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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)
是
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”
与
“
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”
和
“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
和
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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