Transcript Lecture 7 John Milton Paradise Lost Milton’s Sonnets

Lecture 7
John Milton
Paradise Lost
Milton’s Sonnets
Part One
John Milton
1.1.John Milton’s Life
born in London in 1608: His father, a scrivener, was a Puritan and a lover
of music and literature.
• Old Milton, very early recognizing his son’s exceptional abilities,
encouraged them by private tutoring in Italian, French, music and other
subjects as well as by a day school education. Thus Milton blossomed in
the atmosphere of a home full of music and respect for learning. Then he
was sent to Christ’s College, Cambridge, where he acquired a good
knowledge of Latin. He defined the true aim of knowledge as making the
spirit of man reach out far and wide until it fills the whole world and the
space far beyond with the expansion of its divine greatness.
• Milton received his Master’s degree in 1632. After leaving Cambridge he
retired to his father’s country house at Horton and devoted himself for six
years to private study, roaming over the wide fields of classical Hebrew,
Italian and English literatures, and studying science, theology and music.
1.2. Milton’s Early Poems
•
While in Cambridge, Milton wrote his first important work, “ On
the Morning of Christ’s Nativity.” “ L”Allegro" and “ II Penseroso," the
twin lyrical poems were probably written during his years at Horton.
They describe respectively the cheerful social mood and the
meditative solitary mood of the poet, and their ease and lightness
make them today perhaps the most generally read of his poems.
Then. at the request of a friend, a musician of his time, Milton wrote"
Comus," a masque in blank verse, to be set to music and performed.
•
In 1637, Edward King, a young minister, who had been a
classmate of Milton’s at college and had shared his ambition to write
poetry, was drowned at sea. The college decided to publish a
memorial volume and Milton was asked to contribute. His reply was
"Lycidas”, an elegy. Expressing the pathos of his friend’s premature
death, Milton took the occasion to attack " the corrupt clergy of the
time and prophesy their ruin.
• 1.3. Areopagitica
•
During the stirring years of the civil war, Milton had
not, of course, confined his interests or activities to the
discussions of divorce. In 1644 the Presbyterians in
Parliament had re-established the censorship of books
before publication. This filled Milton with a noble rage.
He wrote and published his best-known prose work, "
Areopagitica", in the form of a speech addressed to the
Houses of Parliament, in which he appealed for the
freedom of the press. “Throw open all the doors; let there
be light; let every man think and bring his thoughts to
the light; dread not any diversities of opinion.” ---This is
the gist of his pamphlet. In defending the freedom of the
press, Milton was fighting for a further development of
the bourgeois revolution.
• 1.4. Second Defence of the English People
• After the establishment of the Commonwealth, Milton
became Latin Secretary to the Council of Foreign Affairs.
It was his business to translate English despatches into
Latin and foreign despatches into English. He also wrote
a number of pamphlets defending the English revolution.
Most well-known is his controversy with the European
scholar Salmasius on the execution. Second Defence
of the English People.
• His "Second Defence" was published in 1654. In it Milton
further testifies to his loyalty to the revolution, gives an
outspoken warning to Cromwell on the danger of
personal dictatorship and appeals to him for the
preservation of England’s liberty.
1.5. Milton’s major Works
• “On the Morning of Christ’s Nativity,” “Comus,”
“Lycidas,” “Il Penseroso,” and “L’Allegro.” Through these
poems, Milton honed his skills at writing narrative,
dramatic, elegiac, philosophical, and lyrical poetry. He
had built a firm poetic foundation through his intense
study of languages, philosophy, and politics, and fused it
with his uncanny sense of tone and diction.
• Even in these early poems, Milton’s literary output was
guided by his faith in God. Milton believed that all poetry
served a social, philosophical, and religious purpose. He
thought that poetry should glorify God, promote religious
values, enlighten readers, and help people to become
better Christians.
• Paradise Lost
• Paradise Regained
• Samson Agonistes
• Part Two Paradise Lost
• 2.1. Brief Introduction:
• " Paradise Lost" is Milton’s masterpiece.
• It is a long epic in 12 books, written in blank
verse.
• The stories were taken from the Old Testament:
the creation; the rebellion in Heaven of Satan
and his fellow-angels; their defeat and expulsion
from Heaven; the creation of the earth and of
Adam and Eve; the fallen angels in hell plotting
against God; Satan’s temptation of Eve; and the
departure of Adam and Eve from Eden.
2.2. The Story:
•
The epic opens with the description of a meeting among the fallen
angels. Led by the freedom-loving Satan, the rebellious angels rose
against God himself, but in the battle they were finally defeated. Satan
and his followers are banished from Heaven and driven into hell. But
even here in hell, amidst flames and poisonous fumes, Satan and his
adherents are not discouraged. Satan’s proud spirit is not subdued; he
fearlessly withstands all agonies and passionately strives for victory.
•
Satan chooses for his battlefield the most perfect of spots ever
created by God-the Garden of Eden, where live the first man and woman,
Adam and Eve, provided they do not eat the fruit that grows on the Tree
of the Knowledge of Good and Evil. Satan desires to tear them away
from the influence of God and make them tools in his struggle against
God’s authority.
•
God learns of his intention, however, and sends the Archangel
Raphael to warn Adam and Eve of Satan’s plan. No sooner is Raphael
gone than Satan assumes the shape of a serpent and appears before
Eve. He persuades her to break God’s command. Eve eats an apple
from the forbidden tree and plucks another one for Adam. Adam and Eve,
husband and wife, are “both deprived of immortality, exiled from
Paradise and doomed to an earthly life full of hardship and sufferings.
2.3. Theme and Characterization:
• the main idea of the poem is a revolt against God’s authority.
• In the poem God is no better than a selfish despot, seated upon a
throne with a chorus of angels about him eternally singing his praises.
He is cruel and unjust in his struggle against Satan HIS Archangel is a
bore. His angels are silly. While the rebel Satan who rose against God
and, though defeated, still sought for revenge, is the most striking
character in the poem.
• Adam and Eve embody Milton’s belief in the powers of man. Their
craving for knowledge, adds a particular significance to their
characters.
• Satan and his followers, who freely discuss all issues in council, bear
close resemblance to a republican Parliament. This alone, is sufficient
to prove that Milton’s revolutionary feelings made him forsake
religious orthodoxy.
2.4. The Image of Satan:
• Satan is the real hero of the poem. Like a conquered
and banished giant, he remains obeyed and admired,
by those who follow him down to hell. He is firmer than
the rest of the angels. Though defeated, he prevails,
since he has won from God the third part of his angels,
and almost all the sons of Adam. Though wounded, he
triumphs, for the thunder which hit upon his head left
his heart invincible:
• Satan is the spirit questioning the authority of God.
When he gets to the Garden of Eden, he can see no
reason why Adam and Eve should not taste the fruit of
the Tree of Knowledge.
2.5. Milton’s Style
Milton is a great stylist. He is famous for his grand style,
which is the result of his life-long classical and biblical
study. It is art attained by definite and conscientious
rhetorical devices. For example, he likes to use
Latinisms and proper names of resonance and colour to
create an elevated and dignified effect.
• Milton has always been admired for his sublimity of
thought and majesty of expression. But, in order to
appreciate Milton, it is necessary to know the English
language thoroughly and with a close intimacy.
2.6. Excerpt of Paradise Lost
Nine times the Space that measures Day and Night
To mortal men, he with his horrid crew
Lay vanquisht, rolling in the fiery Gulfe
Confounded though immortal: But his doom
Reserv'd him to more wrath; for now the thought
Both of lost happiness and lasting pain
Torments him; round he throws his baleful eyes
That witness'd huge affliction and dismay
Mixt with obdurate pride and stedfast hate:
At once as far as Angels kenn, he views
The dismal Situation waste and wilde,
A Dungeon horrible, on all sides round
As one great Furnace flam'd, yet from those flames
No light, but rather darkness visible
Serv'd only to discover sights of woe,
Regions of sorrow, doleful shades, where peace
• And rest can never dwell, hope never comes
That comes to all; but torture without end
Still urges, and a fiery Deluge, fed
With ever-burning Sulphur unconsum'd:
Such place Eternal Justice had prepar'd
For those rebellious, here their Prison ordain'd
In utter darkness, and their portion set
As far remov'd from God and light of Heav'n
As from the Center thrice to th' utmost Pole.
O how unlike the place from whence they fell!
There the companions of his fall, o'erwhelm'd
With Floods and Whirlwinds of tempestuous fire,
He soon discerns, and weltring by his side
One next himself in power, and next in crime,
Long after known in PALESTINE, and nam'd
BEELZEBUB. To whom th' Arch-Enemy,
• And thence in Heav'n call'd Satan, with bold words
Breaking the horrid silence thus began.
If thou beest he; But O how fall'n! how chang'd
From him, who in the happy Realms of Light
Cloth'd with transcendent brightness didst outshine
Myriads though bright! If he whom mutual league,
United thoughts and counsels, equal hope,
And hazard in the Glorious Enterprize,
Joynd with me once, now misery hath joynd
In equal ruin: into what Pit thou seest
From what highth fal'n, so much the stronger provd
He with his Thunder: and till then who knew
The force of those dire Arms? yet not for those
Nor what the Potent Victor in his rage
Can else inflict, do I repent, or change,
Though chang'd in outward lustre; that fixt mind
• And high disdain, from sence of injur'd merit,
That with the mightiest rais'd me to contend,
And to the fierce contention brought along
Innumerable force of Spirits arm'd
That durst dislike his reign, and me preferring,
His utmost power with adverse power oppos'd
In dubious Battle on the Plains of Heav'n,
And shook his throne. What though the field be lost?
All is not lost; the unconquerable Will,
And study of revenge, immortal hate,
And courage never to submit or yield:
And what is else not to be overcome?
That Glory never shall his wrath or might
Extort from me. To bow and sue for grace
• With suppliant knee, and deifie his power
Who from the terrour of this Arm so late
Doubted his Empire, that were low indeed,
That were an ignominy and shame beneath
This downfall; since by Fate the strength of Gods
And this Empyreal substance cannot fail,
Since through experience of this great event
In Arms not worse, in foresight much advanc't,
We may with more successful hope resolve
To wage by force or guile eternal Warr
Irreconcileable, to our grand Foe,
Who now triumphs, and in th' excess of joy
Sole reigning holds the Tyranny of Heav'n.
2.7. Understanding
• Milton begins his epic poem Paradise Lost with an invocation to a muse.
He does this for two reasons: he believes the muse will help him write,
and invoking a muse is a convention of epic poems such as Homer's
Iliad and Virgil's Aeneid. He wants the muse to sing about man's first
disobedience.
• Milton explains that his goal in the poem involves justifying the ways of
God to men. He explains that God threw rebel angels out of heaven into
hell, a scene which will be discussed in detail later on in the poem. The
poem's action shifts to hell, where Satan and his confidante Beelzebub
have just been thrown. Lying in a fiery lake, Satan and Beelzebub
debate whether they should try to get revenge on God by force or guile.
Beelzebub feels that God cannot be overcome, but Satan is confident
that he can defeat God. Satan tells Beelzebub that "the mind is its own
place, and in itself can make a heav'n of hell, a hell of heav'n." Book 1,
lines 254-5
• Satan
• God's adversary. Once one of the highest-ranking Archangels in heaven
(known as 'Lucifer' there), Satan's pride and rebellion cause him to be
thrown down into hell, where he rules and establishes Pandemonium.
He eventually destroys Paradise by assuming the shape of a serpent
and tricking Eve into eating from the forbidden Tree of Knowledge. He is
the father of Sin and Death.
2.8. Characters
• Satan - Head of the rebellious angels who have just
fallen from Heaven. As the poem’s antagonist, Satan is
the originator of sin—the first to be ungrateful for God
the Father’s blessings. He embarks on a mission to
Earth that eventually leads to the fall of Adam and Eve,
but also worsens his eternal punishment. His character
changes throughout the poem. Satan often appears to
speak rationally and persuasively, but later in the poem
we see the inconsistency and irrationality of his thoughts.
He can assume any form, adopting both glorious and
humble shapes.
• Adam - The first human, the father of our race, and,
along with his wife Eve, the caretaker of the Garden of
Eden. Adam is grateful and obedient to God, but falls
from grace when Eve convinces him to join her in the sin
of eating from the Tree of Knowledge.
• Eve - The first woman and the mother of mankind. Eve was made
from a rib taken from Adam’s side. Because she was made from
Adam and for Adam, she is subservient to him. She is also weaker
than Adam, so Satan focuses his powers of temptation on her. He
succeeds in getting her to eat the fruit of the forbidden tree despite
God’s command.
• God the Father - One part of the Christian Trinity. God the Father
creates the world by means of God the Son, creating Adam and Eve
last. He foresees the fall of mankind through them. He does not
prevent their fall, in order to preserve their free will, but he does
allow his Son to atone for their sins.
• God the Son - Jesus Christ, the second part of the Trinity. He
delivers the fatal blow to Satan’s forces, sending them down into
Hell, before the creation of Earth. When the fall of man is predicted,
He offers himself as a sacrifice to pay for the sins of mankind, so
that God the Father can be both just and merciful.
• Devils, Inhabiting Hell
• Beelzebub - Satan’s second-in-command. Beelzebub discusses with
Satan their options after being cast into Hell, and at the debate suggests
that they investigate the newly created Earth. He and Satan embody
perverted reason, since they are both eloquent and rational but use their
talents for wholly corrupt ends.
• Belial - One of the principal devils in Hell. Belial argues against further
war with Heaven, but he does so because he is an embodiment of sloth
and inactivity, not for any good reason. His eloquence and learning is
great, and he is able to persuade many of the devils with his faulty
reasoning.
• Mammon - A devil known in the Bible as the epitome of wealth.
Mammon always walks hunched over, as if he is searching the ground
for valuables. In the debate among the devils, he argues against war,
seeing no profit to be gained from it. He believes Hell can be improved
by mining the gems and minerals they find there.
• Mulciber - The devil who builds Pandemonium, Satan’s palace in Hell.
Mulciber’s character is based on a Greek mythological figure known for
being a poor architect, but in Milton’s poem he is one of the most
productive and skilled devils in Hell.
• Moloch - A rash, irrational, and murderous devil. Moloch
argues in Pandemonium that the devils should engage in
another full war against God and his servant angels.
• Sin - Satan’s daughter, who sprang full-formed from
Satan’s head when he was still in Heaven. Sin has the
shape of a woman above the waist, that of a serpent
below, and her middle is ringed about with Hell Hounds,
who periodically burrow into her womb and gnaw her
entrails. She guards the gates of Hell.
• Death - Satan’s son by his daughter, Sin. Death in turn
rapes his mother, begetting the mass of beasts that
torment her lower half. The relations between Death, Sin,
and Satan mimic horribly those of the Holy Trinity.
• Angels, Inhabiting Heaven and Earth
• Gabriel - One of the archangels of Heaven, who acts as a guard at the
Garden of Eden. Gabriel confronts Satan after his angels find Satan
whispering to Eve in the Garden.
• Raphael - One of the archangels in Heaven, who acts as one of God’s
messengers. Raphael informs Adam of Satan’s plot to seduce them into
sin, and also narrates the story of the fallen angels, as well as the fall of
Satan.
• Uriel - An angel who guards the planet earth. Uriel is the angel whom
Satan tricks when he is disguised as a cherub. Uriel, as a good angel
and guardian, tries to correct his error by making the other angels aware
of Satan’s presence.
• Abdiel - An angel who at first considers joining Satan in rebellion but
argues against Satan and the rebel angels and returns to God. His
character demonstrates the power of repentance.
• Michael - The chief of the archangels, Michael leads the angelic forces
against Satan and his followers in the battle in Heaven, before the Son
provides the decisive advantage. Michael also stands guard at the Gate
of Heaven, and narrates the future of the world to Adam in Books XI and
XII.
Part Three
Milton’s Sonnets
•
•
•
•
•
•
•
•
•
•
•
•
•
•
3.1. On his Blindness
When I consider how my light is spent
Ere half my days, in this dark world and wide
And that one talent which is death to hide,
Lodged with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide;
“Doth God exact day-labor, light denied?”
I fondly ask; but Patience to prevent
That murmur, soon replies, “God doth not need
Either man’s work or his own gifts; who best
Bear his mild yoke, they serve him best. His state
Is kingly. Thousands at his bidding speed
And post o’er land ocean without rest
They also serve who only stand and wait.”
3.1.1. Notes
• 1....light is spent: This clause presents a double meaning: (a) how I
spend my days, (b) how it is that my sight is used up.
• 2....Ere half my days: Before half my life is over. Milton was
completely blind by 1652, the year he turned 44.
• 3....talent: See Line 3: Key to the Meaning.
• 4....useless: Unused.
• 5....therewith: By that means, by that talent; with it
• 6....account: Record of accomplishment; worth
• 7....exact: Demand, require
• 8....fondly: Foolishly, unwisely
• 9....Patience: Milton personifies patience, capitalizing it and having it
speak.
• 10..God . . . gifts: God is sufficient unto Himself. He requires nothing
outside of Himself to exist and be happy.
• 11. yoke: Burden, workload.
• 12. post: Travel.
3.1.2. Analysis
• "On His Blindness" is a Petrarchan sonnet,
a lyric poem with fourteen lines. This type
of sonnet, popularized by the Italian priest
Petrarch (1304-1374), has a rhyme
scheme of ABBA, ABBA, CDE, and CDE.
John Milton wrote the poem in 1655.
• Theme
• God judges humans on whether they labor
for Him to the best of their ability. For, as
Milton says in the last line of the poem,
"they also serve who only stand and wait."
• Lines 3-6: Key to the Meaning
• Lines 3 to 6 of the poem allude to the "Parable of the Talents" in
Chapter 25 of the Gospel of Matthew, verses 14 to 30. In this
famous parable, an employer who is going away for a time gives his
three servants money in proportion to their ability to increase its
value. He distributes the money in talents, a unit of weight used in
ancient times to establish the value of gold, silver, or any other
medium used as money. Thus, a Roman might pay ten talents of
gold for military supplies or seven talents of silver for a quantity of
food. In the "Parable of the Talents," the employer gives the first
servant five talents of silver, the second servant two talents, and the
third servant one talent. After the employer returns from the trip and
asks for an accounting, the first servant reports that he doubled his
talents to ten and the second that he doubled his to four. Both men
receive promotions. The third servant then reports that he still has
only one talent, for he did nothing to increase its value. Instead, he
buried it. The employer denounces him for his laziness, gives his
talent to the man with ten, and casts him outside into the darkness.
• Meter
• All the lines in the poem are in iambic pentameter. In this
metric pattern, a line has five pairs of unstressed and
stressed syllables, for a total of ten syllables. The first
two lines of the poem illustrate this pattern:
•
1...........2........... 3............4............5
• When I | con SID | er HOW.| my LIFE | is SPENT
•
1................2............ 3...............4....................4
• Ere HALF | my DAYS | in THIS | dark WORLD.| and
WIDE
• Background
• John Milton's eyesight began to fail in 1644. By 1652, he
was totally blind. Oddly, he wrote his greatest works,
Paradise Lost and Paradise Regained, after he became
blind. Many scholars rank Milton as second only to
Shakespeare in poetic ability.
• Examples of Figures of Speech
• Alliteration: my days in this dark world and
wide (line 2)
• Metaphor: though my soul more bent / To
serve therewith my Maker (lines 3-4). The
author compares his soul to his mind.
• Personification/Metaphor: But Patience, to
prevent / That murmur, soon replies . . .
(lines 8-9).
• Paradox: They also serve who only stand
and wait.
• Origin of the Sonnet Form
• .......The sonnet form originated in Sicily in the thirteenth Century
with Giacomo da Lentino (1188-1240), a lawyer. The poetic
traditions of the Provençal region of France apparently influenced
him, but he wrote his poems in the Sicilian dialect of Italian. Some
authorities credit another Italian, Guittone d'Arezzo (1230-1294),
with originating the sonnet. The English word "sonnet" comes from
the Italian word "sonetto," meaning "little song." Some early sonnets
were set to music, with accompaniment provided by a lute.
• .......The Italian poet Petrarch (1304-1374), a Roman Catholic priest,
popularized the sonnet form. Other popular Italian sonneteers were
Dante Alighieri (1265-1321), Italy's most famous and most
accomplished writer, and Guido Cavalcante (1255-1300).
• .......Petrarch's sonnets each consist of an eight-line stanza (octave)
and a six-line stanza (sestet). The first stanza presents a theme, and
the second stanza develops it. The rhyme scheme is as follows: (1)
first stanza (octave): ABBA, ABBA; (2) second stanza (sestet): CDE,
CDE (or CDC, CDC; or CDE, DCE). Sonnets written in this format
by later poets came to be known as Petrarchan sonnets.
• The sonnet form was introduced in England by Sir Thomas Wyatt
(1503-1542) and Henry Howard, Earl of Surrey (1517-1547). They
translated Italian sonnets into English and wrote sonnets of their
own. Surrey introduced blank verse into the English language in his
translation of the Aeneid of Vergil. Wyatt and Surrey sometimes
replaced Petrarch's scheme of an eight-line stanza and a six-line
stanza with three four-line stanzas and a two-line conclusion known
as a couplet. Shakespeare adopted the latter scheme in his sonnets,
and this form came to be known as the Shakespearean sonnet.
• .......Besides Shakespeare, well known English sonneteers in the
late 1500's included Sir Philip Sydney, Samuel Daniel, and Michael
Drayton.
• .......In Italy, England, and elsewhere between the thirteenth and
early sixteenth Centuries, the most common theme of sonnets was
love. Sonnets in later times also focused on religion, politics, and
other concerns of the reading public.
• 3.1.3 译文 米里顿：目盲自咏
•
世茫茫兮，我目已盲。
•
静言思之，尚未半生。
•
天赋两目，如托千金。
•
今我藏之，其实难任。
•
嗟我目兮，於我无用。
•
虽则无用，我心郑重。
•
忠以计会，虔以事主。
•
恐主归时，纵刑无补。
•
嗟彼上帝，既闭吾瞳。
•
愚心自忖，岂责我工。
•
忍耐之心，可生奥义。
•
苍苍上帝，不较所赐。
•
不较所赐，岂较作事。
•
惟我与轭，负之靡暨。
•
上帝惟皇，在彼苍苍。
•
一呼其令，万臣锵锵。
•
驶行水陆，莫敢遑适。
•
彼待立者，都为其役。
• 哀失明
• 想到了在这茫茫黑暗的世界里，
还未到半生这两眼就已失明，
想到了我这个泰伦特，要是埋起来，
会招致死亡，却放在我手里无用，
虽然我一心想用它服务造物主，
免得报账时，得不到他的宽容；
想到这里，我就愚蠢地自问，
"神不给我光明，还要我做日工?"
但"忍耐"看我在抱怨，立刻止住我：
"神并不要你工作，或还他礼物。
谁最能服从他，谁就是忠于职守，
他君临万方，只要他一声吩咐，
万千个天使就赶忙在海陆奔驰，
但侍立左右的，也还是为他服务。"
(殷宝书 译)
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
3.2. On His Deceased Wife
Methought I saw my late espoused saint
Brought to me like Alcestis from the grave,
Whom Jove’s great son to her glad husband gave,
Rescued from death by force though pale and faint.
Mine, as whom washed from spot of childbed taint,
Purification in the old law did save,
And such, as yet once more I trust to have
Full sight of her in Heaven without restraint,
Came vested all in white, pure as her mind.
Her face was veiled, yet to my fancied sight,
Love, sweetness, goodness, in her person shined
So dear, as in no face with more delight.
But O, as to embrace me she inclined,
I waked, she fled, and day brought back my night.
3.2.1. Notes
• 1 This sonnet was written about the year 1656,
on the death of his second wife, Catharine, the
daughter of Captain Woodcock of Hackney. She
died in child-bed of a daughter, within a year
after their marriage. Milton had now been some
time totally blind.
• 2 'Alcestis:' see Euripides.
• 3 'Great son:' Hercules.
• 'Glad husband:' Admetus.
• 5 'Veil'd:' so was Alcestis.
3.2.2. Analysis
• In this poem it seems that John Milton
visits his deceased wife in a dream. In the
last line "I waked, she fled, and day
brought back my night" he is saying that
as he woke from his sleep it was literally
day outside but it was dark to him
resembling grief and sadness in his world
from the loss of his lover.
3.2.3. 译文
• 致亡妻（约翰-密尔顿）
•
•
•
•
•
•
•
•
•
•
•
•
•
•
我想我看见了最近死去的妻子
被送回人间，就像赫里斯
从死亡手中强抢回阿舍斯梯斯，
还给她的丈夫，尽管苍白而无力，
我的妻子好像从产房下来洗净了血污，
像古时的仪式拯救的洁净的人，
就好像我一度相信曾看清
她在天堂里无拘无束，
她走来，穿着洁白的衣服，如她的心一样纯洁，
虽然她脸上罩着面纱，我仍能看见
爱，甜蜜，善良，在她身上闪着光泽
多么清澈，在任何人的脸上都难见这种喜悦。
噢，但她正要俯身拥抱我，
我醒了，她不见了，白天重归夜晚。