莎士比亚十四行诗第八首赏析

我是否可以把你比喻成夏天？Shall I compare thee to a summer's day?虽然你比夏天更可爱更温和：Thou art more lovely and more temperate:狂风会使五月娇蕾红消香断，Rough winds do shake the darling buds of May,夏天拥有的时日也转瞬即过；And summer's lease hath all too short a date:有时天空之巨眼目光太炽热，Sometime too hot the eye of heaven shines,它金灿灿的面色也常被遮暗；And often is his gold complexion dimmed,而千芳万艳都终将凋零飘落，And every fair from fair sometime declines,被时运天道之更替剥尽红颜；By chance, or nature's changing course untrimmed: 但你永恒的夏天将没有止尽，But thy eternal summer shall not fade,你所拥有的美貌也不会消失，Nor lose possession of that fair thou ow'st,死神终难夸口你游荡于死荫，Nor shall death brag thou wander'st in his shade,当你在不朽的诗中永葆盛时；When in eternal lines to time thou grow'st,只要有人类生存，或人有眼睛，So long as men can breathe, or eyes can see,我的诗就会流传并赋予你生命。So long lives this, and this gives life to thee.注：第11行语出《旧约?诗篇》第23篇第4节：“虽然我穿行于死荫之幽谷，但我不怕罹祸，因为你与我同在……”英文赏析：This is one of the most famous of all the sonnets, justifiably so. But it would be a mistake to take it entirely in isolation, for it links in with so many of the other sonnets through the themes of the descriptive power of verse; the ability of the poet to depict the fair youth adequately, or not; and the immortality conveyed through being hymned in these 'eternal lines'. It is noticeable that here the poet is full of confidence that his verse will live as long as there are people drawing breath upon the earth, whereas later he apologises for his poor wit and his humble lines which are inadequate to encompass all the youth's excellence. Now, perhaps in the early days of his love, there is no such self-doubt and the eternal summer of the youth is preserved forever in the poet's lines. The poem also 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, 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 comparison。这是整体赏析 1. Shall I compare thee to a summer's day? This is taken usually to mean 'What if I were to compare thee etc?' The stock comparisons of the loved one to all the beauteous things in nature hover in the background throughout. One also remembers Wordsworth's lines: We'll talk of sunshine and of song,And summer days when we were young, Sweet childish days which were as longAs twenty days are now.Such reminiscences are indeed anachronistic, but with the recurrence of words such as 'summer', 'days', 'song', 'sweet', it is not difficult to see the permeating influence of the Sonnets on Wordsworth's verse.

2. Thou art more lovely and more temperate: The youth's beauty is more perfect than the beauty of

a summer day. more temperate - more gentle, more restrained, whereas the summer's day might have violent excesses in store, such as are about to be described. 3. Rough winds do shake the darling buds of May, May was a summer month in Shakespeare's time, because the calendar in use lagged behind the true sidereal calendar by at least a fortnight. darling buds of May - the beautiful, much loved buds of the early summer; favourite flowers.

4. And summer's lease hath all too short a date: Legal terminology. The summer holds a lease on part of the year, but the lease is too short, and has an early termination (date).

5. Sometime too hot the eye of heaven shines, Sometime = on occasion, sometimes; the eye of heaven = the sun.

6. And often is his gold complexion dimmed, his gold complexion = his (the sun's) golden face. It would be dimmed by clouds and on overcast days

generally. 7. And every fair from fair sometime declines, All beautiful things (every fair) occasionally become inferior in comparison with their essential previous state of beauty (from fair). They all decline from perfection.

8. By chance, or nature's changing course untrimmed: By chance accidents, or by the fluctuating tides of nature, which are not subject to control, nature's changing course untrimmed. untrimmed - this can refer to the ballast (trimming) on a ship which keeps it stable; or to a lack of ornament and decoration. The greater difficulty however is to decide which noun this adjectival participle should modify. Does it refer to nature, or chance, or every fair in the line above, or to the effect of nature's changing course? KDJ adds a comma after course, which probably has the effect of directing the word towards all possible antecedents. She points out that nature's changing course could refer to women's monthly courses, or menstruation, in which case every fair in the previous line would refer to every fair woman, with the implication that the youth is free of this cyclical curse, and is therefore more perfect. 9. But thy eternal summer shall not fade, Referring forwards to the eternity promised by the ever living poet in the next few lines, through his verse. 10. Nor lose possession of that fair thou ow'st, Nor shall it (your eternal summer) lose its hold on that beauty which you so richly possess. ow'st = ownest, possess. By metonymy we understand 'nor shall you lose any of your beauty'.

11. Nor shall death brag thou wander'st in his shade, Several half echoes here. The biblical ones are probably 'Oh death where is thy sting? Or grave thy victory?' implying that death normally boasts of his conquests over life. And Psalms 23.3.: 'Yea though I walk through the valley of the shadow of death I will fear no evil ' In classical literature the shades flitted helplessly in the underworld like gibbering ghosts. Shakespeare would have been familiar with this through Virgil's account of Aeneas' descent into the underworld in Aeneid Bk. VI.

12. When in eternal lines to time thou grow'st, in eternal lines = in the undying lines of my verse. Perhaps with a reference to progeny, and lines of descent, but it seems that the procreation theme has already been abandoned. to time thou grow'st - you keep pace with time, you grow as time grows. 13. So long as men can breathe, or eyes can see, For as long as humans live and breathe upon the earth, for as long as there are seeing eyes on the eart. 14. So long lives this, and this gives life to thee. That is how long these verses will live, celebrating you, and continually renewing your life. But one is left with a slight residual feeling that perhaps the youth's beauty will last no longer than a summer's day, despite the poet's proud boast. 这是逐句赏析中文版：以莎氏十四行诗第18首为例，以往从未有人指出过它的缺点，但笔者根据教学实践得来的体会，认为它至少有两大缺点，一是在音韵方面，其韵脚、头韵和韵格均不同程度的破坏了诗歌的音美和形美；二是某些比喻和描述的平淡或离奇破坏了诗歌的意美。一、音韵参差，破坏了音美和形美全诗的基本格律是五音步抑扬格（iambic pentameter），包括三个四行组（quatrain）和一个对偶句(couplet)，采用典型的莎氏十四行的韵式，即abab cdcd efef gg。但本诗音韵并不十分齐整。在韵脚（end rhyme）方面，第二行的temperate与第四行的date押韵，但两个词的重音位置却不同，这一韵就既非阳韵（masculine rhyme）也非阴韵（feminine rhyme），显得不伦不类，与其它严整的韵对比，这一韵念起来令人颇感突兀，破坏了诗歌的音韵美。头韵（alliteration）方面，第六和第七行都以And 起头，形成头韵，但这两个并列的简单陈述句从意义上看，造成了语意在同一水平上徘徊而不是递进，而且用相同的And起头使两句不仅在语意也在形式上显得拖沓而无变化，破坏了诗歌的音韵美和形式美。韵格(meter)方面，五音步抑扬格的诗歌是常有破格的，特别是

在诗歌首行的第一个音步，经常是前重音后轻音。适当的破格可使诗歌免于呆板，增加变化，使音韵更显其美。但过多的破格就会打乱诗歌的格式，使其音律显得零碎，给诗歌带来负面影响，本诗即是如此。第一行“Shall I compare thee to a summer’s day?”中的“thee to”是无法按轻重音的顺序来念的，第二行“Thou art more lovely and more temperate”中的两个more是强调，要念重音，因此这一行的韵格就不是抑扬格了。第六行“And often is his gold complexion dimm’d”中前两个音步的轻重音位置是模糊的。第十行“Nor lose possession of that fair thou owest”中的第一个音步可以看作是破格，第十一行“Nor shall Death brag thou wander’st in his shade”中的“Nor shall Death brag”重音和轻音顺序应是“重轻重重”，也不是抑扬格。可见，本诗因为破格过多，格律形式有点混乱，诗歌齐整的音韵美受到了损害。实际上，学生也经常反映这首诗歌读起来有些地方很拗口，主要就是因为韵律破格太多所致。

二、比喻和描述有时平淡或离奇，破坏意美诗歌之美，不仅体现在音美和形美上，而且还有语意层面的美。通过语法、词汇或使用比喻等，可以建构诗歌的意美。本诗中有美丽的语言，如“darling buds of May”（五月的嫩蕊）、“eternal summer”（长夏）、“thou wander’st in his shade”（在他的暗影里蹉跎），但也有平常的比喻和描述，如诗中将“你”比喻为“夏季”，把太阳比成“天上的眼睛”，有“金色的面容”，这当然不是平淡的描述，但至少也不是新鲜的。而说死神能“夸口”，这种拟人的手法多少有些平淡了。诗中又说夏天有“租期”，租期又“太短”，则令人感到有些陌生，难有美感了。时光匆匆是人人皆知的常识，诗中用复杂的表述来说明浅显的道理，很难令人感到亲切，这样的比喻并未达到增强表现力的效果。这种将简单复杂化从而使人产生隔膜的例子还有“nature’s changing course untrimm’d ”以及“that fair thou owest”。而“And every fair from fair”则让一般读者感到很抽象，难以理解。“So long as men can b reathe or eyes can see”也是一句很平常的散文句。

莎士比亚十四行诗第十八首赏析

莎士比亚十四行诗第十八首赏析 摘要：莎士比亚是英国文学史上泰斗级人物。他创作的的154首十四行一向为时人推崇。十四行诗达到了登峰造极的程度，成为英诗史上璀璨的明珠。这理所要赏析的是莎翁十四行诗的第十八首，其热烈的情怀，精致的措辞和美妙的比喻，，不知令多少学者和诗人叹服，赏析文字者莫不称颂其妙。 关键词：莎士比亚十四行诗第18首 诗人一开头就把他的爱友比作美好的“夏天”，其中“夏天”一词颇有争论，很多学者认为应该翻译成春天，但以我个人的观点，还是应该译成夏天。因为英国的夏天相当于我国的春天或春末夏初，这是一年中最美好的季节，风和日暖，枝头绿叶冒新芽，百花含苞待开放，大地充满一派生机活力，迷人可爱。开篇第一句便直入主题，用一问一答得方式毫不含蓄的点名她的美。虽然夏天如此美丽，但仍然不及她之美。作者意不在提出疑问，而是通过疑问句，引出第二句肯定的回答，恰如其分地达到赞赏的目的，诗人如此煞费，说明她的美丽不仅令他赞赏，而且还令他崇敬。这比开篇便用一陈述句更有说服力。 接着第3456句，诗人进一步解释为什么“你比它可爱也比它温婉”，那是因为“狂风”会把“五月的嫩芽摧残”，“夏天的期限”太过于短暂，阳光过于“强烈”，有时却也会被“遮掩”。这一系列的意象，为我们勾勒出一副副夏景图，引人遐想。其中不难看出，作者对这一副副图景产生的是一种怜惜之情，这时让我们不禁思考，那诗人对她的怜爱，该有多么深沉。 后接着的两句：“世上娇艳之物都会凋零，受机缘或大自然的局限”，为我们阐释这样一个哲理：世界上所有美丽的事物都会有遵循着大自然的规律，随着时间的流逝而消失。这虽为一个众所周知的事实，却令古今多少文人墨客所感叹。 接着，诗人用一个转折，说“你的长夏永远不会消逝，永不会失去迷人的光彩；不会在死神阴影中漂泊”这的用暗喻的手法，将她的美丽比作“长夏”，意为有夏天的美丽，而且比夏天更长，有取夏天之长，补夏天之短的意味。后面接着补充，他的美丽不会时间而失去光泽，永远留存。 “这诗将与你同在，只要人活着，眼睛还能看。这诗将永存，赋予你生命。”到最后，诗人转向写诗歌，说诗歌是永存的。从这里我们不难看出，诗人内心是矛盾的，他大肆笔墨去描写他的美，去高歌他的美是永存的，事实上他只是在欺骗他自己，他深知“世上娇艳之物都会凋零，受机缘或大自然的局限”，当然他的美丽也属于“世上娇艳之物”，可是诗人不愿意承认，他无法说服他自己去接受这个事实，于是他想把他的美丽长存于他的心中，但是每个人都会到死神那里报到，怎么办呢?这时，他知道了，永存的，只有诗歌，他只有将他的美丽写入诗歌，才能永恒。 本诗的主题思想为：爱和美。这首诗以夏天的意象展开了想象，我们的脑海会立即浮现出绿荫的繁茂，娇蕾的艳丽。夏日既表示诗人的友人可爱，让人感到可意，又暗指他的友人正处于年轻、精力旺盛的时期，因为夏天总是充满了生机和活力。万物在春季复苏，夏天旺盛，所以夏天是生命最旺盛的季节，诗歌前六句，诗人歌颂了诗中的主人公“你”作为美的存在，却把“夏天”、“娇蕾”和“烈日”都比下去，因为它们不够“温婉”、“太短暂”、“会被遮暗”，所以“你”的魅力远远胜于夏天。第七和第八两句指出每一种美都会转瞬即逝，禁不住风吹雨打，而第九句到第十二句指出“你”的美将永驻，连死神都望而却步，与时间同长的美才是永恒的美。因为“你”在诗歌中永恒，千百年来天地间只要有诗歌艺术的存在，诗歌和“你”就能够永生。所以“你”的美永不枯凋，这是一种生命的美，艺术的美，永驻人间。 这首诗语言优美，不仅体现在用词的精确上，而且还体现在表达方法的多变上，

莎士比亚十四行诗第18首

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 comments 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 comparison drawn between two startlingly different objects. The leading figure of the “Metaphysical School”, John Donne, makes a high use of c onceits in his poetic creation. For instance, he compares the souls of lovers to compasses. 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 complex 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 commemorate 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 compare 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 complexion 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:

莎士比亚十四行诗第八首赏析

我是否可以把你比喻成夏天？Shall I compare thee to a summer's day?虽然你比夏天更可爱更温和：Thou art more lovely and more temperate:狂风会使五月娇蕾红消香断，Rough winds do shake the darling buds of May,夏天拥有的时日也转瞬即过；And summer's lease hath all too short a date:有时天空之巨眼目光太炽热，Sometime too hot the eye of heaven shines,它金灿灿的面色也常被遮暗；And often is his gold complexion dimmed,而千芳万艳都终将凋零飘落，And every fair from fair sometime declines,被时运天道之更替剥尽红颜；By chance, or nature's changing course untrimmed: 但你永恒的夏天将没有止尽，But thy eternal summer shall not fade,你所拥有的美貌也不会消失，Nor lose possession of that fair thou ow'st,死神终难夸口你游荡于死荫，Nor shall death brag thou wander'st in his shade,当你在不朽的诗中永葆盛时；When in eternal lines to time thou grow'st,只要有人类生存，或人有眼睛，So long as men can breathe, or eyes can see,我的诗就会流传并赋予你生命。So long lives this, and this gives life to thee.注：第11行语出《旧约?诗篇》第23篇第4节：“虽然我穿行于死荫之幽谷，但我不怕罹祸，因为你与我同在……”英文赏析：This is one of the most famous of all the sonnets, justifiably so. But it would be a mistake to take it entirely in isolation, for it links in with so many of the other sonnets through the themes of the descriptive power of verse; the ability of the poet to depict the fair youth adequately, or not; and the immortality conveyed through being hymned in these 'eternal lines'. It is noticeable that here the poet is full of confidence that his verse will live as long as there are people drawing breath upon the earth, whereas later he apologises for his poor wit and his humble lines which are inadequate to encompass all the youth's excellence. Now, perhaps in the early days of his love, there is no such self-doubt and the eternal summer of the youth is preserved forever in the poet's lines. The poem also 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, 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 comparison。这是整体赏析 1. Shall I compare thee to a summer's day? This is taken usually to mean 'What if I were to compare thee etc?' The stock comparisons of the loved one to all the beauteous things in nature hover in the background throughout. One also remembers Wordsworth's lines: We'll talk of sunshine and of song,And summer days when we were young, Sweet childish days which were as longAs twenty days are now.Such reminiscences are indeed anachronistic, but with the recurrence of words such as 'summer', 'days', 'song', 'sweet', it is not difficult to see the permeating influence of the Sonnets on Wordsworth's verse. 2. Thou art more lovely and more temperate: The youth's beauty is more perfect than the beauty of a summer day. more temperate - more gentle, more restrained, whereas the summer's day might have violent excesses in store, such as are about to be described. 3. Rough winds do shake the darling buds of May, May was a summer month in Shakespeare's time, because the calendar in use lagged behind the true sidereal calendar by at least a fortnight. darling buds of May - the beautiful, much loved buds of the early summer; favourite flowers. 4. And summer's lease hath all too short a date: Legal terminology. The summer holds a lease on part of the year, but the lease is too short, and has an early termination (date). 5. Sometime too hot the eye of heaven shines, Sometime = on occasion, sometimes; the eye of heaven = the sun. 6. And often is his gold complexion dimmed, his gold complexion = his (the sun's) golden face. It would be dimmed by clouds and on overcast days

莎士比亚十四行诗

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 compare 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 complexion 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，

莎士比亚十四行诗浅析

赏析莎士比亚十四行诗第146首 提示： 1.这个作业不是单纯地解决“写什么”的问题，而是通过分析“怎样写” 来达到对“写什么”的揭示。即结合诗歌多种艺术技巧的运用来分析其 主题思想，不要仅就主题谈主题和随意发挥地谈感想。注意以下方面： 2.分析意象的运用及其对思想主题的表达，注意意象的特点，思考这些意 象是否最有效地表达了主题。 3.分析诗歌的言说方式。谁在说、对谁说、怎样说（包括语气与句式），这 些都值得注意，并考虑其表意效果。 4.注意诗歌的表意结构，注意诗歌情感表达的层次关系。 5.英语好的同学可以分析原诗的词语运用。 6.可结合文化、哲学、宗教思想背景评价诗歌的主题。 十四行诗第146首 莎士比亚 可怜的灵魂，我这有罪身躯的中心， 你被浓妆艳服、这些你所嫌恶的力量所包裹； 你为何暗中憔悴，忍受着饥馑， 却把外壁妆得如此耀眼堂皇？ 这住所租期极短，又临近颓败倾坍， 难道还值得你这样铺张阔绰？ 是否要让蛆虫来享受这丰美的筵席， 把它吃个精光？这才算是肉体应有的归宿？ 靠你的奴仆的损耗来度日吧，灵魂， 让他消瘦，以便增加你的贮藏； 拿无聊的时日去兑换神圣的永恒； 让内心得滋养，别管外表堂皇： 这样，你就能吃掉吃人的死神， 而死神一死，死亡就不会再发生。

THE SONNETS NO.146 William Shakespeare Poor soul, the centre of my sinful earth, ［Fool'd by］these rebel powers that thee array. Why dost thou pine within and suffer dearth, Painting thy outward walls so costly gay? Why so large cost, having so short a lease, Dost thou upon thy fading mansion spend? Shall worms, inheritors of this excess, Eat up thy charge? is this thy body's end? Then soul, live thou upon thy servant's loss, And let that pine to aggravate thy store. Buy terms divine in selling hours of dross, Within be fed, without be rich no more: So shall thou feed on Death, that feeds on men, And Death once dead, there's no more dying then 说明：第二行的［Fool'd by］these rebel powers that thee array原为My sinful earth these rebel powers array，这样My sinful earth显然重复。对此，注家持见各异。马隆（Malone）和克雷格（Craig）都认为显系误排，改为Fool‘d by。但也有人认为这有篡改之嫌，强调诗歌中虽有重复一病，但也应具体而论，不应一概否定。

1莎士比亚十四行诗文献综述

莎士比亚十四行诗文献综述 莎士比亚是英国文艺复兴时期最伟大的诗人、剧作家。他在世界文坛上享有极高的声誉。他的作品让全世界的读者叹为观止。他的十四行诗更是精妙绝伦，影响了一代又一代的文人墨客。读十四行诗，我们不仅感受其语言的优美，还能促动心灵，捕捉灵魂，让人沉醉。对莎士比亚的作品的评论从18世纪开始直到今天，我们看到了时代的变迁，评论家或褒或贬的评论给学术界提供了丰富的参考资料。 在诗人世界里，莎士比亚是一位大家，他是欧洲文艺复兴时期的巨擘，他不仅以他的剧作享有盛名，他的诗作在文学历史上也有极高的地位，莎士比亚的诗感情丰富，思想深邃，讴歌这着爱情友情，和人类的伟大创造，拥有独特的魅力。 从十四行诗诞生开始，就受到了人们的广泛关注。 十四行诗又名商籁体，是欧洲的一种抒情诗体，原兴起于意大利，16世纪上半叶传入英国。据说，将其引进的是意大利著名十四行诗人彼拉特克的两位模仿者怀阿特和萨利。但是他二人都未能将这一诗体发扬光大，只来得及指点一下方向便不幸夭折了。怀阿特在伦敦塔里被关押了5年，获释后很快就去世了；萨利则死于断头台下。十四行诗的真正繁荣是在16世纪90年代，它是随着英国文艺复兴运动的高涨而达到高峰的。当时，英国诗人们十分喜欢这种诗体，因为它多采取连续性的组诗形式，紧凑集中，格律严谨。尤其是锡德尼德《阿斯特罗诽尔和斯黛拉》刊行问世之后，十四行诗体突然风行一时，成为英国最为流行的诗歌形式。当时追逐这种文学时尚的人很多，在1592年至1597年这5年间，英国共发表了2500多首十四行诗，这一时期写出但没有发表的诗歌数目简直是个天文数字。 莎士比亚的十四行诗之所以吸引了古往今来的众多读者，主要原因是因为其诗的“甜蜜”，即它们用悦耳动听的语言音韵赞颂了世间最为美好的情感——友谊和爱情。诗集主要涉及三个人物：诗人、“年轻朋友”和“黑肤女郎”。154首诗大体分为两部分，第一部分从第127首至第152首，是献给“黑肤女郎”的。最

William Shakespeare莎士比亚代表诗歌翻译及赏析

2011—2012第一学期 实践教学

William Shakespeare William Shakespeare (26 April 1564- 23 April 1616) was an English poet and playwright. He was widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. His surviving works, including some collaboration, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the famous works. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the 19th century. In the 20th century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed and reinterpreted in diverse cultural and political contexts throughout the world. （Sonnet1 和sonnet5的相关资料由张文瑞提供） Sonnet 1

莎士比亚十四行诗第十八首的英文评论和赏析[珍藏版】

莎士比亚十四行诗第十八首的英文评论和赏析 18 18 我是否可以把你比喻成夏天？Shall I compare thee to a summer's day? 虽然你比夏天更可爱更温和：Thou art more lovely and more temperate: 狂风会使五月娇蕾红消香断，Rough winds do shake the darling buds of May, 夏天拥有的时日也转瞬即过；And summer's lease hath all too short a date: 有时天空之巨眼目光太炽热，Sometime too hot the eye of heaven shines, 它金灿灿的面色也常被遮暗；And often is his gold complexion dimmed, 而千芳万艳都终将凋零飘落，And every fair from fair sometime declines, 被时运天道之更替剥尽红颜；By chance, or nature's changing course untrimmed: 但你永恒的夏天将没有止尽，But thy eternal summer shall not fade, 你所拥有的美貌也不会消失，Nor lose possession of that fair thou ow'st, 死神终难夸口你游荡于死荫，Nor shall death brag thou wander'st in his shade, 当你在不朽的诗中永葆盛时；When in eternal lines to time thou grow'st, 只要有人类生存，或人有眼睛，So long as men can breathe, or eyes can see, 我的诗就会流传并赋予你生命。So long lives this, and this gives life to thee.

莎士比亚十四行诗概述-上海译国译民

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莎士比亚十四行诗的结构及意象特征 曹润宇王莹 一、简介 本文以国内针对莎士比亚十四行诗的赏析、评论文本为研究对象，首先从全局出发，对莎士比亚十四行诗中的结构和意象进行研究。对莎士比亚十四行诗的研究首先体现在对诗作的结构和意象的研究上。莎士比亚十四行诗中的结构并非全是一成不变的4－4－4－2形式，而是多样化的：诗中的意象具有时代性、谚语性、中心性、系列性和矛盾性等特点。除此之外，尝试对莎士比亚十四行诗中的个别作品进行诠释和评析也是本文的重心之一。 二、文献回顾 在国内，目前对莎士比亚十四行诗的研究相对来说滞后于对莎士比亚戏剧的研究。 国内的研究主要分为四种情况：第一种是对诗作的赏析，主要分为两类：诗作的单篇赏析和译文后附加的简要分析。前者散见于各种杂志刊物。这一类文章总体来说涉及的诗作不多，而且集中在少数几首在国内比较普及的诗作，比如第18首、29首、116首等。后者如1962年上海文艺出版社出版的屠岸译《莎士比亚十四行诗集》。在大部分译文后面，屠岸先生就诗歌的内容作了一小段简要译解。四十多年过去了，这些解释现在看来显得相对简略和单薄。另外就是1995年北京外文出版社出版的石宗山和崔健编著的《友谊与爱情：莎士比亚十四行诗欣赏》。这本书选取了莎士比亚十四行诗集中部分诗作的译文，并附加了简短的欣赏。 第二种是对诗作的研究，分为单篇的学术论文和专门著作。学术论文散见于各种学术期刊，而专门的著作目前国内只有一本，即罗益民所著英文版《时间的镰刀》。（成都：四川辞书出版社，2004）此书主要集中于对莎士比亚十四行诗中的时间主题进行了研究。 第三种是对诗作的注释。首先是各家在选编英诗选集的时候，选取少数几首莎士比亚十四行诗进行了注释。有的版本中还带有针对所选诗作的赏析。其次是全本注释。目前国内的全注释本不多，有：钱兆明注释的《十四行诗集》，（北京：商务印书馆，1990）此版本侧重个别单词的解释，注释整体比较简单，忽略了诗中的很多难点和要点；李明强译注的《莎士比亚十四行诗》，（昆明：云南大学出版社，2008）该版本是近年对莎士比亚十四行诗的注释最为详细全面的一部。 第四种是翻译。目前大陆所见的全译本主要有： 屠岸译《莎士比亚十四行诗集》（上海：上海文艺出版社，1962） 梁宗岱译《莎士比亚十四行诗》（成都：四川人民出版社，1983） 曹明伦译《莎士比亚十四行诗全集》（桂林：漓江出版社，1995） 辜正坤译《莎士比亚十四行诗集》（北京：北京大学出版社，1998） 梁实秋译《十四行诗》（北京：中国广播电视出版社远东图书公司，2001） 比较各个译本，会发现每个译本都有其出色的地方，但也存在着一些不当之处。除语言和诗歌形式之外，因为对于诗歌翻译来说，这两点永远都值得推敲，几乎不可能达到完美的境界。这里的不当主要指对原诗的理解，可能由于资料匮乏，产生了一些明显的误解。 三、莎士比亚十四行诗的结构特征 在十四行诗的独特形式，使其形式和内容紧密关联。莎士比亚的十四行诗不仅在选词方面，而且在结构方面也同样发挥着表达诗歌意蕴的作用。 莎士比亚写作的十四行一般遵照英式的韵脚格式。分为四节：三个四行和一组对句。前三节集中阐述一个主题，结论出现在最后发人深省的对句之中，实现逻辑推理的升华。比如第60首： 惊涛骇浪来拍岸，时光匆匆奔向前， 长江后浪推前浪，一天过了又一天。 光海诞生小生命，不知不觉长成材， 纯洁高尚美青年，世上人人都惊叹。 于是时间来捣乱，将它作品来摧残， 在他脸上刻皱纹，破坏他的娇丽颜。 谁能对抗恶时间？唯我不朽美诗篇， 直到最后审判日，我的诗歌尚流传， 风流倜傥美青年，诗歌里面舞翩跹。 本诗的结构和韵脚严格按照4－4－4－2的四部格式。各个部分循序渐进不断强化主题，情绪也逐渐加强，直至最终的对句拨云见雾，达到高潮。 在莎士比亚的154首十四行诗中，英式格式的十四行诗在数量上占据多数，此外，意大利式十四行诗的二段结构也为数不少。这种十四行诗一般是前八行铺垫主题，引出矛盾或表达渴望，利用余下的六 104

评辜正坤译莎士比亚十四行诗第129首

全国英国文学学会第九届年会（长沙）暨学术研讨会（2013.10.8—10）参会论文 评辜译莎士比亚十四行诗第129首 华中科技大学蒋坚霞 内容提要：莎士比亚十四行诗集辜正坤中译本，多年来先后陆续在海内外多家出版社出版发行；许渊冲教授著文赞美有加，且特别认为其中“第129首”“就是达到”“钱钟书先生的‘文学翻译的最高标准’”“‘化境‘的例证”。然而笔者看法截然相反。本文以此诗为例，举证分析，并结合自己的译诗指出辜译可商榷之处，以期为新世纪莎翁十四行诗的翻译提供些许参考。 关键词：莎士比亚十四行诗辜正坤翻译比较 作者简介：蒋坚霞，华中科技大学外国语学院教授，享受国务院政府特殊津贴，主要从事莎士比亚与英语诗歌翻译研究。 Abstract: Mr. Gu Zhengkun’s Chinese version of 154 Sonnets by William Shakespeare is flattered by the public as the best one among all the more than 20 published versions nowadays in China, but the author of this paper has the contrary view. Taking Sonnet CXXIX for example and offering his own alternatives as comparison, he points out that Gu’s Chinese translated text seems to have room for further discussion and deliberation. By close reading both of them, he gives examples from Gu’s version with an aim to communicate possible changes to make. In order for the readers to compare how more choices can be made in translation. Key words:Shakespeare’s sonnets Gu Zhengkun translation comparison Author:Jiang Jianxia is a professor of School of Foreign Languages, Huazhong University of Science and Technology (Wuhan 430074,China). His research interests Are Shakespeare and English poetry translation. Email: jiangjx29@https://www.sodocs.net/doc/185602015.html, 莎士比亚十四行诗集是世界诗歌百花园中的一朵奇葩，是真善美的高度统一，是英国十四行诗中的一座高峰。诗集共154首，极富浓郁的抒情色彩，它“以其优美的形式与高度的技巧，艺术地概括诗人所熟悉的世界；以其激动人、感染人的艺术魅力，引发人们的美感和美的理想，给人以美的情怀和美的享受”，“在世界文学史上，莎士比亚十四行诗集是经受得起历史考验的”。①莎翁以惊人的诗才驾驭十四行诗体，给它注入新鲜的内容，表现丰富的思想感情。诗的每一行为一轻一重的抑扬格（iambic pentameter）5音步10音节，韵脚为abab cdcd efef gg，即七次换韵，格律严谨，悦耳动听；三个韵式各自独立的四个诗句（quatrain）和两个音调铿锵、归纳全诗点明题意、起警句作用的押韵对句（couplet），按起承转合编排，前后呼应，贯通一气，逻辑严密，展现出无穷的变化；诗歌内容丰富多彩，情感浪漫炽烈，语言新颖别致，既有高雅的诗行，又有粗俗的俏皮话，还有许多富于诗意的比喻、隐喻、戏言和出色的双关语。 我国坊间现今能见到的莎士比亚十四行诗集汉译本多达近二十种。在早期译本中，梁宗岱、屠岸和梁实秋的译本较为有名；在海外华人读者中，梁实秋和菲律宾籍华人施颖洲的译本影响较大。自80年代后期以来，国内接连不断有莎士比亚十四行诗集新译本问世，唯独北大辜正坤译本《英汉对照·莎士比亚十四行诗》受到瞩目和追捧，被认为是最佳译本。“许渊冲先生曾在1990年的人民日报海外版上发表《山外青山楼外楼》一文，认同钱钟书先生的‘文学翻译的最高标准是化境’观，并引证拙译莎士比亚（第）129首，认为该译诗就是达到‘化境’的例证。”②辜译本在北京大学出版社、清华大学出版社、南京译林出版社、

细评辜正坤译莎士比亚十四行诗集

细评辜正坤译莎士比亚十四行诗集 ——为纪念莎士比亚逝世400周年而作 Sonnet I by William Shakespeare: Comment on Prof. Gu’s Translation 华中科技大学蒋坚霞 内容提要：自上世纪90年代末以来，辜正坤译《莎士比亚十四行诗集》英汉对照本先后在海内外几大知名出版社一版再版多次印行，影响极大，被认为是坊间20多种莎翁十四行诗集中的最佳译本。然而笔者看法截然相反。本文以莎士比亚十四行诗第一首为例，通过文本细读方式，客观而理性地指出辜译谬误多多，与原诗相去甚远。笔者同时展示自己的译诗与辜译对照，请读者判断究竟应该怎样准确翻译莎士比亚十四行诗。 关键词：莎士比亚十四行诗诗歌鉴赏翻译评论 作者简介：蒋坚霞，华中科技大学外国语学院教授，享受国务院政府特殊津贴。主要从事莎士比亚与英语诗歌翻译研究。 Title: Sonnet I by William Shakespeare: Comment on Prof. Gu’s Translation Abstract:Prof. Gu Zhengkun’s Chinese version of 154 Sonnets by William Shakespeare is flattered as the best one among all the published versions in China, but the author of this paper has the contrary view. Taking Sonnet I for example, the author points out that there are various m istakes in Gu’s by close reading of both the original poem and Gu’s translation. Here the author offers his own translation and asks the readers to make an objective comparison between the two and judge which is better and which is worse. Key words:Shakespeare sonnets poetry aesthetics connoisseurship and translation Author: Jiang Jianxia is professor of School of Foreign Languages , Huazhong University of Science & Technology ( Wuhan, China). His research interests are William Shakespeare and English poetry translation. Email: jiangjx29@https://www.sodocs.net/doc/185602015.html, 莎士比亚十四行诗集(Shakespearea Sonnets）是世界诗歌百花园中一朵永不凋谢的奇葩，是真善美的高度统一，“以其优美的形式与高度的技巧，艺术地概括诗人所熟悉的世界；以其激动人、感染人的艺术魅力，引发人们的美感和美的理想，给人以美的情怀和美的享受”。 ①（朱雯、张君川，1992）诗集总共154首，大部分创作于1592年至1598年之间，少数几首是1590年之前所写。每首诗分成三个韵式各自独立的四个诗句和两个押韵的对句，abab cdcd efef gg韵式。后世对诗集有多种说法：有的认为是记录诗人的真实遭遇，有的认为