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This is a little paradise, a paradise on the verge of being lost as the shades lose their leaves.
这是一个微小的天堂，一个随着叶子的凋落,即将失去的天堂。
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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。
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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。
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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。
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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。
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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中的写作趋向，并且从柯勒律治那里借用了这个习语：,由外而内俯视自身的趋势。
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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。
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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？
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At this point it's wonderful: Samson begins to echo Milton from the invocation that we've been looking at, the invocation to Book Three of Paradise Lost.
这里很奇妙：,参孙开始附和弥尔顿的祈求,我们刚才看到的失乐园第三卷中的祈求。
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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。
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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。
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Now it has to be said that Mary Astell's image of Milton is probably the product of a much closer reading of Paradise Lost than Lady Mary Chudleigh's was.
不得不说，玛丽·阿斯苔对弥尔顿有如此印象,很可能是因为她对《失乐园》的解读,比玛丽·恰德莱夫人的更加细致。
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This is one of the primary strategies that Milton develops, especially in the first two books of Paradise Lost, as a kind of defense against his dependence on classical literature.
这是弥尔顿发展出的早期策略之一，尤其是在《失乐园》的前两册书中,这似乎是在反驳他对古典文学的依赖。
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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。
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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“
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This is what I'll be proposing over the course of this lecture: that memory is a problem that Paradise Lost is continually confronting.
这就是我在这堂课上准备谈论的：,即记忆是《失乐园》这部作品始终要对抗的东西。
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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。
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And so, to use the words with which Milton would begin Paradise Lost, " a theodicy is an attempt "to justify the ways of God to men."
因此，用弥尔顿在《失乐园》开头的话说，斯奥迪斯就是试图“证明上帝待人之法“
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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。
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You actually have the word "first" appearing six times in the first thirty-three lines of Paradise Lost.
初/先“一词在《失乐园》的,头33行中就出现了6次。
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Now we know that Milton was blind probably well before the time he began writing Paradise Lost, and therefore, of course, he was then unable to read.
现在我们知道弥尔顿很可能失明了,这早于他开始写《失乐园》的时间，因此，他不能通过眼睛阅读。
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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“
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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。
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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。
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They're invariably cited as among the most beautiful and exquisite lines in Paradise Lost but on some level they've proven the bane of scholars because they can't be squared with any of the poem's theological message.
它们被单调地引证为,中最美最细致的诗句,但在某些层面他们证明了学者的祸害,因为它们并不能与诗歌所传达的神学信息相一致。
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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。
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Now you'll remember from our discussion of the opening invocation to Paradise Lost, that insistent bid that Milton was making: the bid to be first.
现在从我们对失乐园开篇,的讨论中可以得知，弥尔顿一直坚持的是：,敢为天下先。
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You have on the handout the other mentions in Paradise Lost of Galileo.
讲稿上有标出另外提到伽利略的地方。
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Now, one of the earliest -- and I think this is a remarkable fact - one of the earliest citations of Paradise Lost that actually appears in print in the seventeenth century comes from the proto-feminist writer Lady Mary Chudleigh.
最早的--我认为这很重要,-17世纪最早的以印刷形式出现的,对《失乐园》的引用,来自于原型女性主义作家玛丽·恰德莱夫人。
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Paradise Lost will be filled with the activity of eating.
失乐园里都是吃的活动。
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