[转载]十四行诗的基本形式
2014-06-29 02:57阅读：
作为sat2文学的家常饭，十四行诗各种形式，需要非常熟悉，在此我们把常见的三种变体，外加一种不靠谱的难归类的(the
indefinable )分析如下：
Asonnet is fundamentally a dialectical construct which allows
the poet toexamine the nature and ramifications of two usually
contrastive ideas,emotions, states of mind, beliefs, actions,
events, images, etc., byjuxtaposing the two against each other, and
possibly resolving or justrevealing the tensions created and
operative between the two.
十四行诗从根本上说是一个辩证的结构。诗人通过将两个通常是互作对比的思想、情绪、内心状态、信念、行为、事件、图像等等两两对立并列，以及通过可能去解析或仅仅是去揭示在这二者之间营造和起作用的紧张情形，以期能检视它们的本性和排比结果。
O.K., so much for the fancy language. Basically, in a sonnet,
you show tworelated but differing things to the reader in o
rder to communicate somethingabout them. Each of the three major
types of sonnets accomplishes this in asomewhat different way.
There are, of course, other types of sonnets, as well,but I'll
stick for now to just the basic three (Italian, Spenserian,
English),with a brief look at some non-standard sonnets.
好啦，这么多的花哨语言。基本上，你要在一首十四行诗中将两个相关但不同的东西显示给读者，以同读者交流关于它们的某些内容。十四行诗的三种主要类型都是如此，虽然达到的方式有所不同。当然也还有其他类型的十四行诗，但我现在要关注的只是基本的那三种（意大利体，斯宾塞体和英格兰体），对某些不标准十四行诗则会简单说一下。
I.The Italian (or Petrarchan) Sonnet:
一、意大利体（或彼特拉克体）十四行诗：
Thebasic meter of all sonnets in English is iambic pentameter
(basic informationon iambic pentameter), although there have been a
few tetrameter and evenhexameter sonnets, as well.
以英语所作的所有十四行诗的基本格律都是抑扬格五音步诗行（抑扬格五音步诗行的基本知识），尽管也有过少量的四音步诗行乃至六音步诗行的十四行诗。
TheItalian sonnet is divided into two sections by two
different groups of rhymingsounds. The first 8 lines is called the
octave and rhymes:
意大利体十四行诗被两组不同韵脚的诗节分成个两部分。前8行被称为八行诗节及其韵句：
ab b a a b b a
Theremaining 6 lines is called the sestet and can have either
two or three rhymingsounds, arranged in a variety of
ways:
余下的6行被称为六行诗节，可以有二或三个韵脚，有多种形式：
c d c d c d
c d d c d c
c d e c d e
c d e c e d
c d c e d c
The exact pattern of sestet rhymes (unlike the octave
pattern) is flexible. Instrict practice, the one thing that is to
be avoided in the sestet is endingwith a couplet (dd or ee), as
this was never permitted in Italy, and Petrarchhimself (supposedly)
never used a couplet ending; in actual practice, sestetsare
sometimes ended with couplets (Sidney's 'Sonnet LXXI given below
isan example of such a terminal couplet in an Italian
sonnet).
确切的六行诗节押韵范式是灵活的，与八行诗节的范式不同。在严谨的实行中，六行诗节所要避免的就是以一副同韵对句（dd或ee）做结句，因为在意大利这从未被允许过，并且彼特拉克自己（据说）也从未使用过同韵对句的结句；而在真正的实践中，六行诗节有时也有以同韵对句作结的，后面给出的西德尼的《十四行诗之第七十一首》就是这样一个的有着同韵对句结尾的意大利体十四行诗的例子。
Thepoint here is that the poem is divided into two sections
by the two differingrhyme groups. In accordance with the principle
(which supposedly applies to allrhymed poetry but often doesn't), a
change from one rhyme group to anothersignifies a change in subject
matter. This change occurs at the beginning of L9in the Italian
sonnet and is called the volta, or 'turn'; the turnis an essential
element of the sonnet form, perhaps the essential element. Itis at
the volta that the second idea is introduced, as in this sonnet
byWordsworth:
这里的要点是，诗是被两个不同的韵组分为两个部分的。按照原则（据称适用于所有押韵的诗但往往不尽然），从一个韵组到变化到另一个韵组意味着有一个主题的变化。这一变化发生在意大利体十四行诗的第9行开始处，被称为volta（转折），或“转变”，转变是十四行诗在形式上的一个基本要素，或许就是基本要素。这第二个意思正是在volta处引入的，如华兹华斯（Wordsworth）的这首十四行诗：
![[转载]十四行诗的基本形式]( "[转载]十四行诗的基本形式")
'London,1802'
《伦敦，1802》
Milton!thou shouldst be living at this hour:
密尔顿！你啊，应生活到现在的时光：
Englandhath need of thee: she is a fen
英国需要你：她是个死水湾；无奈
Ofstagnant waters: altar, sword, and pen,
圣坛，宝剑，笔杆，还有那炉台，
Fireside,the heroic wealth of hall and bower,
厅堂上以及内室里英雄的家当
Haveforfeited their ancient English dower
都已经丧失了它们内心的欢畅——
Ofinward happiness. We are selfish men;
那英国的古传统。我们自私，狭隘；
Oh!raise us up, return to us again;
扶我们起身呵，回到我们中间来；
Andgive us manners, virtue, freedom, power.
给我们以风格，道德，自由，力量！
Thysoul was like a Star, and dwelt
apart;
你的灵魂像一颗星，远驻仍亲，
Thouhadst a voice whose sound was like the sea:
你有一种声音，宏大如海洋，
Pureas the naked heavens, majestic, free,
纯洁如明净的天空，庄严，豪放；
Sodidst thou travel on life's common way,
你这样走过生命的普通大道，
Incheerful godliness; and yet thy heart
带着愉快的虔敬；同时，你的心
Thelowliest duties on herself did lay.
连那最为卑微的责任也曾经操劳。
（诗译者：屠岸
本文译者略做调韵）
Here,the octave develops the idea of the decline and
corruption of the English race,while the sestet opposes to that
loss the qualities Milton possessed which therace now desperately
needs.
在这首诗里，八行诗节用于展开英格兰民族的衰败和腐化的意思，用六行诗节中密尔顿具有的品质去抗对那种失落，而这品质正为民族现在所迫切需要。
Avery skillful poet can manipulate the placement of the volta
for dramaticeffect, although this is difficult to do well. An
extreme example is thissonnet by Sir Philip Sidney, which delays
the volta all the way to L 14:
一个非常熟练的诗人为了戏剧般的效果是可以随意安排volta的位置的，虽然这很难做得好。有一个极端的例子，就是由菲利普•西德尼爵士（Sir
Philip
Sidney）写的十四行诗，他将volta给一路延后到第14行：
'SonnetLXXI'
《十四行诗之第七十一》
Whowill in fairest book of Nature know
谁能从最美好的大自然书籍中获知
HowVirtue may best lodged in Beauty be,
美德是如何寄身于美丽，
Lethim but learn of Love to read in thee,
且让他在了解爱时去读一下你，
Stella,those fair lines, which true goodness
show.
斯黛拉，那些曼妙的句子，是真善的展示。
Thereshall he find all vices' overthrow,
在彼处他将发现一切恶行的远掷，
Notby rude force, but sweetest sovereignty
非凭孔武蛮力，却靠最可爱之理性权威，
Ofreason, from whose light those night-birds
fly;
其光芒能令夜鸟逃飞，
Thatinward sun in thine eyes shineth so.
心灵阳光在你的双目闪烁，亦如是。
Andnot content to be Perfection's heir
可不满足于“尽善尽美”之继承人，
Thyself,dost strive all minds that way to move,
你啊，把你全部心智那样奋力地让它“开路”，
Whomark in thee what is in thee most fair.
你的什么最为美好，自有人为你做评论。
Sowhile thy beauty draws the heart to love,
故而当你的美丽吸引了心之爱慕，
Asfast thy Virtue bends that love to good.
如此之快你的美德令那爱倒向善之方向。
'But,ah,' Desire still cries, 'give me some
food.'
“不过，哈，”欲望仍在喊，“给我一些食粮。”
Here,in giving 13 lines to arguing why Reason makes clear to
him that followingVirtue is the course he should take, he seems to
be heavily biassing theargument in Virtue's favor. But the volta
powerfully undercuts the argumentsof Reason in favor of Virtue by
revealing that Desire isn't amenable toReason.
此处，在用了13行去力证“为何理性给他解释了后面的美德是他所当秉持的正途”后，他看似大大地青睐于“美德有益”的主张。但volta却有力地对“理性有利于美德”的论据起到釜底抽薪的作用：它揭示了欲望并不屈从于理性。
Thereare a number of variations which evolved over time to
make it easier to writeItalian sonnets in English. Most common is a
change in the octave rhymingpattern from a b b a a b b a to a b b a
a c c a, eliminating the need for twogroups of 4 rhymes, something
not always easy to come up with in English whichis a rhyme-poor
language. Wordsworth uses that pattern in the following
sonnet,along with a terminal couplet:
随着时间的推移，英语十四行诗演变出了相当多的变体，这是为了使人们能更容易地用英语去写意大利体十四行诗。最常见的一个改变出现在八行诗节中，其押韵范式从a
b b a a b b a 变成a b b a a c c
a的范式，这就消除了对两组4韵的要求，而这种要求对于英语这样的贫韵语言来说并非是很容易就能做到的。华兹华斯在下面的十四行诗中用的就是这种范式，并伴之以同韵对句做结：
'ScornNot the Sonnet'
《别轻视十四行诗》
Scornnot the Sonnet; Critic, you have frowned,
别轻视十四行诗，批评家！你冷若冰霜，
Mindlessof its just honours; with this key
毫不关心它应有的荣誉；莎士比亚
Shakespeareunlocked his heart; the melody
用这把钥匙开启了心扉！这小琵琶
Ofthis small lute gave ease to Petrarch's wound;
奏出的旋律医好了彼得拉克的创伤；
Athousand times this pipe did Tasso sound;
塔索把这支笛子千百遍吹响；
Withit Camoens soothed an exile's grief;
加莫恩斯用它减轻了放逐的哀愁！
TheSonnet glittered a gay myrtle leaf
但丁将柏冠戴上了沉思的额头——
Amidthe cypress wtih which Dante crowned
十四行诗就是一叶华美的桃金娘
Hisvisionary brow: a glow-worm lamp,
在那柏枝间发光；它是盏萤火灯，
Itcheered mild Spenser, called from Faery-land
使那温和的斯本塞从仙境里醒来
Tostruggle through dark ways; and when a damp
向黑暗斗争时感到愉快；而密尔顿
Fellround the path of Milton, in his hand
路遇漫天的大雾，十四行诗就在
TheThing became a trumpet; whence he blew
他手中变成了号角，他用这乐器
Soul-animatingstrains--alas, too few!
吹出了动魄的歌曲——太少了，可惜！
（诗译者：屠岸）
Anothervariation on the Italian form is this one, by
Tennyson's older brother CharlesTennyson-Turner, who wrote 342
sonnets, many in variant forms. Here, Turneruses an a b b a c d c d
e f f e f e pattern, with the volta delayed until themiddle of
L9:
意大利形式的另一个变化是这首由丁尼生兄弟的老大查尔斯•丁尼生-特纳（CharlesTennyson-Turner）写的，他写过342首十四行诗，用了许多种不同的形式。在这里，特纳使用的是a
b b a c d c d e ff e f
e的范式，而volta则被后移到第9行中间处：
'Missingthe Meteors'
《怀念流星》
Ahint of rain--a touch of lazy doubt--
是雨的迹象吗—这疑惑可有点贪懒——
Sentme to bedward on that prime of nights,
什么能赶我到床头，夜尚未迟，
Whenthe air met and burst the aerolites,
是空中相遇和爆发的陨石，
Makingthe men stare and the children shout:
它让男人们瞠目，孩子们也在喊：
Whydid no beam from all that rout and rush
为何所有来自散乱又喷泻的飞一般流星
Ofdarting meteors, pierce my drowsed head?
光束，无一穿透我那昏昏欲睡的头？
Strikeon the portals of my sleep? and flush
打搅我之乏困，并拨弄我之神经，
Myspirit through mine eyelids, in the stead
让苍白乏味的梦付之东流
Ofthat poor vapid dream? My soul was pained,
就在我眼皮底下？我的灵魂何其痛苦，
Myvery soul, to have slept while others woke,
我那灵魂啊，它竟已入睡而旁人的仍在逍遥，
Whilelittle children their delight outspoke,
此时连小孩子们的喜悦都溢于言表，
Andin their eyes' small chambers entertained
他们的享受已在小小的眼眶中透露
Farnotions of the Kosmos! I mistook
来自宇宙深处的小玩意！我却误拙为巧
Thepurpose of that night--it had not rained.
何曾有雨——绝不是那晚的目标。
II.The Spenserian Sonnet:
二、斯宾塞体十四行诗：
TheSpenserian sonnet, invented by Edmund Spenser as an
outgrowth of the stanzapattern he used in The Faerie Queene (a b a
b b c b c c), has the pattern:
斯宾塞体十四行诗的范式如下：
ab a b b c b c c d c d e e
它由埃德蒙•斯宾塞（Edmund
Spenser）发明，是他用在《仙后》（The
Faerie Queene）中（a b a b
b c b c c）、从诗节范式派生出来的。
Here,the 'abab' pattern sets up distinct four-line groups,
each of whichdevelops a specific idea; however, the overlapping a,
b, c, and d rhymes formthe first 12 lines into a single unit with a
separated final couplet. The threequatrains then develop three
distinct but closely related ideas, with adifferent idea (or
commentary) in the couplet. Interestingly, Spenser oftenbegins L9
of his sonnets with 'But' or 'Yet,'indicating a volta exactly where
it would occur in the Italian sonnet; however,if one looks closely,
one often finds that the 'turn' here reallyisn't one at all, that
the actual turn occurs where the rhyme pattern changes,with the
couplet, thus giving a 12 and 2 line pattern very different from
theItalian 8 and 6 line pattern (actual volta marked by
italics):
此处“a b a
b”的格局建立起若干清晰的四诗行组，每一组各自展开特定的思想；但是，由a、b、
c和d的交叠押韵所形成的前12行却用了一个与之相分离的单一同韵对句单元做其结束。三组四诗行发展出三个区分明显但又密切相关的思想，而同韵对句的思想（或评说）则截然不同。有趣的是，斯宾塞往往用“但是”或“然而”作为他的十四行诗中第9行的开头字，以标志应当确切地在意大利体十四行诗该行处出现的volta；可是如果仔细地一看，人们常常会发现此处实际上全然没有出现“转变”，真正的转变则是出现在押韵格局的变化处，在同韵对句那里，从而使得12行与2行的格局成为一种非常不同于意大利体8行和6行格局的范式（实际的volta以斜体字标出）：
'SonnetLIV'
《十四行诗之第六十五首》
Ofthis World's theatre in which we stay,
我们演出在世界的舞台，
Mylove like the Spectator idly sits,
我的爱人悠闲地看戏，
Beholdingme, that all the pageants play,
她观赏我演出各种题材，
Disguisingdiversely my troubled wits.
用各种形式排遣我不安的情意。
SometimesI joy when glad occasion fits,
一时的幸会令我欢喜，
Andmask in mirth like to a Comedy;
于是我带上了喜剧的假面；
Soonafter when my joy to sorrow flits,
一时我转欢喜为唏嘘，
Iwail and make my woes a Tragedy.
于是我又把悲剧扮演。
Yetshe, beholding me with constant eye,
可她却用不变的眼睛看我变幻，
Delightsnot in my mirth nor rues my smart;
不因我喜而喜，不因我悲而悲；
Butwhen I laugh, she mocks: and when I cry
我笑而她嘲讽，等我泪流满脸，
Shelaughs and hardens evermore her heart.
她却大笑而硬起芳心令其难摧。
Whatthen can move her? If nor mirth nor moan,
什么能感动她？哭笑都不是，
Sheis no woman, but a senseless stone.
那么她非女人，而是顽石。
（诗译者：王佐良 本文译者略做调韵）
III.The English (or Shakespearian) Sonnet:
三、英格兰体（或莎士比亚体）十四行诗：
TheEnglish sonnet has the simplest and most flexible pattern
of all sonnets,consisting of 3 quatrains of alternating rhyme and a
couplet:
英格兰体十四行诗的范式在所有的十四行诗中是最简单、最灵活的，它包括3个交错韵脚的四诗行组和一副同韵对句：
ab a b
cd c d
ef e f
gg
Asin the Spenserian, each quatrain develops a specific idea,
but one closelyrelated to the ideas in the other
quatrains.
同斯宾塞体一样，每个四诗行组都展开一个特定的思想，但是每个思想都与在其它四诗行组中的思想紧密相关。
Notonly is the English sonnet the easiest in terms of its
rhyme scheme, callingfor only pairs of rhyming words rather than
groups of 4, but it is the mostflexible in terms of the placement
of the volta. Shakespeare often places the'turn,' as in the
Italian, at L9:
英格兰体十四行诗不仅就其韵律结构而言是最为简单的——它只讲求韵字成对即可，而非成组的四行，并且就volta的安排而言它也是最灵活的。莎士比亚经常在第9行进行“转变”，同意大利体一样：
'SonnetXXIX'
《十四行诗之第二十九》
Whenin disgrace with Fortune and men's eyes,
叹时运不济又遭人白眼，
Iall alone beweep my outcast state,
为飘零人间而独自哀泣，
Andtrouble deaf heaven with my bootless cries,
苍天之不闻兮徒然呼喊，
Andlook upon myself and curse my fate,
顾影自怜兮咒命运之何戚，
Wishingme like to one more rich in hope,
盼己一如他人而弘愿正兴，
Featuredlike him, like him with friends
possessed,
亦有堂堂之貌且满座高朋，
Desiringthis man's art and that man's scope,
更稀此君之人缘与那厮之本领，
Withwhat I most enjoy contented least,
对自己之最爱却信手就扔，
Yetin these thoughts my self almost despising,
虽然此等念头令我自怨自艾，
HaplyI think on thee, and then my state,
但或许一想到你，我即如云雀嬉戏，
(Liketo the lark at break of day arising
于拂晓时腾身远离阴霾
Fromsullen earth) sings hymns at heaven's gate,
自大地飞向天堂之门颂歌未息；
Forthy sweet love remembered such wealth brings,
每忆及你友爱之甘如揣宝藏，
Thatthen I scorn to change my state with kings.
即宁守困厄不屑四面称王。
（诗译者：不详 本文译者修改并调韵）
Equally,Shakespeare can delay the volta to the final couplet,
as in this sonnet whereeach quatrain develops a metaphor describing
the aging of the speaker, whilethe couplet then states the
consequence--'You better love me now becausesoon I won't be
here':
同样的，莎士比亚还能将volta延后至最末的同韵对句处，就像在这首十四行诗中那样。在每一个四行诗组中各自展开了一个比喻来描述言者之将老去，而于同韵对句处则道出了结论——“你爱我最好趁现在，我可不会在此久待”：
'SonnetLXXIII'
《十四行诗之第七十三》
Thattime of year thou mayst in me
behold,
你看见的我或许像一年之秋晚，
Whenyellow leaves, or none, or few do
hang
当黄叶，或尽脱，或只三三两两
Uponthose boughs which shake against the
cold,
尚悬在粗枝上瑟缩抗寒——
Bareruined choirs, where late the sweet birds
sang.
荒废的歌坛，在那里百鸟曾唱。
Inme thou seest the twilight of such
day,
于我你看见的或许是某日之暮霭，
Asafter sunset fadeth in the west,
有如日落后向西方徐徐消退：
Whichby and by black night doth take
away,
趁着，是趁着黑夜它才被赶开，
Death'ssecond self that seals up all in
rest.
死神的化身笼罩住纷纭的万类。
Inme thou seest the glowing of such
fire,
于我你看见的或许是余火之炽燃，
Thaton the ashes of his youth doth
lie,
在青春的灰烬中他仅存一息，
Asthe deathbed, whereon it must
expire,
就像临终时刻，生命总会期满，
Consumedby that which it was nourished
by.
耗空以往的滋养不足为奇。
Thisthou perceivest, which makes thy love more
strong,
这个你若察觉，你的爱就会更强，
Tolove that well, which thou must leave ere
long.
珍惜那爱吧，它不会与你共久长。
（诗译者：saro的刹那
本文译者修改并调韵）
IV.The
Indefinables
四、不能归类之诸体
Thereare, of course, some sonnets that don't fit any clear
recognizable pattern butstill certainly function as sonnets.
Shelley's 'Ozymandias'belongs to this category. It's rhyming
pattern of a b a b a c d c e d e f e fis unique; clearly, however,
there is a volta in L9 exactly as in an
Italiansonnet:
当然，总有一些十四行诗，它们不适合归入任何明确而公认的范式，但肯定仍然具有十四行诗的样式。雪莱的《奥兹曼迪亚斯》就属于这一类。它的押韵样式a
b a b a c d c e de f e
f是独一无二的，但是显然，它同意大利体十四行诗一样地在第9行处安排有一个volta：
'Ozymandias'
《奥兹曼迪亚斯》
Imet a traveller from an antique
land
客自海外归，曾见沙漠古国
Whosaid: Two vast and trunkless legs of
stone
有石像半毁，唯余巨腿
Standin the desert . . . Near them, on the
sand,
蹲立沙砾间。像头旁落，
Halfsunk, a shattered visage lies, whose
frown,
半遭沙埋，但人面依然可畏，
Andwrinkled lip, and sneer of cold
command
那上翘的嘴角，透出发号施令的冷漠，
Tellthat its sculptor well those passions
read
足见雕匠看透了主人的内心，
Whichyet survive, (stamped on these lifeless
things,)
才把那石头刻得如在生界，
Thehand that mocked them and the heart that
fed:
可雕那像的手连那像主之心早成灰烬。
Andon the pedestal these words
appear:
像座上大字依然在目：
'Myname is Ozymandias, king of
kings:
“吾奥兹曼迪亚斯，万王之王是也，
Lookon my works, ye Mighty, and
despair!'
盖世功业，敢叫天公折服！”
Nothingbeside remains. Round the
decay
此外剩无一物，废墟何荒。
Ofthat colossal wreck, boundless and
bare
衰朽周围是无际的裸露，
Thelone and level sands stretch far
away.
只有寂寞平沙蔓延向远方。
（诗译者：王佐良 本文译者略改并调韵）
FrederickGoddard Tuckerman wrote sonnets with free abandon
and with virtually no regardfor any kind of pattern at all, his
rhymes after the first few lines fallingseemingly at random, as in
this sonnet from his 'Sonnets, FirstSeries,' which rhymes a b b a b
c a b a d e c e d, with a volta at L10:
弗雷德里克•戈达德•塔克曼在写十四行诗时自由放任，简直对任何一种类型的范式都不屑一顾，在开始没两行之后，他的韵脚就看似走向了随意，如同在他的《十四行诗，第一辑》中的这首十四行诗，其韵脚为a
b b a b c a b a de c e
d，而volta则在第10行：
'SonnetXXVIII'
《十四行诗之第二十八》
Notthe round natural world, not the deep
mind,
非浑圆之自然世界，也非深沉之心，
Thereconcilement holds: the blue
abyss
一致达成了呀：它被那蓝色深渊收藏
Collectsit not; our arrows sink
amiss
而不是；我们的集箭筒未曾妥当
Andbut in Him may we our import
find.
可从他那里我们能发现我们的重要性。
Theagony to know, the grief, the
bliss
至苦至痛是明白了，但忧伤、争斗的天堂
Oftoil, is vain and vain: clots of the
sod
却是徒劳而又徒劳：成片的草地
Gatheredin heat and haste and flung
behind
聚集了热量和匆忙却被甩到身后无人问津
Toblind ourselves and others, what but
this
弄瞎自己也捎带上别人，正对着风的方向
Stillgrasping dust and sowing toward the
wind?
仍要抓起灰尘并且播撒，这可是成心？
Nomore thy meaning seek, thine anguish
plead,
你再也不意味着探寻，你要申辩痛苦，
Butleave straining thought and stammering
word,
但留下的是扭曲的思考和语无伦次，
Acrossthe barren azure pass to God:
越过那荒芜的碧空去传递给上帝：
Shootingthe void in silence like a
bird,
无声地射向虚空，同鸟儿相似，
Abird that shuts his wings for better
speed.
一只鸟收敛翅膀只为更快的速度。
Onewonders if the 'sod'/'God' rhyme, being six linesapart,
actually works, if the reader's ear can pick it up across
thatdistance. Still, the poem has the dialectical structure that a
sonnet issupposed to have, so there is justification for in fact
considering it one.
人们不禁要问，像“sod”/“God”韵，相隔了6行，还能算押着吗？读者的耳朵真能跨这么长的间隔后还分辨得出这个韵吗？不过，这首诗有着一首十四行诗所期望有的辩证结构，所以事实上确有理由认为它还是十四行诗。
