The Lost Paradise has abstracted the attention of many readers , but the ordinary people just regard it as a story of extramarital love.
日本作家渡边淳一的《失乐园》曾引起许多读者的关注，但一般都仅仅把它看作是叙述一个“婚外情”的故事。
I think the Lost Paradise is also a symbol which reveal the incompleteness of modern humanity and criticize the modern society and humanity. It is a summon and pray for completeness of humanity.
笔者认为《失乐园》还可以看作是一个象征符号，它揭示了现代人性的残缺，是对现代社会和人性的批判，同时又是对完满人性的祈祷和召唤。
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。
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。
Samson begins to echo Milton from the invocation that we've been looking at, the invocation to Book Three of Paradise Lost.
从我们一直看的祈祷，从《失乐园》第三卷中的祈求，参孙开始附和弥尔顿。
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。
This is where Milton began to consider the problem of temptation that, of course, will become so important to Paradise Lost.
正是从这里弥尔顿开始思考诱惑的问题，当然，诱惑的问题在《失乐园》中变得十分重要。
And there's an even more ambitious idea out there. Howard Shapiro, chief agronomist at Mars, hopes that chocolate could even bring back a little of the forest paradise that's been lost.
有一个更加雄心勃勃的想法的人，霍华德·夏皮罗——火星公司首席农业师，他希望巧克力哪怕只能找回一点点失去的森林天堂也好啊。
So, this is my question to you: how complete and perfect is the image of Providence that hovers moonlike over the pages of Paradise Lost?
因此，我的问题是：，这里如月亮一般,在的字里行间反复出现的天意的形象,到底是有多么的完整和美好？
We can't know anything certain about the eternal and the immortal world of Paradise Lost except through these faculties we have and those are uncertain, imperfect, fallen human capacities of reading.
我们无法了解任何确切的,有关中的永恒不灭的世界的认识,除非那些借助于已有的不确切不完美的阅读技巧。
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。
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。
The country I knew was one of revival and hope and "paradise lost" was a sentiment once reserved for the generation of my mother and father.
我眼中的那个国家曾经是一个复苏的，充满希望的，“失乐园”似的，感情上它曾经哺育过我母亲和父亲那一代人。
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。
Mary Hemingway was the one who placed this passage near the close of the book, where it delivers a sense of haunting finality—a glimpse of a paradise lost.
是玛丽·海明威把这一段放在了书的末尾，传递出结局难以忘怀的感觉——让人看到一个失乐园。
Hartman's absolutely right to insist that no theological concept is as important to Paradise Lost as free will on the one hand and divine providence on the other.
哈特曼有绝对的权利坚持说任何神学的概念,在中的意义都不足与匹敌自由意志的重要性,也不足以和神圣的天命相比。
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。
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。
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。
This is a myth that has and will continue to haunt Milton all the way up through Paradise Lost.
这个神话曾一度而且会一直萦绕着弥尔顿，并贯穿了《失乐园》全诗。
Paradise Lost will be filled with the activity of eating.
失乐园里都是吃的活动。
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
This makes humanities coursework a crucial training ground for careers far from the prose of the Gettysburg Address and the verse of "Paradise Lost."
这让人文学科把写作职业培训也作为一个重要课程，不再仅仅是葛底斯堡演说稿和《失乐园》的诗文。
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。
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。”
Can only and you can't and you were bitter, the pleasure of paradise lost seven door of a key.
只能和你同乐不能和你共苦的人，丢掉了天堂七个门中的一把钥匙。
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。
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。
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