诗歌的韵律及押韵格式
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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,
Tha t 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,