It's as if Mary Astell were saying, "Well, Milton was on the right track. He simply didn't go far enough.

玛丽·阿斯苔似乎是在说：,“好吧，弥尔顿方向正确，只是行之不足。

耶鲁公开课 - 弥尔顿课程节选

Now it has to be said that Mary Astell's image of Milton is probably the product of a much closer reading of Paradise Lost than Lady Mary Chudleigh's was.

不得不说，玛丽·阿斯苔对弥尔顿有如此印象,很可能是因为她对《失乐园》的解读,比玛丽·恰德莱夫人的更加细致。

耶鲁公开课 - 弥尔顿课程节选

But Astell resents, of course, Milton here, and what she resents is the limitation of his subversiveness.

但很显然，阿斯苔对米尔顿也有反感，她反感的是弥尔顿的颠覆的局限性。

耶鲁公开课 - 弥尔顿课程节选

So Milton for Astell is hardly the embodiment of orthodoxy that he is for Lady Mary Chudleigh.

因此，对阿斯苔来说，弥尔顿不是那个,玛丽·恰德莱心目中代表正统的标志。

耶鲁公开课 - 弥尔顿课程节选

Astell writes the following: Patience and submission are the only comforts that are left to a poor people who groan under tyranny unless they are strong enough to break the yoke.

阿斯苔写道：,“坚忍与顺从是可怜的人儿仅有的慰籍,她们在暴行面前只能低声抽泣,除非她们有力量挣脱羁绊。

耶鲁公开课 - 弥尔顿课程节选

And he's the voice of political subversiveness for others, as he was for Mary Astell.

对于另一些人，正如对玛丽·阿斯苔，他又是政治颠覆的代表。

耶鲁公开课 - 弥尔顿课程节选

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。

耶鲁公开课 - 弥尔顿课程节选

Mary Astell is clearly responding to this.

玛丽·阿斯苔对此作出明确回应。

耶鲁公开课 - 弥尔顿课程节选

A writer like Mary Astell can employ Milton's revolutionary rhetoric to advance a cause to which John Milton himself would of course ; have had difficulty subscribing; a dead Milton could exercise a social power that had nothing whatsoever to do with the living Milton's own social views.

一个像玛丽·阿斯苔这样的作者可以用弥尔顿的革命性语言,来推动一项事业，一项约翰·弥尔顿本人当然很难,赞同的事业;,死去的弥尔顿竟然能够操纵与生前弥尔顿的社会观点,毫无关系的社会力量。

耶鲁公开课 - 弥尔顿课程节选