【文章內(nèi)容簡(jiǎn)介】 (Anne Bradstreet: The Flesh and the Spirit)這里的stood和flood屬于目韻。 英語詩歌的基本押韻格式押韻格式（rhyme scheme）指的是一首詩中各押韻詩行的組合形式。一般說來，每首詩都由數(shù)量不同的詩行組成，每一行的結(jié)尾都按照其讀音的相同或類似而押韻，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、回旋詩體等押韻格式；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)基本押韻格式一、 雙行押韻格式（aa）它是英語詩歌最基本押韻格式，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，rhyme royal）詩和八行體（octa rima）詩用雙行詩節(jié)結(jié)束，莎士比亞的十四行詩也是用雙行詩節(jié)結(jié)束全詩。雙行詩節(jié)分開放雙行詩節(jié)（open couplet）和完整雙行詩節(jié)(closed couplet)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)(heroic couplet)。開放雙行詩節(jié)指的是跨行的雙行詩體，即兩行詩有共同的語法和邏輯結(jié)構(gòu)，但第二行的意思需要繼續(xù)下去，直到在后面的詩行中結(jié)束。如濟(jì)慈敘述希臘神話中的美少年長詩《恩弟米安》開始幾行：A thing of beauty is a joy for ever:Its loveliness increases。 it will neverPass into nothingness。 but still will keepA bower quiet for us, and a sleepFull of sweet dreams, and health, and quiet breathing.Therefore, on every morrow, are we wreathingA flowery band to bind us to the earth,Spite of despondence, of the inhuman dearthOf noble natures… (John Keats: Endymion)這些詩行的特點(diǎn)是：首先，每兩行押韻，即 ever / 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)行才結(jié)束。雙行詩節(jié)是英語中最短的詩節(jié)，在印刷安排上，有時(shí)按兩行一個(gè)詩節(jié)的形式分開排列，有時(shí)連續(xù)排在一起。每個(gè)詩節(jié)的押韻不重復(fù)，即下一個(gè)詩節(jié)同上一個(gè)詩節(jié)不能押相同的韻，必須轉(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相同，而且要把意思表達(dá)完整。英雄雙行詩節(jié)是完整雙行詩節(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)騎士的介紹：And everemore he hadde a sovereign pris.And thought that he were worthy, he was wis,And of his port as week as is a maide.He nevere yit no vilainye ne saideIn al his lif unto no manere wight:He was a verray, parfit, gentil knight.But for to tellen you of his array,His hors were goode, but he was nat gay.Of fustian he wered a gipounAl bismotered with his haubergeoun,For he was late e from his viage,And wente for to doon his pilgrimage. (Chaucer: The General Prologue of The Canterbury Tales)這段詩是抑揚(yáng)格五韻步，每兩行押韻，下個(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，開始幾行如下：Upon a time, before the faery broodsDrove Nymph and Satyr from the prosperous woods,Before King Oberon’s bright diadem,Scepter, and mantle, clasp’d with dewy gem,Frighted away the dryads and the FaunsFrom rushes green, and brakes, and cowslip’d lawns,The eversmitten Hermes empty leftHis golden throne, bent warm on amorous theft: (John Keats: 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。它們每兩行押韻，即broods / 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始如下：From vale to vale, from wood to wood, he flew,Breathing upon the flowers his passion new,And wound with many a river to its head,To find where this sweet nymph prepar’d her secret bed:In vain。 the sweet nymph might nowhere be found,And so he rested, on the lonely ground. 顯然，這些以抑揚(yáng)格五韻步為主的詩行里，每行都表達(dá)完整的意思，都是每兩行押韻，因此它們屬英雄雙行押韻格式。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)：I shot an arrow into the air,It fell to earth, I knew not where。For, so swiftly it flew, the sightCould not follow it in its flight.….Long, long afterwards, in an oakI found the arrow, still unbroken。And the song, from beginning to end,I found again in the heart of a friend. (Longfellow: The Arrow and the Song)每兩行押韻，下一詩節(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。詩人們有時(shí)使雙行詩節(jié)發(fā)生變化，在雙行上加一行并與之押韻，這樣的詩節(jié)叫三行同韻詩節(jié)（triplet）。最好的例子莫過于丁尼生的《鷹》：He clasps the crag with crooked hands。Close to the sun in lonely lands,Ring’d with the azure world, he stands.The wrinkled sea beneath him crawls。He watches from his mountain walls,And like a thunderbolt he falls. (Alfred Tennyson: The Eagle)如果是三個(gè)以上的詩行押一個(gè)韻，這叫單韻（monorhyme）。單韻的格式有兩種，一種是一個(gè)詩節(jié)只押一個(gè)韻，有多少詩節(jié)就有多少韻，另一種是一首詩只押一個(gè)韻。例如弗羅斯特的《薔薇科》就是一首詩只押一種韻的典型例子：The rose is a rose,And was always a rose.But the theory now goesThat the apple’s a rose,And the pear is, and so’sThe plum, I suppose.What will next prove a rose.You, of course, are a rose—But were always a rose. （Robert Frost: The Rose Family）二、 隔行押韻格式隔行韻（alternate rhyme）又稱交叉韻（cross rhyme），其格式abab是英語詩歌中僅次于雙行押韻格式aa的第二種基本押韻格式，一般用于寫作四行詩節(jié)，其基本特征就是第一行詩與第三行詩押韻，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)：O blithe newer! I have heard,I hear thee and rejoice:O Cuckoo! Shall I call thee Bird,Or but a wandering Voice?(William Wordsworth: To the Cuckoo)這種押韻格式來自雙行詩節(jié)的押韻格式，是雙行詩節(jié)的變體，它本身也同樣存在變體，形成另外一種格式，如xbyb格式（其中x和y表示不押韻）。這種格式在民謠中比較常見，如濟(jì)慈《冷酷的妖女》第六、七詩節(jié)：I set her on my pacing steed,And nothing else saw all day long,For sidelong would she bend, and singA fairy’s song.She found me roots of relish sweet,And honey wild, and manna dew,And sure in language strange she said—I love thee true.（John Keats: La Belle Dame Sans Merci）三、 吻韻格式吻韻（envelope rhyme or kissing rhyme）又稱抱韻，其押韻格式為abba，其主要特征是第一詩行與第四詩行押韻，第二詩行和第三詩行押韻。這種格式通常被用在抑揚(yáng)格四韻步或五韻步詩行的四行詩節(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，其中第十一段的最后兩個(gè)詩節(jié)如下： Calm and deep peace in this wide air,These leaves that redden to the fall,And in my heart, if calm at all,If any calm, a calm despair。Calm on the seas, and silver sleep,And waves that sway themselves in rest,And dead calm in that noble breastWhich heaves but with the heaving deep. (Alfred Tennyson: In Memoriam, Section 11)丁尼生的密友哈勒姆在歐洲旅行期間，客死維也納，丁尼生極為悲傷，十多年中，從這種悲傷出發(fā)，把對(duì)人生、宗教、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。又如哈代的《灰暗的色調(diào)》前兩個(gè)詩行：We stood by a pond that winter day,And the sun was white, as though chidden of God,And a few leaves lay on the starving sod。—They had fallen from an ash, and were gray.Your eyes on me were as eyes that roveOver tedious riddles of years ago。And some words played between us to and froOn which lost the more by our love. (Thomas Hardy: Neutral Tones)這是詩人悼念亡妻的詩歌之一，抒寫了他們情感曾經(jīng)的隔閡。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, are you digging on my graveMy loved one?—planting rue?’—‘No: yesterday he went to wedOne of the brightest wealth has bred.“It cannot hurt her now,” he said,“That I should not be true.”’‘Then who is digging on my grave?My nearest dearest kin?’—‘Ah