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莎士比亚十四行诗 当中的第116首 The Poem of love（William Shakespeare’s Sonnet 116）
是我为纪念莎翁4月23日逝世400周年所录制的，在网上寻找了很多译本，没有觉得自己满意的，于是便根据英国一些大咖们的解释做了自己的译本，希望大家喜欢
Let me not to the marriage of true minds
如果两个人的结合
Admit impediments, love is not love
是能够被阻挡的；那么爱便不是真爱，
Which alters when it alteration finds,
爱， 是不因世间万物改变而改变
Or bends with the remover to remove.
或因岁月逝去而褪色
Oh no, it is an ever-fixed mark
哦 ，不！爱可以修复人生中任何坎坷
That looks on tempests and is never shaken;
可以让人藐视着风暴的来临，并而绝纹丝不动；
It is the star to every wandering bark,
爱，是指引迷航船只的那颗恒星，
Whose worth&`&s unknown, although his height be taken.
纵然高度可测，但价值却无法衡量。
Love&`&s not Time&`&s fool, though rosy lips and cheeks
爱不受时间的愚弄，而玫瑰般的唇色和脸颊
Within his bending sickle&`&s compass come,
会被岁月的镰刀渐渐划上痕迹
Love alters not with his brief hours and weeks,
爱不随时间的流逝而有丝毫改变
But bears it out even to the edge of doom.
它会坚强地走到生命的尽头
If this be error and upon me proved,
如果这是个错误，并让我来证明的话，
I never writ, nor no man ever loved.
那么可以当我从未写过，世上也没有人真正爱过。
译本参考
marriage...impediments (1-2): T.G. Tucker explains that the first two lines are a "manifest allusion to the words of the Marriage Service: &`&If any of you know cause or just impediment why these two persons should not be joined together in holy matrimony&`&; cf. Much Ado 4.1.12. &`&If either of you know any inward impediment why you should not be conjoined.&`& Where minds are true - in possessing love in the real sense dwelt upon in the following lines - there can be no &`&impediments&`& through change of circumstances, outward appearance, or temporary lapses in conduct." (Tucker, p. 192).
bends with the remover to remove (4): i.e., deviates ("bends") to alter its course ("remove") with the departure of the lover.
ever-fixed mark (5): i.e., a lighthouse (mark = sea-mark).
Compare Othello (5.2.305-7):
Be not afraid, though you do see me weapon&`
Here is my journey&`&s end, here is my butt,
And very sea-mark of my utmost sail.
the star to every wandering bark (7): i.e., the star that guides every lost ship (guiding star = Polaris). Shakespeare again mentions Polaris (also known as "the north star") in Much Ado About Nothing (2.1.222) and Julius Caesar (3.1.65).
Whose worth&`&s unknown, although his height be taken (8): The subject here is still the north star. The star&`&s true value can never truly be calculated, although its height can be measured.
Love&`&s not Time&`&s fool (9): i.e., love is not at the mercy of Time.
Within his bending sickle&`&s compass come (10): i.e., physical beauty falls within the range ("compass") of Time&`&s curved blade. Note the comparison of Time to the Grim Reaper, the scythe-wielding personification of death.
edge of doom (12): i.e., Doomsday. Compare 1 Henry IV (4.1.141):
Come, let us take a muster speedily:
Doomsday is near; die all, die merrily.
_____
Sonnet 116 is about love in its most ideal form. The poet praises the glories of lovers who have come to each other freely, and enter into a relationship based on trust and understanding. The first four lines reveal the poet&`&s pleasure in love that is constant and strong, and will not "alter when it alteration finds." The following lines proclaim that true love is indeed an "ever-fix&`&d mark" which will survive any crisis. In lines 7-8, the poet claims that we may be able to measure love to some degree, but this does not mean we fully understand it. Love&`&s actual worth cannot be known – it remains a mystery. The remaining lines of the third quatrain (9-12), reaffirm the perfect nature of love that is unshakeable throughout time and remains so "ev&`&n to the edge of doom", or death.
In the final couplet, the poet declares that, if he is mistaken about the constant, unmovable nature of perfect love, then he must take back all his writings on love, truth, and faith. Moreover, he adds that, if he has in fact judged love inappropriately, no man has ever really loved, in the ideal sense that the poet professes. The details of Sonnet 116 are best described by Tucker Brooke in his acclaimed edition of Shakespeare&`&s poems:
[In Sonnet 116] the chief pause in sense is after the twelfth line. Seventy-five per cent of the words are monosyllables; only three contain more syllables than two; none belong in any degree to the vocabulary of &`&poetic&`& diction. There is nothing recondite, exotic, or metaphysical in the thought. There are three run-on lines, one pair of double-endings. There is nothing to remark about the rhyming except the happy blending of open and closed vowels, and of liquids, nasals, and stops; nothing to say about the harmony except to point out how the fluttering accents in the quatrains give place in the couplet to the emphatic march of the almost unrelieved iambic feet. In short, the poet has employed one hundred and ten of the simplest words in the language and the two simplest rhyme-schemes to produce a poem which has about it no strangeness whatever except the strangeness of perfection. (Brooke, p. 234)
