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But for Milton's contemporaries in the seventeenth century, Milton's power really wasn't at all aesthetic or even religious in nature.
但在17世纪弥尔顿同时代的人看来，弥尔顿的力量却是毫无美感的，甚至本质上不是宗教上的。
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The passage is also famous because in it Milton does something that he almost never does. Milton has made a mistake.
这篇文章有名也是因为弥尔顿做了一些,他几乎从未做过的事，弥尔顿犯了一个错误。
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It's fitting that the first poem of Milton's that we study in this class is "On the Morning of Christ's Nativity."
这节课我们首先学弥尔顿的,《圣诞清晨歌》是很合适的“
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She represents a power that might enable Milton perhaps someday actually to fulfill, to consummate his much-anticipated poetic promise.
她象征着一种力量,也许有一天那力量可以，使弥尔顿圆满完成他那备受期待的理想诺言。
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Now in these two books we've seen Milton dig up and discard just about the entire tradition of epic poetry.
现在在我们看到的两册书中弥尔顿,挖出并丢弃了所有史诗的传统。
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In Lycidas, Milton looks back at the Elder Brother's theodicy, and it's almost as if he's attempting to test its validity.
在这首诗中，弥尔顿回顾了《科玛斯》中哥哥的斯奥迪斯，似乎是在验证斯奥迪斯正确与否。
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I think it takes your breath away to think of the unspeakably high hopes that John Milton had for his career.
我觉得像弥尔顿这样说出自己对职业如此高的希望,是很让人吃惊的。
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Look now, and this is on the handout, at the letter that Milton had written to his friend, Charles Diodati.
现在看讲义上,弥尔顿写给朋友查尔斯·迪奥达蒂的信。
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No English poet before Milton ever suggested that he had been chosen by God at birth to be a poet.
在弥尔顿之前没有英国诗人敢说,自己是被上帝选中去做诗人的。
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So the reasons for this really enormous shift in plans, and the enormous shift in subject matter, are worth exploring.
弥尔顿的计划变化为何如此之大，他对主题的选择为何有这么大的改变，是值得探究的。
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Now we can't neglect the first question here, which is at least for me: did Milton really believe this?
现在至少对我来说，我们不能忽略一个问题：,弥尔顿真的信这个吗？
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Milton's lines, we say, are enjambed: they run in to one another, and a syntactical unit for Milton is continually spilling out.
弥尔顿的诗句是连结的：，它们句句相撞，弥尔顿总不在一句话中将一个意思表达完整。
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It's also a subject that we can find in the reading journal that Milton kept for the better part of his life.
它也是弥尔顿阅读笔记中的一个主题,那份阅读笔记是弥尔顿在其人生最美好时光中保存下来的。
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The genius of Fish's reading of Milton's similes is to understand the particularly time-bound nature of Milton's verse.
费什解读弥尔顿的比喻的天赋,能够帮助我们理解弥尔顿的韵诗在特定时代下的本质。
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The hymn, what Milton calls the "humble ode," that follows this introduction is the poem that Milton wants to present to the Lord.
紧接着我们介绍的颂歌“,弥尔顿叫它“谦逊的颂歌“,就是弥尔顿想给上帝看的那首诗。
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We've looked at Milton's earliest poem, or what Milton wants us to think of as his earliest poem, from a couple of different perspectives.
我们已经看了弥尔顿最早期的诗歌，或者说弥尔顿希望我们认为是他最早的诗，从一些不同的角度。
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It wasn't until 1645 at the age of thirty-six or thirty-seven that Milton would publish his first volume of poems, which he titled simply Poems.
直到1645年他36或37时,弥尔顿才出版了第一部诗集，就叫《弥尔顿十四行诗集》
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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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When Milton met him, Galileo would have been old and blind, not unimportant to the later Milton, and Galileo was under house arrest at his home in Fiesole.
当弥尔顿遇见他是，伽利略已经又老又瞎，而这点对后来的弥尔顿至关重要，伽利略当时被软禁在他菲索尔的家中。
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At the very moment that Woolf advises women readers to look past Milton's bogey, she finds herself in the peculiar position of echoing the poetry of John Milton.
伍尔夫劝女性读者不去理会,弥尔顿的惑众谣言的时候，发现自己处境尴尬,因为她需要附和弥尔顿的诗歌。
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Actually we have Milton's commonplace book, his reading notes, and you can find it all in English translation in volume one of The Complete Prose Works of John Milton.
事实上我们有弥尔顿的那本普通的书，他的阅读笔记，你们可以找到完全的英译本,在弥尔顿全部散文作品的第一卷。
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How troubling though -- this seems undeniable -- and how strange that Woolf really at her most radical is echoing the very words of the power that she's opposing!
多么让人不解--但这又是不可否认的--多么奇怪,伍尔夫在她最激进的言论中附和弥尔顿的字字句句,而弥尔顿的力量正是她所反对的！
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It's Woolf's image that's probably the one that's most firmly rooted in the minds of Milton's readers today.
伍尔夫对弥尔顿的刻画可能是,如今弥尔顿读者们心中对他最深刻的印象了。
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After all, this is an extremely pious Puritan. But as late as the 1640s, this was not at all the epic subject that Milton was intending to use.
不管怎么说，弥尔顿是个很虔诚的清教徒，但是到了17世纪，40年代的时候，弥尔顿都根本没想过要写这个主题。
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But John Milton is also recompensed and, by the weird sacrificial logic that Saint Peter has already sketched out for us, you can see a really disturbing way in which Milton has benefited as well.
但是在圣彼得铺陈开来的诡异的牺牲逻辑下,弥尔顿也得到了回报，你会看到弥尔顿从中得益的方式,确实非常让人困惑。
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In the works that Milton is going to be publishing now with greater and greater frequency, it's this Spenserian ideal of marriage that will be the new and, believe me, the endlessly complex Miltonic subject.
在弥尔顿准备出版的作品中,越来越常出现的，是斯宾塞式的婚姻理想，那将是崭新的，相信我，也是无尽而复杂的弥尔顿风格的题材。
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Milton is adamant throughout the epic in his insistent imagining Adam and Eve quite specifically as a married couple - and a married couple -- and this is important to Milton -- a married couple with an active sex life.
弥尔顿在他的叙事诗中坚定不移的认为,作为已婚的夫妇，亚当和夏娃,已婚的夫妇--这一点对弥尔顿来说很重要-,有频繁性生活的夫妇。
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The position that Milton -- this is how I like to read it - the position that Milton would like to be able to take on this question of virtue's reward is formulated by the Elder Brother in Comus.
弥尔顿的立场--我下面要读,-弥尔顿关于贞操的报偿这一问题的立场,通过《科玛斯》中的哥哥这一角色表达出来。
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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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For most readers in Milton's time, rhyme was actually constitutive of poetry, and Milton's lines of unrhymed verse here may well have not seemed poetry at all. It was shocking.
对大部分弥尔顿时期的读者来说，押韵是,诗歌的组成部分，弥尔顿这不押韵的诗句,很可能看起来根本不是诗，它令人震惊。
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