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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's a set of images that couldn't be more foreign or more alien to the prophetic mode of the Old Testament prophets.
这是一组不能再背离旧约先知的形象的,一组比喻了。
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Yeats sees the Second Coming as an image, as a myth, an idea, a metaphor, a certain stylistic arrangement of experience.
叶芝把第二次降临看成一个意向，一个神话，一个意识，一个比喻，一种诗意的安排和感受。
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Wimsatt has his little joke about drinking a pint of beer, taking a walk. So the New Criticism just isn't interested in those sorts of spontaneous overflow.
文萨特也开玩笑似的把这比喻成喝完一品脱啤酒，然后散散步，所以我说过了,新批评派对这东西不感兴趣。
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One way to think about it, if we want to use a classical analogy, which often helps to give us an idea of what's going on, is the spin of an electron, we can picture it rotating on its own axis.
如果我们用一个，经典的比喻来考虑它的话，这经常会帮助我们建立起一些概念，就是我们可以把电子的，自旋想象是它绕着轴自转。
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And what's interesting is that if you look at the utopian rhetoric it almost always includes hints of this utopian relationship to schooling.
有意思的是,如果你了解乌托邦这一修辞比喻,其含义常常包括,与教育的乌托邦一般的关系的暗示性信息。
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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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And the metaphor for that relationship is a metaphor of struggle, or wrestling.
对这种关系的比喻是,是搏斗和摔跤的角逐。
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I'll just draw out sort of a funny representation of a list.
挺有趣的关于数组的比喻,这有点像脑细胞。
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The trope of sight is obviously extremely important here.
对视力的比喻在这里非常的重要。
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And according to this image of the vocation of the poet, Milton isn't claiming divine inspiration at all. He's making a deal.
通过这种对诗人职业的比喻，弥尔顿并不在宣传神圣精神，他在做生意。
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The genius of Fish's reading of Milton's similes is to understand the particularly time-bound nature of Milton's verse.
费什解读弥尔顿的比喻的天赋,能够帮助我们理解弥尔顿的韵诗在特定时代下的本质。
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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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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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Metaphor is the bringing together in a statement of identity of the discourse that's attempting to articulate itself.
比喻就是表述,试图自我阐明交谈特点的过程。
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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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One of the defining characteristics of a metaphor is that it breaks down almost immediately.
因为比喻的一个内在特点,就是转瞬即逝。
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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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So we've already seen the trope of the house.
我们已经看过关于房子的比喻。
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It's a bit more-- to continue with the metaphor of the on-of switch-- as though not only is the switch turned to off, there's a lock on the switch.
要继续用开关的比喻-,就有点奇怪了-,似乎开关的上面，还有一个锁定装置。
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Can you make a novel, as he says in the essay, that will "sprout wings and grow claws" in secret in his mind? That's an image taken from the metamorphosis of the butterfly within the chrysalis.
你能够让一本小说，就像他在那篇文章里说的那样，会在他,脑海里秘密的“展开翅膀，伸出爪子“？，这是从蝴蝶羽化中,借鉴来的比喻。
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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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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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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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Condensation, in other words, is metaphorical in its nature, and displacement is metonymic in its nature.
换句话说，凝缩本质上是比喻，移置本质上是转喻。
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This is a metaphor that Derrida frequently uses, as a kind of writing on the ear.
这是德里达经常用的一个比喻，就像在耳朵上书写。
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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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