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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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You can also hear Satan's critique of the tyranny of heaven in this account of the rhyme as well. Like kingship, rhyme is a custom.
在这关于押韵的一段话中也可隐约听到,撒旦对上帝独裁的批判，押韵同王权一样都是惯例。
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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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So you have a wind god who is identified with Satan destroying Pharaoh, who is also identified with Satan, just as he attempts to destroy God's faithful.
因为我们看到一个视为和撒旦一体的风神摧毁着，同样也被视为和撒旦相同的暴君，就像他企图摧毁上帝的威信一般。
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Satan resembles us as readers as we attempt to dissect and to anatomize the power of Milton's poetry.
作为读者撒旦与我们相似,试图解构剖析弥尔顿诗歌的力量。
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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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And that's not simply because Satan bears such a strong resemblance to Milton, as, of course, he does.
这不单单是因为撒旦与弥尔顿是如此相像,当然了，他们确实很相似。
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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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The circuitous, logical route that we had to take in order to arrive at this new sense of Satan's size has everything to do with our status as temporally bound, temporally constrained readers.
我们需要经历一个迂回曲折的逻辑过程,来从新的意义上理解撒旦的高大,和我们目前处在的，作为世俗压制下的读者的地位，有着紧密的联系。
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At times when we read Paradise Lost it seems almost as if Satan were quoting or alluding to Comus.
有时当我们读《失乐园》时,就好像看到Satan在引用Comus的话或影射他。
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Like Milton, Satan is in the business of demystifying power, of exposing political or cultural power as something that is not simply inherently there or naturally there.
正如弥尔顿一样，撒旦也是要揭开力量被神化的幻想，向人们揭露政治或文化力量并不是,与生俱来自然而然的存在的。
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I'm convinced Satan looks ahead to us as well.
我相信撒旦与我们看法一致。
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They are mere personifications of abstract ideas, and it's not at all clear that Sin and her son, Death, exist as individual entities in the same way, or on the same plane, that Satan does, for example, or Beelzebub.
他们仅仅是将抽象的思想拟人化的结果，但我们不清楚的是罪恶之神和她的儿子死神，以同样的方式或在同一个星球作为独立的个体存在，例如撒旦或者苍蝇王比尔泽布也是这样。
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The story of Adam and Eve and of the fall of Satan may strike us - having read or about to read Paradise Lost -- may strike us as a natural subject for Milton to have chosen for his epic poem.
弥尔顿选择了亚当夏娃以及撒旦的溃败的故事,作为他史诗的主题在我们看来--不管我们读过,还是将要读《失乐园》--都是很自然的。
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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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Even if we locate a source of some kind of genuine strength, authoritative strength, it's still usually possible, as it is for Satan, to argue that that power is really at base just the concealed product of custom or what we would think of as cultural construction.
有时即使我们找到了一种真实的，权威的力量，还是有可能像撒旦所辩解的那样，这种力量其实只是,约定俗成的规矩教条的隐秘产物,或者如我们所想来自文化建构。
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Satan may be like the wind, Orion, but Orion here is also seen as vexing and destroying the Egyptians whose carcasses wash up on the shores of the Red Sea, and the Israelites, having crossed the Red Sea safely, look on at this destruction from the safety of their shore.
撒旦或许像风神一样，但是这里的风神在怒吼，在摧毁着埃及人,他们的尸体横陈在红海上，而以色列人，却平安的穿过了红海，从安全的海岸回望身后的摧枯拉朽。
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