如何在诗歌创作时规范使用十四行诗体？

最近发布的一个统计分析结果表明，当前英语诗歌创作多以三种诗体形式，包括十四行诗（Sonnet)，日本的俳句(Haiku）和自由体（Free Verse)。其中，俳句和自由体已广为人知，而对较为传统的十四行诗歌的诗体略显生疏。为此，介绍一下Sonnet 的源起、传承及诗体主要形式。

一、源起和传承

十四行诗是在13世纪中期到14世纪中期，西西里诗歌学派代表诗人之一贾科莫·德·Lentini(Giacomode Lentini)在组歌诗体的基础上创立而成。除了创造出“十四行”诗体，贾科莫最终还创造了意大利语中的很多新的词汇。因此，十四行诗体首先在意大利流行，并在14世纪意大利文艺复兴结束之后经SirThomas Wyatt传至英国。Sir Thomas Wyatt和Geoffrey Chaucer使得十四行诗体和英国当时乡村盛行的抒情诗和叙事诗结合，成为英语文化中最普遍的诗体。

十四行诗体在16世纪末期和17世纪早期的英格兰得到了诗人的热衷，包括Wyatt、SirPhilip Sydney、Edmund Spenser、 William Shakespeare等人都非常热衷十四行诗的写作。其中Spenser和 Shakespeare 继承了SirThomas Wyatt传入的Petrarchan 十四行诗，并进一步创立了各自的十四行诗体, 最终形成了三种主要的十四行诗版式，即Petrarchan十四行诗、Spenserian十四行诗和Shakespearean十四行诗。即使如此，使十四行诗体真正进文学殿堂，成为更为流行的英语诗歌诗体形式应该归功于莎士比亚。莎士比亚在其创作的戏剧和诗歌作品中大量使用十四行诗体。尽管莎士比亚可能并不一定属于最擅长、最有创意的“十四行诗”作家，但却是他使这种诗体变得家喻户晓。迄今存留的莎士比亚十四行诗大约有154首。

二、十四行诗的诗体类型及要素

十四行诗体是学者、学生等喜闻乐见，愿意采用的一种诗歌创作版式。十四行诗体主要用于浪漫、快乐和爱情冒险等主题。需要说明的是，十四行诗的韵律是可变的，但英语文学作品中有两种韵律形式较为常见，一是所谓的莎翁韵律：“a-b-a-b-c-d-c-d”-“efefgg” ，另一种则是所谓的弥尔顿韵律：“a-b-b-a-a-b-b-a”“-cdcdcd”韵式。十四行诗一般常用抑扬五步格。十四行诗歌的结构也是可变的，至少存在20种格式，但以14行最为常见。十四行诗歌每行含有10个音节（syllable），通常为两个“四行诗”加两个“三行压韵诗句”（tercet）组成（8行+6行=14行) 或者采取三个“四行诗”和一个结尾对偶句（中国的对联形式）组成。

六种最常见的十四行诗体格式分别为：彼特拉克格式、Curtal格式、斯宾塞格式、莎士比亚格式、弥尔顿格式和terza rima(三拍子)格式。

1、彼特拉克诗体：

由两段四行体和两段三拍子（见后面，三拍子诗体）组成。

比如：

Visions

Francesco Petrarch (1304-1374)

Being one day at my window all alone,
So manie strange things happened me to see,
As much as it grieveth me to thinke thereon.
At my right hand a hynde appear’d to mee,
（第一节，韵律为：a-b-a-b）
So faire as mote the greatest god delite;
Two eager dogs did her pursue in chace.
Of which the one was blacke, the other white:
With deadly force so in their cruell race
（第二节, 韵律：c-d-c-d）
They pincht the haunches of that gentle beast,
That at the last, and in short time, I spide,
Under a rocke, where she alas, opprest,
（第三节，三拍子，韵律为：-efe）

Fell to the ground, and there untimely dide.
Cruell death vanquishing so noble beautie
Oft makes me wayle so hard a desire.
（第四节，第二个三拍子，韵律为：fgg）

（每一诗行含10音节）注解：这首十四行诗含有一个完整的三拍子韵式：efe, 最后一个“三拍子”（三行）韵式并不遵从三拍子韵式，而是一种三拍子和十四行诗的混合处理方法，即遵守了十四行诗最后两行“对偶”的要求，这两行押相同的韵，即起韵按照三拍子用“f”但对偶句用相同的韵。所以为“fgg”。

2、切短（Curtal）格式

显然，十四行诗体的切短格式必然会使之少于十四行。
比如：

From La Vita Nuova

Dante Alighieri (1265-1321)

And now (for I must rid my name of ruth)

Behooves me speak the truth
Touching thy cruelty and wickedness:
Not that they be not known; but ne'ertheless
I would give hate more stress

With them that feed on love in every sooth.

Out of this world thou hast driven courtesy,
And virtue, dearly prized in womanhood;
And out of youth’s gay mood
The lovely lightness is quite gone through thee.

（只有10行，比较少见的变体，通常出自一些著名诗人之手）

3、斯宾塞诗体
Amoretti
Edmund Spenser (c. 1552-1599)

What guile is this, that those her golden tresses(a)
She doth attire under a net of gold;(b)
And with sly skill so cunningly them dresses,(a)
That which is gold or hair, may scarce be told?(b)

Is it that men’s frail eyes, which gaze too bold,(b)
She may entangle in that golden snare;(c)
And being caught may craftily enfold(b)
Their weaker hearts, which are not yet well aware?(c)

Take heed therefore, mine eyes, how ye do stare(c)
Henceforth too rashly on that guileful net,(d)
In which if ever ye entrapped are(c)
Out of her bands ye by no means shall get.(d)

Folly it were for any being free,(f)
To covet fetters, though they golden be.(g)

韵式：a-b-a-b-b-c-b-c-c-d-c-d-f-g

4、莎翁格式：

Sonnets

William Shakespeare (1564-1616)

From fairest creatures we desire increase,
That thereby beauty’s rose might never die.
But as the riper should by time decease,
His tender heir might bear his memory:

But thou, contracted to thine own bright eyes,
Feed'st thy light’s flame with self-substantial fuel,
Making a famine where abundance lies,
Thyself thy foe, to thy sweet self too cruel.

Thou that art now the world’s fresh ornament
And only herald to the gaudy spring,
Within thine own bud buriest thy content
And, tender churl, mak'st waste in niggarding.

Pity the world, or else this glutton be,
To eat the world’s due, by the grave and thee.

(没有明显的分段，但韵律具有分段，为：abab-cdcd-efef-gg)（基本上类似彼得拉克十四行韵式）。

5、弥尔顿格式：

To Cyriack Skinner (Milton’s pupil)

John Milton (1608-1674)

Cyriack, this three years’ day these eyes, though clear
To outward view, of blemish or of spot,
Bereft of light, their seeing have forgot;
Nor to their idle orbs doth sight appear

Of sun or moon or star throughout the year,
Or man or woman. Yet I argue not
Against Heaven’s hand or will, nor bate a jot
Of heart or hope, but still bear up and steer

（前八行为一个模块, 韵律：abbaabba）韵式中心对称。

Right onward. What supports me, dost thou ask?
The conscience, friend, to have lost them overplied
In liberty’s defense, my noble task,
Of which all Europe talks from side to side.

This thought might lead me through the world’s vain mask
Content, though blind, had I no better guide.

此六行为一个模块，韵律：cdcdcd）后六行韵式“回旋”

6、terza rima(三拍子)格式

这种十四行诗歌诗体格式以雪莱的西风颂为代表，分别由四个三拍子节和一个对偶副歌组成。

如：

Ode to the West Wind
BY PERCY BYSSHE SHELLEY
I
O wild West Wind, thou breath of Autumn's being,（a)
Thou, from whose unseen presence the leaves dead(b)
Are driven, like ghosts from an enchanter fleeing,(a)

Yellow, and black, and pale, and hectic red,(b)
Pestilence-stricken multitudes: O thou,(c)
Who chariotest to their dark wintry bed (b)

The winged seeds, where they lie cold and low,(c)
Each like a corpse within its grave, until(d)
Thine azure sister of the Spring shall blow (c)

Her clarion o'er the dreaming earth, and fill(d)
(Driving sweet buds like flocks to feed in air)（e)
With living hues and odours plain and hill:(d)

Wild Spirit, which art moving everywhere;(e)
Destroyer and preserver; hear, oh hear! (e)

II
Thou on whose stream, mid the steep sky's commotion,
Loose clouds like earth's decaying leaves are shed,
Shook from the tangled boughs of Heaven and Ocean,

Angels of rain and lightning: there are spread
On the blue surface of thine aëry surge,
Like the bright hair uplifted from the head

Of some fierce Maenad, even from the dim verge
Of the horizon to the zenith's height,
The locks of the approaching storm. Thou dirge

Of the dying year, to which this closing night
Will be the dome of a vast sepulchre,
Vaulted with all thy congregated might

Of vapours, from whose solid atmosphere
Black rain, and fire, and hail will burst: oh hear!

III
Thou who didst waken from his summer dreams
The blue Mediterranean, where he lay,
Lull'd by the coil of his crystalline streams,

Beside a pumice isle in Baiae's bay,
And saw in sleep old palaces and towers
Quivering within the wave's intenser day,

All overgrown with azure moss and flowers
So sweet, the sense faints picturing them! Thou
For whose path the Atlantic's level powers

Cleave themselves into chasms, while far below
The sea-blooms and the oozy woods which wear
The sapless foliage of the ocean, know

Thy voice, and suddenly grow gray with fear,
And tremble and despoil themselves: oh hear!

IV
If I were a dead leaf thou mightest bear;
If I were a swift cloud to fly with thee;
A wave to pant beneath thy power, and share

The impulse of thy strength, only less free
Than thou, O uncontrollable! If even
I were as in my boyhood, and could be

The comrade of thy wanderings over Heaven,
As then, when to outstrip thy skiey speed
Scarce seem'd a vision; I would ne'er have striven

As thus with thee in prayer in my sore need.
Oh, lift me as a wave, a leaf, a cloud!
I fall upon the thorns of life! I bleed!

A heavy weight of hours has chain'd and bow'd
One too like thee: tameless, and swift, and proud.

V
Make me thy lyre, even as the forest is:
What if my leaves are falling like its own!
The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,
Sweet though in sadness. Be thou, Spirit fierce,
My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe
Like wither'd leaves to quicken a new birth!
And, by the incantation of this verse,

Scatter, as from an unextinguish'd hearth
Ashes and sparks, my words among mankind!
Be through my lips to unawaken'd earth

The trumpet of a prophecy! O Wind,
If Winter comes, can Spring be far behind?

以上是对当今依然风行的十四行诗主要诗体形式的简介，有兴趣的朋友可以通过所给出的例诗加以体会、熟悉。

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