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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 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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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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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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If you look at Greece in this period, I don't know if I've used this term before, but some scholars refer to this general period we're talking about as the Greek renaissance by analogy to the renaissance in Italy.
如果纵观这个时期的希腊,我不知道以前是否用过这个定义,但一些学者,用意大利文艺复兴来比喻这个时期,把它称作希腊的文艺复兴
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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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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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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。
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It has nothing whatsoever to do with the question of simply the size of Satan's shield, and we realize that we have to redraw the schema into which we fit this simile.
实际上这和撒旦屏障的大小,并无实际的关联，我们得重新规划屏障的大小,来适应这个比喻。
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The uncertain status of divine providence here, I think, is made clear by its figuration as a moon.
这里神圣的天意的不确定的地位，被月亮这个比喻表现的更为清晰。
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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。
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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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As I see it, the official function of this simile is to give us a sense of the size of Satan's shield and thereby to give us a sense of the size of Satan himself.
在我看来，这个比喻的正式的作用,是要给我们展现出撒旦的屏障的规模,因此来展现撒旦自身的伟岸。
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The simile isn't telling us that Satan's spear is as small as a wand because what we have is a syllogism here.
这个比喻并不是在提醒我们撒旦的长矛像棍子一样小,因为我们在这儿有一个演绎推理。
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For me the absolutely shocking fact of this simile ] is that its primary purpose is merely to describe the number of angels who are prostrate on the burning lake of hell.
为了他们悲惨的境遇黯然神伤,对我来说，这个比喻令人震惊的事实,是它最初的目的只不过,是为了描述葬身于地狱火海的天使的数量之多。
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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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But we have further to go with this simile.
但是关于这个比喻我们还有更多有待发现的。
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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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The similes are continually working to unleash -and they're really quite unruly in this respect -to unleash the moral and the theological confusion that so much of the rest of the poem seems really quite eager to pin down and to fix.
这里的比喻不断的想要解脱束缚,-它们从这个方面来看也的确不受什么束缚,-解脱道德上和理论上的混乱无序,这首诗的剩余部分都显得急切于,下定论进行弥补。
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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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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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but the simile continues.
但是这个比喻又继续发展了。
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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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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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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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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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Homer and Virgil and, well after them, Dante and innumerable others have all applied the simile of the leaves or some version of it to describe the numberless-ness of the dead.
荷马，维吉尔，在他们之后还有但丁,以及无法计数的曾经用过这个落叶比喻,或者变种版本来形容死者的数量极多的其他诗人们。
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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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