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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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First we have the "Pilot of some small night-founder'd Skiff," and the pilot stands ab extra, from outside, in the simile.
首先我们有这句“迷茫深夜中，轻舟的导航人“,并且这个导航人在明喻中，体现为从诗句之外向内眺望。
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If might be an image, a comparison, the finding of likeness between unlike things which is at the heart of metaphor and simile making.
也可能是一个意象，一个对比，在不同之物中寻找到的相同点,而这也是隐喻和明喻的内涵。
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The simile sets out to establish the moral polarities between good and evil, but it then works almost systematically to undo that understanding.
这里的比喻开始创造出善与恶之间的,两极性，然而后来它又几乎自动的抹去了这种理解。
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It illustrates Satan's self-destruction even as the main narrative of the simile portrays Satan's heroism.
这个故事讲述了撒旦的自我毁灭,尽管它也描述了撒旦的英雄主义。
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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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Then we have the simile of the fallen leaves, which compares the fallen angels to fallen leaves, and in that simile we have the image of the Israelites.
然后我们又看到落叶的明喻，在这里作者将堕落的天使比作了落叶，并且我们在这里又看到了以色列人的形象。
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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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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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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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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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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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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. First of all, let's look at the simile that compares Satan's shield to the moon.
首先，我们来看看这些将,撒旦的庇护地比作了月亮的明喻。
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Suddenly, the distinctions that the simile works so hard to establish are beginning to erode.
突然，这种比喻竭力想要表现的区别,开始崩塌。
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This is the simile of the belated peasant that Hartman describes.
这是关于哈特曼描述的迟来的农夫。
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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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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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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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Satan's shield is as big as the moon -this is the most common form of simile, epic or otherwise, and it can be schematized.
他的屏障如同月亮一般庞大,-这是最常见的比喻形式，并且还可以再用图表概要化。
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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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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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Hartman's image of the simile isn't temporal the way Fish's was.
哈特曼关于这些比喻的描述并不是时间性的。
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This is the initial part of the simile that describes the leaves: "thick as Autumnal Leaves that strow the Brooks / in Vallombrosa, where th' Etrurian shades / high overarch't imbow'r."
这是描写落叶的比喻的开始部分：,“他们人数众多，稠密得像秋天的繁叶,/在瓦隆布罗萨，厄特鲁利亚的光辉逐渐暗淡“
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This is the simile of the leaves.
这是关于落叶的比喻。
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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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