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And by his smile, I knew that sullen hall,-- By his dead smile I knew we stood in Hell.
看着他的笑，我想起了阴沉压抑的礼堂-,看着他的笑，我想起了阴沉压抑的礼堂。
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They are individual creatures who seem really to be in hell just as they seem really to have been in heaven; but the figures of Sin and Death, they are entirely different animals.
他们是独立的生灵，身处于地狱,也曾经生活在天堂;,但是罪恶之神和死神却是两个完全不同的生物。
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In Ruxton's Life in the Far West there's an Indian who gets red all over blushing because he got so many scalps and he runs like hell into the plains to glory over his deeds in hiding.
在《卢克斯顿的生活》里在美国中西部有一个印第安人,他因为得了太多头皮而全身涨得通红,拼命跑到草原里来藏起他的荣誉。
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In other words, Buckle was the avatar of the notion in the late nineteenth century that everything was going to hell in a handbasket.
换言之，十九世纪后期有一种观念认为所有事物都在迅速恶化,而巴尔克则是这种观念的化身。
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The low registers, and they're way down in the twenty-ninth canto of hell or somewhere.
低音区,它们远在,第二十九层地狱之类的地方
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But De Gaulle,who we'll talk about later, De Gaulle said,how in the hell can you run a state in which there are four-hundred and forty different kinds of cheese?
但是戴高乐,我们之后会谈到他,他说,到底怎么样去管理一个,拥有四百四十多种不同奶酪的国家
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He lived in New Orleans, he was eccentric as hell.
他生活在新奥尔良,是个不折不扣的怪人
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This is Mammon's speech during the great consult in hell.
这是贪神在地狱里大听证会里发表的演讲。
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Now for my money, it's Belial who gives us the most beautiful and the most seductive contribution to the debate in hell, but it has got to be Mammon who most resembles Milton himself.
我敢打赌，是贝利亚给了我们在那场地狱的辩论中,最美的和最有魅力的演说，但是这份殊荣,给了最像弥尔顿他自己的贪神。
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Such is her power. But we have every right to ask what Medusa - this is a figure from Greek mythology - what Medusa is doing in a Christian hell.
她有那样的力量，但我们有权问问美杜莎,这一希腊神话里的人物,在基督教的地狱里做什么。
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What in the hell is all of this doing here? Milton's reporting to the English people how he imagines his future literary fame.
这究竟和他有什么关系？,他却对英国人说着他对自己未来文学名声的想象。
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You must agree with me that perhaps he might have some bordello-oriented thoughts, there is no way in hell that this unspeakably self-controlled young man would actually find himself in a whorehouse.
你们必须同意我的看法,虽然弥尔顿有妓院为本的思想，但实在难以形容这位那么自律的年轻人,会去妓院。
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Finally, Dante alludes to this image of the Virgilian underworld in The Inferno when he describes the descent of humanity, the evil seed of Adam, into the Christian hell.
最后，但丁又在中描述到人性的败坏,亚当在基督教的地狱中撒下的邪恶种子时，含沙射影了维吉尔关于地狱的描写。
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Now in 1644 when he wrote the Areopagitica, Milton may have forgotten that Spenser's Guyon did in fact descend in to hell without the help of his teacher, the palmer.
644年他在《论出版自由》中写道，弥尔顿可能忘记斯潘塞笔下的盖恩事实上是在,没有自己的老师朝圣者的帮助下进入贪神之洞的。
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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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They're not actually present in the real world of Milton's hell, or if it's a pagan god who's mentioned, Milton will tell us that the pagan god was just an early manifestation of one of the fallen angels.
事实上他们没有在弥尔顿笔下的地狱中出现，或者作为异教的神被提及，弥尔顿将告诉我们那些异教的神只是堕落天使中,一名天使早期的表象。
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If you had five slaves and a good piece of land in Alabama in 1820, you might very likely have fifty slaves and a hell of a lot more land a decade later.
820年,如果你在阿拉巴马州,拥有五个奴隶和一块肥沃的土地,十年后你很可能就会拥有五十个奴隶,以及更多的土地
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Standing in the Lethe of Milton's hell is none other than the classical figure, the figure from classical mythology, Medusa.
站在弥尔顿笔下的忘川河畔正是,那个源自神话的经典人物美杜莎。
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I think this is an important distinction because what you have here in the middle of this simile in Milton's account of hell is an image of a bower.
我认为这是一个非常重要的区别,因为读到半途,弥尔顿对地狱的描述仅给了我们一个阴暗的印象。
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Milton wants the reader to know that she's fallen, we are all fallen, and any problem that we have in understanding the theology of heaven and hell is our problem as fallen readers.
弥尔顿希望读者认识到她在堕落，我们也在堕落，以及我们在理解天堂中遇到的任何问题,以及地狱式我们这些堕落了的读者们的心魔。
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in his great depiction of hell in Books One and Two) to avoid the standard epic scenes of the torture of the damned, for example, with which we're familiar if we've read Homer or Virgil or, of course, Dante much later.
在他第一和第二册书对地狱的精彩描述）,去避免提及传统史诗中关于恶者被折磨的场景，例如我们所熟悉的那些场景,如果我们读过荷马的，维吉尔的，当然还有但丁的作品。
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He journeys heroically through chaos in order to find that new planet that he had heard about in heaven, and he's stopped by a figure who holds the keys to hell's gate and who can determine who is able to leave and who is able to enter.
他英勇地穿越过混乱以找到他在天堂听闻过的新星球,他被一个人拦下了,这个人掌管着地狱大门的钥匙并能决定,谁能够从此间进出。
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