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Now I spoke last time about the familiar sense of hesitation, that apology with which Milton had opened the elegy.
我要最后一次说明一下弥尔顿写在挽歌开头的，那句道歉，那种熟悉的犹疑感。
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Professor John Rogers: The best way, I think, to introduce the central issues of this wonderful poem, Lycidas, is to return to Milton's Comus.
约翰·罗杰斯教授：我认为，要向你们介绍《利西达斯》,这首精彩的诗的精髓，最好的方法莫过于，回顾一下弥尔顿的《科玛斯》
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Milton's subject in his first English poem is -- we can guess it it's his future literary career.
弥尔顿在他的第一首英语诗歌里的主题，我们可以猜一下,是他将来的文学事业。
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I'm going to ask you to imagine the domestic situation in the Milton household in 1632.
我要你们想象一下这个场景,当时是在1632年弥尔顿的家中。
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This is a kind of meta-literary allegorization that I'll be performing here: you could also think of Milton the poet as being stuck at this same juncture.
这是一种元文学的语词新作,我现在会开始展示，你们也可以思考一下,诗人弥尔顿也在同样的时刻陷入僵局。
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Look at line 183. Milton imagines Lycidas in heaven now.
看一下183行，弥尔顿想象着利西达斯身在天堂。
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And it's important to remember that Milton will - this is probably an invariable truth, but I'll qualify it nonetheless - that Milton will typically imitate his predecessors only with a difference.
重要的是我们要记住弥尔顿将,这应是无可否认的事实，但我还是要验证一下,弥尔顿通常将,模仿他的文学前辈而仅留一个不同之处。
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we don't know -- Milton tells someone to hurry up think of this -- to hurry up with the inspiration of the ode, because Milton can see the Three Wise Men bearing their gifts as they dutifully follow the Star of Bethlehem to the manger.
我们不知道-弥尔顿告诉某个人赶紧,用颂歌中的灵感想一下，因为弥尔顿能看到术士们正在贡献馨香,当他们忠实得追随伯利恒明星来到马槽的时候。
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That's because to suggest -- just think of it - to suggest that Milton is relying on his memory as he composes so allusively and so dependently, in a lot of ways, so much of Paradise Lost - to say that is simply to say that the poem has been generated by Milton and not by God.
让我们来设想一下其中的原因吧,假设弥尔顿全靠着他的记忆,正如他隐晦而连续地在《失乐园》中引经据典，并将这些以多种方式组合，这在《失乐园》中随处可见,以至于人们可以简单地说这部诗,是出自弥尔顿而非上帝的创作。
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