八行体英文诗歌选读

八行体英文诗歌选读 篇一:古体诗译英语诗歌 浅探green英语诗歌古诗译法 著名翻译家～曾翻译了《莎士比亚十四行诗集》、《济慈诗选》等作品的屠岸先生说:‚要做好文学翻译～需要深刻掌握两种语言的精髓～而这其中～更重要的是掌握本国的语言和文化。因为好的文学翻译要把自己完全投入到翻译对象中～体会原作作者的创作情绪～最终用母语再现出来～这要求译者必须打下深厚的中文基本功底～领悟汉语言文学的精髓～使之融入血液中才行。? 如格式～韵律和字数～最起码要换成另外一种具有典型中国特色的有韵律的文学样式～比如按照整齐的格律诗的要求或自由一点的拟古体诗来翻译～一方面可以使整首诗整齐有韵律～便与记忆和背诵～另外又可以保持原诗的风味～古色古香～可以在汉语里保持它原来的韵味。译诗重译味。这个‚味?不仅仅是指原诗当中的境界和词语间要表达的内在韵律和节奏～同时还有原诗形式上的韵味～那就是诗句内的抑扬韵律和句末的韵脚规律～即诗歌的外在节奏～同时还有原诗所富含的‚古味?。把英语古体诗译成汉语古体诗～正可以对以上所述的各种韵味进行满足～在展示英语诗歌内外韵味的同时～展示汉语古诗的独特魅力。下边举一莎士比亚 十四行诗的例子: William Shakespeare Sonnets Sonnet 18 Shall I compare thee to a summers day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May～ And summers lease hath all too short a date; Sometime too hot the eye of he****en shines～ And often is his gold complexion dimmd～ And every fair from fair sometime declines～ By chance or natures changing course untrimmd: But thy eternal summer shall not fade Nor lose possession of that fair thou owst～ Nor shall Death brag thou wandrest in his shade～ When in eternal lines to time thou growst。 So long as men can breathe or eyes can see～ So long lives this～and this gives life to thee。 ——莎士比亚的十四行诗～第十八首 我怎么能把你来比作夏天, 打拍子～一起一伏～有高有低。一般是五个音步一个抑扬 格,iambic pentermeter,——五步抑扬格。类似于汉语的 平仄交替。另外十四行诗前八行,octet,一组～后六行一 组,sextet,～韵脚有规律可循～不同的十四行诗有不同的 韵脚规律～这首诗歌的韵脚规律是:abab cdcd efef gg～ 最后两句是一个韵脚。想翻译好这样的诗句～要么严格地遵照原诗歌的格式和韵律～要么就按照原诗歌的意境改变格式～成为一种适合中国人阅读的诗歌样式～比如格律诗或拟古诗体的格式。有人考虑把这首诗歌尝试用另外一种形式翻译～那就是中国古诗翻译法～也就是一种整齐的格律诗形式或拟古风体。这样考虑原因有二:其一～如果按照十四行诗的格式翻译～不符合中国人读诗歌的习惯～从感觉上说很别扭～更不用提它的押韵形式和汉语诗歌的押韵形式的不同会给中国人读英语诗歌以别扭感～同时也会给诗歌的正确翻译增加难度,第二～用中国古诗形式翻译～既可以保留原诗歌的韵味、风格～又可以让中国人朗朗上口～便于背诵～也减轻了翻译者受原著韵律和格式上的约束。但同时对翻译者中文古诗功底却提出了相应严格和更高的要求。而对于一个熟悉英语古诗韵律和格式～甚至可以作诗的人来说～这却并不是件难事。一个好的外语翻译者～必须在两种语言上都要下功夫～要充分理解和掌握两种语言的各自特征以及区别～同时不仅仅要能充分理解外语所要表达的～也同时需要能够很娴熟地运用本国语言～从而能够更好地翻译外语。我认为这个要求并不过分～一个对自己本国文化不热爱不熟悉的人无论如何是翻译不好外国作品的。 诗都已经入乡随俗～变成了中国人文化的一部分。上面那首诗歌green试译为: 美人当青春～婉丽自销 魂。 green 译, 为了和白话诗歌样式的翻译进行对比～以观其优～他又 将其翻译成了新诗体: green 译, 古诗显得零乱而生涩～不能让人读来朗朗上口～形式上 的散乱也破坏了原诗应该有的意境和韵味。既然十四行诗产 生的年代与中国的历史相对照～也应该属于古代～那么这首 诗歌就完全可以翻译成中国的古诗样式～也比较符合当时的 风土人情。 W。B。Yeats的诗一首: He Wishes for the Cloths of Heaven。 Had I heavens’embroidered cloths～ Enwrought with golden and silver light～ The blue and the dim and the dark cloths Of night and light and the half light～ I would spread the cloths under your feet; But I～being poor～ h****e only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams。 ; ; ; ; 译, 译, green将其译成古诗体: She Dwelt among the Untrodden ways ——William Wordsworth She dwelt among the untrodden ways Beside the springs of Dove～ A maid there was none to praise And very few to love: A violet by a mossy stone Half hidden from the eye! —fair as a star～ when only one Is shining in the sky。 She lived unknown～ and few could know When Lucy ceased to be; But she is in her gr****e now～ and oh～ The difference to me! 她住在阒无人迹的地方～ 她的情郎, 篇二:英美诗歌选读 第八讲 英美诗歌选读 第八讲 叙事诗 第一节史诗 史诗可分为三种～即史诗,epic,～戏拟史诗,epic satire, 和英雄叙事诗,heroic narrative,。 一、史诗 史诗指一种宏篇巨制且自成一卷的叙事诗～用高雅的语 言叙述英雄的事迹～风格庄严华美～多用精巧的修辞手法～ 如史诗明喻等。早期诗史多为民族传奇～往往被看成是一个 民族的伟大文化财富之一～如英国民族史诗《贝奥武甫》 ,Beowulf,即是如此。其他史诗有斯宾塞的《仙后》,The Faerie Queen～ 1590~1596,～贾尔斯?弗莱彻,Giles Fletcher～ 1586-1623,的《基督的胜利》,Christs Victorie～ and Triumph in Heaven～ and Earth～ over～ and after Death～ 1610,～弥尔顿的《失乐园》,Paradise Lost～ 1667,、 《复乐园》,Paradise Regained～ 1671,。布莱克的《弥尔 顿》也可以看作是一部史诗。 《贝奥武甫》现代译文第735行~第766行描述了贝奥武 甫在鹿厅与巨怪葛婪代的激战:Mighty and canny～ Hegylac’s kinsman was keenly watching for the first move the monster would make. Nor did the creature keep him waiting but struck suddenly and started in, he grabbed and mauled a man on his bench～ bit into his bone-lappings～ bolted down his blood and gorged on him in lumps～ leaving the body utterly lifeless～ eaten up hand and foot. Venturing closer～ his talon was raised to attack Beowulf where he lay on the bed～ he was bearing in with open claw when the alert hero’s comeback and armlock forestalled him utterly. The captain of evil discovered himself in a handgrip harder than anything He had ever encountered in any man on the face of the earth. Every bone in his body quailed and recoiled～ but he could not escape. He was desperate to flee to his den and hide with the devil’s litter～ for in all his days he had never been clamped or cornered like this. Then Hygelac’s trusty retainer recalled his bedtime speech～ sprang to his feet and got a firm hold. Fingers were bursting～ the monster back-tracking～ the man overpowering. The dread of the land was desperate to escape～ to take a roundabout and flee to his lair in the fens. The latching power in his fingers weakened, it was the worst trip the terror-monger had taken to Heorot. [1] ,Beowulf～ a verse translation by Seamus Heaney, 斯宾塞《仙后》的内容如诗人在卷首序诗所言～‚激烈的战斗和忠贞的爱情将是我歌的主旨?～其内容之一是对颇有作为的伊丽莎白女王的歌颂～表现民族主义的自豪。第一章一开始就开门见山地讲一位骑士的故事～第二诗节如下: But on his brest a bloudie Crosse he bore～ The deare remembrance of his dying Lord～ For whose sweete sake that glorious badge he wore～ And dead as living ever him adored: Upon his shielde the like was also scored～ For soveraine hope～ which in his helpe he had: Right faithful true he was in deede and word～ But of his cheere did seeme too solemne sad, Yet nothing did he dread～ but ever was ydrad. [2] 斯宾塞向后来的诗人赠送了一笔宝贵遗产～那就是他有名的九行诗体～这里引的诗节就是典型的斯宾塞诗体。这是一种复杂的诗体～押韵格式为abab bcbc c。前八行是五韵步～第九行即最后一行延长为六韵步。节奏徐缓～韵式有连锁之美,b韵重复四次～c韵三次,。这种诗体影响深远～拜伦、雪莱、济慈、丁尼生等都曾经用该诗体写出佳作～因此人们称斯宾塞为‚诗人的诗人?。 弥尔顿《失乐园》是关于人的堕落的史诗～其内容可以 简述为:撒旦被上帝战败～报仇心切～诱使上帝所创造的人 类始祖亚当一夏娃偷吃了智慧树上的果子～上帝震怒～把他 们逐出伊甸园。 第一章写的是上天的一场战争～两大天使集团进行了较 量～以撒旦为首的集团失败～被打入地狱。在地狱里～撒旦 对局势做了痛苦的重新估量～估量的的结果是决心复仇～撒 旦在此发表了慷慨激昂的演说,第一卷第105行~第124行,: What though the field be lost, All is not lost, the unconquerable Will～ And study of revenge～ immortal hate～ And courage never to submit or yield: And what is else not to be overcome, That Glory never shall his wrath or might Extort from me. To bow and sue for grace With suppliant knee～ and deifie his power Who from the terror of this Arm so late Doubted his Empire～ that were low indeed～ That were an ignominy and shame beneath This downfall, since by Fate the strength of Gods And this Empyreal substance cannot fail～ Since through experience of this great event In Arms not worse～ in foresight much advanced～ We may with more successful hope resolve To wage by force or guile eternal War Irreconcileable～ to our grand Foe～ Who now triumphs～ and in th' excess of joy Sole reigning holds the Tyranny of Heav'n. [3] 该史诗第二章写会上辩论～第三章转到天堂～第四章出 现亚当和夏娃～史诗的语言不再是金鼓铁甲之声～不再是上 帝与耶稣的严肃对话～而是人间的多情话语。史诗在以下诗 行中结束: In either hand the hastening Angel caught Our lingering parents～ and to the eastern gate Led them direct～ and down the cliff as fast To the subjected plain—then disappeared. They～ looking back～ all the eastern side beheld Of Paradise～ so late their happy seat～ Waved over by that flaming brand, the gate With dreadful faces thronged and fiery arms. Some natural tears they dropped～ but wiped them soon, The world was all before them～ where to choose Their place of rest～ and Providence their guide. They～ hand in hand～ with wandering steps and slow～ Through Eden took their solitary way. [4] 这是这部史诗的结束～也是人类世间生活的开始。‚世界 整个放在他们面前?～生命将延续下去。 《复乐园》写的是耶稣挫败了撒旦的种种诱惑～使撒旦 在成功地诱惑了夏娃之后终于遭到失败～这样～人类就可以 赎罪而重新升入天堂～也就是恢复了乐园。全诗的结构是一 场大辩论～耶稣与撒旦不断辩论～自始至终～贯穿四章。诗 的开始七行是全诗的总序:I～ who erewhile the Happy Garden sung By one man’s disobedience lost～ now sing Recovered Paradise to all mankind～ By one man’s firm obedience fully tried Through all temptation～ and the Tempter foiled In all his wiles～ defeated and repulsed～ And Eden raised in the waste Wilderness. [5] 第一句是说诗人在写《复乐园》之前曾写了《失乐园》～ 咏亚当受诱惑食禁果而失去乐园。第二行的‚一人?,one man,～指亚当和夏娃～他们夫妇是一体。 二、戏拟史诗 戏拟史诗～即讽刺史诗～指一种通过滑稽性地模仿严肃 史诗的手法～主要描写非英雄故事的长篇叙事诗。如蒲柏的 《劫发记》,The Rape of the Lock,,1714,～拜伦的《唐 璜》,Don Juan,,1819-24,等。 《唐璜》既讲关于唐璜的故事性很强的游记故事～也是拜伦个人的闲谈录～诗人随时对故事中的人物、情节加以说明、评论等。唐璜出生在西班牙～后来却因为爱情纠葛而离家漂泊海上～由西而东～到过希腊、土耳其、俄罗斯～成了女皇宠臣。后来他又受女皇派遣～出使英国～这样他又由东到西～穿越大陆而出现在伦敦。唐璜是在旅途中碰到各种事情的参与者和当事人～他活动频繁～所遭遇的事或惊险,如海上遇风暴～所盛船只沉没～卷入伊斯迈 城下一场血战,～或滑稽,如被卖为女奴～在土耳其苏丹的后宫里同后妃宫女等厮混,～而进入英国后～他又如诗人一样老练讽刺～对很多事情都有叙有议。诗歌这样开始道:I want a hero: an uncommon want～ When every year and month sends forth a new one～ Till～ after cloying the gazettes with cant～ The age discovers he is not the true one, Of such as these I should not care to vaunt～ I'll therefore take our ancient friend Don Juan -- We all have seen him～ in the pantomime～ Sent to the devil somewhat ere his time. [6] 三、英雄史诗 英雄叙事诗指一种风格庄严、典雅～类似史诗的叙事诗～叙述英雄的伟大业绩或所遭受的苦难～但情节单一。一般来说～能够在一两个小时内一口气读完的叙述英雄事迹的长诗就可以被叫做英雄叙事诗。如:乔叟《坎特伯雷故事》中《教士讲的故事》,The Parson’s Tale,～讲述的是名人落难记～包括《圣经》中的人物撒旦、参孙、赫拉克勒斯以及西班牙的彼得王、叙利亚古国国王的故事等。另外还有莎士比亚的《维纳斯与阿多尼斯》,Venus and Adonis～ 1593,、《鲁克丽斯受辱记》,The Rape of Lucrece～ 1594,～丁尼生《国王叙事诗》,Idylls of the King～1859,中的叙事段落～马修?阿诺德的《邵莱与罗斯托》,Sohrab and Rustum～ 1853,等。 《维纳斯与阿多尼斯》写的是爱神维纳斯爱上了青年阿多尼斯～但阿多尼斯不为所动～他的兴趣在打野猪。虽然她一再劝阻～他还是去了～结果死于猪牙之下: 'But this foul～ grim～ and urchin-snouted boar～ Whose downward eye still looketh for a grave～ Ne'er saw the beauteous livery that he wore, Witness the entertainment that he gave: If he did see his face～ why then I know He thought to kiss him～ and hath kill'd him so. ''Tis true～ 'tis true, thus was Adonis slain: He ran upon the boar with his sharp spear～ Who did not whet his teeth at him again～ But by a kiss thought to persuade him there, And nuzzling in his flank～ the loving swine Sheath'd unaware the tusk in his soft groin. 'Had I been tooth'd like him～ I must confess～ With kissing him I should have kill'd him first, But he is dead～ and never did he bless My youth with his, the more am I accurst.' With this she falleth in the place she stood～ And stains her face with his congealed blood [7] 《鲁克丽斯受辱记》长达1855行。鲁克丽斯是古罗马将 领柯拉廷的妻子～美丽贞淑～在丈夫率军在外时～遭到罗马 王子塔尔昆的强奸～她飞函召回丈夫和父亲～说明情况～要 他们报仇～然后举刀自杀。此事激起罗马群众公愤～赶走塔 尔昆一家～从此废除国王～由执政官掌权。诗歌是这样开始 的: From the besieged Ardea all in post～ Borne by the trustless wings of false desire～ Lust-breathed Tarquin leaves the Roman host～ And to Collatium bears the lightless fire Which～ in pale embers hid～ lurks to aspire And girdle with embracing flames the waist Of Collatine's fair love～ Lucrece the chaste. Haply that name of 'chaste' unhappily set This bateless edge on his keen appetite, When Collatine unwisely did not let To praise the clear unmatched red and white Which triumph'd in that sky of his delight～ Where mortal stars～ as bright as heaven's beauties～ With pure aspects did him peculiar duties. [8] 第二节歌谣 歌谣,ballad,是一种相当简短的叙事诗～往往以民间 故事为题材～其中以爱情悲剧、凶杀、冒险情节居多～情感 真挚～有浓厚的生活和劳动气息～格调清新～形式活泼～语 言朴实。歌谣词句简练押韵～容易上口～便于传诵～一般是 三韵步和四韵步交替使用～第一、三行为抑扬格四韵步诗行～ 第二、四行为抑扬格三韵步诗行～押韵格式一般为abxb。有 些诗节的第二行和第四行里出现迭句～也有一些诗节运用递 增重复～使故事情节得到发展。传统歌谣都是无名氏作品～ 一代一代口传下来的～其最大特点是单纯质朴。也有知名诗人自觉创作的文人歌谣～华兹华斯和柯尔律治匿名出版的《抒情歌谣集》,The Lyrical Ballads,,1798,中就有华兹华斯的《荆棘》,The Thorn,、《痴尔》,The Idiot Boy,等和柯尔律治的《古舟子咏》,The Rime of the Ancient Marine,～奥斯卡?王尔德的《雷丁监狱之歌》,The Ballad of Reading Goal～ 1898,也属于文人歌谣。另外还有考珀,William Cowper～ 1731-1800,的滑稽歌谣《约翰?吉尔宾》,John Gilpin,等。 柯尔律治的《古舟子咏》描述的是一次海上杀死一只信天翁而遭受的可怕经历～诗开始几个诗节如下: The Wedding-Guest sat on a stone: He cannot choose but hear, And thus spake on that ancient man～ The bright-eyed Mariner. ‘The ship was cheered～ the harbour cleared～ Merrily did we drop Below the kirk～ below the hill～ Below the lighthouse top. ‘The Sun came up upon the left～ Out of the sea came he: And he shone bright～ and on the right Went down into the sea. [9] 从这些诗节可看出～这首歌谣交替使用抑扬格四韵步和抑扬格三韵步～非常。又如柯珀的《约翰?吉尔宾》: John Gilpin was a citizen Of credit and renown～ A train-band captain eke was he 篇三:英语诗歌押韵 第三讲 英美诗歌的押韵 押韵,rhyme,是指一个音节的读音在以后音节读音中的重复～或是一个单词的最后一个音节或几个音节的读音在以后音节相应位置的读音重复。 从押韵的位置看～押韵主要有头韵(alliteration)、尾韵(end rhyme)和中间韵或腹韵,internal rhyme,。尾韵又分全韵,perfect rhyme,和非全韵(imperfect rhyme)两种。全韵要求押韵的辅音和元音都相同～非全韵又包括只是元音相同但辅音不押韵的元韵,assonance,和只押辅音不押元音的和韵(consonance)～另外～还有从拼写上看起来似乎押韵但实际读音并不押韵的目韵,eye rhyme, visual rhyme or sight rhyme,等。 第一节 头韵 头韵是指一行,节,诗中几个词开头的辅音相同～形成押韵。如克里斯蒂娜?罗塞蒂的《歌》前两诗节: When I am dead, my dearest, Sing no sad songs for me; Plant thou no rose at my head, Nor shady cypress tree: Be the green grass above me With showers and dewdrops wet; And if thou wilt, remember, And if thou wilt, forget. 1 (Christina Rossetti: Song) 第一行的dead / dearest～第二行的sing / sad / songs～第五行的green / grass～第六行的 with / wet押头韵。 又如柯尔律治的《古舟子咏》第103~第106行: The fair breeze blew, the white foam flew, The furrow followed free, We were the first that ever burst Into that silent sea. 2 ,Samuel Taylor Coleridge: The Rime of the Ancient Mariner, 前三行里～头韵[f]重复七次。这个摩擦送气的清辅音 模仿柔风轻涛的声音～创造出一种宁静的意境。第四行里的 两个[s]音宛如和风吹过沉寂海面而发出的咝咝声。头韵在 这里的使用～令读者有身临其境之感。另外～中间韵blew / flew～first / burst～furrow / followed～尾韵free / sea 形成悦耳动听的韵味和节奏感。 再如莎士比亚编号为71的十四行诗前八行: No longer mourn for me when I am dead Than you shall hear the surly sullen bell Give warning to the world that I am fled From this vile world with vilest worms to dwell. Nay, if you read this line, remember not The hand that writ it; for I love you so 1 当我离 开人间～最亲爱的～/ 别为我哀歌悲切,/ 我的墓前不要栽 玫瑰～/ 也不要柏树茂密,// 愿绿草覆盖我的身躯～/ 沾 着湿润的灵珠雨水,/ 假如你愿意～就把我怀念～/ 假如你 愿意～就把我忘却。,徐安祥 译, 2 好风吹送～浪花飞涌～ / 船行时留下纹路,/ 这幽静海面～在我们以前 / 从来没 有人闯入。,杨德豫 译, That I in your sweet thoughts would be forgot If thinking on me would make you woe. 3 每行都有不同的头韵。第一行为mourn / me～第二行为 surly / sullen～第三行为warning / world～第四行为world / worm～第五行为read / remember～第八行为me / make 和would / woe。第二行、第三行和第五行为than / that / this～第七行和第八行为thoughts / thinking。这样的不 同首字母交替出现在一个诗节中～可以称为交叉头韵。 诗人在使用头韵时～还使用一种声音的重复～通过这种声音的重复表达一种独特的情感。如多恩的《歌》: When thou sigh’st, thou sigh’st not wind But sigh’st my soul away; When thou weep’st, unkindly kind, My life’s blood doth decay. It cannot be, That thou lov’st me, as thou say’st, If in thine my life thou waste, Thou art the best of me. 4 ,John Donne: Song, 此诗节使用的头韵有when / wind / weep / waste～sigh / soul / say～doth / decay～blood / be / best～thou / then / that等。另外～在sigh、kindly、thine、my和life中有频繁的元音字母i～此音暗示悲伤和抑郁～加上它3 有一天你会听到阴郁的钟声 / 向世人宣告我已逃离这污秽的世界 / 伴随最龌龊的蛆虫往另一世界安身～/ 我劝你千万不要为我而悲鸣。/ 还有～你读这行诗的时候千万别记挂 / 这写诗的手～因为我爱你至深～/ 惟愿被忘却在你甜甜的思绪里～/ 我怕你想到我时会牵动愁心。,辜正坤 译, 4 你叹息时～叹的不是气～/ 而是叹掉了我的魂魄,/ 你 哭泣时～好心却似恶意～/ 我的生命血液即枯竭。/ 那就不 可能～ / 像你所说的那样～你爱我～/ 如果你把我在你中 的生命挥霍～/ 那是我最好的部分。,傅浩 译, 是一个长元音～自然就减缓了诗行自然的快节奏运动～哀 伤和抑郁之情得到了充分的表现。 同样的诗歌技巧也体现在爱伦?坡的《乌鸦》之中～如该 诗的最后一节: And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted –nevermore! 5 (Allan Poe: The Raven) 此诗节中除了各行的头韵,still / sitting～pallid / Pallas～his / have～lamp / light～from / floating / floor,～还有内韵,flitting / sitting～seeming / dreaming 等,～贯穿整个诗节的短元音[i]、[?]～长元音[i:]、[o:] 和双元音[?u]生动地传达出了主人公的痛苦和绝望。 第二节 尾韵 尾韵,end rhyme,指行尾押韵单词最后的重读元音及 其后面的辅音在读音上相同～而元音前面的辅音则不能相 同。也就是说～元音以及元音后面的辅音押韵～而元音前面 的辅音则不押韵。这种韵又被称为全韵,perfect rhyme,。 根据音节的数量～可分为单音节尾韵(single rhyme)、5 而 那乌鸦～永不飞离～依然栖息～依然栖息 / 在帕拉斯苍白 的雕像上～就在我卧室的门楣上,/ 它那双眼宛如睡梦中的 魔鬼的双眼,/ 它身上流泻的灯光把它的身影投落在地～/ 而我那灵魂将永不再——/ 从那地上晃动的阴影中升起。 ,傅浩 译, 双音节尾韵(double rhyme)和三重音节尾韵(triple rhyme)。 单音节尾韵又称男韵或阳韵,masculine rhyme,～是在 诗行结尾重读音节之间出现的最普遍的押韵。如米勒《在太 平洋之滨》第二诗节: Above yon gleaming skies of gold One lone imperial peak is seen; While gathered at his feet in green Ten thousand foresters are told. And all so still! So still the air That duty drops the web of care. 6 (Joaquin Miller: By the Pacific Ocean) 第一、四行押韵～第二、三行押韵～第五、六行押韵～ 都是重读单音节。 虽然是单音节押韵～但它只要求一个音节押韵～而不要 求押韵的一个音节是一个单音节单词。例如叶芝《走过柳园》 第一节: Down by the sally gardens my love and I did meet; She pass’d the sally gardens with little snow-white feet. She bid me take love easy, as the leaves grow on the tree; But I, being young and foolish, with her would not agree. 7 ,W. B. Yeats: Down by the Sally Gardens, 这里第四行的agree就是一个双音节单词～它只在第二 个音节上与前行的tree押韵～而且它是重读音节。 双音节韵又称女韵或阴韵,feminine rhyme,～其基本特 征是行尾单词最后两个音节押韵～其中倒数第二个音节是重 读音节～而最后一个音6 那边耀金光的天空上面～/ 只见有 巍峨的孤峰一座,/ 在它葱绿的山脚旁～据说～/ 聚集有林 中的居民一万。/ 都这么静:空中静成这样～/ 使职责放下 了操心之网。,黄杲炘 译, 7 在那柳枝花园下边～我遇上我的爱,/ 她走过柳枝花园～赤裸的纤足雪白。/ 她要我轻松地相爱～像树儿抽着绿叶～/ 但是我年轻愚蠢～她的话我不同意。,裘小龙 译,