.-頭韻是指一行〔節(jié)〕詩中幾個(gè)詞開頭的輔音一樣，形成押韻。如克里斯蒂娜?羅塞蒂的?歌?WhenIamdead,mydearest,Singnosadsongsforme;Plantthounoroseatmyhead,Norshadycypresstree:BethegreengrassabovemeWithshowersanddewdropswet;Andifthouwilt,remember,Andifthouwilt,forget.(ChristinaRossetti:Song)第一行的dead/dearest，第二行的sing/sad/sonThefairbreezeblew,thewhitefoamflew,Thefurrowfollowedfree,WewerethefirstthateverburstIntothatsilentsea.〔SamuelTaylorColeridge:TheRimeoftheAncientMariner〕前三行里，頭韻[f]重復(fù)七次。這個(gè)摩擦送氣的清輔音模仿柔風(fēng)輕濤的聲音，創(chuàng)造出一種寧靜的意境。第四行里的兩個(gè)[s]音宛如和風(fēng)吹過寂靜海面而發(fā)出的咝咝聲。頭韻在這里的使用，令讀者有身臨其境之感。另外，中間韻blew/flew，first/burst，furrow/followed，尾韻free/sea形成悅耳動(dòng)聽的韻味和節(jié)奏感。NolongermournformewhenIamdeadThanyoushallhearthesurlysullenbellGivewarningtotheworldthatIamfledFromthisvileworldwithvilestwormstodwell.Nay,ifyoureadthisline,remembernotThehandthatwritit;forIloveyousoThatIinyoursweetthoughtswouldbeforgotIfthinkingonmewouldmakeyouwoe.每行都有不同的頭韻。第一行為mourn/me，第二行為surly/sullen，第三行為warning/第二行、第三行和第五行為than/that/this，第七行和第八行為thoughts/thinking。這樣的不同首字母交替出現(xiàn)在一個(gè)詩節(jié)中，可以稱為穿插頭韻。Whenthousigh’st,thousigh’stnotwindButsigh’stmysoulaway;Whenthouweep’st,unkindlykind,Mylife’sblooddothdecay.Itcannotbe,.-Thatthoulov’stme,asthousay’st,Ifinthinemylifethouwaste,Thouartthebestofme.〔JohnDonne:Song〕best，thou/then/that等。另外，在sigh、kindly、thine、my和life中有頻繁的元音字母i，抑郁之情得到了充分的表現(xiàn)。同樣的詩歌技巧也表達(dá)在愛倫?坡的?烏鴉?之中，如該詩的最后一節(jié)：AndtheRaven,neverflitting,stillissitting,stillissittingOnthepallidbustofPallasjustabovemychamberdoor;Andhiseyeshavealltheseemingofademonthatisdreaming,Andthelamp-lighto’erhimstreamingthrowshisshadowonthefloor;Andmysoulfromoutthatshadowthatliesfloatingonthefloor(AllanPoe:TheRaven)長元音[i:]、[o:]和雙元音[u]生動(dòng)地傳達(dá)出了主人公的痛苦和絕望。尾韻〔endrhyme〕指行尾押韻單詞最后的重讀元音及其后面的輔音在讀音上一樣，而元音rhyme)、雙音節(jié)尾韻(doublerhyme)和三重音節(jié)尾韻(triplerhyme)。押韻。如米勒?在太平洋之濱?第二詩節(jié)：AboveyongleamingskiesofgoldOneloneimperialpeakisseen;WhilegatheredathisfeetingreenTenthousandforestersaretold.Thatdutydropsthewebofcare.(JoaquinMiller:BythePacificOcean)第一、四行押韻，第二、三行押韻，第五、六行押韻，都是重讀單音節(jié)。例如葉芝?走過柳園?第一節(jié)：DownbythesallygardensmyloveandIdidmeet;Shepass’dthesallygardenswithlittlesnow-whitefeet.Shebidmetakeloveeasy,astheleavesgrowonthetree;ButI,beingyoungandfoolish,withherwouldnotagree.〔W.B.Yeats:DownbytheSallyGardens〕這里第四行的agree就是一個(gè)雙音節(jié)單詞，它只在第二個(gè)音節(jié)上與前行的tree押韻，而且它雙音節(jié)韻又稱女韻或陰韻〔femininerhyme〕，其根本特征是行尾單詞最后兩個(gè)音節(jié)押韻，其.-Thecockiscrowing,Thestreamisflowing,Thesmallbirdstwitter,Thelakedothglitter.(WilliamWordsworth:WritteninMarchatBrother’sWater)行尾的crowing/flowing，twitter/glitter相互押韻。兩組押韻都是由雙音節(jié)單詞組成，每個(gè)單詞的第一個(gè)音節(jié)為重讀音節(jié)，第二個(gè)音節(jié)為非重讀音節(jié)。又如丁尼生?女郎夏洛特?第一局部的第二詩節(jié)：Willowswhiten,aspensquiver,LittlebreezesduskandshiverThroughthewavethatrunsforeverBytheislandintheriverFlowingdowntoCamelot.Fourgreywalls,andfourgreytowers,Overlookaspaceofflowers,AndthesilentisleimbowersTheLadyofShalott.(AlfredTennyson:TheLadyofShalott,PartI)行尾的quiver/shiver/river，towers/flowers/imbowers相互押韻，除了imbowers，其余單節(jié)，但它的最后兩個(gè)音節(jié)為重讀加非重讀，跟其余兩個(gè)單詞押韻。這就是說，雙音節(jié)韻的單其構(gòu)造也不能改變，是重讀音節(jié)加非重讀音節(jié)。再如濟(jì)慈?致一些女士?第一詩節(jié)：Whatthoughwhilethewondersofnatureexploring,Icannotyourlight,mazyfootstepsattend;Norlistentoaccents,thatalmostadoring,BlessCynthia’sface,theenthusiast’sfriend.〔JohnKeats:ToSomeLadies〕個(gè)音節(jié)上，最后一個(gè)音節(jié)是非重讀音節(jié)，因此它們押雙韻。韻。如下面這首選自莎士比亞?鳳凰與斑鳩?中的一段詩：Beauty,truth,andrarityGraceinallsimplicity,Hereenclosedincinderslie.Deathisnowthephoenix’nest;Andtheturtle'sloyalbreastToeternitydothrest,Leavingnoposterity:--’Twasnottheirinfirmity,Itwasmarriedchastity..-Truthmayseem,butcannotbe;Beautybrag,but’tisnotshe:TruthandBeautyburiedbe.TothisurnletthoserepairThatareeithertrueorfair;Forthesedeadbirdssighaprayer.rarity/simplicity，posterity/infirmity/chastity都是三個(gè)音節(jié)或四個(gè)音節(jié)，它們?cè)谧詈髢蓚€(gè)音是兩個(gè)音節(jié)，但重讀在第二個(gè)音節(jié)上。air與ayer字母組合雖然不同，但讀音一樣，因此，韻的英語單詞在韻步上屬于揚(yáng)抑抑格，因此，三重韻有時(shí)也被稱為揚(yáng)抑抑格韻〔dactylic構(gòu)成，這種押韻被稱為馬賽克韻〔mosaicrhyme〕，即幾個(gè)單音節(jié)單詞同一個(gè)多音節(jié)單詞或幾個(gè)單音節(jié)單詞押韻。如拜倫?唐璜?第一歌第二十二段后四行：Idon’tchoosetosaymuchuponthishead,I’maplainman,andinasinglestation,But-oh!Yelordsofladiesintellectual,Informustruly,havetheynothen-peck’dyouall?(Byron:DonJuan,FirstCanto,XXII,Lines173~176)第三節(jié)韻韻，又稱中間韻、行韻、腹韻，指一行詩的一個(gè)詞語與同一行詩行尾的詞語或另一行詩中的一個(gè)詞語之間的押韻。它不是在行尾的押韻，既可能與同一行詩中的詞語押韻，也可能同下一行詩中的詞語押韻，還可能同隔行詩中的詞語押韻。一行詩的一個(gè)詞語與同一行詩行尾的詞語押韻的例子，如雪萊的?云?，以第一詩節(jié)為例：Ibringfreshshowersforthethirstingflowers,Fromtheseasandstreams;IbearlightshadefortheleaveswhenlaidIntheirnoon-daydreams.FrommywingsareshakenthedewsthatwakenThesweetbudseveryone,Whenrockedtorestontheirmother’sbreast,AsshedancesabouttheSun.Iwieldtheflailofthelashinghail,Andwhitenthegreenplainsunder,AndthenagainIdissolveitinrain,AndlaughasIpassinthunder.(PercyByssheShelley:TheCloud).-又如瑪麗?伊麗莎白?柯爾律治的?女巫?第一詩節(jié)的前四行：Ihavewalkedagreatwhileoverthesnow,AndIamnottallnorstrong.Myclothesarewet,andmyteethareset,Andthewaywashardandlong.(MaryElizabethColeridge:TheWitch)詩中第三行的wet/set押韻。該詩第二、三詩節(jié)的第三行分別是Myhandsarestone,andmyvoiceagroan和Shecame—shecame—andthequiveringflame。其中的stone/groan和came/既在一行詩押韻，又在隔行中押韻的詩，愛倫?坡的?烏鴉?是典型例子，下面是該詩的第二Ah,distinctlyIrememberitwasinthebleakDecember,Andeachseparatedyingemberwroughtitsghostuponthefloor.EagerlyIwishedthemorrow;vainlyIhadsoughttoborrowFrommybookssurceaseofsorrowsorrowforthelostLenoreFortherareandradiantmaidenwhomtheangelsnameLenoreNamelesshereforevermore.〔AllanPoe:TheRaven〕第一行的remember/December以及第三行的morrow/borrow分別都是同一行押韻。December/ember和borrow/sorrow屬于一行詩的尾韻詞同下一行詩中間的詞押韻，兩行詩不再押尾韻，這種構(gòu)造的押韻叫隔行韻〔alternaterhyme〕。另外，第四行的lostLenore和第五行的rareandradiant押頭韻。?烏鴉?第三節(jié)第一、二行如下：Andthesilken,sad,uncertainrustlingofeachpurplecurtainThrilledmefilledmewithfantasticterrorsneverfeltbefore.AndtheonlywordtherespokMerelythisandnothingmore.在這些詩行中，thrilled/filled，wh語押韻，但不押尾韻。這種押韻被稱為組合韻〔sectionalrhyme〕。看，元韻可分為尾元韻和行元韻。尾元韻同普通尾韻不同。尾韻要求行尾單詞最后一個(gè)音節(jié)的元音和元音后面的輔音都要押韻，而尾元韻只要求行尾單詞最后一個(gè)元音押韻，而不管元音后面的輔音是否押韻。例如：Sheseesthefallingleaves,thedyingleavesThatclingtherestill;aboveThroughthebrownhorroroftheboughssheseesTheempty,archingskull.(E.L.Mayo:Pool)在這四行詩里，第一、三行最后單詞中的元音字母ea和ee發(fā)音一樣，第二、四行最后單詞中的元音字母o和u也是發(fā)音一樣，它們屬于標(biāo)準(zhǔn)的尾元韻。.-押元韻的詩行往往同押全韻的詩行一起組合成詩節(jié)，如狄金森?天堂，為我難以企及?第一詩HeaveniswhatIcannotreach!TheAppleontheTree,Provideditdohopelesshang,That"Heaven"is,toMe.〔EmilyDickinson:HeavenIsWhatICannotReach〕第一行的reach和第二行的tree構(gòu)成元韻，第二行的tree和第四行的me那么構(gòu)成全韻。行元韻指一行詩中相鄰單詞中一樣元音的重復(fù)，這種重復(fù)也可以出現(xiàn)在幾行詩中。例如：Skirtingtheriverroad,(myforenoonwalk,myrest,)Skywardinairasuddenmuffledsound,thedallianceoftheeagles,Therushingamorouscontacthighinspacetogether,Theclinchinginterlockingclaws,aliving,fierce,gyratingwheel,Fourbeatingwings,twobeaks,aswirlingmasstightgrappling,Intumblingturningclusteringloops,straightdownwardfalling,Tillo’ertheriverpois’d,thetwainyetone,amoment’slull,Amotionlessstillbalanceintheair,thenparting,talonsloosing,Upwardagainonslow-firmpinionsslanting,theirseparatediverseflight,Shehers,hehis,pursuing.(WaltWhitman:TheDallianceoftheEagles)這個(gè)詩節(jié)中，從開場(chǎng)到最后，元音不斷重復(fù)，第二行的sudden/muffled，第三行的rushing/有頭韻，如第一行的river/roads，第二行的skyward/sudden/sound，第六行的tumbling/turning，第九行的slow/slanting/separate等。行韻往往和尾韻一同使用，如：Tyger!Tyger!burningbright,Intheforestsofthenight.(WilliamBlake:TheTyger)第一行tyger和bright中的y和i因讀音一樣而押元韻，同時(shí)bright又同第二行的night押尾韻。像這種元韻和尾韻混合使用的情況，非常普遍。和韻指元音讀音不同而輔音或輔音組合的讀音一樣或相似。和韻可分為行尾和韻、行和韻和行尾和韻指出現(xiàn)在行尾的輔音重復(fù)，元音不要求押韻，如葉芝?第二次降臨?中的詩行：Thingsfallapart;thecentercannothold;Mereanarchyisloosedupontheworld.(W.B.Yeats:TheSeconding)hold/world中的輔音[ld]押韻。又如狄金森?天堂，為我難以企及?第二詩節(jié)：Thecoloronthecruisingcloud,TheinterdictedgroundBehindthehill,thehousebehind—,ThereParadiseisfound!〔EmilyDickinson:HeavenIsWhatICannotReach〕.-四行尾詞的輔音[d]押韻，后三行尾詞的輔音[nd]押韻。行和韻和節(jié)和韻指在一行詩押韻和在一個(gè)詩節(jié)的詩行行押韻。這種押韻只考慮重讀音節(jié)的輔音押韻，可以出現(xiàn)在任何位置，并不要求押尾韻。以弗羅斯特的?雪夜林邊駐足?前兩詩節(jié)為WhosewoodstheseareIthinkIknow.Hishouseisinthevillage,though;HewillnotseemestoppinghereTowatchhiswoodsfillupwithsnow.MylittlehorsemustthinkitqueerTostopwithoutafarmhousenearBetweenthewoodsandfrozenlakeThedarkesteveningoftheyear.(RobertFrost:StoppingbyWoodsonaSnowEvening)第一行的whose/woods/these中的輔音字母s的讀音都是[z]且又是尾輔音，因此形成行和韻。它還同整個(gè)詩節(jié)以及全詩中的尾輔音[z]形成節(jié)和韻以及全詩和韻。另外，每詩節(jié)第一、see/me等押元韻。第一行的his/hous這首詩里把尾韻、韻、元韻、和韻和頭韻混合使用，不僅使詩歌的聲音系統(tǒng)更加復(fù)雜，而且音響效果得到強(qiáng)化，增強(qiáng)了詩歌的音韻美。目韻指拼寫看起來似乎押韻而讀音其實(shí)并不押韻的尾韻。如弗瑞諾?印第安人的墓地?第四詩Hisbow,foractionreadybent,Andarrows,withaheadofstone,Canonlymeanthatlifeisspent,Andnottheoldideasgone.〔PhilipFreneau:TheIndianBuryingGround〕Mine,aswhomwashedfromspotofchild-bedtaintPurificationintheOldLawdidsave,AndsuchasyetoncemoreItrusttohaveFullsightofherinHeavenwithoutrestraint,(Milton:OnHisDeceasedWife)再如安?布拉茲特里特的?肉與靈?中的詩行：InsecretplacewhereIstoodClosebythebanksofLacrimflood,IheardtwosistersreasononThingsthatarepastandthingstoe;(AnneBradstreet:TheFleshandtheSpirit).-押韻格式〔rhymescheme〕指的是一首詩中各押韻詩行的組合形式。一般說來，每首詩數(shù)量不同的詩行組成，每一行的結(jié)尾都按照其讀音的一樣或類似而押韻，并表現(xiàn)出規(guī)律性。押韻格式分為定型詩歌格式和普通詩歌格式。前一種格式主要有十四行詩體、斯賓塞詩體、盤旋詩體等押韻格式；普通詩歌格式主要有雙行押韻格式〔aa〕、隔行交互押韻格式(abab)和吻韻格式(abba)。第一節(jié)根本押韻格式它是英語詩歌最根本押韻格式，主要用于雙行詩節(jié)〔couplet〕。雙行詩節(jié)指兩行押韻或不押韻的詩行。雙行詩節(jié)可以單獨(dú)成為詩節(jié)，也可以存在于其他詩節(jié)中。七行體〔又稱皇韻體，rhymeroyal〕詩和八行體〔octarima〕詩用雙行詩節(jié)完畢，莎士比亞的十四行詩也是用雙行雙行詩節(jié)分開放雙行詩節(jié)〔opencouplet〕和完整雙行詩節(jié)(closedcouplet)兩種。完整雙行詩節(jié)如果是用抑揚(yáng)格五韻步寫成，就被稱為英雄雙行詩節(jié)(heroiccouplet)。需要繼續(xù)下去，直到在后面的詩行中完畢。如濟(jì)慈表達(dá)希臘神話中的美少年長詩?恩弟米安?Athingofbeautyisajoyforever:Itslovelinessincreases;itwillneverPassintonothingness;butstillwillkeepAbowerquietforus,andasleepFullofsweetdreams,andhealth,andquietbreathing.Therefore,oneverymorrow,arewewreathingAflowerybandtobindustotheearth,Spiteofdespondence,oftheinhumandearthOfnoblenatures…(JohnKeats:Endymion)首先，每?jī)尚醒喉崳磂ver/never，keep/sleep，breathing/wreathing，earth/dearth押韻。其次，第一行是完整句，第二行要表達(dá)的意思跨入下面數(shù)行才完畢。轉(zhuǎn)韻，因此，整首詩的押韻格式就成了aabbccdd，一直往下推。完整雙行詩節(jié)不僅要求兩行詩押韻一樣，而且要把意詩節(jié)中的一種，它是英語詩歌之父喬叟最喜愛的詩體，如他的?坎特伯雷故事?總引中對(duì)騎士Andeveremorehehaddeasovereignpris.Andthoughtthathewereworthy,hewaswis,Andofhisportasweekasisamaide.HenevereyitnovilainyenesaideInalhislifuntonomanerewight:Hewasaverray,parfit,gentilknight.Butfortotellenyouofhisarray,.-Hishorsweregoode,buthewasnatgay.OffustianheweredagipounAlbismoteredwithhishaubergeoun,Forhewaslateefromhisviage,Andwentefortodoonhispilgrimage.(Chaucer:TheGeneralPrologueofTheCanterburyTales)這段詩是抑揚(yáng)格五韻步，每?jī)尚醒喉崳聜€(gè)韻不同于上個(gè)韻，其押韻格式為aabbccddeeff。濟(jì)慈的敘事詩?拉米亞?是混合使用開放詩行和英雄詩行寫成的，開場(chǎng)幾行如下：Uponatime,beforethefaerybroodsDroveNymphandSatyrfromtheprosperouswoods,BeforeKingOberon’sbrightdiadem,Scepter,andmantle,clasp’dwithdewygem,FrightedawaythedryadsandtheFaunsFromrushesgreen,andbrakes,andcowslip’dlawns,Theever-smittenHermesemptyleftHisgoldenthrone,bentwarmonamoroustheft:(JohnKeats:Lamia)這些詩行里，第一行不是完整句，第一行和第二行組成一個(gè)時(shí)間狀語從句，第三、四、五六句組成第二個(gè)狀語從句，第七、八行組成這些詩行的主句。它們每?jī)尚醒喉崳碽roods/woods，diadem/gem，F(xiàn)auns/lawns，left/theft。每組韻不同，屬開放雙行詩節(jié)押韻格式。但該詩第二十七行開場(chǎng)如下：Fromvaletovale,fromwoodtowood,heflew,Breathingupontheflowershispassionnew,Andwoundwithmanyarivertoitshead,Tofindwherethissweetnymphprepar’dhersecretbed:Invain;thesweetnymphmightnowherebefound,Andsoherested,onthelonelyground.押aabb韻律格式的四行詩節(jié)，其實(shí)是雙行詩節(jié)的變體，如朗費(fèi)羅的?箭和歌?第一、三詩節(jié)：Ishotanarrowintotheair,Itfelltoearth,Iknewnotwhere;For,soswiftlyitflew,thesightCouldnotfollowitinitsflight.Long,longafterwards,inanoakIfoundthearrow,stillunbroken;Andthesong,frombeginningtoend,Ifoundagainintheheartofafriend.(Longfellow:TheArrowandtheSong)每?jī)尚醒喉崳乱辉姽?jié)的韻與前面的韻不同。雖然第一、二行都分別表達(dá)完整之意，但因它們是四韻步，只能被稱為完整詩行，不能被稱為英雄雙行。其余雙行是開放詩行。.-Heclaspsthecragwithcrookedhands;Closetothesuninlonelylands,Ring’dwiththeazureworld,hestands.Thewrinkledseabeneathhimcrawls;Hewatchesfromhismountainwalls,Andlikeathunderbolthefalls.(AlfredTennyson:TheEagle)薔薇科?就是一首詩只押一種韻的典型例子：Theroseisarose,Andwasalwaysarose.ButthetheorynowgoesThattheapple’sarose,Andthepearis,andso’sTheplum,Isuppose.Whatwillnextprovearose.You,ofcourse,arearose—Butwerealwaysarose.〔RobertFrost:TheRoseFamily〕隔行韻〔alternaterhyme〕又稱穿插韻〔crossrhyme〕，其格式abab是英語詩歌中僅次于第三行詩押韻，第二行詩同第四行詩押韻。如華茲華斯的?致杜鵑?第一詩節(jié)：Oblithenew-er!Ihaveheard,Iheartheeandrejoice:OCuckoo!ShallIcalltheeBird,OrbutawanderingVoice?(WilliamWordsworth:TotheCuckoo)另外一種格式，如xbyb格式〔其中x和y表示不押韻〕。這種格式在民謠中比擬常見，如濟(jì)Isetheronmypacingsteed,Andnothingelsesawalldaylong,Forsidelongwouldshebend,andsingAfairy’ssong.Shefoundmerootsofrelishsweet,Andhoneywild,andmannadew,Andsureinlanguagestrangeshesaid—Ilovetheetrue.〔JohnKeats:LaBelleDameSansMerci〕吻韻〔enveloperhymeorkissingrhyme〕又稱抱韻，其押韻格式為abba，其主要特征是第一詩.-詩行的四行詩節(jié)中，丁尼生的?悼念集?被認(rèn)為是用此種格式寫成的最著名的詩篇，其中第十Calmanddeeppeaceinthiswideair,Theseleavesthatreddentothefall,Andinmyheart,ifcalmatall,Ifanycalm,acalmdespair;Calmontheseas,andsilversleep,Andwavesthatswaythemselvesinrest,AnddeadcalminthatnoblebreastWhichheavesbutwiththeheavingdeep.(AlfredTennyson:InMemoriam,Section11)傷出發(fā)，把對(duì)人生、、社會(huì)等的思考寫成一首首詩，記錄了這一心靈歷程。該詩集發(fā)表后，成為英詩中最偉大的悼念詩之一這種詩體也被稱為悼念體。Westoodbyapondthatwinterday,Andthesunwaswhite,asthoughchiddenofGod,Andafewleaveslayonthestarvingsod;—Theyhadfallenfromanash,andweregray.YoureyesonmewereaseyesthatroveOvertediousriddlesofyearsago;AndsomewordsplayedbetweenustoandfroOnwhichlostthemorebyourlove.(ThomasHardy:NeutralTones)這是詩人悼念亡妻的詩歌之一，抒寫了他們情感曾經(jīng)的隔膜。吻韻與四行詩節(jié)聯(lián)系在一起，如果詩行增加并押吻韻，吻韻就有了變體形式，如哈代的?啊，是你在我墳上刨土?就是一例，其前兩個(gè)詩節(jié)如下：‘Ah,areyoudiggingonmygraveMylovedone?—plantingrue?’—‘No:yesterdayhewenttowedOneofthebrightestwealthhasbred.“ThatIshouldnotbetrue.〞’‘Thenwhoisdiggingonmygrave?Mynearestdearestkin?’Whatgoodwillplantingflowersproduce?NotendanceofhermoundcanlooseHerspiritfromDeath’sgin.〞’(ThomasHardy:Ah,AreYouDiggingonMyGrave?)刨土，就發(fā)問是不是自己的戀人，親人，或敵人〔第三節(jié)〕，刨土者答復(fù)說都不是，他們都已經(jīng)不愛你，不想你，不恨你了。刨土者最后答復(fù)說自己是死者養(yǎng)過的那只小狗，死者感動(dòng).-吻韻也可以用來寫三行詩節(jié)，格式為aba。這樣的詩行叫吻韻三行詩節(jié)〔enclosedtercet〕，如畢曉普的?一門藝術(shù)?第一、詩節(jié)：Theartoflosingisn'thardtomaster;somanythingsseemfilledwiththeintenttobelostthattheirlossisnodisaster,Losesomethingeveryday.Accepttheflusteroflostdoorkeys,thehourbadlyspent.Theartoflosingisn'thardtomaster.〔ElizabethBishop:OneArt〕四、鏈韻格式鏈韻〔chainrhyme〕又名連鎖韻〔interlockingrhyme〕，是英語詩歌中較為復(fù)雜的主要用于四行詩節(jié)或三行詩節(jié)。其特征是一個(gè)詩節(jié)中的某一行詩用于連接下一個(gè)詩節(jié)中某一行詩的韻。雪萊的?西風(fēng)頌?是使用鏈韻的優(yōu)秀例，其第四段如下：IfIwereadeadleafthoumightiestbear;IfIwereaswiftcloudtoflywiththee;Awavetopantbeneaththypower,andshareTheimpulseofthystrength,onlylessfreeThanthou,OUncontrollable!IfevenIwereasinmyboyhood,andcouldbeTheradeofthywanderingsoverHeaven,Asthen,whentooutstripthyskieyspeedScarceseem’davision;Iwouldne’erhavestrivenAsthuswiththeeinprayerinmysoreneed.O!lifemeasawave,aleaf,acloud!Ifalluponthethornsoflife!Ibleed!AheavyweightofhourshaschainedandbowedOnetoolikethee:tameless,andswift,andproud.(PercyByssheShelley:OdetotheWestWind)前四個(gè)詩節(jié)的押韻格式為ababcbcdcded，每個(gè)詩節(jié)單獨(dú)來看都是吻韻，而且每個(gè)詩節(jié)的中間詩行成為詩行，它與下一詩節(jié)的首尾兩詩行押尾韻，這樣，所有詩行就起來了。又如拉金的?床上的談話?：Talkinginbedoughttobeeasiest,Lyingtogethertheregoesbacksofar,Anemblemoftwopeoplebeinghonest.Yetmoreandmoretimepassessilently.Outside,thewind’sinpleteunrestBuildsanddispersescloudsaboutthesky,Anddarktownsheapuponthehorizon.Noneofthiscaresforus.NothingshowswhyAtthisuniquedistancefromisolationItbeesstillmoredifficulttofindWordsatoncetrueandkind,.-Ornotuntrueandnotunkind.(PhilipLarkin:TalkinginBed)前三個(gè)詩節(jié)的韻式是abacacdcd，前一個(gè)詩節(jié)的首尾行與下一個(gè)詩界的中間行押韻，從而將三個(gè)詩節(jié)起來。最后一個(gè)詩節(jié)押?jiǎn)雾崱５诙?jié)押韻格式的組合使用五個(gè)或五個(gè)以上的詩行，這時(shí)就會(huì)出現(xiàn)兩種甚至兩種以上的押韻格式的組合。一、五行詩節(jié)中押韻格式的組合例如雪萊的?致云雀?開場(chǎng)兩詩節(jié)：Hailtothee,blitheSpirit!Birdthouneverwert—ThatfromheavenornearitPourestthyfullheartInprofusestrainsofunpremeditatedart.HigherstillandhigherFromtheearththouspringest,Likeacloudoffire;Thebluedeepthouwingest,Andsingingstilldostsoar,andsoaringeversingest.〔PercyByssheShelley:ToaSkylark〕每個(gè)詩節(jié)中的押韻格式為ababb。這是隔行押韻的變體形式，也可以說前三行是吻韻格式，后兩行是雙行韻格式，后兩行與第二行又押韻。又如艾倫?坡的?致海倫?：Helen,thybeautyistomeLikethoseNicéanbarksofyore,Thatgently,overaperfumedsea,Theweary,way-wornwandererboreTohisownnativeshore.Ondesperateseaslongwonttoroam,Thyhyacinthhair,thyclassicface,ThyNaiadairshavebroughtmehomeTotheglorythatwasGreece,AndthegrandeurthatwasRome.Lo!inyonbrilliantwindow-nicheHowstatue-likeIseetheestand,Theagatelampwithinthyhand!Ah,Psyche,fromtheregionswhichAreHoly-Land!(AllanPoe:ToHelen)這首詩三個(gè)詩節(jié)的押韻格式分別是abab，ababa和abbab，它們都應(yīng)該是隔行韻的變體，但二、六行詩節(jié)中押韻格式的組合例如華茲華斯?我單獨(dú)漫游像一片云?第一詩節(jié)和最后詩節(jié)：Iwanderedlonelyasacloud.-Thatfloatsonhigho'ervalesandhills,WhenallatonceIsawacrowd,Ahost,ofgoldendaffodils;Besidethelake,beneaththetrees,Flutteringanddancinginthebreeze.…Foroft,whenonmycouchIlieInvacantorinpensivemood,TheyflashuponthatinwardeyeWhichistheblissofsolitude;Andthenmyheartwithpleasurefills,Anddanceswiththedaffodils.〔WilliamWordsworth:IWanderedLonelyasaCloud〕每個(gè)詩節(jié)的押韻格式是ababcc，即隔行韻和雙行韻格式的組合。三、七行詩節(jié)中的組合七行詩節(jié)中，最普通的是抑揚(yáng)格五韻步的皇韻〔rhymeroyal〕詩節(jié)。它是格蘭國王詹姆斯一世在他的詩歌KingsQuair中所使用的詩節(jié)而創(chuàng)造出來的。喬叟在?特羅勒斯與克麗西德?或喬叟詩節(jié)〔Chaucerstanza〕。以下是選自?特羅勒斯與克麗西德?卷一中特羅勒斯的一段情歌的第一詩節(jié)，其韻腳是ababbcc。“Ifnoloveis,OGod,whatfeleIso?Andifloveis,whatthingandwhicheishe?Iflovebegood,fromwhennesethmywo?Ifitbewikke,awonderthinkeme,WheneverytormentandadversiteeThatethofhim,maytomesavorythinke;ForaythurstI,themorethatIitdrinke.這種格式是在四行詩節(jié)根底上開展起來的，其押韻格式也是在隔行押韻bab〕或雙行押韻〔bbcc〕的根底上加一個(gè)三行詩形成的。四、八行詩節(jié)中押韻格式的組合使用八行詩節(jié)的根本構(gòu)造是由六行隔行韻〔ababab〕加一個(gè)雙行韻構(gòu)成(cc)，如葉芝的?駛向拜占OnceoutofnatureIshallnevertakeMybodilyformfromanynaturalthing,ButsuchaformasGreciangoldsmithsmakeOfhammeredgoldandgoldenamellingTokeepadrowsyEmperorawake;OrsetuponagoldenboughtosingTolordsandladiesofByzantiumOfwhatispast,orpassing,ortoe.〔W.B.Yeats:SailingtoByzantium〕拜倫的長詩?唐璜?〔DonJuan〕是由八行詩節(jié)構(gòu)成，押韻格式為abababcc，即由六行隔行韻加一個(gè)雙行韻構(gòu)成，例句見后面史詩章節(jié)。五、九行詩節(jié)中押韻格式的組合使用.-九行詩節(jié)以斯賓塞詩節(jié)〔Spenserianstanza〕為代表，他是在長詩?仙后?中創(chuàng)造的一種詩節(jié)，GentleKnightwasprickingontheplaine,Ycladdinmightiearmesandsilvershielde,Whereinolddintsofdeepewoundsdidremaine,Thecruellmarkesofmanyabloudyfielde;Yetarmestillthattimedidheneverwield:Hisangrysteededidchidehisfomingbitt,Asmuchdisdayningtothecurbetoyield:Fulliollyknightheseemd,andfairedidsitt,Asoneforknightlygiustsandfierceencountersfitt.〔EdmundSpenser:FaerieQueen〕這種詩節(jié)的押韻格式是ababbcbcc，是在隔行韻和韻根底上開展起來的，既有隔行韻味道，又有韻味道。斯賓塞的這種九行詩節(jié)押韻格式是固定的。其他詩人也寫九行詩節(jié)的詩，其押韻格式就不那么固定，如多恩的?追認(rèn)圣徒?第一詩節(jié)：ForGod’ssakeholdyourtongue,andletmelove,Orchidemypalsy,ormygout,Myfivegrayhairs,orruinedfortune,flout,Withwealthyourstate,yourmindwithartsimprove,Takeyouacourse,getyouaplace,ObserveHisHonor,orHisGraceOrtheking’sreal,orhisstampèdfaceContemplate;whatyouwill,approve,Soyouwillletmelove.(JohnDonne:TheCanonization)這節(jié)詩行的押韻格式為abbacccaa，顯然，前面四行是吻韻，后面五行是雙行韻的變體。六、十行詩節(jié)中押韻格式的組合使用如多恩的?升起的太陽?第一節(jié)：Busyoldfool,unrulysun,WhydostthouthusThroughwindowsandthroughcurtainscallonus?Musttothymotionslovers’seasonsrun?Saucypedanticwretch,gochideLateschoolboysandsourprentices,Gotellcourthuntsmenthatthekingwillride,Callcountryantstoharvestoffices;Love,allalike,noseasonknowsnorclime,Norhours,days,months,whicharetheragsoftime.(JohnDonne:TheSunRising)這個(gè)詩節(jié)的押韻格式是abbacdcdee，顯然，前四行押吻韻，接下來的四行押隔行韻，最后兩行押雙行韻。又如濟(jì)慈?夜鶯頌?第四詩節(jié)：Away!Away!ForIwillflytothee,NotchariotedbyBacchusandhispards,.-ButontheviewlesswingsofPoesy,Thoughthedullbrainperplexesandretards:Alreadywiththee!Tenderisthenight,AndhaplytheQueen–Moonisonherthrone,Cluster’daroundbyallherstarryFays;Butherethereisnolight,SavewhatfromheaveniswiththebreezesblownThroughverdurousgloomsandwindingmossyways.〔JohnKeats:OdetoaNightingale〕這個(gè)詩節(jié)的押韻格式是ababcdecde，顯然，前四行押隔行韻，后六行也押隔行韻，但隔兩行而非根本格式的隔一行。七、“維拉拉〞〔villanelle〕十九行詩這種詩體在文藝復(fù)興時(shí)期用于當(dāng)時(shí)流行的牧歌中，它起源于意大利民謠的詩體，格律很嚴(yán)：每首由五個(gè)三行詩節(jié)構(gòu)成，限用兩個(gè)韻，三行詩節(jié)的韻腳安排為aba，四行詩節(jié)為abaa，第一節(jié)中的第一行與第三行還必須在后面的四節(jié)中輪流用作第三行，并在最后的四行節(jié)中雙雙出現(xiàn)，作全詩結(jié)句。如狄蘭?托馬斯的?不要溫和地走進(jìn)那個(gè)良夜?：Donotgogentleintothatgoodnight,Oldageshouldburnandraveatcloseofday;Rage,rageagainstthedyingofthelight.Thoughwisemenattheirendknowdarkisright,BecausetheirwordshadforkednolightningtheyDonotgogentleintothatgoodnight.Goodmen,thelastwaveby,cryinghowbrightTheirfraildeedsmighthavedancedinagreenbay,Rage,rageagainstthedyingofthelight.Wildmenwhocaughtandsangthesuninflight,Andlearn,toolate,theygrieveditonitsway,Donotgogentleintothatgoodnight.Gravemen,neardeath,whoseewithblindingsightBlindeyescouldblazelikemeteorsandbegay,Rage,rageagainstthedyingofthelight.Andyou,myfather,thereonthesadheight,Curse,bless,menowwithyourfiercetears,Ipray.Donotgogentleintothatgoodnight.Rage,rageagainstthedyingofthelight.(DylanThomas:DonotGoGentleintoThatGoodNight)非凡的品質(zhì)，因此他列舉了數(shù)種典型之人對(duì)待死亡的態(tài)度，殷殷勸說父親不要被動(dòng)地屈從，第五章十四行詩的押韻格式第一節(jié)彼特拉克體十四行詩的押韻格式.-十四行詩起源于意大利，它是13、14世紀(jì)意大利最流行的一種抒情詩體。詩人彼特拉克是認(rèn)為，英國最早寫作意大利十四行詩的詩人是懷亞特〔SirThomasWy爾頓、華茲華斯、濟(jì)慈、勃朗寧、錫德尼都寫下優(yōu)美的彼特拉克體十四行詩。這種詩體由十四行詩組成，分前八行〔octave〕和后六行(sestet)兩個(gè)局部。每行五個(gè)韻步(pentameter)。第人情懷等。以下是?我思量我已耗盡光明?：WhenIconsiderhowmylightisspentErehalfmydays,inthisdarkworldandwide,Andthatonetalentwhichisdeathtohide,Lodgedwithmeuseless,thoughmysoulmorebentToservetherewithmyMaker,andpresentMytrueaccount,lesthereturningchide;“DothGodexactday-labor,lightdenied?〞Ifondlyask;butPatiencetopreventThatmurmur,soonreEitherman’sworkorhisowngifts;whobestBearhismildyoke,theyservehimbest.HisstateIskingly.ThousandsathisbiddingspeedAndposto’erlandandoceanwithoutrest:Theyalsoservewhoonlystandandwait.〞〔JohnMilton:OnHisBlindness〕等詞說明詩人失明后的心理狀態(tài)，即失明后籠罩在心深處的巨大陰影。第三行詩“Andthatonetalentwhichisdeathtohide〞是對(duì)?圣經(jīng)?馬太福音第25章的暗示。三個(gè)人中的兩個(gè)拿了主Godexactday-labour,lightdenied？〞緊接著是對(duì)前面提出的問題給予答復(fù)〔Patience…soonreplies〕。全詩每行十個(gè)音節(jié)，分五個(gè)抑揚(yáng)格韻步，前八行的韻式為abbaabba，后六行韻式為cdecde。傳統(tǒng)意大利體的轉(zhuǎn)折，這種變化的意義在于使十四行詩在構(gòu)造上更為嚴(yán)密，在容上更嚴(yán)謹(jǐn)，防止了傳統(tǒng)意大利體在前八行和后六行之間的轉(zhuǎn)換所造成的意義上的斷裂。二、華茲華斯.-詩歌實(shí)踐重新確立了十四行詩在文學(xué)上的地位，充分肯定了十四行詩的意義。以?威斯敏斯Earthhasnotanythingtoshowmorefair:DullwouldhebeofsoulwhocoldpassbyAsightsotouchinginitsmajesty:ThisCitynowdoth,likeagarment,wearThebeautyofthemorning;silent,bare,Ships,towers,domes,theatres,andtempleslieOpenuntothefields,andtothesky;Allbrightandglitteringinthesmokelessair.NeverdidsunmorebeautifullysteepInhisfirstsplendour,valley,rock,orhill;Ne’ersawI,neverfelt,acalmsodeep!Theriverglidethathisownsweetwill;DearGod!theveryhousesseemasleep;Andallthatmightyheartislyingstill!〔WilliamWordsworth:poseduponWestminsterBridge〕此詩的主題是贊美沐浴在晨光中的與大自然融為一體的寧靜的倫敦城。詩歌的標(biāo)題指明觀景/Openuntothefields,andtothesky)，移向更遠(yuǎn)處的山谷等地〔valley,rock,orhill〕再將鏡頭收回來，對(duì)準(zhǔn)泰晤士河、城市建筑和整座城市〔river,houses,hear式為abbaabba，后六行韻式為cdcdcd。其中后六行與彌爾頓的韻式有所不同，這是華茲華斯對(duì)押韻格式所作的變化。華茲華斯的十四行詩?不要責(zé)備十四行詩?，既表達(dá)了詩人對(duì)十四行詩的總體評(píng)價(jià)，也是對(duì)過去寫作十四行詩的詩人給予獨(dú)特的評(píng)價(jià)：ScornnottheSonnet;Critic,youhavefrowned,Mindlessofitsjusthonours;withthiskeyShakespeareunlockedhisheart;themelodyOfthissmalllutegaveeasetoPetrarch'swound;AthousandtimesthispipedidTassosound;WithitCamöenssoothedanexile'sgrief;TheSonnetglitteredagaymyrtleleafAmidthecypresswithwhichDantecrownedHisvisionarybrow:aglow-wormlamp,ItcheeredmildSpenser,calledfromFaery-landTostrugglethroughdarkways;and,whenadampFellroundthepathofMilton,inhishandTheThingbecameatrumpet;whenceheblew.-Soul-animatingstrains--alas,toofew!〔WilliamWordsworth:ScornnottheSonnet〕為鑰匙〔key〕開啟心扉；彼特拉克以它為提琴(lute)，奏出的旋律撫慰創(chuàng)傷；意大利文藝復(fù)的一盞燈(lamp)，它又是彌爾頓手里的一只號(hào)角(trumpet)。全詩每行十個(gè)音節(jié)，分五個(gè)抑揚(yáng)格韻步，前八行的韻式為abbaabba，后六行韻式為cdcdee。這里又表達(dá)出華茲華斯對(duì)押韻格式所作的變化。濟(jì)慈從1814年到1819年的短短幾年間，共寫了四首十四行詩，這些詩主要抒發(fā)詩人自己的心感受，致力于對(duì)自己情感深處的探索，其中有的詩輕松歡樂，有的沉著凝重理，有的抒發(fā)情感。這些詩主要是用彼特拉克體寫成。以?欲重讀〈爾王〉?為例：Ogolden-tonguedRomance,withserenelute!Fairplumedsiren,queenoffar-away!Leavemelodizingonthiswintryday,Shutupthineoldpages,andbemute.Adieu!For,onceagain,thefiercedisputeBetwixtdamnationandimpassion’dclayMustIburnthrough;oncemorehumblyassayThebitter-sweetofthisShakespeareanfruit.ChiefPoet!AndyecloudsofAlbion,Begettersofourdeepeternaltheme!WhenthroughtheoldoakforestIamgone,Letmenotwanderinabarrendream:But,whenIamconsumedinthefire,Givemenewphoenixwingstoflyatmydesire.〔JohnKeats:OnSittingDowntoReadKingLearOnceAgain〕詩歌第一個(gè)四行提出要傳說中地中海島上的女妖〔siren〕住口，她所唱的美妙歌曲總是引誘航海者觸礁消滅。荷馬史詩中，奧德修斯經(jīng)過女妖所住的島時(shí)，用蜜蠟堵住伙伴們的耳朵，爾王?。第二個(gè)四行是把莎士比亞的?爾王?同女妖配以詩琴唱出的美妙傳奇相媲美，甚至認(rèn)為?爾王?比女妖們的歌聲更有誘惑力，詩人會(huì)在莎翁的詩中再次在燃燒中體會(huì)激情與消滅是對(duì)莎翁的贊美，稱之為英格蘭的云朵，深邃而永恒主題之父。最后是總結(jié)，即希望自己在燃燒之后，如鳳凰再生，插上翅膀，隨心所欲地翱翔。全詩每行十個(gè)音節(jié)，分五個(gè)抑揚(yáng)格韻步，前八行的韻式為abbaabba，后六行韻式為cdcdee，華斯的韻式變化一樣。第二節(jié)莎士比亞體十四行詩的押韻格式莎士比亞體十四行詩是在彼特拉克體的根底上開展形成的。懷亞特把十四行詩引入英國時(shí)，.-這種詩歌形式在韻律和節(jié)奏上仍然同彼特拉克體保持一致，即每行詩還是屬于抑揚(yáng)格五韻步，也就是說，每行十個(gè)音節(jié)，每?jī)蓚€(gè)音節(jié)為一個(gè)韻步，共五個(gè)韻步，重音在每個(gè)韻步的第但是在詩的構(gòu)造上，莎士比亞體有所不同。彼特拉克體分為兩個(gè)局部，即前八行和后六行。gg。莎士比亞一共創(chuàng)作了一百五十四首十四行詩，下面以編號(hào)為12的十四行詩為例：WhenIdocounttheclockthattellsthetimeAndseethebravedaysunkinhideousnight,WhenIbeholdthevioletpastprimeAndsablecurlsensilveredo’erwithwhite,WhenloftytreesIseebarrenofleaves,WhicherstfromheatdidcanopytheherdAndsumm