安德鲁·马弗尔的诗《致他娇羞的情人》所展现的是一位男性抒情诗人与他不情愿的(娇羞的)情人间炽热的爱情关系。作为这一爱情故事的主人公,他运用叙述来劝诱(或引诱)他心爱的人,以使她同意在文本外的世界里使他的爱得以完美实现。为了实现这一目的,他运用了三个不同的叙述序列,三个爱情故事发展的可能形式,每一个都基于不同的叙述脚本。在彼特拉克主义这一当时爱情观的总体文化背景下,人们对实现充满激情的爱是持强烈否定态度的,因为这一爱情观排除了满足性欲有助于情感的纯净和升华这样的观念。前两个叙述序列各占诗歌的三分之一,表现(“讲述”)了在彼特拉克观念的前提下,他们的爱情故事不会有幸福的结局:第一个序列中,在无限的空间和时间这一假设和虚幻的条件下(“足够的天地和光阴”),这一满足感将被无限期地推迟;第二个序列中,在有限的空间和时间这一现实条件下,无限期的推迟无异于不可能。这两个版本都被嘲笑,因而含蓄地被拒绝为不切实际的,最终是不人道的。针对这两个从根本上无法令人满意、两个几乎没有什么不同结局的序列,抒情人在人类无可逃避的生存短暂的情况下,在渴望实现他们的欲望并得以相互满足中,给他心爱的人设想并讲述了亟待将之付诸实践的第三个叙述。由此,两个毫无惊人之处的宏观序列与一个潜在的充满众多变化的叙述最终走向一个事关重大的结局,但却要由这对情人在诗歌之外的现实中、在文本外的世界中去实现。在面对生存危机或心理问题时,这样一种实践性、功能性叙事的运用,可以看作是抒情诗的一种典型叙事策略。 Andrew Marvell’s poem “To The Shy Lover” shows a passionate love affair between a male lyrical poet and his reluctant (shy) lover. As the protagonist of this love story, he uses the narrative to persuade (or lure) his beloved to make her agree to perfect his love in a world outside the text. To this end, he uses three different sequence of narratives, three possible forms of development of a love story, each based on a different narrative script. Under the overall cultural background of Petrarchism, which was the view of love at that time, people strongly opposed the realization of passionate love because this view of love excluded the notion of satisfying sexual desire for the purity and sublimation of emotions . The first two narrative sequences each account for one third of the poetry, and the performance ( “tells ”) that under the Petrarch conception, their love story will not have a happy ending: in the first sequence, The infinite space and time under this hypothetical and illusory condition ( “enough heaven and earth ”), this satisfaction will be postponed indefinitely; the second sequence, in the limited space and time this Under realistic conditions, an indefinite postponement will be impossible. Both versions were laughed at, implicitly rejected as unrealistic and ultimately inhuman. Against these two sequences, which are fundamentally unsatisfactory and have almost no different ending, the lyricists give him, in the short run of human inevitable existence, longing for fulfillment of their desires and mutual satisfaction The beloved person envisions and tells a third story that urgently needs to be put into practice. As a result, two astounding macroeconomic sequences and one potential multitude of changing narratives eventually come to a crucial conclusion, yet these lovers, outside of the context of poetry, In the world to achieve. In the face of survival crisis or psychological problems, the use of such a practical and functional narrative can be regarded as a typical narrative strategy of lyric poetry.