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It's words to you, or to the reader of the code, that are telling you what's going on inside of this code. OK?
注释是一些对你，或者对代码阅读者说的一些话，告诉你这段代码,是干什么的，对不对？
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Maybe it's an invitation to the reader to recognize that there is a better argument here than even the characters in the drama have noticed.
也许是要邀请读者,来辨别出,还有更好的论证,甚至连剧本里的人都注意到了。
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What I want you to notice first of all is the kind of reader that's being invoked here for that modernist classic Ulysses.
首先希望你们注意到的是,所有开始阅读现代主义经典,《尤利西斯》的读者。
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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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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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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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In general, good programming style says you put in comments that are going to be valuable in helping you as a reader understand what's going on inside of the code.
通常来说，优秀的编码风格意味着,你要放进去的注释,在帮助代码阅读者,理解代码内部,是怎么工作的。
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Right, OK. So what I do to open the book is to ask the reader to image that they walking past a shallow pond, maybe somewhere in the park or or university campus.
好的，我在这本书的开篇,请读者想象这样一个画面，你走过,一个浅浅的池塘，可能是公园里,或是大学校园里。
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The conclusions have to be drawn by the reader.
最终结论也要读者自己去思考。
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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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And Milton reasonably alerts his reader to the timeliness of a lot of the material that would be covered in this poem.
弥尔顿合乎情理的向他的读者们,发出了这首诗所要描写的大量内容的警戒。
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He's introducing the reader to a mode of vision different from the vision typically permitted him from within the poem's more or less straightforward, linear, narrative boundaries.
他在向读者介绍一种不同于这首诗里,直白的线状叙述的界限,或多或少已经容许他，显露出的设想有所不同的先见之明。
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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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You have to find out what "pulls up" means in the same way that the adult reader of Pleasures of the Imagination has to find out what "plastic" means.
我们得找出“停下来“究竟是什么意思,正如读《想象的愉悦》的大人,需要找到“塑料“的意思。
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Now if this is the case, it seems to me that one has found a loophole in Gadamer's conservatism about what the reader can do.
如果是这样的话，我认为大家在葛达玛对,读者理解能力的保守主义论中,能找到一个漏洞。
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It is the writer whose world the reader is here asked to get clear.
读者要看清的是作者的世界。
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So Nabokov imbues that state of impersonality with certain kinds of emotion and then asks the reader to be as impersonal as that modernist artist also must be.
所以纳博科夫用某些特定的情感,来营造非个人化的境界,让读者像现代主义艺术家那样非个人化。
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The reader should prefer a story with action and dialog to one with none."
读者要偏爱有动作和对话的故事,而不是没有这些元素的“
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She goes from being a reader who can listen, for example, to the ambiguities in the Wharfinger play.
她先是一个善于聆听的读者，比如说聆听那些，Wharfinger的剧中含糊不清的地方。
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So what is the authentic instrument to be used by the reader?
那么，读者真正可用的方法是什么？
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nd this convergence can never be precisely pinpointed, but must always remain virtual, as is not to be identified either with the reality of the text or with the individual disposition of the reader."
而我们永远无法指出，“…,这种会合的确切位置，这个空间会一直以虚拟形式存在,不论是客观的文本,还是带有个人特征的读者都无法辨别它“
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Gives you a little sense of Hobbes' spirit, his humor, the wry wit that becomes apparent on almost every page of this book, but you have to be a careful reader.
这体现了一部分霍布斯的精神，他的幽默感，他的诙谐风趣,而这些也明显体现在他的每一页书里，你们必须非常仔细地读。
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We have to image the relation of the female Osiris with the implicitly male reader's search for his lost lover, which is the feminine Truth.
我们不得不想象到这段关系，女性的欧西里斯和,男性读者对他失去的爱人，女性真理的含蓄地追寻。
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Once again, there is that moment of suspense that the reader is able to get through with a kind of pleasurable excitement and then overcome as the moral is actually revealed.
同样，还存在一刻的悬念,让读者能带着愉悦的兴奋感读完整部作品,接着在寓意揭露之后，悬念结束。
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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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that after Lolita.) But what I mean is that the reader must know when and where to contribute his imagination, and this he does by trying to get clear the specific world the author places at his disposal.
有些人可能就会那样想）,但我的意思是,读者必须知道何时何地需要发挥想像力,这样以看清作者所设置的特定的世界,在这篇小品文中。
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It's this line, "And with forc'd fingers rude" - this is called a broken line or a half-line, and this broken line has been read, I think, rightly as Milton's indication to his reader that he's not even up to the task of writing a sonnet at this point.
是这句，“我不得已伸出我这粗鲁的手指“,-这叫做断裂句，或者半句，将这句理解为,弥尔顿向读者暗示他此时甚至,还不能写好十四行诗是正确的。
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I'm convinced that it's the reader's job to apply the same degree of critical scrutiny, a kind of Galilean critical scrutiny, to the image of Providence that will be elaborated, as you will see, at extraordinary length in Book Three of Paradise Lost.
我相信，把同等程度的细致的挑剔的观察,一种伽利略式的吹毛求疵的观察精神，运用到对将要被详细说明的天命的形象上去，是读者该做的事，你们往后会发现，卷三里洋洋洒洒写了很多。
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