Through the dynamics of the counter-plot, the similes reassure us of what Hartman calls the "graceful coexistence of free will and divine providence."
从这个反计的整个催动力来看,这些比喻向我们再次确认了被哈特曼称为,“自由意志和神圣天意华丽的共存“的结合“
Hartman's absolutely right to insist that no theological concept is as important to Paradise Lost as free will on the one hand and divine providence on the other.
哈特曼有绝对的权利坚持说任何神学的概念,在中的意义都不足与匹敌自由意志的重要性,也不足以和神圣的天命相比。
Now you may remember what Geoffrey Hartman had argued that the moon represents the power of divine providence, and there's a lot of ways in which this reading makes sense.
你们可能还记得哈特曼曾经争论过,月亮代表的是神圣的天命的力量,有很多理解这段的方式都是有意义的。
I can't help but feel that within the context of the actual story of the Fall, the Fall of Adam and Eve, that the idea of divine providence isn't actually all that comforting.
我觉得在这个故事的实际框架中,关于堕落,亚当夏娃的堕落的来龙去脉中的,上帝的天命的思想并不那么让人舒坦。
The very idea of divine providence, when it's injected into the story of Adam and Eve's perfectly disastrous choice to eat the apple, seems to arouse in a lot of us feelings of injustice.
天命的想法,当深深植入到亚当夏娃的故事中,植入到他们决定偷吃禁果的毁灭性的决定里去时,似乎让我们有种不公平的感觉。
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。
The similes are for him instrument in the poem's larger agenda to reinforce our faith in the coexistence of free will and divine providence -- difficult, huge concepts.
这些比喻在这首诗更深的议程中是作为工具,来深化我们对自由意志和神圣天命的共存,所持的信念--这是两个艰深宏大的概念。
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