《英美诗歌选读》课程教案第六讲首页
学生专业班级 | |
学 时 数 | |
教学目的 | |
教学内容 | |
教学重点 | |
教学难点 | |
教学进程 | |
教学方法 | |
教 具 | |
课后总结 | |
作 业 | |
备注:教学进程一栏可根据教学内容的多少自定页数。
第六讲 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:
weight读音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)
版权声明:本站内容均来自互联网,仅供演示用,请勿用于商业和其他非法用途。如果侵犯了您的权益请与我们联系QQ:729038198,我们将在24小时内删除。
发表评论