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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。
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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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Yeats sees the Second Coming as an image, as a myth, an idea, a metaphor, a certain stylistic arrangement of experience.
叶芝把第二次降临看成一个意向，一个神话，一个意识，一个比喻，一种诗意的安排和感受。
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One way to think about it, if we want to use a classical analogy, which often helps to give us an idea of what's going on, is the spin of an electron, we can picture it rotating on its own axis.
如果我们用一个，经典的比喻来考虑它的话，这经常会帮助我们建立起一些概念，就是我们可以把电子的，自旋想象是它绕着轴自转。
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And what's interesting is that if you look at the utopian rhetoric it almost always includes hints of this utopian relationship to schooling.
有意思的是,如果你了解乌托邦这一修辞比喻,其含义常常包括,与教育的乌托邦一般的关系的暗示性信息。
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Metaphor is the bringing together in a statement of identity of the discourse that's attempting to articulate itself.
比喻就是表述,试图自我阐明交谈特点的过程。
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Is this metaphor, think about the relationship between the mind and the body as similar to the relationship between harmony and a harp.
思考思想和身体的关系,是否和这个比喻里,和声和竖琴的关系相同。
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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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And the metaphor for that relationship is a metaphor of struggle, or wrestling.
对这种关系的比喻是,是搏斗和摔跤的角逐。
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I'll just draw out sort of a funny representation of a list.
挺有趣的关于数组的比喻,这有点像脑细胞。
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The trope of sight is obviously extremely important here.
对视力的比喻在这里非常的重要。
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Hobbes refers to the sovereign as a mortal god, as his answer to the problems of the state of nature, the state, the condition of life being solitary, poor, nasty, brutish and short.
君主就是生在凡间的神，霍布斯在回答,什么是国家的本质时这样比喻到，他的国家，他的生命都总是孤独，穷苦，下流，野蛮和短暂的。
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And according to this image of the vocation of the poet, Milton isn't claiming divine inspiration at all. He's making a deal.
通过这种对诗人职业的比喻，弥尔顿并不在宣传神圣精神，他在做生意。
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The genius of Fish's reading of Milton's similes is to understand the particularly time-bound nature of Milton's verse.
费什解读弥尔顿的比喻的天赋,能够帮助我们理解弥尔顿的韵诗在特定时代下的本质。
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It refers solely to trees, and Vallombrosa is the place "where th' Etrurian shades / high overarch't imbow'r."
这个比喻指的就是树木，地点是瓦隆布罗萨,“在瓦隆布罗萨，厄特鲁利亚的光辉逐渐暗淡“
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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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This is a metaphor that Derrida frequently uses, as a kind of writing on the ear.
这是德里达经常用的一个比喻，就像在耳朵上书写。
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So if you think about it, that is the metaphor we use as we are thinking about the work that we are going to be doing.
你们想想，这个比喻就是用来,描述我们正在思考的,即将要完成的任务。
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One of the defining characteristics of a metaphor is that it breaks down almost immediately.
因为比喻的一个内在特点,就是转瞬即逝。
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Now, maybe the one-room metaphor is not the best metaphor, because it immediately prompts the question, "Well, what's on the other side of the wall?"
也许一间房的比喻并不是最好的,因为它立刻会引出这个问题,墙的另一边是什么呢
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So we've already seen the trope of the house.
我们已经看过关于房子的比喻。
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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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Can you make a novel, as he says in the essay, that will "sprout wings and grow claws" in secret in his mind? That's an image taken from the metamorphosis of the butterfly within the chrysalis.
你能够让一本小说，就像他在那篇文章里说的那样，会在他,脑海里秘密的“展开翅膀，伸出爪子“？，这是从蝴蝶羽化中,借鉴来的比喻。
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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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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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Embedded within the explicit plot of the simile is a secret, a kind of buried narrative, and it's a hidden story that illustrates Satan's self-destruction.
深藏在这个比喻精巧的情节布局里的，是一个秘密，一个被深埋已久的故事，一个隐藏着的，阐述了撒旦自我毁灭的故事。
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It's a much more elaborate simile than that: "the broad circumference / hung on his shoulders like the Moon whose Orb / through Optic Glass the Tuscan Artist views.
这是一个更为精细的比喻：,“那个阔大的圆形物/好像一轮挂在他双肩的明月“,/就是那个托斯卡纳的大师“
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There's naturally a lot of pressure on Milton to make this part of the simile beautiful and striking because he's echoing not just one epic poet, but essentially he's echoing just about every epic poet.
弥尔顿自然会感受到很多压力,必须得把这个比喻写的美丽动人,因为他不仅是在模仿一个诗人，实际上每个人史诗诗人都是他模仿共鸣的对象。
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As we've noticed, all of these similes have these observer figures and this one does, too.
正如我们所见，所有的这些比喻都有着观察者的角色,这个也不例外。
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The similes are for him instrument in the poem's larger agenda to reinforce our faith in the coexistence of free will and divine providence -- difficult, huge concepts.
这些比喻在这首诗更深的议程中是作为工具,来深化我们对自由意志和神圣天命的共存,所持的信念--这是两个艰深宏大的概念。
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