詩歌風格鑒賞

AppreciationofEnglishPoetryWhatispoetry?Poetryisanimaginativeawarenessofexperienceexpressedthroughmeaning,sound,andrhythmicchoicessoastoevoleanemotionalresponse.Poetryhasbeenknowntoemploymeterandrhyme,butthisisbynomeansnecessary.Poetryisanancientformthathasgonethroughnumerousanddrasticreinventionovertime.Theverynatureofpoetryasanauthenticandindividualmodeofexpressionmakesitnearlyimpossibletodefine.詩以高度凝結的語言表達著人們的喜怒哀樂用其特有的節(jié)奏與方式影響著人們的精神世界。詩講究聯(lián)想，運用象征、比喻、擬人等各種修辭手法，形成了獨特的語言藝術。英詩浩如煙海，篇幅長短不一。以下四個方面的內容：詩的格律、詩的押韻、詩的體式、詩的評判，可以有助于更好地了解欣賞英詩。一、詩的格律（Meter/Measure）一首詩（apoem）往往包含有若干詩節(jié)（stanza/strophe），每節(jié)又分為若干詩行（line/verse），每個詩行由若干音步（foot）組成，音步則是由一定數(shù)目的重音節(jié)（stressedsyllable）和非重讀音節(jié)（unstressedsyllable）按照一定的規(guī)則排列而成的。音步的排列方式則構成英語的格律。依照每一音步中重讀音節(jié)（揚）和非重讀音節(jié)（抑）的排列方式，可以把音步分成不同種類，即格律。格律是是每個音步輕重音節(jié)排列的格式，也是朗讀時輕重音的依據(jù)。而音步是由重讀音節(jié)和非重讀音節(jié)構成的詩的分析單位。重讀音節(jié)為揚（重），非重讀音節(jié)為抑（輕），音步之間可用“/”隔開。以下是四種常見格式：抑揚格（輕重格）Iambus;theIambicFoot：是最常見的一種格式，每個音步由一^個非重讀音節(jié)加一個重讀音節(jié)構成。Asfair/artthou/mybon/nielass,Sodeep/inluve/amI:AndI/willluve/theestill,/mydear,Tilla/theseas/gangdry:上例中為四音步與三音步交叉。又如：Shewalks/inbeau/ty,like/thenightOfcloud/lessclimes/andstar/ryskies;Andall/that’sbesftdark/andbrightMeetin/heras/pectand/hereyes.再如：Thetrum/petof/apro/phecy!/Owind,Ifwin/tercomes,/canSpring/befar/behind?揚抑格（重輕格）Trochee;theTrochaicFoot每個音步由一^重讀音節(jié)加一^非重讀音節(jié)構成。Tellme/notin/mournful/numbers,Lifeis/butan/empty/dream!Forthe/soulis/deadthat/slumbers,Andthings/arenot/whatthey/seem.又如：Richthe/treasure,Sweetthe/pleasure.2. 抑抑揚格（輕輕重格）Anapaest;theAnapaesticfoot:每個音步由兩個非重讀音節(jié)加一個重讀音節(jié)構成。如：Likeachild/fromthewomb,Likeaghost/fromthetomb,Iarise/andunbuild/itagain.又如：Forthemoon/neverbeams/withoutbring/ingmedreamsOfthebeau/tifulAn/nabelLee;Andthestars/neverrise/butIsee/thebrighteyesOfthebeau/tifulAn/nabelLee;4.揚抑抑格（重輕輕格）Dactyl;theDactylicfoot:每個音步由一^重讀音節(jié)加兩個非重讀音節(jié)構成。如：Touchhernot/scornfully,Thinkofher/mournfully.又如：Cannonto/rightofthem,Cannonto/leftofthemCannonin/frontofthemVolley’dand/thunder’d此外抑揚抑格（輕重輕格）Amphibrach;theAmphibrachyFoot也較為常見，即每個音步由一個非重讀音節(jié)加一個重讀音節(jié)再加一個非重讀音節(jié)構成。如:Ohushthee/mybaby/thysirewas/aknight.Linesarealsodescribedintermsofthenumberoffeetthatoccurinthem.monometer:versewritteninone-footlines.dimeter:versewrittenintwo-footlines.trimeter:versewritteninthree-footlines.tetrameter:versewritteninfour-footlines.pentameter:versewritteninfive-footlines.hexameter:versewritteninsix-footlines.heptameter:versewritteninseven-footlines.在同一首詩中常會出現(xiàn)不同的格律，格律解析對朗讀詩歌有一定參考價值?，F(xiàn)代詩中常不遵守規(guī)范的格律。二、詩的押韻(Rhyme/Rime)押韻是指通過重復元音或輔音以達到一定音韻效果的詩歌寫作手法。1.尾韻(Endrhyme):最常見，最重要的押韻方式。聯(lián)韻(Runningrhyme)：aabb型。Ishotanarrowintotheair,Itfelltoearth,Iknewnotwhere;For,soswiftlyitflew,thesightCouldnotfollowitinitsflight.交叉韻(Alternating)：abab型。Sunsetandeveningstar,Andoneclearcallforme!Andmaytherebenomoaningofthebar,WhenIputouttosea,同韻：有的詩押韻，一韻到底，大多是在同一節(jié)詩中共用一個韻腳。如下例就共用/i:p/為韻腳。Thewoodsarelovely,darkanddeep,ButIhavepromisestokeep,AndmilestogobeforeIsleep,AndmilestogobeforeIsleep.頭韻(Alliteration):是指一行(節(jié))詩中幾個詞開頭的輔音相同，形成押韻。下例中運用/f/、/b/與/s/頭韻生動寫出了船在海上輕快航行的景象。Thefairbreezeblew,thewhitefoamflew,Thefurrowfollowedfree,WewerethefirstthateverburstIntothatsilentsea.內韻Internalryhme(同元音)(Assonance)：指詞與詞之間元音的重復形成的內部押韻。下面一節(jié)詩中/in/重復照應，呈現(xiàn)出一派歡樂祥和的氣氛。Spring,thesweetspring,istheyear’spleasantking;Thenbloomseachthing,thenmaidsdanceinaring,Colddothnotsting,theprettybirdsdosing:Cuckoo,jug-jug,pu-we,to-witta-woo!三、詩的體式(Form)有的詩分成幾節(jié)(stanza/strophe),每節(jié)由若干詩行(line/verse)組成(每行詩均以大寫字母開頭)；有的詩則不分節(jié)。目前我們常見的詩體有：十四行詩(Sonnet)，源于中世紀民間抒情短詩，十三、十四世紀流行于意大利，意大利彼特拉克(Petrarch)為代表人物，每行十一個音節(jié)，全詩一節(jié)八行，加一節(jié)六行，韻腳用abba,abba,cdcdcd(cdecde),theItalianSonnetorThePatrarchanSonnet。前八行提問，后六行回答。后來，懷亞特(ThomasWyatt,1503-1542)將十四行詩引人英國，五音步抑揚格，全詩三個四行一個二行，前三節(jié)提問，后二句結論。斯賓塞(EdmundSpenser,1552-1599)用韻腳abab,bcbc,cdcd,ee(theSpenserianSonnet)。莎士比亞(WilliamShakespeare,1564-1616)用韻腳abab,cdcd,efef,gg，稱英國式(theEnglishSonnet)或莎士比亞式(theShakespeareanSonnet)。EdmundSpenser-Sonnet75OnedayIwrotehernameuponthestrand,Butcamethewavesandwasheditaway:AgainIwroteitwithasecondhand,Butcamethetide,andmademypainshisprey.Vainman,saidshe,thatdoestinvainassayAmortalthingsotoimmortalize,ForImyselfshallliketothisdecay,Andeekmynamebewipedoutlikewise.Notso(quothI),letbaserthingsdeviseTodieindust,butyoushalllivebyfame:Myverseyourvirtuesrareshalleternize,Andintheheavenswriteyourgloriousname.WherewhenasDeathshallalltheworldsubdue,Outloveshalllive,andlaterliferenew.Sonnet18ShallIcomparetheetoasummer'sday?Thouartmorelovelyandmoretemperate:RoughwindsdoshakethedarlingbudsofMay,Andsummer'sleasehathalltooshortadate:Sometimetoohottheeyeofheavenshines,Andoftenishisgoldcomplexiondimm'd;Andeveryfairfromfairsometimedeclines,Bychanceornature'schangingcourseuntrimm'dButthyeternalsummershallnotfadeNorlosepossessionofthatfairthouowest;NorshallDeathbragthouwander,stinhisshade,Whenineternallinestotimethougrowest:Solongasmencanbreatheoreyescansee,Solonglivesthisandthisgiveslifetothee.打油詩(Limericks):通常是小笑話甚至是胡諂，一般沒有標題也無作者姓名，含有幽默諷刺性，常運用雙關，內韻等手法。每首詩五個詩行，押韻為aabba，格律以抑揚格和抑抑揚格為主。TherewasayoungladyofNiggerWhosmiledassherodeonatiger;TheyreturnedfromtherideWiththeladyinside,Andthesmileonthefaceofthetiger.無韻體(BlankVerse):也叫素體詩，五音步抑揚格，不押韻詩體。Acrossthewaterybale,andshoutagain,Responsivetohiscall,--withquiveringpeals,Andlonghalloos,andscreams,andechoesloud.Redoubledandredoubled:concoursewildOfjocunddin!…自由詩(FreeVerse):現(xiàn)代詩中常見的體式，長短不同的詩行存在于同一首詩中，不講究押韻與格律，只注重詩歌所表達的意象和傳遞的情感。美國詩人WaltWhitman的<<草葉集>>(LeavesofGrass)中，就采用此格式。1ICELEBRATEmyself,andsingmyself,AndwhatIassumeyoushallassume,Foreveryatombelongingtomeasgoodbelongstoyou.Iloafeandinvitemysoul,Ileanandloafeatmyeaseobservingaspearofsummergrass.Mytongue,everyatomofmyblood,form'dfromthissoil,thisair,Bornhereofparentsbornherefromparentsthesame,andtheirparentsthesame,I,nowthirty-sevenyearsoldinperfecthealthbegin,Hopingtoceasenottilldeath.Creedsandschoolsinabeyance,Retiringbackawhilesufficedatwhattheyare,butneverforgotten,Iharborforgoodorbad,Ipermittospeakateveryhazard,Naturewithoutcheckwithoriginalenergy.四、詩的評判對一首詩，個人的感受會有不同。節(jié)奏流暢、語言精煉、聯(lián)想新穎的詩可算是好詩。而堆砌詞藻、一味抒發(fā)感情而無實際內容的詩，只能是下乘的詩。二十世紀英美詩歌大量采用自由詩體，接近口語，可謂大膽創(chuàng)新，大概也是詩歌發(fā)展的大勢所趨吧。Referencebooks:ASurveyofEnglishPoetry《英詩概論》羅良功編著武漢大學出版社《詩詞格律》（詩詞常識名家談四種）王力著中華書局1.OnFirstLookingintoChapman’sHomerJohnKeatsMuchhaveItraveledintherealmsofgoldAndmanygoodlystatesandkingdomsseen;RoundmanywesternislandshaveIbeenWhichbardsinfealtytoApollohold.OftofonewideexpansehadIbeentoldThatdeep-browedHomerruledashisdemesne;YetdidIneverbreatheitspuresereneTillIheardChapmanspeakoutloudandbold;ThenfeltIlikesomewatcheroftheskiesWhenanewplanetswimsintohisken;OrlikestoutCortezwhenwitheagleeyesHestaredatthePacific--andallhismenLook'dateachotherwithawildsurmise—Silent,uponapeakinDarien.2.OnTheGrasshopperAndCricketJohnKeatsThepoetryofearthisneverdead:Whenallthebirdsarefaintwiththehotsun,Andhideincoolingtrees,avoic