《诗歌的韵律及押韵格式(24页).doc》由会员分享，可在线阅读，更多相关《诗歌的韵律及押韵格式(24页).doc（23页珍藏版）》请在taowenge.com淘文阁网|工程机械CAD图纸|机械工程制图|CAD装配图下载|SolidWorks_CaTia_CAD_UG_PROE_设计图分享下载上搜索。
1、-诗歌的韵律及押韵格式-第 23 页第一节 头韵头韵是指一行（节）诗中几个词开头的辅音相同，形成押韵。如克里斯蒂娜罗塞蒂的歌前两诗节：When I am dead, my dearest,Sing no sad songs for me;Plant thou no rose at my head,Nor shady cypress tree:Be the green grass above meWith showers and dewdrops wet;And if thou wilt, remember,And if thou wilt, forget.(Christina Rossetti
2、: Song)第一行的dead / dearest，第二行的sing / sad / songs，第五行的green / grass，第六行的 with / wet押头韵。又如柯尔律治的古舟子咏第103第106行：The fair breeze blew, the white foam flew,The furrow followed free,We were the first that ever burstInto that silent sea.（Samuel Taylor Coleridge: The Rime of the Ancient Mariner）前三行里，头韵f重复七次。这
3、个摩擦送气的清辅音模仿柔风轻涛的声音，创造出一种宁静的意境。第四行里的两个s音宛如和风吹过沉寂海面而发出的咝咝声。头韵在这里的使用，令读者有身临其境之感。另外，中间韵blew / flew，first / burst，furrow / followed，尾韵free / sea形成悦耳动听的韵味和节奏感。再如莎士比亚编号为71的十四行诗前八行：No longer mourn for me when I am deadThan you shall hear the surly sullen bellGive warning to the world that I am fledFrom this
4、 vile world with vilest worms to dwell.Nay, if you read this line, remember notThe hand that writ it; for I love you soThat I in your sweet thoughts would be forgotIf thinking on me would make you woe.每行都有不同的头韵。第一行为mourn / me，第二行为surly / sullen，第三行为warning / world，第四行为world / worm，第五行为read / remembe
5、r，第八行为me / make和would / woe。第二行、第三行和第五行为than / that / this，第七行和第八行为thoughts / thinking。这样的不同首字母交替出现在一个诗节中，可以称为交叉头韵。诗人在使用头韵时，还使用一种声音的重复，通过这种声音的重复表达一种独特的情感。如多恩的歌：When thou sighst, thou sighst not windBut sighst my soul away;When thou weepst, unkindly kind,My lifes blood doth decay.It cannot be,That th
6、ou lovst me, as thou sayst,If in thine my life thou waste,Thou art the best of me.（John Donne: Song）此诗节使用的头韵有when / wind / weep / waste，sigh / soul / say，doth / decay，blood / be / best，thou / then / that等。另外，在sigh、kindly、thine、my和life中有频繁的元音字母i，此音暗示悲伤和抑郁，加上它是一个长元音，自然就减缓了诗行自然的快节奏运动，哀伤和抑郁之情得到了充分的表现。同样
7、的诗歌技巧也体现在爱伦坡的乌鸦之中，如该诗的最后一节：And the Raven, never flitting, still is sitting, still is sittingOn the pallid bust of Pallas just above my chamber door;And his eyes have all the seeming of a demon that is dreaming,And the lamp-light oer him streaming throws his shadow on the floor;And my soul from out t
8、hat shadow that lies floating on the floor Shall be lifted nevermore!(Allan Poe: The Raven)此诗节中除了各行的头韵（still / sitting，pallid / Pallas，his / have，lamp / light，from / floating / floor），还有内韵（flitting / sitting，seeming / dreaming等），贯穿整个诗节的短元音、æ，长元音i:、o:和双元音u生动地传达出了主人公的痛苦和绝望。第二节 尾韵尾韵（end rhyme）指行尾
9、押韵单词最后的重读元音及其后面的辅音在读音上相同，而元音前面的辅音则不能相同。也就是说，元音以及元音后面的辅音押韵，而元音前面的辅音则不押韵。这种韵又被称为全韵（perfect rhyme）。根据音节的数量，可分为单音节尾韵(single rhyme)、双音节尾韵(double rhyme)和三重音节尾韵(triple rhyme)。单音节尾韵又称男韵或阳韵（masculine rhyme），是在诗行结尾重读音节之间出现的最普遍的押韵。如米勒在太平洋之滨第二诗节：Above yon gleaming skies of goldOne lone imperial peak is seen;Whi
10、le gathered at his feet in greenTen thousand foresters are told.And all so still! So still the airThat duty drops the web of care. (Joaquin Miller: By the Pacific Ocean)第一、四行押韵，第二、三行押韵，第五、六行押韵，都是重读单音节。虽然是单音节押韵，但它只要求一个音节押韵，而不要求押韵的一个音节是一个单音节单词。例如叶芝走过柳园第一节：Down by the sally gardens my love and I did me
11、et;She passd the sally gardens with little snow-white feet.She bid me take love easy, as the leaves grow on the tree;But I, being young and foolish, with her would not agree.（W. B. Yeats: Down by the Sally Gardens）这里第四行的agree就是一个双音节单词，它只在第二个音节上与前行的tree押韵，而且它是重读音节。双音节韵又称女韵或阴韵（feminine rhyme），其基本特征是行尾
12、单词最后两个音节押韵，其中倒数第二个音节是重读音节，而最后一个音节是非重读音节。由于其读音是重读加非重读结构，因此它又称扬抑格韵（trochaic rhyme）。如华兹华斯的写于三月前四行：The cock is crowing,The stream is flowing,The small birds twitter,The lake doth glitter.(William Wordsworth: Written in March at Brothers Water)行尾的crowing / flowing，twitter / glitter相互押韵。两组押韵都是由双音节单词组成，每个单
13、词的第一个音节为重读音节，第二个音节为非重读音节。又如丁尼生女郎夏洛特第一部分的第二诗节：Willows whiten, aspens quiver,Little breezes dusk and shiverThrough the wave that runs foreverBy the island in the riverFlowing down to Camelot.Four grey walls, and four grey towers,Overlook a space of flowers,And the silent isle imbowersThe Lady of Shalo
14、tt.(Alfred Tennyson: The Lady of Shalott, Part I)行尾的quiver / shiver / river，towers / flowers / imbowers相互押韵，除了imbowers，其余单词都是双音节单词，都是第一个音节为重读，第二个音节为非重读。imbowers虽然是三个音节，但它的最后两个音节为重读加非重读，跟其余两个单词押韵。这就是说，双音节韵的单词也可以是多音节单词，但其押韵的音节只能是两个，而且是多音节中最后两个音节。同时，其结构也不能改变，是重读音节加非重读音节。再如济慈致一些女士第一诗节：What though while
15、the wonders of nature exploring,I cannot your light, mazy footsteps attend;Nor listen to accents, that almost adoring,Bless Cynthias face, the enthusiasts friend.（John Keats: To Some Ladies）这个诗节是单韵和双韵混合使用。exploring / adoring都是三个音节，但重读音节在倒数第二个音节上，最后一个音节是非重读音节，因此它们押双韵。在多音节单词中，如果最后两个音节押韵，但倒数第二个音节不是重读音节
16、，也可以归入双韵。如下面这首选自莎士比亚凤凰与斑鸠中的一段诗：Beauty, truth, and rarityGrace in all simplicity,Here enclosed in cinders lie.Death is now the phoenix nest;And the turtles loyal breastTo eternity doth rest,Leaving no posterity:-Twas not their infirmity,It was married chastity.Truth may seem, but cannot be;Beauty bra
17、g, but tis not she:Truth and Beauty buried be.To this urn let those repairThat are either true or fair;For these dead birds sigh a prayer.(Shakespeare: “Threnos” of The Phoenix and the Turtle)rarity / simplicity，posterity / infirmity / chastity都是三个音节或四个音节，它们在最后两个音节上都押韵，但倒数第二个音节都不是重读音节，虽不符合双韵的规定，非严格说
18、来，也应该算双音节押韵。另外，nest / breast / rest是标准的单音节押韵。repair / fair / prayer这个押韵组中，repair虽是两个音节，但重读在第二个音节上。air与ayer字母组合虽然不同，但读音相同，因此，三个单词押单音节韵。三重音节尾韵是在双韵的基础上增加了一个音节，因此它可以被看成是双韵的变体。押三重韵的英语单词在韵步上属于扬抑抑格，因此，三重韵有时也被称为扬抑抑格韵（dactylic rhyme）。由于英语中符合三重韵规则的单词不多，因此三重韵可以由两个以上的英语单词构成，这种押韵被称为马赛克韵（mosaic rhyme），即几个单音节单词同一个
19、多音节单词或几个单音节单词押韵。如拜伦唐璜第一歌第二十二段后四行：I dont choose to say much upon this head,Im a plain man, and in a single station,But-oh! Ye lords of ladies intellectual,Inform us truly, have they not hen-peckd you all?(Byron: Don Juan, First Canto, XXII, Lines 173176)intellectual有五个音节，其中lectual有三个音节，同下一行的peckd you
20、 all押三重马赛克韵。第三节 内韵内韵，又称中间韵、行内韵、腹韵，指一行诗内的一个词语与同一行诗行尾的词语或另一行诗中的一个词语之间的押韵。它不是在行尾的押韵，既可能与同一行诗中的词语押韵，也可能同下一行诗中的词语押韵，还可能同隔行诗中的词语押韵。一行诗内的一个词语与同一行诗行尾的词语押内韵的例子，如雪莱的云，以第一诗节为例：I bring fresh showers for the thirsting flowers,From the seas and streams;I bear light shade for the leaves when laidIn their noon-day
21、dreams.From my wings are shaken the dews that wakenThe sweet buds every one,When rocked to rest on their mothers breast,As she dances about the Sun.I wield the flail of the lashing hail,And whiten the green plains under,And then again I dissolve it in rain,And laugh as I pass in thunder.(Percy Byssh
22、e Shelley: The Cloud)单数行中的showers / flowers，shade / laid，shaken / waken，rest / breast，flail / hail，again / rain押内韵，它们都是行中间的词与同行尾词押韵。该诗的其他诗节也是如此押韵，从韵律角度看，相当优秀。另外，双数行行尾单词streams / dreams，one / Sun押单音节韵，under / thunder押双音节韵。又如玛丽伊丽莎白柯尔律治的女巫第一诗节的前四行：I have walked a great while over the snow,And I am not
23、tall nor strong.My clothes are wet, and my teeth are set,And the way was hard and long.(Mary Elizabeth Coleridge: The Witch)诗中第三行的wet / set押内韵。该诗第二、三诗节的第三行分别是My hands are stone, and my voice a groan和She cameshe cameand the quivering flame。其中的stone / groan和came / flame 也押内韵。既在一行诗内押内韵，又在隔行中押内韵的诗，爱伦坡的乌
24、鸦是典型例子，下面是该诗的第二个诗节：Ah, distinctly I remember it was in the bleak December,And each separate dying ember wrought its ghost upon the floor.Eagerly I wished the morrow;_ vainly I had sought to borrowFrom my books surcease of sorrow_ sorrow for the lost Lenore_For the rare and radiant maiden whom the an
25、gels name Lenore_Nameless here for evermore.（Allan Poe: The Raven）第一行的remember / December以及第三行的morrow / borrow分别都是同一行内押内韵。December / ember和borrow / sorrow 属于一行诗的尾韵词同下一行诗中间的词押韵，两行诗不再押尾韵，这种结构的押韵叫隔行内韵（alternate rhyme）。另外，第四行的lost Lenore和第五行的rare and radiant押头韵。乌鸦第三节第一、二行如下：And the silken, sad, uncertai
26、n rustling of each purple curtainThrilled me_ filled me with fantastic terrors never felt before.乌鸦第五节后三行如下：And the only word there spoken was the whispered word. “Lenore!”This I whispered, and an echo murmured back the word, “Lenore!” Merely this and nothing more.在这些诗行中，thrilled / filled，whispered
27、/ murmured / word 都是同一行诗中两个或三个词语押韵，但不押尾韵。这种押韵被称为组合韵（sectional rhyme）。第四节元韵元韵属于非全韵，指诗行中的元音读音相同，而元音前后的辅音则不同。从押韵的位置来看，元韵可分为尾元韵和行内元韵。尾元韵同普通尾韵不同。尾韵要求行尾单词最后一个音节的元音和元音后面的辅音都要押韵，而尾元韵只要求行尾单词最后一个元音押韵，而不管元音后面的辅音是否押韵。例如：She sees the falling leaves, the dying leavesThat cling there still; aboveThrough the brown
28、horror of the boughs she seesThe empty, arching skull. (E.L. Mayo: Pool)在这四行诗里，第一、三行最后单词中的元音字母ea和ee发音相同，第二、四行最后单词中的元音字母o和u也是发音相同，它们属于标准的尾元韵。押元韵的诗行往往同押全韵的诗行一起组合成诗节，如狄金森天堂，为我难以企及第一诗节：Heaven is what I cannot reach!The Apple on the Tree,Provided it do hopeless hang,That Heaven is, to Me. （Emily Dickinso
29、n: Heaven Is What I Cannot Reach）第一行的reach和第二行的tree构成元韵，第二行的tree和第四行的me则构成全韵。行内元韵指一行诗中相邻单词中相同元音的重复，这种重复也可以出现在几行诗中。例如：Skirting the river road,(my forenoon walk, my rest,)Skyward in air a sudden muffled sound, the dalliance of the eagles,The rushing amorous contact high in space together,The clinching
30、 interlocking claws, a living, fierce, gyrating wheel,Four beating wings, two beaks, a swirling mass tight grappling,In tumbling turning clustering loops, straight downward falling,Till oer the river poisd, the twain yet one, a moments lull,A motionless still balance in the air, then parting, talons
31、 loosing,Upward again on slow-firm pinions slanting, their separate diverse flight,She hers, he his, pursuing. (Walt Whitman: The Dalliance of the Eagles)这个诗节中，从开始到最后，元音不断重复，第二行的sudden / muffled，第三行的rushing / contact中元音字母u和o是相同元音，第六行的tumbling / clustering两个u读音相同，第九行的diverse / flight中，i和igh的读音相同。第二行和
32、第四行押尾元韵（eagles / wheel）。还有头韵，如第一行的river / roads，第二行的skyward / sudden / sound，第六行的tumbling / turning，第九行的slow / slanting / separate等。行内韵往往和尾韵一同使用，如：Tyger!Tyger! burning bright,In the forests of the night. (William Blake: The Tyger)第一行tyger和bright中的y和i因读音相同而押元韵，同时bright又同第二行的night押尾韵。像这种元韵和尾韵混合使用的情况，非
33、常普遍。第五节 和韵和韵指元音读音不同而辅音或辅音组合的读音相同或相似。和韵可分为行尾和韵、行内和韵和节内和韵。行尾和韵指出现在行尾的辅音重复，元音不要求押韵，如叶芝第二次来临中的诗行：Things fall apart; the center cannot hold;Mere anarchy is loosed upon the world. (W.B.Yeats: The Second Coming)hold / world中的辅音ld押韵。又如狄金森天堂，为我难以企及第二诗节：The color on the cruising cloud,The interdicted groundBe
34、hind the hill, the house behind , There Paradise is found!（Emily Dickinson: Heaven Is What I Cannot Reach） 四行尾词的辅音d押韵，后三行尾词的辅音nd押韵。行内和韵和节内和韵指在一行诗内押韵和在一个诗节的诗行行内押韵。这种押韵只考虑重读音节的辅音押韵，可以出现在任何位置，并不要求押尾韵。以弗罗斯特的雪夜林边驻足前两诗节为例：Whose woods these are I think I know.His house is in the village, though;He will not
35、 see me stopping hereTo watch his woods fill up with snow.My little horse must think it queerTo stop without a farmhouse nearBetween the woods and frozen lakeThe darkest evening of the year. (Robert Frost: Stopping by Woods on a Snow Evening)第一行的whose / woods / these中的辅音字母s的读音都是z且又是尾辅音，因此形成行内和韵。它还同整
36、个诗节以及全诗中的尾辅音z形成节内和韵以及全诗和韵。另外，每诗节第一、二、四行押尾韵（know / though / snow，queer / near / year）。whose / woods，his / is /in / village，see / me等押内元韵。第一行的his / house，第三行的see / stopping，第四行的watch / woods / with押头韵。这首诗里把尾韵、内韵、元韵、和韵和头韵混合使用，不仅使诗歌的声音系统更加复杂，而且音响效果得到强化，增强了诗歌的音韵美。第六节 目韵目韵指拼写看起来似乎押韵而读音其实并不押韵的尾韵。如弗瑞诺印第安人的墓
37、地第四诗节：His bow, for action ready bent,And arrows, with a head of stone,Can only mean that life is spent,And not the old ideas gone. （Philip Freneau: The Indian Burying Ground）这里的stone和gone属于目韵。又如弥尔顿的致亡妻中的诗行：Mine, as whom washed from spot of child-bed taintPurification in the Old Law did save,And such
38、 as yet once more I trust to haveFull sight of her in Heaven without restraint, (Milton: On His Deceased Wife)这里的save和have属于目韵。再如安布拉兹特里特的肉与灵中的诗行：In secret place where I stoodClose by the banks of Lacrim flood,I heard two sisters reason onThings that are past and things to come; (Anne Bradstreet: The
39、 Flesh and the Spirit)这里的stood和flood属于目韵。 英语诗歌的基本押韵格式押韵格式（rhyme scheme）指的是一首诗中各押韵诗行的组合形式。一般说来，每首诗都由数量不同的诗行组成，每一行的结尾都按照其读音的相同或类似而押韵，并表现出规律性。押韵格式分为定型诗歌格式和普通诗歌格式。前一种格式主要有十四行诗体、斯宾塞诗体、回旋诗体等押韵格式；普通诗歌格式主要有双行押韵格式（aa）、隔行交互押韵格式(abab)和吻韵格式(abba)。第一节基本押韵格式一、 双行押韵格式（aa）它是英语诗歌最基本押韵格式，主要用于双行诗节（couplet）。双行诗节指两行押韵或不
40、押韵的诗行。双行诗节可以单独成为诗节，也可以存在于其他诗节中。七行体（又称皇韵体，rhyme royal）诗和八行体（octa rima）诗用双行诗节结束，莎士比亚的十四行诗也是用双行诗节结束全诗。双行诗节分开放双行诗节（open couplet）和完整双行诗节(closed couplet)两种。完整双行诗节如果是用抑扬格五韵步写成，就被称为英雄双行诗节(heroic couplet)。开放双行诗节指的是跨行的双行诗体，即两行诗有共同的语法和逻辑结构，但第二行的意思需要继续下去，直到在后面的诗行中结束。如济慈叙述希腊神话中的美少年长诗恩弟米安开始几行：A thing of beauty is
41、 a joy for ever:Its loveliness increases; it will neverPass into nothingness; but still will keepA bower quiet for us, and a sleepFull of sweet dreams, and health, and quiet breathing.Therefore, on every morrow, are we wreathingA flowery band to bind us to the earth,Spite of despondence, of the inhu
42、man dearthOf noble natures (John Keats: Endymion)这些诗行的特点是：首先，每两行押韵，即 ever / never，keep / sleep，breathing / wreathing，earth / dearth押韵。其次，第一行是完整句，第二行要表达的意思跨入下面数行才结束。双行诗节是英语中最短的诗节，在印刷安排上，有时按两行一个诗节的形式分开排列，有时连续排在一起。每个诗节的押韵不重复，即下一个诗节同上一个诗节不能押相同的韵，必须转韵，因此，整首诗的押韵格式就成了aabbccdd，一直往下推。完整双行诗节不仅要求两行诗押韵相同，而且要把意思
43、表达完整。英雄双行诗节是完整双行诗节中的一种，它是英语诗歌之父乔叟最喜爱的诗体，如他的坎特伯雷故事总引中对骑士的介绍：And everemore he hadde a sovereign pris.And thought that he were worthy, he was wis,And of his port as week as is a maide.He nevere yit no vilainye ne saideIn al his lif unto no manere wight:He was a verray, parfit, gentil knight.But for to
44、tellen you of his array,His hors were goode, but he was nat gay.Of fustian he wered a gipounAl bismotered with his haubergeoun,For he was late come from his viage,And wente for to doon his pilgrimage. (Chaucer: The General Prologue of The Canterbury Tales)这段诗是抑扬格五韵步，每两行押韵，下个韵不同于上个韵，其押韵格式为aabbccddeef
45、f。济慈的叙事诗拉米亚是混合使用开放诗行和英雄诗行写成的，开始几行如下：Upon a time, before the faery broodsDrove Nymph and Satyr from the prosperous woods,Before King Oberons bright diadem,Scepter, and mantle, claspd with dewy gem,Frighted away the dryads and the FaunsFrom rushes green, and brakes, and cowslipd lawns,The ever-smitten
46、 Hermes empty leftHis golden throne, bent warm on amorous theft: (John Keats: Lamia)这些诗行里，第一行不是完整句，第一行和第二行组成一个时间状语从句，第三、四、五六句组成第二个状语从句，第七、八行组成这些诗行的主句。它们每两行押韵，即broods / woods，diadem / gem，Fauns / lawns，left / theft。每组韵不同，属开放双行诗节押韵格式。但该诗第二十七行开始如下：From vale to vale, from wood to wood, he flew,Breathing
47、 upon the flowers his passion new,And wound with many a river to its head,To find where this sweet nymph prepard her secret bed:In vain; the sweet nymph might nowhere be found,And so he rested, on the lonely ground. 显然，这些以抑扬格五韵步为主的诗行里，每行都表达完整的意思，都是每两行押韵，因此它们属英雄双行押韵格式。押aabb韵律格式的四行诗节，其实是双行诗节的变体，如朗费罗的箭
48、和歌第一、三诗节：I shot an arrow into the air,It fell to earth, I knew not where;For, so swiftly it flew, the sightCould not follow it in its flight.Long, long afterwards, in an oakI found the arrow, still unbroken;And the song, from beginning to end,I found again in the heart of a friend. (Longfellow: The Arrow and the Song)每两行押韵，下一诗节的韵与前面的韵不