关于英诗

“人生不止眼前的苟且，还有诗与远方。”

诗，未必是读不懂的诗。远方，未必是到不了的远方。

诗，源于生活，无事不成诗，无处不是诗。诗，又高于生活，能诗意栖居者寥寥。

所以，笔者打算从这期开始读诗，帮助读者发现语言之美，顺便提高语言能力。您若喜欢，那就听听。不喜，绕道便是。

下面，我们来读这首诗： Stopping by Woods on a Snowy Evening 。

Stopping by Woods on a Snowy Evening

By Robert Frost

Whose woods these are I think I know

His house is in the village though;

He will not see me stopping here

To watch his woods fill up with snow

My little horse must think it queer

To stop without a farmhouse near

Between the woods and frozen lake

The darkest evening of the year

He gives his harness bells a shake

To ask if there is some mistake

The only other sound's the sweep

Of easy wind and downy flake

The woods are lovely, dark and deep,

But I have promises to keep,

And miles to go before I sleep,

And miles to go before I sleep

雪夜林畔小驻

余光中 译

想来我认识这座森林，

林主的庄宅就在邻村，

却不会见我在此驻马，

看他林中积雪的美景。

我的小马一定颇惊讶：

四望不见有什么农家，

偏是一年最暗的黄昏，

寒林和冰湖之间停下。

它摇一摇身上的串铃，

问我这地方该不该停。

此外只有轻风拂雪片，

再也听不见其他声音。

森林又暗又深真可羡，

但我还要守一些诺言，

还要赶多少路才安眠，

还要赶多少路才安眠。

词 汇

注： downy flake 这种用法仅限于诗歌中使用。

解 析

1

Stopping by Woods on a Snowy Evening (By Robert Frost)

该诗的题目需要注意两个介词：

① by: past and beyond通过; 经过

② on: 后接具体的时间，如on Monday evening (在周一晚上)，on a snowy evening (在一个雪夜) 。

关于作者——罗伯特·弗罗斯特

Robert Frost (1874-1963) 是美国最著名的诗人之一。他的诗曾四次获得Pulitzer奖。Frost的许多诗是描写乡下农村生活的。他的诗也以富有哲理而著名。他曾说过：他的梦想是要写出“几首很难被人抛弃的诗”。Frost的最著名的诗包括：《摘苹果之后》《补墙》《没有走过的路》《雪夜林边小驻》。最后这一首是美国学校中最常研读的诗之一。[1]

[1] Beckerman, H，王维东等走遍美国：全新版下册[M] 北京：外语教学与研究出版社，2004：135

2

Whose woods these are I think I know

His house is in the village though;

He will not see me stopping here

To watch his woods fill up with snow

第一小节，写主人公风雪兼程，却突然路过友人林地，思绪万千。

需要分别加以注意的是：

① 押韵：know与though两词以及snow词尾音素相同，所以押的是 [əʊ] 的尾韵。

② 倒装：Whose woods these are I think I know 其正常语序是：I think I know whose woods these are

但为了寻求韵脚，不得不调整句子结构，好处在于强化了诗中人物情感，即主人公牵着马在故人林边停留，本想上门拜访，却苦于行程吃紧，最终不得不作罢。这种无奈溢于言表。

句型：stop to do sth 停下来做另一件事，文中是指主人公停止赶路，转而在林边驻足。

3

My little horse must think it queer

To stop without a farmhouse near

Between the woods and frozen lake

The darkest evening of the year

该小节的亮点在拟人 (Personification) 修辞。

作者赋予马儿以人的形象，揣摩着主人在树林驻留的这一奇怪举动，让人印象深刻。这也正好是对上一段情节的补充。

Between the woods and frozen lake / The darkest evening of the year

介词between置于句首，句子倒装，仍是出于尾韵的考虑。queer, near, year三词均押了 [ɪr] 的韵脚。

此外，“the darkest evening of the year”也透露出故事发生背景：隆冬深夜时分。

4

He gives his harness bells a shake

To ask if there is some mistake

The only other sound's the sweep

Of easy wind and downy flake

第三小节依然以马儿视角展开，说马儿不解主人风情，摇铃示意主人不要犯傻，继续前行。

此时，林中微风习习，雪花飘落，十分静谧。这种静，反而更能衬出主人公内心的动（思之久，情之切）。

后两句要注意语序，原句是：The only other sound’s the sweep / Of easy wind and downy flake

显然，the sweep后应紧跟of easy wind and downy flake才是完整的名词组，但为了句子平衡（长度相似），便将介词和两个并列名词置于最后。但朗读时，出于句子完整性考虑，建议将sweep与of连读。

5

The woods are lovely, dark and deep,

But I have promises to keep,

And miles to go before I sleep,

And miles to go before I sleep

最后一小节，是陷入“回忆杀”的主人公转过神来，认清现实，决意继续赶路。

修辞上，请再次注意尾韵 (Rhyme) 这种修辞，四句句末都押的是 [ip] 的韵脚。

同时，反复 (Repetition) 修辞的运用恰到好处，是画龙点睛之笔，不仅增强了句子的气势，还突出了人物内心的矛盾与无奈。很多人认为该句蕴含哲理，其实是一种类似“革命尚未成功，同志仍需努力”或任重而道远的感慨。

It

starts

with

one

thing，I

don't

know

why

阴影不知从何处滋生，我不明白为什么

It

doesn't

even

matter,how

hard

you

try

无论多么努力都于事无补

Keep

that

in

mind，I

designed

this

rhyme

它挥之不去，牢据在心，我已构思好歌曲的韵脚

To

explain

in

due

time

伺机而动，再去解释

All

I

know…

我所知的一切

Time

is

a

valuable

thing

时间确实应该被珍视

Watch

it

fly

by，As

the

pendulum

swings

看钟摆摆动，时间飞逝

Watch

it

count

down，To

the

end

of

the

day

从早到晚，凝视时针倒数

The

clock

ticks

life

away

时钟“嘀嗒”，恍若隔世

It's

so

unreal…

那真不现实

Didn't

look

out

below

未曾注意身后

Watch

the

time

go，Right

out

the

window

观望时间正在窗外游走

Trying

to

hold

on,But

didn't

even

know

试图把握，却未曾明了

Wasted

it

all

just

虚度了所有光阴

To

watch

you

go…

仅仅是来遥望你的离去

I

kept

everything

inside

，

一切的一切，我都铭记在心

And

even

though

I

tried,It

all

fell

apart

尽管我曾力挽狂澜，但事情终究崩溃

What

it

meant

to

me

will

eventually

be

a

这就意味着我最终只能将它当作一段模糊的回忆

Memory

of

a

time

when

那就是……

I

tried

so

hard

我如此努力地尝试过

And

got

so

far

却差之千里

But

in

the

end

结果到头来

It

doesn't

even

matter

那根本是无济于事

I

had

to

fall

我只能沦陷

To

lose

it

all

失去原本的一切

But

in

the

end

但在最后

It

doesn't

even

matter

那根本不值一提

One

thing,I

don't

know

why

那件事，我不明白

It

doesn’t

even

matter,how

hard

you

try,

无论多么努力都于事无补

Keep

that

in

mind,

它挥之不去，牢据在心

I

designed

this

rhyme,

而我已构思好歌曲的韵脚

To

remind

myself

how，

再提醒我自己，

I

tried

so

hard

曾多么努力…

In

spite

of

the

way，You

were

mocking

me

除了这种常常被你讥讽的志向

Acting

like

I

was，Part

of

your

property

我一直像你掌中的玩物一样

Remembering

all

the

times

,you

fought

with

me

时常回忆你我嬉笑打闹的每一幕影像

I'm

surprised

it

got

so

far

我惊讶于那些时光早已远扬

Things

aren't

the

way，They

were

before

沧海桑田，时过境迁

You

wouldn't

even，Recognise

me

anymore

（即使再次重逢），你将也不会认出我

Not

that

you，Knew

me

back

then

你不曾了解我不久后就会回来

But

it

all

comes，Back

to

me

(in

the

end)

但结果到头来，一切都重蹈覆辙

You

kept

everything

inside

一切的一切，你也牢记在心

And

even

though

I

tried,It

all

fell

apart

尽管我曾力挽狂澜，但事情终究崩溃

What

it

meant

to

me

will

eventually

be

a

这就意味着我最终只能将它当作一段模糊的回忆

Memory

of

a

time

when

那就是……

I

tried

so

hard

我如此努力地尝试过

And

got

so

far

却差之千里

But

in

the

end

结果到头来

It

doesn't

even

matter

那根本是无济于事

I

had

to

fall

我只能沦陷

To

lose

it

all

失去原本的一切

But

in

the

end

但在最后

It

doesn't

even

matter

那根本不值一提

I've

put

my

trust

in

you

我全心全意地信赖你

Pushed

as

far

as

I

can

go

即使被排挤到宇宙的尽头

For

all

this

对于这一切

There's

only

one

thing

you

should

know

你了解这一件事就已足够

I've

put

my

trust

in

you

我全心全意地信赖你

Pushed

as

far

as

I

can

go

即使被排挤到宇宙的尽头

For

all

this

对于这一切

There's

only

one

thing

you

should

know

你了解这一件事就已足够

I

tried

so

hard

我如此努力地尝试过

And

got

so

far

却差之千里

But

in

the

end

结果到头来

It

doesn't

even

matter

那根本是无济于事

I

had

to

fall

我只能沦陷

To

lose

it

all

失去原本的一切

But

in

the

end

但在最后

It

doesn't

even

matter

那根本不值一提

英语诗歌的韵律dasha英诗节奏(Rhythm)

构成英诗节奏的基础是韵律(metre)。在希腊语中，“metre”这个字是“尺度(标谁)”的意思。英诗就是根据诗行中的音节和重读节奏作为“尺度(标准)”来计算韵律的。

英诗的特点之一是与其他文体不同的排列格式。各诗行不达到每页页边，每行开始词首大写。几行成为一节(stanza)，不分段落。各行都要讲究一定的音节数量，行末押韵或不押韵，交错排列。

……音节重读(stressed)，非重读(unstressed)。……这就是一种正规的重读形式，在诗歌中即体现为韵律。研究诗歌韵律规则的科学叫作韵律学(Prosody)。

1．音步(Foot)：

英诗中这种重读与非重读音节的特殊性组合叫作音步。一个音步的音节数量可能为两个或三个音节，但不能少于两个或多于三个音节，而且其中只有一个必须重读。分析英诗的格律就是将它划分成音步，并区分出是何种音步以及计算音步的数量。这种音步划分叫scansion。根据一首英诗组成的音步数量，每一诗行一个音步称“单音步”(monometer)；每一诗行有两个音步的，称“双音步”(dimeter)；含有三个音步的，称“三音步”(trimeter)；此外还有四音步(tetrameter）、五音步、(pentameter)、六音步(hexameter)、七音步(heptameter)、八音步(octometer)。

Is this | a fast, | to keqp

The lard | or lean

And clean (Herrick)

2．韵律(Metre)： 英诗的韵律是依据音步包含音节的数量及重读音节的位置而加以区分的。传统英诗的音步有六种：即抑扬格(Lambus)、扬抑格(Trochee)、抑抑扬格(Anapaest)、扬抑抑格(Dactyl)及抑扬抑格(Amphibrach)：

(Anapaest)、扬抑抑格(Dactyl)及抑扬抑格(Amphibrach)：

“⌒”非重读音节；“／”重读音节。

涂寿鹏编著 , 《英文诗歌导读》

英诗的韵

英语诗歌的押韵可以根据单词的内音素重复的部位不同而分成不同种类，最常见的有头韵（Alliteration）、谐元韵（Assonance）和尾韵（Rhyme）。头韵指词首重复，如great和grew；谐元韵是指词中重读元音重复，如great和fail；尾韵则指词尾音素重复，如great和bait。但一行诗中可能同时存在多种押韵形式：

The light that lies in women's eyes --Thomas Moore

这行诗中既有头韵light和lies，谐元韵light、lies、eyes，又有且有尾韵（这种押韵方式称行中韵middle rhyme）lies和eyes。

英语诗歌的行与行之间的押韵格式称韵法（rhyming scheme）。常见有两行转韵（AABB）、隔行押韵（ABCB）、隔行交互押韵（ABAB）和交错押韵（ABBA）。

（Dasha整理）

英诗体例：

十四行诗(sonnet)：过去也曾音译为《商籁诗》。十四行，抑扬格，五音步用作全诗的形式。首先出现于意大利，16世纪中传入英国，为伊丽莎白时代(伊丽莎白一世在位时期为1558一1603)文人所宠爱，莎士比亚、斯宾塞及西德尼(sidney)全都写下过著名的十四行诗。18世纪十四行诗曾受到冷落。但后又被浪漫派诗人济慈、沃兹沃斯等人所复兴，以后许多诗人也多所采用。英国十四行诗有两种类型：意大利式(Petrarvhan)及莎士比业式(Shakesperoan)(英国式)。 A．意大利式十四行诗：模仿意大利诗人皮特拉克(Petrarch)所创的样式，由两部分组成：第一部分八行(TheOctave)，由的个四行诗体(Quatrains)组成，韵脚是abbaabba；第二部分六行(The Sestet)，韵脚可有不同形式。按严格的意大利十四行诗体，在前八行结尾诗意应告一段落，而后六行又转入新的诗意。 B．莎士比亚式十四行诗：由三个四行诗体组成，韵脚交替进行。最后是押韵的双行诗体。整个韵脚是ababcdcdefefgg。在莎士比亚式十四行诗中意境一气呵成，直到最后双行体，为全诗高潮。除莎士比亚外，其他诗人也采用此种形式。

SONNET 21

So is not with me as with that Muse,

Stirr'd by a painted beauty to his verse,

Who heaven itself for ornament doth use

And every fair with his fair doth rehearse,

Making a couplement of proud compare,

With sun and moon, with earth and sea's rich gems

With April's first-born flowers, and all things rare

That heaven's air in this huge rondure hems

O, let metrue in love, but truly write,

And then believe me, my love is as fair

As any mother's child, though not so bright

As those gold candles fix'd in heaven’s air

Let them say more that like of hearsay well;

I will not praise that purpose not to sell

(Shakespaere)

《十四行诗集》第21首

我的诗神①并不像那一位持神

只知运用脂粉涂抹他的诗句，

连苍穹也要搬下来作妆饰品，

罗列每个佳丽去称赞他的佳丽，

用种种浮夸的比喻作成对偶，

把他之太阳、月亮、海陆的瑰宝，

四月的鲜花，和这浩荡的宇宙

蕴藏在它的怀里的一切奇妙。

哦，让我既真心爱，就真心歌唱，

而且，相信我，我的爱可以媲美

任何母亲的儿子，虽然论明亮

比不上挂在天空的金色烛台。

谁喜欢空话，让他尽说个不穷；

我志不在出售，自用不着祷颂。

见《梁宗岱译诗集》，第107页，湖南人民出版社，1983年版。 ①(原译注)诗神：即诗人，下面用男性代词“他”字。

涂寿鹏编著 , 《英文诗歌导读》 , 第38页

哀歌 elegy 为哀悼一位公共活动家、一位友人或所爱的人而写的一种沉思抒情诗；推而广之，又指悲叹人世无常的、题材更广泛的任何内省性质的抒情诗。在古典文学中，所谓哀歌只不过用哀歌格律（诗行交替使用扬抑抑格的六音步句和五音步句)写的诗篇，题材也不限制。在某些现代文学，例如德国文学中，人们使哀歌格律适应于语言，因此哀歌一词变成只指这种格律，而不是指诗歌的内容。

《简明不列颠百科全书》中国大百科全书出版社1985年版170页

超星存其它可参阅的读物（Dasha注：文中许多概念不统一，请注意，以其中英文的定义为准）：

谢祖钧 , 《英语修辞》 , 1988年6月第1版 , 第151-179页

王佐良 丁往道 , 《英语文体学引论》 , 1987年12月第1版 , 第365-385页

陈淑华 , 《英语修辞与翻译（英汉对照）》 , 1990年6月第1版 , 第321-324页

徐鹏 , 《英语辞格》 , 1996年10月第1版 , 第341-450页

梁守涛《英诗格律浅说》商务印书馆1979

Metrics in English Poetry By Samuel Schuman, Univ of MN, Morris

Metrics How to go about the analysis of the rhythm, the meter and the rhyme scheme of an English poem

(作者通篇都是用下面这首简单的小诗来介绍诗歌)

A Stupid Poem

I put my hat upon my head And walked into the strand And there I met another man Whose hat was in his hand

First, divide the lines into syllables(音节), and count them:

I / put / my / hat / up/on / my / head (8) And / walked / in/to / the / strand (6) And / there / I / met / a/noth/er / man (8) Whose / hat / was / in / his / hand (6)

(诗歌分析的第一步是划分 音节。 对我们这样非英语母语的人可能有点困难。 基本的方法是一个元音一个音节， 例如 upon是两个音节，another是三个音节。 有的时候诗人为了强调方言等原因， 会使用省略字， 这种情况就要具体问题具体分析了。 也有的时候是为了凑音节而省略的)

Which syllables are accented or “stressed”(重读)

“Stress” in English poetic metrics means “said loudly” It has nothing to do with the tension in your life The symbol u means unstressed; the symbol / means stressed(诗歌里的重读，与一个单词本身发音里的重读未必是一回事。 一般来说，重读的词，都是有实际意义， 在句子中起重要作用的词。 只要听清重读的词，就能够理解一句话的意思。 比如第一句， 听清了 put/hat/pon/head 这四个字就大致知道说的是什么， 而只听清楚 I/my/u/my 这四个字的话)

u / u / u / u /

u / u / u / u / I put my hat upon my head u / u / u / And walked into the strand u / u / u / u / And there I met another man u / u / u / Whose hat was in his hand

Notice the pattern of stressed and unstressed syllables:

In this poem, there is a repeated pattern of one unstressed syllable followed by one stressed syllable: (在这首诗里面， 总是一个重读的音节跟着一个非重读的音节)

I PUT / my HAT / upON / my HEAD

The smallest unit (always 2 or 3 syllables) of repeated patterned stress is called a “poetic foot”(音步 我译的对吗？) Here, the first foot is “I put” the second “my hat” and so on(若干个重读/非重读的音节重复出现，就构成了诗歌里最小的组成部分 - 音步)

In this idiotic poem, the lines are made up of alternating numbers of “feet:” Line 1 has 4 feet, line 2 has 3 feet, line 3 has 4 feet, and line 4 has 3 feet(这首诗的音步是交替的 四音步/三音步)

Here, I’ve indicated the “feet:”

I put my hat upon my head (4 ft) And walked into the strand (3) And there I met another man (4) Whose hat was in his hand (3)

Types of Poetic Feet

u / Iambic (抑扬格) - unstressed, stresssed (u /) - re peat

/ u Trochaic (扬抑格) - (/ u) - un it

u u / Anapestic(抑抑扬格) - (u u /) - in ter cede

/ u u Dactylic(抑扬扬格) - (/ u u) - wash ing ton (这个单词字典上没查到，是我自己杜撰的）

/ / Spondaic（扬扬格） - (/ /) - heart break

Types of Poetic Lines (Number of Feet)(下面就简单了，学过字根的应该都认识哦。 单音步，二音步，以次类推。）Monometer - 1 foot (eg “I put”) Dimeter - 2 (I put my hat) Trimeter - 3 (I put my hat upon) Tetrameter - 4 (I put my hat upon my head) Pentameter - 5 Hexameter - 6 Heptameter - 7Sofor example, “trochaic tetrameter(扬抑格四音步）” is a line with 4 feet (8 syllables) with a pattern of stress-unstress in each foot: (一句题外话， 中文的什么 五音步抑扬格， 除了考试，还得是中文考试，或者骗骗MM, 一点用处也没有。)

/ u / u / u / u Lovely Morris figures rebates

and, “iambic pentameter” means five feet (10 syllables) with each foot consisting of an unstressed syllable followed by a stressed syllable:

u / u / u /u / u / “Which alters when it alteration finds”

Most of Shakespeare’s verse is “iambic pentameter” (知道莎翁用的大部分是 五音步抑扬格，就可以开始骗人喽)

What is the form of the “stupid poem” we have been examining

u / u / u / u / I put my hat upon my head u / u / u / And walked into the strand u / u / u / u / And there I met another man u / u / u / Whose hat was in his hand

ANSWER:It is all iambic, with alternating lines of TETRAMETER (4 feet - lines 1 & 3) and TRIMETER (3 feet - lines 2 & 4) No problem, right

And now, for something easier--

Rhyme Schemes(韵律安排？)The sound of the last syllable of every line is assigned a letter, beginning with “a”(韵律划分是诗歌分析的关键。 每一行的最后一个音节是一个韵律，用字母表示。 第一个韵律是a, 以次类推。 遇到和前面重复的韵律就用和前面相同的字母标记。)

I put my hat upon my head (a) And walked into the strand (b) And there I met another man (c) Whose hat was in his hand (b) The rhyme scheme is: a b c b

Stanzas(节）

The combination of rhythm (that is, “iambic, trochaic, dactylic”, etc), meter (that is, tetrameter, pentameter, hexameter, etc), and rhyme scheme (for example, “a b c b”) can create certain stanzaic forms which have become accepted poetic conventions(又是一个很重要的概念。 简单的说，一个 rhyme scheme 就可以当作一个 stanza)

Some of these historically important stanza forms in English poetry are:

Couplets(对句)Any two lines which rhyme, regardless of rhythm and meter(couplets 是诗歌最早的形式，压韵即可)

Example of a COUPLET

Candy Is dandy

Heroic Couplet(我找不到准确的译法，好象是英雄双韵体英雄双句体)Two lines which rhyme (a couplet) which are written in iambic pentameter The “Heroic Couplet” was the dominant form of English poetry in the 18th century, and lots of authors from Chaucer to the present have used this form

Example of an HEROIC COUPLET英雄双韵体

Say first, of God above, or man below What can we reason, but from what we know

(from Alexander Pope, An Essay on Man )

Quatrains(四行诗)

Any stanza with 4 lines

Candy Is dandy But liquor Is quicker

Ballad Stanza()

A “quatrain” with alternating tetrameter and trimeter Eg, the idiotic poem we have been studying! I put my hat upon my head And walked into the strand And there I met another man Whose hat was in his hand

A serious example of BALLAD STANZA

The king sits in Dumferline town, Drinking the blood-red wine: “O where will I get a good sailor To sail this ship of mine”

from anonymous, Sir Patrick Spens (after 1200)

The Sonnet(十四行诗)

14 lines Iambic pentameter Two main types:

Italian or Petrarchan( 彼特拉克体十四行诗) - Two quatrains plus a “sestet” (6 line unit) - often abba abba cdecde

English or Shakespearean(莎士比亚体十四行诗) - Three quatrains plus a couplet - often abab cdcd efef gg

An Italian Sonnet

Divers doth use, as I have heard and know, When that to change their ladies do begin To mourne and wail, and never for to lin, Hoping thereby to pease their painful woe And some there be, that when it chanceth so That women change and hate where love hath been, They call them false and think with words to win The hearts of them which otherwhere doth grow But as for me, though that by chance indeed Change hath outworn the favor that I had, I will not wail, lament, nor yet be sad, Nor call her false that falsely did me feed, But let it pass, and think it is of kind That often change doth please a woman’s mind Wyatt, Divers Doth Use (c 1540)

A Shakespearean Sonnet

That time of year thou mayst in me behold When yellow leaves, or none, or few do hang Upon those boughs which shake against the cold, Bare ruined choirs, where late the sweet birds sang In me thou seest the twilight of such day As after sunset fadeth in the west; Which by and by black night doth take away, Death’s second self that seals up all the rest In me thou seest the glowing of such fire, That on the ashes of his youth doth lie, As the deathbed whereon it must expire, Consumed with that which it was nourished by This thou perceiv’st which makes thy love more strong, To love that well, which thou must leave ere long (1609)

Blank Verse(无韵诗)

Unrhymed iambic pentameter Torment, sweet friend, that base and aged man That durst dissuade me from thy Lucifer, With greatest torments that our hell affords Marlowe, Dr Faustus (1604)

Some other stanzaic forms

Rime royal - 7 lines, iambic pentameter, rhyming ababbcc Ottava rima - 8 lines rhyming abababcc Spencerian stanza - 9 lines, rhyming ababbcbcc, first 8 lines iambic pentameter, line 9 iambic hexameter You don’t need to know these !!!

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