The Seductive Dark Lady

—- who inspired some of Shakespeare’s most famous and explicit sonnets (127-154，130是其中最著名的一首） has remained a mystery for centuries.:

莎士比亚十四行诗              黑 色 女 郎

莎士比亚                                                                 Sonnet CXXX
(Cancan  译）

我挚爱的女郎双眸不像太阳   My mistress’ eyes are nothing like the sun;
红珊瑚艳过她唇色婀娜    Coral is far more red, than her lips red:
比起雪丘，她的胸象海沙一样    If snow be white, why then her breasts are dun;
婆娑柔髮远胜过她乌髮张狂 ！   If hairs be wires, black wires grow on her head.

我见过秀丽的玫瑰芬芳娇妩    I have seen roses damasked, red and white
而她的面颊，并没有玫瑰妖魅    But no such rosessee I in her cheeks;
无数种香水沁人肺腑    And in some perfumes is there more,
她的呼吸，亦不似花露香醉    Than in the breath that from my mistress reeks.

纵使我痴迷她的嗓音，亦知晓    I love to hear her speak, yet well I know,
音乐比她的声音悦耳悠扬    That music hath a far more pleasing sound:
未曾见仙女飘飘身姿窈窕     I grant I never saw a goddess go,
只知道我的女神大步铿锵     My mistress, when she walks, treads on the ground:

以天堂为证，我爱她举世无双     And yet by heaven, I think my love as rare,
再华丽的比较，面对她亦会黯自神伤!     As any she belied with false compare.

注解:

Sonnet CXXX（１３０）：萨士比亚abab, cdcd, efef, gg韵式。
这首诗和莎士比亚十四行诗第１２７首至接近诗集结尾的第１５２首都是写给一位神秘高贵的年青女子”黑 色 女 郎 the Dark Lady”。

(Red) Coral:
Precious coral 紅珊瑚（貴珊瑚），珍贵的紅珊瑚屬珊瑚。常用來製作珠寶。

“her breasts are dun”：
dun在此指dun-colored，沙丘的颜色，以对应前面洁白色的雪来暗示女郎有着海沙色浅灰栗色的皮肤。

“roses damasked” :
形容著名的粉红色香气浓郁的大马士革玫瑰（Damask rose, Rosa damascena Mill），
”red and white” 有分析指这种大马士革玫瑰的色泽，粉中透红，亦有猜测是说一种红白斑斓的玫瑰The York and Lancaster rose。莎士比亚常用这种玫瑰描绘淡红色的面颊： Compare The Taming of the Shrew: "Such war of white and red within her cheeks!" (4.5.32). Shakespeare mentions the damask rose often in his plays. Compare also Twelfth Night:

She never told her love,
But let concealment, like a worm i' the bud,
Feed on her damask cheek. (2.4.118)

England Royal House of Tudor Coat-of-Arms Lancaster Red York White Rose Henry VII Giclée Print (上图：皇家兰卡斯特红白约克玫瑰纹章，下图：大马士革兰卡斯特红约克玫瑰)

This sonnet, one of Shakespeare’s most famous, plays an elaborate joke on the conventions of love poetry common to Shakespeare’s day, and it is so well-conceived that the joke remains funny today. In many ways, Shakespeare’s sonnets subvert and reverse the conventions of the Petrarchan love sequence.The rhetorical structure of Sonnet 130 is important to its effect. In the first quatrain, the speaker spends one line on each comparison between his mistress and something else (the sun, coral, snow, and wires—the one positive thing in the whole poem some part of his mistress is like. In the second and third quatrains, he expands the descriptions to occupy two lines each, so that roses/cheeks, perfume/breath, music/voice, and goddess/mistress each receive a pair of unrhymed lines. This creates the effect of an expanding and developing argument, and neatly prevents the poem—which does, after all, rely on a single kind of joke for its first twelve lines—from becoming stagnant.
https://www.sparknotes.com/shakespeare/shakesonnets/section9.rhtml