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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 too late for this to be a political poem, but Paradise Lost is late for all sorts of reasons.
要写一首政治诗歌太晚了，但弥尔顿这么晚才写《失乐园》有多方面的原因。
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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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Harold Bloom has written, and I think he's absolutely right, that Milton begins Paradise Lost with a powerful defense against lateness.
哈罗德·布卢姆写道，我认为他说得对极了，他说弥尔顿,在《失乐园》的开头对这些“晚“进行了有力的辩护。
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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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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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You have an elegy here, a beautiful and plangent lament for something or someone lost. And we have to ask ourselves, "Could this be a paradise lost?"
它变成了挽歌，一首优美的如泣如诉的挽歌,因为某些东西或某些人消失了，我们不得不问自己，这就是失乐园吗“
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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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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 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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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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That's a moral reading of Paradise Lost that I've just given you; but of course, it's only a partial one because we haven't gone further enough.
这是我告诉你们的一种从道德上看待的方法;,不过当然，这只是其中的一部分,鉴于我们还不够深入。
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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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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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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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The story of Adam and Eve and of the fall of Satan may strike us - having read or about to read Paradise Lost -- may strike us as a natural subject for Milton to have chosen for his epic poem.
弥尔顿选择了亚当夏娃以及撒旦的溃败的故事,作为他史诗的主题在我们看来--不管我们读过,还是将要读《失乐园》--都是很自然的。
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The extent to which Milton succeeds in justifying such a God in Paradise Lost will be, of course, one of the questions that we will be exploring over the next couple of weeks. So You will read for Wednesday's class the first two books of Paradise Lost.
在失乐园中弥尔顿成功地证实了,这样一个上帝,扩展出了一个我们下几周要研究的一个问题,所以在周三前阅读失乐园的前两部。
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That Satan is still able to doubt the legitimacy of God's power is a testimony to the complexity, I think, of the analysis of power in Paradise Lost. No power, not even God's power, can be irresistibly and indisputably proven.
我认为，撒旦尚能怀疑上帝力量的正统性,就证明了，《失乐园》中对力量的分析的复杂性，即使是上帝的力量，也不能被不可抗拒，无可置疑的证明。
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It's in response to what seems to have been an aesthetic reaction to the poem that the printer of Paradise Lost asked Milton, went back to Milton and asked him to append a note to the book's second printing -- to append a note that explains why the poem rhymes not.
这是弥尔顿对《失乐园》的出版商的答复,出版商问弥尔顿关于此诗的美学问题，他找到弥尔顿，让他给此诗的第二次印刷附一个,注解--附个注解解释这诗为什么不押韵。
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Paradise Lost as a whole clearly wants us to believe that God has foreknowledge and it also clearly wants us to believe that we have free will, but the similes seem just as often to open up and to question the poem's doctrinal conclusions.
整体来说很清楚地是想让我们相信,上帝具有先知的能力,并且还想让我们相信人生来有自由的意志，但是这些比喻看起来只是为我们揭露,并质疑了诗歌本身的学理上的总结。
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In fact for readers of Paradise Lost, and this has been an experience now for a few hundred years, it does often seem as if there were some mysterious life force, a pulsating through Milton's dense and driving lines of unrhymed, iambic pentameter.
实际上，《失乐园》的读者们，几百年来一直都有这种体验，确实，似乎真有一种神秘的生命力，一种脉搏，贯穿在弥尔顿密集，强劲，没有韵律，长短不一的五音步格诗之中。
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I don't know who came up with this statistic but I love it: nearly three out of every five lines in Paradise Lost are enjambed - they embrace the practice of enjambment. The meaning or the sense of a verse paragraph is diffused throughout a series of lines.
不知道是谁得出这个数字，但我很喜欢：,《失乐园》中将近五分之三的诗句是连结的,-它们全都连结在一起，一段诗的意思或感觉,贯穿在这段诗的一系列诗句当中。
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Even though there were people, mostly young men, willing and able to read to him, it's clear that the vast quantity of learning that gets poured - all of that erudition that gets poured into the pages of Paradise Lost - it's clear that this is not a product of Milton's last-minute review of the classics.
尽管有很多人，大多数是年轻人，愿意将材料读给他听，很显然这使得大量的知识被注入,所有这些广博的知识被注入到《失乐园》的字里行间,但很显然这不是,弥尔顿在最后一分钟对于古典文献回顾的产物。
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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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