英语诗歌的基本押韵格式打印.docx

1、英语诗歌的基本押韵格式打印英美诗歌选读课程教案第四讲首页学生专业班级学 时 数教学目的教学内容英美诗歌的基本押韵格式，包括双行押韵格式、隔行押韵格式、吻韵押韵格式、链韵格式，以及以上格式的组合格式教学重点双行押韵格式、隔行押韵格式、吻韵押韵格式、链韵格式教学难点吻韵押韵格式、链韵格式教学进程第一学时讲授双行押韵格式、隔行押韵格式第二学时讲授吻韵押韵格式、链韵格式以及组合格式教学方法教 具课后总结作 业Give examples of different types of rhyme schemes备注：教学进程一栏可根据教学内容的多少自定页数。第四讲 英美诗歌的基本押韵格式押韵格式（rhyme

2、 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

3、 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 neverPass int

4、o nothingness; but still will keepA bower quiet for us, and a sleepFull of sweet dreams, and health, and quiet breathing.Therefore, on every morrow, are we wreathingA flowery band to bind us to the earth,Spite of despondence, of the inhuman dearthOf noble natures(John Keats: Endymion)这些诗行的特点是：首先，每两行

5、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 e

6、veremore he hadde a sovereign pris.And thought that he were worthy, he was wis,And of his port as week as is a maide.He nevere yit no vilainye ne saideIn al his lif unto no manere wight:He was a verray, parfit, gentil knight.But for to tellen you of his array,His hors were goode, but he was nat gay.

7、Of fustian he wered a gipounAl bismotered with his haubergeoun,For he was late come from his viage,And wente for to doon his pilgrimage.(Chaucer: The General Prologue of The Canterbury Tales)这段诗是抑扬格五韵步，每两行押韵，下个韵不同于上个韵，其押韵格式为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

8、 broodsDrove Nymph and Satyr from the prosperous woods,Before King Oberons bright diadem,Scepter, and mantle, claspd with dewy gem,Frighted away the dryads and the FaunsFrom rushes green, and brakes, and cowslipd lawns,The ever-smitten Hermes empty leftHis golden throne, bent warm on amorous theft:(

9、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 i

10、ts head,To find where this sweet nymph prepard her secret bed:In vain; the sweet nymph might nowhere be found,And so he rested, on the lonely ground.显然，这些以抑扬格五韵步为主的诗行里，每行都表达完整的意思，都是每两行押韵，因此它们属英雄双行押韵格式。押aabb韵律格式的四行诗节，其实是双行诗节的变体，如朗费罗的箭和歌第一、三诗节：I shot an arrow into the air,It fell to earth, I knew not

11、where;For, so swiftly it flew, the sightCould not follow it in its flight.Long, long afterwards, in an oakI found the arrow, still unbroken;And the song, from beginning to end,I found again in the heart of a friend.(Longfellow: The Arrow and the Song)每两行押韵，下一诗节的韵与前面的韵不同。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

12、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,Ringd with the azure world, he stands.The wrinkled sea beneath him crawls;He watches from his mountain walls,And like a thunderbolt he fal

13、ls.(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 goesThat the apples a rose,And the pear is, and sosThe plum, I suppose.What will next prove a rose.You, of

14、 course, are a roseBut 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

15、,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 singA fairys song.She found me roots of relish

16、sweet,And honey wild, and manna dew,And sure in language strange she saidI 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

17、 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 breastWhich heaves but with the heaving deep.(Alfred Tennyson: In Memoriam, S

18、ection 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

19、.Your eyes on me were as eyes that roveOver tedious riddles of years ago;And some words played between us to and froOn 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

20、My loved one?planting rue?No: yesterday he went to wedOne 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

21、 her mound can looseHer spirit from Deaths 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

22、。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 isnt hard to master;so many things seem filled with the intentto be lost that their loss is no disaster,Lose something every day. Accept the flusterof lost door keys, the hour b

23、adly spent.The art of losing isnt 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 t

24、o pant beneath thy power, and shareThe impulse of thy strength, only less freeThan thou, O Uncontrollable! If evenI were as in my boyhood, and could beThe comrade of thy wanderings over Heaven,As then, when to outstrip thy skiey speedScarce seemd a vision; I would neer have strivenAs thus with thee

25、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 bowedOne 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

26、，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 winds incomplete unrestBuilds and disperses clouds about the sky,And dark towns heap up on the h

27、orizon.None of this cares for us. Nothing shows whyAt this unique distance from isolationIt becomes still more difficult to findWords 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

28、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 wertThat from heaven or near itPourest thy full heartIn profuse strains of unpremeditated art.Higher still and higherFrom the earth thou springest,Like a cloud

29、 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 meLike those Nican barks of yore,That gently, over a perfumed sea,The weary,

30、way-worn wanderer boreTo his own native shore.On desperate seas long wont to roam,Thy hyacinth hair, thy classic face,Thy Naiad airs have brought me homeTo the glory that was Greece,And the grandeur that was Rome.Lo! in yon brilliant window-nicheHow statue-like I see thee stand,The agate lamp within

31、 thy hand!Ah, Psyche, from the regions whichAre 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，Nican中的表示这个音节重读，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 cloudThat floats on high oer 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,