对莎士比亚SONNET 18的主位推进模式分析

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。

主位结构下莎士比亚《Sonnet 18》及其中译本分析作者：乔瑒来源：《智富时代》2018年第06期【摘要】本文以系统功能语言学的主位结构为依据，对比分析《Sonnet 18》及其三个中译本，研究其主位和主位推进模式，探索主位结构在诗歌英译汉中的应用。

【关键词】主位结构；《Sonnet 18》；中译本一、引言文学巨匠莎士比亚为世人留下了瑰丽的十四行诗。

其中，第十八首《Sonnet 18》堪称经典，深受中国读者喜爱，其中译本多达数十版。

系统功能语言中的主位结构有助于人们理解和分析语篇。

本文以《Sonnet 18》以及梁宗岱、梁实秋和辜正坤三位学者翻译的中译本为研究对象，从主位结构和主位推进模式入手展开对比分析，以期探索主位结构在诗歌英译汉中的应用。

二、主位结构一个小句，可被切分为主位和述位。

主位常位于句首，但不等同于主语，可以是位于句首的宾语、状语等。

述位是主位之外的其他成分。

主位所表达的信息多为已知信息，述位多表达新信息。

韩礼德将主位分为“单项主位”、“复项主位”和“句项主位”。

单项主位表现为名词词组、副词词组或介词短语等只包含概念成分的主位。

复项主位表现为语篇成分、人际成分和概念成分构成的多种语义成分。

其中，概念成分为必须，语篇成分和人际成出现一个即可，不一定同时出现。

句项主位是表现为小句的、只包含概念成分的主位。

因此，可以将句项主位视为单项主位。

（胡壮麟，朱永生，张德禄，李站子 164-166）常见的主位推进模式有四种：放射型、聚合型、阶梯型和交叉型。

放射型主位推进模式中，几个句子共享一个主位，述位各不相同。

聚合型主位推进模式中，几个句子共享一个述位，主位各不相同。

阶梯型主位推进模式中，一个句子的述位充当下一个句子中的主位。

交叉型主位推进模式中，相邻两个句子的主位和述位有交叉。

三、《Sonnet 18》及其中译本对比分析《Sonnet 18》共14行，为了方便后续分析，将全诗分为了10个小句。

莎士比亚的第18首十四行诗的英文赏析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。

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。

Sonnet 18, often alternately titled Shall I compare thee to a summer's day?, is one of the best-known of 154 sonnets written by the English playwright and poet William Shakespeare. Part of the Fair Y outh sequence (which comprises sonnets 1-126 in the accepted numbering stemming from the first edition in 1609), it is the first of the cycle after the opening sequence now described as the Procreation sonnets. Most scholars now agree that the original subject of the poem, the beloved to whom the poet is writing, is a male, though the poem is commonly used to describe a woman.In the sonnet, the poet compares his beloved to the summer season, and argues that his beloved is better. The poet also states that his beloved will live on forever through the words of the poem. Scholars have found parallels within the poem to Ovid's Tristia and Amores, both of which have love themes. Sonnet 18 is written in the typical Shakespearean sonnet form, having 14 lines of iambic pentameter ending in a rhymed couplet. Detailed exegeses have revealed several double meanings within the poem, giving it a greater depth of interpretation.Sonnet 18 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a couplet, and has the characteristic rhyme scheme: abab cdcd efef gg. The poem carries the meaning of an Italian or Petrarchan Sonnet. Petrarchan sonnets typically discussed the love and beauty of a beloved, often an unattainable love, but not always.[5] It also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain.A facsimile of the original printing of Sonnet 18.The poem starts with a line of adoration to the beloved—"Shall I compare thee to a summer's day?" The speaker then goes on to say that the beloved being described is both "more lovely and more temperate" than a summer's day. Thespeaker lists some things that are negative about summer. It is too short—"summer's lease hath all too short a date"—and sometimes the sun shines too hot—"Sometime too hot the eye of heaven shines." However, the beloved being described has beauty that will last forever, unlike the fleeting beauty of a summer's day. By putting his love's beauty into the form of poetry, the poet is preserving it forever by the power of his written words. "So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee." The hope is that the two lovers can live on, if not through children, then through the poems brought forth by their love which, unlike children, will not fadeA major feature of this poem - analogy. Begins with the first sentence, put "you" and "Summer" as a analogy, compare the second line of the initial determination: Are you more lovely than the summer, more gentle. The difference is due to produce its in-depth analysis of 3 to 14 lines. Specifically, the first line of 3.4.5.6.7.8 enumerated the "summer" all kinds of regrets, and 9.10.11.12.13.14 line tells the "you" all kinds of advantages compared to the natural draw a final conclusion: "Y ou" is far better than "Summer," "you" because in his poetry between the lines but also has a life, and time forever. Also noteworthy is the verse 13 and 14 are also, by analogy emphasized the "eternal nature."Throughout the poem, the poet freely to the "you" talk, it seems that "you" is a living person, to listen to his voice, understanding his thinking. So this poem can be said to be people in the application of techniques based on the written. The poem "Y ou" refers to an object, academia, there are two explanations, one view is that it refers to beauty, and the other that it refers to poetry to express the good things. Now most scholars prefer the latter.One of the best known of Shakespeare’s sonnets, Sonnet 18 is memorable for the skillful and varied presentation of subject matter, in which the poet’s feelings reach a level of rapture unseen in the previous sonnets. The poet here abandons his quest for the youth to have a child, and instead glories in the youth’s beauty.On the surface, the poem is simply a statement of praise about the beauty of the beloved; summer tends to unpleasant extremes of windiness and heat, but the beloved is always mild and temperate. Summer is incidentally personified as the "eye of heaven" with its "gold complexion"; the imagery throughout is simple and unaffected, with the "darling buds of May" giving way to the "eternal summer", which the speaker promises the beloved. The language, too, is comparatively unadorned for the sonnets; it is not heavy with alliteration or assonance, and nearly every line is its own self-contained clause--almost every line ends with some punctuation, which effects a pause.Initially, the poet poses a question―”Shall I compare thee to a summer’s day?”―and then reflects on it, remarking that the youth’s beauty far surpasses summer’s delights. The imagery is the very essence of simplic ity: “wind”and “buds.”In the fourth line, legal terminology―”summer’s lease”―is introduced in contrast to the commonplace images in the first three lines. Note also the poet’s use of extremes in the phrases “more lovely,”“all too short,”and “too hot”; these phrases emphasize the young man’s beauty.Although lines 9 through 12 are marked by a more expansive tone and deeper feeling, the poetreturns to the simplicity of the opening images. As one expects in Shakespeare’s sonnets, the proposition that the poet sets up in the first eight lines―that all nature is subject to imperfection―is now contrasted in these next four lines beginning with “But.”Although beauty naturally declines at some point―”And every fair from fair sometime declines”―the youth’s beauty will not; his unchanging appearance is atypical of nature’s steady progression. Even death is impotent against the youth’s beauty. Note the ambiguity in the phrase “eternal lines”: Are these “lines”the poet’s verses or the youth’s hoped-for children? Or are they simply wrinkles meant to represent the process of aging? Whatever the answer, the poet is jubilant in this sonnet because nothing threatens the young man’s beautiful appearance.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, the speaker writes at the end of Sonnet 17, "in my rhyme." Sonnet 18, then, is the first "rhyme"--the speaker's first attempt to preserve the young man's beauty for all time. An important theme of the sonnet (as it is an important theme throughout much of the sequence) is the power of the speaker's poem to defy time and last forever, carrying the beauty of the beloved down to future generations. The beloved's "eternal summer" shall not fade precisely because it is embodied in the sonnet: "So long as men can breathe or eyes can see," the speaker writes in the couplet, "So long lives this, and this gives life to thee."大多数莎学家认为，是作者赞美好友的超常之美的。

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首十四行一贯为时人推重.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,其热闹的情怀,精细的措辞和美好的比方,,不知令若干学者和诗人叹服,赏析文字者莫不称颂其妙.症结词：莎士比亚十四行诗第18首诗人一开首就把他的爱友比作美好的“炎天”,个中“炎天”一词颇有争辩,许多学者以为应当翻译成春天,但以我小我的不雅点,照样应当译成炎天.因为英国的炎天相当于我国的春天或春末夏初,这是一年中最美好的季候,风和日暖,枝头绿叶冒新芽,百花含苞待凋谢,大地充满一派活力活气,迷人讨厌.开篇第一句便直入主题,用一问一答得方法毫不含蓄的点名她的美.固然炎天如斯俏丽,但仍然不及她之美.作者意不在提出疑问,而是经由过程疑问句,引出第二句确定的答复,恰到好处地达到赞美的目标,诗人如斯煞费,解释她的俏丽不但令他赞美,并且还令他崇敬.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“你比它讨厌也比它温婉”,那是因为“暴风”会把“蒲月的嫩芽摧残”,“炎天的刻日”太甚于短暂,阳光过于“强烈”,有时却也会被“遮蔽”.这一系列的意象,为我们勾画出一副副夏景图,惹人联想.个中不难看出,作者对这一副副图景产生的是一种珍视之情,这时让我们不由思虑,那诗人对她的垂怜,该有何等深邃深挚.后接着的两句：“世上娇艳之物都邑凋落,受机缘或大天然的局限”,为我们阐释如许一个哲理：世界上所有俏丽的事物都邑有遵守着大天然的纪律,跟着时光的流逝而消掉.这虽为一个众所周知的事实,却令古今若干文人诗人所感慨.接着,诗人用一个转折,说“你的长夏永久不会消失,永不会掉去迷人的光荣;不会在逝世神暗影中流浪”这的用暗喻的手段,将她的俏丽比作“长夏”,意为有炎天的俏丽,并且比炎天更长,有取炎天之长,补炎天之短的意味.后面接着填补,他的俏丽不会时光而掉去光泽,永久留存.“这诗将与你同在,只要人在世,眼睛还能看.这诗将永存,付与你性命.”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,诗人心坎是抵触的,他大肆笔墨去描述他的美,去高歌他的美是永存的,事实上他只是在诱骗他本身,他深知“世上娇艳之物都邑凋落,受机缘或大天然的局限”,当然他的俏丽也属于“世上娇艳之物”,可是诗人不肯意承认,他无法说服他本身去接收这个事实,于是他想把他的俏丽长存于他的心中,但是每小我都邑到逝世神那边报到,怎么办呢?这时,他知道了,永存的,只有诗歌,他只有将他的俏丽写入诗歌,才干永恒.本诗的主题思惟为：爱和美.这首诗以炎天的意象睁开了想象,我们的脑海会立刻显现出绿荫的繁茂,娇蕾的鲜艳.夏季既暗示诗人的友人讨厌,让人觉得可意,又暗指他的友人正处于年青.精神兴旺的时代,因为炎天老是充满了活力和活气.万物在春季苏醒,炎天兴旺,所以炎天是性命最兴旺的季候,诗歌前六句,诗人歌唱了诗中的主人公“你”作为美的消失,却把“炎天”.“娇蕾”和“骄阳”都比下去,因为它们不敷“温婉”.“太短暂”.“会被遮暗”,所以“你”的魅力远远胜于炎天.第七和第八两句指出每一种美都邑转瞬即逝,禁不住风吹雨打,而第九句到第十二句指出“你”的美将永驻,连逝世神都望而却步,与时光同长的美才是永恒的美.因为“你”在诗歌中永恒,千百年来寰宇间只要有诗歌艺术的消失,诗歌和“你”就可以或许长生.所以“你”的美永不枯凋,这是一种性命的美,艺术的美,永驻人世.这首诗说话幽美,不但表如今用词的准确上,并且还表如今表达办法的多变上,全诗应用的了大量的修辞手段.在这一首简短的十四行诗中,莎士比亚灵巧奇妙地应用了多种修辞手段,这些修辞手段为表达主题锦上添花,更表现了莎士比亚诗歌中的说话之美.诗歌中所应用到的修辞手段一一细数开来,如明喻.暗喻.拟人.抵触润饰法等等,许多于十种.明喻和设问的应用.诗歌中的第一行“能不克不及让我来把你比作夏季？”就应用了明喻和设问两种修辞手段.明喻是对概况上不类似的器械进行明白的比较,找出两者的类似之处.炎天和“你”的类似之处就是都是美的表现.这一句同时也是一个设问句,即它情势上是个疑问句,但不须要作答,因为它的答案本身就很清晰.暗喻和拟人的应用.暗喻是对概况上不类似的器械进行不明白的比较.如在第四行,夏季的日子又不免难免太短暂顶用到的“刻日”这个词上,意思是把夏季比作是衡宇,是向大天然租借来的器械,是以它的应用期是有限的;同时也暗指芳华.俏丽中断的时光都是有限的.拟人是将一件工作.一个物体,或一个设法主意当作人物来呈现.双关和夸大的应用.双关是一种文字游戏,指应用读音或词根类似的词的不合寄义或语法功效.英语里的双关有两种,一种是应用统一个词的不合意思;另一种是应用统一个词的不合语法功效.该诗用到的双关属於前一种情形,在第七行“世上娇艳之物都邑凋落,受机缘或大天然的局限”,这里的两个“娇艳之物”寄义就不合,第一个意为“美的人或物”,而第二个的意思则是指“美本身”,所以这是应用了双关.夸大就是言过其实的陈述,一般是为了强调.夸大的手段在该诗中也多次应用,如第九行中的“永恒”这个词上.依据天然纪律,每一种美的事物都将逐渐损掉其俏丽, 那么诗中人的美又怎能永恒呢？“不会在逝世神暗影中流浪”,每小我日夕总免不了一逝世,我们都不成能不朽,那么诗中人又怎能不受这种天然纪律的束缚呢？诗中除了应用到以上修辞手段外,还应用了倒装和抵触等多种手段.从以上的剖析可以看出这首十四行诗顶用到的修辞格不但多,并且周全,我们不克不及不为莎士比亚说话艺术的风度所折服.感慨.总的来说,莎士比亚的这首诗为我们描述了夏季的璀璨,无论从情势照样内容,从主题方面照样说话方面,都能堪称是诗歌中的精品.这首诗描述了性命与天然是永恒的协调美好的消失,唤起我们对生涯和性命的酷爱.它让我们觉得人与天然息息相融,它如同大天然变幻的感到,擦过我们的发际,走过我们赏花于蒲月的心坎,并凝住我们美好的愿望.这种贮藏于心灵的永恒之美与世之真爱,应当为全人类配合失去,永久传唱.。

莎士比亚十四行诗第18首鉴赏引言莎士比亚是英国文学史上最伟大的戏剧家和诗人之一，他的作品被广泛翻译和演绎，深受全球读者的喜爱。

其中，莎士比亚的十四行诗尤为经典，其中包括了《第18首》。

本文将对《莎士比亚十四行诗第18首》进行鉴赏，探讨其主题、情感表达以及艺术价值。

一、主题分析1. 什么是莎士比亚十四行诗莎士比亚十四行诗（Shakespearean sonnet）是由莎士比亚创作的一种诗体形式，其特点是由14行组成，按照特定的韵律和押韵方式排列。

莎士比亚十四行诗被视为英文文学中最传统的诗歌形式之一。

2. 《莎士比亚十四行诗第18首》的主题《莎士比亚十四行诗第18首》的主题是爱情和美丽。

诗中通过描述爱人的美丽和对其的赞美，表达了对爱情的讴歌和赞美。

3. 主题的呈现方式莎士比亚通过运用比喻、夸张等修辞手法，将爱人的美丽与一系列自然现象进行比较，并将其美丽提升到超越自然的境界，以突出爱人的独特之处。

二、情感表达分析1. 诗人的情感诗人通过对爱人的赞美表达了自己深深的爱意和对其美丽的敬仰。

诗人充满了爱的激情和对爱人的赞美之情，把自己的情感融入到诗中。

2. 诗中情感的转折《莎士比亚十四行诗第18首》中情感经历了由赞美到忧伤的转折。

在诗的前几行，诗人对爱人进行了赞美，表达了自己对其美丽的深深敬仰之情。

然而，在诗的后半部分，情感转向了忧伤，诗人担心时间的流逝会将爱人的美丽消逝，这种忧伤的情感为整首诗增添了深刻的情感色彩。

三、艺术价值分析1. 诗歌运用的修辞手法《莎士比亚十四行诗第18首》使用了丰富多样的修辞手法，比如比喻、夸张、对比等，这些修辞手法使整首诗充满了艺术魅力，具有很高的艺术价值。

2. 渲染的意境诗中通过对爱人美丽的描绘和对时间流逝的担忧，营造了一种诗意的意境。

诗人通过对自然现象的描绘，将爱人的美丽与大自然相较，突出了爱人的独特之处，同时也增加了诗歌的艺术感染力。

3. 对爱情的思考《莎士比亚十四行诗第18首》可以说是对爱情最美丽和深刻的思考之一。

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18的主题（原创版）目录一、引言二、莎士比亚十四行诗第 18 首的结构和主题1.诗歌结构2.主题分析1.爱情2.时间的流逝3.生与死4.文字的力量三、莎士比亚十四行诗的主题1.爱2.时间的流逝3.人生无常四、结论正文一、引言莎士比亚是英国文学史上最伟大的戏剧家和诗人之一，他的作品深受广大读者和观众的喜爱。

在莎士比亚的诗歌作品中，十四行诗是其中最为脍炙人口的一部分。

本文旨在分析莎士比亚十四行诗第 18 首的主题，并探讨其在诗歌中的表现手法。

二、莎士比亚十四行诗第 18 首的结构和主题1.诗歌结构莎士比亚十四行诗第 18 首采用了传统的十四行诗结构，分为两节，每节四行，韵律为 ABAB。

这种结构在莎士比亚的诗歌中很常见，它使得诗歌具有优美的韵律和节奏。

2.主题分析这首诗的主题包括爱情、时间的流逝、生与死以及文字的力量。

首先，诗歌表达了对爱情的渴望和赞美，诗人通过描绘爱情的美好，来表达自己对爱情的向往。

其次，诗歌描绘了时间的流逝，表达了人生无常的主题。

诗人通过时间的形象，来提醒人们珍惜时间，抓住眼前的美好。

此外，诗歌还探讨了生与死的问题，通过生命的对比，表达了对生命的珍视。

最后，诗歌强调了文字的力量，认为文字可以超越时间，实现永恒。

三、莎士比亚十四行诗的主题莎士比亚的十四行诗主题丰富多样，主要包括爱、时间的流逝和人生无常。

这些主题在莎士比亚的诗歌中得到了广泛的体现，反映了诗人对人生、爱情和时间的深刻理解。

1.爱莎士比亚的诗歌中，爱是一个永恒的主题。

在十四行诗中，诗人通过描绘爱情的美好，来表达自己对爱情的向往。

他对爱的理解深刻而多样，有时爱情是甜蜜的，有时又是苦涩的。

但不管如何，爱情始终是诗人最珍视的东西。

2.时间的流逝在莎士比亚的诗歌中，时间的流逝是一个常见的主题。

诗人通过描绘时间的流逝，来提醒人们珍惜时间，抓住眼前的美好。

他对时间的理解深刻，认为时间是无情的，它不会为任何人停留。

因此，人们应该珍惜时间，充分利用时间来追求自己的梦想。

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's pre-eminent dramatist.He is often called England's national poet and the "Bard of Avon".His extant works, including some collaborations, consist of about 38plays,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 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. 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 were written 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 inthe 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 match university-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 the title 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 Theatre there.[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] InMarch 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 there contracted.”[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.[71]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 thatthe second-best bed would have been the matrimonial bed and therefore rich in significance.[78]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18的主题（原创实用版）目录一、引言二、莎士比亚十四行诗第 18 首的结构和主题三、莎士比亚十四行诗中的主题及其处理方式四、莎士比亚十四行诗第 18 首的主题及其意义五、结论正文一、引言莎士比亚是英国文学史上最伟大的戏剧家和诗人之一，他的作品因其深刻的思想和丰富的情感而广受赞誉。

在莎士比亚的诗歌作品中，十四行诗是其中最为著名的一类。

这些诗歌以其优美的语言和丰富的主题吸引了无数读者。

在本文中，我们将重点探讨莎士比亚十四行诗第 18 首的主题。

二、莎士比亚十四行诗第 18 首的结构和主题莎士比亚的十四行诗第 18 首是莎氏十四行诗中最广为流传的一首。

这首诗歌具有标准的传统结构，但其结构功能却与传统的不符，显示出其特异性。

在内容上，这首诗歌主题多样，既涉及爱情，又涉及时间的流逝、生与死、文字的力量等。

三、莎士比亚十四行诗中的主题及其处理方式在莎士比亚的十四行诗中，没有西方文学传统中的两个重要主题，即及时行乐和莫负青春。

然而，这并不意味着莎翁没有涉及这些主题，而是他的处理方式有所不同。

传统的做法是以规劝为主，而莎翁的做法是以威胁为主。

这些主题在莎翁的诗歌中得到了独特的处理，呈现出多样性的面貌。

四、莎士比亚十四行诗第 18 首的主题及其意义莎士比亚十四行诗第 18 首的主题包括爱、时间的流逝、生与死、文字的力量等。

其中，爱是这首诗歌的核心主题。

莎翁通过诗歌表达了对爱情的深刻理解和感悟，同时也揭示了爱情的无常和易逝。

此外，诗歌中的其他主题如时间的流逝、生与死、文字的力量等，都与爱情主题紧密相连，共同构成了这首诗歌丰富的内涵。

五、结论总之，莎士比亚十四行诗第 18 首以其优美的语言和丰富的主题吸引了无数读者。

通过对这首诗歌的深入分析，我们可以发现其主题包括爱、时间的流逝、生与死、文字的力量等。

莎士比亚十‎四行诗第1‎8首主题分‎析：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 penta‎m eter‎），包括三个四‎行组（quatr‎a in）和一个对偶‎句(coupl‎e t)，采用典型的‎莎氏十四行‎的韵式，即abab‎cdcd efef gg。

但本诗音韵‎并不十分齐‎整。

在韵脚（end rhyme‎）方面，第二行的t‎e mper‎a te与第‎四行的da‎t e押韵，但两个词的‎重音位置却‎不同，这一韵就既‎非阳韵（mascu‎l ine rhyme‎）也非阴韵（femin‎i ne 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（allit‎e rati‎o n）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“Shall‎I compa‎r e thee to a summe‎r’s‎day?”中的“thee‎to”是无法按轻‎重音的顺序‎来念的，第二行“Thou‎art‎more‎lovel‎y and more tempe‎r ate”中的两个m‎o re是强‎调，要念重音，因此这一行‎的韵格就不‎是抑扬格了‎。