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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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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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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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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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I think this is an important distinction because what you have here in the middle of this simile in Milton's account of hell is an image of a bower.
我认为这是一个非常重要的区别,因为读到半途,弥尔顿对地狱的描述仅给了我们一个阴暗的印象。
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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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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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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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As you know, in classical literature the dead are referred to as shades, but here in Milton's simile "shades" merely means "shade trees."
在古典文学里，逝者常被用树荫来指代，而在这里弥尔顿的比喻“树荫“仅表示“叶绿成荫的树“
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For Hartman, the Miltonic simile actually permits the reader something like the perspective of eternity, a divine perspective, and of course, this is exactly what Stanley Fish had told us was impossible.
对他而言，弥尔顿式的比喻实际上使得读者能够,得知一些类似于永恒的透视，一个神圣的看法，当然，这是据费什所有，不可能的事情。
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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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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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Let's move on. Neither of these critics -neither Fish nor Hartman discusses one of the most celebrated aspects of this last simile that we've looked at, and I have a little hunch that there's a reason for their neglect.
接着往下看，没有哪个评论家,-费什或者哈特曼，都没有讨论,上一个比喻中最为著名的一个方面，我有些许预感，他们对这点的忽视是有因可循的。
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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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There are, of course, dozens of figures taken from the texts of classical mythology who are alluded to throughout the first two books, but invariably they appear, just as Tantalus does in this very passage, within the context of a simile.
当然，这部作品有很多人物是取材自,经典神话故事，他们是用来表达隐喻的,贯穿着前两册书，他们始终出现，就像丹达罗斯在这一诗篇中，给予诗内容一种喻示。
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