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He began and ended his career as a decadent, I suppose a reader of Walter Pater and Oscar Wilde.
他以颓废者的形象开始和结束其事业，我想作为佩特和王尔德的读者。
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This lowly variety is not the kind of imagination I would like readers to use. What a crime!
我不希望读者们用到这种相对低端的想象方式,罪过啊！你们中有多少人为你们！
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The Washington Post surveyed its readership and discovered that ask people what they thought was the most significant causes of the shooting.
华盛顿邮报》在读者中进行了调查,并且发现当询问人们,他们认为,枪杀案发生的主要原因是什么。
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This doesn't happen, but at the same time it's a world of illusion in which the reader lives all too comfortably. Right?
这些不会发生，但是同时这是一个幻境,读者太舒适地生活于其中，对吧？
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Everyone agrees that what Milton is doing in the similes is educating the reader, the reader of this poem.
大家都同意弥尔顿想要通过这些直白的明喻,来教育这首诗的读者。
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But then Machiavelli goes on to tell the reader that the exclusive subject of this book will be the new prince.
但马奇亚维利,马上又告诉读者,本书的唯一主角,是新君王。
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It's just fascinating as a reader and an interviewer to be taken into other communities.
做个读者或者采访者确实很有吸引力,因为你能进入别的群体当中。
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The embroidery and decoration, all that now seems inauthentic, something that, in fact Yeats's audience had failed to value properly he's complaining here in this poem.
那些刺绣和装饰，所有那些看起来不真实的，所有他的读者未能正确欣赏的,他在这首诗里都有抱怨。
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Plato wrote the dialogues as a kind of learning device, as a tool to help the reader get better at doing philosophy.
柏拉图写下这些对话录,是为了将其作为一种助学方法,作为一种帮助读者,更好的掌握哲学的工具
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But what is really interesting is the author assumes that the reader hasn't taken 3.091.
而真正有趣的是，作者假定,他的读者没有上3。091课程。
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So, this is Nabokov's beautiful evocation of how writer and reader meet at the summit of this misty mountain of the imagination.
那么，这就是纳博科夫的美好呼唤，是关于读者和作者,如何在想像的巅峰相遇。
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The panting and happy reader, and there they spontaneously embrace and are linked forever if the book lasts forever.
是气喘吁吁却兴高采烈的读者，他们在这里,不由自主的相拥，只要作品永存，他们就永不分离。
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Now I want to contrast that with what we see from Nabokov in this essay, Good Readers and Good Writers.
现在我要把这和《好读者和好作者》这篇文章中,纳博科夫的观点做下比较。
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If the surprises are too great, then they induce overstrain and we throw away the book in frustration and despair.
如果令人惊讶之处过多，则会导致读者过劳,最后因失望或绝望而抛开它。
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We need to think that the actions in the story were in some way free and absolutely, perfectly undetermined.
得让读者以为故事中角色的所作所为某种程度上,都是自由的，完全不是事先确定的。
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Not only now, but, I think, on some level it has always struck some of its readers as ludicrous.
不仅是在现在，我觉得，一直以来都有读者,会觉得这是荒唐可笑的。
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Milton makes a covenant with the reader. It's as if he's signing a contract because he's asking for credit here.
他与读者签了契约，就好像,因为他要借款所以签了份合同一样。
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But there may be ways of being pulled up short, occasions for being pulled up short, that Gadamer thinks exceed the imaginative grasp of a reader.
但葛达玛认为,有好几种“突然停下“的方法和场合，会超乎读者的想象，理解不了。
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It's so amazing it can be equally surprising the poem to the person who was writing it and to the reading it.
真的是太奇妙了，一首诗可能,对作者和读者来说都是一个惊喜。
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What should be established I think is an artistic, harmonious balance between the reader's mind and the author's mind.
我觉得需要建立一种能艺术地协调，读者和作者思想之间的平衡,我们要保持些许冷漠。
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The virtual work of the reader does not involve surprise, does not involve the violation of expectations.
读者的虚功中没有惊讶，也没有期望的违背。
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It's also that knowledge that an educated, sort of belletristic reader of The Saturday Review of Literature would be very, very familiar with.
这也是受过教育，某种研究文学且是,《周六文学评论》的读者所十分熟悉的知识。
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This is the realm of that mountain of imagination that I was showing you in the passage from Good Readers and Good Writers.
这就那想象力的巅峰，我曾在《好的读者和好的作家》,中向你们展示过它。
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We don't even know where it is we're supposed to be looking from, and the choice between Fesole and Valdarno that Milton gives the reader is crucial here.
我们甚至不知道是否应该从此处着眼，而弥尔顿向读者提出的，菲索尔和瓦达诺之间的抉择,在这儿是至关重要的。
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By the same token, if literature has effects, it must have effects on someone, and this gives rise to the equally interesting and vexing question, "What is a reader?"
同样，如果文学史有影响的，它一定会对某些人产生影响，它也会引出一个同样有趣,而恼人的问题，“读者是谁？“
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There are at least two varieties of imagination in the reader's case, so let us see which of the two is the right one to use in reading a book.
读者至少有两种不同的想象方式,所以让我们来看看,哪一种,适合读书。
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Now readers of English literature talk about Milton very differently from the way they talk about other writers.
如今英国文学的读者对米尔顿的说法,与他们对其他作家的说法极为不同。
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There is also the question of what kind of reader we are that this preface brings up and sort of puts in front of us.
有一个问题，我们是什么样的读者呢,在这个序言面前。
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And readers of Milton ever since have had to confront not just Milton's writing but this unspeakable sense of empowerment that underlies just about everything that Milton writes.
自那之后，米尔顿的读者们面对的就,不仅是他的作品，还有这种难以言喻的充满力量的感觉,这种感觉暗含在几乎米尔顿的一切写作中。
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Censorship only comes into play once a text has actually been in circulation for a while, only after a number of readers have found a published text to pose a threat.
控制仅仅是一本书已经出版发行一段时间,一些读者已经发现这印刷的文本,造成威胁时才起作用的。
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