英语诗歌的韵律与类型.

,

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

< br>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 nym

ph 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。

< /p>

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 az

ure 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.

Y ou, 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,

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 V oice

(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

(

其中

x

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< /p>

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.

Y our 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