-
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。
-
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。
-
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。
-
In Book One alone there are four primary instances of what we can think of as this primary simile dynamic.
仅第一本里就有四个主要的例证,我们可以看作最初的明喻来源的动力。
-
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。
-
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。
-
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。
-
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“
-
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。
-
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。
-
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。
-
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。
-
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“
-
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。
-
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。
-
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。
-
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。
-
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。
-
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。
-
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。
-
Okay. We have time for another simile, the last simile of Book One.
我们还有时间看另一个比喻，卷一的最后一个比喻。
-
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。
-
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。
-
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。
-
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。
-
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。
-
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。
-
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“
-
This is the simile of the leaves.
这是关于落叶的比喻。
-
This is a simile that Stanley Fish brilliantly describes ; as central to a certain temporal procedure common in Milton's verse; Fish is interested in the temporal process of reading in general.
这被斯坦利费什独具匠心地形容为,弥尔顿诗中极为常见的时间步骤的核心;,费什对总体上这首诗的时间顺序非常感兴趣。
应用推荐