The simile isn't telling us that Satan's spear is as small as a wand because what we have is a syllogism here.
这个比喻没有告诉我们撒旦的长矛像魔杖一样小，因为我们在这儿有一个演绎推理。
First we have the "Pilot of some small night-founder'd skiff," and the pilot stands ab extra, from outside, in the simile.
首先我们看这句“迷茫深夜中，轻舟的导航人”，在这个明喻中，导航人从诗句之外向内眺望。
It's this final movement of the simile, according to this ingenious argument by Geoffrey Hartman, that Hartman calls the counter-plot.
根据哈特曼巧妙的论点，这就是这个比喻最后的乐章，他称之为反计。
This is the simile of the leaves.
这是关于落叶的比喻。
Did you notice the simile in the course title?
你是否注意到这个课程标题的比喻？
This is the simile of what I have just given to you.
不过这是我已经给予你们的明喻。
Hartman's image of the simile isn't temporal the way Fish's was.
哈特曼关于这些比喻的描述并不是时间性的。
Galileo appears in the simile but actually seems to be unnecessary for the general purposes of the comparison.
伽利略在这个明喻中出现了，但明显他对于，这个对比的整体目的来讲是可有可无的。
Then, one of the monks requested the Lord Buddha to explain the simile, which the Buddha did it in this way.
接着就有一位比丘请求佛陀解释这个比喻。佛陀就详细加以解释。
And it's this final movement of the simile, according to this ingenious argument by Geoffrey Hartman, that Hartman calls the counter-plot.
根据哈特曼灵巧的论点看来，这就是这个比喻最后的深意，他称之为反计。
The simile pushes the size of the spear clean out of our rational comprehension, and it's this process that is, according to Stanley Fish, the point of the simile.
这个比喻对长矛的形容,大大超出了正常的理解范围，对斯坦利费什来说，这恰恰是表达这个比喻的目的的一个过程。
Now, the simile concludes with the strong sense of a hideous change -and you will recognize this pattern again and again in Milton -the hideous change undergone by the fallen angels.
这个比喻用一个强烈的可怕的转折来结尾，-你们会在弥尔顿的诗里一再看到这个特点，-一个堕落的天使们遭受到的可怕的转折。
The plot around the simile is glorifying the heroic Satan here, and Hartman ingeniously locates throughout a number of Milton's similes this same dynamic of a redemptive counter-plot.
这个比喻中的情节在这里美化了英雄主义的撒旦，哈特曼非常精明地在弥尔顿的大量比喻中，布置了同样的拯救性的反计。
I think this is an important distinction because what in the middle of this simile in Milton's account of hell is an image of a bower.
我认为这是一个重要的区别，因为在弥尔顿对地狱的描述中，这个比喻的中间，是一个凉亭的形象。
The pastoral elegance of this little simile really catches us off guard.
这个有着田园诗情画意般优雅的小比喻确实让我们毫无防备。
The way they swarm or flock together does not usually get good press coverage either: marching like worker ants might be a common simile for city commuters, but it's a damning, not positive, image.
它们蜂拥或聚集在一起的方式通常不会得到媒体的正面报道：城市的通勤者往往会被比喻成像工蚁一样行进，但这种比喻是一个不佳的、负面的形象。
If you will pardon so commonplace a simile, we have set off the fire alarm and have nothing to do but to wait.
如果你能理解这样一个滥俗的比喻：我们已经拉响了火警警报，接下来能做的只有等待。
这是伽利略的比喻。
Now, the purpose of this simile is to evince the indistinctness and the confusion produced by our vision of the fallen angels.
这个比喻的目的，是要表明由我们想象的天使们的样子，带来的模糊和困惑。
Why had the divine author permitted himself the ambiguity of simile?
为什么神圣的作者允许自己做模棱两可的比喻？
I think this is an important distinction because what you have here in the middle of this simile in Milton's account of hell is an image of a bower.
我认为这是一个非常重要的区别，因为读到半途，弥尔顿对地狱的描述仅给了我们一个阴暗的印象。
But it's a busted simile when you look at the circumstances.
但是，当你关注形势时，会发现这不是一个成功的比喻。
The power of the metaphor, simile, parallel… figurative language is not only a good way to put things into perspective, but metaphors are easier to remember than a complex set of interactions.
隐喻、明喻、类比，这些修辞语言的力量不仅仅是将观察事物划分为不同的角度，而且比喻也比使用一整套复杂的交感语言更容易被人记得。
As you know, in classical literature the dead are referred to as shades, but here in Milton's simile "shades" merely means "shade trees."
在古典文学里，逝者常被用树荫来指代，而在这里弥尔顿的比喻“树荫“仅表示“叶绿成荫的树
If you will pardon so commonplace a simile, we have set off the fire alarm and have nothing to do but to wait.
倘若你能原谅我做出这么一个平淡无奇的比喻的话，那就是我们已经拉响了火灾警报，除了等待无事可做。
If you will pardon so commonplace a simile, we have set off the fire alarm and have nothing to do but to wait.
倘若你能原谅我做出这么一个平淡无奇的比喻的话，那就是我们已经拉响了火灾警报，除了等待无事可做。
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