本文以莎士比亚的Sonnet18及其汉译本（梁宗岱，屠岸）为语料，从系统功能语法的照应层面分析英汉互译微观语篇结构关系转换技巧，从而增强对该理论的理解和应用。

Based on Shakespeare''s sonnet18 and Liang Zongdai’s and Tu’an’s translation versions as corpus, this paper analyzes the switching techniques of micro discourse structure for E-C translation from the aspect of reference, thus to make the reader understand and apply the theory better.

迄今已有的《莎士比亚十四行诗》十三种译本,其中九种采用了忠实于原文形体和意义的手法。然而,诗歌的抗译性是众所周知的。作为传统形式,又深深置根于西方文化的十四行诗,更是具有这一深层次的特征了。从理论上说,英语和汉语两种文字,有着不同的异质结构,要移花接木,是不易做到的。从实践来看,近百年来的阅读史和十四行诗创作史说明,移植英国和西方本土味的十四行诗形式到中国的土壤,还远远没有形成。这种理想和实践上的抵捂说明,英语中的十四行诗和汉语中的十四行诗（如果能够存在的话）,是难以殊途同归的。总结起来,这是一个形式的文化的问题。思考这个问题,既有助于在理论上提高认识,纠正一些认识论的偏差,也有助于给诗歌翻译,尤其是传统的格律诗翻译提供启迪和指导,并提出处理诗歌翻译在形式问题上的措施,因而具有方法论的意义。

There have come out 13 Chinese versions of Shakespeareˊs Sonnets among which nine have adapted the foreignization( alienization)approach which finds a faithful way both to the original form and meaning( con-tent). However,it is known to all that poetry resists translation. Sonnets bear such deep characteristic since it is both a conventional form and deeply rooted in western culture. Theoretically,it is difficult to transplant such a form into Chinese because they belong in different areas of culture with sheer different structures;practically,the read-ing and writing history of sonnets over 80 years in China give witness to justify that the fertile soil to graft sonnets has not yet come to its necessary state. Such contradictions in ideality and practice suggest the impossibility of translating Shakespeareˊs Sonnets into Chinese. Conclusively,this is a problem of culture of form which,to think o-ver it,will bring profit to elevate our perception and to rectify errors in un

莎士比亚的154首十四行诗作为一个整体,具有完整的戏剧元素,从单首诗来看,其戏剧性也明确存在。从莎氏第129首十四行诗可以看出,诗中存在戏剧人物、人物行为、戏剧冲突及矛盾的解决等,其戏剧性具体表现在叙述者的心理演变过程、用词、句法、修辞以及诗歌形式等方面。从这几个方面分析屠岸、梁实秋、辜正坤三位译家的译文,也在不同程度上体现了戏剧性在诗歌翻译中的再现。

Dramatic quality, found in Shakespeare’s 154 sonnets as a whole body, is also evident in his individual poems. An analysis of Sonnet 129 reveals such dramatic elements as a character, his act, dramatic conflicts and their resolution. The verse’s dramatic quality is embodied in the speaker’s psychological development, the diction, syntax, rhetorical devices and poetic form. A comparison in these aspects of this sonnet’s Chinese versions by Tu An, Liang Shiqiu, and Gu Zhengkun shows that the translators have, to different degrees, successfully re-presented the dramatic quality.

英国伟大的诗人和剧作家威廉。莎士比亚的十四行诗第54首描写并赞美了真玫瑰和野玫瑰的美丽。二者虽外表相似，但真玫瑰因它的芳香而更加迷人。该研究通过分析和对比这两种玫瑰的外表、花香和各自的价值，论证了忠贞和真实让美丽更迷人，更值得珍惜。研究表明，真玫瑰的外在美和内在美因象征着永恒的美丽与真实，忠贞将会永存于心。

Sonnet 54 by the great English poet and playwright William Shakespeare first published in 1609 eulogizes the beauty and perfume of true roses. True roses and wild roses are essentially the same kind of flower, but the true roses are more attractive and charming. The study mainly argues that this sonnet expresses a theme: truth makes beauty more beautiful. It analyzes and compares different characteristics of two kinds of flowers about their appearance, perfume and value. It illuminates that the external and inner beauties of true roses make them more precious, and beauty becomes more beautiful and more precious because of the truth.

通过细读文本，反驳了约翰逊博士对弥尔顿十四行诗不公正的评价，指出《咏失明》中的有机统一足以使它成为十四行诗中的杰作，形式与内容之间丰富而微妙的互动表现出巧夺天工的精湛技艺。在诗中，言说者内心的两个侧面，自然人和基督徒，彼此对话。二者的矛盾在审美化的过程中，即以十四行诗的形式对这一经历的艺术升华中得以统一。文章还追溯了《咏失明》在中国的早期因缘，主要是传教士杂志《遐迩贯珍》中的译诗和吴宓的译写、教学。

Through a close reading of the text, this essay argues, against Dr. Johnson, that admirable craftsmanship is demonstrated in the rich, subtle interplay between form and content, and that organic unity alone will reasonably place Milton’s first sonnet On His Blindness among the first-rate of the genre. In the poem, two aspects of the persona, the man and the Christian, converse with each other. Their contradiction is resolved in the process of aestheticization, namely the sublimation of the personal experience in the sonnet form. The essay also traces the early China connections of the poem, mainly its translation in the missionary journal Chinese Serial and Wu Mi’s transwriting and teaching of it.