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毛冰英语诗歌中的韵律和在翻译中的处理

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2021-01-12 01:28
tags:英语诗歌, 翻译, 少儿英语

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2021年1月12日发(作者:袁液)

英语诗歌中的韵律和在翻译中的处理


文|何功杰


(一)英语诗歌中的韵律



诗人比其他的作家更注重 语言的音乐性,他们常常通过语言的音乐
性来烘托或加强他们所要表达的思想内容。诗歌中语言的音乐性 包括语
音(sound)和节奏(rhythm)两大要素,其中的韵属于语音因素。
请读下面 的诗节:

The curfew tolls the knell of partingd
ay,

The lowing herd wind slowly o’er thel
ea
,

The ploughman homeward plods hisweary w
ay

And leaves the world to darkness andto m
e.

(from

Elegy Written in a CountryChurchyard

by
Thomas Gray)

这一诗节中1、3行和2、4行分别押韵,幽长的音韵和缓慢的节奏,
大大加强了这首诗低沉、 幽思和哀婉的气氛,诗人一开始就以音义结合
非常紧密的音乐性突出了全诗哀婉的主题。

什么是韵?



押韵的语言是一种特殊的语言,尽管现代诗歌不太 讲究押韵,但诗
歌中的韵毕竟是区分诗和其他文学品种的重要标志之一,也是诗歌音乐
性的重要 因素之一。“韵”是和谐之音,广义言之,英语中的“韵”就
是任何两个相同的音的重复,包括元音或辅 音的重复。狭义言之,英语
中的“韵”是诗行末尾几个单词音节读音的一致。

在英语 中,“韵”指的是单词相同的发音,而不是单词的拼写,如
“calm—arm”,“light—he ight”“,time—rhyme”,“no—know”,
“hay—sleigh”,这四对词 ,尽管每对词拼写不一样,但每一对词中
的元音或元音后面辅音的发音都相同,所以它们都分别押韵。< br>
韵律(rhyme scheme)是指一首诗中韵式的安排, 常用一个斜体字
母代表诗行末尾某个相同的韵,如下面诗节的韵律(pattern of rhyme)

ababcbcd
:

When we two parted
a

In silence and tears,
b

Half broken-hearted,
a

To sever for years,
b

Pale grew thy cheek and cold,
c

Colder thy

kiss;
d

Truly that hour foretold
c

Sorrow to this!
d

(From

When We Two Parted

byGeorge Gordon
Byron)



韵的种类



英语中韵的种类可细分成很多类。其种类可以按照发 音的情况、在
诗行中的位置和押韵音节的多少来分类,下面分别介绍:



1、按照发音的情况来分,英语中有元音韵(assonance)

和辅音韵

(consonance):

1)元音韵是相同元音的重复,如“time—tide”,“free—easy”,
“born—warm”,“hard andfast”等。拜伦在他的
She Walks
inBeauty

一诗中,元音

[ei]

在下面两行诗中重复了四次,描写和强调
出了那不可名状的美:


One shade the more, oneray

the less,

Had half impaired the namelessgrace.


2)辅音韵是相同辅音的重复,如“first and last”“,odds and ends”,
“short and sweet”, “astroke of luck”。W. H. 奥登在下面的诗
行中有意运用了辅音韵(r和d),以求达到某种特殊的效果:“‘O where
are you going?’saidreader to rider”(其中的辅音“r”是头韵)。



2、按照押韵所在的位置来分,有尾韵(end rhyme),头韵
(alliterati on)和行中韵(internalrhyme):

1)尾韵(end rhyme)顾名思 义落在诗行之末尾,前面已经提到,
这是诗歌中运用最多的押韵方式。不同的诗节尾韵有不同的韵律安排 ,
以四行诗为例,有aabb,abab,abcb, abba, aaab等押韵方式,英语
诗歌中以双行押韵和隔行押韵最常见:

a)

Ask me no more where Jove bestows
a

When June is past, the fadingrose;
a

For in your beauty‘s orientdeep
b

These flowers, as in their causes,sleep.
b

(From

Song

by ThomasCarew)

b)

Sweet day, so cool, so calm, sobright,

a

The bridal of the earth and sky;
b

The dew shall weep thy fall to night,
a

For thy must die.
b

(From

Virtue

by GeorgeHerbert)


英语诗歌中的民谣体(ballad stanza)主要采用“abcb”式的韵律安
排,如:


It is an ancient Mariner, a

And he stoppeth one of three.
b

—“By thy long grey beard andglittering eye, c

Now wherefore stopp'st thou me?
b

(From

The Rime of the AncientMariner by

Samuel
TalorColeridge)



有人把“abba”式的韵律称之为“抱韵”,有一些道理:


I envy not in any moods
a

The captive void of noble rage,
b

The linnet born within the cage,
b

That never knew the summer woods;
a

(From
In Memoriam
A. H. H. 27 byAlfred, Lord
Tennyson)



丁尼生在《悼念集》的一百三十一首诗中 全部用的是“抱韵”,第
一行和第四行的a韵把两行b韵抱在中间,仿佛把作者的思想包含在脑
子里一样;第一行的a韵和第四行的a韵相隔较远,造成一种悬空和不
稳定感。这种韵律最适合表现内省 、犹豫、怀疑的情绪。丁尼生运用抱
韵来写《怀念集》是最恰当不过的,但在汉语诗歌中找不到这样的韵 律。

2)头韵(alliteration,也称beginning rhyme),这主要是指诗
行中单词开头辅音的重复。在“His death is a

b
itter
b
low to me”中,

b
itter
b
low’两个单词中重复了词首字母‘b’,起到了强调的作用。
在成语 中,头韵是常见不鲜的,如‘
g
ood as

g
old’‘,
s
afe and

s
ound’,

th
ick and

th
in’,‘
r
ight as

r
ain’, ‘with

m
ight and
m
ain’。头
韵用得好 ,读者会从中发现某种惟妙惟肖的联系。在下面的例子中,

m
arried”




m
arred”,“
m
ice”与


m
en”诗人运用头韵,
分别巧妙地暗示了他们之间的内在联系。

a) A young
m
an
m
arriedis a man that's
m
arred.

(
William Shakespeare:
All's Wellthat Ends
Well,)

b) But Mousie, thou art no thylane,

In proving foresight may bevain:

The best-laid scheme o’

M
icean’

M
en

Gang aft agley,

An’ lea’e us nought but grief an’pain,

For promisedjoy!

(From

To a Mouse

by RobertBurns)


(但是,小鼠啊,证明预见是空劳

这岂止是你老鼠一家的烦恼:

人和鼠都一样,计划再好,

都免不了有差误,

留下的只是悲伤和痛苦,

那有欢乐和幸福!)

c) The

f
air

b
reeze
b
low, the white

f
oam
f
lew,

The

f
urrow

f
ollowed
f
ree;

We were the first that everburst

Into that

s
ilent
s
ea.

(From

The Ancient Marriner

byS.T. Coleridge)

头韵在Anglo-Saxon 时期的诗歌中是一种非常普遍而重要的押韵方
式:

In a

s
omer

s
eson - when
s
oft was the

s
onne,

I

sh
ope me in

sh
rouds -as I a

sh
ep were,

In

h
abite as an

h
ermite- un
h
oly of werkes

W
ent
w
yde in this
w
orlde-
w
ondres to here.

Ac on a

M
ay

m
ornynge -on Malvern hulles

Me by
f
el a

f
erly - of
f
airy, me thoughte;

I

w
as

w
ery forwandred -and

w
ent me to reste

Under a

b
roke

b
anke -by a bornes side,

And as I lay and

l
ened - and
l
oked in the waters

I

sl
ombred in a

sl
epyng- it

s
weyved so merye.

(William Langland: Prologue to
Piers Plowman

lines 1 -
10)

下面是用现代英语改写的:

In a

s
ummer

s
eason,when

s
oft was the sunlight,

I

sh
ook on

s
ome
sh
reds

sh
epherdclothing

And

h
abited like a
h
ermit, but not a

h
olyone,

W
ent
w
ide in this
w
orld,
w
atching for
w
onders.

But on a

M
ay

m
orning,on a

M
alvern hilltop,

A

m
arvel befell

m
e, asmight a fairy-tale.

I was

w
eary andfar-
w
andered and

w
ent to restmyself

On a

b
roadish

b
ank
b
y a running

b
rook,

And as I

l
ay

l
eaningand

l
ooking in the water

I

sl
ipped into a
sl
umber, it

sl
id away somerrily.

(Modern version by NevillCahill?)

Anglo-Saxon 时期的诗 歌,每行有四个重音(偶尔也增加到5个
重音),中间有一停顿把诗行隔成前后两部分,每部分各有两个 重音。诗
行中的前三个重音都押头韵,最后一个重音则不必押韵。

14世纪以后,英 语诗歌主要以音节的数目为诗行长短的标准,但头
韵一直被诗人们沿用着,或用以强调意思,或使声音有 一种回环往复的
音乐感,如在“
r
ound and
r
ound the
r
ugged
r
ocks the
r
agged
r
ascal
r
an”一行诗中,头韵就起到了上述的效果。

元音有时也能作头韵,如“
a
ll the
aw
ful
au
guries”,但用得比较
少。

需要提醒一下的是,头韵也不是以拼写而是以发音为准的,如
“Know”



“nail”是押头韵,

但是

“know”和“key”

则不能视
为押头韵。

3) 行中韵(Internal rhyme)是诗行中间的某一个或几个词中的某
个音与行末那个词的重读音节押韵,如:

For my m
i
nd, of allmank
i
nd,

I love but youalone.

(From the ballad

The Nut-BrownMaid
)

在下面两行诗中:

Her goodly e
y
es l
i
kesapph
i
res sh
i
ningbr
i
ght,

Her forehead
i
vorywh
i
te(Edmund Spencer).

其中[ai]这个音反复出现在“eyes”, “like”, “sapphires”“,shining”,
“bright”, “ivory”
< br>和“white”之中,这是典型的行中韵。从这个
例子可以看出,押韵的词也可分别出现在上下 两行。如下面两行中的




也算是行中韵:

We have seen thee, O Love, thou art
fair,

thou art
goodly, OLove;

Thy wings make light in the
air

as wings of dove.

(Algernon CharlesSwinburne)



3、按押韵音节的多少来分,有阳韵(masculine rhyme)和阴韵
(feminine rhyme)。

1)阳韵:韵一般都落在 诗行末尾,如果押韵的音落在行末重读音节
上,这种韵称之为阳韵(masculinerhyme), 如:

Since to look at things bloom
a

Fifty springs are little

room,
a

About the woodland I will go
b

To see the cherry hung withsnow.

b

(From

Loveliest of Trees

byA.E. Housman)

阳韵如果用得恰当,能表现出阳刚之气或激昂的情感,如拜抡的“
Greek
WarSong
”的尾韵押的就是阳韵,与内容结合紧密,韵律是a b a b,
现录该诗的第一节为例:

Sons of Greeks,

arise
!
a

The glorious hours gone

forth
,
b

And, worthy of such

ties
,
a

Display who gave us

birth
.
b

下面再看一例:

Under the greenwood

tree
a

Who loves to live with
me
, a

And turn his merry

note
b

Unto the sweet bird’s

throat.
b

—W. Shakespeare: Under the Green
woodTree

2)阴韵(femininerhyme)。阴韵涉及到两个或两个以上的
音节同时押韵,即不仅重读音 节押韵,重读以后的非重读音节也
押韵。如:

And will make thee beds of

roses
a

And a thousand fragrant

poses;
a

A cap of flower,and a

kirtle,
b

Embroider'd all with leaves ofmyrtle.
b

(From Marlow's

PassionateShipherd
)

阴韵常用在具有喜剧气氛的诗中(comic verse), 能帮助表达一种嬉
戏、轻佻或 轻松的情感;但如果在一般比较严肃的诗中用得恰当,也能
起到很好的效果,如:

a)We poets in our youth begin in
gladness,

But thereof come in the enddespondency and

madness
.

(From

Resolution andIndependence

by
WilliamWordsworth)

b)Teach me to hear mermaid’s
singing

Or to keep off envy’s
stinging
.

(From

Song

by JohnDonne)

c)The age is best which is thefirst,

When youth and blood arewarmer;

But being spent, the worse andworst

Times still succeed theformer.

Then be not coy, but use yourtime;

And while ye may, gomarry,

For having lost but once yourprime,

You may forevertarry.

(From

To the Virgins, To Make Muchof Time

by Robert
Herrick)

阴韵在下面这首诗中有很多运用,如crowing―flowi ng,twitter―
glitter,grazing―raising,defeated―re treated,mountain―fountain,
等等,表现出春回大地的轻松欢快情调:


Written inMarch

WilliamWordsworth



The cock iscrowing,

The stream isflowing,

The small birdstwitter,

The lake doesglitter,

The green fields sleeps in thesun;

The oldest and theyoungest

Are at work with thestrongest;

The cattle aregrazing,

Their heads neverraising;

There are forty likeone.

Like an armydefeated

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