第一篇:一年级英语韵律诗歌表演
一年级英语韵律诗歌表演活动方案
小学英语新课标指出小学一年级是学习英语的预备阶段,让学生对英语学习保持浓厚的学习兴趣是这一阶段的首要任务。没有兴趣就没有学习,这是低年级学生的主要特点。
而说歌谣和唱儿歌一直伴随儿童的成长,尤其为一二年级的学生所喜闻乐见。因此,将英语学习与儿童喜欢的歌谣歌曲有机地结合起来,无疑是一种符合小学生身心发展规律的英语学习的有效途径。
从课堂教学环节的角度讲,说唱英语歌谣歌曲在课前、导入、呈现、操练、巩固等各个环节的应用对教学会起到不同的促进作用。小学英语说唱活动是一种生动有趣的教学形式,它是用说英语歌谣和唱英语儿童歌曲的方式组织学生在“玩中学”和“学中玩”,学生在“说说,唱唱,做做,玩玩,演演”的活动中学习和巩固新知,在愉快的心境下学得和习得英语。
活动目的:
为提高学生的综合素养,培养学生的活动能力、组织能力、创造能力、口语表达能力和舞台表演能力,培养学生合作学习、探究学习的精神,进一步提高课文的演读能力,感悟人物内心的丰富情感,感受英语的艺术魅力,特举办本次一年级韵律诗歌表演比赛。
一、时间安排
5月份一年级各英语老师组织各班学生参加韵律诗歌表演初赛; 6月上旬选出优秀的班级参加学校表演。
二、比赛办法和要求
(一)演出内容和形式
每个节目表演时间最长不能超过10分钟,演员人数不低于10人。节目间的出场退场时间合共不超过3分钟。
(二)评分标准
歌曲创作:30分;表演艺术:40分;语言:25分;服装、道具:5分。表演超时每分钟在总分中扣10分。
(三)要求
(1)舞台背景、道具以简练、明快为主,不能过于复杂和铺张,参赛的节目,如需要配音或配乐的,要自备卡带或CD碟。
(2)服装、道具要求自备,能够贴合时代特点。
(3)各参赛班级自行安排好上、下场更换布景道具的工作人员
三、评委安排
(届时安排)
四、奖励办法
比赛设一、二、三等奖、优秀杰出奖三名、最佳精神奖三名。
一年级英语温碧莹
2016年1月5日
第二篇:英语诗歌的韵律与类型
The Rhythm and Types of English Poetry英语诗歌的韵律与类型
目 录
上篇 英语诗歌的韵律 前言.............................................()第一章 英语诗歌的韵步.............................()第一节 韵步的定义与类型.......................()第二节 韵步类型举例...........................()第二章 英语诗歌的韵步数............................()第一节 单韵步行...............................()第二节 双韵步行...............................()第三节 三韵步行和四韵步行.....................()第四节 五韵步行...............................()第五节 六韵步行...............................()第六节 七韵步行...............................()第七节 八韵步行...............................()第三章 英语诗歌的押韵..............................()第一节 头韵...................................()第二节 尾韵...................................()第三节 内韵...................................()第四节 元韵...................................()第五节 和韵...................................()第六节 第四章 第一节 第二节 目韵...................................()英语诗歌的基本押韵格式......................()基本押韵格式...........................()基本押韵格式的组合使用.................()
第五章 十四行诗的押韵格式.......................()
第一节 彼特拉克体..........................()第二节 莎士比亚体..........................()第三节 斯宾塞体............................()第六章 诗行与韵律...............................()第一节 结句行..............................()第二节 连续行..............................()第三节 音节增减............................()第四节 句式倒装............................()第七章 五行打油诗与短回旋诗.....................()第一节 五行打油诗..........................()第二节 短回旋诗............................()第八章 素体诗与自由诗...........................()第一节 素体诗..............................()第二节 自由诗..............................()下篇 英语诗歌的类型
第九章 叙事诗...................................()第一节 史诗.................................()第二节 歌谣.................................()第三节 戏剧诗...............................()第四节 第十章 第一节 第二节 故事诗...............................()抒情诗...................................()颂诗..................................()挽歌..................................()
第三节 婚庆曲................................()
第四节 歌..................................()第五节 田园短诗............................()第六节 田园牧歌............................()第七节 爱情小诗............................()第八节 哲理诗..............................()第九节 宗教诗..............................()第十节 赞美诗..............................()第十一节 墓志铭.............................()第十二节 收场白............................()第十一章 融入中国文化的英语诗歌.................()
前 言
《英语诗歌的韵律与类型》是出于教学的需要而编写的。
诗歌的最大特征是韵律,要欣赏英语诗歌,首先得把英语诗歌的韵律搞清楚。本书上篇共八章,从各个方面探讨了英语诗歌的韵律。但并非面面俱到,如重音(accent)韵律就没有谈及,非常见的韵律如破韵、省略韵等也被省去。
英语诗歌有各种类型,按照不同的划分标准,类型就有所不同。按照表现形式来分,有格律诗、自由诗、散文诗、模仿诗等;按照艺术表现手法来分,有朦胧诗、讽刺诗、朗诵诗等。本书下篇是按照内容来划分英语诗歌的类型,即叙事诗、抒情诗、戏剧诗、哲理诗和宗教诗等。由于戏剧诗很大一部分属于叙事剧作,如莎士比亚的戏剧都可以看成是戏剧诗,本书将其归入叙事诗。哲理诗和宗教诗从数量上看不是很多,而且它们带有很大的抒情成分,本书将之归入抒情诗。
一些英美诗人十分崇尚中国文化,他们的一些诗歌融入了中国文化的元素,本书的最后一章专门介绍了一些融入了中国文化的英美诗歌。
本书总共引用了60多位英美诗人的120多首诗歌(或诗歌片段),绝大部分都选自《诺顿英国文学选集》和《诺顿美国文学选集》,其中乔叟、斯宾塞等的诗歌保留了原诗的近代英语原汁原味的拼写形式。所有引用诗歌都附有中文译文,且译文尽可能出自名家,个别地方略有改动。本书作者在找不到名家译文甚至一般译文的前提下,才提供自己的拙译。为了节省篇幅,译文以脚注形式出现,连续排列,以符号―/‖隔开各个诗行,以―//‖隔开每个诗节。本书没有对引用诗行进行注解,除了考虑节省篇幅,主要是因为读者层次不同,有的注解对一些读者来说是多余的。读者自己动手查需要查的词语,更能体现读者的主动性和参与性。
本书从内容到结构,汲取了几本书的精华,它们是布尔顿的《诗歌解剖》、王佐良的《英国诗史》、聂珍钊的《英语诗歌形式导论》、齐晓燕的《英诗的美学探究》等,书中的引用没有直接注明。没有这些专著做参考,本书难以成型。
本书译文主要出自国内著名翻译大家,如曹明伦、傅浩、胡家峦、黄杲炘、江枫、刘新民、裘小龙、孙梁、屠岸、王佐良、杨德豫、查良铮、钟玲、朱维之等等,没有他们的译文,对初学英诗的人甚至包括本书作者在内,要理解所引用的一些诗歌,既有一定的难度,甚至会产生偏差。本书还引用了其他一些不太知名的译者的译文,凡是能找到出处的,都已在译文后注明。本书作者在此向所有译者以及本书所参考过而没有标注出来的参考文献的作者表示深深的敬意。
本书适合英语专业本科学生用作英语诗歌入门教材,也适合英语诗歌爱好者对英语诗歌韵律和类型的基本了解。对研究英语诗歌韵律的研究生来说,本书也不失为一本有价值的参考书。
由于本书作者对英语诗歌的研究有限,手头资料有限,错误难免,希望读者批评指正。
第一章 英语诗歌的韵步 第一节 韵步的定义与种类
韵步(foot,也被称为音步),是由音节(syllable)组成的,因此,首先要了解什么是音节。音节由音素(phone)构成,它是语音中最小的不可再分解的单位,是字母组合后的读音标记。音素靠听觉辨认,字母靠视觉辨认,音素属于读音系统,字母属于拼写系统。例如,scansion [′skæn∫зn]由8个字母拼写而成,只有7个音素。英语音素分为元音(vowel)和辅音(consonant),共有48个。
音节是英语的发音单位,由一个元音或者由一个元音同一个或若干个辅音构成。音节可分为单音节、双音节、多音节三类。
单音节:you,day,me,big,make,bar等。
双音节:begin,open,foolish,summer,mountain等。
多音节:wonderful,revolution,satisfactory等。
辅音也可构成音节,如people,rhythm中的ple和thm都属于一个音节。
每个英语单词都有一个重读音节,其重读音节是固定的。如husband,共两个音节,第一个音节重读;express有两个音节,第二个音节重读;beautiful有三个音节,第一个音节重读;religion有三个音节,第二个音节重读;subterranean有四个音节,第三个音节重读。
在短语或句子中,冠词和介词一般不重读。如在in the morning,on a desk中,in、the、on、a都不重读。
弄清楚什么是音节,就可以理解什么是韵步了。
韵步是一个或两个重读音节和一个或两个非重读音节的排列组合。其类型如下: 韵步类型表
名 称 英语名称的形容词形式 例子(大写表示重读)抑抑格pyrrhic pyrrhic in a 抑扬格iamb iambic enGAGE 扬抑格trochee trochaic ALways 扬扬格spondee spondaic HOT STUFF 抑抑抑格tribrach tribrachic and in the 抑抑扬格anapaest anapaestic on the WAY 抑扬抑格amphibrach amphibrachic eTERnal 抑扬扬格baccius bachiac the WHOLE DAY 扬抑抑格dactyl dactylic WANdering 扬抑扬格amphimacer or cretic cretic PIECE of CAKE 扬扬抑格antibachius antibachiac GOOD MORning 扬扬扬格molossus molossic GREAT WHITE HOPE 第二节 韵步类型举例
一、抑扬格 抑扬格是一个非重读音节和一个重读音节的排列组合。英语诗歌以抑扬格韵步为主,如莎士比亚十四行诗《我可以把你比作夏天吗?》最后两行的韵步划分如下(每个韵步由竖杠―|‖隔开,―_‖代表非重读音节,―/‖代表重读音节): _ /._ / _ / _ / _ / So long |as men |can breathe |or eyes |can see, _ / _ / _ / _ / _ / So long |lives this |and this |gives life |to thee.(William Shakespeare: Shall I Compare Thee to a Summer‘ Day)
每个韵步都是两个音节,且每个韵步都是一个非重读音节加一个重读音节构成。又如华兹华斯的《我独自漫游,像一朵孤云》第一诗节: _ / _ / _ _ _ / I wan|dered lone|ly as |a cloud _ / _ / _ / _ / That floats |on high |o‘er vales |and hills, _ / _ / _ / _ / When all |at once |I saw| a crowd, _ / _ / _ / _ _ A host, |of gol|den da|ffodils;_ / _ / _ / _ / Beside | the lake, | beneath | the trees, / _ _ _ / _ _ _ / Fluttering |and dan|cing in |the breeze.(William Wordsworth: I Wandered Lonely as a Cloud)除了第一行第三韵步,第四行第四韵步,第六行的第一、三韵步,其他韵步都是抑扬格。英诗的韵步不是机械的一成不变,而总是有拗变(variation),几乎所有的英诗都有拗变,只要绝大部分韵步属于某种类型即可。再如朗费罗的《金色夕照》第一诗节: _ / _ / _ / _ / The gol|den sea | its mi|rror spread _ / _ / _ / Beneath | the gol|den skies, _ _ _ / _ / _ / And but | a na|rrow strip | between _ / _ / _ / Of land | and sha|dow lies..(Henry Wadsworth Longfellow: The Golden Sunset)除了第三行第一韵步属拗变,其他韵步都是轻重音节的排列组合,属抑扬格。
二、扬抑格
扬抑格是一个重读音节与一个非重读音节的排列组合。最为人们熟知的是简•泰勒的儿童诗《星》:
/ _ / _ / _ / Twinkle, | twinkle,| little | star, / _ / _ / _ / How I |wonder | what you | are./ _ / _ / _ / Up a|bove the | world so | high, / _ / _ _ _ / Like a | diamond | in the | sky.(Jane Taylor: Star)每行的最后一个韵步省略了非重读音节,仍然属于扬抑格。只有第四行的第三个韵步是拗变,被抑抑格代替。
也为人们熟悉的布莱克的《老虎》,其第三诗节如下: / _ / _ / _ / What the |hammer?| What the | chain? _ / / _ _ _ / In what |furnace | was thy | brain? / _ / _ / _ / What the |anvil? | what dread | grasp / _ / _ / _ / Dare its |deadly | terrors | clasp?(William Blake: The Tyger)每行的最后一个韵步省略了非重读音节,仍然属于扬抑格。第二行的第一个韵步被抑扬格代替,第三个韵步被抑抑格代替。下面这首诗的韵步以扬抑格为主: / _ / _ / _ / Timely | blossom, | infant | fair, / _ _ _ / _ / Fondling | of a | happy | pair, / _ / _ / _ / Every | morn and | every | night _ _ / _ _ _ / Their so|lici|tous de|light, / _ / _ / _ / Sleeping, |waking, |still at | ease, / _ _ / / _ / Pleasing, | without | skill to | please;/ _ / _ / _ / Little | gossip, | blithe and | hale, / _ / _ _ / _ / Tattling | many | a bro|ken tale, / _ / _ _ / _ / Singing | many| a tune|less song, / _ _ _ / _ / Lavish | of a | heedless | tongue;(Ambrose Philips: To Charlotte Pulteney)
三、扬扬格
扬扬格是两个重读音节组成的韵步。由于在同一个韵步中两个音节同时重读几乎完全限定在组合词或者两个相邻的单音节词上,因此英语诗歌中扬扬格的诗行很少。这种韵步不是为了组成诗行,而是用来代替抑扬格或扬抑格,目的在于使诗歌的节奏发生变化,追求新的节奏美感。如丁尼生的《尤利西斯》中的第55行~第57行: _ / / / _ / / / _ / The long |day wanes:| the slow | moon climbs:| the deep _ / _ / _ / _ / _ / Moans round |with ma|ny voi|ces.Come|, my friends, _ / _ / _ / _ / _ / ‘Tis not | too late | to seek | a new|er world.(Alfred Tennyson: Ulysses)这里第一行的第二、四韵步为扬扬格,第一、三、五韵步是抑扬格。因此,这行诗是扬扬格和抑扬格相互组合的诗行。
又如弥尔顿《失乐园》第二卷第618行至第623行: _ / _ _ / _ / _ / Through ma|ny a dark| and drea|ry vale _ / _ / _ _ / _ / _ _ They passed, | and ma|ny a re|gion do|lorous, _ / _ _ / _ / _ _ / _ / O‘er ma|ny a fro|zen, ma|ny a fie|ry alp, /
/ / / / / _ / _ / Rocks, caves|, lakes, fens|, bogs, dens|, and shades | of death— _ / _ _ _ / _ / _ / A u|niverse | of death |, which God | by curse _ / _ / _ _ / _ / _ / Crea|ted e|vil, for e|vil on|ly good.(John Milton: Paradise Lost)这里的第四行前六个音节,分为三个韵步,都重读,属扬扬格,后面两个韵步是抑扬格,因此,这行诗是扬扬格和抑扬格相互组合的诗行。
四、抑抑扬格
抑抑扬格是由两个非重读音节和一个重读音节组成的韵步,属于三音节韵步。抑扬格韵步和抑抑扬格韵步是从非重读音节到重读音节的组合,因此它们被称为升调韵步行(rising meter)。前面所引的《失乐园》诗行中,第一行第三韵步、第二行第三韵步、第三行第三韵步是抑抑扬格。又如柯珀的《亚历山大•塞尔扣克的孤独》: _ _ / _ _ / _ _ / I am mo|narch of all | I survey;_ / _ _ / _ _ / My right | there is none | to dispute;_ _ / _ _ / _ _ / From the cen|ter all round | to the sea _ _ / _ _ / _ _ / I am lord | of the fowl | and the brute._ / _ _ / _ _ / O so|litude!Where | are the charms _ / _ _ / _ _ / That sa|ges have seen | in thy face? _ _ / _ _ / _ _ / Better dwell | in the midst | of alarms, _ / _ _ / _ _ / Than reign | in the ho| rrible place.(William Cowper: The Solitude of Alexander Selkirk)
每行诗由两个非重读音节加一个重读音节组成韵步,每行诗分三个韵步。其中第二、五、六、八行都有首音节省略的特点,于是第一个韵步就从抑抑扬格变成了抑扬格。这种省略被称为首行省略(truncation)。
五、扬抑抑格
扬抑抑格是由一个重读音节加两个非重读音节组成的韵步,与抑抑扬格韵步对应。单纯用扬抑抑格写作的诗歌很少,以此步格为基础的诗行大多同其他形式的步格组合在一起。如托马斯•胡德《叹息桥》第一诗节: / _ _ / _ _ Take her up |tenderly / _ _ / Lift her with |care / _ _ / _ _ Fashion‘d so |slenderly / _ _ / Young, and so | fair(Thomas Hood: The Bridge of Sighs)
这里的第一个诗节的第一行和第三行由两个扬抑抑格韵步组成,第二行和第四行由一个完整扬抑抑格韵步加一个重音节(其后省略了两个非重读音节)构成。罗伯特•勃朗宁的《误解》,每行诗最后一个韵步都省略了一个非重读音节: / _ _ / _ / / _ This is a | spray the Bird | clung to, / _ _ / _ _ / _ Making it | blossom with | pleasure, / _ _ / _ _ / _ Ere the high | tree-top she | sprung to, / _ _ / _ _ / _ Fit for her | nest and her | treasure._ / _ / _ / / _ O, what a | hope beyond | measure / _ _ / _ _ / _ _ / _ Was the poor | spray‘s, which the | flying feet | hung to, / _ _ / _ _ / _ _ / _ So to be | singled out, | built in, and | sung to!(Robert Browning: Misconceptions)在这个诗节里,前五行每行八个音节,划分为三个扬抑抑格韵步,第六、七行有十一个音节,划分为四个扬抑抑格韵步,每行最后一个韵步在省略了一个非重读音节后,用扬抑格代替了扬抑抑格。
六、多种步格在一首诗歌中的同时运用 如: Woman | wants mo|nogamy;Man de|lights in | novelty.Love is| woman‘s | moon and sun.Man has | other | forms of fun.Woman | lives but | in her lord.Count to | ten, and | man is bored.With this | the gist | and sum | of it.What earth|ly good |can come | of it?(Dorothy Parker: General Review of the Sex Situation)这首短诗使用了几种步格,前六行是三韵步行,其中第一行至第六行的前两个步格都是扬抑格,第一、二行的第三步格,即 | nogamy |、| novelty | 属于扬抑抑格;第三、四、六行的第三步格,即 |moon and sun |、| forms of fun |、| man is bored | 属于扬抑扬格;第五行第三步格| in her lord | 属于抑抑扬格;第七、八行则属于抑扬格韵步。
第二章 英语诗歌的韵步数 第一节 单韵步行
单韵步诗行(monometer)是由一个韵步构成的诗行。例如斯科若的《希腊古瓮颂总结》,就是由单韵步诗行写成的诗: Gods chase Round vase.What say? What play? Don‘t know.Nice, though.(Desmond Skirrow: Ode on a Grecian Urn Summarized)完全由单韵步诗行构成的诗很稀有,单韵步诗行往往出现在多韵步诗行中间,如下面两个诗节中的第七、八诗行: Go and catch a falling star, Get with child a mandrake root, Tell me where all past years are, Or who cleft the Devil‘s foot,Teach me to hear mermaids‘ singing, Or to keep off envy‘s stinging, And find What wind Serves to advance an honest mind.(John Donne: Song)
第二节 双韵步行
双韵步诗行(dimeter)是由两个韵步构成的一行诗。例如: Razors | pain you;Rivers | are damp;Acids | stain you;And drugs | cause cramp.Guns aren‘t | lawful;
Nooses | give;Gas smells | awful;You might | as well | live.(Dorothy Parker: Résumé)除了最后一行,其他诗行都是双韵步,而第六诗行的第二个韵步省略了非重读音节。单韵步和双韵步组合的诗行,威廉斯的《红色手推车》是个代表性例子: so much | depends upon a red | wheel barrow glazed | with rain water beside | the white chickens.(W.C.Williams: The Red Wheelbarrow)
第三节 三韵步行和四韵步行 三韵步诗行(trimeter)和四韵步诗行(tetrameter)是由三个韵步和四个韵步构成的诗行,例如: While I | am ly| ing on | the grass Thy two|fold shout | I hear From hill | to hill | it seems | to pass At once | far off | and near.….And I | can li|sten to | thee yet!Can lie | upon | the plain And li|sten, till |I do | beget
That gol|den time | again.(William Wordsworth: To the Cuckoo)在这首诗歌中,每个诗节的第一、三行是由四个韵步构成的诗行,而第二、四行则是由三个韵步构成的诗行。又如: The Ma|riner, | whose eye | is bright, Whose beard | with age | is hoar, Is gone:| and now | the We|dding-Guest Turned from | the bride|groom's door.He went | like one | that hath | been stunned, And is | of sense | forlorn : A sa|dder and | a wi|ser man, He rose | the mo|rrow morn.(Samuel Taylor Coleridge: The Rime of the Ancient Mariner)
同样,每个诗节的第一、三行是由四个韵步构成的诗行,而第二、四行则是由三个韵步构成的诗行。
三韵步诗行不但常与四韵步诗行交叉使用,也常与双韵步诗行交叉使用。例如: Winter|time nighs;But my | bereave|ment-pain It can|not bring | again: Twice no | one dies.Flower |-petal | flee;But, since | it once | hath been, No more | that se|vering | scene Can ha|rrow me.Birds faint | in dread: I shall | not lose | old strength In the | lone frost‘s | black length:
Strength long | since fled!(Thomas Hardy: In Tenebris)几乎每个诗节的第一、四行是双韵步行(其中第二诗节第一行为三韵步行,第三韵步省略了非重读音节)。第二、三行为三韵步行。
四韵步行还用于抑抑扬格和扬抑抑格韵步。如拜伦描写《圣经》中的亚述王在宫廷政变中被杀的诗歌《赛纳克里布的毁灭》第三个诗节,就是标准的抑抑扬格四韵步诗行: _ _ / _ _ / _ _ / _ _ / For the An|gel of Death | spread his wings | on the blast, _ / _ _ / _ _ / _ _ / And breathed | in the face | of the foe | as he passed;_ _ / _ _ / _ _ / _ _ / And the eyes | of the slee|pers waxed dead|ly and chill, _ _ / _ _ / _ _ / _ _ / And their hearts | but once heaved|, and for e|ver grew still!(Lord Byron: The Destruction of Sennacherib)每行诗共十二个音节,划分为四个韵步,每个韵步由两个非重读音节加一个重读音节组成。其中第二行第一个韵步省略了一个非重读音节。
第四节 五韵步行
五韵步诗行(pentameter)是由五个韵步构成的诗行。英语诗歌中的五韵步诗行一般都是由五个抑扬格韵步组成,这样的诗行叫抑扬格五韵步诗行(iambic pentameter),这种诗行迄今为止,仍然是英语中使用最多的诗行。例如丁尼生的《提脱诺斯》第一诗节: The woods | decay|, the woods | decay | and fall, The va|pors weep | their bur|then to | the ground, Man comes | and tills | the field | and lies | beneath, And af|ter ma|ny a | summer | dies the | swan.Me on|ly cru|el im|morta|lity Consumes: | I wi|ther slow|ly in | thine arms, Here at | the qui|et li|mit of | the world, A white|-hair‘d sha|dow roa|ming like | a dream The e|ver-si|lent spa|ces of | the East, Far-fol|ded mists|, and glea|ming halls | of morn.(Alfred Tennyson: Tithonus)每行诗都是十个音节,几乎每个韵步都是抑扬格。当然,抑扬格韵步行的诗歌并非每个韵步都是抑扬格,往往有非抑扬格韵步的变化,如上面这个诗节的第五行,第三、五韵步就属于抑抑格,具体分析如下:
_ / _ / _ _ _ / _ _ Me on|ly cru|el im|morta|lity 莎士比亚的十四行诗都是抑扬格五韵步诗行,但几乎每首十四行诗中都可以找到至少一个非抑扬格韵步。以最著名的《我可以把你比作夏天吗?》为例: _ / _ / _ / _ / _ / But thy | eter|nal sum|mer shall |not fade, _ / _ / _ _ _ / _ / Nor lose | posse|ssion of | that fair | thou ow‘st.这里第二行的第三个韵步是抑抑格。甚至第一行第一、四个韵步都可以读成抑抑格,第五个韵步可以读成扬扬格。
除了抑扬格韵步,五韵步还用于其他步格的韵步,如阿诺德的《靠自己》第一诗节: / _ _ _ / _ / _ / _ Weary | of my|self, and | sick of | asking / _ / _ / _ / _ /.What I | am, and | what I | ought to | be,_ / / _ / _ / _ / _ At this | vessel's | prow I | stand, which | bears me / _ / _ / _ / _ / Forwards, | forwards, | o'er the | starlit | sea.(Mathew Arnold: Self-Dependence)这个诗节的基本节奏是扬抑格,但第一行的第二个韵步被替换成了抑抑格韵步,第二、四行最后一个韵步是尾省略韵步,省略了一个非重读音节。第五节 六韵步行
六韵步诗行(hexameter)是由六个韵步组成的诗行。其特点有二,一是往往通过停顿将一行六韵步诗行分为两个半行诗,二是它的韵步常使用替换,例如锡德尼的十四行组诗《奥斯特洛菲尔与斯苔拉》第一首中的前四行: / _ _ / _ / _ / _ / _ / Loving | in truth ||, and fain | in verse | my love | to show, _ / _ / _ / _ / _ _ _ / That she |(dear She)| might take | some plea|sure of | my pain: / _ _ / _ / / _ _ / _ / Pleasure | might cause | her read||, reading | might make | her know, / _ _ / _ / _ / _ / _ / Knowledge | might pi|ty win||, and pi|ty grace | obtain;(Sir Philip Sidney: Astrophel and Stella)
这四行诗的第一个特点是,每行都由一个停顿把一行诗分成两个半行诗,其中有三行的中间出现标点符号;第二个特点是替换。四行诗的基本节奏是抑扬格,但第一、三、四行的第一个韵步被替换成了扬抑格,第二行的第五个韵步被替换成了抑抑格。
第六节 七韵步行
七韵步诗行(heptameter)是由七个韵步组成的诗行。文艺复兴时期英国诗人有时用抑扬格七韵步诗行写诗,遵守由十四个音节组成抑扬格节奏,因此这类诗被称为抑扬格七韵步诗(fourteeners),例如骚斯维尔的《燃烧的婴孩》前几行: _ / _ / _ / _ / / / _ _ _ _ / As I| in hoa|ry win|ter‘s night | stood shi|vering in |the snow,_ / _ / _ / _ / _ / _ / _ / Surprised | I was | with su|dden heat | which made | my heart | to glow;_ / _ / _ / _ / _ / _ / _ / And lif|ting up | a fear|ful eye | to view | what fire | was near, _ / _ / / / _ / / _ _ / _ / A pre|tty babe | all bur| ning bright | did in | the air | appear;(Robert Southwell: The Burning Babe)由于七韵步诗行较长,一般都把它分为一个四韵步诗行和一个三韵步诗行,于是上面的诗行就被排列成:
As I| in hoa|ry win|ter‘s night stood shi|vering in |the snow, Surprised | I was | with su|dden heat which made | my heart | to glow;And lif|ting up | a fear|ful eye to view | what fire | was near, A pre|tty babe | all bur| ning bright did in | the air | appear;用扬抑格写成的七韵步诗行比较少见,以下是丁尼生《食莲人》第八诗节(也是最后一个诗节)中间四行:
/ _ / _ / _ / _ / _ / _ / Like a | tale of | little | meaning | tho‘ the | words are | strong;/ _ _ _ / _ / _ / _ / _ / Chanted | from an | ill-used | race of | men that | cleave the | soil, / _ / _ / _ / _ _ _ / _ / Sow the | seed, and | reap the | harvest | with en|during | toil, / _ / _ / _ / _ / _ / _ / Storing | yearly | little | dues of | wheat, and | wine and | oil;(Alfred Tennyson: The Lotus-Eaters)每行前六个韵步都是标准的扬抑格,第七个韵步通过行尾省略的方法省去了一个非重读音节,因此它是一个缺损的韵步,这在诗歌中很常见。
第七节 八韵步行
八韵步诗行(octameter)是由八个韵步组成的诗行。这种诗行很少,也能找到例句,如爱德华兹的《设计精美的天堂》中的某些诗行:
If plea|sures be | in pain|fullness||? in plea|sures doth |my bo|dy rest, If joys | accord | with care|fullness ||? a joy|ful heart | is in | my breast: If pri|son strong | be li|berty ||? in li|berty | long have | I been, If joys | accord | with mi|sery ||? who can | compare | a life | to mine.(Richards Edwards: The Paradise of Dainty Device)这些诗行都是标准的八韵步诗行。
又如丁尼生的《梅尔顿之旅》中以下诗行:
―His fa|thers have| slain thy | fathers | in war | or in | single | strife, Thy fa|thers have | slain his | fathers, | each ta|ken a | life for | life, Thy fa|ther had | slain his | father, | how long | shall the | murder | last? Go back | to the | Isle of | Finn and | suffer | the past | to be | past.‖
And we | kissed the | fringe of | his beard | and we | pray‘d as | we heard | him pray, And the | Holy | man he |assoil‘d | us, and | sadly | we sail‘d | away.(Alfred Tennyson: The Voyage of Maeldune)前四行的第八韵步属拗变,省略了一个非重读音节。后两行是标准的八韵步诗行。由于音节太多,诗人们倾向于将八韵步诗行分成两个四韵步诗行。
另外,九韵步诗行(nonameter)和十韵步诗行(decameter)是分别由九个和十个韵步组成的诗行。但这种诗行十分罕见,暂无例句可举。
第三章 英语诗歌的押韵
押韵(rhyme)是指一个音节的读音在以后音节读音中的重复,或是一个单词的最后一个音节或几个音节的读音在以后音节相应位置的读音重复。
从押韵的位置看,押韵主要有头韵(alliteration)、尾韵(end rhyme)和中间韵或腹韵(internal rhyme)。尾韵又分全韵(perfect rhyme)和非全韵(imperfect rhyme)两种。全韵要求押韵的辅音和元音都相同,非全韵又包括只是元音相同但辅音不押韵的元韵(assonance)和只押辅音不押元音的和韵(consonance),另外,还有从拼写上看起来似乎押韵但实际读音并不押韵的目韵(eye rhyme, visual rhyme or sight rhyme)等。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 me With showers and dewdrops wet;And if thou wilt, remember, And if thou wilt, forget.(Christina Rossetti: 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 burst Into that silent sea.(Samuel Taylor Coleridge: The Rime of the Ancient Mariner)
前三行里,头韵[f]重复七次。这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 dead Than you shall hear the surly sullen bell Give warning to the world that I am fled From this vile world with vilest worms to dwell.Nay, if you read this line, remember not The hand that writ it;for I love you so That I in your sweet thoughts would be forgot If 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 / remember,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 sigh‘st, thou sigh‘st not wind But sigh‘st my soul away;
When thou weep‘st, unkindly kind, My life‘s blood doth decay.It cannot be, That thou lov‘st me, as thou say‘st, 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 sitting On 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 o‘er him streaming throws his shadow on the floor;And my soul from out that 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[əu]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 gold One lone imperial peak is seen;While gathered at his feet in green Ten thousand foresters are told.And all so still!So still the air That 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 meet;She pass‘d 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 Brother‘s 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 shiver Through the wave that runs forever By the island in the river Flowing down to Camelot.Four grey walls, and four grey towers, Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott.(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 the wonders of nature exploring, I cannot your light, mazy footsteps attend;Nor listen to accents, that almost adoring, Bless Cynthia‘s face, the enthusiast‘s 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,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 rarity Grace in all simplicity, Here enclosed in cinders lie.Death is now the phoenix‘ nest;And the turtle's loyal breast To eternity doth rest, Leaving no posterity:--‘Twas not their infirmity, It was married chastity.Truth may seem, but cannot be;Beauty brag, but ‘tis not she: Truth and Beauty buried be.To this urn let those repair That 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 don‘t choose to say much upon this head, I‘m a plain man, and in a single station, But-oh!Ye lords of ladies intellectual,Inform us truly, have they not hen-peck‘d you all?
(Byron: Don Juan, First Canto, XXII, Lines 173~176)intellectual有五个音节,其中lectual有三个音节,同下一行的peck‘d you 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 laid In their noon-day dreams.From my wings are shaken the dews that waken The sweet buds every one, When rocked to rest on their mother‘s 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 Bysshe 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 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 came—she came—and 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 borrow From my books surcease of sorrow___ sorrow for the lost Lenore___ For the rare and radiant maiden whom the angels 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, uncertain rustling of each purple curtain Thrilled 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 / 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 leaves That cling there still;above Through the brown horror of the boughs she sees The 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 Dickinson: 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 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 o‘er the river pois‘d, the twain yet one, a moment‘s lull,A motionless still balance in the air, then parting, talons 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 ground Behind 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 see me stopping here To watch his woods fill up with snow.My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The 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 taint Purification in the Old Law did save, And such as yet once more I trust to have Full 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 stood Close by the banks of Lacrim flood, I heard two sisters reason on Things that are past and things to come;(Anne Bradstreet: The Flesh and the Spirit)这里的stood和flood属于目韵。
第四章 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 a joy for ever: Its loveliness increases;it will never Pass into nothingness;but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing.Therefore, on every morrow, are we wreathing A flowery band to bind us to the earth, Spite of despondence, of the inhuman dearth Of 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 saide In al his lif unto no manere wight: He was a verray, parfit, gentil knight.But for to tellen you of his array, His hors were goode, but he was nat gay.Of fustian he wered a gipoun Al 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aabbccddeeff。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 broods Drove Nymph and Satyr from the prosperous woods, Before King Oberon‘s bright diadem,Scepter, and mantle, clasp‘d with dewy gem, Frighted away the dryads and the Fauns From rushes green, and brakes, and cowslip‘d lawns, The ever-smitten Hermes empty left His 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 upon the flowers his passion new, And wound with many a river to its head, To find where this sweet nymph prepar‘d 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 sight Could not follow it in its flight.….Long, long afterwards, in an oak I 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同。虽然第一、二行都分别表达完整之意,但因它们是四韵步,只能被称为完整诗行,不能被称为英雄双行。其余双行是开放诗行。诗人们有时使双行诗节发生变化,在双行上加一行并与之押韵,这样的诗节叫三行同韵诗节(triplet)。最好的例子莫过于丁尼生的《鹰》: He clasps the crag with crooked hands;Close to the sun in lonely lands, Ring‘d with the azure world, he stands.The wrinkled sea beneath him crawls;He watches from his mountain walls, And like a thunderbolt he falls.(Alfred Tennyson: The Eagle)如果是三个以上的诗行押一个韵,这叫单韵(monorhyme)。单韵的格式有两种,一种是一个诗节只押一个韵,有多少诗节就有多少韵,另一种是一首诗只押一个韵。例如弗罗斯特的《蔷薇科》就是一首诗只押一种韵的典型例子: The rose is a rose, And was always a rose.But the theory now goes That the apple‘s a rose, And the pear is, and so‘s The plum, I suppose.What will next prove a rose.You, of course, are a rose— But were always a rose.(Robert Frost: The Rose Family)
二、隔行押韵格式
隔行韵(alternate rhyme)又称交叉韵(cross rhyme),其格式abab是英语诗歌中仅次于双行押韵格式aa的第二种基本押韵格式,一般用于写作四行诗节,其基本特征就是第一行诗与第三行诗押韵,第二行诗同第四行诗押韵。如华兹华斯的《致杜鹃》第一诗节: O blithe new-comer!I have heard, I hear thee and rejoice: O Cuckoo!Shall I call thee Bird, Or but a wandering Voice?(William Wordsworth: To the Cuckoo)这种押韵格式来自双行诗节的押韵格式,是双行诗节的变体,它本身也同样存在变体,形成另外一种格式,如xbyb格式(其中x和y表示不押韵)。这种格式在民谣中比较常见,如济慈《冷酷的妖女》第六、七诗节: I set her on my pacing steed, And nothing else saw all day long, For sidelong would she bend, and sing A fairy‘s song.She found me roots of relish sweet, And honey wild, and manna dew, And sure in language strange she said— I love thee true.(John Keats: La Belle Dame Sans Merci)
三、吻韵格式
吻韵(envelope rhyme or kissing rhyme)又称抱韵,其押韵格式为abba,其主要特征是第一诗行与第四诗行押韵,第二诗行和第三诗行押韵。这种格式通常被用在抑扬格四韵步或五韵步诗行的四行诗节中,丁尼生的《悼念集》被认为是用此种格式写成的最著名的诗篇,其中第十一段的最后两个诗节如下:
Calm and deep peace in this wide air, These leaves that redden to the fall, And in my heart, if calm at all, If any calm, a calm despair;Calm on the seas, and silver sleep,And waves that sway themselves in rest, And dead calm in that noble breast Which heaves but with the heaving deep.(Alfred Tennyson: In Memoriam, Section 11)丁尼生的密友哈勒姆在欧洲旅行期间,客死维也纳,丁尼生极为悲伤,十多年中,从这种悲伤出发,把对人生、宗教、社会等的思考写成一首首诗,记录了这一心灵历程。该诗集发表后,成为英诗中最伟大的悼念诗之一这种诗体也被称为悼念体。又如哈代的《灰暗的色调》前两个诗行: We stood by a pond that winter day, And the sun was white, as though chidden of God, And a few leaves lay on the starving sod;—They had fallen from an ash, and were gray.Your eyes on me were as eyes that rove Over tedious riddles of years ago;And some words played between us to and fro On which lost the more by our love.(Thomas Hardy: Neutral Tones)这是诗人悼念亡妻的诗歌之一,抒写了他们情感曾经的隔阂。吻韵与四行诗节联系在一起,如果诗行增加并押吻韵,吻韵就有了变体形式,如哈代的《啊,是你在我坟上刨土》就是一例,其前两个诗节如下: ‗Ah, are you digging on my grave My loved one?—planting rue?‘ —‗No: yesterday he went to wed One of the brightest wealth has bred.―It cannot hurt her now,‖ he said, ―That I should not be true.‖‘ ‗Then who is digging on my grave? My nearest dearest kin?‘
—‗Ah, no: they sit and think, ―what use!What good will planting flowers produce? No tendance of her mound can loose Her spirit from Death‘s gin.‖‘
(Thomas Hardy: Ah, Are You Digging on My Grave?)这是一首具有讽刺味道的对话诗,是坟墓里的死者与坟上刨土者的对话,死者不知道是谁在刨土,就发问是不是自己的恋人,亲人,或敌人(第三节),刨土者回答说都不是,他们都已经不爱你,不想你,不恨你了。刨土者最后回答说自己是死者养过的那只小狗,死者感动于世上还有小狗一颗忠诚的心,而小狗的回答却是,它来刨土为的是埋一根骨头,竟然忘了这里是主人的安息地。每个诗节有六个诗行,第一行在后面每个诗节首行作少许变动后重复,属迭句。如果将其抛在一边,我们就不难发现,每诗节里剩下的五行诗,属abbba吻韵格式。
吻韵也可以用来写三行诗节,格式为aba。这样的诗行叫吻韵三行诗节(enclosed tercet),如毕晓普的《一门艺术》第一、诗节: The art of losing isn't hard to master;so many things seem filled with the intent to be lost that their loss is no disaster, Lose something every day.Accept the fluster of lost door keys, the hour badly spent.The art of losing isn't hard to master.(Elizabeth Bishop: One Art)
四、链韵格式
链韵(chain rhyme)又名连锁韵(interlocking rhyme),是英语诗歌中较为复杂的押韵格式,主要用于四行诗节或三行诗节。其特征是一个诗节中的某一行诗用于连接下一个诗节中某一行诗的韵。雪莱的《西风颂》是使用链韵的优秀范例,其第四段如下: If I were a dead leaf thou mightiest bear;If I were a swift cloud to fly with thee;A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O Uncontrollable!If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem‘d a vision;I would ne‘er have striven As thus with thee in prayer in my sore need.O!life me as a wave, a leaf, a cloud!I fall upon the thorns of life!I bleed!A heavy weight of hours has chained and bowed One too like thee: tameless, and swift, and proud.(Percy Bysshe Shelley: Ode to the West Wind)前四个诗节的押韵格式为aba bcb cdc ded,每个诗节单独来看都是吻韵,而且每个诗节的中间诗行成为链接诗行,它与下一诗节的首尾两诗行押尾韵,这样,所有诗行就链接起来了。又如拉金的《床上的谈话》: Talking in bed ought to be easiest, Lying together there goes back so far, An emblem of two people being honest.Yet more and more time passes silently.Outside, the wind‘s incomplete unrest Builds and disperses clouds about the sky, And dark towns heap up on the horizon.None of this cares for us.Nothing shows why At this unique distance from isolation It becomes still more difficult to find Words at once true and kind, Or not untrue and not unkind.(Philip Larkin: Talking in Bed)
前三个诗节的韵式是aba cac dcd,前一个诗节的首尾行与下一个诗界的中间行押韵,从而将三个诗节链接起来。最后一个诗节押单韵。第二节 押韵格式的组合使用
上面讨论的四种基本押韵格式都与二行、三行和四行诗节联系在一起。有时,一个诗节会有五个或五个以上的诗行,这时就会出现两种甚至两种以上的押韵格式的组合。
一、五行诗节中押韵格式的组合 例如雪莱的《致云雀》开始两诗节: Hail to thee, blithe Spirit!Bird thou never wert— That from heaven or near it Pourest thy full heart In profuse strains of unpremeditated art.Higher still and higher From the earth thou springest, Like a cloud of fire;The blue deep thou wingest, And singing still dost soar, and soaring ever singest.(Percy Bysshe Shelley: To a Skylark)
每个诗节中的押韵格式为ababb。这是隔行押韵的变体形式,也可以说前三行是吻韵格式,后两行是双行韵格式,后两行与第二行又押韵。又如艾伦•坡的《致海伦》: Helen, thy beauty is to me Like those Nicéan barks of yore, That gently, over a perfumed sea, The weary, way-worn wanderer bore To his own native shore.On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece, And the grandeur that was Rome.Lo!in yon brilliant window-niche How statue-like I see thee stand, The agate lamp within thy hand!Ah, Psyche, from the regions which Are Holy-Land!(Allan Poe: To Helen)这首诗三个诗节的押韵格式分别是abab,ababa和abbab,它们都应该是隔行韵的变体,但第三个诗节的前四行又有吻韵的味道。另外,Nicéan中的é表示这个音节重读,从而使这个诗行成抑扬格韵步。二、六行诗节中押韵格式的组合
例如华兹华斯《我独自漫游像一片云》第一诗节和最后诗节: I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils;Beside the lake, beneath the trees, Fluttering and dancing in the breeze.…
For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude;And then my heart with pleasure fills, And dances with the daffodils.(William Wordsworth: I Wandered Lonely as a Cloud)
每个诗节的押韵格式是ababcc,即隔行韵和双行韵格式的组合。三、七行诗节中的组合
七行诗节中,最普通的是抑扬格五韵步的皇韵(rhyme royal)诗节。它是苏格兰国王詹姆斯一世在他的诗歌Kings Quair中所使用的诗节而创造出来的。乔叟在《特罗勒斯与克丽西德》(Troilus and Criseyde)中最早使用这一诗节,因此皇韵诗节又称特罗勒斯诗节(Troilus stanza)或乔叟诗节(Chaucer stanza)。以下是选自《特罗勒斯与克丽西德》卷一中特罗勒斯的一段情歌的第一诗节,其韵脚是ababbcc。―If no love is, O God, what fele I so?
And if love is, what thing and whiche is he? If love be good, from whennes cometh my wo? If it be wikke, a wonder thinke me, When every torment and adversitee That cometh of him, may to me savory thinke;For ay thurst I, the more that I it drinke.这种格式是在四行诗节基础上发展起来的,其押韵格式也是在隔行押韵(abab)或双行押韵(bbcc)的基础上加一个三行诗形成的。四、八行诗节中押韵格式的组合使用
八行诗节的基本结构是由六行隔行韵(ababab)加一个双行韵构成(cc),如叶芝的《驶向拜占庭》最后一个诗节:
Once out of nature I shall never take My bodily form from any natural thing, But such a form as Grecian goldsmiths make Of hammered gold and gold enamelling To keep a drowsy Emperor awake;Or set upon a golden bough to sing To lords and ladies of Byzantium Of what is past, or passing, or to come.(W.B.Yeats: Sailing to Byzantium)
拜伦的长诗《唐璜》(Don Juan)是由八行诗节构成,押韵格式为abababcc,即由六行隔行韵加一个双行韵构成,例句见后面史诗章节。五、九行诗节中押韵格式的组合使用
九行诗节以斯宾塞诗节(Spenserian stanza)为代表,他是在长诗《仙后》中创造的一种诗节,以下是卷一第一章的第一诗节: Gentle Knight was pricking on the plaine, Ycladd in mightie armes and silver shielde, Wherein old dints of deepe wounds did remaine, The cruell markes of many a bloudy fielde;Yet armes till that time did he never wield: His angry steede did chide his foming bitt, As much disdayning to the curbe to yield: Full iolly knight he seemd, and faire did sitt, As one for knightly giusts and fierce encounters fitt.(Edmund Spenser: Faerie Queen)
这种诗节的押韵格式是ababbcbcc,是在隔行韵和链接韵基础上发展起来的,既有隔行韵味道,又有链接韵味道。斯宾塞的这种九行诗节押韵格式是固定的。
其他诗人也写九行诗节的诗,其押韵格式就不那么固定,如多恩的《追认圣徒》第一诗节: For God‘s sake hold your tongue, and let me love, Or chide my palsy, or my gout, My five gray hairs, or ruined fortune, flout, With wealth your state, your mind with arts improve, Take you a course, get you a place, Observe His Honor, or His Grace Or the king‘s real, or his stampèd face Contemplate;what you will, approve, So you will let me love.(John Donne: The Canonization)这节诗行的押韵格式为abbacccaa,显然,前面四行是吻韵,后面五行是双行韵的变体。六、十行诗节中押韵格式的组合使用
由于诗行较多,十行诗节没有固定的押韵格式,但大多数是从基本押韵格式上变化而来,例如多恩的《升起的太阳》第一节: Busy old fool, unruly sun, Why dost thou thus Through windows and through curtains call on us? Must to thy motions lovers‘ seasons run? Saucy pedantic wretch, go chide Late schoolboys and sour prentices, Go tell court huntsmen that the king will ride, Call country ants to harvest offices;Love, all alike, no season knows nor clime,Nor hours, days, months, which are the rags of time.(John Donne: The Sun Rising)这个诗节的押韵格式是abbacdcdee,显然,前四行押吻韵,接下来的四行押隔行韵,最后两行押双行韵。又如济慈《夜莺颂》第四诗节: Away!Away!For I will fly to thee, Not charioted by Bacchus and his pards, But on the viewless wings of Poesy, Though the dull brain perplexes and retards: Already with thee!Tender is the night, And haply the Queen –Moon is on her throne, Cluster‘d around by all her starry Fays;
But here there is no light, Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways.(John Keats: Ode to a Nightingale)
这个诗节的押韵格式是ababcdecde,显然,前四行押隔行韵,后六行也押隔行韵,但隔两行而非基本格式的隔一行。
七、―维拉内拉‖(villanelle)十九行诗
这种诗体在文艺复兴时期用于当时流行的牧歌中,它起源于意大利民谣的诗体,格律很严:每首由五个三行诗节构成,限用两个韵,三行诗节的韵脚安排为aba,四行诗节为abaa,第一节中的第一行与第三行还必须在后面的四节中轮流用作第三行,并在最后的四行节中双双出现,作全诗结句。如狄兰•托马斯的《不要温和地走进那个良夜》: Do not go gentle into that good night, Old age should burn and rave at close of day;Rage, rage against the dying of the light.Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night.Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light.Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night.Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light.And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray.Do not go gentle into that good night.Rage, rage against the dying of the light.(Dylan Thomas: Do not Go Gentle into That Good Night)诗人的父亲常常给年少的他朗诵莎士比亚的作品,并鼓励他写诗。在父亲最后的日子里,挚爱他的儿子在他的病榻前为他反复朗诵这首杰作。诗人认为父亲是个有见识的人,具有多种非凡的品质,因此他列举了数种典型之人对待死亡的态度,殷殷劝说父亲不要被动地屈从,而应以生命的激情和勇气与死神抗挣。诗人请求父亲以一如既往的热情来关心自己,哪怕是诅咒或祝福。
第五章 十四行诗的押韵格式
第一节 彼特拉克体十四行诗的押韵格式
十四行诗起源于意大利,它是13、14世纪意大利最流行的一种抒情诗体。诗人彼特拉克是意大利十四行诗的代表,这种诗体既被称为意大利十四行诗体,又被称为彼特拉克体。一般认为,英国最早写作意大利十四行诗的诗人是怀亚特(Sir Thomas Wyat,1503~1545),他的诗作在他去世十五年以后与霍华德(Henry Howard,1517~1547)一起出版,他们一起被称为―英国十四行诗之父‖。这种诗体被介绍到英国后,很快成为英国诗人喜欢运用的一种诗体,弥尔顿、华兹华斯、济慈、勃朗宁、锡德尼都写下优美的彼特拉克体十四行诗。这种诗体由十四行诗组成,分前八行(octave)和后六行(sestet)两个部分。每行五个韵步(pentameter)。第一部分八行诗的押韵格式为:abba abba,这种韵式称为吻韵。第二部分六行诗的押韵格式有三种:cdc cdc,cdc dcd,cde dce。这种韵式称为链韵。
一、弥尔顿
尔顿用彼特拉克体写了多首十四行诗,其内容包括对赞颂革命人物,对酬答友好故旧,抒发个人情怀等。以下是《我思量我已耗尽光明》: When I consider how my light is spent Ere half my days, in this dark world and wide, And that one talent which is death to hide, Lodged with me useless, though my soul more bent To serve therewith my Maker, and present My true account, lest he returning chide;―Doth God exact day-labor, light denied?‖ I fondly ask;but Patience to prevent That murmur, soon replies, ―God doth not need Either man‘s work or his own gifts;who best Bear his mild yoke, they serve him best.His state Is kingly.Thousands at his bidding speed And post o‘er land and ocean without rest: They also serve who only stand and wait.‖(John Milton: On His Blindness)
此诗的主题写失去视力的感受,表达诗人对万物有灵论和上帝的哲学看法。诗歌探讨了诗人对上帝的信仰和联系,并暗示上帝创造了人,人追求的不是休息而是工作。全诗分两个部分,第一部分写弥尔顿向上帝提问,第二部分对自己提出的问题做出解答。诗歌虽然是诗人向上帝提问,但实际上是诗人向自己提问,努力为自己失明后所遭遇的人生问题寻求答案。一开始,诗人就暗示,美好人生因为失明受到影响,第一到第四行的―dark‖―death‖―useless‖等词表明诗人失明后的心理状态,即失明后笼罩在内心深处的巨大阴影。第三行诗―And that one talent which is death to hide‖是对《圣经》马太福音第25章的暗示。三个人中的两个拿了主人的钱去投资并赚了钱,得到主人的回报,而那个把钱埋在地里的人却很不幸,主人把他的钱夺去给了赚了钱的人,还把他关在门外的黑暗中。这是诗人的真切感受,他失明后感觉被人从现实人生和世界中赶了出去,被关在黑暗的世界里。第二个四行是继续提出问题―Doth God exact day-labour, light denied?‖紧接着是对前面提出的问题给予回答(Patience…soon replies)。全诗每行十个音节,分五个抑扬格韵步,前八行的韵式为abba abba,后六行韵式为cde cde。
弥尔顿的这首十四行诗在结构上跟传统意大利十四行诗略有不同,即在后面的六行中,没有传统意大利体的转折,这种变化的意义在于使十四行诗在结构上更为紧密,在内容上更严谨,避免了传统意大利体在前八行和后六行之间的转换所造成的意义上的断裂。
二、华兹华斯
华兹华斯一生用彼特拉克体写了五百余首十四行诗,其中不乏精美之作。华兹华斯以自己的诗歌实践重新确立了十四行诗在文学上的地位,充分肯定了十四行诗的意义。以《威斯敏斯特桥上》为例:
Earth has not any thing to show more fair: Dull would he be of soul who cold pass by A sight so touching in its majesty: This City now doth, like a garment, wear The beauty of the morning;silent, bare, Ships, towers, domes, theatres, and temples lie Open unto the fields, and to the sky;All bright and glittering in the smokeless air.Never did sun more beautifully steep In his first splendour, valley, rock, or hill;Ne‘er saw I, never felt, a calm so deep!The river glideth at his own sweet will;Dear God!the very houses seem asleep;And all that mighty heart is lying still!
(William Wordsworth: Composed upon Westminster Bridge)
此诗的主题是赞美沐浴在晨光中的与大自然融为一体的宁静的伦敦城。诗歌的标题指明观景的地点是泰晤士河上的一座桥,诗人经过此处,被眼前景色打动,环顾四周,更是兴奋不已,于是诗歌一开始就点题:如此壮观的美景无与伦比,凡有正常情感的人都会被景色打动。接下来诗歌就像摄影机镜头一样,首先对准城市(this city…),慢慢移向郊区(ships…temples lie / Open unto the fields, and to the sky),移向更远处的山谷等地(valley, rock, or hill)再将镜头收回来,对准泰晤士河、城市建筑和整座城市(river, houses, heart)。四周宁静,阳光普照,城市如披着新袍,一切建筑都在一尘不染的大气中光辉灿烂,城市与郊外的田野和天空完美地融为一体,阳光也撒在纯粹是自然状态的峡谷山陵,河水静静流淌,晨辉中像心脏一样强有力地跳动的伦敦城还沉浸在甜甜的睡梦之中。全诗每行十个音节,分五个抑扬格韵步,前八行的韵式为abba abba,后六行韵式为cdc dcd。其中后六行与弥尔顿的韵式有所不同,这是华兹华斯对押韵格式所作的变化。
华兹华斯的十四行诗《不要责备十四行诗》,既表达了诗人对十四行诗的总体评价,也是对过去写作十四行诗的诗人给予独特的评价: Scorn not the Sonnet;Critic, you have frowned, Mindless of its just honours;with this key Shakespeare unlocked his heart;the melody Of this small lute gave ease to Petrarch's wound;A thousand times this pipe did Tasso sound;With it Camöens soothed an exile's grief;The Sonnet glittered a gay myrtle leaf Amid the cypress with which Dante crowned His visionary brow: a glow-worm lamp, It cheered mild Spenser, called from Faery-land To struggle through dark ways;and, when a damp Fell round the path of Milton, in his hand The Thing became a trumpet;whence he blew Soul-animating strains--alas, too few!(William Wordsworth: Scorn not the Sonnet)
华兹华斯在此诗中历数西方诗坛风流人物与十四行诗的不解之缘。他写道:莎士比亚用它作为钥匙(key)开启心扉;彼特拉克以它为提琴(lute),奏出的旋律抚慰创伤;意大利文艺复兴后期诗人塔索也以之为琴,奏出同样的曲调;十六世纪葡萄牙抒情诗人卡蒙斯用它减轻流放的悲痛;它成了装饰在但丁头上一片闪光的田园叶子(leaf);它是引领斯宾塞走在黑暗路上的一盏灯(lamp),它又是弥尔顿手里的一只号角(trumpet)。全诗每行十个音节,分五个抑扬格韵步,前八行的韵式为abba abba,后六行韵式为cdc dee。其中后六行韵式与前一首又有所不同,即最后两行的押韵,类似莎士比亚体的最后两行韵式。这里又体现出华兹华斯对押韵格式所作的变化。
三.济慈
济慈从1814年到1819年的短短几年间,共写了四首十四行诗,这些诗主要抒发诗人自己的内心感受,致力于对自己情感深处的探索,其中有的诗轻松欢乐,有的沉着凝重,有的耽于哲理,有的抒发情感。这些诗主要是用彼特拉克体写成。以《欲重读〈李尔王〉》为例: O golden-tongued Romance, with serene lute!Fair plumed siren, queen of far-away!Leave melodizing on this wintry day, Shut up thine old pages, and be mute.Adieu!For, once again, the fierce dispute Betwixt damnation and impassion‘d clay
Must I burn through;once more humbly assay The bitter-sweet of this Shakespearean fruit.Chief Poet!And ye clouds of Albion, Begetters of our deep eternal theme!When through the old oak forest I am gone, Let me not wander in a barren dream: But, when I am consumed in the fire, Give me new phoenix wings to fly at my desire.(John Keats: On Sitting Down to Read King Lear Once Again)
诗歌第一个四行提出要传说中地中海岛上的女妖(siren)住口,她所唱的美妙歌曲总是引诱航海者触礁毁灭。荷马史诗中,奥德修斯经过女妖所住的岛时,用蜜蜡堵住伙伴们的耳朵,并让伙伴把自己绑在桅杆上,他才听到歌声而没有被引诱,由此可见其诱惑力有多大。即便如此,济慈还是要女妖住口,因为诗人要离开,要去听更具诱惑力、更具有毁灭性的莎翁的《李尔王》。第二个四行是把莎士比亚的《李尔王》同女妖配以诗琴唱出的美妙传奇相媲美,甚至认为《李尔王》比女妖们的歌声更有诱惑力,诗人会在莎翁的诗中再次在燃烧中体会激情与毁灭的激烈斗争,再次品尝莎翁式的苦涩甘果。所以第二个四行是对前面提出要求的解释。接下来是对莎翁的赞美,称之为英格兰的云朵,深邃而永恒主题之父。最后是总结,即希望自己在燃烧之后,如凤凰再生,插上翅膀,随心所欲地翱翔。
全诗每行十个音节,分五个抑扬格韵步,前八行的韵式为abba abba,后六行韵式为cdc dee,即隔行韵与双行韵的组合,其中最后两行的押韵,类似莎士比亚体的最后两行韵式,跟华兹华斯的韵式变化相同。
第二节 莎士比亚体十四行诗的押韵格式
莎士比亚体十四行诗是在彼特拉克体的基础上发展形成的。怀亚特把十四行诗引入英国时,无论是翻译还是写作,其形式都不是单一的,有的属于彼特拉克体,有的接近后来的莎士比亚体,霍华德的部分诗歌在形式上已经完全属于后来的莎士比亚体。莎士比亚选择了在当时较为流行的形式进行创作,而他又是那个时代最伟大的戏剧家和诗人,于是就把这种形式称为莎士比亚体。
这种诗歌形式在韵律和节奏上仍然同彼特拉克体保持一致,即每行诗还是属于抑扬格五韵步,也就是说,每行十个音节,每两个音节为一个韵步,共五个韵步,重音在每个韵步的第二个音节上。
但是在诗的结构上,莎士比亚体有所不同。彼特拉克体分为两个部分,即前八行和后六行。全诗的内容从第九行出现转折,往往是前八行提出问题,后六行回答问题。莎士比亚体也分为两个部分,即三个四行诗(three quartets)构成的前十二行,一个双行诗(couplet)构成的后两行。转折点在十二行和两行之间。一般说来,前十二行提出问题,最后两行提供答案。在押韵上,莎士比亚体是前三个四行和后一个两行分别押韵,押韵格式通常为:abab cdcd efef gg。
莎士比亚一共创作了一百五十四首十四行诗,下面以编号为12的十四行诗为例: When I do count the clock that tells the time And see the brave day sunk in hideous night, When I behold the violet past prime And sable curls ensilvered o‘er with white, When lofty trees I see barren of leaves, Which erst from heat did canopy the herd And summer‘s green all girded up in sheaves Borne on the bier with white and bristly beard: Then of thy beauty do I question make That thou among the wastes of time must go, Since sweets and beauties do themselves forsake, And die as fast as they see others grow;And nothing ‘gainst time‘s scythe can make defence
Save breed, to brave him when he takes thee hence.莎士比亚在这首诗中描写的主题是规劝友人生子。全诗由三个四行诗和一个双行诗构成,在内容上可将前十二行和后两行分成两个部分。前面写时间的镰刀对一切美好事物的摧残,后面写留下子嗣是唯一抵御时间镰刀的摧残的方法。第一个四行是两个时间状语从句,即看见黑夜吞噬白天,看见鲜花凋谢和黑发变白。第二个四行是另一个时间状语从句,继续前面的话题,即树叶脱落,夏苗变成麦芒被收割成捆被载上灵车。第三个四行是前面三个状语从句的主句,说明当看见前面那些东西时的感慨和原因,即为友人的美色担忧,因为一切甘美之物看见别的事物生长时都会快速死去。最后两行是转折,即要抵御时间的镰刀,抵御死亡,唯一的方法就是生子,把自己的青春和美丽存留显现在下一代身上。
从这首诗可看出,莎士比亚的十四行诗在内容上和韵式上比彼特拉克体前进了一大步。从内容上看,前十二行是一个整体,一气呵成,一个主句带三个时间状语从句和一个原因状语从句。从结构上看,最后两行对前面的问题加以解决,简洁紧凑。从押韵上看,前三个四行分别押韵,即abab cdcd efef,最后两行押gg韵。它们在押韵结构上相互独立,不发生关系,这就比此前的彼特拉克体的韵律结构灵活了许多,更加有利于诗人遣词造句,抒情写意和表达情感,更加有利于诗人的想象力和创造力的发挥。莎士比亚还把十四行诗放在《罗密欧与朱丽叶》的对话中: Romeo[to Juliet]: If I profane with my unworthiest hand This holy shrine, the gentle fine is this,___ My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss.Juliet:
Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this;For saints have hands that pilgrims‘ hands do touch, And palm to palm is holy palmers kiss.Romeo: Have not saints lips, and holy palmers too? Juliet:
Ay, pilgrim, lips that they must use in prayer.Romeo:
O, then, dear, saint, let lips do what hands do;They pray;grant thou, lest faith turn to despair.Juliet:
Saints do not move, though grant for prayers‘ sake.Romeo:
Then move not, while my prayer‘s effect I take.[kissing her(Shakespeare: Romeo and Juliet, Act I.Scene V)莎士比亚在这里把十四行诗分成两人的对话,首先每人一个四行(quartet),押隔行韵,接下来的四行中,罗密欧占三行,显示罗密欧的主动,最后的双行被分成每人一行。像这样的对话十四行诗,十分罕见,可谓绝无仅有。
现当代诗人往往从各种诗体中吸取营养,将主要诗体融为一体。布鲁克写的有关战争的十四行诗《士兵》最具有代表性: If I should die, think only this of me: That there‘s some corner of a foreign field That is for ever England.There shall be In that rich earth a richer dust concealed;A dust whom England bore, shaped, made aware, Gave, once, her flowers to love, her ways to roam, A body of England‘s, breathing English air, Washed by the rivers, blest by suns of home.And think, this heart, all evil shed away, A pulse in the eternal mind, no less Gives somewhere back the thoughts by England given;Her sights and sounds;dreams happy as her day;And laughter, learnt of friends;and gentleness, In hearts at peace, under an English heaven.(Rupert Brooke: The Soldier, 1915)
这首诗从总体上来说属于彼特拉克体,分为前8行和后6行。但前8行押韵不是彼特拉克体的abba abba形式,而是莎士比亚体的abab cdcd形式。因此,它在形式上是两种体的融合。
第三节 斯宾塞体十四行诗的押韵格式
斯宾塞的十四行诗收在《爱情小诗》中,共六十八首。他的十四行诗是在继承和发展怀亚特和霍华德引进的十四行诗的形式的基础上创立的独特诗体,与彼特拉克体和莎士比亚体并驾齐驱。
在结构上,与莎士比亚体相同,即由三个四行诗构成的前十二行和一个双行诗构成的后两行组成。在内容上以问题开头,采用讨论的方式推动诗歌的思想向前发展,连环相扣,层层推进,使诗中要表达的问题得到充分讨论和表达,问题的结论也即将到来。最后的双行轻松结束全诗。
在韵律上,还是跟彼特拉克体和莎士比亚体一样,采用五韵步抑扬格。但在押韵上则显出独特之处,其押韵格式为:abab bcbc cdcd ee,三个四行诗在押韵上相互衔接。这种形式被称为吻韵。下面以编号为1的爱情小诗为例: Happy ye leaves when as those lilly hands, Which hold my life in their dead doing might, Shall handle you and hold in loves soft bands, Lyke captives trembling at the victors sight.And happy lines, on which with starry light, Those lamping eyes will deigne sometimes to look And read my sorrows of my dying spright, Written with teares in harts close bleeding book.And happy rymes bath‘d in the sacred brooke Of Helicon whence she derivèd is, When ye behold that Angels blessèd looke, My soules long lackèd food, my heavens blis.Leaves, lines and rymes, seeke her to please alone, Whom if ye please, I care for other none.(Edmund Spenser: Amoretti)这首诗的前三个四行层层递进地分别羡慕书页(leaves)、诗行(lines)和诗篇(rymes),它们都很幸运,因为诗人仰慕的情人能与它们亲密接触:她的玉手能触摸书页,她的明眸会去读用血和泪水写成的诗行中传达出来的诗人的灵魂;她还会因灵魂受到触动而在诗篇上滴下激动的泪水。从手到眼到灵魂,加上第四行和第五行、第八行和第九行在押韵上的相扣(sight / light,book / brooke),将三个四行诗紧密连在一起,主题一步步推向高潮。最后的双行诗中的结论水到渠成。另外,第十、十一、十二行中的derivèd、blessèd和lackèd中的è表示这个音算一个音节,从而使这些诗行构成五韵步,具体参见下一章第三节关于音节增减部分。
第六章 诗行与韵律 第一节 结句行
诗行(line of poetry, line of verse)指诗歌中的一行文字。它是诗歌的基本结构单位,它遵循的规则是韵律规则。作为诗行,它又不可能脱离普通语法规则,从语法意义上讲,诗行就是诗句。诗歌是由一行一行的诗组成的,但一行诗不等于一句诗。一行诗不一定是一个完整的语法句子,不一定表达一个完整的意思。
如果一行诗是一个完整诗句,表达完整意思,这样的诗行叫结句行(end-stopped line)。如莎士比亚编号为77的十四行诗前四行: Thy glass will show thee how thy beauties wear, Thy dial how thy precious minutes waste, The vacant leaves thy mind‘s imprint will bear, And of this book this learning mayest thou taste.又如米莱的《梦》第一诗节: Love, if I weep it will not matter, And if you laugh I shall not care;Foolish am I to think about it, But it is good to feel you there.(Edna Vincent Millay: The Dream)诗行受韵律限制,往往不能在一行诗中表达完整意思,因此,英语诗歌中的结局行占诗行的比例不是很高,大多数还是下一节的延续行。
第二节 延续行
一个句子表达一个完整的意思,但由于受音节限制,每行诗往往不能表达完整的意思,这就必须跨到下一行甚至再下一行或多行,这样的诗行叫延续诗行(run-on line)或跨行(enjambment)。以阿诺德《多佛海滩》最后一段为例: Ah, love, let us me true To one another!for the world, which seems To lie before us like a land of dreams, So various, so beautiful, so new, Hath really neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night.(Mathew Arnold: Dover Beach)整个诗节共有九个诗行,但只有三个句子,即:第一句:Ah, love, let us be true to one another!占一行半。第二句:for the world, which seems to lie before us like a land of dreams, so various, so beautiful, so new, hath really neither joy, nor love, nor light, nor certitude, nor peace, nor help for pain;占四行半。第三句:And we are here as on a darkling plain swept with confused alarms of struggle and flight, where ignorant armies clash by night.占三行。
有时一个句子不但要跨行,甚至要跨诗节,如狄金森的《成功的滋味最甜》: Success is counted sweetest By those who ne‘er succeed.To comprehend a nectar Requires sorest need.Not one of all the purple Host Who took the Flag today Can tell the definition So clear of Victory As he defeated—dying— On whose forbidden ear The distant strains of triumph Burst agonized and clear!(Emily Dickinson: Success Is Counted Sweetest)第一诗节是两个句子,即Success is counted sweetest by those who ne‘er succeed和To comprehend a nectar requires sorest need。第二、三诗节其实是一个比较复杂的句子,主干句是Not one of all the purple host can tell the definition of victory so clear as he(诸公队列里没有人能像他那样真切道出胜利的真谛),除了在每个诗节里跨行,还跨了第二、三节。再如威廉斯的《丛林》: It is not the still weight of the trees, the breathless interior of the wood, tangled with wrist-thick vines, the flies, reptiles, the forever fearful monkeys screaming and running in the branches___ but a girl waiting shy, brown soft-eyed___ to guide you Upstairs, sir.(William Carlos Williams: The Jungle)丛林转义为为生存而残酷斗争的地方,丛林原则就是弱肉强食的原则。本诗写的一个年轻女子就是这个丛林社会中的一块弱肉,而诗中的说话人也正在进入丛林。tangled with wrist-thick / vines修饰wood。不但跨行,还跨节,but悬空在两节之间,也很独特。全篇诗除第一个词大写,其余各行皆小写开首,而独Uptairs是大写,这表明是女孩在招呼客人上楼。
第三节 音节的增减
为了合符韵律,有时一行诗里需要增加一个音节。通常的做法是,动词词尾ed中的e需要发音。一般情况下,这个字母被加上一个发音符号,变成è,如哈代《黑暗中的画眉》最后一个诗节:
So little cause for carolings Of such ecstatic sound Was written on terrestrial things Afar or nigh around, That I could think there trembled through His happy good-night air Some blessèd Hope, whereof he knew And I was unaware.(Thomas Hardy: The Darkling Thrush)这个诗节的单数行是四韵步抑扬格诗行,双数行是三韵步抑扬格诗行。其中第七句的blessèd正常读音只有一个音节,为了韵律,就增加了这个动词的过去时词尾音节。这个诗行的韵步分析如下:
_ / _ / _ / _ / Some bles|sèd Hope|, whereof |he knew 又如莎士比亚编号为77的十四行诗第五、六行:
The wrinkles which thy glass will truly show Of mouthèd graves will give thee memory;为了合抑扬格五韵步韵律,这里第二行的mouthèd算两个音节,该行韵步分析如下: _ / _ / _ / _ / _ _ Of mou|thèd graves | will give | thee me|mory 另外,第五个韵步被替换成了抑抑格。这是一种普遍的拗变现象。
需要注意的是,并非每个头上加了符号― ̀ ”或― ́ ”的字母都表示增加一个音节,如弥尔顿《论莎士比亚》第一、二诗行和最后两诗行: What needs my Shakespeare for his honored bones, The labour of an age in pilèd stones? ….And so sepúlchered in such pomp dost lie That kings for such a tomb would wish to die.(John Milton: On Shakespeare)pilèd中的è表示增加音节,sepúlchered中的ú则表示此音节重读。有时在诗行里需要减少一个音节,如狄金森《我把我的力量握在手中》: I took my power in my Hand And went against the World ‘Twas not so much as David had But I was twice as bold.I aimed my Pebble but Myself Was all the one that fell Was it Goliath was too large Or was myself too small?(Emily Dickinson: I Took My Power in My Hand)这首诗的单行为四韵步诗行,双行为三韵步诗行。为了确保单行的八个音节和双行的六个音节,有些地方就需要省略一些不重要的音节,或不影响意思的代词,关联词等。第三行的‘T是It的省略形式,元音省略了。第七行Was it Goliath(who)was too large中间省略了代词who。
又如莎士比亚编号为75的十四行诗前四行: So are you to my thoughts as food to life, Or as sweet-seasoned showers are to the ground;And for the peace of you I hold such strife As ‘twixt a miser and his wealth is found.这些诗行是抑扬格五韵步行,每行十个音节。第四行的‘twixt,是betwixt的省略形式。用省略号―‘‖省掉一个音节,这诗行就合韵律了。这行诗的韵步分析如下: _ / _ / _ _ _ / _ / As ‘twixt | a mi|ser and | his wealth | is found
第四节 句式倒装
为了押韵,有时要把一个句子的各个成分颠倒,如安•布拉兹特里特《作者致自己的诗集》中的几行:
In better dress to trim thee was my mind, But nought save homespun cloth i‘th‘house I find.In this array ‘mongst vulgars may‘st thou roam.In critic‘s hands beware thou dost not come.(Ann Bradstreet: The Author to Her Book)
每行诗里都用了倒装,其正常语序应该如下: My mind was to trim thee in better dress
But I find nought save homespun cloth i‘th‘house.May‘st thou roam ‘mongst vulgars in this array.Beware thou dost not come in critic‘s hands.不难看出,正常语序下,诗歌就不押尾韵了。另外,为了保证每行诗都是五韵步,第二、三行还使用了音节的减省,即in the house成了i‘th‘house,amongst成了‘mongst,都省去了一个音节。
第七章 五行打油诗与短回旋诗
五行打油诗(Limerick)与短回旋诗(Rondelet)属于轻体诗(light verse),以幽默讽刺为重要特征。
第一节 五行打油诗
五行打油诗是英国人爱德华•李尔(Edward Lear, 1812~1888)所创,此后,英国人写了无数的五行打油诗,但大多是匿名作品。这类诗在形式上为五行,第一、二、五行为相同韵步,押尾韵,第三、四行为相同韵步,押尾韵,韵式为aabba。例如: The secret of love is the power To weather the sweet and the sour Your joy will not weaken With love as your beacon Through sunshine and through thunder shower.(Anonymous: Love‘s Secret)又如:
There once was a girl who loved rhyme;She felt her writing was sublime.Indeed quite a poet, Though some didn't know it, She'd be rich if each paid a dime.(Anonymous)再如:
I wish you success with your dreams.It's easy if we work in teams So all in due course Lets give it more sauce.It isn't as tough as it seems.(Anonymous)顺便一提,英语诗歌中有一种诗叫doggerel,俗称打油诗,指的是不合韵律且粗劣的蹩脚诗,与五行打油诗是两个概念。
第二节 短回旋诗
短回旋诗是一种法国诗体,由一个七行诗节构成,只有两个韵,其中,第三行和第七行与第一行完全相同,是迭句(refrain)。其韵式为AbAabbA(A代表迭句的韵)。如无名氏的《我的归属》: Hearing your voice The future is so much grander Hearing your voice Every morning I rejoice No more am I a bystander I look to you my commander Hearing your voic(Anolymous: I Belong)又如无名氏的《留在身后》:
Feeling the pain You should have seen but you were blind Feeling the pain Emptiness will drive you insane Only memories to remind Of how we used to lay entwined Feeling the pain(Anonymous: Left Behind)第七章 素体诗与自由诗
第一节 素体诗
素体诗(blank verse)指由抑扬格五韵步写成但不押尾韵的诗歌。
莎士比亚的剧作大部分由素体诗写成,如《如愿》中第二幕第七景以下诗行: All the world‘s a stage,And all the men and women, merely players;They have their exits and their entrances, And one man in his time plays many parts, His Acts being seven ages.At first the infant, Mewling, and puking in the nurse‘s arms:
(Shakespeare: As You Like It, Act II, Scene 7)除了第一行,其余诗行都是抑扬格五韵步,但不押尾韵。
弥尔顿的史诗《失乐园》也是用素体写成的,如一开始的第27行至第33行: Say first—for heaven hides nothing from thy view, Nor the deep tract of Hell—say first what cause Moved our grand Parensts, in that happy state, Favoured of Heaven so highly, to fall off From their Creator, and transgress his will For one restraint, lords of the World besides.Who first seduced them to that foul revolt?(John Milton: The Paradise Lost)华兹华斯讲述自己心灵成长的长诗《序曲》,同样也是用素体写成的,如第三卷的开始诗节: It was a dreary Morning when the Wheels Rolled over a wide plain o‘erhung with clouds, And nothing cheered our way till first we saw The long-roof‘d Chapel of King‘s College lift Turrets, and pinnacles in answering files, Extended high above a dusky grove.(William Wordsworth: The Prelude, Book Third)第二节 自由诗
自由诗指一种既没有规则的韵律格式,也没有可辨认的传统韵步的诗。从某种意义上讲,有多少自由体诗人,就有多少种自由体诗歌技巧,诗人可以根据抒情的需要自行组织安排词句。但总体而言,自由诗也不是绝对的自由,它仍然有语言和节奏的韵律,也可以划分出一些类型。
一、咒语式
适于吟诵或正式朗读,结构模式主要是重复,带有仪式色彩,具有明显但非格律的节奏,其音调的抑扬同演说模式而非音乐节拍模式。如艾略特的《空心人》最后一部分前三诗节: Here we go round the prickly pear Prickly pear prickly pear Here we go round the prickly pear At five o‘clock in the morning.Between the idea And the reality Between the motion And the act Falls the shadow For Thine is the Kingdom Between the conception And the creation Between the emotion And the response Falls the shadow.(T.S.Eliot: The Hollow Men)开头四句是对儿童游戏韵诗行Here we go round the mulberry bush的改写,诗人用―带刺的梨‖(prickly pear)取代―桑树丛‖(mulberry bush),目的在于把现代世界比喻成―仙人掌世界‖(cactus world)。For Thine is the Kingdom出自《主祷文》(The Lords‘ Prayer)。惠特曼的大部分作品都属于这种模式,如《草叶集》中的《自我之歌》开始部分: I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you.I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass.My tongue, every atom of my blood, form‘d from this soul, this air,Born here of parents born here from parents the same, and their parents the same, I, now thirty-seven years old in perfect health begin, Hoping to cease not till death.(Walt Whitman: Song of Myself)《草叶集》中的《我歌唱带电的肉体》开始部分如下: I sing the body electric;The armies of those I love engirth me, and I engirth them;They will not let me off till I go with them, respond to them, And discorrupt them, and charge them full with the charge of the Soul.Was it doubted that those who corrupt their own bodies conceal themselves;And if those who defile the living are as bad as they who defile the dead? And if the body does not do as much as the Soul? And if the body were not the Soul, what is the Soul?(Walt Whitman: I Sing the Body Electric)
金斯伯格的《嚎叫》也属于这种模式,其开始部分如下:
I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the Negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of clod-water flats floating across the tops of cities contemplating jazz,who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated…...(Allan Ginsberg: Howl)
二、意象式
1909年至1917年在英、美两国活跃着意象主义诗派,主要诗人有艾米•洛厄尔,弗林特、阿尔丁顿、H.D.和庞德。他们的意象式自由体诗展现了鲜明的意象。先来看桑德堡的《雾》: The fog comes On little cat feet.It sits looking Over harbor and city On silent haunches And then movies on.(Carl Sandburg: Fog)再看杜利特尔的《热》: O wind, rend open the heat, Cut apart the heat, Rend it to tatters.Fruit cannot drop Through this thick air___ Fruit cannot fall into heat That presses up and blunts The points of pears And rounds the grapes.Cut the heat— Plough through it, Turning it on either side Of your path.(H.D.: Heat)
三、万花筒式
这类诗歌就像滚动着的万花筒,不断变化的意象暗示主题。这类诗所用技巧也被叫着―电影式‖技巧,是20世纪某些诗人从电影经验中发展而来的一种技巧,即在没有明显逻辑或语法框架的情况下,从一个诱发性意象或典故向另一个转移,各种不同的意象和典故幻化出正确的联想意义。艾略特的《荒原》和庞德的《诗章》是这类诗的杰出代表。如《荒原》的结尾部分诗行: I sat upon the shore
Fishing, with the arid plain behind me Shall I at least set my lands in order?
London Bridge is falling down falling down falling down Poi s'ascose nel foco che gli affina
Quando fiam uti chelidon—O swallow swallow Le Prince d'Aquitaine à la tour abolie
These fragments I have shored against my ruins Why then Ile fit you.Hieronymo's mad againe.Datta.Dayadhvam.Damyata.Shantih shantih shantih(T.S.Eliot: The Waste Land, V.What the Thunder Said)这些诗行如万花筒,意象不断变换以表达寻求灵魂得救的主题。第一、二行与Weston所著《祭仪与传奇》(From Ritual to Romance,1920))第九章关于渔王的故事有关。垂钓含有寻求灵魂得救,精神复苏以及生命永恒的意思。arid plain就是指荒原。第三行的整顿田园,指整顿秩序,尽力去拯救尚未毁灭的一切。第四行来自一首通俗儿歌,其中迭句部分强调世界文明在崩溃。第五行出自但丁《神曲•炼狱篇》第二十七章,其英译为:He disappears into the flame that refines him,指人在炼狱里甘愿在火中受苦,以求净化而可有赎罪的希望。第六行典出拉丁轶名诗人,其英译为:When shall I be like the swallow? 轶名诗人感叹其诗不为人知,乃问何时春天来临,使他的诗能像燕子的叫声,为人所听。第七行典出十九世纪一位法国诗人的一首十四行诗,其英译为:The Prince of Aquitaine at the ruined tower。诗人自称是被关在废塔中的亚奎丹王子,暗示被剥夺了继承抒情诗人传统的权利,同时暗示传统的丧失令人惋惜。第八行中的―残迹‖(fragments),即前面提到的和后面引用的那些零残的过去经验。人类要想得救,必须依赖对这些传统东西的珍视和延续。第九行的Hieronymo's mad againe,出自英国伊丽莎白女王时代早期吉德(Thomas Kyd)的剧本《西班牙悲剧》(The Spanish Tragedy, 1594),该剧本的副标题为Hieronymo's Mad Againe。这里引用这个故事的用意是:人类精神文明虽被淹没,但若尽力营救,仍有恢复的希望。最后两行是梵文箴言,即奉献、同情、克制引导人类进入出人意外的平安境界。即只要人遵行这些箴言,即使未能真正解救荒原的困境,亦可得到出人意外的平安。
这类诗要求读者有较多的时间,较高的文化素养和较强的感受能力,因此它们不可能得到多数人的欣赏。
第八章 叙事诗 第一节 史诗
史诗可分为三种,即史诗(epic),戏拟史诗(epic satire)和英雄叙事诗(heroic narrative)。
一、史诗
史诗指一种宏篇巨制且自成一卷的叙事诗,用高雅的语言叙述英雄的事迹,风格庄严华美,多用精巧的修辞手法,如史诗明喻等。早期诗史多为民族传奇,往往被看成是一个民族的伟大文化财富之一,如英国民族史诗《贝奥武甫》(Beowulf)即是如此。其他史诗有斯宾塞的《仙后》(The Faerie Queen, 1590~1596),贾尔斯•弗莱彻(Giles Fletcher, 1586-1623)的《基督的胜利》(Christs Victorie, and Triumph in Heaven, and Earth, over, and after Death, 1610),弥尔顿的《失乐园》(Paradise Lost, 1667)、《复乐园》(Paradise Regained, 1671)。布莱克的《弥尔顿》也可以看作是一部史诗。
《贝奥武甫》现代译文第735行~第766行描述了贝奥武甫在鹿厅与巨怪葛婪代的激战: Mighty and canny, Hegylac‘s kinsman was keenly watching for the first move the monster would make.Nor did the creature keep him waiting but struck suddenly and started in;he grabbed and mauled a man on his bench, bit into his bone-lappings, bolted down his blood and gorged on him in lumps, leaving the body utterly lifeless, eaten up hand and foot.Venturing closer, his talon was raised to attack Beowulf where he lay on the bed, he was bearing in with open claw when the alert hero‘s comeback and armlock forestalled him utterly.The captain of evil discovered himself in a handgrip harder than anything He had ever encountered in any man on the face of the earth.Every bone in his body quailed and recoiled, but he could not escape.He was desperate to flee to his den and hide with the devil‘s litter, for in all his days
he had never been clamped or cornered like this.Then Hygelac‘s trusty retainer recalled his bedtime speech, sprang to his feet and got a firm hold.Fingers were bursting, the monster back-tracking, the man overpowering.The dread of the land was desperate to escape, to take a roundabout and flee to his lair in the fens.The latching power in his fingers weakened;it was the worst trip the terror-monger had taken to Heorot.(Beowulf, a verse translation by Seamus Heaney)斯宾塞《仙后》的内容如诗人在卷首序诗所言,―激烈的战斗和忠贞的爱情将是我歌的主旨‖,其内容之一是对颇有作为的伊丽莎白女王的歌颂,表现民族主义的自豪。第一章一开始就开门见山地讲一位骑士的故事,第二诗节如下: But on his brest a bloudie Crosse he bore, The deare remembrance of his dying Lord, For whose sweete sake that glorious badge he wore, And dead as living ever him adored: Upon his shielde the like was also scored, For soveraine hope, which in his helpe he had: Right faithful true he was in deede and word, But of his cheere did seeme too solemne sad;Yet nothing did he dread, but ever was ydrad.斯宾塞向后来的诗人赠送了一笔宝贵遗产,那就是他有名的九行诗体,这里引的诗节就是典型的斯宾塞诗体。这是一种复杂的诗体,押韵格式为abab bcbc c。前八行是五韵步,第九行即最后一行延长为六韵步。节奏徐缓,韵式有连锁之美(b韵重复四次,c韵三次)。这种诗体影响深远,拜伦、雪莱、济慈、丁尼生等都曾经用该诗体写出佳作,因此人们称斯宾塞为―诗人的诗人‖。
弥尔顿《失乐园》是关于人的堕落的史诗,其内容可以简述为:撒旦被上帝战败,报仇心切,诱使上帝所创造的人类始祖亚当一夏娃偷吃了智慧树上的果子,上帝震怒,把他们逐出伊甸园。
第一章写的是上天的一场战争,两大天使集团进行了较量,以撒旦为首的集团失败,被打入地狱。在地狱里,撒旦对局势做了痛苦的重新估量,估量的的结果是决心复仇,撒旦在此发表了慷慨激昂的演说(第一卷第105行~第124行): What though the field be lost? All is not lost;the unconquerable Will, And study of revenge, immortal hate, And courage never to submit or yield: And what is else not to be overcome? That Glory never shall his wrath or might Extort from me.To bow and sue for grace With suppliant knee, and deifie his power Who from the terror of this Arm so late Doubted his Empire, that were low indeed, That were an ignominy and shame beneath This downfall;since by Fate the strength of Gods And this Empyreal substance cannot fail, Since through experience of this great event In Arms not worse, in foresight much advanced, We may with more successful hope resolve To wage by force or guile eternal War Irreconcileable, to our grand Foe, Who now triumphs, and in th' excess of joy Sole reigning holds the Tyranny of Heav'n.该史诗第二章写会上辩论,第三章转到天堂,第四章出现亚当和夏娃,史诗的语言不再是金鼓铁甲之声,不再是上帝与耶稣的严肃对话,而是人间的多情话语。史诗在以下诗行中结束:
In either hand the hastening Angel caught Our lingering parents, and to the eastern gate Led them direct, and down the cliff as fast To the subjected plain—then disappeared.They, looking back, all the eastern side beheld Of Paradise, so late their happy seat, Waved over by that flaming brand;the gate With dreadful faces thronged and fiery arms.Some natural tears they dropped, but wiped them soon;The world was all before them, where to choose Their place of rest, and Providence their guide.They, hand in hand, with wandering steps and slow, Through Eden took their solitary way.这是这部史诗的结束,也是人类世间生活的开始。―世界整个放在他们面前‖,生命将延续下去。
《复乐园》写的是耶稣挫败了撒旦的种种诱惑,使撒旦在成功地诱惑了夏娃之后终于遭到失败,这样,人类就可以赎罪而重新升入天堂,也就是恢复了乐园。全诗的结构是一场大辩论,耶稣与撒旦不断辩论,自始至终,贯穿四章。诗的开始七行是全诗的总序: I, who erewhile the Happy Garden sung By one man‘s disobedience lost, now sing Recovered Paradise to all mankind,By one man‘s firm obedience fully tried
Through all temptation, and the Tempter foiled In all his wiles, defeated and repulsed, And Eden raised in the waste Wilderness.第一句是说诗人在写《复乐园》之前曾写了《失乐园》,咏亚当受诱惑食禁果而失去乐园。第二行的―一人‖(one man),指亚当和夏娃,他们夫妇是一体。
二、戏拟史诗 戏拟史诗,即讽刺史诗,指一种通过滑稽性地模仿严肃史诗的手法,主要描写非英雄故事的长篇叙事诗。如蒲柏的《劫发记》(The Rape of the Lock)(1714),拜伦的《唐璜》(Don Juan)(1819-24)等。
《唐璜》既讲关于唐璜的故事性很强的游记故事,也是拜伦个人的闲谈录,诗人随时对故事中的人物、情节加以说明、评论等。唐璜出生在西班牙,后来却因为爱情纠葛而离家漂泊海上,由西而东,到过希腊、土耳其、俄罗斯,成了女皇宠臣。后来他又受女皇派遣,出使英国,这样他又由东到西,穿越大陆而出现在伦敦。唐璜是在旅途中碰到各种事情的参与者和当事人,他活动频繁,所遭遇的事或惊险(如海上遇风暴,所盛船只沉没,卷入伊斯迈城下一场血战),或滑稽(如被卖为女奴,在土耳其苏丹的后宫里同后妃宫女等厮混),而进入英国后,他又如诗人一样老练讽刺,对很多事情都有叙有议。诗歌这样开始道: I want a hero: an uncommon want,When every year and month sends forth a new one, Till, after cloying the gazettes with cant, The age discovers he is not the true one;Of such as these I should not care to vaunt,I'll therefore take our ancient friend Don Juan--We all have seen him, in the pantomime, Sent to the devil somewhat ere his time.三、英雄史诗
英雄叙事诗指一种风格庄严、典雅,类似史诗的叙事诗,叙述英雄的伟大业绩或所遭受的苦难,但情节单一。一般来说,能够在一两个小时内一口气读完的叙述英雄事迹的长诗就可以被叫做英雄叙事诗。如:乔叟《坎特伯雷故事》中《教士讲的故事》(The Parson‘s Tale),讲述的是名人落难记,包括《圣经》中的人物撒旦、参孙、赫拉克勒斯以及西班牙的彼得王、叙利亚古国国王的故事等。另外还有莎士比亚的《维纳斯与阿多尼斯》(Venus and Adonis, 1593)、《鲁克丽斯受辱记》(The Rape of Lucrece, 1594),丁尼生《国王叙事诗》(Idylls of the King, 1859)中的叙事段落,马修•阿诺德的《邵莱与罗斯托》(Sohrab and Rustum, 1853)等。《维纳斯与阿多尼斯》写的是爱神维纳斯爱上了青年阿多尼斯,但阿多尼斯不为所动,他的兴趣在打野猪。虽然她一再劝阻,他还是去了,结果死于猪牙之下: 'But this foul, grim, and urchin-snouted boar, Whose downward eye still looketh for a grave, Ne'er saw the beauteous livery that he wore;Witness the entertainment that he gave: If he did see his face, why then I know
He thought to kiss him, and hath kill'd him so.''Tis true, 'tis true;thus was Adonis slain: He ran upon the boar with his sharp spear, Who did not whet his teeth at him again, But by a kiss thought to persuade him there;And nuzzling in his flank, the loving swine Sheath'd unaware the tusk in his soft groin.'Had I been tooth'd like him, I must confess, With kissing him I should have kill'd him first;But he is dead, and never did he bless My youth with his;the more am I accurst.' With this she falleth in the place she stood,And stains her face with his congealed blood 《鲁克丽斯受辱记》长达1855行。鲁克丽斯是古罗马将领柯拉廷的妻子,美丽贞淑,在丈夫率军在外时,遭到罗马王子塔尔昆的强奸,她飞函召回丈夫和父亲,说明情况,要他们报仇,然后举刀自杀。此事激起罗马群众公愤,赶走塔尔昆一家,从此废除国王,由执政官掌权。诗歌是这样开始的: From the besieged Ardea all in post, Borne by the trustless wings of false desire, Lust-breathed Tarquin leaves the Roman host, And to Collatium bears the lightless fire Which, in pale embers hid, lurks to aspire And girdle with embracing flames the waist Of Collatine's fair love, Lucrece the chaste.Haply that name of 'chaste' unhappily set This bateless edge on his keen appetite;When Collatine unwisely did not let
To praise the clear unmatched red and white Which triumph'd in that sky of his delight,Where mortal stars, as bright as heaven's beauties, With pure aspects did him peculiar duties.第二节 歌谣
歌谣(ballad)是一种相当简短的叙事诗,往往以民间故事为题材,其中以爱情悲剧、凶杀、冒险情节居多,情感真挚,有浓厚的生活和劳动气息,格调清新,形式活泼,语言朴实。歌谣词句简练押韵,容易上口,便于传诵,一般是三韵步和四韵步交替使用,第一、三行为抑扬格四韵步诗行,第二、四行为抑扬格三韵步诗行,押韵格式一般为abxb。有些诗节的第二行和第四行里出现迭句,也有一些诗节运用递增重复,使故事情节得到发展。
传统歌谣都是无名氏作品,一代一代口传下来的,其最大特点是单纯质朴。也有知名诗人自觉创作的文人歌谣,华兹华斯和柯尔律治匿名出版的《抒情歌谣集》(The Lyrical Ballads)(1798)中就有华兹华斯的《荆棘》(The Thorn)、《痴尔》(The Idiot Boy)等和柯尔律治的《古舟子咏》(The Rime of the Ancient Marine),奥斯卡•王尔德的《雷丁监狱之歌》(The Ballad of Reading Goal, 1898)也属于文人歌谣。另外还有考珀(William Cowper, 1731-1800)的滑稽歌谣《约翰•吉尔宾》(John Gilpin)等。柯尔律治的《古舟子咏》描述的是一次海上杀死一只信天翁而遭受的可怕经历,诗开始几个诗节如下:
The Wedding-Guest sat on a stone: He cannot choose but hear;And thus spake on that ancient man, The bright-eyed Mariner.‗The ship was cheered, the harbour cleared, Merrily did we drop Below the kirk, below the hill, Below the lighthouse top.‗The Sun came up upon the left, Out of the sea came he!And he shone bright, and on the right Went down into the sea.从这些诗节可看出,这首歌谣交替使用抑扬格四韵步和抑扬格三韵步,非常标准。又如柯珀的《约翰•吉尔宾》: John Gilpin was a citizen Of credit and renown, A train-band captain eke was he Of famous London town.John Gilpin's spouse said to her dear, Though wedded we have been These twice ten tedious years, yet we No holiday have seen.To-morrow is our wedding-day, And we will then repair Unto 'The Bell' at Edmonton, All in a chaise and pair.My sister and my sister's child, Myself and children three, Will fill the chaise;so you must ride On horseback after we.这些诗节也是抑扬格三韵步和四韵步交替使用。
但是,并非所有的歌谣都是如此。变体形式很常见,例如济慈的歌谣《冷酷的妖女》第、二、三、四诗节:
―O what can ail thee, knight-at-arms, So haggard and so woe-begone? The squirrel‘s granary is full, And the harvest‘s done.―I see a lily on thy brow
With anguish moist and fever dew;And on thy cheek a fading rose Fast withereth too.‖
―I met a lady in the meads,Full beautiful ___ a faery‘s child, Her hair was long, her foot was light, And her eyes were wild.(John Keats: La Belle Dame sans Merci)每个诗节的前三行是抑扬格四韵步,第四行才是三韵步,而且这些韵步不是很统一,有的是抑抑格,有的是抑扬格,第三个韵步还是省略了非重读音节的扬抑格。其押韵格式仍然是abxb。
王尔德的《雷丁监狱之歌》中,每个诗节则有六诗行,其开始两个诗节如下: He did not wear his scarlet coat, For blood and wine are red, And blood and wine were on his hands When they found him with the dead, The poor dead woman whom he loved, And murdered in her bed.He walked amongst the Trial Men In a suit of shabby grey;A cricket cap was on his head, And his step seemed light and gay;But I never saw a man who looked So wistfully at the day.(Oscar Wilde: The Ballad of Reading Gaol)
虽然这些诗节仍然是四韵步和三韵步交替使用,但只有第二、六行属于三韵步。每个诗节的押韵格式为abxbyb。
华兹华斯的《荆棘》虽然也是四韵步和三韵步交替使用,但一个诗节已长达十一行,其第六诗节如下:
Now would you see this aged Thorn, This pond, and beauteous hill of moss, You must take care and choose your time The mountain where to cross.For oft there sits between the heap So like an infant‘s grave in size, And that same pond of which I spoke, A Woman in a scarlet cloak, And to herself she cries, ―Oh misery!oh misery!Oh woe is me!oh misery!‖
(William Wordsworth: The Thorn)第三节 戏剧诗
戏剧诗(dramatic poem)的含义宽泛,既指运用某中戏剧技巧,如戏剧对话(dramatic dialogue)、戏剧独白(dramatic monologue)等写的诗歌,又指供阅读而不太适合演出的诗剧(poetic drama or verse drama),还泛指任何剧本中出现的诗歌的各种形式。戏剧诗一般用素体来写,如莎士比亚《如愿》以下诗行: The sixth age shifts
Into the lean and slipper‘s pantaloon,With spectacles on nose, and pouch on side, His youthful hose well sav‘d, a world too wide For his shrunk shank, and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound.Last scene of all, That ends this strange eventful history, Is second childishness, and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything.(Shakespeare: As You Like It, Act III, Scene VII)弥尔顿的悲剧《力士参孙》(Samson Agonistes, 1671)和雪莱的《解放了的普罗米修斯》(Prometheus Unbound, 1820)也属于戏剧诗。
《力士参孙》一开始就通过参孙之口介绍了他的处境: SAMSON.A little onward lend thy guiding hand To these dark steps, a little further on;For yonder bank hath choice of sun or shade.There I am wont to sit, when any chance Relieves me from my task of servile toil, Daily in the common prison else enjoined me, Where I, a prisoner chained, scarce freely draw The air, imprisoned also, close and damp, Unwholesome draught.But here I feel amends— The breath of Heaven fresh blowing, pure and sweet, With day-spring born;(John Milton: Samson Agonistes, Lines 1~11)该诗剧的结尾处,是信使向外面的人传达参孙在皇宫宴会大厅是如何与敌人同归于尽的: ―Hitherto, Lords, what your commands imposed I have performed, as reason was, obeying, Not without wonder or delight beheld;Now, of my own accord, such other trial I mean to show you of my strength yet greater As with amaze shall strike all who behold.‖ This uttered, straining all his nerves, he bowed;As with the force of winds and waters pent When mountains tremble, those two massy pillars With horrible convulsion to and fro He tugged, he shook, till down they came, and drew The whole roof after them with burst of thunder Upon the heads of all who sat beneath, Lords, ladies, captains, counsellors, or priests, Their choice nobility and flower, not only Of this, but each Philistian city round, Met from all parts to solemnise this feast.Samson, with these immixed, inevitably Pulled down the same destruction on himself;The vulgar only scaped, who stood without.(John Milton: Samson Agonistes, Lines 1640~1659)雪莱的《解放了的普罗米修斯》描述了理想社会里解放了的女性是什么样子: And women, too, frank, beautiful, and kind, As the free heaven which rains fresh light and dew On the wide earth, passed;gentle, radiant forms, From custom's evil taint exempt and pure;Speaking the wisdom once they could not think, Looking emotions once they feared to feel, And changed to all which once they dared not be, Yet being now, made earth like heaven;(Shelley: Prometheus Unbound, Act III, Scene IV, Lines 153-162)
第三篇:诗歌及其韵律
诗歌及其韵律
诗歌是我国古代文学艺术遗产最基本的标志。能作诗,尤其作出群众喜爱的诗歌,是文化人文学修养达到一定境界的象征。中国最早的诗歌《诗经》就是蕴涵声律的古代诗歌,后来的唐诗、宋词把诗歌艺术推向了艺术巅峰。
古体诗的艺术魅力在于本身的凝练和贯穿字里行间的和谐之美。我国传统的启蒙教育基本以教读儿歌引发孩子的学习兴趣。可以说诗歌是学习之母,是每个人从呀呀学语走向成功之源。人们在赞美一篇好文章时,总爱说它“有诗一样的语言”,也是为了说明文章用语简洁明了,引经据典,使人读之心旷神怡,回味无穷。
作诗的基础是掌握声律。“声律”,声,即声音。是汉字的音值和音色,阴平和阳平为平声,上声和去声为仄声;律,即押韵规律,就是用韵母相同或主要元音和韵尾相同的字放在句末押韵,以产生声音回环,营造悦耳和谐的声音美。声律就是熟练掌握汉字的声韵规律进行诗歌创作的规则,讲究字、句数整齐,押韵和谐,平仄协调,对仗工整以及诗分体例等。
格律诗的基本标志是对称美。其对仗的规则:一是平声和仄声相对。二是对仗的字数相等,句式相同。三是对仗的词性同属。四是必须有一种韵律贯穿全文。现将一些常见的韵部简述如下,以供初学者参考。
一、东韵
常用韵字
东、同、中、通、红、空、童、桐、虫、宫、风、工、功、冬、农、宗、钟、松、容、浓、峰、丰、从、庚、轻、声、倾、行、明、情、迎、莺、耕、生、营、惊、更、横、彭、英、平、京、荣、兵、兄、宏、争、晴、晶、成、城、征、名、坑、青、灯、经、亭、星、屏、霆、蜓、订、铭、萤、萍、铃、形、刑、庭、停、馨、灵、玲、听、瓶、宁、瞑、蒸、升、鹰、冰、灯、蝇、朋、兴、鹏、登、僧、陵、腾、承、凌、应、绳、仍、征、增、曾、层、滕等等。它们是韵母为“eng、ing、ong”的汉字,具有沉稳厚重的语音特点。
古诗举例
毕竟西湖六月中,风光不与四时同。
接天莲叶无穷碧,映日荷花别样红。
宋•杨万里《晓出净慈寺送林子方》以“中、同、红”为韵,把在荷花映忖下的西湖美景描写得光芒四射。全诗音律浑厚宏亮,境界阔大非凡。
十年离乱后,长大一相逢。
问姓惊初见,称名忆旧容。
别来沧海事,语罢暮天钟。
明日巴陵道,秋山又几重?
唐•李益《喜见外弟又言别》以“逢、容、钟、重”为韵。读来朗朗上口,回味无穷。
李白乘舟将欲行,忽闻岸上踏歌声。
桃花潭水深千尺,不及汪伦送我情。
唐•李白《赠汪伦》以“行”、“声”、“情”作韵,表达了作者对汪伦不胜感激之情。
雨中焚火空斋冷,江上流莺独坐听。
把酒看花想兄弟,杜陵寒食草青青。
唐•韦应物《寒食寄京师诸弟》,用的是“冷、听、青”为韵,表达了作者孤独寂寞的心情。
舟中一雨扫飞蝇,半坐纶巾卧翠藤。
清梦初回窗日晚,数声柔橹下巴陵。
宋•陆游《小雨极凉舟中熟睡至夕》,诗人以“蝇、藤、陵”为韵,仅二十八字,便把在舟中的景况刻画得清楚明了,读后总有回味无穷的感觉。
运用规则
1、云对雨,雪对风。晚照对晴空。来鸿对去雁,宿鸟对鸣虫。三尺剑,六钧弓。岭北对江东。人间清暑殿,天上广寒宫。两岸晓烟杨柳绿,一园春雨杏花红。两鬓风霜,途次早行之客;一蓑烟雨,溪边晚钓之翁。
2、沿对革,异对同。白叟对黄童。江风对海雾,牧子对渔翁。颜巷陋,阮途穷。冀北对辽东。池中濯足水,门外大头风。梁帝讲经同泰寺,汉皇置酒未央宫。尘虑萦心,懒抚七弦绿绮;霜华满鬓,羞看百炼青铜。
3、贫对富,塞对通。野叟对溪童。鬓皤对眉绿,齿皓对唇红。天浩浩,日融融。佩剑对弯弓。半溪流水绿,千树落花红。野渡燕穿杨柳雨,芳池鱼戏芰荷风。女子眉纤,额下现一弯新月;男儿气壮,胸中吐万丈长虹。
4、春对夏,秋对冬。暮鼓对晨钟。观山对玩水,绿竹对苍松。冯妇虎,叶公龙。舞蝶对鸣蛩。衔泥双紫燕,课蜜几黄蜂。春日园中莺恰恰,秋天塞外雁雍雍。秦岭云横,迢递八千远路;巫山雨洗,嵯峨十二危峰。
5、明对暗,淡对浓。上智对中庸。镜奁对衣笥,野杵对村舂。花灼烁,草蒙茸。九夏对三冬。台高名戏马,斋小号蟠龙。手擘蟹螯从毕卓,身披鹤氅自王恭。五老峰高,秀插云霄如玉笔;三姑石大,响传风雨若金镛。
6、仁对义,让对恭。禹舜对羲农。雪花对云叶,芍药对芙蓉。陈后主,汉中宗。绣虎对雕龙。柳塘风淡淡,花圃月浓浓。眷日正宜朝看蝶,秋风那更夜闻蛩。战士邀功,必借千戈成勇武;逸民适志,须凭诗酒养疏慵。
7、深对浅,重对轻。有影对无声。蜂腰对蝶翅,宿醉对余醒。天北缺,日东生。独卧对独行。寒冰三尺厚,秋月十分明。万卷书容闲客览,一樽酒待故人倾。心侈唐玄,厌看霓裳之曲;意骄陈主,饱闻玉树之赓。
8、虚对实,送对迎。后甲对先庚。鼓琴对舍瑟,博虎对骑鲸。金匼匝,玉琮琤。玉宇对金茎。花间双粉蝶,柳内几黄莺。贫里每甘藜藿味,醉中厌听管弦声。肠断秋闺,凉吹已侵重被冷;梦惊晓枕,残蟾犹照半窗明。
9、渔对猎,钓对耕。玉振对金声。雉城对雁塞,柳袅对葵倾。吹玉笛,弄银笙。阮杖对桓筝。墨呼松处士,纸号楮先生。露浥好花潘岳县,风搓细柳亚夫营。抚动琴弦,遽觉座中风雨至;哦成诗句,应知窗外鬼神惊。
10、红对紫,白对青。渔火对禅灯。唐诗对汉史,释典对仙经。龟曳尾,鹤梳翎。月榭对风亭。一轮秋夜月,几点晓天星。晋士只知山简醉,楚人谁识屈原醒。绣倦佳人,慵把鸳鸯文作枕;吮毫画者,思将孔雀写为屏。
11、行对坐,醉对醒。佩紫对纾青。棋枰对笔架,雨雪对雷霆。狂蝦蝶,小蜻蜓。水岸对沙汀。天台孙绰赋,剑阁孟阳铭。传信子卿千里雁,照书车胤一囊萤。冉冉白云,夜半高遮千里月;澄澄碧水,宵中寒映一天星。
12、书对史,传对经。鹦鹉对鹡鸽。黄茅对白荻,绿草对青萍。风绕铎,雨淋铃。水阁对山亭。渚莲千朵白,岸柳两行青。汉代宫中生秀柞,尧时阶畔长祥蓂。一杆决胜棋,子分黑白;半幅通灵画,色间丹青。
13、新对旧,降对升。白犬对苍鹰。葛巾对藜杖,涧水对池冰。张兔网,挂鱼罾,燕雀对鲲鹏。炉中煎药火,窗下读书灯。织锦逐梭成舞凤,画屏误笔作飞蝇。宴客刘公,座上满斟三雅爵;迎仙汉帝,宫中高插九光灯。
14、儒对士,佛对僧。面友对亲朋。春残对夏老,夜寝对晨兴。千里马,九霄鹏。霞蔚对云蒸,寒堆阴岭雪,春泮水池冰。亚父愤生撞玉斗,周公誓死作金滕。将军元晖,莫怪人讥为饿虎;侍中卢昶,难逃世号作饥鹰。
15、规对矩,墨对绳。独步对同登。吟哦对讽咏,访友对寻僧。风绕屋,水襄陵。紫鹄对苍鹰。鸟寒惊夜月,鱼暖上春冰。杨子口中生白凤,何郎鼻上集青蝇。巨鲤跃池,翻几重之密藻;颠猿饮涧,挂百尺之垂藤。
二、阳韵
常用韵字
阳、长、香、王、塘、妆、堂、霜、汤、羊、昂、肠、黄、庄、乡、杨、扬、光、张、芳、凉、茫、裳、藏、央、狼、床、娘、芒、强、康、岗、旁、江、窗、邦、双、慌、枪、塘、伤、方、张、匡、昌等等。它们是韵母为“ang”的汉字。阳韵音调高亢嘹亮,适宜表现振奋激动的情绪。
古诗举例
床前明月光,疑是地上霜。
举头望明月,低头思故乡。
唐•李白《静夜思》以“光”、“霜”、“乡”为韵,表达了作者深度的思乡情绪。
秦人惟识秦中水,长想乌江与蜀江。
今日嘉川驿楼下,可怜如练绕明窗。
唐•元稹《嘉陵江》以“江”、“窗”两字押韵,音调高亢嘹亮,气度非凡。
运用规则
1、楼对阁,户对窗。巨海对长江。蓉裳对蕙帐,玉斝对银釭。青布幔,碧油幢。宝剑对金釭。忠心安社稷,利口覆家邦。世祖中心廷马武,桀王失道杀龙逄。秋雨萧萧,烂漫黄花都满径;春风袅袅,扶疏绿竹正盈窗。
2、旌对旆,盖对幢。故国对他邦。千山对万水,九泽对三江。山岌岌,水淙淙。鼓振对钟撞。清风生酒舍,白月照书窗。阵上倒戈辛纣战,道旁系剑子婴降。夏日池塘,出没浴波鸥对对;春风帘幕,往来营垒燕双双。
3、铢对两,只对双。华岳对湘江。朝车对禁鼓,宿火对寒釭。青锁闼,碧纺窗。汉社对周邦。笙箫鸣细细,钟鼓响摐摐。主薄栖鸾名有览,治中展骥姓惟庞。苏武牧羊,雪屡餐于北海;庄周活鲋,水必决于西江。
4、高对下,短对长。柳影对花香。词人对赋客,五帝对三王。深院落,小池塘。晚眺对晨妆。绛宵唐帝殿,绿野晋公堂。寒集谢庄衣上雪,秋添潘岳鬓边霜。人浴兰汤,事不忘于端午;客斟菊酒,兴常记于重阳。
5、尧对舜,禹对汤。晋宋对随唐。奇花对异卉,夏日对秋霜。八叉手,九回肠。地久对天长。一堤杨柳绿,三径菊花黄。闻鼓塞兵方战斗,听钟宫女正梳妆。春饮方归,纱帽半淹邻舍酒,早朝初退,衮衣微惹御炉香。
6、荀对孟,老对庄。亸柳对垂杨。仙宫对梵宇,小阁对长廊。风月窟,水云乡。蟋蟀对螳螂。暖烟香霭霭,寒烛影煌煌。伍子欲酬渔父剑,韩生尝窃贾公香。三月韶光,常忆花明柳暗;一年好景,难忘橘绿橙黄。
三、支韵
常用韵字
诗、儿、丝、时、迟、移、旗、眉、吹、宜、奇、枝、思、离、知、之、期、悲、微、辉、非、肥、威、归、龟、韦、围、违、衣、稀、机、依、齐、溪、堤、鸡、西、低、啼、犁、萋、题、迷、蹊、梯、泥等。它们的特征是韵母为“i、ei、ui”,比较适合表现一种柔美而精致的缠绵情思。
古诗举例
水光潋滟晴方好,山色空濛雨亦奇。
欲把西湖比西子,浓抹淡妆总相宜。
宋•苏轼《饮湖上•初晴雨后》以“奇、子、宜”为韵,全诗对仗工稳,用词朴实无华,叙事明了,把西湖不仅美,而且美得自然的风光披露无遗,读来顺口易记。
绿树交加山鸟啼,晴风荡漾落花飞。
鸟歌花舞太守醉,明日酒醒春已归。
宋•欧阳修《丰乐亭游春》以“啼、飞、醉、归”为韵,诗文绝妙无比,可谓前无古人,后无来者,美不堪言。
黄四娘家花满蹊,千朵万朵压枝低。
留连戏蝶时时舞,自在娇莺恰恰啼。
唐•杜甫诗《江畔独步寻花七绝》以“蹊、低、啼”为韵,也堪称支韵表率。
运用规则
1、茶对酒,赋对诗。燕子对莺儿。栽花对种竹,落絮对游丝。四目颉,一足夔。鸲鵒对鹭鸶。半池红菡萏,一架白荼靡。几阵秋风能应候,一犁春雨甚知时。知伯恩深,国士吞变形之炭;羊公德大,邑人竖堕泪之碑。
2、行对止,速对迟。舞剑对围棋。花笺对草字,竹筒对毛锥。汾水鼎,岘山碑。虎豹对熊罴。花开红锦绣,水漾碧琉璃。去妇因探邻舍枣,出妻为种后园葵。笛韵和谐,仙管恰从云里降;橹声咿呀,渔舟正向雪中移。
3、戈对甲,鼓对旗。紫燕对黄鹂。梅酸对李苦,青眼对白眉。三弄笛,一围棋。雨打对风吹。海棠春睡早,杨柳昼眠迟。张骏曾为槐树赋,杜陵不作海棠诗。晋士特奇,可比一斑之豹;唐儒博识,堪为五总之龟。
4、来对往,密对稀。舞燕对莺飞。风清对月朗,露重对烟微。霜菊瘦,雨梅肥。客路对渔矶。晚霞舒锦绣,朝露缀珠玑。夏暑客思攲石枕,秋寒妇念寄边衣。春水才深,青草岸边渔父去;夕阳半落,绿莎原上牧童归。
5、宽对猛,是对非。服美对乘肥。珊瑚对玳瑁,锦绣对珠玑。桃灼灼,柳依依。绿暗对红稀。窗前莺并语,帘外燕双飞。汉致太平三尺剑,周臻大定一戎衣。吟成赏月之诗,只愁月堕;斟满送春之酒,惟憾春归。
6、声对色,饱对饥。虎节对龙旗。杨花对桂叶。白筒对朱衣。尨也吠,燕于飞。荡荡对巍巍。春暄资日气,秋冷借霜威。出使振威冯奉世,治民异等尹翁归。宴我兄弟,载咏棠棣韡韡;命伊将帅,为歌杨柳依依。
7、岩对岫,涧对溪。远岸对危堤。鹤长对凫短,水雁对山鸡。星拱北,月流西。汉露对汤霓。桃林牛已放,虞坂马长嘶。叔侄去官闻广受,弟兄让国有夷齐。三月春浓,芍药丛中蝴蝶舞;五更天晓,海棠枝上子规啼。
8、云对雨,水对泥。白璧对玄圭。献瓜对投李,禁鼓对征鼙。徐稚榻,鲁班梯。凤翥对鸾栖。有官清似水,无客醉如泥。截发惟闻陶侃母,断机只有乐羊妻。秋望佳人,目送楼头千里雁;早行远客,梦惊枕上五更鸡。
9、熊对虎,象对犀。霹雳对虹霓。杜鹃对孔雀,桂岭对梅溪。萧史凤,宋宗鸡。远近对高低。水寒鱼不跃,林茂鸟频栖。杨柳和烟彭泽县,桃花流水武陵溪。公子追欢,闲骤玉聪游绮陌;佳人倦绣,闷攲珊枕掩香闺。
四、鱼韵
常用韵字
鱼、渔、初、车(ju)、书、舒、居、余、锄、虚、庐、除、如、徐、虞、须、区、躯、驱、趋、愚、乌、朱、沽、珠、壶、梧、株、吴、夫、榆、狐、于、殊、扶、模、胡、湖、姑、途、图、卢、炉、苏、枯、粗、都等。它们是韵母为“u”和“ü”的汉字。
古诗举例
东去长安万里余,故人何惜一行书?
玉关西望肠堪断,况复明朝是岁除。
唐•岑参《玉关寄长安李主薄》用“余”、“书”、“除”为韵。语调舒缓,美妙地表达了作者在除夕即将来临之际极度思念远在长安的友人的情怀。
天街小雨润如酥,草色遥看近却无。
最是一年春好处,绝胜烟柳满皇都。
唐•韩愈《早春》以“酥、无、处、都”为韵,口感特好,妙趣横生,和谐及至。
运用规则
1、无对有,实对虚。作赋对观书。绿窗对朱户,宝马对香车。伯乐马,浩然驴。弋雁对求鱼。分金齐鲍叔,奉璧蔺相如。掷地金声孙绰赋,回文傅字窦滔书。未遇殷宗,胥靡困锦岩之筑;既逢周后,太公舍渭水之渔。
2、终对始,疾对徐。短褐对华裾。六朝对三国,天禄对石渠。千字策,八行书。有若对相如。花残无戏蝶,藻密有潜鱼。落叶舞风高复下,小荷浮水卷还舒。爱见人长,共服宣尼休假盖;恐彰己吝,谁知阮裕竞焚车。
3、麟对凤,鳖对鱼。内史对中书。犁锄对耒耜,畎浍对郊墟。犀角带,象牙梳。驷马对安车。青衣能报赦,黄耳解传书。庭畔有人持短剑,门前无客曳长裾。波浪拍船,骇舟人之水宿,峰峦绕舍,乐隐者之山居。
4、金对玉,宝对珠。玉兔对金乌。孤舟对短棹,一雁对双凫。横醉眼,捻吟须。李白对杨朱。秋霜多过雁,夜月有啼乌。日暖园林花易赏,雪寒村舍酒难沽。人处岭南,善探巨象口中齿;客居江左,偶夺骊龙颔下珠。
5、贤对圣,智对愚。傅粉对施朱。名缰对利锁,挈榼对提壶。鸠哺子,燕调雏。石帐对郇厨。烟轻笼岸柳,风急撼庭梧。鸜眼一方端石砚,龙涎三炷博山炉。曲沼鱼多,可使渔人结网;平田兔少,漫劳耕者守株。
6、秦对赵,越对吴。钓客对耕夫。箕裘对杖履。杞梓对桑榆。天欲晓,日将晡。狡兔对妖狐。读书甘刺股,煮粥惜焚须。韩信武能平四海,左思文足赋三都。嘉遁幽人,适志竹篱茅舍;胜游公子,玩情柳陌花衢。
五、佳韵
常用韵字
佳、淮、崖、鞋、谐、斋、挨、差、排、怀、埋、柴、麻、鸦、茶、花、纱、琶、凹、涯、叉、夸、加、差、衙、嘉、瑕、家、钗等。其特征是韵母为“ɑ、ai”。
古诗举例
如清•王倩《赠村女》
清波为镜竹为钗,尘垢难将光泽埋。
说道采桑蚕事紧,不曾制得踏青鞋。
清•王倩《赠村女》用“钗”、“埋”、“鞋”为韵,把村女写得生动活泼,朴实自然。
远上寒山石径斜,白云生处有人家。
停车坐爱枫林晚,霜叶红于二月花。
唐•杜牧《山行》以“斜”、“家”、“花”为韵,给诗文营造了一种活泼明朗,积极向上的意境。
运用规则
1、河对海,汉对淮。赤岸对朱崖。鹭飞对鱼跃,宝钿对金钗。鱼圉圉,鸟喈喈。草履对芒鞋。古贤尝笃厚,时辈喜诙谐。孟训文公谈性善,颜师孔子问心斋。缓抚琴弦,象流莺而并语;斜排筝柱,类过雁之相挨。
2、丰对俭,等对差。布袄对荆钗。雁行对鱼阵,榆塞对兰崖。挑荠女,采莲娃。菊径对苔阶。诗成六义备,乐奏八音谐。造律吏哀秦法酷,知音人说郑声哇。天欲飞霜,塞上有鸿行已过;云将作雨,庭前多蚁阵先排。
3、城对市,巷对街。破屋对空阶。桃枝对桂叶,砌蚓对墙蜗。梅可望,橘堪怀。季路对高柴。花藏沽酒市,竹映读书斋。马首不容孤竹扣,车轮终就洛阳埋。朝宰锦衣,贵束乌犀之带;宫人宝髻,宜簪白燕之钗。
4、松对柏,缕对麻。蚁阵对蜂衙。頳鳞对白鹭,冻鹊对昏鸦。白堕酒,碧沉茶。品笛对吹笳。秋凉梧堕叶,春暖杏开花。雨长苔痕侵壁砌,月移梅影上窗纱。飒飒秋风,度城头之筚篥;迟迟晚照,动江上之琵琶。
5、优对劣,凸对凹。翠竹对黄花。松杉对杞梓,菽麦对桑麻。山不断,水无涯。煮酒对烹茶。鱼游池水面,鹭立岸头沙。百亩风翻陶令秫,一畦雨熟邵平瓜。闲棒竹根,饮李白一壶之酒;偶擎桐叶,啜卢仝七碗之茶。
6、吴对楚,蜀对巴。落日对流霞。酒钱对诗债,柏叶对松花。驰驿骑,泛仙槎。碧玉对丹砂。设桥偏送笋,开道竟还瓜。楚国大夫沉汨水,洛阳才子谪长沙。书箧琴囊,乃士流活计;药炉茶鼎,实闲客生涯。
六、辉韵
常用韵字
辉、灰、开、苔、台、雷、催、梅、杯、哀、槐、回、才、材、来、栽、灾、猜、腮等。其特征是韵母为“ui、ai、ei”辉韵音调响亮,适用于表现直率、坦露的情怀。
古诗举例
应怜屐齿印苍苔,小扣柴扉久不开。
春色满园关不住,一枝红杏出墙来。
宋•叶绍翁《游园不值》以“苔”、“开”、“来”为韵,把人们很少涉足的山村茅舍透露出的春色描写得生动活泼。令人读后在眼底留下一张山村春色图。运用规则
1、增对损,闭对开。碧草对苍苔。书签对笔架,两曜对三台。周召虎,宋桓魋。阆苑对蓬莱。熏风生殿阁,皓月照楼台。却马汉文思罢献,吞蝗唐太冀移灾。照耀八荒,赫赫丽天秋日;震惊百里,轰轰出地春雷。
2、沙对水,火对灰。雨雪对风雷。书淫对传癖,水浒对岩隈。歌旧曲,酿新醅。舞馆对歌台。春棠经雨放,秋菊傲霜开。作酒固难忘曲蘖,调羹必要用盐梅。月满庾楼,踞胡床而可玩;花开唐苑,轰羯鼓以奚催?
3、休对咎,福对灾。象箸对犀杯。宫花对御柳,骏阁对高台。花蓓蕾,草根荄。剔藓对剜苔。雨前庭蚁闹,霜后阵鸿哀。元亮南窗今日傲,孙弘东阁几时开?平展青茵,野外茸茸软草:高张翠幄,庭前郁郁凉槐。
七、文韵
常用韵字
文、军、分、云、欣、君、坟、群、纹、纷、斤、芸、真、人、秦、春、神、贫、宾、尘、巾、津、邻、钧、因、茵、辛、新、晨、辰、仁、身、陈、银、民、纯、伦、轮、匀、遵、伸、寅等。其特征是韵母为“en、un、in”。
古诗举例
渭城朝雨浥轻尘,客舍青青柳色新。
劝君更尽一杯酒,西出阳关无故人。
唐•王维《送元二使安西》以“尘、新、人”为韵,表达了作者在初春之时依依惜别友人,以酒话别的情怀。
锦城丝管日纷纷,半入江风半入云。
此曲只应天上有,人间能得几回闻?
唐•杜甫《赠花卿》以“纷、云、闻”为韵,把锦城仙乐般悠扬的丝竹音乐形容得无以复加。真是“人间能得几回闻”。
运用规则
1、邪对正,假对真。獬豸对麒麟。韩卢对苏雁,陆橘对庄椿。韩五鬼,李三人。北魏对西秦。蝉鸣哀暮下,莺啭怨残春。野烧焰腾红烁烁,溪流波皱碧粼粼。行无踪,居无庐,颂城《酒德》;动有时,藏有节,论著《钱神》。
2、哀对乐,富对贫。好友对嘉宾。弹琴对结绶,白日对青春。金翡翠,玉麒麟。虎爪对龙鳞。柳塘生细浪,花径起香尘。闲爱登山穿谢屐,醉思漉酒脱陶巾。雪冷霜严,倚槛松筠同傲岁;日迟风暖,满园花柳各争春。
3、香对火,炭对薪。日观对天津。禅心对道眼,野妇对宫嫔。仁无敌,德有邻。万石对千钧。滔滔三峡水,冉冉一溪冰。克国功名当画阁,子张言行贵书绅。笃志诗书,思入圣贤绝域;忘情官爵,羞沾名利纤尘。
4、家对国,武对文。四辅对三军。九经对三史,菊馥对兰芬。歌北鄙,咏南熏。迩听对遥闻。召公周太保,李广汉将军。闻化蜀民皆草偃,争权晋土已瓜分。巫峡夜深,猿啸苦哀巴地月;衡峰秋早,雁飞高贴楚天云。
5、攲对正,见对闻。偃武对修文。羊车对鹤驾,朝旭对晚曛。花有艳,竹成文。马燧对羊欣。山中粱宰相,树下汉将军。施帐解围嘉道韫,当垆沽酒叹文君。好景有期,北岭几枝梅似雪;丰年先兆,西郊千顷稼如云。
6、尧对舜,夏对殷。蔡惠对刘蕡。山明对水秀,五典对三坟。唐李杜,晋机云。事父对忠君。雨晴鸠唤妇,霜冷雁呼群。酒量洪深周仆射,诗才俊逸鲍参军。鸟翼长随凤兮,洵众禽长;弧威不假虎也,真百兽尊。
八、元韵
常用韵字
元、喧、源、言、原、园、繁、翻、魂、门、村、恩、昏、尊、盆、论、痕、寒、难、弹、端、干、餐、坛、盘、宽、丸、栏、安、丹、单、竿、澜、兰、完、团、端、官、观、登、删、攀、颜、潺、关、山、环、还、斑、奸、顽、间、艰、闲、弯、渡、班、蛮、先、天、川、田、弦、钱、莲、圆、烟、妍、渊、编、肩、眠、船、年、泉、娟、仙、前、千、坚、贤、怜、颠、牵、边、鲜、然、蝉、联、篇、偏、绵、全、宣、穿、旋、鞭、专、传、涟、覃、三、南、奄、蓝、酣、蚕、堪、柑、渐、谈、男、甘、潭、参、含、涵、探、贪、担、谙、盐、嫌、蟾、尖、绵、甜、帘、潜、炎、添、檐、纤、瞻、淹、谦、占、廉、严、签、沾、黔、恬、咸、缄、帆、喃、贤、衫、岩、谗、衔、监、凡、严、馋、嵌、掺等。其特征是韵母为“an、en、un”的汉字。
古诗举例
向晚意不适,驱车登古原。
夕阳无限好,只是近黄昏。
唐•李商隐《乐游原》以“原”、“昏”作韵。其中,“夕阳无限好,只是近黄昏”成了千古名句。
暮云收尽溢清寒,银汉无声转玉盘。
此生此夜不长好,明月明年何处看?
宋•苏轼《中秋月》以“寒”、“盘”、“看”为韵,把明月高挂天空,一片清辉使人觉得稍有寒意的至美夜景刻画得让读者有如清风拂面。朝辞白帝彩云间,千里江陵一日还。
两岸猿声啼不住,轻舟已过万重山。
唐•李白《早发白帝城》以“间”、“还”、“山”作韵,旋律明快向上,音韵流畅响亮,不愧千古名诗。
月落乌啼霜满天,江风渔火对愁眠。
姑苏城外寒山寺,夜半钟声到客船。
唐•张继《枫桥夜泊》以“天”、“眠”、“船”作韵,读来顺口流利,意境悠远,有声有色,动静交融。
千里嘉陵江水色,含烟带月碧于兰。
今朝相送东流后,由自驱车更向南。
唐•李商隐《望喜驿别嘉陵江》以“兰、南”为韵,使诗句简洁明快,独具表现力。
舍下笋穿壁,庭中藤刺檐。
地晴丝冉冉,江白草纤纤。
唐•杜甫《绝句》以“檐、冉、纤”作韵,全诗对仗工稳,韵律和谐,优美动听。
炉峰绝顶楚云衔,楚客东归栖此岩。
彭蠡湖边香橘柚,浔阳郭外暗枫杉。
青山不断三湘道,飞鸟空随万里帆。
常爱此山多胜事,新诗他日伫开缄。
唐•刘长卿《送孙逸归庐山》以“衔、岩、杉、帆、缄”作韵,把诗人的心境和庐山景物结合得细腻油滑,其对仗之工,协拍之强,实难评断。运用规则
1、幽对显,寂对喧。柳岸对桃源。莺朋对燕友,早暮对寒暄。鱼跃沼,鹤乘轩。醉胆对吟魂。轻尘生范甑,积雪拥袁门,缕缕轻烟芳草渡,丝丝微雨杏花村。诣阙王通,献太平十二策。出关老子,著道德五千言。
2、儿对女,子对孙。药圃对花村。高楼对邃阁,赤豹对玄猿。妃子骑,夫人轩。旷野对平原。瓠巴能鼓瑟,伯氏善吹埙。馥馥早梅思驿使,萋萋芳草怨王孙,秋夕月明,苏子黄冈游绝壁;春朝花发,石家金谷启芳园。
3、歌对舞,德对恩。犬马对鸡豚。龙池对凤沼,雨骤对云屯。刘向阁,李膺门。唳鹤对啼猿。柳摇春日昼,梅弄月黄昏。岁冷松筠皆有节,春喧桃李本无言。噪晚齐蝉,岁岁秋来泣恨;啼宵蜀鸟,年年春去伤魂。
4、多对少,易对难。虎踞对龙蟠。龙舟对凤辇。白鹤对青鸾,风淅淅,露漙漙。绣轂对雕鞍。鱼游荷叶沼,鹭立蓼花滩。有酒阮貂奚用鲜,无鱼冯铗必须弹。丁固梦松,柯叶忽然生腹上;文郎画竹,枝梢倏尔长毫端。
5、寒对暑,湿对干。鲁隐对齐桓。寒毡对暖席,夜饮对晨餐。叔子带,仲由冠。郏鄏对邯郸。嘉禾忧夏旱,衰柳耐秋寒。杨柳绿遮元亮宅,杏花红映仲尼坛。江水流长,环绕似青罗带;海蟾轮满,澄明如白玉盘。
6、横对竖,窄对宽。黑志对弹丸。朱帘对画栋,彩槛对雕栏。春既老,夜将阑。百辟对千官。怀仁称足足,抱义美般般。好马君王曾市骨,食猪处士仅思肝。世仰双仙,元礼舟中携郭泰;人称连璧,夏侯车上并潘安。
7、兴对废,附对攀。露草对霜菅。歌廉对借寇,习孔对希颜。山垒垒,水潺潺。奉璧对探环。礼由公旦作,诗本仲尼删。驴困客方经灞水,鸡鸣人已出函关。几夜霜飞,已有苍鸿辞塞北;数朝雾暗,岂无玄豹隐南山。
8、犹对尚,侈对悭。雾髻对烟鬟。莺啼对鹊噪,独鹤对双鹇。黄牛峡,金马山。结草对衔环。昆山惟玉集,合浦有珠还。阮籍旧能为白眼,老箂新爱着衣斑。栖迟避世人,草衣木食;窈窕倾城女,云鬓花颜。
9、姚对宋,柳对颜。赏善对惩奸。愁中对梦里,巧慧对痴顽。孔北海,谢东山。使越对征蛮。淫声闻濮上,离曲听阳关。骁将袍披仁贵白,小儿衣着老箂斑。茅舍无人,难却尘埃生榻上;竹亭有可饿,尚留风月在窗间。
10、晴对雨,地对天。天地对山川。山川对草木,赤壁对青田。郏鄏鼎,武城弦。木笔对苔钱。金城三月柳,玉井九秋莲。何处春朝风景好,谁家秋夜月华圆。珠缀花梢,千点蔷薇香露;练横树杪,几丝杨柳残烟。
11、前对后,后对先。众丑对孤妍。莺簧对蝶板。虎穴对龙渊。击石磬,观韦编。鼠目对鸢肩。春园花柳地,秋沼荠荷天。白羽频挥闲客坐,乌纱半坠醉翁眠。野店几家,羊角风摇沽酒旆;长川一带,鸭头波泛卖鱼船。
12、离对坎,震对乾。一日对千年。尧天对舜日,蜀水对秦川。苏武节,郑虔毡。涧壑对林泉。挥戈能退日,持管莫窥天。寒食芳辰花烂漫,中秋佳节月婵娟。梦里荣华飘忽,枕中之客;壶中日月安闲,世上之仙。
13、千对百,两对三。地北对江南。佛堂对仙洞,道院对禅奄。山泼黛,水浮蓝。雪岭对云潭。凤飞方翙翙,虎视已眈眈。窗下书生时讽咏,筵前酒客日眈酣。白草满郊,秋日牧征人之马;绿桑盈田,春时供农妇之蚕。
14、将对欲,可对堪。德被对恩覃。权衡对尺度,雪寺对云奄。安邑枣,洞庭柑。不愧对无惭。魏征能自谏,王衍善清谈。紫梨摘去从山北,丹荔传来自海南。攘鸡非君子所为,但当月一;养狙是山公之智,止用朝三。
15、中对外,北对南。贝母对宜男。移山对浚井,谏苦对言甘。千取百,二为三。魏尚对周堪。海门翻夕浪,山市拥晴岚。亲缔直投公子纻,旧交犹脱馆人骖。文达淹通,已叹冰兮寒过水;永和博雅,可知青者胜于蓝。
16、悲对乐,爱对嫌。玉兔对银蟾。酬侯对诗史,眼底对眉尖。风习习,雨绵绵。李苦对瓜甜。画堂施锦帐,酒市舞青帘。横槊赋诗传孟德,引壶酌酒尚陶潜。两曜迭物,日东生而月西出;五行式序,水下润而火上炎。
17、如对似,减对添。绣幕对朱帘。探珠对献玉,鹭立对鱼潜。玉屑饭,水晶盐。手剑对腰镰。燕巢依邃阁,蛛网挂虚檐。夺槊至三唐敬德,弈棋第一晋王恬。南浦客归,湛湛春波千顷净;西楼人悄,弯弯夜月一钩纤。
18、逢对遇,仰对瞻。市井对闾阎。投簪对结绶,握发对掀髯。张绣幕,卷珠帘。石碏对江淹。宵征方肃肃,夜饮已厌厌。心褊小人长戚戚,礼多君子屡谦谦。美刺殊文,备三百五篇诗咏;吉凶异画,变六十四卦爻占。
19、清对浊,苦对咸。一启对三缄。烟蓑对雨笠,月榜对风帆。莺睍睆,燕呢喃。柳杞对松杉。情深悲素扇,泪痛湿青衫。汉室既能分四姓,周朝何用叛三监。破的而探牛心,豪矜王济;竖竿以挂犊鼻,贫笑阮咸。
20、能对否,圣对贤。卫瓘对浑瑊。雀罗对鱼网,翠巘对苍崖。红罗帐,白布衫。笔格对书函。蕊香蜂竞采,泥软燕争衔。凶孽誓清闻祖狄,王家能乂有巫咸。溪叟新居,渔舍清幽临水岸;山僧久隐,梵宫寂寞倚云岩。
21、冠对带,帽对衫。议鲠对言谗。行舟对御马,俗弊对民碞。鼠且硕,兔多毚。史册对书缄。塞城闻奏角,江浦认归帆。河水一源形弥弥,泰山万仞势岩岩。郑为武公,赋缁衣而美德;周因苍伯,歌贝锦以伤谗。
九、萧韵
常用韵字
萧、箫、骄、遥、雕、消、朝、潇、桥、昭、腰、瓢、妖、摇、宵、苗、挑、凋、挑、条、调、尧、超、烧、招、侨、肴、巢、交、郊、矫、胶、茅、嘲、包、猫、稍、皎、敲、抛、抄、胞、豪、刀、高、袍、桃、涛、毛、劳、操、萄、号、曹、牢、逃、淘、叨、蒿等。其特征是韵母为“ao”萧韵音调响亮,是诗 人们常用的韵部。
古诗举例
青山隐隐水迢迢,秋尽江南草未凋。
二十四桥明月夜,玉人何处教吹箫?
唐•杜牧《寄扬州韩绰判官》以“迢”、“凋”、“箫”作韵,全诗明亮轻快,读来朗朗上口,轻松愉快,易记易背。
背郭堂成阴白茅,绿江路熟俯青郊。
桤林碍日吟风叶,笼竹和烟滴露梢。
暂止飞鸟将数子,频来语燕定新巢。
旁人错比杨雄宅,懒惰无心作解嘲。
唐•杜甫《堂成》以“茅”、“郊”、“梢”、“巢”、“嘲”为韵,诗情画意跃然纸上,有如身处堂中观景。
月黑雁飞高,单于夜遁逃。
欲将轻骑逐,大雪满弓刀。
唐•卢纶《塞下曲》以“高”、“逃”、“刀”为韵,使诗句显得轻灵而富有节拍。
运用规则:
1、恭对慢,吝对骄。水远对山遥。松轩对竹栏,雪赋对风谣。乘五马,贯双雕。烛灭对香消。明蟾常彻夜,骤雨不终朝。楼阁天凉风飒飒,关河地隔两潇潇。几点鹭鸶,日暮常飞红蓼岸;一双鸂鶒,春朝频泛绿杨桥。
2、开对落,暗对昭。赵瑟对虞韶。轺车对驿骑,锦绣对琼瑶。羞攘臂,懒折腰。范甑对颜瓢。寒天鸳帐酒,夜月凤台箫。舞女腰肢杨柳软,佳人颜貌海棠娇。豪客寻春,南陌草青香阵阵;闲人避暑,东堂蕉绿影摇摇。
3、班对马,董对晁。夏昼对春宵。雷声对电影,麦稻对禾苗。八千路,廿四桥。总角对垂髫。露桃匀嫩脸,风柳舞纤腰。贾谊赋成伤鵩鸟,周公诗就托鸱鸮。幽寺寻僧,逸兴岂知俄尔尽;长亭送客,离魂不觉黯然消。
4、风对雅,象对爻。巨蟒对长蛟。天文对地理,蟋蟀对螵蛸。龙夭矫,虎咆哮。北学对东胶。筑台须垒土,成屋必诛茅。潘岳不忘秋兴赋,边韶常被昼眠嘲。抚养群黎,已见国家隆治;滋生万物,方知天地泰交。
5、蛇对虺,蜃对蛟。麟薮对鹊巢。风声对月色,麦穗对桑苞。何妥难,子云嘲。楚甸对商郊。五音惟耳听,万虑在心包。葛被汤征因仇饷,楚遭齐伐责包茅。高矣若天,洵是圣人大道;谈而如水,实为君子神交。
6、牛对马,犬对猫。旨酒对佳肴。桃红对柳绿,竹叶对松梢。黎杖叟,布衣樵。北野对东郊。白驹形皎皎,黄鸟语交交。花圃春残无客到,柴门夜永有僧敲。墙畔佳人,飘杨竞把秋千舞;楼前公子,笑语争将蹴鞠抛。
7、琴对瑟,剑对刀。地迥对天高。峨冠对博带,紫绶对绯袍。煎异茗,酌香醪。虎兕对猿猱。武夫攻骑射,野妇务桑缫。秋雨一川淇澳竹,春风两岸武陵桃。螺髻青浓,楼外远山千仞;鸭头绿腻,溪中春水半篙。
8、刑对赏,贬对褒。破斧对征袍。梧桐对橘柚,枳棘对蓬蒿。雷焕剑,吕虔刀。橄榄对葡萄。一椽书舍小,百尺酒楼高。李白能诗时秉笔,刘伶爱酒每餔糟。礼别尊卑,拱北众星常灿灿;势分高下,朝东万水自滔滔。
9、瓜对果,李对桃。犬子对羊羔。春分对夏至,谷火对山涛。双凤翼,九牛毛。主逸对臣劳。水流无限阔,山耸有余高。雨打村童新牧笠,尘生边将旧征袍。俊士居官,荣列鹓鸿之序;忠臣报国,誓殚犬马之劳。
十、歌部
常用韵字
歌、河、磨、荷、波、多、鹅、科、颇、和、何、罗、戈、娥、蛾、禾、坡、哥、拖、峨、娑等。其特征是韵母为“e、o”。
古诗举例
离别家乡岁月多,近来人事半消磨。
惟有门前镜湖水,春风不改旧时波。
唐•贺之章《回乡偶书》以“多”、“磨”、“波”为韵,造就了一首十分亲切的诗篇。
运用规则
1、山对水,海对河。雪竹对烟萝。新欢对旧恨,痛饮对高歌。琴再抚,剑重磨。媚柳对枯荷。荷盘从雨洗,柳线任风搓。饮酒岂知攲醉帽,观棋不觉烂樵柯。山寺清幽,直踞千寻云岭;江楼宏敞,遥临万顷烟波。
2、繁对简,少对多。里咏对途歌。宦情对旅枯况,银鹿对铜驼。刺史鸭,将军鹅。玉律对金科。古堤垂亸柳,曲沼长新荷。命驾吕因思叔夜,引车蔺为避廉颇。千尺水帘,今古无人能手卷;一轮月镜,乾坤何匠用功磨?
3、霜对露,浪对波。径菊对池荷。酒阑对歌罢。日暖对风和。梁父吟,楚狂歌。放鹤对观鹅。史才推永叔,刀笔仰萧何。种橘犹嫌千树少,寄梅谁信一枝多。林下风生,黄发村童推牧笠;江头日出,皓眉溪叟晒渔蓑。
十一、尤部
常用韵字
尤、忧、游、牛、愁、头、秋、楼、洲、舟、流、留、刘、由、悠、修、羞、周、柔、畴、丘、收、休、求、仇、谋、眸、候、侯、猴、鸥、投、幽、沟、犹等。其特征是韵母为“ou、iu”。
古诗举例
故人西辞黄鹤楼,烟花三月下扬州。
孤帆远影碧空尽,惟见长江天际流。
唐•李白《黄鹤楼送孟浩然之广陵》以“楼、州、流”作韵,把景物描写得酣畅淋漓,眼前留下的不是诗歌,而是一幅巨大的河山和楼阁交相辉映的美景图。
运用规则
1、荣对辱,喜对忧。夜宴对春游。燕关对楚水,蜀犬对吴牛。茶敌睡,酒消愁。青眼对白头。马迁修《史记》,孔子作《春秋》。适兴子猷常泛棹,思归王
粲强登楼。窗下佳人,妆罢重将金插鬓;筵前舞妓,曲终还要锦缠头。
2、唇对齿,角对头。策马对骑牛。毫尖对笔底,绮阁对雕楼。杨柳岸,荻芦洲。语燕对啼鸠。客乘金络马,人泛木兰舟。绿野耕夫春举耜,碧池渔父晚垂钩。波浪千层,喜见蛟龙得水,云霄万里,惊看雕鹗横秋。
3、庵对寺,殿对楼。酒艇对渔舟。金龙对彩凤,豮豕对童牛。王郎帽,苏子裘。四季对三秋。峰峦扶地秀,江汉接荒流。一湾绿水渔村小,万里青山佛寺幽。龙马呈河,羲皇阐微而画卦;神龟出洛,禹王取法以陈畴。
十二、金部
常用韵字
侵、心、琴、森、金、阴、今、深、襟、吟、针、寻、临、林、沉、音等。其特征是韵母为“in、en”。
古诗举例
国破山河在,城春草木深。
感时花溅泪,恨别鸟惊心。
烽火连三月,家书抵万金。
白头搔更短,浑欲不胜簪。
唐•杜甫《春望》以“深、心、金、簪”为韵,全诗流露出诗人忧国忧民,以及思亲的情绪。
运用规则
1、眉对目,口对心。锦瑟对瑶琴。晓耕对寒钓,晚笛对秋砧。松郁郁,竹森森。闵损对曾参。秦王亲击缶,虞帝自挥琴。三献卞和尝泣玉,四知杨震固辞金。寂寂秋朝,庭叶因霜摧嫩色;沉沉春夜,砌花随月转清阴。
2、前对后,古对今。野兽对山禽。犍牛对牝马,水浅对山深。曾点瑟,戴逵琴。璞玉对浑金。艳红花弄色,浓绿柳敷阴。不雨汤王方剪爪,有风楚子正披襟。书生惜壮岁,韶华寸阴尺璧;游子爱良宵,光景一刻千金。
3、丝对竹,剑对琴。素志对丹心。千愁对一醉,虎啸对龙吟。子罕玉,不疑金。往古对来今。天寒邹吹律,岁旱傅为霖。渠说子规为帝魄,侬知孔雀是家禽。屈子沉江,处处舟中争系粽;牛郎渡渚,家家台上竞穿针。
第四篇:一年级成语故事表演
一年级成语故事表演 题目:《塞翁失马》
串词:有一群小朋友,他们活泼开朗,童真烂漫,虽然年龄最小,却人小鬼大,在他们的脑海里塞翁是这样一个人,塞翁失马是这样一个故事。现在请欣赏由一年级小朋友带来的塞翁失马。
第五篇:一年级情景表演
一年级情景表演:留守心声
背景音乐:操场上,同学们有的玩老鹰捉小鸡,有的打球,有的跳皮筋,有的打卡片„„热闹极了!
刘育姗:跑进场,说:“同学们,同学们,明天就过六一儿童节,老师让我们打扮得漂漂亮亮的,过一个快快乐乐的儿童节!”
全班同学:太棒了!太棒了!跑出场地。
胡兴艳:走入场。明天,明天就是六一儿童节了,也是我的生日,我,没有花裙子,也没有生日蛋糕。(伤心难过,低着头)
第二天:
刘育姗:大家准备好了吗?
全体同学:准备好了!准备好了!准备好了!
音乐(快乐的节日):全体同学伴跳。
全体出场准备(拿鲜花,气球入场),练习合唱。
刘育姗:哎,胡兴艳呢?艳艳怎么没来?
全体同学:咦,艳艳呢?
刘育姗:不是说好八点钟准时到学校的吗?
老师说了,咱们班一个都不能少!
知道吗?
全体同学:知道了。一起喊:艳艳!艳艳!
背景音乐:一同学手拿大冰淇淋,跳着入场,撞到艳艳,冰淇淋掉地。冯在韬:啊,我、我的冰淇淋!你、你干嘛呢你!(恶狠狠)胡兴艳:对不起。(害怕,低着头)
冯在韬:没长眼睛呀你!
胡兴艳:捡起给。
冯在韬:打掉!这能吃吗?你陪我,你陪我冰淇淋!(双手抱前)
胡兴艳:掏钱递给冯。
冯在韬:咦!五毛钱!哼,你知道这个冰淇淋多少钱一个吗?十块!十块才买一个,拿钱来!
胡兴艳:可是,可是我知这五角钱呀!蹲下哭。
冯在韬:悄悄走。
刘育姗:她在那!
全体同学:她在那!艳艳!
刘育姗:艳艳,你怎么啦,谁欺负你啦?
胡兴艳:没有。
刘育姗:这个小韬,准是你,你又欺负人!
全体同学:就是你,就是你!
冯在韬:才没呢,跟她闹着玩呢!
刘育姗:艳艳,别理他,待会我报告老师去!
咦,你的新裙子呢?
胡兴艳:我,我没新裙子。
全体同学:为什么?为什么呀?
冯在韬:这都不知道呀,她爸爸妈妈出去打工了,没人给他买呗!
刘育姗:这小韬,别以为你爸有钱,就随便欺负人!
有本事,我们比比学习成绩!
全体学生:哈哈哈哈„„
老师入场
谢:同学们,这么热闹!在说什么呢?
刘育姗:谢老师,谢老师,小韬欺负胡兴艳!
谢:小韬,谢老师知道,小韬最近进步多了,上课认真听讲,课后认真完成作业,还能主动帮助同学呢,谢老师相信,你是不会欺负同学的。(送气球给)韬:是的,老师,我不是故意的。
谢:同学们,庆祝活动马上开始了,走,参加活动去。
全体同学:跳,噢,噢,噢
刘育姗:谢老师,谢老师,艳艳,艳艳她没有新裙子。
谢:哦,老师差点把这事给忘了,看,这是老师专门给你挑选的新裙子!喜欢吗? 艳艳:谢老师,我,我„„
谢:快穿上试试吧!
艳艳:高兴,噢,噢!我有新裙子咯!
背景音乐(虫儿飞):艳艳唱,天上的星星不说话,地上的女儿想妈妈,想妈妈,想妈妈,女儿想妈妈。
艳艳:妈妈,今天是我的生日,妈妈,你在哪儿,艳艳想和你一起过生日!哭„„ 一同学:艳艳,不哭!
二同学:艳艳,不哭!
三同学:艳艳,不哭!
全体同学:艳艳,不哭!
全体同学:祝你生日快乐!
有的太蛋糕;
背景音乐:生日快乐!同学说祝福的话。
韬:艳艳,这是我送给你的。
艳艳:冰淇淋!
韬:艳艳,之前是我不对,艳艳,住你生日快乐!
艳艳:谢谢你,我们以后还是好朋友。
全体同学:对对,我们都是好朋友!
谢:艳艳,听说你爸妈步子身边,但是你还有老师,还有同学们呀!全体同学:对对对!
刘育姗:对,有我,有我们界牌这么好的大家庭!
全体同学:你永远不孤单!
谢:同学们,庆祝活动开始了,然我们一起过个快乐的节日吧!
背景音乐(快乐的节日)结束。