《莎士比亚十四行诗》经典语录16篇

《莎士比亚十四行诗》经典语录(1)

Shall I pare thee to summer"s day? 我怎么能够把你来比作夏天？

Thou art more lovely and more temperate:你不独比它可爱也比它温婉

Rough winds do shake the darling buds of May,狂风把五月宠爱的嫩蕊作践，

And summer"s lease hath all too short a date: 夏天出赁的期限又未免太短：

Sometime too hot the eye of heaven shines, 天上的眼睛有时照得太酷烈，

And often is his gold plexion dimm"d; 它那炳耀的金颜又常遭掩蔽：

And every fair from fair sometime declines, 被机缘或无常的天道所摧折，

By chance or nature"s changing course untrimm"d;

没有芳艳不终于雕残或销毁。

But thy eternal summer shall not fade. 但是你的长夏永远不会雕落，

Nor lose possession of that fair thou owest; 也不会损失你这皎洁的红芳，

Nor shall Death brag thou wander"st in his shade,

或死神夸口你在他影里漂泊，

When in eternal lines to time thou growest: 当你在不朽的诗里与时同长。

So long as men can breathe or eyes can see,只要一天有人类，或人有眼睛，

So long lives this and this gives life to thee. 这诗将长存，并且赐给你生命。

我怎么能够把你来比作夏天？

你不独比它可爱也比它温婉：

狂风把五月宠爱的嫩蕊作践，

夏天出赁的期限又未免太短：

天上的眼睛有时照得太酷烈，

它那炳耀的金颜又常遭掩蔽：

被机缘或无常的天道所摧折，

没有芳艳不终于雕残或销毁。

但是你的长夏永远不会雕落，

也不会损失你这皎洁的红芳，

或死神夸口你在他影里漂泊，

当你在不朽的诗里与时同长。

只要一天有人类，或人有眼睛，

这诗将长存，并且赐给你生命。

 

四行诗是源于意大利民间的一种抒情短诗，文艺复兴初期时盛行于整个欧洲，其结构十分严谨，分为上下两部分，上段为八行，下段为六行，每行十一个音节，韵脚排列：abba abba,cdc ded。莎士比亚的十四行诗的结构却更严谨，他将十四个诗行分为两部分，第一部分为三个四行，第二部分为两行，每行十个音节，韵脚为：abab,cdcd,efef,gg。这样的格式后来被称为“莎士比亚式”或“伊丽莎白式”。对诗人而言，诗的结构越严禁就越难抒情，而莎士比亚的十四行诗却毫不拘谨，自由奔放，正如他的剧作天马行空，其诗歌的语言也富于想象，感情充沛。

正如同一个人可以有不止一张照片或者画像那样，一首诗歌也可以有不止一个翻译。这照片、画像、翻译自然不会完全相同，会有优劣好坏的差别。但是，由于欣赏者的口味不一，在不同的欣赏者眼里，不同的作品会有不同的得分。

这首诗的艺术特点首先是在于它有着双重主题：一是赞美诗人爱友的美貌，二是歌颂了诗歌艺术的不朽力量。其次就是诗人在诗中运用了新颖的比喻，但又自然而生动。

本文以莎士比亚的十四行诗第十八首里的几个意象作为对朋友美的暗示为切入点:狂风、苍天的巨眼、金彩的脸色,探讨莎翁在赞扬人性方面所涉及的人类和自然之间的关系以及对诗歌主题的宇宙化延伸.

 文言译文：
     美人当青春，婉丽自销魂。
     焉知东风恶，良辰讵待人？
     朝日何皋皋，暮色何昏昏。
     众芳俱摇落，天意倩谁询？
     我有丹青笔，腾挪似有神。
     为君驻颜色，风霜不可侵。
     丹青亦难久，罔若诗与琴？
     延年歌一曲，万古扬清芬。

白话译文：
     我能否将你比作夏天？
你比夏天更美丽温婉。
狂风将五月的蓓蕾凋残，
夏日的勾留何其短暂？

休恋那丽日当空，
转眼会云雾迷蒙。
休叹那百花飘零，
催折于无常的天命。

唯有你永恒的夏日常新，
你的美亦将毫发无损。　
死神也无缘将你幽禁，
你在我永恒的诗中长存。

只要世间尚有人类，尚有能看的眼睛，
这诗就将流传，赋予你新的生命。

  白话译本： 

  我能否将你比作夏天？ 

  你比夏天更美丽温婉。 

  狂风将五月的蓓蕾凋残， 

  夏日的勾留何其短暂。 

  休恋那丽日当空， 

  转眼会云雾迷蒙。 

  休叹那百花飘零， 

  催折于无常的天命。 

  唯有你永恒的夏日常新， 

  你的美貌亦毫发无损。  

  死神也无缘将你幽禁， 

  你在我永恒的诗中长存。 

  只要世间尚有人吟诵我的诗篇， 

  这诗就将不朽，永葆你的芳颜。 

沁园春[1]·莎士比亚十四行诗第29首

残夜沉沉，四野幽幽，独仰斗牛[2]。

叹命途多舛，功名无梦；流离颠沛，失意蒙羞。

我欲呼天，苍天无耳，此恨绵绵不可休[3]。

流清泪，问云山雾水，何处归舟？

当年豪气难酬。更逝水流年憎白头[4]。

羡相如才气，文章山斗；谢家子弟，竞逞风流[5]。

忽忆知音，莺啼雀跃，无限春风明月楼[6]。

生平事，念此情长在，不屑王侯[7]。

当我受尽命运和人们的白眼，

暗暗地哀悼自己的身世飘零，

徒用呼吁去干扰聋瞆的昊天，

顾盼着身影，诅咒自己的生辰，

愿我和另一个一样富于希望，

面貌相似，又和他一样广交游，

希求这人的渊博，那人的内行，

最赏心的乐事觉得最不对头；

可是，当我正要这样看轻自己，

忽然想起了你，于是我的精神，

便像云雀破晓从阴霾的大地

振翮上升，高唱着圣歌在天门：

一想起你的爱使我那么富有，

         和帝王换位我也不屑于屈就

When, In Disgrace With Fortune and Men"s Eyes

by William Shakespeare (1564-1616)

When，in disgrace with fortune and men"s eyes,

I all alone beweep my outcast state

And trouble deaf heaven with my bootless cries

And look upon myself and curse my fate,

Wishing me like to one more rich in hope,

Featur"d like him, like him with friends possess"d,

Desiring this man"s art and that man"s scope,

With what I most enjoy contented least;

Yet in these thoughts myself almost despising,

Haply I think on thee, and then my state,

Like to the lark at break of day arising

From sullen earth, sings hymns at heaven"s gate;

For thy sweet love remember"d such wealth brings

That then I scorn to change my state with kings.

Iambic五音步诗行 pentameterrhythmrhyme

《莎士比亚十四行诗》经典语录(2)

Shall I pare thee to summer"s day? 我怎么能够把你来比作夏天？

Thou art more lovely and more temperate:你不独比它可爱也比它温婉

Rough winds do shake the darling buds of May,狂风把五月宠爱的嫩蕊作践，

And summer"s lease hath all too short a date: 夏天出赁的期限又未免太短：

Sometime too hot the eye of heaven shines, 天上的眼睛有时照得太酷烈，

And often is his gold plexion dimm"d; 它那炳耀的金颜又常遭掩蔽：

And every fair from fair sometime declines, 被机缘或无常的天道所摧折，

By chance or nature"s changing course untrimm"d;

没有芳艳不终于雕残或销毁。

But thy eternal summer shall not fade. 但是你的长夏永远不会雕落，

Nor lose possession of that fair thou owest; 也不会损失你这皎洁的红芳，

Nor shall Death brag thou wander"st in his shade,

或死神夸口你在他影里漂泊，

When in eternal lines to time thou growest: 当你在不朽的诗里与时同长。

So long as men can breathe or eyes can see,只要一天有人类，或人有眼睛，

So long lives this and this gives life to thee. 这诗将长存，并且赐给你生命。

我怎么能够把你来比作夏天？

你不独比它可爱也比它温婉：

狂风把五月宠爱的嫩蕊作践，

夏天出赁的期限又未免太短：

天上的眼睛有时照得太酷烈，

它那炳耀的金颜又常遭掩蔽：

被机缘或无常的天道所摧折，

没有芳艳不终于雕残或销毁。

但是你的长夏永远不会雕落，

也不会损失你这皎洁的红芳，

或死神夸口你在他影里漂泊，

当你在不朽的诗里与时同长。

只要一天有人类，或人有眼睛，

这诗将长存，并且赐给你生命。

 

四行诗是源于意大利民间的一种抒情短诗，文艺复兴初期时盛行于整个欧洲，其结构十分严谨，分为上下两部分，上段为八行，下段为六行，每行十一个音节，韵脚排列：abba abba,cdc ded。莎士比亚的十四行诗的结构却更严谨，他将十四个诗行分为两部分，第一部分为三个四行，第二部分为两行，每行十个音节，韵脚为：abab,cdcd,efef,gg。这样的格式后来被称为“莎士比亚式”或“伊丽莎白式”。对诗人而言，诗的结构越严禁就越难抒情，而莎士比亚的十四行诗却毫不拘谨，自由奔放，正如他的剧作天马行空，其诗歌的语言也富于想象，感情充沛。

正如同一个人可以有不止一张照片或者画像那样，一首诗歌也可以有不止一个翻译。这照片、画像、翻译自然不会完全相同，会有优劣好坏的差别。但是，由于欣赏者的口味不一，在不同的欣赏者眼里，不同的作品会有不同的得分。

这首诗的艺术特点首先是在于它有着双重主题：一是赞美诗人爱友的美貌，二是歌颂了诗歌艺术的不朽力量。其次就是诗人在诗中运用了新颖的比喻，但又自然而生动。

本文以莎士比亚的十四行诗第十八首里的几个意象作为对朋友美的暗示为切入点:狂风、苍天的巨眼、金彩的脸色,探讨莎翁在赞扬人性方面所涉及的人类和自然之间的关系以及对诗歌主题的宇宙化延伸.

 文言译文：
     美人当青春，婉丽自销魂。
     焉知东风恶，良辰讵待人？
     朝日何皋皋，暮色何昏昏。
     众芳俱摇落，天意倩谁询？
     我有丹青笔，腾挪似有神。
     为君驻颜色，风霜不可侵。
     丹青亦难久，罔若诗与琴？
     延年歌一曲，万古扬清芬。

白话译文：
     我能否将你比作夏天？
你比夏天更美丽温婉。
狂风将五月的蓓蕾凋残，
夏日的勾留何其短暂？

休恋那丽日当空，
转眼会云雾迷蒙。
休叹那百花飘零，
催折于无常的天命。

唯有你永恒的夏日常新，
你的美亦将毫发无损。　
死神也无缘将你幽禁，
你在我永恒的诗中长存。

只要世间尚有人类，尚有能看的眼睛，
这诗就将流传，赋予你新的生命。

  白话译本： 

  我能否将你比作夏天？ 

  你比夏天更美丽温婉。 

  狂风将五月的蓓蕾凋残， 

  夏日的勾留何其短暂。 

  休恋那丽日当空， 

  转眼会云雾迷蒙。 

  休叹那百花飘零， 

  催折于无常的天命。 

  唯有你永恒的夏日常新， 

  你的美貌亦毫发无损。  

  死神也无缘将你幽禁， 

  你在我永恒的诗中长存。 

  只要世间尚有人吟诵我的诗篇， 

  这诗就将不朽，永葆你的芳颜。 

沁园春[1]·莎士比亚十四行诗第29首

残夜沉沉，四野幽幽，独仰斗牛[2]。

叹命途多舛，功名无梦；流离颠沛，失意蒙羞。

我欲呼天，苍天无耳，此恨绵绵不可休[3]。

流清泪，问云山雾水，何处归舟？

当年豪气难酬。更逝水流年憎白头[4]。

羡相如才气，文章山斗；谢家子弟，竞逞风流[5]。

忽忆知音，莺啼雀跃，无限春风明月楼[6]。

生平事，念此情长在，不屑王侯[7]。

当我受尽命运和人们的白眼，

暗暗地哀悼自己的身世飘零，

徒用呼吁去干扰聋瞆的昊天，

顾盼着身影，诅咒自己的生辰，

愿我和另一个一样富于希望，

面貌相似，又和他一样广交游，

希求这人的渊博，那人的内行，

最赏心的乐事觉得最不对头；

可是，当我正要这样看轻自己，

忽然想起了你，于是我的精神，

便像云雀破晓从阴霾的大地

振翮上升，高唱着圣歌在天门：

一想起你的爱使我那么富有，

         和帝王换位我也不屑于屈就

When, In Disgrace With Fortune and Men"s Eyes

by William Shakespeare (1564-1616)

When，in disgrace with fortune and men"s eyes,

I all alone beweep my outcast state

And trouble deaf heaven with my bootless cries

And look upon myself and curse my fate,

Wishing me like to one more rich in hope,

Featur"d like him, like him with friends possess"d,

Desiring this man"s art and that man"s scope,

With what I most enjoy contented least;

Yet in these thoughts myself almost despising,

Haply I think on thee, and then my state,

Like to the lark at break of day arising

From sullen earth, sings hymns at heaven"s gate;

For thy sweet love remember"d such wealth brings

That then I scorn to change my state with kings.

Iambic五音步诗行 pentameterrhythmrhyme

《莎士比亚十四行诗》经典语录(3)

SONNET #1

by: William Shakespeare

FROM fairest creatures we desire increase,

That thereby beauty"s rose might never die,

But as the riper should by time decease,

His tender heir might bear his memory;

But thou, contracted to thine own bright eyes,

Feed"st thy light"s flame with self-substantial fuel,

Making a famine where abundance lies,

Thyself thy foe, to thy sweet self too cruel.

Thout that are now the world"s fresh ornament

And only herald to the gaudy spring,

Within thine own bud buriest thy content

And, tender churl, mak"st waste in niggarding.

Pity the world, or else this glutton be,

To eat the world"s due, by the grave and thee.

SONNET #2

by: William Shakespeare

WHEN forty winters shall besiege thy brow

And dig deep trenches in thy beauty"s field,

Thy youth"s proud livery, so gazed on now,

Will be a tottered weed of small worth held:

Then being asked where all thy beauty lies,

Where all the treasure of thy lusty days,

To say within thine own deep-sunken eyes

Were an all-eating shame and thriftless praise.

How much more prasie deserved thy beauty"s use

If thou couldst answer, "This fair child of mine

Shall sum my count and make my old excuse,"

Proving his beauty by succession thine.

This were to be new made when thou art old

And see thy blood warm when thou feel"st cold.

SONNET #3

by: William Shakespeare

LOOK in thy glass, and tell the face thou viewest

Now is the time that face should form another,

Whose fresh repair if now thou renewest,

Thou dost beguile the world, unbless some mother.

For where is she so fair whose uneared womb

Disdains the tillage of thy husbandry?

Or who is he so fond will be the tomb

Of his self-love, to stop posterity?

Thou art thy mother"s glass, and she in thee

Calls back the lovely April of her prime;

So thou through windows of thine age shalt see,

Despite of wrinkles, this thy golden time.

But if thou live rememb"red not to be,

Die single, and thine image dies with thee.

SONNET #4

by: William Shakespeare

UNTHRIFTY loveliness, why dost thou spend

Upon thyself they beauty"s legacy?

Nature"s bequest gives nothing but doth lend,

And, being frank, she lends to those are free.

Then, beateous niggard, why dost thou abuse

The bounteous largess given thee to give?

Profitless userer, why dost thou use

So great a sum of sums, yet canst not live?

For, having traffic with thyself alone,

Thou of thyself thy sweet self dost deceive:

Then how, when Nature calls thee to be gone,

What acceptable audit canst thou leave?

Thy unused beauty must be tombed with thee,

Which, usèd, lives th" executor to be.

SONNET #5

by: William Shakespeare

THOSE hours that with gentle work did frame

The lovely gaze where every eye doth dwell

Will play the tyrants to the very same

And that unfair which fairly doth excel;

For never-resting time leads summer on

To hideous winter and confounds him there,

Sap checked with frost and lusty leaves quite gone,

Beauty o"ersnowed and bareness everywhere.

Then, were not summer"s distillation left

A liquid prisoner pent in walls of glass,

Beauty"s effect with beauty were bereft,

Nor it nor no remembrance what it was:

But flowers distilled, though they with winter meet,

Leese but there snow; their substance still lives sweet.

SONNET #6

by: William Shakespeare

THEN let not winter"s ragged hand deface

In thee thy summer ere thou be distilled:

Make sweet some vial; treasure thou some place

With beauty"s treasure ere it be self-killed.

That use is not forbidden usury

Which happies those that pay the willing loan;

That"s for thyself to breed another thee,

Or ten times happier be it ten for one.

Ten times thyself were happier than thou art,

If ten of thine ten times refigured thee:

Then what could death do if thou shouldst depart,

Leaving thee living in posterity?

Be not self-willed, for thou art much too fair

To be death"s conquest and make worms thine heir.

SONNET #7

by: William Shakespeare

LO, in the orient when the gracious light

Lifts up his burning head, each under eye

Doth homage to his new-appearing sight,

Serving with looks his sacred majesty;

And having climbed the steep-up heavenly hill,

Resembling strong yough in his middle age,

Yet mortal looks adore his beauty still,

Attending on his golden pilgrimage;

But when from highmost pitch, with weary car,

Like feeble age he reeleth from the day,

The eyes, fore duteous, now converted are

From his low tract and look another way:

So thou, thyself outgoing in thy noon,

Unlooked on diest unless thou get a son.

SONNET #8

by: William Shakespeare

MUSIC to hear, why hear"st thou music sadly?

Sweets with sweets war not, joy delights in joy:

Why lov"st thou that which thou receiv"st not gladly,

Or else receiv"st with pleasure thine annoy?

If the true concord of well-tunèd sounds,

By unions married, do offend thine ear,

They do but sweetly chide thee, who confounds

In singleness the parts that thou shouldst bear.

Mark how one string, sweet husband to another,

Strikes each in each by mutual ordering;

Resembling sire and child and happy mother,

Who, all in one, one pleasing note do sing;

Whose speechless song, being many, seeming one,

Sings this to thee, "Thou single wilt prove none."

SONNET #9

by: William Shakespeare

IS it for fear to wet a widow"s eye

That thou consum"st thyself in single life?

Ah, if thou issueless shalt hap to die,

The world will wail thee like a makeless wife;

The world will be thy widow, and still weep

That thou no form of thee hast left behind,

When every private widow well may keep,

By children"s eyes, her husband"s shape in mind.

Look what an unthrift in the world doth spend

Shifts but his place, for still the world enjoys it;

But beauty"s waste hath in the world an end,

And, kept unused, the user so destroys it:

No love toward others in that bosom sits

Than on himself such murd"rous shame mits

SONNET #10

by: William Shakespeare

FOR shame, deny that thou bear"st love to any

Who for thyself art so unprovident:

Grant, if thou wilt, thou art beloved of many,

But that thou none lov"st is most evident;

For thou art so possessed with murd"rous hate

That "gainst thyself thou stick"st not to conspire,

Seeking that beauteous roof to ruinate

Which to repair should be thy chief desire.

O, change thy thought, that I may change my mind;

Shall hate be fairer lodged than gentle love?

Be as thy presence is, gracious and kind,

Or to thyself at least kind-hearted prove:

Make thee another self for love of me,

That beauty still may live in thine or thee.

SONNET #11

by: William Shakespeare

AS fast as thou shalt wane, so fast thou grow"st

In one of thine, from that which thou departest;

And that fresh blood which youngly thou bestow"st

Thou mayst call thine when thou from youth convertest.

Herein lives wisdom, beauty, and increase;

Without this, folly, age, and cold decay.

If all were minded so, the times should cease,

And threescore year would make the world away.

Let those whom Nature hath not made for store,

Harsh, featureless, and rude, barrenly perish:

Look whom she best endowed she gave the more,

Which bounteous gift thou shouldst in bounty cherish.

She carved thee for her seal, and meant thereby

Thou shouldst print more, not let that copy die.

SONNET #12

by: William Shakespeare

WHEN I do count the clock that tells the time

And see the brave day sunk in hideous night,

When I behold the violet past prime

And sable curls all silvered o"er with white,

When lofty trees I see barren of leaves,

Which erst from heat did canopy the herd,

And summer"s green all girded up in sheaves

Borne on the bier with white and bristly beard;

Then of thy beauty do I question make

That thou among the wastes of time must go,

Since sweets and beauties do themselves forsake

And die as fast as they see others grow;

And nothing "gainst Time"s scythe can make defense

Save breed, to brave him when he takes thee hence.

SONNET #13

by: William Shakespeare

O , THAT you were yourself, but, love, you are

No longer yours than you yourself here live:

Against this ing end you should prepare,

And your sweet semblance to some other give.

So should that beauty which you hold in lease

Find no determination; then you were

Yourself again after yourself"s decease

When your sweet issue your sweet form should bear.

Who lets so fair a house fall to decay,

Which husbandry in honor might uphold

Against the stormy gusts of winter"s day

And barren rage of death"s eternal cold?

O, none but unthrifts! Dear my love, you know

You had a father -- let your son say so.

SONNET #14

by: William Shakespeare

NOT from the stars do I my judgment pluck,

And yet methinks I have astronomy;

But not to tell of good or evil luck,

Of plagues, of dearths, or season"s quality;

Nor can I fortune to brief minutes tell,

Pointing to each his thunder, rain, and wind,

Or say with princes if it shall go well

By oft predict that I in heaven find;

But from thine eyes my knowledge I derive,

And, constant stars, in them I read such art

As truth and beauty shall together thrive

If from thyself to store thou wouldst convert:

Or else of thee this I prognosticate,

Thy end is truth"s and beauty"s doom and date.

SONNET #15

by: William Shakespeare

WHEN I consider everything that grows

Holds in perfection but a little moment,

That this huge stage presenteth nought but shows

Whereon the stars in secret influence ment;

When I perceive that men as plants increase,

Cheerèd and checked even by the selfsame sky,

Vaunt in their youthful sap, at height decrease,

And wear their brave state out of memory:

Then the conceit of this inconstant stay

Sets you most rich in youth before my sight,

Where wasteful Time debateth with Decay

To change your day of youth to sullied night;

And, all in war with Time for love of you,

As he takes from you, I ingraft you new.

SONNET #16

by: William Shakespeare

BUT wherefore do not you a mightier way

Make war upon this bloody tyrant, Time?

And fortify yourself in your decay

With means more blessèd than my barren rime?

Now stand you on the top of happy hours,

And many maiden gardens, yet unset,

With virtuous wish would bear your living flowers,

Much liker than your painted counterfeit:

So should the lines of life that life repair

Which this time"s pencil or my pupil pen,

Neither in inward worth nor outward fair

Can make you live yourself in eyes of men.

To give away yourself keeps yourself still,

And you must live, drawn by your own sweet skill.

"Sonnet #16" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #17

by: William Shakespeare

HO will believe my verse in time to e

If it were filled with your most high deserts?

Though yet, heaven knows, it is but as a tomb

Which hides your life and shows not half your parts.

If I could write the beauty of your eyes

And in fresh numbers number all your graces,

The age to e would say, "This poet lies--

Such heavenly touches ne"er touched earthly faces."

So should my papers, yellowed with their age,

Be scorned, like old men of less truth than tongue,

And your true rights be termed a poet"s rage

And stretchèd metre of an antique song.

But were some child of yours alive that time,

You should live twice--in it and in my rime.

"Sonnet #17" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #18

by: William Shakespeare

Shall I pare thee to a summer"s day?

Thou art more lovely and more temperate.

Rough winds do shake the darling buds of May,

And summer"s lease hath all too short a date.

Sometime too hot the eye of heaven shines,

And often is his gold plexion dimmed;

And every fair from fair sometime declines,

By chance, or nature"s changing course, untrimmed:

But thy eternal summer shall not fade

Nor lose possession of that fair thou ow"st,

Nor shall Death brag thou wand"rest in his shade

When in eternal lines to time thou grow"st.

So long as men can breathe or eyes can see,

So long lives this, and this gives life to thee.

"Sonnet #18" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #19

by: William Shakespeare

Devouring time, blunt thou the lion"s paws,

And make the earth devour her own sweet brood;

Pluck the keen teeth from the fierce tiger"s jaws,

And burn the long-lived phoenix in her blood;

Make glad and sorry seasons as they fleet"st,

And do whate"er thou wilt, swift-footed Time,

To the wide world and all her fading sweets,

But I forbid thee one most heinous crime:

O, carve not with thy hours my love"s fair brow,

Nor draw no lines there with thine antique pen;

Him in thy course untainted do allow

For beauty"s pattern to succeeding men.

Yet do thy worst, old Time: despite thy wrong,

My love shall in my verse ever live young.

"Sonnet #19" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #20

by: William Shakespeare (1564-1616)

WOMAN"S face, with Nature"s own hand painted,

Hast thou, the master-mistress of my passion;

A woman"s gentle heart, but not acquainted

With shifting change, as is false women"s fashion;

An eye more bright than theirs, less false in rolling,

Gilding the object whereupon it gazeth;

A man in hue all hues in his controlling,

Which steals men"s eyes and women"s souls amazeth.

And for a woman wert thou first created,

Till Nature as she wrought thee fell a-doting,

And by addition me of thee defeated

By adding one thing to my purpose nothing.

But since she pricked thee out for women"s pleasure,

Mine be thy love, and thy love"s use their treasure.

"Sonnet #20" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #21

by: William Shakespeare (1564-1616)

O is it not with me as with that Muse

Stirred by a painted beauty to his verse,

Who heaven itself for ornament doth use

And every fair with his fair doth rehearse;

Making a couplement of proud pare

With sun and moon, with earth and sea"s rich gems,

With April"s first-born flowers, and all things rare

That heaven"s airs in this huge rondure hems.

O let me, true in love, but truly write,

And then believe me, my love is as fair

As any mother"s child, though not so bright

As those gold candles fixed in heaven"s air:

Let them say more that like of hearsay well;

I will not praise that purpose not to sell.

"Sonnet #21" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #22

by: William Shakespeare (1564-1616)

MY glass shall not persuade me I am old

So long as youth and thou are of one date;

But when in thee time"s furrows I behold,

Then look I death my days should expiate.

For all that beauty that doth cover thee

Is but the seemly raiment of my heart,

Which in they breast doth live, as thine in me:

How can I then be elder than thou art?

O therefore, love, be of thyself so wary

As I, not for myself, but for thee will,

Bearing thy heart, which I will keep so chary

As tender nurse her babe from faring ill.

Presume not on thy heart when mine is slain;

Thou gav"st me thine not to give back again.

"Sonnet #22" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #23

by: William Shakespeare (1564-1616)

AS an unperfect actor on the stage,

Who with his fear is put besides his part,

Or some fierce thing replete with too much rage,

Whose strength"s abundance weakens his own heart;

So I, for fear of trust, forget to say

The perfect ceremony of love"s rite,

And in mine own love"s strength seem to decay,

O"ercharged with burden of mine own love"s might.

O, let my books be then the eloquence

And dump presagers of my speaking breast,

Who plead for love, and look for repense,

More than that tongue that more hath more expressed.

O, learn to read what silent love hath writ:

To hear with eyes belongs to love"s fine wit.

"Sonnet #23" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #24

by: William Shakespeare (1564-1616)

MINE eye hath played the painter and hath stelled

Thy beauty"s form in table of my heart;

My body is the frame wherein "tis held,

And perspective it is best painter"s art.

For through the painter must you see his skill

To fine where your true image pictured lies,

Which in my bosom"s shop is hanging still,

That hath his windows glazèd with thine eyes.

Now see what good turns eyes for eyes have done:

Mine eyes have drawn thy shape, and thine for me

Are windows to my breast, wherethrough the sun

Delights to peep, to gaze therein on thee.

Yet eyes this cunning want to grace their art;

They draw but what they see, know not the heart.

"Sonnet #24" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #25

by: William Shakespeare (1564-1616)

LET those who are in favor with their stars

Of public honor and proud titles boast,

Whilst I, whom fortune of such triumph bars,

Unlooked for joy in that I honor most.

Great princes" favorites their fair leaves spread

But as the marigold at the sun"s eye;

And in themselves their pride lies burièd,

For at a frown they in their glory die.

The painful warrior famousèd for fight,

After a thousand victories once foiled,

Is from the book of honor rasèd quite,

And all the rest forgot for which he toiled.

Then happy I, that love and am beloved

Where I may not remove nor be removed.

"Sonnet #25" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #26

by: William Shakespeare (1564-1616)

LORD of my love, to whom in vassalage

Thy merit hath my duty strongly knit,

To thee I send this written ambassage

To witness duty, not to show my wit;

Duty so great, which wit so poor as mine

May make seem bare, in wanting words to show it,

But that I hope some good coneit of thine

In thy soul"s thought, all naked, will bestow it;

Till whatsoever star that guides my moving

Points on me graciously with fair aspect,

And puts apparel on my tottered loving

To show me worthy of thy sweet respect:

Then may I dare to boast how I do love thee;

Till then not show my head where thou mayest prove me.

"Sonnet #26" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #27

by: William Shakespeare (1564-1616)

WEARY with toil, I haste to my bed,

The dear repose for limbs with travel tired,

But then begins a journey in my head

To work my mind when body"s work"s expired;

For then my thoughts, from far where I abide,

Intend a zealous pilgrimage to thee,

And keep my drooping eyelids open wide,

Looking on darkness which the blind do see;

Save that my soul"s imaginary sight

Presents thy shadow to my sightless view,

Which, like a jewel hung in ghastly night,

Makes black night beauteous and her old face new.

Lo, thus, by day my limbs, by night my mind,

For thee and for myself no quiet find.

"Sonnet #27" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #28

by: William Shakespeare (1564-1616)

HOW can I then return in happy plight

That am debarred the benefit of rest,

When day"s oppression is not eased by night,

And each, though enemies to either"s reign,

Do in consent shake hands to torture me,

The one by toil, the other to plain

How far I toil, still farther off from thee?

I tell the day, to please him, thou art bright

And dost him grace when clouds do blot the heaven;

So flatter I the swart-plexioned night,

When sparkling stars twire not, thou gild"st the even.

But day doth daily draw my sorrows longer,

And night doth nightly make grief"s strength seem stronger.

"Sonnet #28" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #29

by: William Shakespeare (1564-1616)

WHEN, in disgrace with Fortune and men"s eyes,

I all alone beweep my outcast state,

And trouble deaf heaven with my bootless cries,

And look upon myself and curse my fate,

Wishing me like to one more rich in hope,

Featured like him, like him with friend"s possessed,

Desiring this man"s art, and that man"s scope,

With what I most enjoy contented least;

Yet in these thoughts myself almost despising,

Haply I think on thee, and then my state,

Like to the lark at break of day arising

From sullen earth, sings hymns at heaven"s gate;

For thy sweet love rememb"red such wealth brings

That then I scorn to change my state with kings.

"Sonnet #29" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #30

by: William Shakespeare (1564-1616)

WHEN to the sessions of sweet silent thought

I summon up remembrance of things past,

I sigh the lack of many a thought I sought,

And with old woes new wail my dear time"s waste:

Then can I drown an eye, unused to flow,

For precious friends hid in death"s dateless night,

And weep afresh love"s long since cancelled woe,

And moan th" expense of many a vanished sight.

Then can I grieve at grievances foregone,

And heavily from woe to woe tell o"er

The sad account of fore-bemoanèd moan,

Which I new pay as if not paid before.

But if the while I think on thee, dear friend,

All losses are restored and sorrows end.

"Sonnet #30" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #31

by: William Shakespeare (1564-1616)

THY bosom is endearèd with all hearts

Which I by lacking have supposèd dead;

And their reigns love, and all love"s loving parts,

And all those friends which I thought burièd.

How many a holy and obsequious tear

Hath dear religious love stol"n from mine eye,

As interest of the dead, which now appear

But things removed that hidden in thee lie!

Thou art the grave where buried love doth live,

Hung with the trophies of my lovers gone,

Who all their parts of me to thee did give;

That due of many now is thine alone.

Their images I loved I vew in thee,

And thou, all they, hast all the all of me.

"Sonnet #31" was originally published in Shake-speares Sonnets: Never before Imprinted (1609).

SONNET #32

by: William Shakespeare (1564-1616)

IF thou survive my well-contented day

When that churl Death my bones with dust shall cover,

And shalt by fortune once more resurvey

These poor rude lines of thy deceasèd lover,

Compare them with the bett-ring of the time,

And though they be outstripped by every pen,

Reserve them for my love, not for their rime,

Exceeded by the height of happier men.

O, then vouchsafe me but this loving thought:

"Had my friend"s Muse grown with this growing age,

A dearer birth than this his love had brought

To march in ranks of better equipage;

But since he died, and poets better prove,

Theirs for their style I"ll read, his for his love."

《莎士比亚十四行诗》经典语录(4)

莎士比亚和他美丽的十四行诗

Shakespeare was a self-made man. He was the son of a glover from a small provincial town. He didn"t have powerful family connections and he didn"t go to university. But he went on to bee the world"s most famous playwright and poet.

So how did he make his way in the world from relatively humble origins? What kind of man was he in terms of temperament? Was he ic or serious?

Yang Li went to Stratford-Upon-Avon and spoke to Dr. Nick Walton, lecturer and expert on Shakespeare at the Shakespeare Birthplace Trust.

Dr Nick Walton is also deputy chairman of the International Shakespeare Society.

As you listen try to answer these questions:

1. Shakespeare is often referred to as _____ .

2. How much older than Shakespeare was his wife?

3. There are three key words Nick used to describe Shakespeare:

sympathetic, curious and ______.

莎翁名言

Today"s S Words saying is "it"s all Greek to me", 类似汉语中的对牛弹琴。

It"s from the famous history play Julius Caesar 历史剧凯撒大帝。

词汇精选：

self-made 自学成才

glover 皮匠

Shakespeare Birthplace Trust 莎士比亚出生地基金会

International Shakespeare Society 国际莎翁协会

Sonnet 116 十四行诗第116首

我绝不承认真心缔结的姻缘，

会有障碍；那种爱算不得爱：

若发现一丝风吹草动就改变，

或发现人家见异思迁就离开。

哦，决不！爱是永恒的航灯，

它凝望着暴风雨却丝毫不动，

爱犹如星辰指引迷舟的航程，

纵然高度可测量，价值无穷。

爱不受时光播弄，朱唇红颜，

终不免遭受时光之镰的摧折，

爱绝不会随时光而瞬息万变，

它会岿然屹立直到厄运终结。

若这话不对，或证明我说错，

我未曾写过，亦无人曾爱过。

背景介绍：

1. 威廉·莎士比亚[William Shakespeare]（1564-1616）英国文艺复兴时期伟大的戏剧家和诗人。欧洲文艺复兴时期人文主义文学的集大成者。其十四行诗无论在体例还是内容上都给人耳目一新的感觉，热情的讴歌了友谊和爱，青春和美；感情充沛，思想深邃，节奏鲜明，辞采优美；是世界诗歌史上一笔宝贵的文化遗产他的十四行诗，是世界诗坛上的一颗明珠。

2. 《十四行诗》在莎士比亚的全部作品中占有非常重要的地位，诗集收有154首诗，大致认为作于1592年至1598年，1609年于伦敦首次出版。诗集分为两部分，第一部分为前126首，献给一个年轻的贵族（Fair Lord），诗人的诗热烈地歌颂了这位朋友的美貌以及他们的友情；第二部分为第127首至最后，献给一位"黑女士"（Dark Lady），描写爱情。

3. 莎士比亚重现Shakespear Retold：将莎翁四大经典戏剧麦克白、无事生非、驯悍记以及仲夏夜之梦以现代人的生活演绎。剧中有很多经典台词。本片段选自无事生非，故事情节大致是新闻女主播Beatrice与男主在三年前互相倾心，但是由于男主的放荡不羁，不愿被感情牵绊，在约会关头临阵退缩，一走了之。时隔三年，为了提高收视率，老板雇佣男主并与Beatrice一同工作，两人刚开始水火不容。但同事们巧妙安排了两出戏，让彼此都以为对方深恋着自己。二人看清彼此的真心，最后终于有情人终成眷属。

十四行诗英文名"Sonnet"，是欧洲文艺复兴时期兴起的一种散文式诗歌，它由14段句子组成，一般为ABAB CDCD EFEFGG。也是今天"非主流文学"的前身。Sonnet 18是Shakespeare 最有名的"Sonnet"这首诗在欧美的地位，就相当于《静夜思》在中国的地位。

初读时都以为这是一首情诗，不过其实是莎翁献给自己的好友——一位英俊青年的。一开始就把友人比作夏日，比得通俗自然而不落俗套，继而又进一步指出友人的青春、美貌更胜一筹，借诗人神笔，足以与时间抗衡，与天地共存。

Sonnet 18 Shall I pare thee to a summer"s day?

Shall I pare thee to a summer"s day?

能否把你比作夏日璀璨？

Thou art more lovely and more temperate.

你却比炎夏更可爱温存。

Rough winds do shake the darling buds of May,

狂风摧残五月花蕊娇妍，

And summer"s lease hath all too short a date.

夏天匆匆离去毫不停顿。

Sometime too hot the eye of heaven shines,

苍天明眸有时过于灼热，

And often is his gold plexion dimm"d;

金色脸容往往蒙上阴翳；

And every fair from fair sometime declines,

一切优美形象不免褪色，

By chance or nature"s changing course untrimm"d.

偶然摧折或自然地老去。

But thy eternal summer shall not fade ,

而你如仲夏繁茂不凋谢，

Nor lose possession of that fair thou ow"st;

秀雅风姿将永远翩翩；

Nor shall Death brag thou wander"st in his shade,

死神无法逼你气息奄奄，

When in eternal lines to time thou grow"st:

你将永生于不朽诗篇。

So long as men can breathe or eyes can see,

只要人能呼吸眼不盲，

So long lives this, and this gives life to thee.

这诗和你将千秋流芳。

--By William Shakespeare (1564-1616)

《莎士比亚十四行诗》经典语录(5)

莎士比亚：十四行诗第116首

18 Sonnet 116 by William Shakespeare.

莎士比亚：十四行诗第116首

Mahler - Symphony No.3 - 6th Movement (excerpt).

背景音乐：古斯塔夫;马勒-第三交响曲-第六乐章（节选）

Lennie James

朗读：连尼;詹姆斯

Let me not to the marriage of true minds,admit impediments.

我绝不承认两颗真心的结合会有任何障碍

Love is not love which alters when it alteration finds,

爱算不得真爱 若是一看见人家改变便转舵

Or bends with the remover to remove:

或者一看见人家转弯便离开

Oh no,it is an ever-fixed mark,That looks on tempests,and is never shaken;

决不 爱是亘古长明的塔灯 它定睛望着风暴却兀不为动

It is the star to every wandering bark,whose worth"s unknown,although his height be taken.

爱又是指引迷舟的一颗恒星 你可量它多高 它所值却无穷

Love"s not Time"s fool,though rosy lips and cheeks within his bending sickle"s pass e;

爱不受时光的播弄 尽管红颜和皓齿难免遭受时光的毒手

Love alters not with his brief hours and weeks,But bears it out even to the edge of doom.

爱并不因瞬息的改变而改变

If this be error and upon me proved,I never writ,nor no man ever loved.

它巍然矗立直到末日的尽头

《莎士比亚十四行诗》经典语录(6)

莎士比亚的十四行诗总体上表现了一个思想：爱征服一切。他的诗充分肯定了人的价值、赞颂了人的尊严、个人的理性作用。他的十四行诗大约创作于1590年至1598年之间，此时正是十六世纪欧洲文艺复兴传到英国的时期，因此，反映了这一时期的人文主义思想，具有很强的时代背景。

诗的开头将“你”和夏天相比较。自然界的夏天正处在绿的世界中，万物繁茂地生长着，繁阴遮地，是自然界的生命最昌盛的时刻。那醉人的绿与鲜艳的花一道，将夏天打扮得五彩缤纷、艳丽动人。但是，“你”却比夏天可爱多了，比夏天还要温婉。五月的狂风会作践那可爱的景色，夏天的期限太短，阳光酷热地照射在繁阴班驳的大地上，那熠熠生辉的美丽不免要在时间的流动中凋残。这自然界最美的季节和“你”相比也要逊色不少。

而“你”能克服这些自然界的不足。“你”在最灿烂的季节不会凋谢，甚至“你”美的任何东西都不会有所损失。“你”是人世的永恒，“你”会让死神的黑影在遥远的地方停留，任由死神的夸口也不会死去。“你”是什么？“你”与人类同在，你在时间的长河里不朽。那人类精神的精华——诗，是你的形体吗？或者，你就是诗的精神，就是人类的灵魂。

诗歌在前面充分地发挥表达的层次，在充分的铺垫之后，用两句诗结束全诗，点明主题。全诗用新颖巧妙的比喻，华美而恰当的修饰使人物形象鲜明、生气鲜活。此诗表达了这样一种思想：美丽的事物可以依靠文学的力量而永远不朽；文学是人所创造的，因此这有宣告了人的不朽。最终巧妙地得出了人文主义的结论。

因此此诗不是一般的爱情诗。 

⏹以上面所选的第十八号而论，前四行算是“起”，中四行是“承”，都是讲岁月无常，美丽易逝；后四行可以说是“转”，因为全诗到此忽然一变，作者宣告虽然自然界美貌难存，但是人可则可靠诗笔而永保朱颜；最后两行是音韵铿锵(互相押韵)的小结，亦即是“合”。当然，不是每首Shakespeare的十四行诗都有这样清楚的起承转合，但是这种小范围内的曲折变化确是它的特点之一。

《莎士比亚十四行诗》经典语录(7)

莎士比亚十四行诗赏析

莎士比亚十四行诗赏析汪玉枝周淳（华东师范大学外语学院上海市200062）

摘要：威廉?莎士比亚（1564-1616）是英国文艺复兴时期伊丽莎白时代最伟大的剧作家及杰出的诗人。他的文学成就在英国文坛乃至世界文坛上的地位无人能及。人们尊称他为莎翁或大文豪，他作品里所用到的词汇比英国任何一位作家都要多，并且还自创了一些词语和表达法，丰富了英语言。其语汇表达精彩纷呈，令人目不暇及。且不提他的剧作，单单欣赏他的十四行诗已令读者叹为观止，他的文学思想和艺术风格极大地影响了他那个时代甚至于如今的文人和文学爱好者，给了他们真、善、美的享受和心灵的启迪。

关键词：十四行诗；真、善、美；赏析；明珠

一、引言

莎士比亚是全世界众多读者耳熟能详的伟大的英国文艺复兴时期伊丽莎白时代的杰出剧作家。他那广为传播的四大喜剧：《仲夏夜之梦》、《威尼斯商人》、《皆大欢喜》、和《第十二夜》以及四大悲剧：《汉姆莱特》、《奥塞罗》、《李尔王》和《麦克佩斯》可谓脍炙人口，有口皆碑。他在英国文坛的地位犹如中国清朝的文豪曹雪芹，所以大量的莎学研究及红学研究文献曾出不穷，浩瀚如海。但是，也有很多读者只知道莎士比亚是伟大的剧作家，却不知他还是一位在十四行诗方面无人能媲美的大诗人。他的十四行诗大约创作于1590年至1598年之间，共154首，前126首是献给厚待他的一位金发少年，也就是骚桑普顿伯爵或宾勃鲁克伯爵；后28首是写给一位神秘的“黑肤女郎”的。这位黑发黑肤背叛爱情的女郎究竟是谁，为何引得诗人频频献诗于她，一直都是个谜。至于她是真实人物还是作者的杜撰，无人能解。莎翁诗作的结构技巧和语言技巧都很独到，几乎每首诗都有独立的审美价值。莎士比亚在运用这个诗体时，极为得心应手，体现了他语汇丰富、用词洗练、比喻新颖、结构巧妙、音调铿锵悦耳、张弛有度等特色。最为精妙的是全诗的最后两行，往往构思奇妙，语出惊人，既是全诗最关键的部分，又自成一联警语格言，可谓匠心独运。在英国乃至世界十四行诗的创作中，莎士比亚十四行诗都是一座难以逾越的巅峰，当得起空前绝后的美名。十四行诗的写作发生在作者创作的中期，体现了诗人对爱情和友情抱有坚定的信念，同时也反映了其中期成熟阶段的凝重与沉稳并带有深沉的忧郁。

文学史上，十四行诗分意大利式或彼特拉克式，由前面的八行组和后面的六行组建，押韵的方法是abba abba cde cde。英氏的十四行诗可分为三个四行组和最后一个两行组构成，也就是我们常说的英雄偶句，是最有分量的两句，起到了化龙点睛的作用。押韵格式为 abab cdcd efef gg。由于莎翁娴熟的运用与创新，取得了无人能及的效应，因此，在英国，十四行诗又被称作莎士比亚十四行诗，其他诗人纷纷效仿。本文旨在通过其三篇代表诗作的赏析，再现大师的艺术风貌和艺术特色，并从中获取心灵的启迪和极大的精神享受。

二、我的诗会使你的生命永存

让我们首先来欣赏他那首广为颂扬的十四行诗第十八首。

我怎能把你比作夏天，

你比它更可爱、更温婉：

狂风把五月娇嫩的花蕊摧残，

夏季时光匆匆，总是如此短暂：

有时炽热异常，像上天灼烧的眼，

它那金色的面容常飘忽闪现。

再美好的事物也终将凋残，

随时间和自然的变化而流转。

但是你的夏日会永远鲜艳，

你将永远拥有这俊美的容颜。

死神也无法夸口让你在它的阴影里逗留，

当你在这不朽的诗句中永远地生息留守：

只要人类还在呼吸，只要眼睛还在阅读，

我这首诗就会存在，你的生命就会存在。

这首诗的主题是讴歌美，讴歌文学。诗人起先认为夏天是美好的，夏日本身就是一种象征，有许多美好的事物可供赞美，如娇艳的玫瑰、葱绿的草坪、金黄的麦穗、繁星满天的夜空。但转念又一想，夏天也有很多的缺陷，例如：有时大雨倾盆，把人淋成落汤鸡；有时烈日炎炎，晒得人酷热难耐；有时狂风骤起，把娇嫩的花蕾残害；所以夏日是不完美的，更何况季节短暂，时光稍纵即逝。诗人由此感叹：人生苦短，如同朝露，去日苦多，美好的人和事物都难逃死亡的宿命。但是朋友啊，你的夏日会永远鲜艳夺目，你俊美的容颜会青春永驻，令死神也无可奈何！为什么有这样永恒美貌的存在呢？因为我的诗句就具有这样的魅力。只要人世间能有人鉴赏文采，只要有人尚在呼吸，眼睛还能阅读，这首诗就会流传，就能教你以及你的美永存。很多人都以为本诗歌是赞美一位女性的青春美貌的，其实不然，因为前面已谈到过莎士比亚的前126首十四行诗是献给一位美貌出众，前程似锦的少年的，也就是那位伯爵，他很可能就是莎士比亚的资助人。诗中表达了他对于英俊少年的爱戴和羡慕，并且敦促他赶紧结婚，让子孙后代继承他的美德，警告他时不我待：花好堪摘直须摘，莫待花落空摘枝。

显而易见，诗的最后两行是全诗的妙句（Punch Line ），是精髓所在。莎翁十分善长于应用这种形式，字里行间无不突显自己流芳百世的不朽诗篇，也就是他的咏诗文采，这才是一个美好身躯的荣华与美丽能够恒久不衰的保证。所以，他在塑造友人完美形象和颂扬美的同时所真正讴歌的是人的智慧，体现了他深邃悠远的人文主义思想。

假如说莎翁的十四行诗是英诗中的王冠，那么其第十八首便是这王冠上璀璨耀眼的明珠。诗歌中，诗人联想恣意流畅，比喻贴切鲜明，语言跌宕起伏，节奏激越铿锵，全诗既精雕细刻，更语出天成。其艺术风格和魅力令人叹为观止，望尘莫及。

三、爱江山更爱美人

让我们再来赏析他的十四行诗的第29首。

受尽命运的浩劫、世人的白眼，

我独自哀伤这飘零的身世，

徒用无益的呼吁惊动那耳聋的苍天，

顾影自怜，诅咒自己命运悲惨，

一心羡慕他人前程璀璨。

想有他的仪表堂堂，想有他的交友宽广，

羡这人才华横溢，慕那人文采飞扬，

独独自己这边一无所长;

思去想来几欲把自己看轻，却猛然间想起了你，

就像破晓时的云雀，从阴霾的大地腾空而起，

展开羽翼高歌于浩瀚的天宇；

思卿至爱，心中生出财富无限，

纵帝王屈尊就我，不与换江山。

诗歌中的男主人公分明在叹息自己悲惨的身世，诅咒自己飘零如浮萍的凄苦命运。诗人倾诉说：每想到命运不济，受人们白眼，我独自哀伤自己在世上随波逐流，哭泣着去哀求苍天，可是它却装聋作哑不予回答。我形单影只，顾影自怜，诅咒自己的命运，我真是一无是处，无一专长，我活在这世上唯有忧伤。多么希望我成为另外一个人，像他那样富有锦绣前程，像他那样眉目清秀，拥有众多的友人；很想有这人的本事、那人的学识，可这一切我都一无所有。正当我要妄自菲薄、自暴自弃之时，我有幸想到了你。于是我的心灵如同云雀破晓时分从阴沉沉的大地腾

《莎士比亚十四行诗》经典语录(8)

莎士比亚十四行诗浅析
作者：乔虹 周菲菲
来源：《赤峰学院学报·哲学社会科学版》2014年第09期

        摘 要：莎士比亚十四行诗中的主题，写作方法根据作者不同的感情呈现出各种特点。对这些主题和文字结构特点进行分析，对理解莎士比亚十四行诗的结构和意境有很大的帮助。

        关键词：莎士比亚十四行诗；分析；主题

        中图分类号：I561.073 文献标识码：A 文章编号：1673-2596（2014）09-0196-03

        莎士比亚的十四行诗是英语文学史上的一部经典巨作。国内外许多学者对莎士比亚的十四行诗有过深入的研究，但是仁者见仁智者见智。从18世纪开始，英国浪漫派诗人柯勒律治（S. T. Coleridge）、雪莱（P. B. Shelly）、济慈（John. Keats）等人对莎士比亚的十四行诗给予了高度评价。我国开始研究莎士比亚十四行诗较晚，到目前为止，我国对莎士比亚十四行诗的评论主要有梁宗岱的《莎士比亚的商赖》，屠岸、钟祥及索天章的《关于莎士比亚十四行诗》，扬周翰、周启付的《谈莎士比亚十四行诗》，王忠祥的《真、善、美的统一——莎士比亚十四行诗》，钱兆明的《评莎氏商彼诗的两个译本》以及赵毅衡的《从（十四行诗》认识莎士比亚》等，其它关于这方面的评论文章就很少了。不同时代的批评家从不同角度对莎士比亚十四行诗或贬或褒的评论，给后人们的研究提供了不可多得的、很有学术价值的参考资料。下面笔者试着对莎翁十四行诗进行一些分析探索。

        一、莎士比亚十四行诗的的主题

        尽管“爱”形成了十四行诗主题的拱顶，但纵观莎士比亚全部十四行诗，可以发现它有三个具体的基本主题，即生命之短暂、美之倏然、情欲之陷阱[1]。生命之短暂、美之倏然两个主题集中在写给青年人的早期十四行诗中（尤其是一至十七首），其间诗人宣称：生育儿女是去征服时间，战胜死亡，继承人之美的唯一途径。他竭力劝解友人通过结婚生子、繁衍后代来保存和延续自己的美，渲染了时间的无情和好友的美之间不可调和的矛盾，希望友人留下子孙与时间抗争，建立“永久的仓廪”来滋养和繁荣美和真，否则好友的末日就是“真与美的死期”。

《莎士比亚十四行诗》经典语录(9)

Sonnet 18

1. Shall I pare thee to a summer"s day?

Could I pare you to the time/days of summer?

2. Thou art more lovely and more temperate:

You are more lovely and more gentle and mild than the days.

3. Rough winds do shake the darling buds of May,

The wild wind shakes the favorite flowers of May.

4. And summer"s lease hath all too short a date

And the duration of summer has a limited period of time.

5. Sometime too hot the eye of heaven shines,

Sometimes the sun shinning is too hot.

6. And often is his gold plexion dimmed,

And his gold skin of the face will be dimmed by the clouds.

7. And every fair from fair sometime declines,

Every beautiful thing and person will decline from previous state of beauty.

8. By chance, or nature"s changing course untrimmed:

(the beauty) will be stripped of by chance or changes of season in the nature.

9. But thy eternal summer shall not fade,

But your summer exists forever and will not lose color/freshness or vigor.

10. Nor lose possession of that fair thou ow"st,

You will never lose your own beauty either.

11. Nor shall death brag thou wander"st in his shade,

The Death can’t boast that you wander in his shadow.

12. When in eternal lines to time thou grow"st,

You grow as time grows in the undying lines of my verse.

13. So long as men can breathe, or eyes can see,

So long as men can live in the world with sight and breath,

14. So long lives this, and this gives life to thee.

This poem will exist and you will live in it forever.

Formal features

14 lines

4 stanzas: 3 quatrains + 1 couplet

Rhythm & meter: 10 syllables (5 feet) each line, iambic pentameter

Rhyme scheme: abab cdcd efef gg

Structure:

1st – 2nd quatrains: an introduction to and development of a problem

3rd quatrain: a volta or a turn “突转” (a change in direction, thought, or emotion)

the couplet: a summary or conclusion

The theme:

The main theme is the power of the speaker’s poem to defy time and last forever, carrying the beauty of the beloved down to future generations.

What is it about?

The speaker opens the poem with a question addressed to the beloved: “Shall I pare thee to a summer’s day?” The next eleven lines are devoted to such a parison. Summer: (Line 3: rough winds；4： too short；5. too hot；6. too dimmed；7&8. beautiful things will die)

Sonnet 18 is the first poem in the sonnets not to explicitly encourage the young man to have children. The “procreation” sequence of the first 17 sonnets ended with the speaker’s realization that the young man might not need children to preserve his beauty; he could also live forever in this poem.

Figures of speech

In line (5 ) There is a Metaphor .

In line ( 5+6 ) There is a Personification .

( eye of Heaven shines ) : Eye of heaven = the sun

The sun became dark because dark of clouds .

In Line (9+10+12 ) There is a Hyperbole .

In Line ( 11 )There is a personification .

In Line ( 14 ) There is an Inverted order .

Analysis: （拓展）

The poem works at a rather curious level of achieving its objective through dispraise.

The summer"s day is found to be lacking in so many respects (too short, too hot, too rough, and sometimes too dingy), but curiously enough one is left with the abiding impression that "the lovely boy" is in fact like a summer"s day at its best, fair, warm, sunny, temperate, one of the darling buds of May, and that all his beauty has been wonderfully highlighted by the parison.

Sonnet 130

1. My mistress" eyes are nothing like the sun;

My lady’s eyes aren’t like the sun at all.

2. Coral is far more red, than her lips red:

Coral is much redder than her lips.

3. If snow be white, why then her breasts are dun;

If snow is white, then her breasts are brown.

4. If hairs be wires, black wires grow on her head.

If hair is as coarse as threads, then her hair is full of black threads.

5. I have seen roses damasked, red and white,

I have seen the pinkish, red and white roses.

6. But no such roses see I in her cheeks;

But I can see such kinds of roses in her cheeks.

7. And in some perfumes is there more delight

There is much tempting/attractive fragrance.

8. Than in the breath that from my mistress reeks.

The fragrance is more attractive than her steamy, sweaty and unsavory smells.

9. I love to hear her speak, yet well I know

I like listening to her speaking, but I am also aware that

10. That music hath a far more pleasing sound:

The sound of music is much more favorable than her sound.

11. I grant I never saw a goddess go,

I admit that I never saw a goddess walking by.

12. My mistress, when she walks, treads on the ground:

My mistress stamps on the floor when she walks.

13. And yet by heaven, I think my love as rare,

But I can swear to God that my lover is as precious as

15. As any she belied with false pare.

As any woman who has been misrepresented by ridiculous parisons.

Formal features

14 lines

4 stanzas: 3 quatrains + 1 couplet

Rhythm & meter: 10 syllables (5 feet) each line, iambic pentameter

Rhyme scheme: abab cdcd efef gg

Structure:

1st – 2nd quatrains: an introduction to and development of a problem

3rd quatrain: a volta or a turn “突转” (a change in direction, thought, or emotion)

the couplet: a summary or conclusion

Theme

The poet suggests their love is rare because he does not desire her to be something she is not.

It"s about finding love in spite of (or maybe even because of) physical flaws.

It pokes fun at our obsession with looks and to show how ridiculous it is to ask any person to live up to some ideal of perfect beauty.

Figures of speech

Negative similes

Simile may also be expressed in the negative form

“My mistress’ eyes are nothing like the sun”Etc.

Ironic tone

The sonnet appears to be humorous, but the couplet displays the deeply romantic tone of the poem.

Analysis（拓展）

In many ways, Shakespeare’s sonnets subvert and reverse the conventions of the Petrarchan love sequence: the idealizing love poems, for instance, are written not to a perfect woman but to an admittedly imperfect man, and the love poems to the dark lady are anything but idealizing, like this one. He describes the woman that he loves in extremely unflattering terms but claims that he truly loves her, which lends credibility to his claim because even though he does not find her attractive, he still declares his love for her. 

Sonnet 129

1. The expense of spirit in a waste of shame

The expenditure of sexual energy in a desert of shameful moral decay

2. Is lust in action: and till action, lust

Is the lust/letch acting: and before having sexual intercourse, lust

3. Is perjured, murderous, bloody, full of blame,

Is dishonest, murderous, violent and blameworthy with a lot of guilt.

4. Savage, extreme, rude, cruel, not to trust;

Barbaric, extreme, rude, cruel, and untrustworthy.

5. Enjoyed no sooner but despised straight;

As soon as lust has been enjoyed, it is hated.

6. Past reason hunted; and no sooner had,

Lust is pursued beyond the control of reason, as soon as lust is fulfilled,

7. Past reason hated, as a swallowed bait,

It is hated irrationally like a bait that a fish swallows

8. On purpose laid to make the taker mad.

(The bait) set on purpose to make the trapped creature react with frenzy.

9. Mad in pursuit and in possession so;

10. Had, having, and in quest to have extreme;

The taker is insane in pursuing one"s lust and mad in possessing the object of lust: going to extremes in having had it, in the having of it, and in seeking to have it;

11. A bliss in proof, and proved, a very woe;

A heavenly sensation while it is being experienced. Once you are done, it is a true sorrow.

12. Before, a joy proposed; behind a dream.

An expected joy exists before having it; after having it, it seems like a dream.

13. All this the world well knows; yet none knows well

Everyone in the world knows it very well, but no one knows

14. To shun the heaven that leads men to this hell.

To avoid the tempting sense of delight which leads men to hell.

Formal features

14 lines

4 stanzas: 3 quatrains + 1 couplet

Rhythm & meter: 10 syllables (5 feet) each line, iambic pentameter

Rhyme scheme: abab cdcd efef gg

Structure:

1st – 2nd quatrains: an introduction to and development of a problem

3rd quatrain: a volta or a turn “突转” (a change in direction, thought, or emotion)

the couplet: a summary or conclusion

Theme

•About lust.

–Lines 1-2: lust in action (shameful and wasteful...)

–Lines 3-4: lust before action (dishonest, murderous, bloody…)

–Lines 5-8: a parison between lust before and after action (enjoyed vs. despised; both are past-reason / mad) – lust causes madness!

–Lines 9-12: a parison between lust before and after action. (bliss vs. woe; joy vs. dream) – lust causes sadness and disillusionment.

–Lines 13-14:a conclusion.

Figures of speech

•Simile: taker of lust as a hooked fish

•Personification: lust as a person

•Contrasts: "before" vs. "behind" (after), "heaven" vs. "hell," and so on.

Analysis （拓展）

•The profound hatred of sexuality, sexual pessimism

•Its hatred of sexuality derives from the Christian imperative of the virginal life and the dislike of all bodily functions

•It gives essentially a phallo-centric view of sex

•Impersonal tone: The speaker never says outright that he is writing about his own experience; instead, he presents the poem as an impersonal description, a catalogue of the kinds of experience offered by lust.

《莎士比亚十四行诗》经典语录(10)

莎士比亚的十四行诗鉴赏

07中本（5）班邹抽合 2007014525

116

Let me not to the marriage of true minds

Admit impediments. Love is not love

Which alters when it alteration finds,

Or bends with the remover to remove:

O, no! it is an ever-fix`ed mark,

That looks on tempests and is never shaken

It is the star to every wand"ring bark,

Whose worth"s unknown, although his heighth be taken.

Love"s not Time"s fool, though rosy lips and cheeks

Within his bending sickle"s pass e;

Love alters not with his brief hours and weeks,

But bears it out even to the edge of doom:

If this be error and upon me proved,

I never writ, nor no man ever loved

第一百一十六首

真诚心智之合，请容我说，

不允许承认阻碍之存在；

爱若见异思迁，见风转舵，

随彼之变而变，就不是爱：

噢，不，爱是“岸标”，永远坚定，

俯视下方风雨，永立不摇；

对飘泊海船，它是北斗星----

其奥虽秘，其仰角却可晓。

爱情非时间之小丑，虽然

红唇粉颊皆难逃其弯刀；

爱情不随短暂岁月改变，

而是坚忍持至世界终老。

此话若错，且于我身验获，

说我无作，世间无人爱过。

结构性和语言美：十四行诗是来源于意大利民间的一种抒情短诗，文艺复兴初期时盛行于整个欧洲，其结构十分严谨，分为上下两部分，上段为八行，下段为六行，每行十一个音节，韵脚排列：abba abba cdc ded。莎士比亚的十四行诗的结构却更严谨，这可以看到莎士比亚的十四行诗做了大胆的革新，他将十四个诗行分为两部分，第一部分为三个四行，第二部分为两行，每行十个音节，韵脚为：abab cdcd efef gg。各种声音按照一定的节奏、旋律、和声等规范组合起来，塑造出一定的音乐形象，表达一定的思想情感。这样的格式后来被称为“莎士比亚式”或“伊丽莎白式”。叔本华认为，“音乐绝不是表象着现象，而只是表现一切现象的内在本质，一切现象的自在本身，只是表现着意志本身”。对诗人而言，诗的结构越严谨就越难抒情，而莎士比亚的十四行诗却毫不拘谨，自由奔放，正如他的剧作天马行空，其诗歌的语言也富于想象，充满感情。通过形象去刻画现实、表现思想，诗歌是感性与理性的融合，具象与抽象的交叉，理论与作品互渗。尽管我们不能在音乐的意境与现实事物之间找到准确的对应关系，但这两者所唤起的情感体验却必然是一致或相近的。这首诗的前三节是围绕主题进行叙述，辩论或抒情，结论在最后两行，画龙点睛，使主题更加明确，往往成为全诗的警句。

莎士比亚的写作对象：一个是关于一位已婚皮肤黝黑女子的不可控制的欲望；另一个是关于一位白皙的年轻男子纯洁的爱。如今仍不清楚是否这些人物代表了真实的人，也不清楚诗中的“我”是代表了莎士比亚自己还是别人?这还是个谜，但能模糊地摸索到一条隐隐约约的线索，把这154首十四行诗连串起来，形成一个整体，那就是1—126首是写给一个年轻的贵族青年，127—154是写给一位黑黝的夫人。而这首诗就是献给这个年轻貌美的青年，并借此来歌颂莎士比亚与他之间的love。莎士比亚描绘的情感世界是丰富，复杂的，诗歌的意境给我们留下一个广阔的遐想空间，创造出“意外之意”和“意在言外”，意象既展示诗人丰富内心世界，又寓抽象模糊之义于具体丰腴物象，具有题外之言和强烈艺术召唤力，而他的十四行诗的主要魅力之一就是他的情感美，他在宣扬情爱观中渗透着他对美的理解、欣赏和追求。爱情和友谊是诗人源源不断的创作灵感，为诗人提供了创作的宝库，他的爱情观包括了生理属性和社会属性，体现着对人性之美、精神之美的发掘和体验。而这首诗歌就是诗人的爱情诗歌。

情感性和思想性:这首诗的感情丰富，寓意深刻，语言优美，节奏鲜明。在莎士比亚的眼里友情是比爱情重要的，而这首诗歌却好是献给一位年轻的美男子，而诗人的爱情和友谊不全是罗曼蒂克式的，他塑造了一个弃恶从善、惩恶扬善的社会秩序，这种善事抨击虚伪、丑恶的旧伦理体系，通过道德熏陶、理性引导和人为努力达到和谐社会的理想境界；他强调爱情和友谊都必须真实、忠贞，不能三心二意，见异思迁，或喜新厌旧，要经得起时间的考验，压力的考验，也要经得起利诱的考验，诗人歌颂的就是这种至死不渝的爱情，诗曰：“Admit impediments／ Love is not love ／Which alters when it alteration finds／ O, no! it is an ever-fix`ed mark” （不允许承认阻碍之存在；爱若见异思迁，见风转舵，噢，不，爱是‘岸标’，永远坚定）爱，如果不历经风雨，怎么会体会到彩虹的绚丽？接着诗人说出了什么才是真正的爱应该是怎样的，诗曰：“That looks on tempests and is never shaken／It is the star to every wandering bark／Whose worth"s unknown, although his height be taken”（俯视下方风雨，永立不摇 ／对飘泊海船，它是北斗星／其奥虽秘，其仰角却可晓）爱应该是永不褪色的印记，是永不磨灭的痕迹，纵使有狂风暴雨，也绝不动摇呵！爱如蒲草和磐石，蒲草韧如丝，磐石无转移。爱，如海枯石烂，至死不渝，说出爱情的强烈性和不可背叛性，闪耀着理想主义和完美主义的光辉。最后诗人提出了自己的爱情观点，诗曰：“Love alters not with his brief hours and weeks／ But bears it out even to the edge of doom／ If this be error and upon me proved／ I never writ, nor no man ever loved.”（爱情不随短暂岁月改变，而是坚忍持至世界终老。此话若错，且于我身验获，说我无作，世间无人爱过），只有真心相爱的人才能享受爱情的甜蜜，但并不是所有相爱的人都能珍惜彼此之间的爱情并且享用终生。人世间的一切都如此，不经风雨便无法见彩虹，不经受考验便无以显示真爱的力量。这也可以体现出诗人追求真，善，美的一面。

艺术语言和表现手段：艺术上的不事雕琢、崇尚自然，这种真又是以美为客观对象，通过善的引导而最终实现的，是与美、善、高度统一的真。诗人在诗歌中采用了拟人和隐喻等修辞手法，有助于诗意的表达，增强了表达效果。在拟人手法上，诗人把事物拟人化，更具有人情味，更加贴近生活，增加了语言的生动和形象性，可使读者不仅对所表达的事物产生鲜明的印象，而且可感受到对该事物的强烈的感情，从而引起共鸣。 诗人说爱“looks on tempests and is never shaken”，俯视下方风雨，永立不摇，诗句形象生动，令人深思，带出另一种韵味。隐喻是把两个不同事物之间作比较，而高于明喻，主要是或化平淡为生动；或化深奥为浅显；或化抽象为具体；或化冗长为简洁。隐喻能诱发你去深思考虑，隐喻表达的效果要比明喻强烈，如“an ever-fix`ed mark” 爱是“岸标”，使诗歌更具有诗意。莎士比亚对于诗歌艺术的极大自信，诗歌能够记载和传承美，所以美能够在诗歌中实现永恒，既是世界上一切的都消失和灭亡，美却能永恒。

总结：基督教主张禁欲主义，限制人的本能欲望和生活 ，而人文主义者主张人性自由，激发人们对爱情的大胆向往，对美的热烈追求。莎士比亚的十四行诗是以歌颂爱情、友谊为主题的，而且这一主题既是通过赞颂美表现出来，也最终通过赞颂美来提升其价值内涵的。在这首诗里看不到肉体的放纵，只有最大限度的心灵结合，他对爱友的思念从不因为时间、空间的阻隔而中断，而是始终如一的强烈。他与爱友之间的感情也容不下半点不忠、间隙、隔膜和不和谐，爱对他来说就是灵感的源泉。诗人向往的世界是一个充满爱的世界，因此诗人在诗中极力称赞爱的伟大和超越。它不仅反映了文艺复兴时期的伦理概貌，而且包含了对伦理道德思索和探询，充满了对建立新的社会道德伦理秩序的理想。

 

《莎士比亚十四行诗》经典语录(11)

大连外国语学院

Dalian University of Foreign languages

莎士比亚十四行诗翻译的比较

课程名称翻译简史

院系研究生部

年级专业 2011级英语笔译

姓名 林玲

学号0011122021

时间2011-12-30

莎士比亚十四行诗翻译的比较

摘要：莎士比亚十四行诗在英国文学史上，乃至世界文学史上都具有崇高的地位。解放后，中国很多翻译大家都或多或少的翻译了莎士比亚十四行诗，本文旨在总结解放后出现于市面的翻译版本，并对梁宗岱、屠岸、戴镏龄、辜正坤翻译的十四行诗第十八首，从音节，韵脚，标点以及内容四方面进行对比分析。

十四行诗最初流行于意大利，彼特拉克的创作使其臻于完美，又称“彼特拉克体”，后传到欧洲各国。莎士比亚十四行诗大约创作于1590年至1598年之间，其诗作的结构技巧和语言技巧都很高，几乎每首诗都有独立的审美价值。莎士比亚在运用这个诗体时，极为得心应手，主要表现为语汇丰富、用词洗练、比喻新颖、结构巧妙、音调铿锵悦耳。而其最擅长的是最后两行诗，往往构思奇诡，语出惊人，既是全诗点睛之作，又自成一联警语格言。在英国乃至世界十四行诗的创作中，莎士比亚十四行诗是一座高峰，当得起空前绝后的美称。莎士比亚十四行诗又被称为“莎士比亚体”（Shakespearean）或“伊丽莎白体”，由三节四行诗和两行对句组成，每行10个音节，韵式为ABAB，CDCD，EFEF，GG。莎士比亚十四行诗共有154首，其中前126首是写给一位年轻的美少年的，127到152首是写给黑女郎的。

解放后，对莎士比亚十四行诗进行整篇翻译的译者大概有二十位。主要情况如下表一所列：

表一

在莎士比亚的154首十四行诗中，其中以第十八首最为脍炙人口，它的音韵特点为五音步抑

扬格（pentameter iambic），韵式也是典型的“莎士比亚体”（Shakespearean），即：ABAB，CDCD，EFEF，GG。诗歌原文如下：

Sonnet 18

Shall I pare thee to a summer"s day?A
Thou art more lovely and more temperate:B
Rough winds do shake the darling buds of May,A
And summer"s lease hath all too short a date: B

Sometime too hot the eye of heaven shines, C
And often is his gold plexion dimm"d;D
And every fair from fair sometime declines,C
By chance or nature"s changing course untrimm"d;D

But thy eternal summer shall not fade,E
Nor lose possession of that fair thou ow’st;F
Nor shall Death brag thou wander"st in his shade,E
When in eternal lines to time thou grow’st: F

So long as men can breathe or eyes can see, G
So long lives this and this gives life to thee. G

本文将对梁宗岱、屠岸、戴镏龄、辜正坤翻译的四个版本，从音节，韵脚，标点以及内容四个方面进行对比分析。他们的译文分别如下：

 

1.梁宗岱译　

我怎么能够把你比作夏天？

你不独比她可爱也比她温婉。

狂风把五月宠爱的嫩蕊作践，

夏天出赁的期限却未免太短。

天上的眼睛有时照得太醒烈，

他那炳耀的金颜又长遭掩蔽。

给机缘或无常的天道所摧折，

没有芳艳而终于凋残或销毁。

但你的长夏将永远不会凋零，

也不会损失你这姣皓的红芳。

或死神夸口你在他眼里漂泊，

当你在不朽的诗里与时同长。

只要一天有人类或人有眼睛，

这诗将长在并赐给你生命。

2.屠岸译

能不能让我来把你比作夏日？

你可能更加可爱，更加温婉；

狂风会吹落五月里开的好花儿，

夏季租出的日子未免又太短暂：

有时候苍天的巨眼照得太灼热，

他那金彩的脸色也会被遮暗；

每一样美呀，总会离开美而凋落，

被时机或者自然的代谢所摧残；

但是你永久的夏天决不会凋枯，

你永远不会失去你美的仪态；

死神夸不着你在他影子里踯躇，

你将在不朽的诗中与时间同在；

只要人类在呼吸，眼睛看得见，

我这诗就活着，使你的生命绵延。

 

3.戴镏龄译

我怎样能把你比作夏天？

你比它更可爱也更温和；

4.辜正坤译

或许我可用夏日将你作比方,

但你比夏日更可爱也更温良。

五月的娇蕾有暴风震颠，

夏季的寿命很短就度过。

有时候当空照耀着烈日，

又往往它的光彩转阴淡；

凡是美艳终把美艳消失，

遭受运数和时序的摧残。

你永恒的夏季永不凋零，

而且长把你的美艳保存；

死神难夸你踏它的幽影，

只因永恒的诗和你同春。

天地间能有人鉴赏文采，

这诗就流传就教你永在。

夏风狂作常会摧落五月的娇蕊，

夏季的期限也未免还不太长。

有时候天眼如炬人间酷热难当，

但转瞬又金面如晦常惹云遮雾障。

每一种美都终究会凋残零落，

或见弃于机缘，或受挫于天道无常。

然而你永恒的夏季却不会终止，

你优美的形象也永远不会消亡，

死神难夸口说你在它罗网中游荡，

只因你借我的诗行便可长寿无疆。

只要人口能呼吸，人眼看得清，

我这诗就长存，使你万世流芳。

 

 

一、音节

根据汉语的特点，一个字就是一个音节。而英语却不同，一个单词至少有一个音节，有两个，三个，甚至更多。三个译文音节数对比如下：

表二

从表2 可以看出，梁的译文，在每行的音节数基本上相同，除了首句和尾句的音节数是11个，其余均为12个。同样，屠的版本，每行诗的音数相差不是太大。戴的译本在音节方面，是严格忠实于原文的，每行诗有10 个音数，句式较为整齐。而辜的版本则是完全未考虑音节数这一因素，可以说他在翻译这首诗时并未考虑到“形”。

二、韵脚

莎翁Sonne18 的韵式为ABAB CDCD EFEFGG。原诗及四个中译本使用的尾韵如下：

表三

表3 显示，莎翁的Sonnet 18 共用了七个韵/ay/， /ate/， /ines/， /m’d/， /ade/， /ow’st/， /ee/， 前三个诗行使用交韵（交叉抱韵）。梁译的七个尾韵分别为/ian/， /an/（/uan/）， /ie/， /i/（/ui/）， /- uo/（/o/）， /ang/，/ing/，有三组尾韵使用了宽韵。屠译的七个尾韵为/ian/ （/an/）， /an/ （/uan/）， /e/（/uo/）， /an/， /- u/， /iang/（/ang/）， /ian/，有五组尾韵使用了宽韵。相比而言，戴译的尾韵非常严谨，分别为/ian/， /e/， /i/， /an/，/ing/， /un/， /ia/，没有出现宽韵的现象。（何冷静，2010）辜的译文基本上是押韵，除了/ui/，/uo/，/i/，ing/，其余都押/ang/韵。

三、标点

标点的选择，在诗歌中尤为重要。它不仅能帮助读者理解原文，同样也能增强诗句形式的的优美。因为英文原版的sonnet 18的标点有众多版本，所以这里仅采用了Alexander W. Allison的版本。

表四

在四个汉译版本中，标点存在差异之处主要在于偶行，它们分别是第2、4、6、8、10、12行。此外，辜的版本将第一句的问句，翻译成了陈述句，他在第一句句尾选用了逗号。在这四个译本中，屠岸的标点是最接近Alexander W. Allison的版本的。

四、内容

以上的翻译对比住在集中在对诗歌的外形上，下面来对比分析一下这四人在内容上的翻译。

Shall 跟 I连在一起表征询意见。而辜的版本将它翻译成或许，语气有点被削弱。因为在英国夏天的气候是比较怡人的，很美好，所以莎士比亚想把美少年比作夏天，但是诗人又觉得他比夏天更好，所以译者在翻译的时候不应将这种矛盾的心理忽略，也不应多加发挥。屠岸的译文将第二句译成“你可能更加可爱，更加温婉；”，而在原文中并没有可能这一层意思。

梁宗岱译的“五月宠爱的”从原文中读不出这一层意思，darling只是“心爱的，可爱的”的意思。戴和辜将’ darling buds’分别翻译成“娇蕾”和“娇蕊”，既重视与原文，语言也很凝练。

如果直接将“lease”翻出来的话，中文读者会觉得很困惑，因为有思维差异，什么叫“夏季的租期”？中国人一般用“流水”，“箭”等意象来形容时间时间过得快，很少用租约来比喻的。且租赁这种事在中国人认为是没有美感的，直接用在译文里会影响了整首诗的美感。

梁的译文中“醒烈”这个词在字典里查不到，会让读者费解。炳耀：亦作“ 炳曜 ”。亦作“ 炳燿 ”。 表示示光芒；照耀。虽说梁的这两句翻译能把原文的意思基本表达出来，但用于太晦涩，不能让读者直接感受到原文的美。 辜正坤的翻译在形、神方面都翻译得比较出彩。

在’And every fair from fair sometime declines’这句诗中，’fair’一词重复使用了两次。虽说是重复，不过所表达的意思却不同。第一个fair 指“美人”，第二个fair 指“美丽”。梁译为“没有芳颜不终于凋残或销毁”，没有将具体的指代译出；屠译为“每一样美呀，总会失去美而凋落”，重复使用“美”一词来达到fair 在原文中的效果，但却没有传达原文两个fair 的引申义；戴译为“每件美艳终把美艳消失”，把两个fair 翻译成两个“美艳”，同样没有将具体的指代译出。可见，在中译本中再现英语诗歌的形式是很难的。罗益民指出“相对来说，作为传统的诗歌，譬如十四行诗，诗歌形式的方面要比内容方面困难更大。因而，对于诗歌翻译者来说，形式的移植比内容方面更具挑战性”。 （何冷静，2010）

梁宗岱的下半句翻译不是很顺畅，意思理解的也很牵强，“没有芳艳而终于凋残或销毁。”，梁想表达的意思是“没有芳艳而终于凋残或销毁。”意思是否翻译正确也有待读者仔细琢磨。屠岸的翻译里加了感叹的意味，很有诗意。而正坤的这篇翻译中的很多词汇也比较难理解，比较抽象，如：“机缘”、“天道无常”。

这两句话的翻译，四位译者都采用了直译的方式，这样使得译文的表现力比较苍白，没有原文那样精彩。梁译的“也不会损失你这姣皓的红芳。”中的损失似乎有失准确性。表达得比较生硬。

在这两句话的翻译中，梁的翻译很直白，但是却会让读者有点摸不着头脑，“只要一天有人类或人有眼睛”，人不来就是有眼睛的，为什么在这里还要一这来轻点一遍？而屠和辜的版本翻译得也很苍白，原诗的美感已经完全失去。相比之下戴的版本却很出彩，他采用了意译的方法，翻译水平也着实令人惊叹。

结语：

朱光潜先生曾经说过“美文不可译”；郭沫若、王佐良以及许渊冲他们都崇尚以诗译诗，然而诗歌是否真的可译，翻译界也众说纷纭，并不能形成定论。诗歌翻译对译者的要求很高，这不仅要求他们追求原文的“形”，这一点就已经很难做到了，还要求他们在充分理解原诗的基础上将它的“神”准确生动地表达出来。从上文的分析中，我们可以看出译者们在翻译时或多或少的放弃了“神”或者“形。所以现代的译者们在翻译时要本着对原作者负责，对译文读者负责的态度，将原文的形神最大化地再创造出来。

参考文献:

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《莎士比亚十四行诗》经典语录(12)

精选莎士比亚十四行诗1

精选莎士比亚十四行诗1music to hear, why hear"st thou music sadly?
你是音乐，为什么悲哀地听音乐?
sweets with sweets war not, joy delights in joy.
甜蜜不忌甜蜜，欢笑爱欢笑。
why lov"st thou that which thou receiv"st not gladly,
为什么你不愉快地接受喜悦?
or else receiv"st with pleasure thine annoy?
要不然，你就高兴地接受苦恼?
if the true concord of well tuned sounds,
假如几种入调的声音合起来
by unions married, do offend thine ear,
成了真和谐，教你听了不乐，
they do but sweetly chide thee, who confounds
那它只是美妙地责备你不该
in singleness the parts that thou shouldst bear.
守独身而把你应守的本分推脱。
mark how one string, sweet husband to another,
听一根弦儿，另一根的好丈夫，听，
strikes each in each by mutual ordering;
一根拨响了一根应，琴音谐和;
resembling sire, and child, and happy mother,
正如父亲、儿子和快乐的母亲，
who all in one, one pleasing note do sing;
合成一体，唱一支动听的歌：
whose speechless song, being many, seeming one,
他们那没词儿的歌，都异口同声，
sings this to thee, "thou single wilt prove none."
对你唱：“你独身，将要一事无成。”
精选莎士比亚十四行诗2lo, in the orient when the gracious light
看呵，普照万物的太阳在东方
lifts up his burning head, each under eye
抬起了火红的头颅，人间的眼睛
doth homage to his new-appearing sight,
就都来膜拜他这初生的景象，
serving with looks his sacred majesty;
注视着他，向他的圣驾致敬;
and having climbed the steep-up heavenly hill,
正像强壮的小伙子，青春年少，
resembling strong youth in his middle age,
他又爬上了峻峭的天体的山峰，
yet mortal looks adore his beauty still,
世人的目光依然爱慕他美貌，
attending on his golden pilgrimage;
侍奉着他在他那金色的旅途中;
but when from highmost pitch, with weary car,
但是不久他疲倦地乘着车子
like feeble age he reeleth from the day,
从白天的峰顶跌下，像已经衰老，
the eyes, "fore duteous, now converted are
原先忠诚的人眼就不再去注视
from his low tract and look another way:
他怎样衰亡而改换了观看的目标：
so thou, thyself outgoing in thy noon,
你如今好比是丽日当空放光彩，
unlooked on diest unless thou get a son.
将来要跟他一样——除非有后代。 
精选莎士比亚十四行诗

《莎士比亚十四行诗》经典语录(13)

请背诵英文，中文仅供参考.

莎士比亚十四行诗,第十八首

Shall I pare thee to a summer"s day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer"s lease hath all too short a date:

Sometime too hot the eye of heaven shines,

And often is his gold plexion dimm"d,

And every fair from fair sometime declines,

By chance, or nature"s changing course untrimm"d:

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow"st,

Nor shall death brag thou wander"st in his shade,

When in eternal lines to time thou grow"st,

So long as men can breathe, or eyes can see,

So long lives this, and this gives life to thee.

我怎么能够把你来比作夏天？
你不独比它可爱也比它温婉：
狂风把五月宠爱的嫩蕊作践，
夏天出赁的期限又未免太短：
天上的眼睛有时照得太酷烈，
它那炳耀的金颜又常遭掩蔽：
被机缘或无常的天道所摧折，
没有芳艳不终于雕残或销毁。

但是你的长夏永远不会雕落，
也不会损失你这皎洁的红芳，
或死神夸口你在他影里漂泊，
当你在不朽的诗里与时同长。
只要一天有人类，或人有眼睛，
这诗将长存，并且赐给你生命。

莎士比亚十四行诗第七十三首

That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang

Upon those boughs which shake against the cold,

Bare ruin"d choirs, where late the sweet birds sang.

In me thou see"st the twilight of such day

As after sunset fadeth in the west,

Which by and by black night doth take away,

Death"s second self, that seals up all in rest.

In me thou see"st the glowing of such fire,

That on the ashes of his youth doth lie,

As the death-bed whereon it must expire

Consumed with that which it was nourish"d by.

This thou perceivest, which makes thy love more strong,

To love that well which thou must leave ere long.

在我身上你或许会看见秋天， 当黄叶，或尽退，或只三三两两 挂在瑟缩的枝头上索索抖颤—— 荒废的歌坛，那里百鸟曾合唱。 在我身上你或许会看见暮霭， 它在日落后向西方徐徐消退： 黑暗，死的化身，渐渐把它赶开， 严静的安息笼住纷纭的万类。 在我身上你或许会看见余烬， 它在青春的寒灰里奄奄一息， 在惨淡灵床上早晚总要断魂， 给那滋养过它的烈焰所销毁。 看见了这些，你的爱就会加强， 因为它转瞬要辞你溘然长往。

《莎士比亚十四行诗》经典语录(14)

Sonnet:A fourteen-line lyric poem, usually written in rhymed iambic pentameter. There are generally two kinds of sonnets: the Petrarchan sonnet and the Shakespearean sonnet. The Shakespearean sonnet consists of 3 quatrains and one couplet. The three quatrains are devoted to the different aspects of one subject, paralleling in structure. The concluding couplet is actually the summary or ments made by the poet. One telling example is Sonnet 18 by Shakespeare.

Soliloquy: It refers to an extended speech delivered by a character alone onstage. The character reveals his or her innermost thoughts and feelings directly to the audience, as if thinking aloud. One of the most famous soliloquies is the part of Shakespeare’s Hamlet, beginning with the line “To be, or not to be: that is the question.”

Conceit:Conceit is actually an extended metaphor. It refers to the parison drawn between two startlingly different objects. The leading figure of the “Metaphysical School”, John Donne, makes a high use of conceits in his poetic creation. For instance, he pares the souls of lovers to passes.

Imagery：A general term that covers the use of language to represent sensory experience. It refers to the words that create pictures or images in the reader’s mind.Images are primarily visual and can appeal to other senses as well, touch, taste, smell and hearing.

Ode： A plex and often lengthy lyric poem, written in a dignified formal style on some lofty or serious subject. Odes are often written for a special occasion, to honor a person or a season or to memorate an event. Two famous odes are Percy Shelley’s “Ode to the West Wind” and John Keats’s “Ode on a Grecian Urn”.

莎士比亚十四行诗第18首

William Shakespeare - Sonnet #18

Shall I pare thee to a Summer"s day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And Summer"s lease hath all too short a date:

Sometime too hot the eye of heaven shines,

And oft" is his gold plexion dimm"d;

And every fair from fair sometime declines,

By chance or nature"s changing course untrimm"d:

But thy eternal Summer shall not fade

Nor lose possession of that fair thou owest;

Nor shall Death brag thou wanderest in his shade,

When in eternal lines to time thou growest:

So long as men can breathe, or eyes can see,

So long lives this, and this gives life to thee.

我怎么能够把你来比作夏天？

你不独比他可爱也比他温婉；

狂风把五月宠爱的嫩蕊作践，

夏天出赁的期限又未免太短；

天上的眼睛有时照得太酷烈，

他那炳耀的金颜又常遭掩蔽；

给机缘或无常的天道所摧折，

没有芳艳不终于凋残或销毁。

但你的长夏将永远不会凋落，

也不会损失你这皎洁的红芳；

或死神夸口你在他影里漂泊，

当你在不朽的诗里与时同长。

只要一天有人类，或人有眼睛，

这诗将长在，并且赐给你生命。

Summary: The poem starts with a flattering question to the beloved—"Shall I pare thee to a summer"s day?" The beloved is both "more lovely and more temperate" than a summer"s day. The speaker lists some negative things about summer: it is short—"summer"s lease hath all too short a date"—and sometimes the sun is too hot—"Sometime too hot the eye of heaven shines." However, the beloved has beauty that will last forever, unlike the fleeting beauty of a summer"s day.

Theme: In the sonnet, the speaker pares his beloved to the summer season, and argues that his beloved is better. He also states that his beloved will live on forever through the words of the poem.

By putting his love"s beauty into the form of poetry, the poet is preserving it forever. "So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee." The lover"s beauty will live on, through the poem which will last as long as it can be read.

 

The Passionate Shepherd to His Love

by Christopher Marlowe（1564-1593）热情的牧人对他的爱人

Come live with me and be my Love,

And we will all the pleasures prove(1)

That hills and valleys, dale and field,

And all the craggy mountains yield(2).

There will we sit upon the rocks,

And see the shepherds feed their flocks,

By shallow rivers, to whose falls(3)

Melodious birds sing madrigals(4).

There will I make thee beds of roses

And a thousand fragrant posies,

A cap of flowers, and a kirtle(5)

Embroider"d all with leaves of myrtle(6).

A grow made of the finest wool,

Which from our pretty lambs we pull,

Fair lined slippers for the cold,

With buckles(7) of the purest fold.

A belt of straw and ivy(8) buds

With coral clasps(9) and amber studs(10):

And if these pleasures may thee move,

Come live with me and be my Love.

Thy silver dishes for thy meat(11)

As precious as the gods do eat,

Shall of an ivory table be

Prepared each day for thee and me.

The shepherd swains(12) shall dance and sing

For thy delight each May-morning:

If these delights thy mind may move,

Then live with me and be my Love.

注释：

（1）prove：体验，古用法，其宾语是all the pleasures，第1－2节描写大自然的美与和谐，为牧歌式的生活提供了适当背景。

（2）yield：give

（3）falls:指溪水跌落时发出的声响。

（4）madrigals:情歌

（5）kirtle:女长袍，外裙

（6）myrtle:桃金娘，即爱神维纳斯（Venus）的圣物。

（7）buckles：（鞋的）带扣

（8）ivy：常春藤，酒神Bacchus的圣物。第3－5节描写牧歌世界中的劳动或民间节日游戏，呈现出了一派伊园或人类黄金时代的理想景象，也使人想到英国乡村的五朔节，诗人要把他的恋人打扮成五朔节王后。

（9）clasps：扣子

（10）amber studs:琥珀饰钮

（11）meat:food的古用法，此一节诗（第21－24）被认为是英国作家沃尔顿（Izaak Walton，1593-1683）所加。

（12）swains:（古用法）乡村情郎。最后一节描写与五朔节相类似的狂欢活动。

来与我同住吧，做我的爱人，
我们将共享一切欢乐；
来自河谷、树丛、山岳、田野，
来自森林或陡峭的峻岭。
我们将坐在岩石上，
看牧人们放羊。
浅浅的小河流向瀑布，
小鸟唱着甜美的情歌。
我将为你用玫瑰作床，
还有上千支花束，
一顶鲜花编的花冠，一条长裙
绣满桃金娘的绿叶。
用最细的羊毛织一条长袍，
羊毛剪自我们最可爱的羊羔，
一双漂亮的衬绒软鞋为你御寒，
上面有纯金的带扣。
麦草和长春藤花蕾编的腰带，
珊瑚作钩，琥珀作扣，
来与我同住吧，做我的爱人。
牧童情郎们将又跳又唱，
在每个五月的早晨使你欢畅，
如果这些趣事使你动心，
来与我同住吧，做我的爱人。

Summary: In the first stanza, an unidentified shepherd, pleads with an unidentified woman that if she will e and live with him, then all pleasures will be theirs for the taking.

The second stanza suggests a time of year for the lovers’ activity, which is likely spring or summer, since they would be outdoors and the shepherd imagines it is pleasant enough to sit and watch the flocks being fed. He proposes that other shepherds will feed his flocks, since with his mistress by his side, he will now be an observer.

Theme: Marlowe paints a picture of idyllic nature without any of the real dangers that might be present. There are no responsibilities in this imaginary life, as the shepherd imagines the couple will watch other “shepherds feed their flocks,” while making no mention of his own flock for which he is responsible. Marlowe"s lyric is a universal (all times and all places) example of how young men tempt pretty girls with fantastic offers - slippers with golden buckles! -to make them yield to fulfill their sexual desires.

although he is only a shepherd he will ensure that she enjoys a royal life.

A Red，Red Rose

by Robert Burns

O my luve is like a red, red rose,

That"s newly sprung in June;

O my luve is like the melodie

That"s sweetly played in tune.

As fair thou art, my bonie lass,

So deep in luve am I;

And I will luve thee still, my dear,

Till a" the seas gang dry.

Till a" the seas gang dry, my dear,

And the rocks melt wi" the sun;

And I will luve thee still , my dear,

While the sands o" life shall run.

And fare thee weel, my only luve,

And fare thee weel a while;

And I will e again, my luve,

Tho"it wre ten thousand mile!

我的爱人象朵红红的玫瑰

王佐良 译

呵，我的爱人象朵红红的玫瑰，

六月里迎风初开；

呵，我的爱人象支甜甜的曲子，

奏得合拍又和谐。

我的好姑娘，多么美丽的人儿！

请看我，多么深挚的爱情！

亲爱的，我永远爱你，

纵使大海干涸水流尽。

纵使大海干涸水流尽，

太阳将岩石烧作灰尘，

亲爱的，我永远爱你，

只要我一息犹存。

珍重吧，我惟一的爱人，

珍重吧，让我们暂时别离，

但我定要回来，

哪怕千里万里！

Summary: In the beginning,Burns pares his love with a springtime blooming rose and then with a sweet melody. The second and third stanzas bee increasingly plex, ending with the metaphor of the “sands of life,” or hourglass.The final stanza wraps up the poem’s plexity with a farewell and a promise of return.

Theme: this is a love poem. By paring his lover to sweet melodies an d red roses which bloom in June, and depicting the image of his love lasting until the seas run dry and the rocks melt with the sun, the authar shows us a nature, simple and original love between men and women.

Sonnet 73 By Willim Shakespeare

Summary:the author creats an autumn image that “thou mayst in me be hold”,an twilight image which will past more swiftly with rising night,and lastly an dying fire image that burning with youth passion.This she sense, and it makes her love more determined.

Theme:this is a love poem ,a song of adying swan appealing for love. autumn, twilight, and the dying fire, the aesthetic effect created as well as the wisdom transmitted through these three images. The inevitable conflict between passion and passing time, the persistence and necessity , the human being’s transience and nature’s eternity.

Amoretti (Sonnet 75) by Edmund Spenser     

One day I wrote her name upon the strand,
But came the waves and washed it away;
Agayne I wrote it with a second hand,
But came the tyde,and made my paynes his pray.
"Vayne man,"sayed she,"that does in vain assay.
A mortal thing so to immortalize,
For I my selve shall lyke to this decay,
And eek my name bee wyped out lykewize."
"Not I,"quod I,"let baser things devize,
To dy in dust,but you shall live by fame:
My verse your vertues rare shall eternize,
And in the heavens wryte your glorious name.
Where whenas death shall all the world subdew,
Our love shall live,and later life renew."


爱情小诗（第75首） ——爱德蒙特 斯宾塞

我曾经在海滩上写下她的姓名，
但被汹涌的波涛冲刷地无影无踪；
于是我再次写下她的姓名，
然而潮水使我的心血徒劳无功。
“可怜人啊，”她说，“别再无休止地写西写东，
这种消逝是不朽的永生。
因为我本身也要经历衰老而光荣，
如同我的姓名一样会被荡涤地失却竖横。”
“不，”我答道，“我不会让这种卑劣的图谋得逞，
让它死在坟茔。但你将荣耀地生存。
因为我的诗行将使你超凡的美德永恒，
天堂里会留下你灿烂瑰丽的精魂。
死亡将征服所有的臣民，
而我们的爱情生命将无穷无尽！”

Summary:it decribes a man on a beach tracing his lover"s name into sand, writing it afresh after the tide erase it. When his lover critizes him by saying,"it is in vain. My name will not be immortal as I myself is.Eventually my name will with I vanish from this earth",the man refutes her statement and avows that she will live forever because you will be eternized in my verse.

Theme: of preservation through words,one can achieve immortality through literature. in the verse \"Where whenas death shall all the world subdew,
Our love shall live, and later life renew.\"
he shows that once death es for them they/their love will be reborn again when new generations read this poem.

I Wandered Lonely as a Cloud William Wordsworth

I wandered lonely as a cloud

我孤独地漫游，像一朵云

That floats on high o´er vales and hills,

在山丘和谷地上飘荡，

When all at once I saw a crowd,

忽然间我看见一群

A host, of golden daffodils;

金色的水仙花迎春开放，

Beside the lake, beneath the trees,

在树荫下，在湖水边，

Fluttering and dancing in the breeze.

迎着微风起舞翩翩。

Continuous as the stars that shine

连绵不绝，如繁星灿烂，

And twinkle on the milky way,

在银河里闪闪发光，

They stretched in never-ending line

它们沿着湖湾的边缘

Along the margin of a bay:

延伸成无穷无尽的一行；

Ten thousand saw I at a glance,

我一眼看见了一万朵，

Tossing their heads in sprightly dance.

在欢舞之中起伏颠簸。

The waves beside them danced;but they

粼粼波光也在跳着舞，

Out-did the sparkling waves in glee:

水仙的欢欣却胜过水波；

A poet could not but be gay,

与这样快活的伴侣为伍，

In such a jocund pany:

诗人怎能不满心欢乐！

I gazed--and gazed--but little thought

我久久凝望，却想象不到

What wealth the show to me had brought:

这奇景赋予我多少财宝，——

For oft, when on my couch I lie

每当我躺在床上不眠，

In vacant or in pensive mood,

或心神空茫，或默默沉思，

They flash upon that inward eye

它们常在心灵中闪现，

Which is the bliss of solitude;

那是孤独之中的福祉；

And then my heart with pleasure fills,

于是我的心便涨满幸福，

And dances with the daffodils.

和水仙一同翩翩起舞。

Summary:It is apoem about nature. With his poetic and pure language, Wordsworth bring us into a beautiful world which there are daffodils, trees and breeze. We follow the poet at every turn of his feelings. We share his sadness when he “wandered lonely as a cloud” and his delight the moment his heart “with pleasure fills”. We e to realize the great power of nature that may influenceour life deeply as revealed in the poem.

Theme: the poem is about about nature and describing the great power which may influence our life deeply as revealed in the poem:

a. Nature’s beauty uplift human beings’ spirit. The nature stimulate the mind of human and give them relaxing and satisfactory feeling.

b. People sometimes fail to appreciate nature’s wanders as they go about their routines.

c. Nature thrives unattended.

The solitary reaper

Theme:

The poem mainly discusses the theme of poetry. Songs are poetry too, and that is clear to Wordsworth. We can see that he sees the girl as a poet because of the preface to Lyrical Ballads (1798). In it, Wordsworth maintained that poetry should not rely on artificial diction for its effort. Rather, it should be written in more ordinary language and simpler form so that all classes might appreciate it. "The Solitary Reaper" exemplifies this belief.

However it is one of Wordsworth"s most famous "solitaries". Wordsworth used solitary characters to show how to be one with nature (See "Old Man Travelling", "There Was A Boy" and "Nutting"), and this solitary is no different. The girl is pared to nightingales and cuckoo birds in a positive light, as though she is one of them, which shows her natural side. The "vale profound/ Is overflowing with the sound", and this also shows that she and nature are sympathetic to each other.

Other themes touched on are those of loss- "some natural sorrow, loss or pain"- and imagination - the song takes Wordsworth to the corners of the world, from "Arabian sands" to the "farthest Hebrides". The lack of understanding means that he is able to ponder the meaning, also an example of imagination

Fire and ice

Summary: In this poem Frost is describing how the world will end. He describes two ways that the world might end: by fire or ice. He thinks the world will end in fire but it doesn’t really matter. People shouldn’t fight about how the world will end but should focus on the present day.

Theme: human emotions of fire of desire and ice of hate are equally harmful and can easily bring about the end of a relationship.

Success is counted sweetest

Summary:The speaker says that "those who ne"er succeed" place the highest value on success. To understand the value of a nectar,one must feel "sorest need." She says that the members of the victorious army are not able to define victory as well as the defeated, dying man who hears from a distance the music of the victors.

Theme:only those who has not been successful think that success is so important, the author implied that one never fully appreciate what one has until it is no more.

There is no frigate like a book

Theme: imagination, spawned

The Road Not TakenRobert Frost

Two roads diverged in a yellow wood,

And sorry I could not travel both

And be one traveler, long I stood

And looked down one as far as I could

To where it bent in the undergrowth;

Then took the other, as just as fair,

And having perhaps the better claim,

Because it was grassy and wanted wear;

Though as for that the passing there

Had worn them really about the same,

And both that morning equally lay

In leaves no step had trodden black.

Oh, I kept the first for another day!

Yet knowing how way leads on to way,

I doubted if I should ever e back.

I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood,and I—

I took the one less traveled by,

And that has made all the difference.

未选择的路 罗伯特·弗罗斯特

黄色的树林里分出两条路

可惜我不能同时去涉足

我在那路口久久伫立

我向着一条路极目望去

直到它消失在丛林深处

但我却选择了另外一条路

它荒草萋萋，十分幽寂

显得更诱人，更美丽

虽然在这条小路上

很少留下旅人的足迹

那天清晨落叶满地

两条路都未经脚印污染

呵，留下一条路等改日再见

但我知道路径延绵无尽头

恐怕我难以再回返

也许多少年后在某一个地方

我将轻声叹息把往事回顾

一片森林里分出两条路

而我却选择了人迹更少的一条

从此决定了我一生的道路

 

《莎士比亚十四行诗》经典语录(15)

莎士比亚十四行诗

Shakespeare Sonnet 12

When I do count the clock that tells the time,

And see the brave day sunk in hideous night;

When I behold the violet past prime,

And sable curls all silver"d o"er with white:

When lofty trees I see barren of leaves,

Which erst from heat did canopy the herd,

And summer"s green, all girded up in sheaves,

Born on the bier with white and bristly beard;

Then of thy beauty do I question make,

That thou among the wastes of time must go,

Since sweets and beauties do themselves forsake,

And die as fast as they see others grow;

And nothing "gainst Time"s scythe can make defence

Save breed, to brave him when he takes thee hence.

译本1、译

当我数着壁上报时的自鸣钟，

见明媚的白昼坠入狰狞的夜，

当我凝望着紫罗兰老了春容，

青丝的卷发遍洒着皑皑白雪;

当我看见参天的树枝叶尽脱，

它不久前曾荫蔽喘息的牛羊;

夏天的青翠一束一束地就缚，

带着坚挺的白须被舁上殓床;

于是我不禁为你的朱颜焦虑:

终有天你要加入时光的废堆，

既然美和芳菲都把自己抛弃，

眼看着别人生长自己却枯萎;

没什么抵挡得住时光的毒手 ，

除了生育，当他来要把你拘走。

译本2、高黎平译

当吾心数钟报时，

看着明昼入噩夜，

当望罗兰春色逝，

乌黑卷发白若雪;

目睹大树落叶纷，

绿荫不复牧人遮;

夏日青苗成束捆，

挺白须芒装灵车。

不禁担忧君终人，

既然媚妍有尽时，

但见蕾绽已萎枯;

时光镰刀不可挡，

除非留后替君扛。

译本3、曾瑜阳译

时光款款无从数，

白昼褪去夜狰狞，

罗兰紫衣春容老，

青丝遍洒白如银;

参天古木叶脱尽，

谁见昔日牧羊群;

夏日苍翠何其短，

白须殓床自伤情;

朱颜娇美终须虑:

岁月雕琢最无形，

江山代有丽人出，

芳菲散尽总无影;

欲阻时光皆徒然，

唯留儿孙血脉传。

Sonnet 18

Shall I pare thee to a summer"s day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer"s lease hath all too short a date:

Sometime too hot the eye of heaven shines,

And often is his gold plexion dimm"d;

And every fair from fair sometime declines,

By chance or nature"s changing course untrimm"d

But thy eternal summer shall not fade

Nor lose possession of that fair thou owest;

Nor shall Death brag thou wander"st in his shade,

When in eternal lines to time thou growest:

So long as men can breathe or eyes can see,

So long lives this and this gives life to thee.

译本1、梁宗岱 译

我怎么能够把你来比作夏天?

你不独比它可爱也比它温婉:

狂风把五月宠爱的嫩蕊作践，

夏天出赁的期限又未免太短:

天上的眼睛有时照得太酷烈，

它那炳耀的金颜又常遭掩蔽:

被机缘或无常的天道所摧折，

没有芳艳不终于凋残或消毁。

但是你的长夏永远不会凋落，

也不会损失你这皎洁的红芳，

或死神夸口你在他影里漂泊，

当你在不朽的诗里与时同长。

只要一天有人类，或人有眼睛，

这诗将长存，并且赐给你生命。

译本2、曹明伦译

我是否可以把你比喻成夏天?

虽然你比夏天更可爱更温和:

狂风会使五月娇蕾红消香断，

夏天拥有的时日也转瞬即过;

有时天空之巨眼目光太炽热，

它金灿灿的面色也常被遮暗;

而千芳万艳都终将凋零飘落，

时运天道之更替剥尽红颜;

但你永恒的夏天将没有止尽，

你所拥有的美貌也不会消失，

死神终难夸口你游荡于死荫，

当你在不朽的诗中永葆盛时;

只要有人类生存，或人有眼睛，

我的诗就会流传并赋予你生命。

译本3、曾瑜阳译

夏日纵好怎及君?

清丽温婉自超群;

五月花香恶风妒，

夏之芬芳如烟云。

天眼高灼炎难耐，

暗淡容光久不开;

自古天公爱愚弄，

多少红颜终色衰。

恒久夏日不凋零，

娇颜风姿倒乾坤;

死神到此含羞退，

君之芳名入诗文。

人迹罕绝山无棱，

此诗伴君续香魂。

《莎士比亚十四行诗》经典语录(16)

莎士比亚十四行诗全集

1

From fairest creatures we desire increase,

That thereby beauty’s rose might never die,

But as the riper should by time decease

His tender heir might bear his memory.

But thou, contracted to thine own bright eyes,

Feed’st thy light’s flame with self-substantial fuel,

Making a famine where abundance lies,

Thyself thy foe, to thy sweet self too cruel.

Thou that art now the world’s fresh ornament

And only herald to the gaudy spring,

Within thine own bud buriest thy content,

And, tender churl, mak’st waste in niggarding.

Pity the world, or else this glutton be, 

To eat the world’s due, by the grave and thee. 

 

惟愿佳丽多成行，美丽玫瑰不断秧，

前辈寿终需正寝，娇嫩儿女继芬芳。

俊杰自恋太荒唐，迟迟不肯迎新娘。 

富贵不思成家业，人人为君而悲伤。

百花丛中最鲜艳，君乃伦敦第一郎，

天下女儿都思君，俊杰为何不大婚？

别让花芯空枯萎，开花结果理应当，

如把青春空挥霍，死后带入坟墓中

  

2

 When forty winters shall besiege thy brow

And dig deep trenches in thy beauty’s field,

Thy youth’s proud livery, so gazed on now,

Will be a tattered weed, of small worth held.

Then being asked where all thy beauty lies,

Where all the treasure of thy lusty days,

To say within thine own deep-sunken eyes

Were an all-eating shame and thriftless praise.

 How much more praise deserved thy beauty’s use

If thou couldst answer, “This fair child of mine

Shall sum my count and make my old excuse,”

Proving his beauty by succession thine.

This were to be new made when thou art old, 

And see thy blood warm when thou feel’st it cold. 

2

四十严冬攻额头，脸上皱纹如鸿沟，

青春华服人人颂，老来变成烂布头。

如是有人问起你，当年青春在哪里？

“在我深陷眼窝里，”如此回答真可耻。

“当年美貌传子孙，儿女养老又送终。”

青春如此来使用，世上无人不称颂。

不怕年老手足僵，儿女成长继芬芳。

 

3

Look in thy glass and tell the face thou viewest,

 Now is the time that face should form another,

Whose fresh repair if now thou not renewest,

Thou dost beguile the world, unbless some mother.

For where is she so fair whose uneared womb

Disdains the tillage of thy husbandry?

Or who is he so fond will be the tomb

Of his self-love, to stop posterity?

Thou art thy mother’s glass, and she in thee

Calls back the lovely April of her prime;

So thou through windows of thine age shalt see,

Despite of wrinkles, this thy golden time.

But if thou live remembered not to be, 

Die single and thine image dies with thee. 

3

快去照镜子，告诉镜中人，

时刻已到来，再造镜中人。

英俊男青年，如不成大婚，

世界将悲哀，减少一母亲。

多少美少女，渴望你爱情，

盼你来播种，盼你来耕耘 。

纯洁男青年，不要再分心，

为何太自恋，断子又绝孙？ 

你就是镜子，对于你母亲，

母亲的青春，在你身影里，   

 将来你衰老，你也将看到，

自己的青春，儿女身影里。       

如果你不愿，留下美孩儿，

老来无人问，美貌葬孤坟 。 

4

Unthrifty loveliness, why dost thou spend

Upon thyself thy beauty’s legacy?

Nature’s bequest gives nothing, but doth lend,

And, being frank, she lends to those are free.

Then, beauteous niggard, why dost thou abuse

The bounteous largess given thee to give?

Profitless usurer, why dost thou use

So great a sum of sums yet canst not live?

For having traffic with thyself alone,

Thou of thyself thy sweet self dost deceive.

Then how when nature calls thee to be gone,

What acceptable audit canst thou leave?

Thy unused beauty must be tombed with thee,  

 Which usèd lives th" executor to be.  

4

风流倜傥美青年，不要整天来游玩，

天生丽质天赐你，让她流传到永远。

青年朋友别犹豫，坚持独身有何益，

别做愚蠢守财奴，腰缠万贯饿肚皮。

 

青年迟迟不大婚，祖宗香火谁继承。

何不养育美孩儿，多子多福过一生。

青年若听我忠言，不怕死神来敲门，

否则将来上西天，风流文采无处寻。

  

5

  Those hours that with gentle work did frame

The lovely gaze where every eye doth dwell

Will play the tyrants to the very same

And that unfair which fairly doth excel.

For never-resting time leads summer on

To hideous winter and confounds him there,

Sap checked with frost and lusty leaves quite gone,

 Beauty o"er-snowed and bareness everywhere.

Then were not summer’s distillation left,

A liquid prisoner pent in walls of glass,

Beauty’s effect with beauty were bereft,

Nor it nor no remembrance what it was.

 

But flowers distilled, though they with winter meet,  

Lose but their show; their substance still lives sweet. 

 时间铸造美容颜，贩夫走卒齐惊叹，

将来还要施暴戾，使你丑陋人人嫌。

无情时间将夏天，拖到冬天来摧残，

树脂结冰枝叶枯，美丽埋葬在荒原。

 

如不及时把玫瑰，炼成香水藏瓶内，

将来花儿枯萎时，一缕清香无处寻。

提炼的花儿得永生，永留芬芳在人间。 

  

6

Then let not winter’s ragged hand deface

In thee thy summer, ere thou be distilled.

Make sweet some vial; treasure thou some place

With beauty’s treasure, ere it be self-killed.

That use is not forbidden usury

Which happies those that pay the willing loan;

That’s for thyself to breed another thee,

Or ten times happier, be it ten for one.

Ten times thyself were happier than thou art,

If ten of thine ten times refigured thee.

Then what could death do if thou shouldst depart,

Leaving thee living in posterity?

Be not self-willed, for thou art much too fair  

To be death’s conquest and make worms thine heir.  

 

 

 6

 

 别让冬天佝偻手，夺走你的娇丽颜，

人生精华需珍惜，生儿育女莫迟疑 。

这不是放高利贷，还钱的人多愉快，

是要你再生一个你，生得越多越痛快。

 

生出十个都像你，你的幸福增十倍，

活在后代身影里，死神拿你也无奈。

好朋友，别拖延，不要让蛆虫，做你继承人。

 

 

7

 

Lo, in the Orient when the gracious light

Lifts up his burning head, each under eye

Doth homage to his new-appearing sight,

Serving with looks his sacred majesty;

And having climbed the steep-up heavenly hill,

Resembling strong youth in his middle age,

Yet mortal looks adore his beauty still,

Attending on his golden pilgrimage.

But when from highmost pitch, with weary car,

Like feeble age he reeleth from the day,

The eyes, "fore duteous, now converted are

From his low tract and look another way.

So thou, thyself out-going in thy noon,  

 Unlooked on diest unless thou get a son. 

红日冉冉升蓝天，光芒万道照人寰，

如同天使来人间，凡夫俗子尽开颜。

太阳继续升上天，如同健儿正青春，

世人尤赞其美貌，万众瞩目伴旅程 。

 

一旦越过天峰顶，疲态毕露车马昏，

凡人转眼望它处，左顾右盼若失魂。

风流倜傥美青年，成家立业理当然，

如无子孙留人间，晚年孤独好辛酸。

 

8

 

Music to hear, why hear’st thou music sadly?

Sweets with sweets war not, joy delights in joy.

Why lov’st thou that which thou receiv’st not gladly,

Or else receiv’st with pleasure thine annoy?

If the true concord of well-tuned sounds,

By unions married, do offend thine ear,

They do but sweetly chide thee, who confounds

In singleness the parts that thou shouldst bear.

Mark how one string, sweet husband to another, Strikes each in each by mutual ordering, Resembling sire and child and happy mother,

Who all in one, one pleasing note do sing;

Whose speechless song, being many, seeming one,   Sings this to thee: “Thou single wilt prove none.” 

天籁之声绕耳畔，俊杰为何要悲伤？

自寻烦恼有何益，不要辜负好时光。

如果动人鲁提琴，打扰你的好心情，

她们正在责备你，为何没有小家庭。

 

请听群弦齐奋响，仙乐飘飘处处闻，

如同娇妻和孩儿,莺声燕语规劝您，

音乐虽然无词语，异曲同工意思同，

如无儿女留人间，老来孤独又心酸。

  

9

Is it for fear to wet a widow’s eye

That thou consum’st thyself in single life?

Ah, if thou issueless shalt hap to die,

The world will wail thee like a makeless wife;

The world will be thy widow and still weep,

That thou no form of thee hast left behind,

When every private widow well may keep,

By children’s eyes, her husband’s shape in mind.

Look what an unthrift in the world doth spend

Shifts but his place, for still the world enjoys it;

But beauty’s waste hath in the world an end,

And kept unused, the user so destroys it.

No love toward others in that bosom sits  

That on himself such murd"rous shame mits.  

 

担心寡妇会哭泣，独身主义过一生，

你如死去无孩儿，世界将为你哭泣。

世界将成你寡妇，美人一去无踪影。

留得儿女在人间，美貌才能永相传。

 

浪子虽然挥霍钱，金钱仍然在人间。

青春一去无踪影，不用也会消耗完。

如把青春空挥霍，死后带入坟墓中。

 

10

  For shame deny that thou bear’st love to any,

Who for thyself art so unprovident.

Grant if thou wilt, thou art belov’d of many,

But that thou none lov’st is most evident;

For thou art so possessed with murd"rous hate

That ‘gainst thyself thou stick’st not toconspire,

Seeking that beauteous roof to ruinate

Which to repair should be thy chief desire.

O change thy thought, that I may change my mind.

Shall hate be fairer lodged than gentle love?

Be as thy presence is, gracious and kind,

Or to thyself at least kind-hearted prove.

Make thee another self for love of me,  

That beauty still may live in thine or thee.  

 

别说你还有爱心，对自己也不关心， 

虽然人人喜欢你，你却不爱任何人。 

撒旦占据你心灵，你想孤独过一生，

迟迟不愿成家业，人人为君而担心。

 

风流倜傥美青年，请听愚兄一忠言，

青春一去不复还，两人世界比蜜甜。

 早日娶回美贤妻，生活幸福又温馨。

为爱我再生一个你，风流文采永相传。