分析英文诗歌韵律

格律是是每个音步轻重音节排列的格式，也是朗读时轻重音的依据。而音步是由重读音节和非重读音节构成的诗的分析单位。重读音节为扬（重），非重读音节为抑（轻），音步之间可用“／”隔开。以下是五种常见格式：1．抑扬格（轻重格）Iambus：是最常见的一种格式，每个音步由一个非重读音节加一个重读音节构成。Asfair/artthou/mybon/nielass,Sodeep/inluve/amI:AndI/willluve/theestill,/mydear,Tilla`/theseas/gangdry:注:art=arethou=youluve=lovethee[thou的宾格]bonnie=beautifla`=allgang=go上例中为四音步与三音步交叉。2．扬抑格（重轻格）Trochee：每个音步由一个重读音节加一个非重读音节构成。下例中为四音步扬抑格（少一个轻音节）。Tiger!/Tiger!/burning/brightInthe/forests/ofthe/night3．抑抑扬格（轻轻重格）Anapaesticfoot:每个音步由两个非重读音节加一个重读音节构成。如：三音步抑抑扬格Likeachild/fromthewomb,Likeaghost/fromthetomb,Iarise/andunbuild/itagain.4．扬抑抑格（重轻轻格）Dactylicfoot:每个音步由一个重读音节加两个非重读音节构成。如：两音步扬抑抑格ˊTouchhernot/scornfully,ˊThinkofher/mournfully.5．抑扬抑格（轻重轻格）Amphibrach：每个音步由一个非重读音节加一个重读音节再加一个非重读音节构成。如：三音步抑扬抑格）下例中双音步为抑扬格。Ohushthee/mybaby/thysirewas/aknight.在同一首诗中常会出现不同的格律，格律解析对朗读诗歌有一定参考价值。现代诗中常不遵守规范的格律。

分析每一句的含义。

读英文诗歌是非常步容易的,这方面的知识极其细致，以下着重就楼主所谓的韵式介绍一些最基本的。(这是一件非常费时费力费神的活儿,所以请允许在下转贴一些现成的东东.^_^)一 节奏诗歌是具有音乐性的语言。音乐作品的最大特点之一是音符的流动是有节奏的。所谓节奏就是强拍和弱拍按一定的形式配合起来，有规律地反复出现。懂点音乐的人都知道，音乐中基本的节奏有两种，即强——弱（2/4拍）和强——弱——弱（3/4拍）。举个简单的例子：《新年好》（HAPPY NEW YEAR）这首儿歌的节奏是强——弱——弱：11 1 5 │33 3 1│13 5 5 │43 2 —│23 4 4 │32 3 1│13 2 5│72 1 —│中国古诗讲究平仄,富有节奏,英文没有平声、仄声之分，但有重读轻读音节之分，其节奏是通过重读音节与轻读音节表现出来的。一个重读音节与一个或两个轻读音节按一定的模式搭配起来，有规律地反复出现就是英文诗歌的节奏。我们知道凡是有两个以上音节的英文单词，都有重读音节与轻读音节之分，在一句话中，根据语法、语调、语意的要求，有些词也要重读，有些要轻读。如he went to town to buy a book.. I’m glad to hear the news. 英文中有重读和轻读之分，重读的音节和轻读的音节，按一定模式配合起来，反复再现，组成诗句，听起来起伏跌宕，抑扬顿挫，就形成了诗歌的节奏。多音节单词有重音和次重音，次重音根据节奏既可视为重读，也可视为轻读。读下面这两句诗：Alone │she cuts │and binds│ the grain,And sings │a me│lancho│ly strain.这两行诗的重读与轻读的固定搭配模式是：轻——重。在每行中再现四次，这样就形成了这两行诗的节奏。某种固定的轻重搭配叫“音步”（foot），相当与乐谱中的“小节”。一轻一重，就是这两行诗的音步。一行诗中轻重搭配出现的次数叫音步数，这两行诗的音步数都是四，所以就称其为四音步诗。二 常见的音步类型音步是轻读与重读构成的。根据重读与轻读搭配的方式的不同，可以划分出不同的音步类型。音步类型不同，节奏自然也不同。最常见的音步类型有以下四种：（一） 抑扬格如果一个音步中有两个音节，前者为轻，后者为重，则这种音步叫抑扬格音步，其专业术语是（iamb, iambic.）。轻读是“抑”，重读是“扬”，一轻一重，故称抑扬格。英语中有大量的单词，其发音都是一轻一重，如adore, excite, above, around, appear, besides, attack, supply, believe, return等，所以用英语写诗，用抑扬格就很便利。也就是说，抑扬格很符合英语的发音规律。因此，在英文诗歌中用得最多的便是抑扬格，百分之九十的英文诗都是用抑扬格写成的。前面的那两句诗就是抑扬格诗。（二）扬抑格如果一个音步中有两个音节，前者为重，后者为轻，则这种音步叫扬抑格音步，其专业术语是（trochee, trochaic.）。重读是“扬”，轻读是“抑”，一重一轻，故称扬抑格。与抑扬格恰好相反。英语中也有一批其读音为一重一轻的单词，如Happy, many, holy, yonder, headlong, flaming, upper, grandeur, failing等。写扬抑格的诗，此类词正好合适。但这类词在英语中其数量不及前面的那些多，与英文的语言规律不十分吻合，所以扬抑格诗不多。举两句诗例：Present │mirth has │present │laughterShakespeareShake your │chains to │earth like │dewShelley（三） 抑抑扬格抑抑扬格含三个音节，即轻——轻——重，专门术语是：Anapaest, anapaestic例词：cavalier, intercede, disbelieve, reappear, disapprove, indistinct, on the hill.例句：拜伦的以下四行诗是抑抑扬格：The Assyr│ian came down │like the wolf │on the fold,And his coh│orts were glea│ming in purp│le and gold;And the sheen│ of their spears │was like stars │on the sea,When the blue │waves rolls night│ly on deep │Galilee.——Destruction of Sennacherib这是拜伦写的描述古代亚述人围攻耶路撒冷，被瘟疫所袭的诗的一节。第四行第二音步中的waves 一词可轻可重。诗题中的Sennacherib 是亚述国王。fold 指羊群， purple and gold 描写亚述军队的服饰，Galilee，巴勒斯坦北部的加利利湖。cohorts军团， sheen，光芒。（四） 扬抑抑格重——轻——轻是扬抑抑格，专门术语是：dactyl, dactylic. 例词：happily, merciful, eloquent, messenger, merrily, properly, accident, quantity.例句：Dragging the │corn by her │golden hair. Davies: the villain.英文诗歌中的音步类型有十几种之多，常见者即此四种，第一种则最常见。此外诗句中也常有抑抑格（pyrrhic[/peirik]和扬扬格(spondee[/sp :ndi])出现。需要说明的是，这些音步类型只是理论上的分析，实际上，一首诗仅用一种音步类型写，这种情况极少见，大多是以某一种为主，同时穿插其他类型。如果一首诗只含有一种音步，就会显得非常单调机械。一首诗只要是以某种类型为主的，尽管有其他类型穿插其中，也称此诗为某某格。如，以抑扬格为主要节奏写成的，就称此诗为抑扬格诗。现代兴起的一些自由诗（FREE VERSE），不受这些格律的限制。三 诗行（一） 一诗行不一定是一个完整的句字。英文诗每行的第一个字母都大写，但是一诗行不一定是一个完整的句子，不一定能表达一个完整的意思。有时候，一行诗正好是一句，有时两行甚至许多行才构成一个意思完整的句子。前者叫end-stopped line（结句行），后者叫run-on line.（跨行句）。这是英文诗与中国诗的最大区别之一。中国诗歌都是一行表达一个完整的意思。看下面一节诗：I shot an arrow into the air,It fell to earth, I knew not where;For, so swiftly it flew, the sight Could not follow it in its flight.前两行是end-stopped line，后两行是run-on line。读跨行句诗，行末停顿较短。跨行句在英文诗歌中极其普遍，有时十来行才成一完整句子。刚学英文诗的人，对此往往不习惯。对此我们需加注意。（二） 诗行的长短以音步数目计算：英文诗行的长度范围一般是一音步——五音步。六、七、八音步的诗行也有，但不多。最多的是四音步、五音步的诗。（各种长短诗行的专门术语：一音步诗：monometer 二音步诗：dimeter三音步诗：trimeter四音步诗：tetrameter 五音步诗：pentameter 六音步诗：hexameter 七音步诗：heptameter八音步诗：octameter.）在分析一首诗的格律时，既要考律此诗的基本音步类型，也要考律此诗中诗行的音步数目。看下面的一首短诗：An EMPTY HOUSEAlexander PopeYou beat│your pate, │and fan│cy wit │will come:Knock as│you please, │there’s no│body│at home.（你拍拍脑袋，以为灵感马上就来。可任你怎么敲打，也无人把门打开。pate，脑袋。 fancy，动词：以为，想象。）此诗的基本音步类型是抑扬格，每行五音步。因此称此诗的格律是“抑扬格五音步”（iambic pentameter）。一首诗的音步类型和诗行所含的音步数目构成此诗的格律（meter）。四 压韵（rhyme）英文诗一般都押运韵。（一） 全韵与半韵（full rhyme and half rhyme）。全韵是严格的押韵，其要求是：（1） 韵要押在重读音节上，其元音应相同；（2） 元音前的辅音应不同；（3） 如果元音之后有辅音，应相同。（4） 重读音节之后如有轻读音节，也应相同。下面几对词都符合全韵的标准：why---sigh; hate---late; fight---delight; powers---flowers; today---away; ending---bending.如果仅是元音字母相同，读音不同，不符合全韵：如:blood----hood; there---here; gone---alone; daughter----laughter.这种情形被称为“眼韵”（eye rhyme），虽然诗人有时用之，但不是真正的押韵。仅是辅音相同或仅是元音相同的属半韵：元音不同，其前后的辅音相同，这叫谐辅韵（consonance）如：black, block; creak, croak; reader, rider; despise, dispose.元音相同，其后的辅音相同者叫谐元韵（assonance），如lake, fate; time, mind.（二） 尾韵与行内韵(end rhyme and internal rhyme)押在诗行最后一个重读音节上，叫尾韵。这是英文诗歌最常见的押韵部位。诗行中间停顿处的重读音节与该行最后一个重读音节押韵者，叫行内韵。如：Spring, the sweet spring, is the year’s pleasant king;Then blooms each thing, then maids dance in a ring,（三） 男韵与女韵((masculine rhyme and feminine rhyme)所押的韵音局限于诗行中重读的末尾音节上，称男韵，也叫单韵，听起来强劲有力。如：late, fate; hill, fill; enjoy, destroy.押韵押在两个音节上，后一音节非重读音节，称女韵，也叫双韵，听起来或轻快，或幽婉。如：lighting, fighting; motion, ocean; wining, beginning.看下面一节诗：I am coming, little maiden,With the pleasant sunshine laden;With the honey for the bee,With the blossom for the tree.前两行押女韵，后两行押男韵。也有不少英文诗是不押韵的，不押韵的诗称无韵诗或白体诗（blank verse）。多用在戏剧和叙事诗中。莎士比亚的戏剧和弥尔顿的Paradise Lost 都是用blank verse写成的。 押韵的诗叫rhymed verse。无韵诗不同与自由诗。无韵诗虽不押韵，但是有固定节奏，以扬抑格五音步最常见。自由诗节奏不固定，如同白话。诗选及讲解A SELECTION OF ENGLISH POETRY FOR AN OPTIONAL COURSE OF THE UNDERGRADUADTESWilliam Shakespeare（1564—1616）作者简介：剧作家、诗人。一生创作三十七部戏剧，154首十四行诗。其十四行诗大部分是献给一位贵族青年，有二十余篇则是献给一位“黑肤女士”（the dark lady）.1 Sonnet 18 Shall I compare thee to a summer’s day?Thou art more lovely and more temperate:Rough winds do shake the darling buds of May,And summer’s lease hath all too short a date:Sometimes too hot the eye of heaven shines,And often is his gold complexion dimmed;And every fair from fair sometimes declines,By chance, or nature’s changing course, untrimm’d;But thy eternal summer shall not fade,Nor lose possession of that fair thou ow’st;Nor shall Death brag thou wander’st in his shade,When in eternal lines to time thou grow’st.So long as men can breathe or eyes can see,So long lives this, and this gives life to thee.注释:Compare ···to 把什么比做什么。Thou, thee 第二人称单数代词，前者主格，后者宾格。现已为you 所取代。其所有格是thy，或thine, 即现代英语的your。Art = are. 16、17世纪时与thou连用。Temperate: 来自拉丁文temperātus，读时为符合押韵规则，可将重音放后。Shake：shake off。 Lease 租借期限，此处指夏天的长度。Hath 与第三人称单数连用，相当于现代英语的has。Dimmed: clouded.Fair form fair: beautiful thing from beauty. 前后fair意义不同。Declines from beauty。Chance：极缘，时运，命运。And every fair from fair sometimes declines,/By chance, or nature’s changing course, untrimm’d：每一个美人总要失去美貌，即使没有突发的以外事件，也逃不过自然界生老病死的变迁。Sometimes: 有的版本作“sometime”: at some unspecified time.Untrimm’d: untrimmed. 本意为剥去美观的衣服等，此处隐喻夺去美貌等。Fair thou ow’st: beauty you own. 莎士比亚时代，owe与own通用。古英语第二人称单数后加-st或-estHis shade：shadow of death.“Nor shall Death brag thou wander’st in his shade”：“死神无从夸口，说你在他的阴影里徘徊”。To time thou grow’st: you grow as long as time lasts. 与时间同寿。 Grow to = be incorporated with.内容解析：此诗的发展变化：以人比夏天开始，以人胜自然终结。前四行说明人比夏天更美更温和；中四行发展了这个意思，引到驻颜无术的感慨；第三组则新意突起，推翻前言，终于于胜利的末两行作结。此诗表达了这样一种思想：美丽的事物可以依靠文学的力量而永远不朽；文学是人所创造的，因此这有宣告了人的不朽。因此此诗不是一般的爱情诗。形式解析：sonnet：十四行诗，即“商籁体”诗。此诗体起源不明，最早的例子出现于13世纪，16世纪在英国出现。主要有意大利式和英国式两种变体。意大利诗人Petrarch [/petra:k]用此诗体最精熟，故意大利式又称Petrarchan sonnet。英国式由莎士比亚创立，又称 Shakespearean sonnet. 意大利式分前八行、后六行。韵尾是abba, abba; cde, dcd.。莎士比亚式十四行诗，层次上分前四行，中四行，后四行和结尾两行。韵尾为：abab, cdcd, efef, gg。格律是抑扬格五音步。Shall I│compare│ thee to │a sum│mer’s day? ( a) Thou art │more love│ly and │more tem│perate -: ( b)Rough winds │do shake │the dar│ling buds │of May, (a)And sum│mer’s lease│ hath all │too short│ a date: (b)Sometimes │too hot│ the eye │of hea│ven shines, (c)And of│ten is │his gold │comple│xion dimmed; (d)And eve│ry fair │from fair │sometimes │declines, (c) By chance, │or na│ture’s chan│ging course, │ untrimm’d; (d)But thy │eter│nal sum│mer shall │not fade, (e)Nor lose│ posses│sion of │that fair│ thou ow’st; (f)Nor shall│ Death brag │thou wan│der’st in│ his shade, (e)When in │eter│nal lines │to time│ thou grow’st. (f)So long│ as men │can breathe │or eyes │can see, (g)So long │lives this, │ and this │gives life│ to thee. (g)参考译文：能不能让我把你比拟作夏日？你可是更加温和，更加可爱：狂风会吹落五月的好花儿，夏季的生命又未免结束得太快：有时候苍天的巨眼照得太灼热，他那金彩的脸色也会被遮暗；每一样美呀，总会离开美而凋落，被时机或者自然的代谢所摧残；但是你永久的夏天决不会凋枯，你永远不会失去你美的仪态；死神夸不着你在他影子里踯躅，你将在不朽的诗中与时间同在；只要人类在呼吸，眼睛看得见，我这诗就活着，使你的生命绵延。（屠岸）2 Spring When daisies pied and violets blueAnd lady-smocks all silver-whiteAnd cuckoo-buds of yellow hueDo paint the meadows with delight,The cuckoo then, on every three,Mocks married men; for thus sings he,Cuckoo,Cuckoo, cuckoo! Oh word of fearUnpleasing to a married ear!When shepherds pipe on oaten straws,And merry larks are ploughmen’s clocks,When turtles tread, and rooks, and daws,And maidens bleach their summer smocks,The cuckoo then, on every three,Mocks married men; for thus sings he,Cuckoo,Cuckoo, cuckoo! Oh word of fearUnpleasing to a married ear!------Comedy: Love’s Labour Lost 剧情：拿伐Navarre [n /va: ]国王与其几位朝臣立誓三年之内摒弃一切世俗的快乐，致力于研究学问。其中的一条是：三年之中不可与女子交谈一次。不久法国公主携几名侍女来办理国务，国王和朝臣门守不住自己的誓言，爱上了这几个女子。最后公主的父亲去世，公主要持戒三年，国王和朝臣们的求爱也化为泡影。此诗在此剧之结尾处。注释：daisies pied：杂色的雏菊。lady-smock：也作lady’s-smock 花名：布谷鸟剪秋罗。Smock：〈古〉女衬衣，罩衣。cuckoo-buds of yellow hue：黄色的杜鹃花。hue：颜色。Cuckoo：[/kuku:] 布谷鸟的叫声，与/cuckold（奸妇的丈夫）一词谐音。shepherds [/ ep d]pipe on oaten straws：拿燕麦杆吹哨子。turtles tread：斑鸠交配。Turtle：〈古〉斑鸠，=turtledove。 Tread：（雄鸟）与（雌鸟）交配。rooks and daws：白嘴鸦和穴鸟。内容解析：春天里百花争艳，万象更新，情人们沉醉于甜蜜的爱情之中。但树梢上布谷鸟的叫声却似乎在不断提醒人们：爱情并不可考。此诗有反讽意味，与剧情一致。英国诗人甘贝尔（Thomas Campbell，1777—1844）在 Freedom and Love一诗中说：“Love has bliss, but love has ruining/ Other smiles may make you fickle/ Tears for other charm may trickle。”形式解析：抑扬格四音步，韵式：abab cc d ee; fgfg hh d eeWhen dai│sies pied │and vio│lets blueAnd la│dy-smocks│ all sil│ver-whiteAnd cu│ckoo-buds │of ye│llow hueDo paint │he mea│dows with│ delight,The cu│ckoo then, │on eve│ry three,Mocks mar│ried men; │for thus │sings he,Cuckoo,Cuckoo, │cuckoo! │Oh word│ of fearUnplea│sing to│ a mar│ried ear!When she│pherds pipe │on oa│ten straws,And mer│ry larks│ are plough │men’s clocks,When turt│les tread, │ and rooks, │and daws,And mai│dens bleach │their sum│mer socks,The cu│ckoo then, │on eve│ry three,Mocks mar│ried men; │for thus │sings he,Cuckoo,Cuckoo, │cuckoo! │Oh word │of fearUnplea│sing to│ a mar│ried ear!参考译文：当杂色的雏菊开遍牧场，蓝的紫罗蓝，白的美人衫，还有那杜鹃花吐蕾娇黄， 描出了一片广大的欣欢；听杜鹃在每一株树上叫，把那娶了妻的男人讥笑：咯咕！咯咕！咯咕！啊，可怕的声音！害得做丈夫的肉跳心惊。当无愁的牧童口吹麦笛，清晨的云雀惊醒了农人，斑鸠乌鸦都在觅侣求匹，女郎们漂洗夏季的衣群；听杜鹃在每一株树上叫，把那娶了妻的男人讥笑：咯咕！咯咕！咯咕！啊，可怕的声音！害得做丈夫的肉跳心惊。（朱生豪）=================================================================(原作者的文字非常精彩,这里因字数限制,没法全部粘贴过来,接下来请楼主自己点击欣赏)

英文诗不会有aabb abab abac aacc ee.... 之类的格式。有些新诗甚至不注重押韵,自由无拘。且听英文电视台的资讯节目怎样介绍Agatha Christie。 She was known as the Queen of Crime, the Mistress of Mystery, and the Duchess of Death.（她被称为犯罪皇后、神秘女霸王、死亡女公爵。） 读友们有没有留意上述的Queen与Crime都是k音开头，Mistress与Mystery都是m音开头，Duchess与 Death都用d音开头？以相同辅音(consonant)开头的押韵方式叫做押头韵（alliteration)，是古代英诗中屡见不鲜的技巧，可收音韵铿锵之效。 以下几首诗，你看看。《My People》by Langston Hughes The night is beautiful, So the faces of my people. The stars are beautiful, So the eyes of my people. Beautiful, also, is the sun. Beautiful, also, are the souls of my people 《Settling》 by Denise Levertov I was welcomed here—clear gold of late summer, of opening autumn, the dawn eagle sunning himself on the highest tree, the mountain revealing herself unclouded, her snow tinted apricot as she looked west, Tolerant, in her steadfastness, of the restless sun forever rising and setting. Now I am given a taste of the grey foretold by all and sundry, a grey both heavy and chill. I've boasted I would not care, I'm London-born. And I won't. I'll dig in, into my days, having come here to live, not to visit. Grey is the price of neighboring with eagles, of knowing a mountain's vast presence, seen or unseen. 《Tonight I Can Write》 by Pablo Neruda, translated by W.S. Merwin Tonight I can write the saddest lines. Write, for example, 'The night is starry and the stars are blue and shiver in the distance.' The night wind revolves in the sky and sings. Tonight I can write the saddest lines. I loved her, and sometimes she loved me too. Through nights like this one I held her in my arms. I kissed her again and again under the endless sky. She loved me, sometimes I loved her too. How could one not have loved her great still eyes. Tonight I can write the saddest lines. To think that I do not have her. To feel that I have lost her. To hear the immense night, still more immense without her. And the verse falls to the soul like dew to the pasture. What does it matter that my love could not keep her. The night is starry and she is not with me. This is all. In the distance someone is singing. In the distance. My soul is not satisfied that it has lost her. My sight tries to find her as though to bring her closer. My heart looks for her, and she is not with me. The same night whitening the same trees. We, of that time, are no longer the same. I no longer love her, that's certain, but how I loved her. My voice tried to find the wind to touch her hearing. Another's. She will be another's. As she was before my kisses. Her voice, her bright body. Her infinite eyes. I no longer love her, that's certain, but maybe I love her. Love is so short, forgetting is so long. Because through nights like this one I held her in my arms my soul is not satisfied that it has lost her. Though this be the last pain that she makes me suffer and these the last verses that I write for her.