Samson begins to echo Milton from the invocation that we've been looking at, the invocation to Book Three of Paradise Lost.
从我们一直看的祈祷，从《失乐园》第三卷中的祈求，参孙开始附和弥尔顿。
It has been argued, and I think this is a brilliant point, that the most important word in Paradise Lost is "or", the conjunction.
它备受争议，我个人认为是出色的一个想法，“失乐园”中最重要的词是“或”，即连词。
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，弥尔顿在《失乐园》的开头对迟到进行了有力的辩护。
Hartman describes Milton's tendency in Paradise Lost, and he takes this term from Coleridge: the tendency to stand ab extra, to stand from outside.
哈特曼描述了弥尔顿在《失乐园》中的倾向，他借用了柯勒律治的这个习语：由外而内俯视自身的趋势。
Paradise Lost by John Milton - (Download PDF).
失乐园(约翰·弥尔顿)-下载。
Leviathan is to prose what Milton's Paradise Lost is to epic poetry.
利维坦之于散文，就像弥尔顿的失乐园之于史诗。
"No. Paradise Lost lacked the substructure of pessimism." She did.
“对，《失乐园》缺少那种悲观主义的基础。”她赞成。
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。
He would be a tragic figure, a one-man paradise lost, if his plight were not so common.
他会是个悲剧人物，如果他的困境不是那么普遍的话，就是一个人的失乐园。
First of all the word Pandemonium was invented by John Milton in his poem Paradise Lost.
首先，pandemonium是由约翰·弥尔顿在其著作《失乐园》中首创的。
This is a myth that has and will continue to haunt Milton all the way up through Paradise Lost.
这个神话曾一度而且会一直萦绕着弥尔顿，并贯穿了《失乐园》全诗。
At times when we read Paradise Lost it seems almost as if Satan were quoting or alluding to Comus.
有时当我们读《失乐园》时，就好像看到Satan在引用Comus的话或影射他。
Here's a mental exercise: picture a tropical paradise lost in an endless expanse of cerulean ocean.
以下是一个脑力练习：想象一个隐匿于广阔无垠的蓝色海洋之中的热带天堂。
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》。
Milton wrote his three major poetical works: Paradise Lost, Paradise Regained, and Samson Agonistes.
他的三部伟大诗作：《失乐园》《复乐园》和《力士参孙》。
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。
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。
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。
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。
What was once an elegant mansion is now certainly a state of Paradise Lost, as Berkyn Manor lies decayed, damp and dirty.
曾经优雅的庄园现已然成为了一座“失乐园”，现在博克庄园任由腐化，潮湿，污秽滋生。
I'd no more scribble all over a first edition of "Paradise Lost" than I'd give my baby a set of crayons and an original Rembrandt!
我绝不会在一本初版的《失乐园》上乱涂乱写，就像我不会把一幅伦勃朗的原作连同一盒蜡笔交给我的孩子任意涂抹一样！
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。
In the light of narratology, this paper attempts to analyze the image of God in Paradise Lost from the figural perspective of Satan.
撒旦所感知的上帝形象与史诗中旁观叙述者所感知的上帝形象大为不同，这种不同正是《失乐园》中叙述艺术精妙之所在。
The country I knew was one of revival and hope and "paradise lost" was a sentiment once reserved for the generation of my mother and father.
我眼中的那个国家曾经是一个复苏的，充满希望的，“失乐园”似的，感情上它曾经哺育过我母亲和父亲那一代人。
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。
When I was about sixteen I suddenly discovered the joy of mere words, i. e. the sounds and associations of words. The lines from Paradise Lost.
我十六岁时突然发觉文字本身的乐趣，如文字的声调和联系。《失乐园》中的几行。
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。”
This makes humanities coursework a crucial training ground for careers far from the prose of the Gettysburg Address and the verse of "Paradise Lost."
这让人文学科把写作职业培训也作为一个重要课程，不再仅仅是葛底斯堡演说稿和《失乐园》的诗文。
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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