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Now you also may remember that we have already run into Spenser's Mammon before this point, before Paradise Lost.
现在你们可能也记得我们已经,在遇到《失乐园》之前就与斯潘塞的贪欲之神相遇了。
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John Milton has made a mistake. He's made a literary mistake and, as I think all editors know, Spenser does not.
约翰·弥尔顿犯下了一个错误，他犯下了一个文学上的错误，而且我认为所有的编辑都知道，这个错误斯潘塞没犯过。
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It's the passage from Spenser's cave of Mammon canto that describes this same scene of violation, the violation of mother earth.
这是斯潘塞笔下描写贪神之洞的长诗的篇章,它描述了对于大地母亲粗暴冒犯的场景。
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In this respect it would resemble Spenser's Faerie Queene, or perhaps more importantly, Virgil's Aeneid -- other nationalist epics.
这样的话它就会与斯宾塞的《仙后》，更重要的，维吉尔的《埃涅阿斯记》等一些民族主义史诗相类似。
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Edmund Spenser in the Faerie Queene does not bring Sir Guyon with his palmer through the cave of Mammon.
埃蒙德·斯潘塞在《仙后》中并没有让盖恩,带着朝圣者穿越贪婪之神的洞穴。
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He's a better teacher than Scotus or Aquinas, and the text seems almost to suggest that Milton can't do without his own teacher, Edmund Spenser.
他是一位比苏格拉底和阿奎那更好的良师，这些文章几乎暗示了弥尔顿,没有老师埃蒙德·斯潘塞则不能做到弃绝那些诱惑。
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Homer was in error, Milton told us, and Milton called on the moral voice of Spenser to help him make that moral judgment against Homer.
弥尔顿告诉我们荷马错了，他还要求斯潘塞的道德之声,帮助他做出反对荷马的道德判断。
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Milton is alluding so unashamedly here to Spenser's Errour because, I think, on some level he wants to brand Spenserian allegory as an erroneous literary practice.
弥尔顿是如此厚颜无耻地引用斯潘塞的“错误“因为，在某种程度上他想标榜斯潘塞的寓言,是文学上的一个错误尝试。
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I think in a lot of ways - and this could probably be said of Spenser as well - Milton is attracted to the excavation project.
我从很多方面思考,这里可以指斯潘塞,弥尔顿被这个掘金计划吸引了。
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Now I asked you to read for today, and I'm hoping you remember some of the reading, the canto from Spenser's Faerie Queene that features the cave of Mammon.
现在我要求你们为今天的课阅读，且我希望你们能从中记住一些东西，斯潘塞的长诗《仙后》，这篇描写了贪欲之神的洞穴。
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Now those of you who have taken English 125 or any course that has asked you to read Spenser will recognize almost instantly I think, I hope, Milton's literary depth.
你们中选修英文125或者其他让你们读斯潘塞的课程,的人应该能立刻认识到，弥尔顿的文学功底很深。
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Like Milton's Sin, Spenser's Errour is half woman, half serpent, and in a lot of ways she embodies the very problem of religious error.
像弥尔顿笔下的罪恶之神，斯潘塞笔下的“错误“是一位，一半女人一半毒蛇的怪物，她从各个方面具体化了宗教错误。
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That means that he has to expel from his system not just Homer, not just Virgil and Dante, but also his better teacher, Edmund Spenser.
这意味着他不得不从那个体系中脱离出来，不仅是荷马，维吉尔和但丁，还有他的良师埃蒙德·斯潘塞。
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Okay. That's the end. I want to remind you a final time to look at your Spenser, the cave of Mammon episode, as well as Dr. Johnson's brief comments on Sin and Death.
好，就讲到这，最后一次提醒你们,阅读斯宾塞，贪欲之神的洞窟的故事，还有约翰逊博士对《罪与死亡》的简评。
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It's almost as if we can hear Milton say, after he's given his own really quite elaborate display of allegorical poetry, "Thus Spenser relates, erring."
我们几乎可以听见弥尔顿在他,展示自己已经完备的寓言诗之后说，“因此关于斯潘塞的，都是错误“
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Milton uses for his source for the character Sabrina another character named Sabrina from Spenser's The Faerie Queene.
弥尔顿将Sabrina这一角色用作他的资源,另一个Sabrina是斯宾塞《仙后》中的。
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You'll note in this passage from Areopagitica that Milton himself calls Spenser a teacher.
你们可以在《论出版自由》的文章中看到,弥尔顿称斯潘塞为老师。
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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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None of England's pre-Miltonic poets -- Chaucer, Spenser, Shakespeare had dared to suggest -- and it would never have occurred to them to suggest that theirs was actually a divine vocation.
在弥尔顿之前，包括乔叟，斯潘塞和莎士比亚,没人敢这么说-他们从不敢,说自己的职业是神圣的。
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He can reject the beauty of Homer, he can reject the beauty of Virgil, but he can also reject -- and this has got to be an even greater challenge, perhaps -- he can also reject the help of his Christian teacher, Edmund Spenser.
他可以抗拒荷马和维吉尔的文采之美，更加了不起的是，他可以抗拒,来自他基督教派的老师,埃蒙德·斯潘塞的帮助。
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And so Milton calls on none other than his teacher, Spenser.
所以弥尔顿呼唤的不是别人，正是他的老师斯潘塞。
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Now Spenser's hero in Book Two of the Faerie Queene is Sir Guyon, and Sir Guyon descends into Mammon's Cave - it's a Spenserian underworld - and it's in Mammon's Cave that he is tempted by the money god himself.
斯潘塞在《仙后》第二册中的英雄是盖恩先生，盖恩下到贪欲之神的洞穴中,这是斯潘塞笔下的地狱,就在贪欲之神的洞穴盖恩被贪欲之神诱惑了。
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The palmer accompanies him on all of his adventures but this one, and Spenser in stanza two of this canto makes a big deal of the fact that Guyon is descending in to the Cave of Mammon by himself.
朝圣者陪着他经历了除了这里之外的所有冒险，斯潘塞在这篇长诗的第二节对这一事件大做文章,他想表达盖恩是独自一人进入贪婪之神的洞穴的。
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There's a wonderful work of literary criticism -- I mentioned it last time --on Milton's indebtedness to Spenser in the book by John Guillory called Poetic Authority.
有一篇很棒的文学评论-,上次我提到了--关于弥尔顿对Spenser的感激,在约翰·久乐锐所著《诗人权威》中。
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In this respect, he seems to have followed Spenser -- Edmund Spenser, whose Faerie Queeneis in large part a tribute to the sacrament of marriage, although interestingly The Faerie Queene, the great Spenserian poem, never actually manages to feature a marriage between two human beings.
这样看来，他似乎是,秉承了斯宾塞--埃德蒙·斯宾塞，他的作品《仙后》,很大程度上来说是对婚姻圣礼的颂词，尽管有趣的是，《仙后》,这一伟大的斯宾塞体诗歌，从没有真正意义上,在两人的婚姻中发挥重要作用。
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He's beginning to put aside all of those literary anxieties induced by his reading of Shakespeare, and it's as if he's more and more willing to use as a kind of literary assistant, or helper, Spenser: the great poet of holy matrimony and married sexual bliss.
他开始抛开那些阅读莎士比亚,得到的文学焦虑感，他似乎越来越愿意,使用斯宾塞作为文学助手，斯宾塞：,是神圣婚姻和婚姻性生活祝福的伟大诗人。
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The fact that Sabrina, this little character here, has her origin in Spenser is important.
实际上Sabrina，这个小角色，来自斯宾塞是很重要的。
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