ZT   英语诗歌格律简介 and more

英语诗歌格律简介

The  Yellow  River  seawards  flows.

You  can  enjoy  a  grander  sight,

By  climbing  to  a  greater  height.

英语诗歌的格律

1.

In scenes of pathos, Charles Dickens often wrote unconsciously in blank verse. These paragraphs from The Old Curiosity Shop, arranged as poetry, show a strong iambic rhythm:

And now the bell — the bell
She had so often heard by night and day
And listened to with solid pleasure,
E’en as a living voice –
Rung its remorseless toll for her,
So young, so beautiful, so good.

Decrepit age, and vigorous life,
And blooming youth, and helpless infancy,
Poured forth — on crutches, in the pride of strength
And health, in the full blush
Of promise — the mere dawn of life –
To gather round her tomb. Old men were there,
Whose eyes were dim
And senses failing –
Granddames, who might have died ten years ago,
And still been old — the deaf, the blind, the lame, the palsied,
The living dead in many shapes and forms,
To see the closing of this early grave!
What was the death it would shut in,
To that which still would crawl and creep above it!

Along the crowded path they bore her now;
Pure as the new-fallen snow
That covered it; whose day on earth
Had been so fleeting.
Under that porch where she had sat when Heaven
In mercy brought her to that peaceful spot,
She passed again, and the old church
Received her in its quiet shade.

Richard Horne presented these stanzas in New Spirit of the Age in 1844. “Throughout the whole of the above, only two unimportant words have been omitted — in and its; ‘granddames’ has been substituted for ‘grandmothers,’ and ‘e’en’ for ‘almost.’ All that remains is exactly as in the original, not a single word transposed, and the punctuation the same to a comma.”

“It is not an affectation in me, nor have I the least desire to write them in that metre,” Dickens wrote to an inquirer that April, “but I run into it, involuntarily and unconsciously, when I am very much in earnest. I even do so, in speaking.”

“I am not prepared to say that this may not be a defect in prose composition, but I attach less importance to it than I do to earnestness. And considering that it is a very melodious and agreeable march of words, usually; and may be perfectly plain and free; I cannot agree with you that it is likely to be considered by discreet readers as turgid or bombastic, unless the sentiments expressed in it, be of that character. Then indeed it matters very little how they are attired, as they cannot fail to be disagreeable in any garb.”

But he seems to have grown self-conscious about it. In 1846 he wrote to John Forster regarding The Battle of Life, “If in going over the proofs you find the tendency to blank verse (I cannot help it, when I am very much in earnest) too strong, knock out a word’s brains here and there.”

http://www.futilitycloset.com/category/literature/

哀歌 elegy

为哀悼一位公共活动家、一位友人或所爱的人而写的一种沉思抒情诗；推而广之，又指悲叹人世无常的、题材更广泛的任何内省性质的抒情诗。在古典文学中，所谓哀歌只不过用哀歌格律（诗行交替使用扬抑抑格的六音步句和五音步句)写的诗篇，题材也不限制。在某些现代文学，例如德国文学中，人们使哀歌格律适应于语言，因此哀歌一词变成只指这种格律，而不是指诗歌的内容。

《简明不列颠百科全书》中国大百科全书出版社1985年版170页 超星存其它可参阅的读物（Dasha注：文中许多概念不统一，请注意，以其中英文的定义为准）：

谢祖钧 , 《英语修辞》 , 1988年6月第1版 , 第151-179页 王佐良 丁往道 , 《英语文体学引论》 , 1987年12月第1版 , 第365-385页

陈淑华 , 《英语修辞与翻译（英汉对照）》 , 1990年6月第1版 , 第321-324页

徐鹏 , 《英语辞格》 , 1996年10月第1版 , 第341-450页 梁守涛《英诗格律浅说》商务印书馆1979

Metrics in English Poetry By Samuel Schuman, Univ. of MN, Morris

Metrics How to go about the analysis of the rhythm, the meter and the rhyme scheme of an English poem.

(作者通篇都是用下面这首简单的小诗来介绍诗歌)

A Stupid Poem

I put my hat upon my head

And walked into the strand

And there I met another man

Whose hat was in his hand.

First, divide the lines into syllables(音节), and count them:

I / put / my / hat / up/on / my / head (8) And / walked / in/to / the / strand (6) And / there / I / met / a/noth/er / man (8) Whose / hat / was /

in / his / hand (6)

(诗歌分析的第一步是划分 音节。 对我们这样非英语母语的人可能有点困难。 基本的方法是一个元音一个音节， 例如

upon是两个音节，another是三个音节。 有的时候诗人为了强调方言等原因， 会使用省略字， 这种情况就要具体问题具体分析了。 也有的时候是为了凑音节而省略的)

Which syllables are accented or “stressed?”(重读)

“Stress” in English poetic metrics means “said loudly.” It has

nothing to do with the tension in your life. The symbol u means unstressed; the symbol / means stressed(诗歌里的重读，与一个单词本身发音里的重读未必是一回事。 一般来说，重读的词，都是有实际意义， 在句子中起重要作用的词。 只要听清重读的词，就能够理解一句话的意思。 比如第一句， 听清了 put/hat/pon/head

这四个字就大致知道说的是什么， 而只听清楚 I/my/u/my 这四个字的话......)

u / u / u / u /

u / u / u / u / I put my hat upon my head u / u / u / And walked into the

strand u / u / u / u / And there I met another man u / u / u / Whose hat

was in his hand

Notice the pattern of stressed and unstressed syllables:

In this poem, there is a repeated pattern of one unstressed syllable followed by one stressed syllable: (在这首诗里面， 总是一个重读的音节跟着一个非重读的音节)

I PUT / my HAT / upON / my HEAD

The smallest unit (always 2 or 3 syllables) of repeated patterned stress is called a “poetic foot.”(音步? 我译的对吗？) Here, the first foot is “I put” the second “my hat” and so on.(若干个重读/非重读的音节重复出现，就构成了诗歌里最小的组成部分 - 音步)

In this idiotic poem, the lines are made up of alternating numbers of

“feet:” Line 1 has 4 feet, line 2 has 3 feet, line 3 has 4 feet, and line

4 has 3 feet.(这首诗的音步是交替的 四音步/三音步)

Here, I’ve indicated the “feet:”

I put * my hat * upon * my head (4 ft.) And walked * into * the strand (3)

And there * I met * anoth*er man (4) Whose hat * was in * his hand (3)

Types of Poetic Feet

u / Iambic (抑扬格) - unstressed, stresssed (u /) - re peat

/ u Trochaic (扬抑格) - (/ u) - un it

u u / Anapestic(抑抑扬格) - (u u /) - in ter cede

/ u u Dactylic(抑扬扬格) - (/ u u) - wash ing ton

/ / Spondaic（扬扬格） - (/ /) - heart break

Types of Poetic Lines (Number of Feet)(下面就简单了，学过字根的应该都认识哦。

单音步，二音步，以次类推。）Monometer - 1 foot (e.g. “I put.”) Dimeter - 2 (I put my

hat) Trimeter - 3 (I put my hat upon) Tetrameter - 4 (I put my hat upon my

head) Pentameter - 5 Hexameter - 6 Heptameter - 7So...for example,

“trochaic tetrameter(扬抑格四音步）” is a line with 4 feet (8 syllables) with a

pattern of stress-unstress in each foot:

/ u * / u * / u * / u Lovely Morris figures rebates

and, “iambic pentameter” means five feet (10 syllables) with each foot

consisting of an unstressed syllable followed by a stressed syllable:

u / * u / * u /*u /* u / “Which alters when it alteration finds”

Most of Shakespeare’s verse is “iambic pentameter.”

What is the form of the “stupid poem” we have been examining?

u / u / u / u / I put * my hat * upon * my head u / u / u / And walked *

into * the strand u / u / u / u / And there * I met *anoth*er man u / u /

u / Whose hat * was in * his hand.

ANSWER:It is all iambic, with alternating lines of TETRAMETER (4 feet -

lines 1 & 3) and TRIMETER (3 feet - lines 2 & 4). No problem, right?

And now, for something easier--

Rhyme Schemes(韵律安排)The sound of the last syllable of every line is assigned a letter, beginning with “a”(韵律划分是诗歌分析的关键。 每一行的最后一个音节是一个韵律，用字母表示。 第一个韵律是a, 以次类推。 遇到和前面重复的韵律就用和前面相同的字母标记。)

I put my hat upon my head (a) And walked into the strand (b) And there I

met another man (c) Whose hat was in his hand (b) The rhyme scheme is: a b

c b

Stanzas(节）

The combination of rhythm (that is, “iambic, trochaic, dactylic”, etc.),

meter (that is, tetrameter, pentameter, hexameter, etc.), and rhyme scheme

(for example, “a b c b”) can create certain stanzaic forms which

have become accepted poetic conventions.(又是一个很重要的概念。 简单的说，一个 rhyme scheme 就可以当作一个 stanza)

Some of these historically important stanza forms in English poetry are:

Couplets(对句)：Any two lines which rhyme, regardless of rhythm and meter(couplets 是诗歌最早的形式，压韵即可)

Example of a COUPLET

Candy Is dandy

Heroic Couplet(我找不到准确的译法，好象是英雄双韵体英雄双句体)Two lines which rhyme (a couplet) which are written in iambic pentameter. The “Heroic Couplet” was the dominant form of English poetry in the 18th century, and lots of authors from Chaucer to the present have used this form.

Example of an HEROIC COUPLET英雄双韵体

Say first, of God above, or man below

What can we reason, but from what we know?

(from Alexander Pope, An Essay on Man )

Quatrains (四行诗)

Any stanza with 4 lines

Candy

Is dandy

But liquor

Is quicker.

Ballad Stanza(民谣诗)

A “quatrain” with alternating tetrameter and trimeter

E.g., the idiotic poem we have been studying! I put my hat upon my head And walked into the strand And there I met another man Whose hat was in his hand.

A serious example of BALLAD STANZA

The king sits in Dumferline town, Drinking the blood-red wine: “O where will I get a good sailor To sail this ship of mine?”

from anonymous, Sir Patrick Spens (after 1200)

The Sonnet (十四行诗)

14 lines Iambic pentameter Two main types:

Italian or Petrarchan ( 彼特拉克体十四行诗) - Two quatrains plus a “sestet” (6 line

unit) - often abba abba cdecde

English or Shakespearean (莎士比亚体十四行诗) - Three quatrains plus a couplet -

often abab cdcd efef gg

An Italian Sonnet

Divers doth use, as I have heard and know,
When that to change their ladies do begin,
To mourn and wail, and never for to lin,
Hoping thereby to pease their painful woe.
And some there be, that when it chanceth so
That women change and hate where love hath been,
They call them false and think with words to win
The hearts of them which otherwhere doth grow.
But as for me, though that by chance indeed
Change hath outworn the favor that I had,
I will not wail, lament, nor yet be sad,
Nor call her false that falsely did me feed,
But let it pass, and think it is of kind
That often change doth please a woman's mind.

Wyatt, Divers Doth Use (c. 1540)

A Shakespearean Sonnet

That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire,
That on the ashes of his youth doth lie,
As the deathbed whereon it must expire,
Consumed with that which it was nourished by.
   This thou perceiv’st, which makes thy love more strong,
   To love that well which thou must leave ere long.

(1609)

Blank Verse(无韵诗)

Unrhymed iambic pentameter Torment,

sweet friend, that base and aged man

That durst dissuade me from thy Lucifer,

With greatest torments that our

hell affords. Marlowe, Dr. Faustus (1604)

Some other stanzaic forms

Rime royal - 7 lines, iambic pentameter, rhyming ababbcc Ottava rima - 8

lines rhyming abababcc Spencerian stanza - 9 lines, rhyming ababbcbcc,

first 8 lines iambic pentameter, line 9 iambic hexameter You don’t need to

know these !

范文二：英语诗歌韵律


英文诗歌的基础知识

读英文诗歌相当不容易。其中的主要原因是诗歌有其独特的语言特点和表达方式，与散文有明显区别。为更好地欣赏英文诗歌，很有必要了解一些相关的基本知识。这方面的知识极其细致，以下只介绍一些最基本的。

一、音节

诗歌是具有音乐性的语言。音乐作品的最大特点之一是音符的流动是有节奏的。所谓节奏就是强拍和弱拍按一定的形式配合起来，有规律地反复出现。懂点音乐的人都知道，音乐中基本的节奏有两种，即强——弱（2/4 拍）和强——弱——弱（3/4 拍）。举两个简单的例子：

《东方红》的节奏就是强——弱：

5 56│2 —│1 16│2 —│5 5│6i 65│1 16│2 —│

《新年好》（HAPPY NEW YEAR）这首儿歌的节奏是强——弱——弱：

11 1 5 │33 3 1│13 5 5 │43 2 —│23 4 4 │32 3 1│13 2 5│72 1 —│

中国古诗有节奏。其节奏主要是通过汉字特有的声调表现出来的。传统汉语中的声调有四：平、上、去、入。平声称“平声”，上、去、入三声统称仄声。平声与仄声结合起来反复出现，就是中国诗歌的节奏。如一首五言绝句，其最常见的节奏是：

仄仄平平仄，平平仄仄平。

平平平仄仄，仄仄仄平平。

王之涣《等鹳雀楼》：

白日依山尽， 黄河入海流。

欲穷千里目， 更上一层楼。

此诗即是这样的节奏。其中“欲”字是仄声，与格式不合。但根据格律要求，

诗行中的第一字可平可仄。

英文诗歌也有节奏。英文没有平声、仄声之分，但有重读轻读音节之分，其节奏是通过重读音节与轻读音节表现出来的。一个重读音节与一个或两个轻读音节按一定的模式搭配起来，有规律地反复出现就是英文诗歌的节奏。

我们知道凡是有两个以上音节的英文单词，都有重读音节与轻读音节之分，在一句话中，根据语法、语调、语意的要求，有些词也要重读，有些要轻读。

如 He went to town to buy a book. I‟m glad to hear the news.

英文中有重读和轻读之分，重读的音节和轻读的音节，按一定模式配合起来，反复再现，组成诗句，听起来起伏跌宕，抑扬顿挫，就形成了诗歌的节奏。多音节单词有重音和次重音，次重音根据节奏既可视为重读，也可视为轻读。读下面这两句诗：

Alone │she cuts │and binds│ the grain,

And sings │a me│lancho│ly strain.

这两行诗的重读与轻读的固定搭配模式是：轻—重。在每行中再现四次，这样就形成了这两行诗的节奏。某种固定的轻重搭配叫“音步”（foot），相当与乐谱中的“小节”。一轻一重，就是这两行诗的音步。一行诗中轻重搭配出现的次数叫音步数，这两行诗的音步数都是四，所以就称其为四音步诗。

二、常见的音步类型

1、 一首诗包含有若干诗节（stanze 或strophe），每节又分为若干行（line 或verse），每行由若干步（foot）组成，音步则是由一定数目的重读音节（arsis 或ictus）和非重读音节（thesis）按照一定规律排列而成。

2. 依照每一音步中重读音节（扬）和非重读音节（抑）的排列方式，可以把音步分成不同种类，即格律。

a)抑扬格（ Iambus; the Iambic Foot） 一个音步由一个非重读音节加上一个重读音节构成。

b) 扬抑格（Trochee; the Trochaic Foot） 一个音步由一个重读音节加上一个非重读音节构成。

c) 扬抑抑格（Dactyl） 一个音步由一个重读音节加上两个非重读音节构成。 d) 抑抑扬格（Anapest; the Anapestic Foot）：一个音步由两个非重读音节加上一个重读音节构成。 不常见的几种格律。

e) 抑扬抑格（Amphibrach; the Amphibrachy Foot） 一个音步由三个音节组成，其中第一、三个音节为非重读音节，第二个音节为重读音节。

f) 扬扬抑格（Spondee） ：一个音步由两个重读音节构成。

g) 抑抑格（Pyrrhic） 一个音步由两个非重读音节构成。

3. 音步也有完整和不完整之分。诗行中每个音步的格律都相同，则为完整音步（actalectic foot）；如果诗行最末一个音步缺少一个音节，则为不完整音步（cactalectic）。

4. 音步的数目与格律结合起来，又可进一步细分为许多小类，如抑扬格一音步（iambic monometer），扬抑格一音步（trochaic monometer），抑抑扬格三音步（anapestic trimeter），扬抑格四音步（trochaic tetrameter），抑扬格五音步（iambic pentameter），扬抑格六音步（trochaic hexameter）等。

从音步数目上看，三音步、四音步和五音步最为常见，尤其是抑扬格五抑，如十四行诗体（sonnet）、英雄双行体（heroic couplet）、素体诗或无韵诗（blank verse）等均以抑扬格五音步的诗行写成。

音步是轻读与重读构成的。根据重读与轻读搭配的方式的不同，可以划分出不同的音步类型。音步类型不同，节奏自然也不同。 最常见的英语诗歌音步类型 / 格律:

英语诗歌格律

（一）抑扬格

如果一个音步中有两个音节，前者为轻，后者为重，则这种音步叫抑扬格音步，其专业术语是（iamb, iambic.）。轻读是“抑”，重读是“扬”，一轻一重，故称抑扬格。

英语中有大量的单词，其发音都是一轻一重，如adore, excite, above, around, appear, besides, attack, supply, believe, return 等，所以用英语写诗，用抑扬格就很便利。也就是说，抑扬格很符合英语的发音规律。因此，在英文诗歌中用得最多的便是抑扬格，百分之九十的英文诗都是用抑扬格写成的。前面的那两句诗就是抑扬格诗。

（二）扬抑格

如果一个音步中有两个音节，前者为重，后者为轻，则这种音步叫扬抑格音步，其专业术语是（trochee, trochaic.）。重读是“扬”，轻读是“抑”，一重一轻，故称扬抑格。与抑扬格恰好相反。 英语中也有一批其读音为一重一轻的单词，如Happy, many, holy, yonder, headlong, flaming, upper, grandeur, failing 等。写扬抑格的诗，此类词正好合适。但这类词在英语中其数量不及前面的那些多，与英文的语言规律不十分吻合，所以扬抑格诗不多。举两句诗例：

Present │mirth has │present │laughter

_____ Shakespeare

Shake your │chains to │earth like │dew

______Shelley

（三）抑抑扬格

抑抑扬格含三个音节，即轻——轻——重，专门术语是：Anapaest, anapaestic 例词：

cavalier, intercede, disbelieve, reappear, disapprove, indistinct, on the hill. 例句： (拜伦的以下四行诗是抑抑扬格：)

The Assyr│ian came down │like the wolf │on the fold,

And his coh│orts were glea│ming in purp│le and gold;

And the sheen│ of their spears │was like stars │on the sea,

When the blue │waves rolls night│ly on deep │Galilee.

——Destruction of Sennacherib

这是拜伦写的描述古代亚述人围攻耶路撒冷，被瘟疫所袭的诗的一节。第四行第二音步中的waves 一词可轻可重。诗题中的Sennacherib 是亚述国王。fold 指羊群， purple and gold 描写亚述军队的服饰，Galilee，巴勒斯坦北部的加利利湖。cohorts 军团， sheen，光芒。

（四）扬抑抑格

重——轻——轻是扬抑抑格，专门术语是：dactyl, dactylic.

例词： happily, merciful, eloquent, messenger, merrily, properly, accident, quantity.

例句： Dragging the │corn by her │golden hair.

_____ Davies: the villain.

英文诗歌中的音步类型有十几种之多，常见者即此四种，第一种则最常见。此外诗句中也常有抑抑格（pyrrhic[/peirik]和扬扬格(spondee[/sp :ndi])出现。

需要说明的是，这些音步类型只是理论上的分析，实际上，一首诗仅用一种音步类型写，这种情况极少见，大多是以某一种为主，同时穿插其他类型。如果一首诗只含有一种音步，就会显得非常单调机械。一首诗只要是以某种类型为主的，尽管有其他类型穿插其中，也称此诗为某某格。如，以抑扬格为主要节奏写成的，就称此诗为抑扬格诗。现代兴起的一些自由诗（FREE VERSE），不受这些格律的限制。

三、诗行、

（一）一诗行不一定是一个完整的句子

英文诗每行的第一个字母都大写，但是一诗行不一定是一个完整的句子，不一定能表达一个完整的意思。有时候，一行诗正好是一句，有时两行甚至许多行才构成一个意思完整的句子。前者叫 end-stopped line（结句行），后者叫 run-on line.（跨行句）。这是英文诗与中国诗的最大区别之一。中国诗歌都是一行表达一个完整的意思。看下面一节诗：

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.

前两行是end-stopped line，后两行是run-on line。读跨行句诗，行末停顿较短。 跨行句在英文诗歌中极其普遍，有时十来行才成一完整句子。刚学英文诗的人，对此往往不习惯。对此我们需加注意。

（二）诗行的长短以音步数目计算

英文诗行的长度范围一般是一音步——五音步。六、七、八音步的诗行也有，但不多。最多 的是四音步、五音步的诗。

(各种长短诗行的专门术语：一音步诗：monometer 二音步诗：dimeter 三音步诗：trimeter 四音步诗：tetrameter 五音步诗：pentameter 六音步诗：hexameter 七音步诗：heptameter 八音步诗：octameter.）

在分析一首诗的格律时，既要考虑此诗的基本音步类型，也要考虑此诗中诗行的音步数目。看下面的一首短诗：


An EMPTY HOUSE

______Alexander Pope

You beat│your pate, │and fan│cy wit │will come:

Knock as│you please, │there‟s no│body│at home.

（你拍拍脑袋，以为灵感马上就来。可任你怎么敲打，也无人把门打开。pate，脑袋。 fancy，动词：以为，想象。）

此诗的基本音步类型是抑扬格，每行五音步。因此称此诗的格律是“抑扬格五音步”（iambic pentameter）。一首诗的音步类型和诗行所含的音步数目构成此诗的格律（meter）。


四、押韵（rhyme）

英文诗一般都押运韵。

（一）全韵与半韵（full rhyme and half rhyme）

全韵是 的押韵，其要求是：

（1） 韵要押在重读音节上，其元音应相同；

（2） 元音前的辅音应不同；

（3） 如果元音之后有辅音，应相同。

（4） 重读音节之后如有轻读音节，也应相同。

下面几对词都符合全韵的标准：

why---sigh; hate---late; fight---delight; powers---flowers; today---away;

ending---bending. *** ：

如果仅是元音字母相同，读音不同，不符合全韵：

如: blood----hood; there---here; gone---alone; daughter----laughter.

这种情形被称为“ ” eye rhyme ，虽然诗人有时用之，但不是真正的押韵。 仅

是辅音相同或仅是元音相同的属半韵：

元音不同，其前后的辅音相同，这叫谐辅韵 （consonance） 如：black, block; creak, croak; reader, rider; despise, dispose.

元音相同，其后的辅音相同者叫谐元韵（assonance） ，如lake, fate; time, mind.

（二）尾韵与行内韵(end rhyme and internal rhyme)

押在诗行最后一个重读音节上，叫尾韵。这是英文诗歌最常见的押韵部位。诗行中间停顿处 的重读音节与该行最后一个重读音节押韵者，叫行内韵。如：

Spring, the sweet spring, is the year‟s pleasant king;

Then blooms each thing, then maids dance in a ring,

（三）男韵与女韵(masculine rhyme and feminine rhyme)

所押的韵音局限于诗行中重读的末尾音节上，称男韵，也叫单韵，听起来强劲有力。如：late, fate; hill, fill; enjoy, destroy.

押韵押在两个音节上，后一音节非重读音节，称女韵，也叫双韵，听起来或轻快，或幽婉。 如：lighting, fighting; motion, ocean; wining, beginning. 看下面一节诗：

I am coming, little maiden,

With the pleasant sunshine laden;

With the honey for the bee,

With the blossom for the tree.

前两行押女韵，后两行押男韵。

也有不少英文诗是不押韵的，不押韵的诗称无韵诗或白体诗（blank verse）。多用在戏剧和叙事诗中。莎士比亚的戏剧和弥尔顿的Paradise Lost 都是用blank verse 写成的。 押韵的诗叫rhymed verse。无韵诗不同与自由诗。无韵诗虽不押韵，但是有固定节奏，以扬抑格五音步最常见。自由诗节奏不固定，如同白话。

五、诗选及讲解

William Shakespeare（1564—1616） 剧作家、诗人。一生创作三十七部戏剧，154 首十四行诗。其十四行诗大部分是献给一位贵族青年，有二十余篇则是献给一位“黑肤女士”（the dark lady）.


1. Sonnet 18

死神夸不着你在他影子里踯躅，

Shall I compare thee to a summer’s day? 能不能让我把你比拟作夏日？ Thou art more lovely and more temperate: 你可是更加温和，更加可爱： Rough winds do shake the darling buds of May, 狂风会吹落五月的好花儿， And summer‟s lease hath all too short a date: 夏季的生命又未免结束得太快：

Sometimes too hot the eye of heaven shines, 有时候苍天的巨眼照得太灼热， And often is his gold complexion dimmed; 他那金彩的脸色也会被遮暗； And every fair from fair sometimes declines, 每一样美呀，总会离开美而凋落， By chance, or nature‟s changing course, untrimm’d; 被时机或者自然的代谢所摧残；

But thy eternal summer shall not fade, 但是你永久的夏天决不会凋枯， Nor lose possession of that fair thou ow’st; 你永远不会失去你美的仪态； Nor shall Death brag thou wander‟st in his shade, 死神无从夸口，说你在他的阴影里徘徊，

When in eternal lines to time thou grow’st. 你将在不朽的诗中与时间同在；

So long as men can breathe or eyes can see, 只要人类在呼吸，眼睛看得见， So long lives this, and this gives life to thee. 我这诗就活着，使你的生命绵延。

注释：

1) Compare to 把什么比做什么。

2) Thou, thee 第二人称单数代词，前者主格，后者宾格。现已为you 所取代。其所有格是thy， 或 thine, 即现代英语的your。

3) Art = are. 16、17 世纪时与thou 连用。

4) Temperate: 来自拉丁文temperātus，读时为符合押韵规则，可将重音放后。

5) Shake：shake off。

6) Lease 租借期限，此处指夏天的长度。

7) Hath 与第三人称单数连用，相当于现代英语的has。

8) Dimmed: clouded.

9) Fair form fair: beautiful thing from beauty. 前后fair 意义不同。Declines from beauty。

10) Chance：极缘，时运，命运。

11) And every fair from fair sometimes declines,/By chance, or nature‟s

changing course, untrimm‟d：每 一个美人总要失去美貌，即使没有突发的以外事件，也逃不过自然界生老病死的变迁。

12) Sometimes: 有的版本作“sometime”: at some unspecified time.

13) Untrimm‟d: untrimmed. 本意为剥去美观的衣服等，此处隐喻夺去美貌等。

14) Fair thou ow‟st: beauty you own. 莎士比亚时代，owe 与own 通用。古英语第二人称单数后加-st 或-est

15) His shade：shadow of death.

16) “Nor shall Death brag thou wander‟st in his shade”：“死神无从夸口，说你在他的阴影里徘徊”。

17) To time thou grow‟st: you grow as long as time lasts. 与时间同寿。 Grow to = be incorporated with.

内容解析

此诗的发展变化：以人比夏天开始，以人胜自然终结。前四行说明人比夏天更美更温和；中四行发展了这个意思，引到驻颜无术的感慨；第三组则新意突起，

推翻前言，终于于胜利的末两行作结。此诗表达了这样一种思想：美丽的事物可以依靠文学的力量而永远不朽；文学是人所创造的，因此这就宣告了人的不朽。因此此诗不是一般的爱情诗。

形式解析

sonnet ：十四行诗，即“商籁体 ”诗。 此诗体起源不明，最早的例子出现于13 世纪，16 世纪在国出现。主要有意大利式和英国式两种变体。意大利诗人Petrarch [/petra:k]用此诗体最精熟，故意大利式又称Petrarchan sonnet。英国式由莎士比亚创立，又称 Shakespearean sonnet.

意大利式分前八行、后六行。韵尾是abba, abba; cde, dcd.。莎士比亚式十四行诗，层次上分前四行，中四行，后四行和结尾两行。韵尾为：abab, cdcd, efef, gg。格律是抑扬格五音步 。

Shall I│compare│ thee to │a sum│mer‟s day? ( a)

Thou art │more love│ly and │more tem│perate -: ( b)

Rough winds │do shake │the dar│ling buds │of May, (a)

And sum│mer‟s lease│ hath all │too short│ a date: ( b)

Sometimes │too hot│ the eye │of hea│ven shines, (c)

And of│ten is │his gold │comple│xion dimmed; (d)

And eve│ry fair │from fair │sometimes │declines, (c)

By chance, │or na│ture‟s chan│ging course, │ untrimm‟d; (d)

But thy │eter│nal sum│mer shall │not fade, (e)

Nor lose│ posses│sion of │that fair│ thou ow‟st; (f)

Nor shall│ Death brag │thou wan│der‟st in│ his shade, (e)

When in │eter│nal lines │to time│ thou grow‟st. (f)

So long│ as men │can breathe │or eyes │can see, (g)

So long │lives this, │ and this │gives life│ to thee. (g)

参考译文：

能不能让我把你比拟作夏日？

你可是更加温和，更加可爱：

狂风会吹落五月的好花儿，

夏季的生命又未免结束得太快：

有时候苍天的巨眼照得太灼热，

他那金彩的脸色也会被遮暗；

每一样美呀，总会离开美而凋落，

被时机或者自然的代谢所摧残；

但是你永久的夏天决不会凋枯，

你永远不会失去你美的仪态；

死神无从夸口，说你在他的阴影里徘徊/死神夸不着你在他影子里踯躅， 你将在不朽的诗中与时间同在；

只要人类在呼吸，眼睛看得见，

我这诗就活着，使你的生命绵延。 （第一次到此）


2. Spring

When daisies pied and violets blue

And lady-smocks all silver-white

And cuckoo-buds of yellow hue

Do paint the meadows with delight,

The cuckoo then, on every three,

Mocks married men; for thus sings he,

Cuckoo,

Cuckoo, cuckoo! Oh word of fear

Unpleasing to a married ear!

When shepherds pipe on oaten straws,

And merry larks are ploughmen‟s clocks,

When turtles tread, and rooks, and daws,

And maidens bleach their summer smocks,

The cuckoo then, on every three,

Mocks married men; for thus sings he,

Cuckoo,

Cuckoo, cuckoo! Oh word of fear

Unpleasing to a married ear!

------Comedy: Love‟s Labour Lost

剧情：

拿伐 Navarre 国王与其几位朝臣立誓三年之内摒弃一切世俗的快乐，致力于研究学问。其中的一条是：三年之中不可与女子交谈一次。不久法国公主携几名侍女来办理国务，国王和朝臣门守不住自己的誓言，爱上了这几个女子。最后公主的父亲去世，公主要持戒三年，国王和朝臣们的求爱也化为泡影。此诗在此剧之结尾处。

注释：

daisies pied：杂色的雏菊。

lady-smock：也作lady‟s-smock 花名：布谷鸟剪秋罗。Smock：〈古〉女衬衣，罩衣。

cuckoo-buds of yellow hue：黄色的杜鹃花。hue：颜色。

Cuckoo：[/kuku:] 布谷鸟的叫声，与/cuckold（奸妇的丈夫）一词谐音。 shepherds [/ ep d]

pipe on oaten straws：拿燕麦杆吹哨子。

turtles tread：斑鸠交配。

Turtle：〈古〉斑鸠，=turtledove。

Tread：（雄鸟）与（雌鸟）交配。

rooks and daws：白嘴鸦和穴鸟。

内容解析：

春天里百花争艳，万象更新，情人们沉醉于甜蜜的爱情之中。但树梢上布谷鸟的叫声却似乎在不断提醒人们：爱情并不可考。此诗有反讽意味，与剧情一致。英国诗人甘贝尔（Thomas Campbell，1777—1844）在 Freedom and Love 一诗中说：“Love has bliss, but love has ruining/ Other smiles may make you fickle/ Tears for other charm may trickle。”

形式解析：抑扬格四音步，韵式：abab cc d ee; fgfg hh d ee

When dai│sies pied │and vio│lets blue

And la│dy-smocks│ all sil│ver-white

And cu│ckoo-buds │of ye│llow hue

Do paint │he mea│dows with│ delight,

The cu│ckoo then, │on eve│ry three,

Mocks mar│ried men; │for thus │sings he,

Cuckoo,

Cuckoo, │cuckoo! │Oh word│ of fear

Unplea│sing to│ a mar│ried ear!

When she│pherds pipe │on oa│ten straws,

And mer│ry larks│ are plough │men‟s clocks,

When turt│les tread, │ and rooks, │and daws,

And mai│dens bleach │their sum│mer socks,

The cu│ckoo then, │on eve│ry three,

Mocks mar│ried men; │for thus │sings he,

Cuckoo,

Cuckoo, │cuckoo! │Oh word │of fear

Unplea│sing to│ a mar│ried ear!

参考译文：

当杂色的雏菊开遍牧场，

蓝的紫罗蓝，白的美人衫，

还有那杜鹃花吐蕾娇黄，

描出了一片广大的欣欢；

听杜鹃在每一株树上叫，

把那娶了妻的男人讥笑：

咯咕！

咯咕！咯咕！啊，可怕的声音！

害得做丈夫的肉跳心惊。

当无愁的牧童口吹麦笛，

清晨的云雀惊醒了农人，

斑鸠乌鸦都在觅侣求匹，

女郎们漂洗夏季的衣群；

听杜鹃在每一株树上叫，

把那娶了妻的男人讥笑：

咯咕！

咯咕！

咯咕！啊，可怕的声音！

害得做丈夫的肉跳心惊。

（朱生豪）

如何欣赏英文诗歌

英诗浩瀚，篇幅长短不一，长至成集，短至几句。本文从实用角度阐述英诗的欣赏：诗的格律、诗的押韵、诗的体式、诗的评判。

诗以高度凝结的语言表达着人们的喜怒哀乐，用其特有的节奏与方式影响着人们的精神世界。诗讲究联想，运用象征、比喻、拟人等各种修辞手法，形成了独特的语言艺术。

一、诗的格律

“格律是指可以用脚打拍子的节奏”，是每个音步轻重音节排列的格式，也是朗读时轻重音的依据。而音步是由重读音节和非重读音节构成的诗的分析单位。重读音节为扬（重），在音节上用“－”或“?”标示，非重读音节为抑（轻），在音节上用“?”标示，音步之间可用“／”隔开。以下是五种常见格式：

1. 抑扬格（轻重格）Iambus 是最常见的一种格式，每个音步由一个非重读音节加一个重读音节构成。

As fair / art thou / my bon/nie lass，

So deep / in luve / am I ：

And I / will luve / thee still，/ my dear，

Till a` / the seas / gang dry：

Robert Burns（1759-1796）： My Luve Is like a Red， Red Rose

注：art=are luve=love bonnie=beautiful a`=all gang=go

上例中为四音步与三音步交叉，可标示为：︶－／︶－／︶－／（︶－）

2. 扬抑扬抑格（重轻格）Trochee 每个音步由一个重读音节加一个非重读音节构成。

下例中为四音步扬抑格（少一个轻音节），可标示为：－︶／－︶／－︶／－ Tyger！/ Tyger！/ burning / bright

In the / forests / of the / night

William Blake： The Tyger

3.抑抑扬格（轻轻重格） Anapaestic foot 每个音步由两个非重读音节加一个重读音节构成。

如：三音步抑抑扬格︶︶－／︶︶－／︶︶－

Like a child / from the womb，

Like a ghost / from the tomb，

I arise / and unbuild / it again.

4. 扬抑抑格（重轻轻格）Dactylic foot 每个音步由一个重读音节加两个非重

读音节构成。

如：两音步扬抑抑格－︶︶／－︶︶ ˊ

Touch her not / ˊscornfully，

ˊThink of her / ˊmournfully.

- Thomas Hood 5. Amphibrach

5、抑扬抑格（轻重轻格）amphibrach

每个音步由一个非重读音节加一个重读音节再加一个非重读音节构成。如：三音步抑扬抑格︶－︶／︶－︶／︶－︶下例中最后一个音步为抑扬格。

O ˊhush thee / my ˊbabie / thy ˊsire was / a knight.

在同一首诗中常会出现不同的格律，格律解析对朗读诗歌有一定参考价值。现代诗中常不遵守规范的格律。

二、诗的押韵

押韵是指通过重复元音或辅音以达到一定音韵效果的诗歌写作手法。

1、 尾韵：最常见，最重要的押韵方式

（1） 联韵：aabb

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.

Henry Wadsworth Longfellow： The Arrow and the Song 2

（2）交叉韵：abab

Sunset and evening star，

And one clear call for me！

And may there be no moaning of the bar，

When I put out to sea，

Alfred Tennyson（1809-1892）： Crossing the Bar

（3）同韵：有的诗押韵，一韵到底，大多数是在同一节诗中共用一个韵脚。如下例就共用／i：p／为韵脚。

The woods are lovely， dark and deep，

But I have promises to keep，

And miles to go before I sleep，

And miles to go before I sleep.

And miles to go before I sleep.

Robert Frost (1874-1963): Stopping by Woods on a Snowy Evening

2、头韵：是指一行（节）诗中几个词开头的辅音字母相同，形同押韵。下例中运用/ f / 、 / b / 与/ s / 头韵生动写出了船在海上轻快航行的景象。

The fair breeze blew, the white foam flew,

The furrow followed free,

We were the first that ever burst

Into that silent sea

T.S. Coleridge: Rime of the Acient Mariner

3.内韵（同元音）：指词与词之间元音的重复形式的内部押运。

下面一节诗中 / i / 及/ in /重复照应，呈现出一派欢乐祥和的气氛。 Spring, the sweet spring, is the years pleasant king;

Then blooms each thing, then maids dance in a ring,

Cold dath not sting, the pretty birds do sing.

Cuckoo, jug-jug, pu-we, to-witta-woo!

Thomas Nashe (1567-1601): Spring, the Sweet Spring.

三、诗的体式

有的诗分成几节（stanza），每节有若干个诗行组成（每行诗均以大写字母开头）：有的诗则不分节。目前我们常见的诗体有：

1、十四行诗（sonnet），源于中世纪民间抒情短诗，十三、十四世纪流星雨意大利，衣袋彼得拉克（petrarch）为代表人物，每行是一个音节，全诗一节八行，加一节六行，韵脚用abba， abba，cdcdcd( cdecde).前八行提问，后六行回答。 后来，杯亚特（ Thomas Wyatt, 1503-1542）将十四行诗引入英国，五音步抑扬格，全诗三个诗行一个两行，钱三界提问，后两句结论。斯宾塞（Edmund Spenser, 1552-1599）用韵脚abab, bcbc, cdcd,ee。莎士比亚用韵脚abab,cdcd,dfdf,gg称英国式或莎士比亚式。

2、打油诗（limericks）

通常是小笑话甚至是胡侃，一般没有标题业务作者姓名，含有御魔讽刺性，常运用双关，内韵等手法。每首诗五个诗行，押韵为aabba, 格律以抑扬和扬抑格为主。

There was a young lady of Nigger

Who smiles as she rode on a tiger;

They returned from the ride

With the lady inside,

And the smile on the face of the tiger.

A tutor who tauhgt on the flute

Tried to teach two tooters to toot,

“ Is it harder to toot, or

Said the two to the tutor,

To tuter two tooters to toot?”

3、无韵体（blank verse）：五音步抑扬格，不押韵诗体。

Across the watery bale, and shout again,

Responsive to his call, with quivering peals,

And long hallos, and screams, and echoes loud.

Redoubled and redouled: concourse wild

Of jocund din!...

William Wordsworth: There Was a Boy

4、自由体（free verse）：现代诗中常见的体式，长短不同的诗行存在于同一首诗中，不讲究押韵与格律，指注重首个所表达的意象和传递的情感。美国诗人Walt Whitman的（Leaves of Grass）中，就采取此格式。


范文三：简单的英语诗歌


英语诗歌-Dreams 梦想

Dreams 梦想

---Langston Hughes

Hold fast to dreams 紧紧抓住梦想，

For if dreams die 梦想若是消亡

Life is a broken-winged bird 生命就象鸟儿折了翅膀

That can never fly. 再也不能飞翔

Hold fast to dreams 紧紧抓住梦想，

For when dreams go 梦想若是消丧

Life is a barren field 生命就象贫瘠的荒野，

Frozen only with snow 雪覆冰封，万物不再生长

青春 席慕容

所有的结局都已写好

所有的泪水也都已启程

却忽然忘了是怎么样的一个开始

在那个古老的不再回来的夏日

无论我如何的去追索

年轻的你只如云影掠过

而你微笑的面容极浅极淡

逐渐隐没在日落后的群岚

遂翻开那发黄的扉页

命运将它装订的极为拙劣

含着泪 我一读再读

却不得不承认

青春 是一本太仓促的书

英译文

Each of the endings had been written

All the tears been already on the way

But how did it begin we’d forgotten

On that old unrepeatable summer’s day

No matter how I used to follow trace

Thee young, in the flashy floating cloudslost

A softest and faintest smile on thou face

Which day by day disappeared amidst

From hill to hill after the sun’s falling

Then the yellowish title page unfolded

Fortune made it with awfully binding

With tears again and again had I read

Being unwilling to admit the truth All is rush written in the book of youth


Froz

The Flight of Youth

The Flight of Youth

by Richard Henry Stoddard

There are gains for all our losses.

There are balms for all our pain:

But when youth, the dream, departs

It takes something from our hearts,

And it never comes again.

We are stronger, and are better,

Under manhood's sterner reign:

Still we feel that something sweet

Followed youth, with flying feet,

And will never come again.

Something beautiful is vanished,

And we sigh for it in vain;

We behold it everywhere,

On the earth, and in the air,

But it never comes again!

青春飞逝

理查德 亨利 斯托达德

我们失去的一切都能得到补偿，

我们所有的痛苦都能得到安慰；

可是梦境似的青春一旦消逝，

它带走了我们心中某种美好的事物，

从此一去不复返回。

严峻的成年生活将我们驱使，

我们变得日益刚强、更臻完美；

可是依然感到某种甜美的东西，

已随着青春飞逝，

永不再返回。

美好的东西已经消失，

我们枉自为此叹息；

虽然在天地之间，

我们到处能看见青春的魅力，

可是它永不再返回！

(1)

I wander'd lonely as a cloud 我像一朵浮云独自漫游

That floats on high o'er vales and hills, 飘过深谷群山，

When all at once I saw a crowd, 突然间，看到一片

A host of golden daffodils, 无数朵的金色水仙花，

Beside the lake, beneath the trees, 长在湖畔，长在树下，

Fluttering and dancing in the breeze. 微风中翩翩起舞。

(2)

Continuous as the stars that shine 不断地像发光的星斗

And twinkle on the milky way, 闪烁在银河中，

They stretch'd in never-ending line 无涯无际地延伸

Along the margin of a bay: 在海湾之滨；

Ten thousand saw I at a glance 一瞥间，我看到成千上万的水仙，

Tossing their heads in sprightly dance. 摇晃着它们的小脑袋快乐地起舞。

(3)

The waves beside them danced, but they 海水在它们的身旁澎湃，

Out-did the sparkling waves in glee:--- 但它们比闪耀的海波更为愉快：－

A poet could not but be gay 诗人不得不由衷欣喜

In such a jocund company! 在这样愉悦的友伴之中！

I gazed --- and gazed --- but little thought 我看了又看－可是很少想到

What wealth the show to me had brought; 这景象带给我多么宝贵的财富；

(4)

For oft, when on my couch I lie 在心境空虚或沉思之际，

In vacant or in pensive mood, 我常仰卧在沙发上，

They flash upon that inward eye 它们掠过我的心灵

Which is the bliss of solitude; 那是我孤寂中的无上喜乐；

And then my heart with pleasure fills, 于是，我心充满喜悦，

And dances with the daffodils. 与水仙共享舞足之乐。

by William Wordsworth