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You also read an article by Milgrom where Milgrom talks about Priestly cultic imagery serving as a kind of theodicy.
在米尔格罗姆的一篇文章中,这篇文章讲到祭司的宗教仪式,被形象化为一种神义论。
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It's a set of images that couldn't be more foreign or more alien to the prophetic mode of the Old Testament prophets.
这是一组不能再背离旧约先知的形象的,一组比喻了。
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That's an image of art ultimately leading out of art to a kind of state of de-sublimation.
这一艺术的形象最终走出了,艺术走向去崇高化。
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At the same time, and I think very much in line with the assertion that humans are created in the image of God, Humans are not, in fact, gods.
同时，我觉得它与这一主张也是一致的,人类是依照上帝的形象所创造的，事实上，人类并不是神灵。
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Yes. Okay. Sometimes I do get students who have just an image of this novel in their mind, or they read it when they were in high school and have a sort of irrational, passionate love for it.
好的，有时候我的确会有一些学生,他们脑子里有一个这部小说的形象，或者在高中里读过,对之有一股毫无理由的热爱。
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Shielding is the term that's used, it brings up a certain image in our mind, and even though that's not precisely what's going on, it's a very good way to visualize what we're trying to think about here.
它带给我们一个确定的画面，虽然那不够精确，但当我们尝试去考虑它的时候,它确实是一种很好,的形象化的方式。
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For one thing, he didn't invent a sort of image, he invented a story wrote and collaborated on the plot of Citizen Kane.
他并没有创造一种形象，他在《公民凯恩》的情节中,创造了一种角色的合作关系。
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So how accurate is that picture of Socrates the man who investigates the things aloft and the things under the ground?
所以，苏格拉底在剧中的形象有多准确,就是作为一名调查,一些上天下地之事的人？
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Because when we try to suppress a natural phenomenon such as having a visual of the word when we say it, that thing just intensifies.
因为当我们企图压抑一种自然现象时,比如提起一个词时浮现出相应形象，只会加强它。
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I think there's a connection here between the image from the commonplace book and the treatment in Milton's mask of this strangely conjoint phenomenon of virginity and speechlessness.
我认为,笔记书中的形象,和弥尔顿《面具》中有关童贞和无语这一共同现象,是有联系的。
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And so when the figure of Orpheus appears in this poem, it's the second half of the Orpheus story that Milton is forced to tell.
因此当俄耳甫斯的形象出现在这首诗中时，弥尔顿要讲的是他生平的后一段。
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Here, the gold and silver apples are specifically alchemical symbols of body and soul, and a kind of mystical image of earthly paradise.
这里银苹果金苹果具体指,身体和灵魂魔法上的象征，是古时天堂的一种形象。
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And this is related to Yeats's idea that the poet and this is something he wrote about in the prose that the poet is more type than man.
这和叶芝关于诗人的观点,他在一篇散文里提到的,诗人更多是形象而不是个人。
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That would be an entirely orthodox image and we wouldn't be startled by its presence.
这将是一个完全正统的形象,我们不会被它的存在吓一跳。
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But this poet is, in fact, important to the one that Yeats became.
但实际上这一形象，对叶芝后期影响很大。
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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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A horse-drawing carriage in snowfalls that cause tires stick out of control with drivers gently toddles the ground and makes a nice pattern of black and white. That's how it used to be done, because he's a myth maker.
比如一辆马车在雪地上前行，但车轮松动,使马车夫不得不在雪地里慢条斯理地行进,这样的黑白画面塑造了很好的形象,这是他以前的做法，因为他是个创造神话的人，他说。
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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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It also provides Milton with the figure of Mammon who will, as you will see over the course of this semester become - well, here in Paradise Lost he's one of the key fallen angels in Milton's hell.
它也为弥尔顿提供了贪欲之神这一形象，正如在本学期这一门课中你们将始终看到的，贪欲之神,在《失乐园》中会变成,弥尔顿地狱中主要的堕落天使之一。
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The touching of the Lady's lip touches us in other ways as well though, at least in this lecture, because we remember that unfortunate, that horrifying image of the lip that Milton had noted in the commonplace book.
碰触女士的嘴唇也在其他方面感动了我们，至少在这一讲中，因为我们记得那不幸的，充满畏惧的嘴唇的形象,那是弥尔顿在笔记中提到的。
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If we think about this, analogize it to how Haze looks, it's a way of looking at O'Connor's fiction that sees nothing but the theology behind it, that sees nothing but the Christian iconography.
我们好好想想这个，再将此与Haze的形象联系起来，除了神学和圣像,我们看不到任何东西，这就是阅读奥康纳作品的一种方式。
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