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英语诗歌简析

英语诗歌简析
英语诗歌简析

诗歌简析

诗歌的理解需要从整体上来进行,即在语言形式之中,又超越诗歌的语言形式本身。这里我从诗歌的形式入手,先介绍一下诗歌的结构,再简单的介绍一下欣赏和学习诗歌的方法。

一、诗歌的结构

结构主要是指诗的三个主要特点,

一是语音组合模式

二是口语重音模式

三是一定的语体形式

诗歌的语音组合模式是指英语诗歌的语音是如何被诗人运用,组合以形成一些常用的或固定的语音模式,如压韵(rhyme),头韵(alliteration),元音韵(assonance),辅音韵(consonance),倒压韵(reverse rhyme),行内韵(internal rhyme)等。

诗歌口语重音模式是指诗人根据单词重音,短语重音,句子重音创造出一定的节奏(rhythm)。在诗歌中称为格律或韵律(meter)。格律由音步(foot)构成;英语中的音步有不同类型。注意:音步指的是一行诗内的节奏,在划分英语诗歌音步的时候我们用这样的标识V \ 来分别标识非重读音节和重读音节,音节的划分主要通过朗读,根据诗的音节为单位划分,而不是整个单词,比如一个英文单词,literature,有四个音节。扬及重读音节,抑及非重读。在划分音步的时候要先把一句诗的全部音节划出来,然后按照语义和重音朗读就会得出下面的这几种不同的格律了。(关于这部分的详细解释和例子请参见英诗解析一文)

1.抑扬格(iamb)由一个非重读音节和一个重读音节组成V \

2.扬抑格(trochee)由一个重读音节和一个非重读音节组成 \ V

3.扬抑抑格(dactyl)由一个重读音节和两个非重读音节组成 \ V V

4.抑抑扬格(anapest)由两个非重读音节和一个重读音节组成 V V \

5.扬扬格(spondee)由两个重读音节构成 \ \

6.抑抑格(pyrrhic)由两个非重读音节构成 V V

按音步的多少又可分为单音步(monometer), 双音步(diameter),三音步(trimeter),四音步(tetrameter),五音步(pentermeter),六音步(hexameter),七音步(heptameter),八音步(octameter)。

不同的音步类型和不同音步数量的组合就构成了诗行的诸多变化形式,如五步抑扬格(iambic pentermeter),四步抑扬格(iambic tetrameter)等等。

根据压韵在诗行中出现的位置不同,可以包括以下几种类型。

1.行尾韵(end-rhyme)我们期末考试诗歌分析中经常考到的就是这个例如:

Up from the meadow rich with corn

Clear in the cool September morn

2.行内压韵(internal rhyme),这是指同一诗行中出现两个或两个以上的压韵。例如:

They fondle the fiddle of my heart

3.行首韵(head-rhyme),压韵出现在每行诗的第一个或前几个音节。例如:

Mad from l ife’s history

Glad to death’s mystery

诗体(poetic form)是指语音模式,重音模式以及诗行(一个stanza中有多少行诗)多种因素的惯性组合,

例如,

对句,又叫偶句,(couplet):一对诗句格律一致、押尾韵。

例如:

Up from the meadow rich with corn

Clear in the cool September morn

我们教材中提到的英雄双行体(heroic couplets)实际是一种特殊的对句,只有在对句为五步抑扬格的时候才是heroic couplets。

四行诗(quatrain):每个诗节(stanza)由四行诗句组成。

白体诗(无韵诗)(blank verse):指诗行之间不是押韵的,但是每行诗有固定的音步,多见的为五步抑扬格。

十四行诗(sonnet), 有两个基本类型,一种是意大利十四行诗,另一种是英国十四行诗,意大利十四行诗分为前八行后六行韵律,前八为a b b a a b b a, 后六行为c d e c d e ,c d c c d c 或c d e d c e三种。前八行叙述经验,提出一项建议或问题;后六行一般用抽象的批论将前面叙述的含义点明,或应用前面的建议,或解答前面的问题。英国十四行诗是在文艺复兴时期由意大利流传过来的,则采用三组四行法,各组韵律不同,一般隔行压韵,它韵律一般是a b a b c d c d e f e f g g。最后两行对前面三组四行诗加以评论,并且往往使用警句。

例如;

Something there is that doesn't love a wall,

That sends the frozen-ground-swell under it,

And spills the upper boulders in the sun

----- Robert Frost's "Mending Wall"

自由诗(free verse)顾名思义就是没有固定的格律和韵脚的诗,象散文一样的行文,代表作是美国诗人惠特曼的《草叶集》。它是和上面的押韵诗相对应的分类。

上述简单介绍了一下诗歌的主要结构和类型。它们对于理解诗歌的主题有着非常重要的作用和意义,下面我们将讨论诗歌语言文体特征对于诗歌理解的作用。

二诗歌语言文体特征的作用

有些文学批评学家们认为诗歌语言的压韵,韵律和诗体都对诗歌的理解有一定的帮助,首先,我们看一看押韵在诗歌理解中所起到的作用。

总的来说,压韵在诗歌中的运用可以产生一种和谐,强调突出诗歌的用词,聚焦诗歌的意义,以及产生戏剧效果。My mother groaned! My father wept!

如果一个词和另一个词压韵,通常会有一种和谐感,并且和谐会给我们一种快感,和谐让我们感到事物的圆满,感到事物已完成,已解决。如果诗中有压韵,也会很容易引起我们的注意。诗人通过压韵来强调重要的词,一般诗人采用两种方式来实现这种强调,一是多次使用压韵,二是使用行内韵。比如:

Over the redolent pinewords inat the bothroom casement,

One fine Saturday, Windlesham bells shall call

Up the batterfiend aisle rich with Gothic enlacement

Licensed now for embracement,

Pam and I, as the organ

Thunders over you all.

Casement, enlacement, embracement间的压韵的多次使用很容易引起人们的注意,从而引起我们对这些词对于这首诗的意义的重要性的关注。

压韵也可以产生喜剧效果,尤其用在较短的诗中,例如:

As he was scrambling through a brake

Discharged his weapon by mistake

And plugged about an ounce of lead

Piff-bang into his grace’s of lead

Who naturally tell clown dead

幽默感正是来自压韵的熟练运用,从而使得这个意外事件变的滑稽可笑。

有些文学批论家认为格韵的运用也会产生一些效果,具有某些意义。扬抑格的运用可以产生确定感,例如:

Tiger! Tiger! Burning bright.

In the forest of the night.

老虎的那种威风八面,一跃而起的形象正是通过扬抑格这种准确,肯定的意味展现于读者的眼前。当然并非所有的扬抑格都有如此的气势,但这对于诗的理解是很有帮助的。相反,抑扬格通常有一种沉思之感,因为它是有带有不肯定意义的非重读音节向具有肯定意义的重读音节的过度,例如:

With many recongnitions dim and faint

And somewhat of a sad perplexity,

The picture of the mind revives again…

扬抑抑通常产生悲伤感,重读音节后的两个非重读音节会产生一种下落感,远离肯定。例如:

What that had loved him so, followed him, honoured him,

Lived in his mind and magnificent eye…

“loved him so”所产生的悲伤感是由后面两个非重读音节所体现的。

抑抑扬格通常产生一种紧张感。例如:

The Assyrian came down like the wolf on the fold

And his cohorts were gleaming in purple and gold

非重读音节在这里产生一种紧张感。

正是通这些格律,诗人将感情表达出来,作为读者有时就会被这些格律所感动,着也是这些格律所产生的一些作用。

诗体除了压韵和格律两个因素外,还包括诗行的多少,其中常见的有,偶句体(couplet),四行诗体(quatrain),还有五行,六行,七行,八行,九行诗体等等。

由于偶句体采用明显的诗行停顿和语法上十分工整的对称结构,所以这种诗体很适合表达警句和以均衡为特色的对称,对仗句。对偶句也可以用于讽刺诗中,例如蒲柏的长诗中有着样的例子。

The hungery Judge soon the sentence sign.

And wretches hang that jury-men may dine.

三行诗体较为少用,因为三行诗体不好运用,具有一定的难度。

四行诗体最为普遍,经常用在歌谣或抒情诗中。四行诗简洁,明快。五行,六行,七行,八行,九行也并不常见。

另外还有十四行诗(sonnet)。

三、诗歌的理解

在诗歌的理解与欣赏中,除了上面我们所讨论的诗歌的文体因素外,还包括其他很多因素,比如,诗歌的声音,语气,视角,象征,意象,用词特点,修辞手法,句法结构,作者,诗歌背景,诗歌内容等等因素。所以说对于一首诗的理解不仅仅局限于诗歌语言的文体特征分析。诗歌语言的文体特征是理解诗歌的一部分因素。

文学评论家们认为诗歌理解不是部分的叠加,我们应该从整体上来理解诗歌,把诗歌作为一个整体来进行理解和分析,只有这样,我们才有可能理解诗歌,这是一个必要条件。那么,怎样才算从整体上来理解诗歌呢?一般文学评论家为我们指出的方法是:首先,要确定诗的类别,即按内容,主题和表现手法来划分,看他们属于叙事诗,抒情诗,戏剧诗,还是别的什么诗;其次,就是看一看诗人是如何组织诗歌的,一旦你说明了诗人是如何写成这首诗的,你就可以从整体的角度来观察这首诗歌了。

下面我们将讨论一下叙事诗,抒情诗,戏剧诗的特点。

叙事诗从广义上讲是指用诗歌的形式讲述故事的一切作品。一般有史诗(epic)和民谣(ballad)两种形式。史诗是在史前传说和民谣的基础上发展起来的,他以高雅的风格来描写伟大严肃的题材的叙事长诗,主人公通常是一个英雄或半神半人的人物,如荷马史诗。民谣原是一种吟咏或朗诵的诗歌形式,他的特点是,在简单的叙述中富有戏剧性的动人情节。(ballad:A form of verse to be sung or recited and characterized by its presentation of a dramatic or exciting EPISODE in simple narrative form.

F. B. Gum mere describes the ballad as "a poem meant for singing, quite impersonal in material, probably connected in its origins with the communal dance, but submitted to a process of oral tradition among people who are free from literary influences and fairly homogeneous in character."

Though the ballad is a FORM still much written, the so-called "popular ballad" in most literatures belongs to the early periods before written literature was highly developed. They still appear, however, in isolated sections and among illiterate and semi-literate peoples. In America the folk of the southern Appalachian mountains have maintained a ballad tradition, as have the cowboys of the western plains, and people associated with labor movements, particularly when marked by

violence)

抒情诗(lyric)是指一种相对短小的,以表达诗人的主体感受为主的诗歌形式。它以想象丰富,情感洋溢,韵律优美为特色。给读者一种统一完整的印象。其中有颂诗(ode),田园诗(pastoral)等。

戏剧诗的含义宽泛,它既指运用某种戏剧技巧,如对话,独白等写的诗歌,又只供阅读而不适合演出的诗剧,或者较为普遍地泛指任何剧本中出现的诗歌的各种

形式,戏剧诗常常是用无韵体来写的。

确定诗歌的类别后就可以进行第二步,也就是观察作者如何组织该诗的。这其中包括视角,词语的重复,中心意象,开始与结尾等等。

视角是指诗中的说话者,如果诗中出现了“I”,那么诗人就是以第一人称来写这首诗的。当然,诗中不会总出现第一人称,但诗中也存在视角的问题,视角的问题是一个很难理解的问题,但我们应该记住:诗中的视角不必是诗人本身,一首诗可能有多个视角。

注意诗中多次重复的词,诗人有可能通过词的重复来表达自己的感情,表现该诗的意义。例如:

Evans? Yes, many a time

I came down his bare flight

Of staires into the game kitchen

With its wood fire, where crickets sang

Accompaniment to the black kettle’s

Whine and so into the cold

Dark to smother in the thick tide

Of night that drifted about the walls

Of his stark farm on the hill ridge.

It was not the dark tilling my eyes

And mouth appalled me, not even the drip

Of rain like blood from the one tree

Weather-tortured. It was the dark

Silting the veins of the that sick man

I left stranded upon the vast

And lonely share of his bleak bed.

“Dark” 一词多次使用,在这首诗中,这个词表达了作者的处境:诗人迷失了自己,感到孤独,生活在人生的黑影之中。

我们还可以从一首诗的开头和结尾以及诗的中心意象来从整体上把握诗歌的意义。诗歌文体分析与诗歌理解是部分与整体的关系,我们不能认为它是一种条件关系。诗歌的理解需要从整体上来进行,应该超越诗歌语言本身。

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