It will be great pleasure to lost in paradise.
对我来说，有一个可以迷失的天堂吗？
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。
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。
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。
We will see Milton returning to all of these questions in Paradise Lost.
我们会看到弥尔顿又在失乐园中回到这些问题上来了。
He had not been so down since Milton had vilified him in that despicable piece of fiction, Paradise Lost.
自从被密尔顿在那部无耻的小说《失乐园》里诋毁名誉以来，生活从未如此低落。
It has been argued, and I think this is a brilliant point, that the most important word in Paradise Lost is or, the conjunction.
或者广受争议的，我个人认为是出色的一个想法，即中最重要的词就是这个连词，或者。
There are some important signs, I think, especially in the first two books of Paradise Lost of what we can think of as Milton's - it's a literary fantasy, a literary fantasy of forgetfulness.
我认为有一些重要的迹象，尤其是在，《失乐园》的前两册书中，从那里我们可以思考弥尔顿之所想，这是一次对于遗忘的文学幻想。
Let's look at the first appearance of Mammon in Paradise Lost.
请看在《失乐园》中贪欲之神第一次出现的地方。
It also provides Milton with the figure of Mammon who will, as you will see over the course of this semester become - well, here in Paradise Lost he's one of the key fallen angels in Milton's hell.
它也为弥尔顿提供了贪欲之神这一形象，正如在本学期这一门课中你们将始终看到的，贪欲之神，在《失乐园》中会变成，弥尔顿地狱中主要的堕落天使之一。
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。
Here's a mental exercise: picture a tropical paradise lost in an endless expanse of cerulean ocean.
以下是一个脑力练习：想象一个隐匿于广阔无垠的蓝色海洋之中的热带天堂。
This was the happiest period in Nietzsche's life and here a paradise once lost was briefly regained.
这是尼采一生当中最幸福的时光，使他重获了一个短暂的天堂。
This was important to Milton, - and one of the big set-piece speeches in Paradise Lost -- - and you may remember it if you've read that poem -- is the hymn that begins "Hail, wedded Love."
这对弥尔顿来说是至关重要的，在《失乐园》中有一个让人印象深刻的片段-,如果你们读过那首诗也许还记得-,那是一首赞美诗，以“致敬，已婚的爱情“开头
First of all the word Pandemonium was invented by John Milton in his poem Paradise Lost.
首先，pandemonium是由约翰·弥尔顿在其著作《失乐园》中首创的。
The same, in truth, that is found in Proust's work or in the landscape of Plotinus: a nostalgia for a lost paradise.
事实上，普鲁斯特的作品或普罗·提诺的风景画中也均有相同的发现——对失落天堂的留恋之情。
You can actually see the mechanics of end-stopped verse quite clearly in the rhymed version of Paradise Lost that, admittedly, the great poet John Dryden wrote.
在大诗人约翰·德莱顿所写的，押韵版的《失乐园》中能很明显看到，这中孤联诗句的机制。
There seems to have been something of a kind of outcry about the style of Paradise Lost. Look at page 210 in the Hughes.
当时人们对《失乐园》的格式,似乎有过强烈反对，翻到休斯版的210页。
Milton, when he created Satan in Paradise Lost, which is one of the greatest creations in all of literature, made Satan as evil as Satan should be.
弥尔顿在《失乐园》中塑造的撒旦形象是所有著作中最伟大的创造之一，他让撒旦如撒旦本该有的邪恶一样邪恶。
The great Milton, a grave author, brings in Adam thus speaking to Eve in Paradise Lost, "Oh, fairest of creation, last and best of all God's works."
伟大的弥尔顿，严肃的作家，在《失乐园》中，让亚当对夏娃如是说，“哦，最美丽的生物，上帝最后却是最好的作品。”
Paradise is there, behind the door, in the next room; but I lost the key.
天堂在那里，在那扇门后，在隔壁的房间里；但是我把钥匙弄丢了。
And, of course, this is what he would go on to do in Paradise Lost.
那么当然了，这就是之后他在《失乐园》当中所做的。
Paradise Falls, a land lost in time.
天堂瀑布，时间迷失之地。
In the light of narratology, this paper attempts to analyze the image of God in Paradise Lost from the figural perspective of Satan.
撒旦所感知的上帝形象与史诗中旁观叙述者所感知的上帝形象大为不同，这种不同正是《失乐园》中叙述艺术精妙之所在。
Paradise is there, behind the door, in the next room; but I have lost the key.
天堂就在那儿，在那扇门后，在比邻的房间之内，但我却遗失了钥匙。
Who therefore invented the myth that the "Paradise" was "lost" and that today we are living in an ugly universe?
所以，“乐园失掉了”的神话是什么人杜撰出来的呢？什么人说我们今日是住在一个丑陋的世界呢？
Nick meets resonance and finds his lost paradise in nature.
尼克在自然中找到共鸣，找回了失去的乐园。
She's alluding here, I think, to one of the most famous passages in Paradise Lost in which Milton is asserting nothing other than his poetic power.
我认为，她这里是在暗指，《失乐园》最著名的篇章之一，在这篇章中弥尔顿仅仅是在展示他诗句的力量。
So, there's a kind of lost paradise of European culture which he can't get back, even with this spectacular effort in English.
所以，这就是他不能再重新体验的，欧洲文化的失乐园，尽管在英语上做了惊人的努力。
So, there's a kind of lost paradise of European culture which he can't get back, even with this spectacular effort in English.
所以，这就是他不能再重新体验的，欧洲文化的失乐园，尽管在英语上做了惊人的努力。
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