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So with his optic glass, his telescope, Galileo was able to discern spots on the orb of the moon.
因此通过他的磁光玻璃，望远镜，伽利略能够分辨出月亮轨道上的斑点。
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The rebellious artist Milton and the rebellious astronomer Galileo are continually threatening to lapse into some sort of identity with Satan himself.
叛逆的艺术家弥尔顿，和同样叛逆的天文学家伽利略,不断的陷入某种对撒旦的确认的,危险之中。
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Look what happens to Galileo, who was lucky enough not to have been burn on the stake by his friend, the pope.
看看伽利略的遭遇吧,他足够幸运,没有被他的教皇朋友绑在火刑柱上烧死
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But Galileo already managed to find examples where things would roll on for a very, very long time.
但伽利略已经成功找到了,物体可以运动很长很长时间的例子
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And while he spent time in Europe, he met Galileo and Rene Descartes.
在欧洲时，他遇到了伽利略和笛卡尔。
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Galileo is the only contemporary personage, the only seventeenth-century figure, even so much as mentioned in Paradise Lost.
伽利略是唯一的一个当代人物，唯一的一个17世纪的人物，甚至在里也提到了这点。
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Vallombrosa literally means "shady valley," and I think it recalls Galileo's shady place, Valdarno, another valley.
瓦隆布罗萨字面上的意思是“成荫的村庄“,我认为这使人想起了伽利略阴暗的处所，另一个村子，瓦尔达诺。
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Galileo himself is viewing the situation from a fallen and an unperfect, uncertain perspective.
伽利略自身在从一个堕落的，不完美的，不确定的角度，审时度势。
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It's not simply that Galileo represents the admiring observer of Satan who is finally able to arrive at a just sense of his moral spots and imperfections.
伽利略并不仅仅代表了最终终于到达的,撒旦的崇拜者,来为他的道德缺憾和不完美进行辩解。
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I think it stands to reason to assume that this figure of Galileo is of some importance to Milton and the workings of the poem.
我认为理所当然应当假设,伽利略的形象对弥尔顿和诗歌的作用而言,有着无以言表的重要性。
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It's in this light that the introduction, I think, of Galileo in this simile starts to make a little more sense.
就此而论，这个比喻中，关于伽利略的介绍开始有了点意义。
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When Milton met him, Galileo would have been old and blind, not unimportant to the later Milton, and Galileo was under house arrest at his home in Fiesole.
当弥尔顿遇见他是，伽利略已经又老又瞎，而这点对后来的弥尔顿至关重要，伽利略当时被软禁在他菲索尔的家中。
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The simile is there ostensibly to compare Satan with the great sea beast, leviathan. In the comparison of Satan's shield with the moon is the figure of the Tuscan artist, the Tuscan artist being Galileo.
这个明喻很明显是将撒旦和凶猛的海中野兽利维坦，进行了对比，在把撒旦的庇护和月亮的比较之中,突出了那个托斯卡纳艺术家的形象，伽利略。
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So, Galileo here is struggling to get the proper visionary fix on the moon at a point in the day when there are no absolutes.
因此，伽利略在此是试图着要在没有绝对的时刻,得到月亮的方位。
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Okay. This is only the first mention of Galileo in the poem and, as you will see if you're careful in looking at your footnotes in the Hughes, appears two other times within the later similes in the poem, always in a simile.
这只是此诗中第一次提到伽利略，如果认真读的话，会发现更多,特别是在休斯版的脚注里，在后面的比喻里伽利略又出现了两次，他总是出现了比喻里。
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It was Galileo's job, you'll remember, with his telescope to detect the otherwise undetectable spots and imperfections in this seemingly, but only seemingly, perfect moon.
你们还记得，通过望远镜，观测到这个看起来，却只是看起来完美无缺的,月亮上的黑点和缺陷，是伽利略要做的。
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Okay. That's one way to read the simile, one way to make sense of this mention of the X, the Galileo figure.
这是理解这个比喻的一种方式，一种了解X，即伽利略的形象的方式。
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The great discovery that Galileo and Newton made is that you don't need a force for a body to move at constant velocity.
伽利略和牛顿的伟大发现就是,物体不需要力来维持匀速运动
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It would be a wonderful paper topic, an examination of all of the Galileo similes.
这会是非常好的论文题目，关于所有伽利略的比喻的审视。
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He visited Vallombrosa when he was introduced to Galileo in Fiesole.
他被引见给尚在菲耶索的伽利略时曾经去过那里。
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You have on the handout the other mentions in Paradise Lost of Galileo.
讲稿上有标出另外提到伽利略的地方。
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In calling him here the Tuscan artist, in some respects we can see him forging an identification between himself as a literary artist and Galileo as a scientific artist.
从伽利略托斯卡纳大师的名号中，我们可以看出弥尔顿把他自己，一个文艺上的大师,和伽利略，科学上的大师，视为同一。
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Milton had written in Areopagitica that he had actually met Galileo on his journey, when Milton was a young man and Galileo was a very old man, through the continent.
弥尔顿在中已经写到,他实际上在旅途中曾经遇到过伽利略，那还是当他是一个年轻人，而伽利略已然老去的，一次环陆旅行中。
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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。
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It was no longer, after Galileo, of an ethereal temper.
在伽利略之后，它不再是一个沉重的盾牌。
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Galileo, I have already indicated that Hobbes had met, William Harvey, Rene Descartes; a handful of others who were part of what we think of as the modern scientific revolutionaries.
就像伽利略，我提到过霍布斯曾经遇见过他，威廉哈维，笛卡尔;,还有其他很多人,这些都是我们认为的现代科学的革命者。
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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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Galileo's important.
伽利略是个重要的人物。
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That was the Galileo simile.
这是伽利略的比喻。
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Like the sun, it was thought to be a perfect heavenly body and, as you probably know, it was Galileo though -the Tuscan artist, the Italian astronomer 0 -who disproved just that assumption in 1610 when he published the Sidereus Nuncius .
正如太阳那样，它被认为是完美的天体，也是伽利略,-那个托斯卡纳大师，意大利的天文学家,-他驳斥了1610年的假设0,在他出版的那本中。
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