莎士比亚十四行诗的戏剧性特征
摘要
欧洲文艺复兴时代伟大的剧作家和诗人莎士比亚大约在1592-1598年间创作了154首十四行诗，不断讴歌友谊，爱情和人类的创造力。这些诗的思想博大深邃，意象瑰丽典雅，语言精湛睿智，因此，它们的魅力无穷无尽，历久弥新。莎士比亚在诗中直抒胸臆，热情颂扬友谊和爱情。其境界宽广宏大，大胆表白了人文主义者对人类和他们的美好感情及创造力的赞美。他的心灵高尚宽容，面对理想的破灭，人性的污浊和时间的摧残，他以哀而不怨，感而不伤的胸怀袒露心声，警世告人。诗中的意象瑰丽丰富，比喻新奇别致，尤其是夏日和时光的意象成了人们津津乐道的典故。他的语言丰富精炼，节奏优美，最突出的是戏剧化风格和多种修辞手法的运用。
伊丽莎白时代的英格兰盛行十四行诗。诗人们主要用它来歌功颂德，或者向某个自己爱慕的女士传情达意。莎士比亚对这种文学体裁做出的独一无二的贡献在于：他以人文主义者博大高尚的胸怀，借助剧作家兼诗人的独特视角，创造了无论在主题上，风格上还是在语言艺术上都前无古人，后无来者的展示情感历程的不朽作品。本文认为：莎士比亚十四行诗的永恒魅力和独特风格在于它以精湛的语言和精巧的结构，巧妙地的将诗歌的艺术和戏剧的魅力结合起来，从而创作了154首主题连贯，诗歌语言和结构都具有戏剧性特征的不朽作品。
莎士比亚十四行诗围绕这一位诗人的感情历程展开。或缠绵悱恻，或轻灵俏皮；或热情奔放，或阴沉压抑。然而任何试图用某种风格概括莎士比亚的努力都显得无奈。因此本文在重点分析了1-126首诗歌的主题，结构和语言风格的基础上，发掘了其中的戏剧性特征并提出以看待戏剧的眼光解读十四行诗的方法。
这126首诗歌的主题是赞美一位年轻的男性朋友。他容貌美丽，身份高贵，是众人瞩目的“太阳”。诗人寻求和朋友形影不离，心灵相通的至高无上的友谊，甚至为此可以原谅朋友的横刀夺爱。为了让他的美好形象延续和永存，诗人殚精竭虑，曾力劝他放弃独身主义，但最终选择了堂吉柯德似的做法：诗人向吞噬一切的时光宣战：“有我诗卷，我爱人便韶华常驻永不凋。”
硕士学位论文
r、
r、
、，J
1.1
‘.盈
C、︺
、火
r..且盆
rL
e、
A
..几
、比
肇
这些诗歌主题突出，完整统一地从不同侧面表达了对友谊的认识和热爱。
这些诗歌的结构曾受到评论界的批评。因为十四行诗格律的限制，它们显得
单调刻板，通常遵循每四行一节，三节构成诗歌主题，最后两个对偶句得出结论。
本文认为:可以把126首诗歌或其中一组诗看成一个整体，从而了解莎士比亚对
诗歌结构的整体把握并欣赏他独到的戏剧型结构。这是他以诗人和戏剧家的独特
视角构建的诗歌的戏剧或者戏剧的诗歌。诗人的思想流动形成了诗集的血脉言在
感情展开的过程中，读者体验的是戏剧冲突中获得的激动。
人们对莎士比亚的语言研究一直非常关注。问题是，对词汇语法，修辞意象，
音律和语域等方面的了解越深，反而使十四行诗离普通读者越远。现代结构主义，
解构主义，符号学等的加入，更使得欣赏的角度从诗歌实践走向理论，大大偏离
了它的本性。
基于以上原因，本文提出了对十四行诗的返朴归真的解读。再不必执着于它
应该是什么，相反，只需要认定它是什么。本文从确认诗歌中的戏剧元素入手，
试图从主题，结构和语言的角度确定十四行诗作为一个整体存在着戏剧性的必然。
在此逻辑基础上解析戏剧性的所在。最后，理论的假设将以对l一17首的新的解读
方法加以验证。
本文关注的问题是:“是什么赋予了十四行诗戏剧的魅力?”作者认为有三点
因素存在:第一，它的主题围绕着至少两个人的情感纠葛展开，并且经历了酝酿，
发展，冲突，高潮和结尾等几个明显的戏剧环节。第二，它的结构起伏跌宕，有
张有弛，即使不是作者具有使之戏剧化的本能或下意识，至少它也在读者的阅读
中产生了戏剧的效应。最后，语言风格的戏剧性更凸显了诗集的戏剧化特征。
无论前人对这部诗集做出了怎样中肯或精辟的论述，本文仍试图从浩如烟海
的评论中寻找新的解读方法。文章将分为三个章节，从主题，结构和诗歌阅读三
个方面探求十四行诗的戏剧性。最终得出有益于普通读者欣赏诗集的新的解读方
法。
第一章:在总结已有批评的基础上，找到莎士比亚十四行诗集中的戏剧元素。
对主题的确认排除了理论上的两大争议，即主题是一个精心设计的故事还是对情
感轨迹的抒情性表述;诗集中刻画的是真实的人物还是戏剧化的角色。对戏剧节
奏的分析主要从诗歌韵律着手，从而证实它产生的戏剧效果。随后作者从剧作家
馨然焦
和诗人世界观契合的角度阐述戏剧性存在的必然性。第一章为戏剧性解读奠定了
逻辑基础:它证实了情节，一冲突，人物及对白的存在。
第二章:追寻一个普通读者的阅读过程，寻找对诗集的戏剧性的体验。本文试
图证实阅读诗集的感受如同欣赏戏剧，从结构的深入分析入手，尽力确认戏剧性
是诗集的典型特征。本文总结了莎士比亚四种典型的思维模式:思想的多层展现，
思维流动的变幻，从
Shakespeare, the greatest dramatist and poet of the Renaissance, created 154 sonnets during the period of 1592-1598,in which he eulogized beauty, friendship, and love, and declared war against devastating time. His sonnets have become literary treasures and they enjoy ever-reviving vitality since nobody else has ever written a more profound and sustained body of poetry about various aspects of love with so high artistic techniques. Shakespeare also bared his soul to the world as to how he felt about the loss of his ideal, weakness of human nature and the withering power of time. Remarkably, his talents for structuring poems have conquered the literary world for centuries and his dramatic qualities in sonnet writing have contributed to readers' renewed interest.
Elizabethan England witnessed sonnet writing and reading as a fashion of the upper-class society, and the 1590s were a period of sonneteering vogue. Shakespeare made unmatched contributions to this genre in that he created the Sonnets-a masterpiece of sonnet sequence, which perfectly interweaves the charm of drama with that of poetry in the light of the theme, poetry structuring and art of language.
The theme of the Sonnets is a poet's persistent search for the communion with his beloved and the process of that search. They tell of the relationship of three people: a poet of inferior social class, a fair young aristocrat and a woman of dark skin. In the first 126 sonnets the poet expresses his love and commitment to his young friend, and his determination to fight against devastating time-the enemy of friendship and beauty. The rest of sonnets are addressed to his lover-the Dark Lady. They are full of contrasting feelings-passion and desolation, devotion and betrayal, depression and forgiveness. The Sonnets manifest a plot of story but the web of relations between two men and a woman depicted by Shakespeare proves more intricate. Recent historical and psychological critics have paid excessive attention to prototypes for the Young Man and the Dark Lady characterized in the Sonnets. The reason is that they attempt to identify the poet in the Sonnets with Shakespeare and then establish the theme of the ete
rnal triangle as well as Shakespeare's homosexuality. Such attempts are, at best, an oversimplification and distortion of the Sonnets; at worst, complete misinterpretation of them. Therefore with regard to the research on the Sonnets' theme, the approach proposed in this thesis is just to distinguish whether it is more dramatic or lyric.
The structuring of the Sonnets was occasionally criticized because some of the sonnets appear monotonous. The organization of one sonnet usually follows an invariable pattern of three quatrains, with the first 12 lines developing a situation and the couplet arriving at the solution. However, more evidence can be found in this thesis to reveal that Shakespearean sonnets are cleverly structured so as to achieve a dramatic effect. The thought progression is the essential element of the Sonnets' structure, both collectively or respectively. With the way Shakespeare's mind works in the development of sonnets, readers experience a dramatic thrill of joy.
The art of language of the Sonnets has received more favorable appraisal, yet too much of the attention has been put to the richness of language and imagery, the range of registers and tropes, complexity of verbal and conceptual association, and more remarkably, the metrical art. However the thesis has to leave out all these fruitful studies so as to focus on the dramatic character of the Sonnets' language.
In other words, this thesis tries to analyze Shakespearean characteristics of the theme, poetry structuring, and dramatic character in language in order to restore the Sonnets a well-deserved fame and full appreciation. In short, it tries to reveal why Shakespeare's sonnets are dramatic. The thesis maintains that three factors contribute to dramatic character of the Sonnets: First, the theme is more dramatic than lyric and full of dramatic conflicts. Second, the s
伊丽莎白时代的英格兰盛行十四行诗。诗人们主要用它来歌功颂德，或者向某个自己爱慕的女士传情达意。莎士比亚对这种文学体裁做出的独一无二的贡献在于：他以人文主义者博大高尚的胸怀，借助剧作家兼诗人的独特视角，创造了无论在主题上，风格上还是在语言艺术上都前无古人，后无来者的展示情感历程的不朽作品。本文认为：莎士比亚十四行诗的永恒魅力和独特风格在于它以精湛的语言和精巧的结构，巧妙地的将诗歌的艺术和戏剧的魅力结合起来，从而创作了154首主题连贯，诗歌语言和结构都具有戏剧性特征的不朽作品。
莎士比亚十四行诗围绕这一位诗人的感情历程展开。或缠绵悱恻，或轻灵俏皮；或热情奔放，或阴沉压抑。然而任何试图用某种风格概括莎士比亚的努力都显得无奈。因此本文在重点分析了1-126首诗歌的主题，结构和语言风格的基础上，发掘了其中的戏剧性特征并提出以看待戏剧的眼光解读十四行诗的方法。
这126首诗歌的主题是赞美一位年轻的男性朋友。他容貌美丽，身份高贵，是众人瞩目的“太阳”。诗人寻求和朋友形影不离，心灵相通的至高无上的友谊，甚至为此可以原谅朋友的横刀夺爱。为了让他的美好形象延续和永存，诗人殚精竭虑，曾力劝他放弃独身主义，但最终选择了堂吉柯德似的做法：诗人向吞噬一切的时光宣战：“有我诗卷，我爱人便韶华常驻永不凋。”
硕士学位论文
r、
r、
、，J
1.1
‘.盈
C、︺
、火
r..且盆
rL
e、
A
..几
、比
肇
这些诗歌主题突出，完整统一地从不同侧面表达了对友谊的认识和热爱。
这些诗歌的结构曾受到评论界的批评。因为十四行诗格律的限制，它们显得
单调刻板，通常遵循每四行一节，三节构成诗歌主题，最后两个对偶句得出结论。
本文认为:可以把126首诗歌或其中一组诗看成一个整体，从而了解莎士比亚对
诗歌结构的整体把握并欣赏他独到的戏剧型结构。这是他以诗人和戏剧家的独特
视角构建的诗歌的戏剧或者戏剧的诗歌。诗人的思想流动形成了诗集的血脉言在
感情展开的过程中，读者体验的是戏剧冲突中获得的激动。
人们对莎士比亚的语言研究一直非常关注。问题是，对词汇语法，修辞意象，
音律和语域等方面的了解越深，反而使十四行诗离普通读者越远。现代结构主义，
解构主义，符号学等的加入，更使得欣赏的角度从诗歌实践走向理论，大大偏离
了它的本性。
基于以上原因，本文提出了对十四行诗的返朴归真的解读。再不必执着于它
应该是什么，相反，只需要认定它是什么。本文从确认诗歌中的戏剧元素入手，
试图从主题，结构和语言的角度确定十四行诗作为一个整体存在着戏剧性的必然。
在此逻辑基础上解析戏剧性的所在。最后，理论的假设将以对l一17首的新的解读
方法加以验证。
本文关注的问题是:“是什么赋予了十四行诗戏剧的魅力?”作者认为有三点
因素存在:第一，它的主题围绕着至少两个人的情感纠葛展开，并且经历了酝酿，
发展，冲突，高潮和结尾等几个明显的戏剧环节。第二，它的结构起伏跌宕，有
张有弛，即使不是作者具有使之戏剧化的本能或下意识，至少它也在读者的阅读
中产生了戏剧的效应。最后，语言风格的戏剧性更凸显了诗集的戏剧化特征。
无论前人对这部诗集做出了怎样中肯或精辟的论述，本文仍试图从浩如烟海
的评论中寻找新的解读方法。文章将分为三个章节，从主题，结构和诗歌阅读三
个方面探求十四行诗的戏剧性。最终得出有益于普通读者欣赏诗集的新的解读方
法。
第一章:在总结已有批评的基础上，找到莎士比亚十四行诗集中的戏剧元素。
对主题的确认排除了理论上的两大争议，即主题是一个精心设计的故事还是对情
感轨迹的抒情性表述;诗集中刻画的是真实的人物还是戏剧化的角色。对戏剧节
奏的分析主要从诗歌韵律着手，从而证实它产生的戏剧效果。随后作者从剧作家
馨然焦
和诗人世界观契合的角度阐述戏剧性存在的必然性。第一章为戏剧性解读奠定了
逻辑基础:它证实了情节，一冲突，人物及对白的存在。
第二章:追寻一个普通读者的阅读过程，寻找对诗集的戏剧性的体验。本文试
图证实阅读诗集的感受如同欣赏戏剧，从结构的深入分析入手，尽力确认戏剧性
是诗集的典型特征。本文总结了莎士比亚四种典型的思维模式:思想的多层展现，
思维流动的变幻，从
Shakespeare, the greatest dramatist and poet of the Renaissance, created 154 sonnets during the period of 1592-1598,in which he eulogized beauty, friendship, and love, and declared war against devastating time. His sonnets have become literary treasures and they enjoy ever-reviving vitality since nobody else has ever written a more profound and sustained body of poetry about various aspects of love with so high artistic techniques. Shakespeare also bared his soul to the world as to how he felt about the loss of his ideal, weakness of human nature and the withering power of time. Remarkably, his talents for structuring poems have conquered the literary world for centuries and his dramatic qualities in sonnet writing have contributed to readers' renewed interest.
Elizabethan England witnessed sonnet writing and reading as a fashion of the upper-class society, and the 1590s were a period of sonneteering vogue. Shakespeare made unmatched contributions to this genre in that he created the Sonnets-a masterpiece of sonnet sequence, which perfectly interweaves the charm of drama with that of poetry in the light of the theme, poetry structuring and art of language.
The theme of the Sonnets is a poet's persistent search for the communion with his beloved and the process of that search. They tell of the relationship of three people: a poet of inferior social class, a fair young aristocrat and a woman of dark skin. In the first 126 sonnets the poet expresses his love and commitment to his young friend, and his determination to fight against devastating time-the enemy of friendship and beauty. The rest of sonnets are addressed to his lover-the Dark Lady. They are full of contrasting feelings-passion and desolation, devotion and betrayal, depression and forgiveness. The Sonnets manifest a plot of story but the web of relations between two men and a woman depicted by Shakespeare proves more intricate. Recent historical and psychological critics have paid excessive attention to prototypes for the Young Man and the Dark Lady characterized in the Sonnets. The reason is that they attempt to identify the poet in the Sonnets with Shakespeare and then establish the theme of the ete
rnal triangle as well as Shakespeare's homosexuality. Such attempts are, at best, an oversimplification and distortion of the Sonnets; at worst, complete misinterpretation of them. Therefore with regard to the research on the Sonnets' theme, the approach proposed in this thesis is just to distinguish whether it is more dramatic or lyric.
The structuring of the Sonnets was occasionally criticized because some of the sonnets appear monotonous. The organization of one sonnet usually follows an invariable pattern of three quatrains, with the first 12 lines developing a situation and the couplet arriving at the solution. However, more evidence can be found in this thesis to reveal that Shakespearean sonnets are cleverly structured so as to achieve a dramatic effect. The thought progression is the essential element of the Sonnets' structure, both collectively or respectively. With the way Shakespeare's mind works in the development of sonnets, readers experience a dramatic thrill of joy.
The art of language of the Sonnets has received more favorable appraisal, yet too much of the attention has been put to the richness of language and imagery, the range of registers and tropes, complexity of verbal and conceptual association, and more remarkably, the metrical art. However the thesis has to leave out all these fruitful studies so as to focus on the dramatic character of the Sonnets' language.
In other words, this thesis tries to analyze Shakespearean characteristics of the theme, poetry structuring, and dramatic character in language in order to restore the Sonnets a well-deserved fame and full appreciation. In short, it tries to reveal why Shakespeare's sonnets are dramatic. The thesis maintains that three factors contribute to dramatic character of the Sonnets: First, the theme is more dramatic than lyric and full of dramatic conflicts. Second, the s
引文
1. Alexander, Margueirite. A Reader's Guide to Shakespeare. and His Contemporaries. London: Heinemann Educational Books. Ltd. 1979
2. Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Beijing: Foreign Language Teaching and Research Press. 2000
3. Baugh, Albert K. Literary History of England. London: Routledge. 1967
4. Boyce, Charles. Shakespeare A to Z. New York: Charles Boyce and Roundtable Press. 1990
5. Brown, John Russel. Shakespeare's Dramatic Style. London: Heinemann. 1970
6. Conrad, Peter. The Everyman History of English Literature. London: J. M. Dent & Sons Ltd. 1987
7. Drabble, Margaret. The Oxford Companion to English Literature. Oxford: Oxford University Press. 1985
8. Garrett, John. British Poetry Since The 16th Century. New Jersey: Barnes & Noble Books. 1987
9. Ingram, W.G. "The Shakespearean Quality." In New Essays on Shakespeare's Sonnets, ed. Hilton Landry. New York: AMS Press. 1976
10. Landry, Hilton. "In Defense of Shakespeare's Sonnets." In New Essays on Shakespeare's Sonnets, ed. Hilton Landry. New York: AMS Press. 1976
11. Nowottny, Winifred. " Some Features of Form And Style in Sonnets 97-126". In New Essays on Shakespeare's Sonnets, ed. Hilton Landry. New York: AMS Press. 1976
12. Pirkhofer, Anton M. "The Beauty of Truth: The Dramatic Character of Shakespeare's Sonnets." In New Essays on Shakespeare's Sonnets, ed. Hilton Landry. New York: AMS Press. 1976
13. Smith, Martin Seymour. "Shakespeare's Sonnets 1-42: A Psychological Reading" In New Essays on Shakespeare's Sonnets, ed. Hilton Landry. New York: AMS Press. 1976
14. Peck, John and Martin Coyle. How to Study A Shakespeare Play. Houndmilts: Macmillan Education. 1985
15. Roessner, Jane. "Double Exposure: Shakespeare's Sonnets 100-14" ELH 46(1979):357-358
16. Rubinstein, T, Annette. The Great Tradition in English Literature (1). New York: Modem Reader Paperbacks. 1953
17. Spiller, Michael R. G. The Development of The Sonnet. An Introduction. New York: Routledge, 1992
18. Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, Massachusetts: Harvard University Press, 1999
19. Vickers, Brian. Returning to Shakespeare. London: Routledge. 1989
20. Vickers, Brian. Appropriating Shakespeare: Contemporary Critical Quarrels. New Haven, Coma: Yale University Press, 1993
21. Webster's Dictionary of The English Language Unabridged. William Collins Publishers. Inc. 1979
22. Wells, Stanley. The Cambridge Companion to Shakespeare Studies. Shanghai: Foreign Language Education Press. 2000
23. Weiser, David K. Minds in Character—Shakespeare's Speaker in the Sonnets. Columbia: University of Missouri Press. I987
24. Wright, George T. Shakespeare's Metrical Art. London: University of California Press. 1988
25．辜正坤．莎士比亚十四行诗集．北京：北京大学出版社．1998
26．苏天球．莎士比亚十四行诗研究综述．喀什师范学院学报．No．3 2001
27．吴迪．论莎士比亚十四行诗的时间主题．外国文学评论．No．3 2002
28．朱生豪．罗密欧与朱丽叶．译北京：外文出版设．1999
2. Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Beijing: Foreign Language Teaching and Research Press. 2000
3. Baugh, Albert K. Literary History of England. London: Routledge. 1967
4. Boyce, Charles. Shakespeare A to Z. New York: Charles Boyce and Roundtable Press. 1990
5. Brown, John Russel. Shakespeare's Dramatic Style. London: Heinemann. 1970
6. Conrad, Peter. The Everyman History of English Literature. London: J. M. Dent & Sons Ltd. 1987
7. Drabble, Margaret. The Oxford Companion to English Literature. Oxford: Oxford University Press. 1985
8. Garrett, John. British Poetry Since The 16th Century. New Jersey: Barnes & Noble Books. 1987
9. Ingram, W.G. "The Shakespearean Quality." In New Essays on Shakespeare's Sonnets, ed. Hilton Landry. New York: AMS Press. 1976
10. Landry, Hilton. "In Defense of Shakespeare's Sonnets." In New Essays on Shakespeare's Sonnets, ed. Hilton Landry. New York: AMS Press. 1976
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28．朱生豪．罗密欧与朱丽叶．译北京：外文出版设．1999