本文为您带来失乐园的英文翻译，包括失乐园用英语怎么说，失乐园用英语怎么说，失乐园的英语造句，失乐园的

本文为您带来失乐园的英文翻译，包括失乐园用英语怎么说，失乐园用英语怎么说，失乐园的英语造句，失乐园的英文原声例句，失乐园的相关英语短语等内容。

失乐园的英文翻译，失乐园的英语怎么说？

失乐园的英语网络释义

...拔地爱上一个黑人女孩，并且一直将唐森特当作自己的孩子来疼爱；唐森特虽然是个黑人，喜爱看米尔顿的《失乐园》（Paradise Lost），但这并不妨碍他毫不犹豫地拿起鞭子去教训他曾经的同伴，甚至做的比罗宾斯更加欣然。

得意技：迷失乐园(Lost Paradise)：用拳头狂击敌人使之飞上天并用力将其摔到地面的技能 。

... Contemplation沉思 Out of My Eden失乐园 Secrets of Self—Made Successes 自我奋斗走向成功的秘诀 ...

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失乐园的汉英大词典

失乐园的英语短语

失乐园的英文例句

伽利略是唯一的当代人物，唯一的17世纪人物，甚至在《失乐园》里也有提及。

Galileo is the only contemporary personage, the only seventeenth-century figure, even so much as mentioned in Paradise Lost.

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。

It has been argued, and I think this is a brilliant point, that the most important word in Paradise Lost is "or", the conjunction.

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。

Harold Bloom has written, and I think he's absolutely right, that Milton begins Paradise Lost with a powerful defense against lateness.

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。

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.

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。

Samson begins to echo Milton from the invocation that we've been looking at, the invocation to Book Three of Paradise Lost.

失乐园(约翰·弥尔顿)-下载。

Paradise Lost by John Milton - (Download PDF).

这是《失乐园》里的一段。

This is from Paradise Lost.

弥尔顿的《失乐园》是著名的史诗。

Milton's "Paradise Lost" is a famous epic.

直到22年后，弥尔顿才真正出版《失乐园》。

And it wouldn't be another twenty-two years after that until Milton actually published Paradise Lost.

请看在《失乐园》中贪欲之神第一次出现的地方。

Let's look at the first appearance of Mammon in Paradise Lost.

利维坦之于散文，就像弥尔顿的失乐园之于史诗。

Leviathan is to prose what Milton's Paradise Lost is to epic poetry.

从《失乐园》你学到什么？一无所获。

What do you learn from Paradise Lost? Nothing at all.

《失乐园》是一部古典作品。

"Paradise Lost" is a classic.

真正出处：约翰·弥尔顿的《失乐园》。

Where it's actually from: Paradise Lost by John Milton.

失乐园里都是吃的活动。

Paradise Lost will be filled with the activity of eating.

我们会看到弥尔顿又在失乐园中回到这些问题上来了。

We will see Milton returning to all of these questions in Paradise Lost.

人生的失乐园在哪里。

Life's paradise lost in where.

我除了他的“失乐园”，对约翰·弥尔顿不甚了解。

I don't know much about John Milton except his "Paradise Lost".

那么当然了，这就是之后他在《失乐园》当中所做的。

And, of course, this is what he would go on to do in Paradise Lost.

“对，《失乐园》缺少那种悲观主义的基础。”她赞成。

"No. Paradise Lost lacked the substructure of pessimism." She did.

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。

This is a myth that has and will continue to haunt Milton all the way up through Paradise Lost.

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。

But one of Milton's projects in Paradise Lost is to effect his forgetting of all of his literary precursors.

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。

He would be a tragic figure, a one-man paradise lost, if his plight were not so common.

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。

There seems to have been something of a kind of outcry about the style of Paradise Lost. Look at page 210 in the Hughes.

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。

At times when we read Paradise Lost it seems almost as if Satan were quoting or alluding to Comus.

自从被密尔顿在那部无耻的小说《失乐园》里诋毁名誉以来，生活从未如此低落。

He had not been so down since Milton had vilified him in that despicable piece of fiction, Paradise Lost.

首先，pandemonium是由约翰·弥尔顿在其著作《失乐园》中首创的。

First of all the word Pandemonium was invented by John Milton in his poem 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。

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.

是玛丽·海明威把这一段放在了书的末尾，传递出结局难以忘怀的感觉——让人看到一个失乐园。

Mary Hemingway was the one who placed this passage near the close of the book, where it delivers a sense of haunting finality—a glimpse of a 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。

Now you also may remember that we have already run into Spenser's Mammon before this point, before Paradise Lost.

失乐园的原声例句

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。

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。

So, there's a kind of lost paradise of European culture which he can't get back, even with this spectacular effort in English.

所以，这就是他不能再重新体验的,欧洲文化的失乐园，尽管在英语上做了惊人的努力。

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。

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。

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。

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。

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。

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。

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。

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。

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“

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。

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“

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。

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。

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“

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。

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“

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》

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。

You just have to extend for a little bit this Pauline philosophy of freedom to the situation of the unfallen Eden of Adam and Eve to see a kind oflogical trouble that Milton is getting himself in to.

你只是不得不扩展一点彼得的哲学,自由在亚当和夏娃永不坠落的失乐园的情况中,似乎有一点逻辑问题，弥尔顿把自己绕了进去。

God Himself in Paradise Lost is nothing but body.

失乐园》里的上帝其实只有肉体。

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。

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。

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。

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。

I suggest that we can hear echoes of that same youthful competitiveness in Milton's first major poem in these opening lines, in the beginning of the great epic of Milton's maturity.

在失乐园的开头几句,在弥尔顿成熟后所写的这首伟大史诗的开头，我们还可以看到这同样的他年轻时的雄心。

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》

This was supposed to be the libretto for an opera.

这押韵版的《失乐园》本来是用作歌剧剧本的。

失乐园的网络释义

失乐园 《失乐园》是由森田芳光执导，役所广司、黑木瞳领衔主演的剧情片。该片于1997年5月10日在日本上映。 影片讲述了一对中年已婚男女发生婚外畸恋的凄美爱情故事。

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