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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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Through the dynamics of the counter-plot, the similes reassure us of what Hartman calls the "graceful coexistence of free will and divine providence."
从这个反计的整个催动力来看，这些比喻向我们再次确认了被哈特曼称为,“自由意志和神圣天意华丽的共存“的结合“
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And that I think may be a little bit - - that's a metaphor in itself - that may be a little bit much to ask of a work of art.
但我认为这个要求,我说的本身也是一个比喻-,对于一个艺术作品来说有些太多了。
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It's a bit more-- to continue with the metaphor of the on-of switch-- as though not only is the switch turned to off, there's a lock on the switch.
要继续用开关的比喻-,就有点奇怪了-,似乎开关的上面，还有一个锁定装置。
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They always mean or signify far more than they're supposed to if their job is simply to make a comparison.
他们总是比简单的完成一个比喻,而一位或者代表了更多的深层含义。
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In The Iliad, as you can see, the warrior Glaucus uses the simile of the leaves to dismiss the importance of genealogy.
在里，你们会发现，武士格劳休斯,用了落叶的比喻来降低家族谱系的重要性。
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Now we may assume, having read only that much of the simile, that Satan's spear is as tall as the mast of the ship, not a small spear.
简单的读了一下这个比喻，我们可能猜想，撒旦的长矛如同兵舰的桅杆一样高。
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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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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。
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Think about it. Something's gone awry in this simile.
想一想，有什么在这个比喻里缺失了。
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I am not convinced that the poem's radical and most subversive and most exquisite rhetorical effects, these amazing similes, present us with anything like a simple and unambiguous religious message.
我并不认为诗中最极端最颠覆,即那些令人惊叹的比喻，给我们提供了,非常简单明了的宗教寓意。
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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。
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Now, this particular simile conjures for us an image of someone trying to get a fix on Satan's shield, and there's the suggestion here of an attempt to get a proper perspective on this huge character, Satan.
这个特别的比喻如同戏法般,像我们展示了一个想要对撒旦的屏障有所一瞥的形象，这里有找出对这个重要的人物，撒旦,的一个合理的观点的暗示。
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It's as if a gap has opened up, a gap between the official argument of and the rhetorical figures or the metaphors, Milton's elaborately construed language, which he uses to illustrate that argument.
这就像是一个鸿沟在专著中的正式论点,和运用修辞和比喻的部分之间打开了，弥尔顿精心地解释和分析他用来，阐述这个论点的语言。
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Satan's described initially here as the wind god Orion, a classical figure who vexed or tossed the waves of the Red Sea, ; just as Satan is rousing and inspiring his fallen host of angels; but Milton continues to complicate the simile.
撒旦在这里最初被比作风神猎户，这是一个在红海上呼风唤浪的古典形象，就像撒旦在他的天使随从面前充满了威严;,但是弥尔顿接下来又使这个比喻复杂化了。
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but the simile continues.
但是这个比喻又继续发展了。
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The other great critic of the Miltonic simile for my money takes a completely different tack, and that's Geoffrey Hartman who makes an argument that might even be thought to contradict Fish's argument, although actually Geoffrey Hartman wrote his piece first.
在我看来，另一个对弥尔顿的比喻研究深远的评论家,采取了截然不同的方针，他就是杰弗里哈特曼,他做出了一个被认为是在反驳费什的观点，尽管实际上是哈特曼首先写出了他的观点。
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Paradise Lost as a whole clearly wants us to believe that God has foreknowledge and it also clearly wants us to believe that we have free will, but the similes seem just as often to open up and to question the poem's doctrinal conclusions.
整体来说很清楚地是想让我们相信,上帝具有先知的能力,并且还想让我们相信人生来有自由的意志，但是这些比喻看起来只是为我们揭露,并质疑了诗歌本身的学理上的总结。
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If we had been thinking -- and some of us may well have been thinking and we were right to think provisionally -that Satan was a character that we could actually identify with, if we had been thinking that Satan was in any way a perfect character with some sort of justifiable claim -these thoughts are now being corrected by the means, by the mechanism, of the simile.
如果我们在思考--有些人已经在考虑这些问题,我们的确应该暂时想一想,-撒旦是一个的确可以，如果我们想过撒旦是,一个应当被公正对待的完美的角色的话,-这些想法目前已经得到了，这个机制和比喻的纠正。
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Like Fish, Hartman is most interested in the similes of the first two books, the similes that provide some kind of window onto the world of Satan, and he focuses on the simile actually ; that follows the simile of Satan's shield that we've been looking at; it follows the simile of the spear that Fish had analyzed.
和费什一样，哈特曼对于,前两本书里的那些比喻，那些提供了，一种窥视撒旦的世界的途径的比喻最感兴趣，他集中研究了那些实际上,和我们在理解的撒旦的庇护有所关联的比喻;,这个比喻紧随着费什已经分析过的长矛的比喻。
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In any case, the question of value and valuation is an important one in Comus, and it's important in part because the rhetoric of the mask is saturated in the economic, the commercial, and the financial imagery that we were looking at in the last lecture.
在任何情况下，价值和评价对于Comus来说很重要，这个很重要有部分原因是,面具里的语言充满了经济的，商业的，和金融比喻的，这都是上次课我们想要寻找的。
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