It has been argued, and I think this is a brilliant point, that the most important word in Paradise Lost is "or", the conjunction.

它备受争议，我个人认为是出色的一个想法，“失乐园”中最重要的词是“或”，即连词。

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Galileo is the only contemporary personage, the only seventeenth-century figure, even so much as mentioned in Paradise Lost.

伽利略是唯一的当代人物，唯一的17世纪人物，甚至在《失乐园》里也有提及。

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Hartman describes Milton's tendency in Paradise Lost, and he takes this term from Coleridge: the tendency to stand ab extra, to stand from outside.

哈特曼描述了弥尔顿在《失乐园》中的倾向，他借用了柯勒律治的这个习语：由外而内俯视自身的趋势。

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But one of Milton's projects in Paradise Lost is to effect his forgetting of all of his literary precursors.

但是弥尔顿在《失乐园》中的一个计划是,让自己忘记所有文学前辈。

耶鲁公开课 - 弥尔顿课程节选

It's in relation to all of these forms of lateness that we can best understand the opening invocation of Paradise Lost.

带着所有这些“晚“,我们才能很好的理解《失乐园》的开头。

耶鲁公开课 - 弥尔顿课程节选

Galileo is the only contemporary personage, the only seventeenth-century figure, even so much as mentioned in Paradise Lost.

伽利略是唯一的一个当代人物，唯一的一个17世纪的人物，甚至在里也提到了这点。

耶鲁公开课 - 弥尔顿课程节选

Suddenly, in the late 16th century, Paradise was lost, except on some regional maps.

ECONOMIST: Modern man knows where he stands. His map tells him