Sestina
塞斯蒂娜

The oldest-known sestina is "Lo ferm voler qu'el cor m'intra", written around 1200 by Arnaut Daniel, a troubadour of Aquitanian origin; he refers to it as "cledisat", meaning, more or less, "interlock".^[1] Hence, Daniel is generally considered the form's inventor,^[2] though it has been suggested that he may only have innovated an already existing form.^[3] Nevertheless, two other original troubadouric sestinas are recognised,^[4] the best known being "Eras, pus vey mon benastruc" by Guilhem Peire Cazals de Caortz; there are also two contrafacta built on the same end-words, the best known being Ben gran avoleza intra by Bertran de Born. These early sestinas were written in Old Occitan; the form started spilling into Italian with Dante in the 13th century; by the 15th, it was used in Portuguese by Luís de Camões.^[5][6]
已知最古老的 sestina 是“Lo ferm voler qu'el cor m'intra”，由阿基塔尼亞血統的吟遊詩人 Arnaut Daniel 於 1200 年左右創作;他將其稱為“cledisat”，或多或少的意思是“環環相扣”。^[1]因此，丹尼爾通常被認為是這種形式的發明者，^[2]儘管有人認為他可能只是對已經存在的形式進行了創新。^[3]儘管如此，另外兩個原始的吟遊詩人 sestinas 還是被認可的，^[4] 最著名的是 Guilhem Peire Cazals de Caortz 的“Eras， pus vey mon benastruc”;還有兩個建立在相同結尾詞上的對立面，最著名的是 Bertran de Born 的 Ben gran avoleza intra。這些早期的 sestinas 是用古奧克西坦語寫成的;這種形式在 13 世紀隨著但丁開始蔓延到義大利語中;到 15 日，它被 Luís de Camões 用於葡萄牙文。^[5][6]

The involvement of Dante and Petrarch in establishing the sestina form,^[7] together with the contributions of others in the country, account for its classification as an Italian verse form—despite not originating there.^[8] The result was that the sestina was re-imported into France from Italy in the 16th century.^[9] Pontus de Tyard was the first poet to attempt the form in French, and the only one to do so prior to the 19th century; he introduced a partial rhyme scheme into his sestina.^[10]
但丁和彼特拉克參與建立 sestina 形式，^[7] 以及該國其他人的貢獻，解釋了它被歸類為義大利詩歌形式的原因——儘管它並非起源於義大利。^[8]結果是 sestina 在 16 世紀從義大利重新進口到法國。^[9]蓬圖斯·德·泰爾德 （Pontus de Tyard） 是第一位嘗試法語形式的詩人，也是唯一一位在 19 世紀之前嘗試這種形式的詩人;他在他的 Sestena 中引入了部分押韻方案。^[10]

An early version of the sestina in Middle English is the "Hymn to Venus" by Elizabeth Woodville (1437–1492); it is an "elaboration" on the form, found in one single manuscript.^[11] It is a six-stanza poem that praises Venus, the goddess of love,^[12] and consists of six seven-line stanzas in which the first line of each stanza is also its last line, and the lines of the first stanza provide the first lines for each subsequent stanza.^[13]
中古英語中 sestina 的早期版本是伊莉莎白·伍德維爾（Elizabeth Woodville，1437-1492 年）的「維納斯讚美詩」;它是對形式的 「闡述」，可以在一份手稿中找到。^[11]這是一首讚美愛神維納斯的六節詩，^[12]由六節七行詩節組成，其中每節的第一行也是最後一行，第一節的行為隨後的每一節提供第一行。^[13]

The first appearance of the sestina in English print is "Ye wastefull woodes", comprising lines 151–89 of the August Æglogue in Edmund Spenser's Shepherd's Calendar, published in 1579.
sestina 首次出現在英文版畫中是“Ye wastefull woodes”，包括 1579 年出版的埃德蒙·斯賓塞 （Edmund Spenser） 的《牧羊人日曆》中 August Æglogue 的第 151-89 行。
It is in unrhymed iambic pentameter, but the order of end-words in each stanza is non-standard – ending 123456, 612345, etc. – each stanza promoting the previous final end-word to the first line, but otherwise leaving the order intact; the envoi order is (1) 2 / (3) 4 / (5) 6.^[14] This scheme was set by the Spaniard Gutierre de Cetina.^[15]
它是不押韻的抑揚格五音節，但每節中結束詞的順序是非標準的——結束123456、612345等——每節都將前一個結束詞提升到第一行，但其他方面保持順序不變;Envoi 訂單為 （1） 2 / （3） 4 / （5） 6。^[14]這個計劃是由西班牙人 Gutierre de Cetina 制定的。^[15]

Although they appeared in print later, Philip Sidney's three sestinas may have been written earlier, and are often credited as the first in English. The first published (toward the end of Book I of The Countess of Pembroke's Arcadia, 1590^[16]) is the double sestina "Ye Goatherd Gods". In this variant the standard end-word pattern is repeated for twelve stanzas, ending with a three-line envoi, resulting in a poem of 75 lines. Two others were published in subsequent editions of the Arcadia. The second, "Since wailing is a bud of causeful sorrow", is in the "standard" form. Like "Ye Goatherd Gods" it is written in unrhymed iambic pentameter and uses exclusively feminine endings, reflecting the Italian endecasillabo. The third, "Farewell, O sun, Arcadia's clearest light", is the first rhyming sestina in English: it is in iambic pentameters and follows the standard end-word scheme, but rhymes ABABCC in the first stanza (the rhyme scheme necessarily changes in each subsequent stanza, a consequence of which is that the 6th stanza is in rhyming couplets). Sidney uses the same envoi structure as Spenser. William Drummond of Hawthornden published two sestinas (which he called "sextains") in 1616, which copy the form of Sidney's rhyming sestina. After this, there is an absence of notable sestinas for over 250 years,^[17] with John Frederick Nims noting that, "... there is not a single sestina in the three volumes of the Oxford anthologies that cover the seventeenth, eighteenth and nineteenth centuries."^[18]
雖然它們後來出現在印刷品中，但菲力浦·西德尼 （Philip Sidney） 的三篇 sestinas 可能寫得更早，並且通常被認為是第一本英文作品。第一次出版的（1590 年彭布羅克伯爵夫人阿卡迪亞的《阿卡迪亞》第一卷末尾^[16]）是雙 sestina “Ye Goatherd Gods”。在這個變體中，標準的結尾詞模式重複了 12 節，以三行 envoi 結尾，結果是一首 75 行的詩。另外兩篇在《阿卡迪亞》的後續版本中出版。第二個，“既然哭泣是有益的悲傷的花蕾”，是“標準”的形式。與“Ye Goatherd Gods”一樣，它以不押韻的抑揚格五音節書寫，並且只使用女性結尾，反映了義大利的 endecasillabo。第三首，「再見，太陽啊，阿卡迪亞最清澈的光」，是英語中第一個押韻的 sestina：它是抑揚格五音節，遵循標準的尾詞方案，但在第一節中押韻 ABABCC（押韻方案在隨後的每一節中必然發生變化，其結果是第 6 節是押韻對聯）。Sidney 使用與 Spenser 相同的 envoi 結構。霍桑登的威廉·德拉蒙德 （William Drummond） 於 1616 年出版了兩本 sestinas（他稱之為“sextains”），它們複製了西德尼押韻的 sestina 的形式。在此之後的 250 多年裡，沒有顯著的 sestinas，^[17]約翰·弗雷德里克·尼姆斯 （John Frederick Nims） 指出，“......在涵蓋 17 世紀、18 世紀和 19 世紀的三卷牛津選集中，沒有一本 sestina。^[18]

In the 1870s, there was a revival of interest in French forms, led by Andrew Lang, Austin Dobson, Edmund Gosse, W. E. Henley, John Payne, and others.^[19] The earliest sestina of this period is Algernon Charles Swinburne's "Sestina".^[20] It is in iambic pentameter rhyming ABABAB in the first stanza; each stanza begins by repeating the previous end-words 6 then 1, but the following 4 lines repeat the remaining end-words ad lib; the envoi is (1) 4 / (2) 3 / (5) 6. In the same volume (Poems and Ballads, Second Series, 1878) Swinburne introduces a "double sestina"^[5][21] ("The Complaint of Lisa") that is unlike Sidney's: it comprises 12 stanzas of 12 iambic pentameter lines each, the first stanza rhyming ABCABDCEFEDF. Similar to his "Sestina", each stanza first repeats end-words 12 then 1 of the previous stanza; the rest are ad lib. The envoi is (12) 10 / (8) 9 / (7) 4 / (3) 6 / (2) 1 / (11) 5.
在 1870 年代，在安德魯·朗 （Andrew Lang）、奧斯汀·多布森 （Austin Dobson）、埃德蒙·戈斯 （Edmund Gosse）、W. E. 亨利 （W. E. Henley）、約翰·佩恩 （John Payne） 等人的領導下，人們對法國形式的興趣重新燃起。^[19]這一時期最早的 sestina 是 Algernon Charles Swinburne 的“Sestina”。^[20]它在第一節中以抑揚格五音節押韻 ABABAB;每節都以重複前面的結束詞 6 然後 1 開始，但接下來的 4 行隨意重複其餘的結束詞;Envoi 是 （1） 4 / （2） 3 / （5） 6。在同一卷（詩歌和民謠，第二輯，1878 年）中，斯威本引入了與西德尼不同的“雙 sestina”^[5][21]（“麗莎的抱怨”）：它由 12 節組成，每節 12 行抑揚格五音節，第一節押韻 ABCABDCEFEDF。與他的「Sestina」類似，每節首先重複前一節的結尾詞 12，然後是 1;其餘的都是即興發揮。envoi 是 （12） 10 / （8） 9 / （7） 4 / （3） 6 / （2） 1 / （11） 5。

From the 1930s, a revival of the form took place across the English-speaking world, led by poets such as W. H. Auden, and the 1950s were described as the "age of the sestina" by James E. B. Breslin.^[22] "Sestina: Altaforte" by Ezra Pound, "Paysage moralisé" by W. H. Auden, and "Sentina" by Elizabeth Bishop are distinguished modern examples of the sestina.^[23][24][25] "Histoire" by Harry Mathews adds an additional Oulipian constraint: the end words wildly misusing ideological or prejudicial terms.^[26] The sestina remains a popular closed verse form, and many sestinas continue to be written by contemporary poets;^[27] notable examples include "Six Bad Poets" by Christopher Reid,^[28][29] "The Guest Ellen at the Supper for Street People" by David Ferry and "IVF" by Kona Macphee.^[2][30]
從 1930 年代開始，在 WH Auden 等詩人的領導下，這種形式的復興在英語世界發生，1950 年代被 James EB Breslin 描述為“sestina 時代”。^[22]埃茲拉·龐德 （Ezra Pound） 的《塞斯蒂娜：阿爾塔福特》（Sestina： Altaforte）、W. H. 奧登 （W. H. Auden） 的《Paysage moralisé》和伊莉莎白·畢曉普 （Elizabeth Bishop） 的《聖蒂娜》（Sentina） 是塞斯蒂娜 （sestina） 的傑出現代例子。^[23][24][25]哈裡·馬修斯（Harry Mathews）的《歷史》（Histoire）增加了一個額外的奧利普式約束：結尾的詞語瘋狂地濫用了意識形態或偏見的術語。^[26]sestina 仍然是一種流行的封閉詩歌形式，許多 sestinas 繼續由當代詩人創作;^[27]著名的例子包括克裡斯托弗·裡德（Christopher Reid）的《六個壞詩人》（Six Bad Poets），^[28][29]大衛·費里（David Ferry）的《街頭人晚餐上的客人艾倫》（The Guest Ellen at the Supper for Street People）和科娜·麥克菲（Kona Macphee）的《試管嬰兒》（IVF）。^[2][30]

Although the sestina has been subject to many revisions throughout its development, there remain several features that define the form. The sestina is composed of six stanzas of six lines (sixains), followed by a stanza of three lines (a tercet).^[5][31] There is no rhyme within the stanzas;^[32] instead the sestina is structured through a recurrent pattern of the words that end each line,^[5] a technique known as "lexical repetition".^[33]
儘管 sestina 在其整個開發過程中經過了多次修訂，但仍有幾個特徵定義了它的形式。sestina 由六節六行 （sixains） 組成，後面是一行三行 （a tercet）。^[5][31] 詩節中沒有押韻;^[32]相反，sestina 是通過每行結尾的單詞的迴圈模式來構建的，^[5] 這種技術被稱為“詞彙重複”。^[33]

In the original form composed by Daniel, each line is of ten syllables, except the first of each stanza which are of seven.^[34] The established form, as developed by Petrarch and Dante, was in hendecasyllables.^[7] Since then, changes to the line length have been a relatively common variant,^[35] such that Stephanie Burt has written: "sestinas, as the form exists today, [do not] require expertise with inherited meter ...".^[36]
在丹尼爾創作的原始形式中，每行有十個音節，除了每節的第一節有七個音節。^[34]彼特拉克和但丁發展的既定形式是十音節。^[7]從那時起，線長的變化就是一種相對常見的變體，^[35]以至於斯蒂芬妮·伯特（Stephanie Burt）寫道：“塞斯蒂納斯，就像今天存在的形式一樣，[不需要]繼承米的專業知識......”。^[36]

The pattern that the line-ending words follow is often explained if the numbers 1 to 6 are allowed to stand for the end-words of the first stanza.
如果允許數位 1 到 6 代表第一節的結束詞，通常會解釋行尾詞所遵循的模式。
Each successive stanza takes its pattern based upon a bottom-up pairing of the lines of the preceding stanza (i.e., last and first, then second-from-last and second, then third-from-last and third).^[5] Given that the pattern for the first stanza is 123456, this produces 615243 in the second stanza, numerical series which corresponds, as Paolo Canettieri has shown, to the way in which the points on the dice are arranged.^{[37][page needed]} This genetic hypothesis is supported by the fact that Arnaut Daniel was a strong dice player and various images related to this game are present in his poetic texts.^{[citation needed]}
每個連續的節都基於前一節的行的自下而上的配對（即，最後一個和第一個，然後是倒數第二個和第二個，然後是倒數第三個和第三個）。^[5]鑒於第一節的模式是123456，這在第二節中產生了615243，正如Paolo Canettieri所展示的那樣，它與骰子上點的排列方式相對應。^{[37][需要頁面 ]}這一遺傳假說得到了以下事實的支援：Arnaut Daniel 是一位強大的骰子玩家，並且與該遊戲相關的各種圖像都出現在他的詩歌文本中。^{[來源請求]}

Another way of visualising the pattern of line-ending words for each stanza is by the procedure known as retrogradatio cruciata, which may be rendered as "backward crossing".^[38] The second stanza can be seen to have been formed from three sets of pairs (6–1, 5–2, 4–3), or two triads (1–2–3, 4–5–6). The 1–2–3 triad appears in its original order, but the 4–5–6 triad is reversed and superimposed upon it.^[39]
另一種將每節的行尾詞模式可視化的方法是通過稱為 retrogradatio cruciata 的程式，它可以被翻譯成 “backward crossing”。^[38]可以看出第二節是由三組對（6-1、5-2、4-3）或兩個三和弦（1-2-3、4-5-6）組成的。1-2-3 三和弦按其原始順序出現，但 4-5-6 三和弦顛倒並疊加在其上。^[39]

The pattern of the line-ending words in a sestina is represented both numerically and alphabetically in the following table:
sestina 中行尾單詞的模式在下表中以數位和字母順序表示：

The sixth stanza is followed by a tercet that is known variably by the French term envoi, the Occitan term tornada,^[5] or, with reference to its size in relation to the preceding stanzas, a "half-stanza".^[7] It consists of three lines that include all six of the line-ending words of the preceding stanzas.
第六節之後是一個tercet，法語術語 envoi、奧克西坦術語 tornada^[5] 或者，根據其相對於前幾節的大小，“半節”。^[7]它由三行組成，包括前面幾節的所有六個行尾詞。
This should take the pattern of 2–5, 4–3, 6–1 (numbers relative to the first stanza); the first end-word of each pair can occur anywhere in the line, while the second must end the line.^[41] However, the end-word order of the envoi is no longer strictly enforced.^[42]
這應該採用 2-5、4-3、6-1（相對於第一節的數位）的模式;每對的第一個結束詞可以出現在行中的任何位置，而第二個結束詞必須結束行。^[41]但是，envoi 的結束詞順序不再嚴格執行。^[42]

The sestina has been subject to some variations, with changes being made to both the size and number of stanzas, and also to individual line length.
sestina 發生了一些變化，小節的大小和數量以及單個行的長度都發生了變化。
A "double sestina" is the name given to either: two sets of six six-line stanzas, with a three-line envoy (for a total of 75 lines),^[16] or twelve twelve-line stanzas, with a six-line envoy (for a total of 150 lines). Examples of either variation are rare; "Ye Goatherd Gods" by Philip Sidney is a notable example of the former variation, while "The Complaint of Lisa" by Algernon Charles Swinburne is a notable example of the latter variation.^[44] In the former variation, the original pattern of line-ending words, i.e. that of the first stanza, recurs in the seventh stanza, and thus the entire change of pattern occurs twice throughout.
“雙節”是給以下任一名稱的：兩組六行詩節，有一名三行特使（共 75 行），^[16] 或十二節十二行，有一名六行特使（共 150 行）。這兩種變化的例子都很少見;菲力浦·西德尼 （Philip Sidney） 的《Ye Goatherd Gods》是前一種變體的顯著例子，而阿爾吉儂·查理斯·斯威本 （Algernon Charles Swinburne） 的《麗莎的抱怨》是後一種變體的顯著例子。^[44]在前一種變體中，行尾詞的原始模式，即第一節的模式，在第七節中重複出現，因此整個模式的變化在整個過程中發生了兩次。
In the second variation, the pattern of line-ending words returns to the starting sequence in the eleventh stanza; thus it does not, unlike the "single" sestina, allow for every end-word to occupy each of the stanza ends; end-words 5 and 10 fail to couple between stanzas.
在第二種變體中，行尾詞的模式回到了第十一節的起始序列;因此，與 「single」 sestina 不同，它不允許每個結尾詞佔據每個節的結尾;結尾詞 5 和 10 在節之間無法耦合。

The structure of the sestina, which demands adherence to a strict and arbitrary order, produces several effects within a poem. Stephanie Burt notes that, "The sestina has served, historically, as a complaint", its harsh demands acting as "signs for deprivation or duress".^[17] The structure can enhance the subject matter that it orders; in reference to Elizabeth Bishop's A Miracle for Breakfast, David Caplan suggests that the form's "harshly arbitrary demands echo its subject's".^[45] Nevertheless, the form's structure has been criticised; Paul Fussell considers the sestina to be of "dubious structural expressiveness" when composed in English and, irrespective of how it is used, "would seem to be [a form] that gives more structural pleasure to the contriver than to the apprehender".^[46]
sestina 的結構要求遵守嚴格而武斷的秩序，在一首詩中產生了多種效果。斯蒂芬妮·伯特 （Stephanie Burt） 指出，“從歷史上看，sestina 一直是一種抱怨”，其苛刻的要求是“剝奪或脅迫的標誌”。^[17]該結構可以增強它所訂購的主題;大衛·卡普蘭（David Caplan）引用伊莉莎白·畢曉普（Elizabeth Bishop）的《早餐的奇跡》（A Miracle for Breakfast）時指出，這種形式“嚴厲武斷的要求與主題的要求相呼應”。^[45]儘管如此，該表格的結構還是受到了批評;保羅·福塞爾（Paul Fussell）認為，當用英語創作時，sestina 具有“可疑的結構表現力”，並且無論它如何使用，“似乎是 [一種] 給 contriver 而不是 apprehender 帶來更多結構樂趣的形式”。^[46]

Margaret Spanos highlights "a number of corresponding levels of tension and resolution" resulting from the structural form, including: structural, semantic and aesthetic tensions.^[47] She believes that the aesthetic tension, which results from the "conception of its mathematical completeness and perfection", set against the "experiences of its labyrinthine complexities" can be resolved in the apprehension of the "harmony of the whole".^[47]
瑪格麗特·斯潘諾斯 （Margaret Spanos） 強調了結構形式產生的“許多相應層次的張力和解析度”，包括：結構、語義和美學的張力。^[47]她相信，由「數學完整性和完美性的概念」產生的審美張力，與「其迷宮般的複雜性體驗」相抵觸，可以在對「整體和諧」的理解中得到解決。^[47]

The strength of the sestina, according to Stephen Fry, is the "repetition and recycling of elusive patterns that cannot be quite held in the mind all at once".^[48] For Shanna Compton, these patterns are easily discernible by newcomers to the form; she says that: "Even someone unfamiliar with the form's rules can tell by the end of the second stanza ... what's going on ...".^[49]
根據斯蒂芬·弗萊 （Stephen Fry） 的說法，sestina 的力量在於“重複和迴圈利用難以捉摸的模式，這些模式無法同時完全掌握在腦海中”。^[48]對於 Shanna Compton 來說，這些模式很容易被這種形式的新手辨別出來;她說：「即使是不熟悉這種形式規則的人也能在第二節結束時看出......這是怎麼回事......」。^[49]

• The 1972 television play Between Time and Timbuktu, based on the writings of Kurt Vonnegut, is about a poet-astronaut who wanted to compose a sestina in outer space. Vonnegut wrote a sestina for the production.^[50]
  1972 年的電視劇《時間與廷巴克圖之間》改編自庫爾特·馮內古特 （Kurt Vonnegut） 的著作，講述了一位詩人兼宇航員想在外太空創作一首詩歌的故事。馮內古特為這部作品寫了一首 sestina。^[50]

• Canzone, an Italian or Provençal song or ballad, in which the sestina is sometimes included.
  Canzone，義大利或普羅旺斯的歌曲或民謠，其中有時包括 sestina。
• Pentina, a variation of the sestina based on five endwords.
  Pentina，基於 5 個尾詞的 sestina 變體。
• Villanelle, another type of fixed verse form.
  Villanelle，另一種固定的詩歌形式。

Wikisource has the text of the 1911 Encyclopædia Britannica article "Sestina".
維琪文庫有 1911 年大英百科全書文章“ Sestina” 的文字。

• Rules and history of the sestina from the American Academy of Poetry
• Examples of sestinas from 2003–2007 at McSweeney's Internet Tendency
• How to Write a Sestina (with Examples and Diagrams) from the Society of Classical Poets