resembles Milton himself.
我敢打赌，是贝利亚给了我们在那场地狱的辩论中,最美的和最有魅力的演说，但是这份殊荣,给了最像弥尔顿他自己的贪神。
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He journeys heroically through chaos in order to find that new planet that he had heard about in heaven, and he's stopped by a figure who holds the keys to hell's gate and who can determine who is able to leave and who is able to enter.
他英勇地穿越过混乱以找到他在天堂听闻过的新星球,他被一个人拦下了,这个人掌管着地狱大门的钥匙并能决定,谁能够从此间进出。
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This is an underworld, of course, but there seems to be another underworld resting just beneath it.
当然这是地狱，但是这里它似乎,变成了地狱下方的另一个地狱。
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If you ever read the Book of Apocalypse--or Revelation -you know it's hellfire and brimstone, the day of judgment, damnation--election into the group of the blessed, and so on.
如果你曾读过《启示录》或《天意》,你知道那些地狱火和硫磺,审判日,诅咒,获选受到保佑的人们,诸如此类
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