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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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But one of Milton's projects in Paradise Lost is to effect his forgetting of all of his literary precursors.
但是弥尔顿在《失乐园》中的一个计划是,让自己忘记所有文学前辈。
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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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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 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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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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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 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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We will see Milton returning to all of these questions in Paradise Lost.
我们会看到弥尔顿又在失乐园中回到这些问题上来了。
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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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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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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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And it wouldn't be another twenty-two years after that until Milton actually published Paradise Lost.
直到22年后,弥尔顿才真正出版《失乐园》
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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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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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God Himself in Paradise Lost is nothing but body.
失乐园》里的上帝其实只有肉体。
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This is exactly, of course, what he will do in Paradise Lost.
将天堂物化正是弥尔顿在《失乐园》中所做的。
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But by the time Milton begins writing his epic, he abandons his plan for a nationalistic poem, a nationalist poem, and decides instead to use the subject matter that he had been intending for that prospective tragedy, Paradise Lost.
当弥尔顿开始写史诗的时候，他放弃了原来写民族主义诗歌的计划，转而决定用他本来打算写的悲剧,《失乐园》的主题。
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My guess is that our sense of Milton's power, however that power is imagined, is intimately related to the way in which Milton himself represents power in the characters of Satan and of God in Paradise Lost.
我猜我们对弥尔顿力量的理解，不管我们如何想象这力量，与弥尔顿在《失乐园》中所写撒旦和上帝两角色对,力量的展方式切密切相关。
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I think that Milton intends for us to think of the verse in Paradise Lost as he wanted us to think of books in Areopagitica: the lines of Milton's poetry are not absolutely dead things, but they do contain within them a potency of life.
弥尔顿在《论出版自由中》让我们把书看作是肉体,我想他也想让我们这样看待《失乐园》的诗句：,弥尔顿的诗句不是毫无生气的，它们蕴含着生命的潜质。
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That was supposed to be a tragedy that, in some manuscript drafts that we still have today -- in some manuscript drafts, he titled this prospective tragedy Paradise Lost and in other drafts Adam Unparadised.
他打算写一部悲剧，在一些目前还存留的草稿中,我们看到弥尔顿将这部要写的悲剧命名为,《失乐园》，在另外一些草稿中又叫做《亚当失乐园》
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