莎士比亚十四行诗第十八首主题分析

我用诗歌来永葆你的靓丽青春--莎士比亚十四行诗第18首论析张晓玲【摘要】Sonnet ．18是莎士比亚十四行诗中的代表性诗篇。

该诗有着鲜明的起、承、转、合以及优美的音乐性。

头四行“起”，表明他所歌颂的年轻友人不同凡响的美；中间四行是“承”，讲岁月无情，青春难驻；后四行是“转”，宣告虽然别人的美貌难以存留，可他所爱的人却可以通过他不朽的诗篇得以永存；最后两行“合”，是对一首诗所作的小结，以富有思辨的语言总结了人类、诗歌艺术以及所歌颂对象之间的关联。

【期刊名称】《商丘师范学院学报》【年(卷),期】2014(000)004【总页数】3页(P79-81)【关键词】Sonnet .18;青春;时间;抗衡【作者】张晓玲【作者单位】商丘师范学院文学院，河南商丘476000【正文语种】中文【中图分类】I109.31一莎士比亚的《十四行诗集》大约创作于1590年至1598年之间，几百年来有关十四行诗的论著数量仅次于《哈姆莱特》。

诗歌以强烈的感情、深邃的思想、丰富的意象、优美的节奏和精妙的修辞等，在今天的莎学界引起了越来越多的兴趣和争论，而Sonnet.18则是诗集中的名篇。

整部诗集共154首，内容很复杂，往往若干首成一组，表现同一题材，在内容上既具有连贯性，又可独立成篇。

因此，在赏析Sonnet.18之前，要对诗集作全面的了解。

英国莎学家马隆和斯蒂文斯在1780年提出了“朋友说”和“黑女郎说”，即:诗集的前126首，写给一位美貌的贵族男青年(The Fair Lord);诗集的第127－152首，写给一位黑肤色女郎(The Dark Lady);最后两首、中间个别几首与故事无关。

在此之前，人们相信这些诗的大部或全部都是歌颂恋人的。

我国学者辜正坤先生则认为:“莎士比亚十四行诗的绝大部分是献给女性的，但不止一位女性;其中的一位是伊丽莎白女王;剩下的一小部分则是献给两位男朋友的，一位是伊丽莎白女王的宠臣艾塞克斯伯爵，另一位是艾塞克斯伯爵的心腹、莎士比亚的保护人南安普顿伯爵。

关于莎士比亚第十八首十四行诗中的幻想主题修辞批评摘要：本文通过分析莎士比亚十四行诗诗集中最广为流传的第十八首诗中的幻想主题，即人物、情景及行为主题，发现了两个幻想主题类型：世事无常，时光易逝的自然现实；文学作品的力量能够与时间抗衡，留住美好并使其不朽。

这两个幻想主题虽存在强烈对比，但链接两者，便可揭示修辞者旨在构建一个积极乐观的修辞视野，并尝试引领读者潜移默化地明确此态度，最终影响其行为，而后共同创建一个豁达的世界。

关键词：莎士比亚十四行诗第十八首幻想主题修辞批评一、引言英语中十四行诗（sonnet）一词来源于意大利语sonetto，意为短歌。

每首诗有音节相等的诗行。

十四行诗是13、14世纪意大利最流行的一种抒情诗体。

[1]十四行诗在艺术表现形式上包含两种，分别是意大利彼特拉克体和英国莎士比亚体。

两者存在的差异主要体现在其韵式的不同。

前者韵式为“abba，abba，cdecde”；后者韵式为“abab，cdcd，efef，gg”。

在英国文学史上，莎士比亚堪称文坛泰斗。

除去广为流传的“四大喜剧”“四大悲剧”等剧作外，十四行诗也是莎翁创作的重要组成部分。

他一生共创作154首十四行诗，按照比较流行的说法，这154首十四行诗可分为3组。

第1―126首为第一组，主要写给一位长相俊美的贵族男青年。

第二组为第127―152首，描述的是一位姿色不佳的“黑肤女郎”。

第三组，即最后两首，与前两组毫无关系，貌似将同首诗写了两遍。

[2]十四行诗韵调婉转典雅，是一种拥有严谨韵式的五步抑扬格诗体。

关于整个十四行诗的主题讨论一直备受国内外学者的广泛关注，可谓百家争鸣。

莎翁的十四行诗不同于中国古诗内敛含蓄的表达特色，相反，他追求一种炽热耀眼的表达方式，他的爱毫无掩藏。

本文通过分析莎翁十四行诗中最备受青睐的第十八首诗中的幻想主题，对比两种幻想主题类型，发现修辞者构建的修辞视野，并试图阐述修辞者如何引领读者达成共识，共建同种世界观。

18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。

诗人将抽象的概念转化成具体的形象，用可感可见的物质世界，形象生动地阐释了人文主义的命题。

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。

诗歌在形式上一改传统的意大利十四行诗四四三三体，而是采用了四四四二体：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。

诗人用形象的表达使严谨的逻辑推理变得生动有趣、曲折跌宕，最终巧妙地得出了人文主义的结论。

二十九首就是其中的一首。

这首诗热情地歌颂爱情,诗人在创作这首诗时,充分发挥了十四行诗的长处,采用了“先抑后扬”手法,层层推进,波澜起伏,道出了诗人的思想感情发展变化过程,开头四句这样写道:When ,in disgrace with Fortune and men’ eyes ,sI all alone beweep my outcast state ,And trouble deaf heaven with my bootless cries ,And look upon myself ,and curse my fate ,从这四句我们可以读出,一开始诗人悲悲切切地唱出自己的悲惨处境“in disgrace with Fortune and,men’ eyes (失去了幸福,又遭人白眼。

莎士比亚所处的英国伊莉莎白时代是爱情诗的盛世，写十四行诗更是一种时髦。

莎士比亚的十四行诗无疑是那个时代的佼佼者，其十四行诗集更是流传至今，魅力不减。

他的十四行诗一扫当时诗坛的矫柔造作、绮艳轻糜、空虚无力的风气。

据说，莎士比亚的十四行诗是献给两个人的：前126首献给一个贵族青年，后面的献给一个黑肤女郎。

这首诗是十四行诗集中的第18首，属前者。

也有人说，他的十四行诗是专业的文学创作。

当然，这些无关宏旨，诗歌本身是伟大的。

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。

诗人将抽象的概念转化成具体的形象，用可感可见的物质世界，形象生动地阐释了人文主义的命题。

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。

诗歌在形式上一改传统的意大利十四行诗四四三三体，而是采用了四四四二体：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。

诗人用形象的表达使严谨的逻辑推理变得生动有趣、曲折跌宕，最终巧妙地得出了人文主义的结论。

The Author:William Shakespeare (/ˈʃeɪkspɪər/;26 April 1564 (baptised) –23 April 1616) was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world'spre-eminent dramatist.He is often called England's national poet and the "Bard of Avon".His extant works, including some collaborations, consist of about 38 plays,154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain. 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 brought up inStratford-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. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him werewritten by others.Shakespeare produced most of his known work between 1589 and 1613.His early plays were mainly comedies and histories and these works remain regarded as some the best work produced in these genres even today. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the finest works in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime. In 1623, John Heminges and Henry Condell, two friends and fellow actors of Shakespeare, published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. It was prefaced with a poem by Ben Jonson, in which Shakespeare is hailed, presciently, as "not of an age, but for all time".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. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry".[8] 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.It is not known exactly when Shakespeare began writing, but contemporary allusions and records of performances show that several of his plays were on the London stage by 1592.[30] By then, he was sufficiently well known in London to be attacked in print by the playwright Robert Greene in his Groats-Worth of Wit:...there is an upstart Crow, beautified with our feathers, that with his Tiger's heart wrapped in a Player's hide, supposes he is as well able to bombast out a blank verse as the best of you: and being an absolute Johannes factotum, is in his own conceit the only Shake-scene in a country.Scholars differ on the exact meaning of these words,but most agree that Greene is accusing Shakespeare of reaching above his rank in trying to matchuniversity-educated writers such as Christopher Marlowe, Thomas Nashe and Greene himself (the "university wits").The italicised phrase parodying the line "Oh, tiger's heart wrapped in a woman's hide" from Shakespeare's Henry VI, Part 3, along with the pun "Shake-scene", identifies Shakespeare as Greene's target. Here Johannes Factotum—"Jack of all trades"—means a second-rate tinkerer with the work of others, rather than the more common "universal genius". Greene's attack is the earliest surviving mention of Shakespeare's career in the theatre. Biographers suggest that his career may have begun any time from the mid-1580s to just before Greene's remarks.[35] From 1594, Shakespeare's plays were performed by only the Lord Chamberlain's Men, a company owned by a group of players, including Shakespeare, that soon became the leading playing company in London.[36] After the death of Queen Elizabeth in 1603, the company was awarded a royal patent by the new king, James I, and changed its name to the King's Men.[37]In 1599, a partnership of company members built their own theatre on the south bank of the River Thames, which they called the Globe. In 1608, the partnership also took over the Blackfriars indoor theatre. Records of Shakespeare's property purchases and investments indicate that the company made him a wealthy man.[38] In 1597, he bought the second-largest house in Stratford, New Place, and in 1605, he invested in a share of the parish tithes in Stratford.[39]Some of Shakespeare's plays were published in quarto editions from 1594. By 1598, his name had become a selling point and began to appear on thetitle pages.[40] Shakespeare continued to act in his own and other plays after his success as a playwright. The 1616 edition of Ben Jonson's Works names him on the cast lists for Every Man in His Humour (1598) and Sejanus His Fall (1603).[41] The absence of his name from the 1605 cast list for Jonson's Volpone is taken by some scholars as a sign that his acting career was nearing its end.[42] The First Folio of 1623, however, lists Shakespeare as one of "the Principal Actors in all these Plays", some of which were first staged after Volpone, although we cannot know for certain which roles he played.[43] In 1610, John Davies of Hereford wrote that "good Will" played "kingly" roles.[44] In 1709, Rowe passed down a tradition that Shakespeare played the ghost of Hamlet's father.[45] Later traditions maintain that he also played Adam in As You Like It and the Chorus in Henry V,[46] though scholars doubt the sources of the information.[47] Shakespeare divided his time between London and Stratford during his career. In 1596, the year before he bought New Place as his family home in Stratford, Shakespeare was living in the parish of St. Helen's,Bishopsgate, north of the River Thames.[48][49] He moved across the river to Southwark by 1599, the year his company constructed the Globe Theatrethere.[48][50] By 1604, he had moved north of the river again, to an area north of St Paul's Cathedral with many fine houses. There he rented rooms from a French Huguenot named Christopher Mountjoy, a maker of ladies' wigs and other headgear.[51]Later years and deathRowe was the first biographer to record the tradition, repeated by Johnson, that Shakespeare retired to Stratford 'some years before his death'.[52][53] He was still working as an actor in London in 1608; in an answer to the sharers' petition in 1635 Cuthbert Burbage stated that after purchasing the lease of the Blackfriars Theatre in 1608 from Henry Evans, the King's Men 'placed men players' there, 'which were Heminges, Condell, Shakespeare, etc.'.[54] However it is perhaps relevant that the bubonic plague raged in London throughout 1609.[55][56] The London public playhouses were repeatedly closed during extended outbreaks of the plague (a total of over 60 months closure between May 1603 and February 1610),[57] which meant there was often no acting work. Retirement from all work was uncommon at that time.[58] Shakespeare continued to visit London during the years 1611–1614.[52] In 1612, he was called as a witness in Bellott v. Mountjoy, a court case concerning the marriage settlement of Mountjoy's daughter, Mary.[59] In March 1613 he bought a gatehouse in the former Blackfriars priory;[60] and from November 1614 he was in London for several weeks with his son-in-law, John Hall.[61] After 1610, Shakespeare wrote fewer plays, and none are attributed to him after 1613.[62] His last three plays were collaborations, probably with John Fletcher,[63] who succeeded him as the house playwright for the King's Men.[64]Shakespeare died on 23 April 1616, at the age of 52.[65] He died within a month of signing his will, a document which he begins by describing himself as being in “perfect health”. There is no extant contemporary source that explains how or why he died. After half a century had passed, John Ward, the vicar of Stratford, wrote in his notebook: “Shakespeare, Drayton and Ben Jonson had a merry meeting and, it seems, drank too hard, for Shakespeare died of a fever therecontracted.”[66][67] This is not impossible, for Shakespeare knew Jonson and Drayton. Of the tributes that started to come from fellow authors, one refers to his relatively early death: “We wondered, Shakespeare, that thou went’st so soon/From the world’s stage to the grave’s tiring room.”[68]He was survived by his wife and two daughters. Susanna had married a physician, John Hall, in 1607,[69] and Judith had married Thomas Quiney, a vintner, two months before Shakespeare's death.[70] Shakespeare signed his last will and testament on 25 March 1616; the following day his new son-in-law, Thomas Quiney was found guilty of fathering an illegitimate son by Margaret Wheeler,who had died during childbirth. Thomas was ordered by the church court to do public penance which would have caused much shame and embarrassment for the Shakespeare family.In his will, Shakespeare left the bulk of his large estate to his elder daughter Susanna.[72] The terms instructed that she pass it down intact to "the first son of her body".[73] The Quineys had three children, all of whom died without marrying.[74] The Halls had one child, Elizabeth, who married twice but died without children in 1670, ending Shakespeare's direct line.[75] Shakespeare's will scarcely mentions his wife, Anne, who was probably entitled to one third of his estate automatically.[76] He did make a point, however, of leaving her "my second best bed", a bequest that has led to much speculation.[77] Some scholars see the bequest as an insult to Anne, whereas others believe that the second-best bed would have been the matrimonial bed and therefore rich in significance.Shakespeare was buried in the chancel of the Holy Trinity Church two days after his death.[79] The epitaph carved into the stone slab covering his grave includes a curse against moving his bones, which was carefully avoided during restoration of the church in 2008:[80]Shakespeare has been commemorated in many statues and memorials around the world, including funeral monuments in Southwark Cathedral and Poets' Corner in Westminster Abbey..。

莎士比亚十四行诗第十八首主题分析莎士比亚十四行诗第十八首主题分析莎士比亚十四行诗第十八首“我怎么能够把你来比作夏天”目前无一例外地被英国文学教材或读本选用，如吴伟仁的《英国文学史及选读》、王佐良的《英国文学名篇选注》、丁廷森的《英国文学选读》、李公昭的《英国文学选读》、张伯香的《英国文学教程》、桂扬清和吴翔林的《英美文学选读》、何其莘的《英国文学选集》、彭家海的《新编英国文学教程》、陈嘉的《英国文学作品选读》以及张伯香为自考生编的教材《英美文学选读》等，几乎成了所有涉及英国文学的大中学课堂的必讲篇目。

本文选取并结合该诗作的两篇名家译文及莎士比亚原文，详细分析了该诗的十四行诗体裁特征以及该诗的主题。

梁宗岱译文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，或死神夸口你在他的影里漂泊，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。

梁实秋译文我可能把你和夏天相比拟？你比夏天更可爱更温和：狂风会把五月的花苞吹落地，夏天也嫌太短促，匆匆而过：有时太阳照得太热，常常又遮暗他的金色的脸；美的事物总不免要凋落，偶然的，或是随自然变化而流转。

但是你的永恒之夏不会退色；你不会失去你的俊美的仪容；死神不能夸说你在他的阴影里面走着，如果你在这不朽的诗句里获得了永生；只要人们能呼吸，眼睛能看东西，此诗就会不朽，使你永久生存下去。

莎士比亚原文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 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’stNor 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,。

莎士比亚第十八首十四行诗修辞方法研究
莎士比亚第十八首十四行诗《征服心中的安宁》是一首充满了哲理和思想的作品，它展现了莎士比亚对征服一个人心中的安宁的意图。

从修辞方法来看，这首诗使用了多种修辞方式。

首先，它采用了比喻修辞。

在诗歌中，莎士比亚把这种内心上的平静比喻成一座“无垠之家”，说明痛苦和焦虑时常萦绕，但“安宁”就像一个安逸的庭院，有它存在，才能战胜这种痛苦。

此外，他还运用了人物比喻，把“安宁”比喻成一位女子，使得整个诗歌更加动人。

其次，莎士比亚还运用了拟人手法。

他把安宁比喻成一个美丽的女子，用精致的文字来形
容她的面容、魅力、心情等，让人仿佛可以真切地感受到它的存在。

此外，还使用了讽刺和拟声等修辞手法，使得诗歌更为生动、优美。

最后，莎士比亚还使用了反复修辞，不断重复“安宁”这一词语，使这种心灵安宁的感受更
深刻，也更加凸显了诗歌的思想。

总之，诗歌《征服心中的安宁》是一首艺术精湛、安宁信息浓厚的作品，其中莎士比亚运用的修辞方式更是有亮点，包括比喻、拟人、反复等，让诗歌的思想更凸显，也让整首诗歌更
具有魅力。

揭阳职业技术学院毕业论文（设计）题目：解读莎士比亚十四行诗第十八首学生姓名朱玉娜指导教师査爱霞系（部）外语系专业五年制英语教育班级 053学号 *********提交日期2010年 3月 24 日答辩日期 2010 年月日2010 年 3 月 24 日解读莎士比亚十四行诗第十八首论文提纲前言一、十四行诗第十八首简述莎士比亚的十四行诗通常有五个音步，每个音步有一轻一重两个音节（抑扬格）。

二、“夏日”意象在这首诗中诗人没有将友人比作鲜花翠草、和风细雨等静态实物，也没有将友人的五官、肢体逐个作以细致的比喻，然后堆砌成章，却匠心独运地在读者面前展现了一个包罗万象的夏日（summer’s day）意象。

三、人文主题诗的主题是表达“唯有文学可以与时间抗衡；文学既是人所创造的业绩，因此这里又是宣告了人的伟大与不朽”。

人本主义是莎士比亚的最高理想，也是人类永远的追求。

结束语解读莎士比亚十四行诗第十八首朱玉娜（揭阳职业技术学院外语系五年制英语教育053班）摘要：莎士比亚的十四行诗第十八首是作者艺术造诣和深邃思想的结晶。

本文着重分析贯穿于该诗中的“夏日”意象，笔者认为作者通过解构这一意象热情真挚地赞颂美，赞颂文学，归根结底是在赞颂人的智慧、人的伟大与不朽，从而清晰地表达了其深刻的人文主题。

关键词：莎士比亚；第18首十四行诗；意象；主题前言世界文坛巨擘莎士比亚（William Shakespeare)在其22年的文学创作生涯中，为世人奉献了37部戏剧，154首十四行诗。

其十四行诗则以其雅俗共赏的语言、真挚动人的情感和深邃悠远的思想，为人们所耳熟能详。

十四行诗中的第18首是莎氏十四行诗中最广为人传诵的一首，评论众多。

笔者认为该诗通过“夏日”意象表达其深刻的人文主题。

一、十四行诗第十八首简述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 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.[1]参考译文：我能否把你比做夏季的一天？你可是更加可爱，更加温婉；狂风会吹乱五月的娇花嫩瓣，夏季出租的日期又未免太短：有时候苍天的巨眼照得灼热，他金光闪耀的圣颜也会被遮暗；每一样美呀，总会失去美而凋落，被时机或者自然的代谢所摧残；但是你永恒的夏天决不会凋枯，你永远不会失去你美的形象；死神夸不着你在他影子里踟蹰，你将在不朽的诗中与时间同长；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。

莎士比亚sonnet182966中文翻译及评析18莎士比亚地十四行诗总体上表现了一个思想：爱征服一切.他地诗充分肯定了人地价值.赞颂了人地尊严.个人地理性作用.诗人将抽象地概念转化成具体地形象,用可感可见地物质世界,形象生动地阐释了人文主义地命题.诗地开头将“你”和夏天相比较.自然界地夏天正处在绿地世界中,万物繁茂地生长着,繁阴遮地,是自然界地生命最昌盛地时刻.那醉人地绿与鲜艳地花一道,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.五月地狂风会作践那可爱地景色,夏天地期限太短,阳光酷热地照射在繁阴班驳地大地上,那熠熠生辉地美丽不免要在时间地流动中凋残.这自然界最美地季节和“你”相比也要逊色不少.而“你”能克服这些自然界地不足.“你”在最灿烂地季节不会凋谢,甚至“你”美地任何东西都不会有所损失.“你”是人世地永恒,“你”会让死神地黑影在遥远地地方停留,任由死神地夸口也不会死去.“你”是什么？“你”与人类同在,你在时间地长河里不朽.那人类精神地精华——诗,是你地形体吗？或者,你就是诗地精神,就是人类地灵魂.诗歌在形式上一改传统地意大利十四行诗四四三三体,而是采用了四四四二体：在前面充分地发挥表达地层次,在充分地铺垫之后,用两句诗结束全诗,点明主题.全诗用新颖巧妙地比喻,华美而恰当地修饰使人物形象鲜明.生气鲜活.诗人用形象地表达使严谨地逻辑推理变得生动有趣.曲折跌宕,最终巧妙地得出了人文主义地结论.二十九首就是其中地一首.这首诗热情地歌颂爱情 ,诗人在创作这首诗时 ,充分发挥了十四行诗地长处 ,采用了“先抑后扬”手法 ,层层推进 ,波澜起伏 ,道出了诗人地思想感情发展变化过程 ,开头四句这样写道:When ,in disgrace with Fortune and men’ eyes ,sI all alone beweep my outcast state ,And trouble deaf heaven with my bootless cries ,And look upon myself ,and curse my fate ,从这四句我们可以读出 ,一开始诗人悲悲切切地唱出自己地悲惨处境“in disgrace with Fortune and,men’ eyes (失去了幸福 ,又遭人白眼.”,慨叹自s )己生不逢时 ,身世凋零.幸福已离他远去 ,即便是“cries (哭喊)”也是“bootless (无用地)”,不过是“trouble(麻烦)”“deafheaven(聋耳地苍天)”,真是叫天天不应 ,叫地地不灵 ,诗人只有“curse my fate(悲叹时运不济)”.接着四句诗人更进一步吐露自己心中地自卑:Wishing me like to one more rich in hope ,Featured like him ,like him with friends possessed , Desiring this man’s art and that man’s scope ,With what I most enjoy contented least ,诗人羡慕人家“rich in hope(前程远大)”“Featured , (一表人才) ”“ , with friends possessed (盛友如云) ”“Desiring(渴望有)”别人地“art (权威)”“scope (才 , 华)”.同这许多人相比 ,诗人觉得自惭形秽 ,痛苦悲伤 ,感觉自己一无是处 ,尤其地看轻自己“With ,what I most enjoy contented least (于自己平素最得意地[指吟诗] ,倒最不满意)”,这四句诗真是把诗人地怨天尤人 ,痛苦万状地情绪推到了极点.可是接着四句 ,诗人笔锋一转 ,整个诗地情调骤然改变 ,Yet in these thoughts myself almost despising ,Haply I think on thee ,and then my state ,Like to the lark at break of day arisingFrom sullen earth ,sings hymns at heaven’ gate ;s从这四句可以看出 ,诗人因为“think on thee (想到了你)”而突然间精神振奋 ,神采飞扬 ,先前所有地忧郁一扫而空 ,刹那间喜上心头 ,唱出了喜悦地欢歌“Like to the lark at break of day arising/ From ,sullen earth ,sings hymns at heaven’s gate ; (顿时像破晓地云雀从阴郁地大地冲上了天门 ,歌唱起赞美诗来.”“thee”就是“爱”,是“thee”扭转了诗人心) ,中地乾坤 ,最后 ,诗人极其豪迈地唱到:For thy sweet love rememb ’red such wealthbrings ,That then I scorn to change my state with kings.这两个警句 ,画龙点睛地总结了全篇 ,也是诗人一贯地作法 ,与开头形成鲜明地对照.从而可以看出 ,诗人作这首诗经历了从消极到振奋 ,从忧郁到欢喜 ,从自卑到自豪 ,这一系列地变化 ,全都是因为“thee”,也是“爱”给了诗人强大地鼓舞力量 ,给了诗人莫大地勇气 ,信心和希望 ,使诗人放弃自卑“That then I scorn to change my state with kings. ,(教我不屑把处境跟帝王对调.”这也正是本诗地 )主题.“sweet love(甜爱)”究竟为何物 ? 为什么诗人一想到“thee”地“sweet love”,就会阴郁一扫而空 ,心境顿时明朗开阔.作者以为“sweet love”就是崇高地友谊 ,坚贞地爱情 ,在困难地时候 ,他们会给人鼓舞地力量.莎士比亚十四行诗第十八首Sonnet 18 铁冰译文1 Shall I compare thee to a summer's day? 我该不该把你比作怡人地夏天？2 Thou art more lovely and more temperate: 你却比她更加可爱更加温情.3 Rough winds do shake the darling buds of May, 五月地娇蕊总是被狂风吹断,4 And summer's lease hath all too short a date: 夏天也只是一道短暂地美景.5 Sometime too hot the eye of heaven shines, 苍穹地目光有时会过于灼热,6 And often is his gold complexion dimm'd; 那金色地脸庞也常黯淡无光.7 And every fair from fair sometime declines, 人间一切瑰丽终将失去秀色,8 By chance, or nature's changing course, untrimm'd; 湮没于不测风云和世事沧桑.9 But thy eternal summer shall not fade, 但是,你常青地夏季永不消逝,10 Nor lose possession of that fair thou owest; 你拥有地美丽也将永不折损,11 Nor shall Death brag thou wander'st in his shade, 或许死神地阴影会笼罩着你,12 When in eternal lines to time thou growest; 你却和这不朽地诗句千古长存.13 So long as men can breathe, or eyes can see, 只要人类还在呼吸.眼睛还在欣赏,14 So long lives this, and this gives life to thee. 我地诗就会活着,令你生命绽放.译注：原诗每行10个音节,非常整齐.前人翻译时总喜欢使译文每行保持字数相同,这其实是一种作茧自缚,强求形式上地绝对整齐,往往限制了内容地完美.前人地译文常常有凑韵（为了押韵,用词勉强）.不流畅和用词搭配不当地毛病,其原因在此.更重要地是,英文原诗有着非常讲究地格律,每行都含有相同数量地重音节和轻音节,朗诵时每行所用时间基本一致；而对每行字数相同地中译文进行朗诵时,每行所用地时间则不尽相同,因为每行译文中所含有地虚词（如“地”.“地”.“了”,朗读时较轻声.短促）个数未必相同.因此,笔者地译文不强求每行字数相同,这样便将内容从形式中解放出来,得以更好地协调,且更利于押韵和用词地搭配.此诗地翻译中,值得注意地几处是：第3行：darling buds of May有人译为“五月宠爱地嫩蕊”,其实darling是“可爱地”之意,所以还是译为“五月地娇蕊”更好.第4行：lease前人经常译成“租赁地期限”,令人费解,应该是“持续地时间”之意.此行地意思是“夏天持续地时间实在太短”,这样地陈述缺乏诗味.笔者将该行意译为“夏天也只是一道极短地美景”,化用了中文地习语“好景不长”,不但忠实原文,颇有诗味,而且于与第二行译文押韵自然.第5行：一般认为该行中地eye of heaven是“太阳”地妙喻,因此前人常将此行译为“有时候天空地眼睛照得太灼热（或酷烈）”,这样保留了“眼睛”地意向,似乎很好,但从字面上看,“眼睛照”.“照得太热”这样地搭配在中文里是不太通顺地（中文更习惯说“晒得太热”）,如果在译文中将“天空地眼睛”这几个字加上引号,可解决“眼睛热”搭配不当地问题,但无法解决“照得热”搭配不当地问题.笔者认为：eye除了“眼睛”之意,还有“眼神.目光”之意,shine除了“照耀”之意,还有“发光”之意,鉴此,不妨将此行译为“苍穹地目光有时过于灼热”,以“目光”译eye和shine,可谓一举两得,而且“灼热地目光”是中文里常用地搭配.第7－8行：这两句是说世上很多美好地东西,终究难免因遭受意外事故地摧残或在世事变迁中变得“物是人非”而不再美丽.前人地翻译喜将chance（在此应为“意外”之意）译为“机缘”,后者在中文里含有褒义,将其与“摧残”一词进行搭配,是不恰当地.“机缘”往往是“成全”,而非“摧残”.笔者将其译为“不测风云”,将nature's changing course（自然界地变化过程）译为“世事沧桑”,富有诗味.第11行：此行地意思是“死神不能夸耀说你在他地阴影里徘徊”,这样地表达很有诗味,但字数太多.笔者认为,“死神不能夸耀”地原因是：尽管根据自然规律“你”有朝一日会被死神地阴影所笼罩,但“你”将在我地诗句中获得永生,死神仅仅能能让“你”肉体毁灭,这没什么值得夸耀地.翻译时,我舍弃了“夸耀”.“徘徊”等意象,浅化为“或许死神地阴影会笼罩着你”（增加了“笼罩”地意象）,足以达意,也不失忠实.根据著名翻译家许渊冲先生地理论,这是“依其精而异其粗”地译法.第13－14行：笔者将see译为“欣赏”,将this译为“我地诗”,都是对原文地“深化”,比前人译为“看清”.“此诗”更能表现出作者地自信——坚信自己地诗会被千古传诵并具有巨大地威力,能令“你”在诗句中永生.与前人地译文一较高下（1）梁宗岱译文铁冰点评1 我怎么能够把你来比作夏天？2 你不独比它可爱也比它温婉：3 狂风把五月宠爱地嫩蕊作践, “嫩蕊”似乎不应由“五月”来“宠爱”4 夏天出赁地期限又未免太短： lease有“租赁期”.“持续期”等义,此处应取后者5 天上地眼睛有时照得太酷烈, “眼睛…照”搭配不佳,shine可作“发光”解6 它那炳耀地金颜又常遭掩蔽：“炳耀”一词太文,且可有可无7 被机缘或无常地天道所摧折, “机缘”含褒义,有悖于“摧折”一词地感情色彩8 没有芳艳不终于雕残或销毁. “没有…不终于”不符合中文行文习惯,且很拗口9 但是你地长夏永远不会凋落, “长夏凋落”搭配不佳10 也不会损失你这皎洁地红芳, “皎洁”是白色,与“红芳”搭配,矛盾11 或死神夸口你在他影里漂泊, 此句句意与上下文脱节12 当你在不朽地诗里与时同长. “与时同长”不符合中文行文习惯13 只要一天有人类,或人有眼睛, or译为“或”,很生硬14 这诗将长存,并且赐给你生命.注：梁宗岱（1903－1983）,我国著名诗人.翻译家, 精通英.法.德语,所译莎氏十四行诗享誉甚高.（2）陈黎译文1 我该把你比拟做夏天吗？2 你比夏天更可爱,更温婉：3 狂风会把五月地娇蕊吹落,4 夏天出租地期限又太短暂：“出租”为误译5 有时天上地眼睛照得太热, “眼睛照”.“照得热”搭配不佳6 他金色地面容常常变阴暗；7 一切美地事物总不免凋败, 此句陈述平淡,无诗味8 被机缘或自然地代谢摧残：“机缘”地感情色彩不当9 但你永恒地夏天不会褪色,10 不会失去你所拥有地美善,11 死神也不能夸说你在他阴影里徘徊, 11.12两行条件状语后置,不符合中文习惯12 当你在永恒地诗行里与时间同久长：“与时间同久长”不顺口13 只要人们能呼吸或眼睛看得清, “或”字大煞风景14 此诗将永存,并且赐给你生命.（3）“酒城译痴”地译文1 我怎能把你比作宜人地夏天？2 你比它更加可爱也更加温婉：3 狂风把五月钟爱地蓓蕾摧残,4 夏天延续地时间未免太短暂：第1－4行译得很好5 苍穹地眼睛有时照得太灼热, “苍穹地眼睛”应加引号6 金色地容颜常变得朦胧暗淡：谁地“金色容颜”？7 遭受机缘或自然变化地摧折；“机缘”用词不当8 美好地事物终究会不免雕残. “会”和“不免”语义重复9 但是你永恒地夏天不会衰败,10 你拥有地美丽会永伴你身旁, 人死后不再有身体,且美丽永存也不仅限于身旁11 死神不夸耀你在他影里徘徊, “不夸耀”和“不能夸耀”是两回事12 当你在不朽诗行里与时同长. “与时同长”不符合中文行文习惯13 只要人类能呼吸眼睛能看清,14 此诗万世长存并赐予你生命.。