外交学院综合信息系统英语诗歌的韵律与类型:关于马年的祝福语

7102次浏览 |448点赞 | 737评论 | 2020-08-15 04:52 更新

来源：互联网

最佳文档

本文由作者推荐

夏季减肥食谱-中秋节的英语作文

The Rhythm and Types of English Poetry英语诗歌的韵律与类型
目录
上篇英语诗歌的韵律
前言．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第一章英语诗歌的韵步．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第一节韵步的定义与类型．．．．．．．．．．．．．．．．．．．．．．．（）
第二节韵步类型举例．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第二章英语诗歌的韵步数．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第一节单韵步行．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第二节双韵步行．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第三节三韵步行和四韵步行．．．．．．．．．．．．．．．．．．．．．（）
第四节五韵步行．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第五节六韵步行．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第六节七韵步行．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第七节八韵步行．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第三章英语诗歌的押韵．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第一节头韵．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第二节尾韵．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第三节内韵．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第四节元韵．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第五节和韵．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第六节
第四章
第一节
第二节
目韵．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
英语诗歌的基本押韵格式．．．．．．．．．．．．．．．．．．．．．．（）
基本押韵格式．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
基本押韵格式的组合使用．．．．．．．．．．．．．．．．．（）
第五章十四行诗的押韵格式．．．．．．．．．．．．．．．．．．．．．．．（）
第一节彼特拉克体．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第二节莎士比亚体．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第三节斯宾塞体．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第六章诗行与韵律．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第一节结句行．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第二节连续行．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第三节音节增减．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第四节句式倒装．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第七章五行打油诗与短回旋诗．．．．．．．．．．．．．．．．．．．．．（）
第一节五行打油诗．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第二节短回旋诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第八章素体诗与自由诗．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第一节素体诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第二节自由诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
下篇英语诗歌的类型
第九章叙事诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第一节史诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第二节歌谣．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）

第三节戏剧诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第四节
第十章
第一节
第二节
故事诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
抒情诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
颂诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
挽歌．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第三节婚庆曲．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第四节歌．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第五节田园短诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第六节田园牧歌．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第七节爱情小诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第八节哲理诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第九节宗教诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第十节赞美诗．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第十一节墓志铭．．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第十二节收场白．．．．．．．．．．．．．．．．．．．．．．．．．．．．（）
第十一章融入中国文化的英语诗歌．．．．．．．．．．．．．．．．．（）

前言
《英语诗歌的韵律与类型》是出于教学的需要而编写的。
诗歌的最大特征是韵律，要欣赏英语诗歌，首先得把英语诗歌的韵律搞清楚。本书上篇共
八章，从各个方面探讨了英语诗歌的韵律。但并非面面俱到，如重音（accent）韵律就没有
谈及，非常见的韵律如破韵、省略韵等也被省去。
英语诗歌有各种类型，按照不同的划分标准，类型就有所不同。按照表现形式来分，有格
律诗、自由诗、散文诗、模仿诗等；按照艺术表现手法来分，有朦胧诗、讽刺诗、朗诵诗
等。本书下篇是按照内容来划分英语诗歌的类型，即叙事诗、抒情诗、戏剧诗、哲理诗和
宗教诗等。由于戏剧诗很大一部分属于叙事剧作，如莎士比亚的戏剧都可以看成是戏剧诗，
本书将其归入叙事诗。哲理诗和宗教诗从数量上看不是很多，而且它们带有很大的抒情成
分，本书将之归入抒情诗。
一些英美诗人十分崇尚中国文化，他们的一些诗歌融入了中国文化的元素，本书的最后一
章专门介绍了一些融入了中国文化的英美诗歌。 本书总共引用了60多位英美诗人的120多首诗歌（或诗歌片段），绝大部分都选自《诺顿
英国文学选集》和《诺顿美国文学选集》，其中乔叟、斯宾塞等的诗歌保留了原诗的近代英
语原汁原味的拼写形式。所有引用诗歌都附有中文译文，且译文尽可能出自名家，个别地
方略有改动。本书作者在找不到名家译文甚至一般译文的前提下，才提供自己的拙译。为
了节省篇幅，译文以脚注形式出现，连续排列，以符号―‖隔开各个诗行，以―‖隔开每个诗
节。本书没有对引用诗行进行注解，除了考虑节省篇幅，主要是因为读者层次不同，有的
注解对一些读者来说是多余的。读者自己动手查需要查的词语，更能体现读者的主动性和
参与性。
本书从内容到结构，汲取了几本书的精华，它们是布尔顿的《诗歌解剖》、王佐良的《英国
诗史》、聂珍钊的《英语诗歌形式导论》、齐晓燕的《英诗的美学探究》等，书中的引用没
有直接注明。没有这些专著做参考，本书难以成型。
本书译文主要出自国内著名翻译大家，如曹明伦、傅浩、胡家峦、黄杲炘、江枫、刘新民、
裘小龙、孙梁、屠岸、王佐良、杨德豫、查良铮、钟玲、朱维之等等，没有他们的译文，
对初学英诗的人甚至包括本书作者在内，要理解所引用的一些诗歌，既有一定的难度，甚

至会产生偏差。本书还引用了其他一些不太知名的译者的译文，凡是能找到出处的，都已
在译文后注明。本书作者在此向所有译者以及本书所参考过而没有标注出来的参考文献的
作者表示深深的敬意。
本书适合英语专业本科学生用作英语诗歌入门教材，也适合英语诗歌爱好者对英语诗歌韵
律和类型的基本了解。对研究英语诗歌韵律的研究生来说，本书也不失为一本有价值的参
考书。
由于本书作者对英语诗歌的研究有限，手头资料有限，错误难免，希望读者批评指正。

第一章英语诗歌的韵步
第一节韵步的定义与种类
韵步（foot，也被称为音步），是由音节(syllable)组成的，因此，首先要了解什么是音节。
音节由音素（ph one）构成，它是语音中最小的不可再分解的单位，是字母组合后的读音标
记。音素靠听觉辨认，字母靠视觉辨认，音素属于读音系统，字母属于拼写系统。例如，scansion
[′skæ ;n∫зn]由8个字母拼写而成，只有7个音素。英语音素分为元音（vowel）和辅音
(cons onant)，共有48个。
音节是英语的发音单位，由一个元音或者由一个元音同一个或若干个辅音构成。音节可分
为单音节、双音节、多音节三类。
单音节：you，day，me，big，make，bar等。
双音节：begin，open，foolish，summer，mountain等。
多音节：wonderful，revolution，satisfactory等。
辅音也可构成音节，如people，rhythm中的ple和thm都属于一个音节。
每个英语单词都有一个重读音节，其重读音节是固定的。如husband，共两个音节，第一个
音节重读；express有两个音节，第二个音节重读；beautiful有三个音节，第一个音节重读；
r eligion有三个音节，第二个音节重读；subterranean有四个音节，第三个音节重读。
在短语或句子中，冠词和介词一般不重读。如在in the morning，on a desk中，in、the、on、
a都不重读。
弄清楚什么是音节，就可以理解什么是韵步了。
韵步是一个或两个重读音节和一个或两个非重读音节的排列组合。其类型如下：
韵步类型表
名称英语名称的形容词形式例子（大写表示重读）
抑抑格pyrrhic pyrrhic in a
抑扬格iamb iambic enGAGE
扬抑格trochee trochaic ALways
扬扬格spondee spondaic HOT STUFF
抑抑抑格tribrach tribrachic and in the
抑抑扬格anapaest anapaestic on the WAY
抑扬抑格amphibrach amphibrachic eTERnal
抑扬扬格baccius bachiac the WHOLE DAY
扬抑抑格dactyl dactylic WANdering
扬抑扬格amphimacer or cretic cretic PIECE of CAKE
扬扬抑格antibachius antibachiac GOOD MORning
扬扬扬格molossus molossic GREAT WHITE HOPE
第二节韵步类型举例
一、抑扬格

_ _ _ _ _ _
Better dwell | in the midst | of alarms,
_ _ _ _ _
Than reign | in the ho| rrible place.
(William Cowper: The Solitude of Alexander Selkirk)
每行诗由两个非重读音节加一个重读音节组成韵步，每行诗分三个韵步。其中第二、五、
六、八行都有首音节省略的特点，于是第一个韵步就从抑抑扬格变成了抑扬格。这种省略
被称为首行省略（truncation）。
五、扬抑抑格
扬抑抑格是由一个重读音节加两个非重读音节组成的韵步，与抑抑扬格韵步对应。单纯用
扬抑抑格写作的诗歌很少，以此步格为基础的诗行大多同其他形式的步格组合在一起。如
托马斯•胡德《叹息桥》第一诗节：
_ _ _ _
Take her up |tenderly
_ _
Lift her with |care
_ _ _ _
Fashion‘d so |slenderly
_ _
Young, and so | fair
（Thomas Hood: The Bridge of Sighs）
这里的第一个诗节的第一行和第三行由两个扬抑抑格韵步组成，第二行和第四行由一个完
整扬抑抑格韵步加一个重音节（其后省略了两个非重读音节）构成。
罗伯特•勃朗宁的《误解》，每行诗最后一个韵步都省略了一个非重读音节：
_ _ _ _
This is a | spray the Bird | clung to,
_ _ _ _ _
Making it | blossom with | pleasure,
_ _ _ _ _
Ere the high | tree-top she | sprung to,
_ _ _ _ _
Fit for her | nest and her | treasure.
_ _ _ _
O, what a | hope beyond | measure
_ _ _ _ _ _ _
Was the poor | spray‘s, which the | flying feet | hung to,
_ _ _ _ _ _ _
So to be | singled out, | built in, and | sung to!
(Robert Browning: Misconceptions)
在这个诗节里，前五行每行八个音节，划分为三个扬抑抑格韵步，第六、七行有十一个音
节，划分为四个扬抑抑格韵步，每行最后一个韵步在省略了一个非重读音节后，用扬抑格
代替了扬抑抑格。
六、多种步格在一首诗歌中的同时运用
如：

属于抑抑格，具体分析如下：
_ _ _ _ _ _ _
Me on|ly cru|el im|morta|lity
莎士比亚的十四行诗都是抑扬格五韵步诗行，但几乎每首十四行诗中都可以找到至少一个
非抑扬格韵步。以最著名的《我可以把你比作夏天吗？》为例：
_ _ _ _ _
But thy | eter|nal sum|mer shall |not fade,
_ _ _ _ _ _
Nor lose | posse|ssion of | that fair | thou ow‘st.
这里第二行的第三个韵步是抑抑格。甚至第一行第一、四个韵步都可以读成抑抑格，第五
个韵步可以读成扬扬格。
除了抑扬格韵步，五韵步还用于其他步格的韵步，如阿诺德的《靠自己》第一诗节：
_ _ _ _ _ _
Weary | of my|self, and | sick of | asking
_ _ _ _ .
What I | am, and | what I | ought to | be,
_ _ _ _ _
At this | vessel's | prow I | stand, which | bears me
_ _ _ _
Forwards, | forwards, | o'er the | starlit | sea.
(Mathew Arnold: Self-Dependence)
这个诗节的基本节奏是扬抑格，但第一行的第二个韵步被替换成了抑抑格韵步，第二、四
行最后一个韵步是尾省略韵步，省略了一个非重读音节。
第五节六韵步行
六韵步诗行（hexameter）是由六个韵步组成的诗行。其特点有二，一是往往通过停顿将一
行六韵步诗行分为两个半行诗，二是它的韵步常使用替换，例如锡德尼的十四行组诗《奥
斯特洛菲尔与斯苔拉》第一首中的前四行：
_ _ _ _ _ _
Loving | in truth ||, and fain | in verse | my love | to show,
_ _ _ _ _ _ _
That she |(dear She) | might take | some plea|sure of | my pain:
_ _ _ _ _ _
Pleasure | might cause | her read||, reading | might make | her know,
_ _ _ _ _ _
Knowledge | might pi|ty win||, and pi|ty grace | obtain;
(Sir Philip Sidney: Astrophel and Stella)
这四行诗的第一个特点是，每行都由一个停顿把一行诗分成两个半行诗，其中有三行的中
间出现标点符号；第二个特点是替换。四行诗的基本节奏是抑扬格，但第一、三、四行的
第一个韵步被替换成了扬抑格，第二行的第五个韵步被替换成了抑抑格。
第六节七韵步行
七韵步诗行（heptamet er）是由七个韵步组成的诗行。文艺复兴时期英国诗人有时用抑扬格
七韵步诗行写诗，遵守由十四个音节组成抑扬格节奏，因此这类诗被称为抑扬格七韵步诗
（fourteeners），例如骚斯维尔的《燃烧的婴孩》前几行：
_ _ _ _ _ _ _ _

As I| in hoa|ry win|ter‘s night | stood shi|vering in |the snow,
_ _ _ _ _ _ _
Surprised | I was | with su|dden heat | which made | my heart | to glow;
_ _ _ _ _ _ _
And lif|ting up | a fear|ful eye | to view | what fire | was near,
_ _ _ _ _ _
A pre|tty babe | all bur| ning bright | did in | the air | appear;
(Robert Southwell: The Burning Babe)
由于七韵步诗行较长，一般都把它分为一个四韵步诗行和一个三韵步诗行，于是上面的诗
行就被排列成：
As I| in hoa|ry win|ter‘s night
stood shi|vering in |the snow,
Surprised | I was | with su|dden heat
which made | my heart | to glow;
And lif|ting up | a fear|ful eye
to view | what fire | was near,
A pre|tty babe | all bur| ning bright
did in | the air | appear;
用扬抑格写成的七韵步诗行比较少见，以下是丁尼生《食莲人》第八诗节（也是最后一个
诗节）中间四行：
_ _ _ _ _ _
Like a | tale of | little | meaning | tho‘ the | words are | strong;
_ _ _ _ _ _ _
Chanted | from an | ill-used | race of | men that | cleave the | soil,
_ _ _ _ _ _ _
Sow the | seed, and | reap the | harvest | with en|during | toil,
_ _ _ _ _ _
Storing | yearly | little | dues of | wheat, and | wine and | oil;
(Alfred Tennyson: The Lotus-Eaters)
每行前六个韵步都是标准的扬抑格，第七个韵步通过行尾省略的方法省去了一个非重读音
节，因此它是一个缺损的韵步，这在诗歌中很常见。

第七节八韵步行
八韵步诗行（octameter）是由八个韵步组成的诗行。这种诗行很少，也能找到例句，如爱德
华兹的《设计精美的天堂》中的某些诗行：
If plea|sures be | in pain|fullness||? in plea|sures doth |my bo|dy rest,
If joys | accord | with care|fullness ||? a joy|ful heart | is in | my breast:
If pri|son strong | be li|berty ||? in li|berty | long have | I been,
If joys | accord | with mi|sery ||? who can | compare | a life | to mine.
（Richards Edwards: The Paradise of Dainty Device）
这些诗行都是标准的八韵步诗行。
又如丁尼生的《梅尔顿之旅》中以下诗行：
―His fa|thers have| slain thy | fathers | in war | or in | single | strife,
Thy fa|thers have | slain his | fathers, | each ta|ken a | life for | life,

Thy fa|ther had | slain his | father, | how long | shall the | murder | last?
Go back | to the | Isle of | Finn and | suffer | the past | to be | past.‖
And we | kissed the | fringe of | his beard | and we | pray‘d as | we heard | him pray,
And the | Holy | man he |assoil‘d | us, and | sadly | we sail‘d | away.
(Alfred Tennyson: The Voyage of Maeldune)
前四行的第八韵步属拗变，省略了一个非重读音节。后两行是标准的八韵步诗行。
由于音节太多，诗人们倾向于将八韵步诗行分成两个四韵步诗行。
另外，九韵步诗行（non ameter）和十韵步诗行(decameter)是分别由九个和十个韵步组成的
诗行。但这种诗行十分罕见，暂无例句可举。

第三章英语诗歌的押韵
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(c onsonance)，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.
(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.
（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
That I in your sweet thoughts would be forgot
If thinking on me would make you woe.
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.
（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、m y和life中有频繁的元音字母i，
此音暗示悲伤和抑郁，加上它是一个长元音，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!
(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、[æ]，
长元音[i:]、[o:]和双元音[əu]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)、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.
(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.
（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，而最后一个音节是非重读音节。由于其读音是重读加非重 读结构，因此它又称扬抑格韵（trochaic rhyme）。如华兹华斯的《写于三月》前四行：
The cock is crowing,
The stream is flowing,
The small birds twitter,
The lake doth glitter.
(William Wordsworth: Written in March at Brother‘s Water)
行尾的crowing flowing，twitter glitter相互押韵。两组押韵都是由双音节单词组成，每个
单词的第一个音节为重读音节，第二个音节为非重读音节。
又如丁尼生《女郎夏洛特》第一部分的第二诗节：
Willows whiten, aspens quiver,
Little breezes dusk and shiver
Through the wave that runs forever
By the island in the river
Flowing down to Camelot.
Four grey walls, and four grey towers,
Overlook a space of flowers,
And the silent isle imbowers
The Lady of Shalott.
(Alfred Tennyson: The Lady of Shalott, Part I)
行尾的quiver shiver river，towers flowers imbo wers相互押韵，除了imbowers，其余单
词都是双音节单词，都是第一个音节为重读，第二个音节为非重读。imbowers虽然是三个
音节，但它的最后两个音节为重读加非重读，跟其余两个单词押韵。这就是说，双音节韵
的单词也可以是多音节单词，但其押韵的音节只能是两个，而且是多音节中最后两个音节。
同时，其结构也不能改变，是重读音节加非重读音节。
再如济慈《致一些女士》第一诗节：

What though while the wonders of nature exploring,
I cannot your light, mazy footsteps attend;
Nor listen to accents, that almost adoring,
Bless Cynthia‘s face, the enthusiast‘s friend.
（John Keats: To Some Ladies）
这个诗节是单韵和双韵混合使用。exploring ador ing都是三个音节，但重读音节在倒数第二
个音节上，最后一个音节是非重读音节，因此它们押双韵。
在多音节单词中，如果最后两个音节押韵，但倒数第二个音节不是重读音节，也可以归入
双韵。如下面这首选自莎士比亚《凤凰与斑鸠》中的一段诗：
Beauty, truth, and rarity
Grace in all simplicity,
Here enclosed in cinders lie.
Death is now the phoenix‘ nest;
And the turtle's loyal breast
To eternity doth rest,
Leaving no posterity:--
‘Twas not their infirmity,
It was married chastity.
Truth may seem, but cannot be;
Beauty brag, but ‘tis not she:
Truth and Beauty buried be.
To this urn let those repair
That are either true or fair;
For these dead birds sigh a prayer.
(Shakespeare: ―Threnos‖ of The Phoenix and the Turtle)
rarity simplicity，posterity infirmity chastity都是三个音节或四个音节，它们在最后两个音
节上都押韵，但倒数第二个音节都不是重读音节，虽不符合双韵的规定，非严格说来，也
应该算双音节押韵。
另外，nest breast rest是标准的单音节押韵。repair fair p rayer这个押韵组中，repair虽是
两个音节，但重读在第二个音节上。air与ayer字母组合虽然不同，但读音相同，因此，三
个单词押单音节韵。
三重音节尾韵是在双韵的基础上增加了一个音节，因此它可以被看成是双韵的变体。押三
重韵的英语单词在韵步上属于扬抑抑格，因此，三重韵有时也被称为扬抑抑格韵（dactylic
rhyme）。由于英语中符合三重韵规则的单词不多，因此三重韵可以由两个以上的英语单词
构成，这种押韵被称为马赛克韵（mosaic rhyme ），即几个单音节单词同一个多音节单词或
几个单音节单词押韵。如拜伦《唐璜》第一歌第二十二段后四行：
I don‘t choose to say much upon this head,
I‘m a plain man, and in a single station,
But-oh! Ye lords of ladies intellectual,
Inform us truly, have they not hen-peck‘d you all?
(Byron: Don Juan, First Canto, XXII, Lines 173~176)
intellectual有五个音节，其中lectual有三个音节，同下一行的peck‘d you all押三重马赛克
韵。
第三节内韵

内韵，又称中间韵、行内韵、腹韵，指一行诗内的一个词语与同一行诗行尾的词语或另一
行诗中的一个词语之间的押韵。它不是在行尾的押韵，既可能与同一行诗中的词语押韵，
也可能同下一行诗中的词语押韵，还可能同隔行诗中的词语押韵。
一行诗内的一个词语与同一行诗行尾的词语押内韵的例子，如雪莱的《云》，以第一诗节为
例：
I bring fresh showers for the thirsting flowers,
From the seas and streams;
I bear light shade for the leaves when laid
In their noon-day dreams.
From my wings are shaken the dews that waken
The sweet buds every one,
When rocked to rest on their mother‘s breast,
As she dances about the Sun.
I wield the flail of the lashing hail,
And whiten the green plains under,
And then again I dissolve it in rain,
And laugh as I pass in thunder.
(Percy Bysshe Shelley: The Cloud)
单数行中的showers flowers，shade laid，shaken waken，rest breast，flail hail，again rain
押内韵，它们都是行中间的词与同行尾词押韵。该诗的其他诗节也是如此押韵，从韵律角
度看，相当优秀。另外，双数行行尾单词streams dreams，one Sun押单音节韵，under thunder
押双音节韵。
又如玛丽•伊丽莎白•柯尔律治的《女巫》第一诗节的前四行：
I have walked a great while over the snow,
And I am not tall nor strong.
My clothes are wet, and my teeth are set,
And the way was hard and long.
(Mary Elizabeth Coleridge: The Witch)
诗中第三行的wet set押内韵。该诗第二、三诗节的第三行分别是My hands are stone, and my
voice a groan和She came—she came—and the quivering flame。其中的stone groan和came
flame 也押内韵。
既在一行诗内押内韵，又在隔行中押内韵的诗，爱伦•坡的《乌鸦》是典型例子，下面是该
诗的第二个诗节：
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;___ vainly I had sought to borrow
From my books surcease of sorrow___ sorrow for the lost Lenore___
For the rare and radiant maiden whom the angels name Lenore___
Nameless here for evermore.
（Allan Poe: The Raven）
第一行的remember December以及第三行的morrow borrow分别都是同一行内押内韵。
December ember和borrow sorrow 属于一行诗的尾韵词同下一行诗中间的词押韵，两行诗
不再押尾韵，这种结构的押韵叫隔行内韵（alternate rhyme）。另外，第四行的lost Lenore和
第五行的rare and radiant押头韵。

《乌鸦》第三节第一、二行如下：
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me___ filled me with fantastic terrors never felt before.
《乌鸦》第五节后三行如下：
And the only word there spoken was the whispered word. ―Lenore!‖
This I whispered, and an echo murmured back the word, ―Lenore!‖
Merely this and nothing more.
在这些诗行中，thrilled filled，whispered murmured word 都是同一行诗中两个或三个词
语押韵，但不押尾韵。这种押韵被称为组合韵（sectional rhyme）。
第四节元韵
元韵属于非全韵，指诗行中的元音读音相同，而元音前后的辅音则不同。从押韵的位置来
看，元韵可分为尾元韵和行内元韵。
尾元韵同普通尾韵不同。尾韵要求行尾单词最后一个音节的元音和元音后面的辅音都要押
韵，而尾元韵只要求行尾单词最后一个元音押韵，而不管元音后面的辅音是否押韵。例如：
She sees the falling leaves, the dying leaves
That cling there still; above
Through the brown horror of the boughs she sees
The empty, arching skull.
(E.L. Mayo: Pool)
在这四行诗里，第一、三行最后单词中的元音字母ea 和ee发音相同，第二、四行最后单词
中的元音字母o和u也是发音相同，它们属于标准的尾元韵。 押元韵的诗行往往同押全韵的诗行一起组合成诗节，如狄金森《天堂，为我难以企及》第
一诗节：
Heaven is what I cannot reach!
The Apple on the Tree,
Provided it do hopeless hang,
That
（Emily Dickinson: Heaven Is What I Cannot Reach）
第一行的reach和第二行的tree构成元韵，第二行的tree和第四行的me则构成全韵。
行内元韵指一行诗中相邻单词中相同元音的重复，这种重复也可以出现在几行诗中。例如：
Skirting the river road,(my forenoon walk, my rest,)
Skyward in air a sudden muffled sound, the dalliance of the eagles,
The rushing amorous contact high in space together,
The clinching interlocking claws, a living, fierce, gyrating wheel,
Four beating wings, two beaks, a swirling mass tight grappling,
In tumbling turning clustering loops, straight downward falling,
Till o‘er the river pois‘d, the twain yet one, a moment‘s lull,
A motionless still balance in the air, then parting, talons loosing,
Upward again on slow-firm pinions slanting, their separate diverse flight,
She hers, he his, pursuing.
(Walt Whitman: The Dalliance of the Eagles)
这个诗节中，从开始到最后，元音不断重复，第二行的sudden muffled，第三行的rushing
contact中元音字母u和o是相同元音，第六行的tumbling clustering两个u读音相同，第九
行的diverse flight中，i和igh的读音相同。第二行和第四行押尾元韵（eagles wheel）。还

有头韵，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。
行内韵往往和尾韵一同使用，如：
Tyger!Tyger! burning bright,
In the forests of the night.
(William Blake: The Tyger)
第一行tyger和bright 中的y和i因读音相同而押元韵，同时bright又同第二行的night押尾
韵。像这种元韵和尾韵混合使用的情况，非常普遍。
第五节和韵
和韵指元音读音不同而辅音或辅音组合的读音相同或相似。和韵可分为行尾和韵、行内和
韵和节内和韵。
行尾和韵指出现在行尾的辅音重复，元音不要求押韵，如叶芝《第二次来临》中的诗行：
Things fall apart; the center cannot hold;
Mere anarchy is loosed upon the world.
(: The Second Coming)
hold world中的辅音[ld]押韵。又如狄金森《天堂，为我难以企及》第二诗节：
The color on the cruising cloud,
The interdicted ground
Behind the hill, the house behind —,
There Paradise is found!
（Emily Dickinson: Heaven Is What I Cannot Reach）
四行尾词的辅音[d]押韵，后三行尾词的辅音[nd]押韵。
行内和韵和节内和韵指在一行诗内押韵和在一个诗节的诗行行内押韵。这种押韵只考虑重
读音节的辅音押韵，可以出现在任何位置，并不要求押尾韵。以弗罗斯特的《雪夜林边驻
足》前两诗节为例：
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.
(Robert Frost: Stopping by Woods on a Snow Evening)
第一行的whose woods these中的辅音字母s 的读音都是[z]且又是尾辅音，因此形成行内
和韵。它还同整个诗节以及全诗中的尾辅音[z]形成节内和韵以及全诗和韵。另外，每诗节
第一、二、四行押尾韵（know though snow，queer near year）。whose woods，his is in
village，see me等押内元韵。第一行的his house，第三行的see stopping，第四行的watch
woods with押头韵。
这首诗里把尾韵、内韵、元韵、和韵和头韵混合使用，不仅使诗歌的声音系统更加复杂，
而且音响效果得到强化，增强了诗歌的音韵美。
第六节目韵
目韵指拼写看起来似乎押韵而读音其实并不押韵的尾韵。如弗瑞诺《印第安人的墓地》第
四诗节：

His bow, for action ready bent,
And arrows, with a head of stone,
Can only mean that life is spent,
And not the old ideas gone.
（Philip Freneau: The Indian Burying Ground）
这里的stone和gone属于目韵。
又如弥尔顿的《致亡妻》中的诗行：
Mine, as whom washed from spot of child-bed taint
Purification in the Old Law did save,
And such as yet once more I trust to have
Full sight of her in Heaven without restraint,
(Milton: On His Deceased Wife)
这里的save和have属于目韵。
再如安•布拉兹特里特的《肉与灵》中的诗行：
In secret place where I stood
Close by the banks of Lacrim flood,
I heard two sisters reason on
Things that are past and things to come;
(Anne Bradstreet: The Flesh and the Spirit)
这里的stood和flood属于目韵。

第四章英语诗歌的基本押韵格式
押韵格式（rhyme scheme）指的是一首诗中各押韵诗行的组合形式。一般说来，每首诗都由
数量不同的诗行组成，每一行的结尾都按照其读音的相同或类似而押韵，并表现出规律性。
押韵格式分为定型诗歌格式和普通诗歌格式。前一种格式主要有十四行诗体、斯宾塞诗体、
回旋诗体等押韵格式；普通诗歌格式主要有双行押韵格式（aa）、隔行交互押韵格式(abab) 和吻韵格式(abba)。
第一节基本押韵格式
一、双行押韵格式（aa）
它是英语诗歌最基本押韵格式，主要用于双行诗节（couplet）。双行诗节指两行押韵或不押韵的诗行。双行诗节可以单独成为诗节，也可以存在于其他诗节中。七行体（又称皇韵体，
rhym e royal）诗和八行体（octa rima）诗用双行诗节结束，莎士比亚的十四行诗也是用双行
诗节结束全诗。
双行诗节分开放双行诗节（open couplet）和完整双行诗节(closed couple t)两种。完整双行诗
节如果是用抑扬格五韵步写成，就被称为英雄双行诗节(heroic couplet)。
开放双行诗节指的是跨行的双行诗体，即两行诗有共同的语法和逻辑结构，但第二行的意
思需要继续下去，直到在后面的诗行中结束。如济慈叙述希腊神话中的美少年长诗《恩弟
米安》开始几行：
A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.
Therefore, on every morrow, are we wreathing

A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures…
(John Keats: Endymion)
这些诗行的特点是：
首先，每两行押韵，即 ever never，keep sleep，breathing wreathing，earth dearth押韵。
其次，第一行是完整句，第二行要表达的意思跨入下面数行才结束。
双行诗节是英语中最短的诗节，在印刷安排上，有时按两行一个诗节的形式分开排列，有
时连续排在一起。每个诗节的押韵不重复，即下一个诗节同上一个诗节不能押相同的韵，
必须转韵，因此，整首诗的押韵格式就成了aabbcc dd，一直往下推。
完整双行诗节不仅要求两行诗押韵相同，而且要把意思表达完整。英雄双行诗节是完整双
行诗节中的一种，它是英语诗歌之父乔叟最喜爱的诗体，如他的《坎特伯雷故事》总引中
对骑士的介绍：
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 saide
In 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 gipoun
Al bismotered with his haubergeoun,
For he was late come from his viage,
And wente for to doon his pilgrimage.
(Chaucer: The General Prologue of The Canterbury Tales)
这段诗是抑扬格五韵步，每两行押韵，下个韵不同于上个韵，其押韵格式为aabbccddeeff。
济慈的叙事诗《拉米亚》是混合使用开放诗行和英雄诗行写成的，开始几行如下：
Upon a time, before the faery broods
Drove 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 Fauns
From rushes green, and brakes, and cowslip‘d lawns,
The ever- smitten Hermes empty left
His golden throne, bent warm on amorous theft:
(John Keats: Lamia)
这些诗行里，第一行不是完整句，第一行和第二行组成一个时间状语从句，第三、四、五
六句组成第二个状语从句，第七、八行组成这些诗行的主句。它们每两行押韵，即broods
woods，diadem gem，Fauns lawns，left theft。每组韵不同，属开放双行诗节押韵格式。
但该诗第二十七行开始如下：
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.
显然，这些以抑扬格五韵步为主的诗行里，每行都表达完整的意思，都是每两行押韵，因
此它们属英雄双行押韵格式。
押aabb韵律格式的四行诗节，其实是双行诗节的变体，如朗费罗的《箭和歌》第一、三诗
节：
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.
….
Long, long afterwards, in an oak
I 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)
每两行押韵，下一诗节的韵与前面的韵不同。虽然第一、二行都分别表达完整之意，但因 它们是四韵步，只能被称为完整诗行，不能被称为英雄双行。其余双行是开放诗行。
诗人们有时使双行诗节发生变化，在双行上加一行并与之押韵，这样的诗节叫三行同韵诗
节（triplet）。最好的例子莫过于丁尼生的《鹰》：
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)
如果是三个以上的诗行押一个韵，这叫单韵（monorhyme）。单韵的格式有两种，一种是一
个诗节只押一个韵，有多少诗节就有多少韵，另一种是一首诗只押一个韵。例如弗罗斯特的《蔷薇科》就是一首诗只押一种韵的典型例子：
The rose is a rose,
And was always a rose.
But the theory now goes
That the apple‘s a rose,
And the pear is, and so‘s
The 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、隔行押韵格式
隔行韵（alternate rhyme）又称交叉韵（cross rhyme），其格式abab 是英语诗歌中仅次于双
行押韵格式aa的第二种基本押韵格式，一般用于写作四行诗节，其基本特征就是第一行诗

与第三行诗押韵，第二行诗同第四行诗押韵。如华兹华斯的《致杜鹃》第一诗节：
O blithe new-comer! 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)
这种押韵格式来自双行诗节的押韵格式，是双行诗节的变体，它本身也同样存在变体，形
成另外一种格式，如xbyb格式（其中x和y表示不押韵）。这种格式在民谣中比较常见，
如济慈《冷酷的妖女》第六、七诗节：
I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A 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、吻韵格式
吻韵（envelope rhyme or kissing rhyme）又称抱韵，其押韵格式为abba，其主要特征是第一
诗行与第四诗行押韵，第二诗行和第三诗行押韵。这种格式通常被用在抑扬格四韵步或五
韵步诗行的四行诗节中，丁尼生的《悼念集》被认为是用此种格式写成的最著名的诗篇，
其中第十一段的最后两个诗节如下：
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 breast
Which heaves but with the heaving deep.
(Alfred Tennyson: In Memoriam, Section 11)
丁尼生的密友哈勒姆在欧洲旅行期间，客死维也纳，丁尼生极为悲伤，十多年中，从这种
悲伤出发，把对人生、宗教、社会等的思考写成一首首诗，记录了这一心灵历程。该诗集
发表后，成为英诗中最伟大的悼念诗之一这种诗体也被称为悼念体。
又如哈代的《灰暗的色调》前两个诗行：
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 rove
Over tedious riddles of years ago;
And some words played between us to and fro
On which lost the more by our love.

(Thomas Hardy: Neutral Tones)
这是诗人悼念亡妻的诗歌之一，抒写了他们情感曾经的隔阂。
吻韵与四行诗节联系在一起，如果诗行增加并押吻韵，吻韵就有了变体形式，如哈代的《啊，
是你在我坟上刨土》就是一例，其前两个诗节如下：
‗Ah, are you digging on my grave
My loved one?—planting rue?‘
—‗No: yesterday he went to wed
One 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, no: they sit and think, ―what use!
What good will planting flowers produce?
No tendance of her mound can loose
Her spirit from Death‘s gin.‖‘
(Thomas Hardy: Ah, Are You Digging on My Grave?)
这是一首具有讽刺味道的对话诗，是坟墓里的死者与坟上刨土者的对话，死者不知道是谁
在刨土，就发问是不是自己的恋人，亲人，或敌人（第三节），刨土者回答说都不是，他们
都已经不爱你，不想你，不恨你了。刨土者最后回答说自己是死者养过的那只小狗，死者
感动于世上还有小狗一颗忠诚的心，而小狗的回答却是，它来刨土为的是埋一根骨头，竟
然忘了这里是主人的安息地。每个诗节有六个诗行，第一行在后面每个诗节首行作少许变
动后重复，属迭句。如果将其抛在一边，我们就不难发现，每诗节里剩下的五行诗，属abbba
吻韵格式。
吻韵也可以用来写三行诗节，格式为aba。这样的诗行叫吻韵三行诗节（enclosed tercet），
如毕晓普的《一门艺术》第一、诗节：
The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster,
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.
（Elizabeth Bishop: One Art）
四、链韵格式
链韵（chain rhyme）又名连锁韵（interlocking rhyme），是英语诗歌中较为复杂的押韵格式，主要用于四行诗节或三行诗节。其特征是一个诗节中的某一行诗用于连接下一个诗节中某
一行诗的韵。雪莱的《西风颂》是使用链韵的优秀范例，其第四段如下：
If I were a dead leaf thou mightiest bear;
If I were a swift cloud to fly with thee;
A wave to pant beneath thy power, and share
The impulse of thy strength, only less free
Than thou, O Uncontrollable! If even
I were as in my boyhood, and could be
The comrade of thy wanderings over Heaven,

As then, when to outstrip thy skiey speed
Scarce seem‘d a vision; I would ne‘er have striven
As thus with thee in prayer in my sore need.
O! life me as a wave, a leaf, a cloud!
I fall upon the thorns of life! I bleed!
A heavy weight of hours has chained and bowed
One too like thee: tameless, and swift, and proud.
(Percy Bysshe Shelley: Ode to the West Wind)
前四个诗节的押韵格式为aba bcb cdc ded，每个诗节单独来看都是吻韵，而且每个诗节的中
间诗行成为链接诗行，它与下一诗节的首尾两诗行押尾韵，这样，所有诗行就链接起来了。
又如拉金的《床上的谈话》：
Talking in bed ought to be easiest,
Lying together there goes back so far,
An emblem of two people being honest.
Yet more and more time passes silently.
Outside, the wind‘s incomplete unrest
Builds and disperses clouds about the sky,
And dark towns heap up on the horizon.
None of this cares for us. Nothing shows why
At this unique distance from isolation
It becomes still more difficult to find
Words at once true and kind,
Or not untrue and not unkind.
(Philip Larkin: Talking in Bed)
前三个诗节的韵式是aba cac dcd，前一个诗节的首尾行与下一个诗界的中间行押韵，从而将
三个诗节链接起来。最后一个诗节押单韵。
第二节押韵格式的组合使用
上面讨论的四种基本押韵格式都与二行、三行和四行诗节联系在一起。有时，一个诗节会
有五个或五个以上的诗行，这时就会出现两种甚至两种以上的押韵格式的组合。
一、五行诗节中押韵格式的组合
例如雪莱的《致云雀》开始两诗节：
Hail to thee, blithe Spirit!
Bird thou never wert—
That from heaven or near it
Pourest thy full heart
In profuse strains of unpremeditated art.
Higher still and higher
From the earth thou springest,
Like a cloud of fire;
The blue deep thou wingest,
And singing still dost soar, and soaring ever singest.
（Percy Bysshe Shelley: To a Skylark）
每个诗节中的押韵格式为ababb。这是隔行押韵的变体形式，也可以说前三行是吻韵格式，
后两行是双行韵格式，后两行与第二行又押韵。又如艾伦•坡的《致海伦》：

Helen, thy beauty is to me
Like those Nicéan barks of yore,
That gently, over a perfumed sea,
The weary, way-worn wanderer bore
To his own native shore.
On desperate seas long wont to roam,
Thy hyacinth hair, thy classic face,
Thy Naiad airs have brought me home
To the glory that was Greece,
And the grandeur that was Rome.
Lo! in yon brilliant window-niche
How statue-like I see thee stand,
The agate lamp within thy hand!
Ah, Psyche, from the regions which
Are Holy-Land!
(Allan Poe: To Helen)
这首诗三个诗节的押韵格式分别是abab， ababa和abbab，它们都应该是隔行韵的变体，但
第三个诗节的前四行又有吻韵的味道。另外， Nicéan中的é表示这个音节重读，从而使这
个诗行成抑扬格韵步。
二、六行诗节中押韵格式的组合
例如华兹华斯《我独自漫游像一片云》第一诗节和最后诗节：
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
…
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.
（William Wordsworth: I Wandered Lonely as a Cloud）
每个诗节的押韵格式是ababcc，即隔行韵和双行韵格式的组合。
三、七行诗节中的组合
七行诗节中，最普通的是抑扬格五韵步的皇韵（rhyme royal）诗节。它是苏格兰国王詹姆斯
一世在他的诗歌Kings Quair中所使用的诗节而创造出来的。乔叟在《特罗勒斯与克丽西德》
（Troilus and Criseyde）中最早使用这一诗节，因此皇韵诗节又称特罗勒斯诗节（Troilus
stanza）或乔叟诗节（Chaucer stanza）。以下是选自《特罗勒斯与克丽西德》卷一中特罗勒
斯的一段情歌的第一诗节，其韵脚是ababbcc。
―If no love is, O God, what fele I so?
And if love is, what thing and whiche is he?

If love be good, from whennes cometh my wo?
If it be wikke, a wonder thinke me,
When every torment and adversitee
That cometh of him, may to me savory thinke;
For ay thurst I, the more that I it drinke.
这种格式是在四行诗节基础上发展起来的，其押韵格式也是在隔行押韵（abab）或双行押韵
（bbcc）的基础上加一个三行诗形成的。
四、八行诗节中押韵格式的组合使用
八行诗节的基本结构是由六行隔行韵（ababab）加一个双行韵构成(cc)，如叶芝的《驶向拜
占庭》最后一个诗节：
Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.
（W.B. Yeats: Sailing to Byzantium）
拜伦的长诗《唐璜》（Don Juan）是由八行诗节构成，押韵格式为abababcc，即由六行隔行
韵加一个双行韵构成，例句见后面史诗章节。
五、九行诗节中押韵格式的组合使用
九行诗节以斯宾塞诗节（Spenserian stanza）为代表，他是在长诗《仙后》中创造的一种诗
节，以下是卷一第一章的第一诗节：
Gentle Knight was pricking on the plaine,
Ycladd in mightie armes and silver shielde,
Wherein old dints of deepe wounds did remaine,
The cruell markes of many a bloudy fielde;
Yet armes till that time did he never wield:
His angry steede did chide his foming bitt,
As much disdayning to the curbe to yield:
Full iolly knight he seemd, and faire did sitt,
As one for knightly giusts and fierce encounters fitt.
（Edmund Spenser: Faerie Queen）
这种诗节的押韵格式是ababbcbcc，是在隔行韵和链接韵基础上发展起来的，既有隔行韵味
道，又有链接韵味道。斯宾塞的这种九行诗节押韵格式是固定的。
其他诗人也写九行诗节的诗，其押韵格式就不那么固定，如多恩的《追认圣徒》第一诗节：
For God‘s sake hold your tongue, and let me love,
Or chide my palsy, or my gout,
My five gray hairs, or ruined fortune, flout,
With wealth your state, your mind with arts improve,
Take you a course, get you a place,
Observe His Honor, or His Grace
Or the king‘s real, or his stampèd face

Contemplate; what you will, approve,
So you will let me love.
(John Donne: The Canonization)
这节诗行的押韵格式为abbacccaa，显然，前面四行是吻韵，后面五行是双行韵的变体。
六、十行诗节中押韵格式的组合使用
由于诗行较多，十行诗节没有固定的押韵格式，但大多数是从基本押韵格式上变化而来，
例如多恩的《升起的太阳》第一节：
Busy old fool, unruly sun,
Why dost thou thus
Through windows and through curtains call on us?
Must to thy motions lovers‘ seasons run?
Saucy pedantic wretch, go chide
Late schoolboys and sour prentices,
Go tell court huntsmen that the king will ride,
Call country ants to harvest offices;
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.
(John Donne: The Sun Rising)
这个诗节的押韵格式是abbacdcdee，显然，前四行押吻韵，接下来的四行押隔行韵，最后两
行押双行韵。又如济慈《夜莺颂》第四诗节：
Away! Away! For I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Though the dull brain perplexes and retards:
Already with thee! Tender is the night,
And haply the Queen –Moon is on her throne,
Cluster‘d around by all her starry Fays;
But here there is no light,
Save what from heaven is with the breezes blown
Through verdurous glooms and winding mossy ways.
（John Keats: Ode to a Nightingale）
这个诗节的押韵格式是ababcdecde，显然，前四行押隔行韵，后六行也押隔行韵，但隔两行
而非基本格式的隔一行。
七、―维拉内拉‖（villanelle）十九行诗
这种诗体在文艺复兴时期用于当时流行的牧歌中，它起源于意大利民谣的诗体，格律很严：
每首由五个三行诗节构成，限用两个韵，三行诗节的韵脚安排为aba，四行诗节为abaa，第
一节中的第一行与第三行还必须在后面的四节中轮流用作第三行，并在最后的四行节中双
双出现，作全诗结句。如狄兰•托马斯的《不要温和地走进那个良夜》：
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
(Dylan Thomas: Do not Go Gentle into That Good Night)
诗人的父亲常常给年少的他朗诵莎士比亚的作品，并鼓励他写诗。在父亲最后的日子里，
挚爱他的儿子在他的病榻前为他反复朗诵这首杰作。诗人认为父亲是个有见识的人，具有
多种非凡的品质，因此他列举了数种典型之人对待死亡的态度，殷殷劝说父亲不要被动地
屈从，而应以生命的激情和勇气与死神抗挣。诗人请求父亲以一如既往的热情来关心自己，
哪怕是诅咒或祝福。

第五章十四行诗的押韵格式
第一节彼特拉克体十四行诗的押韵格式
十四行诗起源于意大利，它是 13、14世纪意大利最流行的一种抒情诗体。诗人彼特拉克是
意大利十四行诗的代表，这种诗体既被称为意大利十四行诗体，又被称为彼特拉克体。一
般认为，英国最早写作意大利十四行诗的诗人是怀亚特（ Sir Thomas Wyat,1503~1545），他
的诗作在他去世十五年以后与霍华德（Henry Howard ,1517~1547）一起出版，他们一起被称
为―英国十四行诗之父‖。这种诗体被介绍到英国后，很快成为英国诗人喜欢运用的一种诗体，
弥尔顿、华兹华斯、济慈、勃朗宁、锡德尼都写下优美的彼特拉克体十四行诗。这种诗体
由十四行诗组成，分前八行（octave）和后六行(sestet)两个部分。每行五个韵步(pentameter)。
第一部分八行诗的押韵格式为：abba abba，这种韵式称为吻韵。第二部分六行诗的押韵格
式有三种：cdc cdc，cdc dcd，cde dce。这种韵式称为链韵。
一、弥尔顿
尔顿用彼特拉克体写了多首十四行诗，其内容包括对赞颂革命人物，对酬答友好故旧，抒
发个人情怀等。以下是《我思量我已耗尽光明》：
When I consider how my light is spent
Ere half my days, in this dark world and wide,
And that one talent which is death to hide,
Lodged with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide;
―Doth God exact day-labor, light denied?‖
I fondly ask; but Patience to prevent
That murmur, soon replies, ―God doth not need
Either man‘s work or his own gifts; who best

Bear his mild yoke, they serve him best. His state
Is kingly. Thousands at his bidding speed
And post o‘er land and ocean without rest:
They also serve who only stand and wait.‖
（John Milton: On His Blindness）
此诗的主题写失去视力的感受，表达诗人对万物有灵论和上帝的哲学看法。诗歌探讨了诗
人对上帝的信仰和联系，并暗示上帝创造了人，人追求的不是休息而是工作。全诗分两个
部分，第一部分写弥尔顿向上帝提问，第二部分对自己提出的问题做出解答。诗歌虽然是
诗人向上帝提问，但实际上是诗人向自己提问，努力为自己失明后所遭遇的人生问题寻求
答案。一开始，诗人就暗示，美好人生因为失明受到影响，第一到第四行的
―dark‖―death‖―useless‖等词表明诗人失明后的心理状态，即失明后笼罩在内心深处的巨大阴
影。第三行诗―And that one talent which is death to hide‖是对《圣经》马太福音第25章的暗
示。三个人中的两个拿了主人的钱去投资并赚了钱，得到主人的回报，而那个把钱埋在地
里的人却很不幸，主人把他的钱夺去给了赚了钱的人，还把他关在门外的黑暗中。这是诗
人的真切感受，他失明后感觉被人从现实人生和世界中赶了出去，被关在黑暗的世界里。
第二个四行是继续提出问题―Doth God exact day-labour, light denied？‖紧接着是对前面提出
的问题给予回答（Patience…soon replies）。全诗每行十个音节，分五个抑扬格韵步，前八行
的韵式为abba abba，后六行韵式为cde cde。
弥尔顿的这首十四行诗在结构上跟传统意大利十四行诗略有不同，即在后面的六行中，没
有传统意大利体的转折，这种变化的意义在于使十四行诗在结构上更为紧密，在内容上更
严谨，避免了传统意大利体在前八行和后六行之间的转换所造成的意义上的断裂。
二、华兹华斯
华兹华斯一生用彼特拉克体写了五百余首十四行诗，其中不乏精美之作。华兹华斯以自己
的诗歌实践重新确立了十四行诗在文学上的地位，充分肯定了十四行诗的意义。以《威斯
敏斯特桥上》为例：
Earth has not any thing to show more fair:
Dull would he be of soul who cold pass by
A sight so touching in its majesty:
This City now doth, like a garment, wear
The beauty of the morning; silent, bare,
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and to the sky;
All bright and glittering in the smokeless air.
Never did sun more beautifully steep
In his first splendour, valley, rock, or hill;
Ne‘er saw I, never felt, a calm so deep!
The river glideth at his own sweet will;
Dear God! the very houses seem asleep;
And all that mighty heart is lying still!
（William Wordsworth: Composed upon Westminster Bridge）
此诗的主题是赞美沐浴在晨光中的与大自然融为一体的宁静的伦敦城。诗歌的标题指明观
景的地点是泰晤士河上的一座桥，诗人经过此处，被眼前景色打动，环顾四周，更是兴奋
不已，于是诗歌一开始就点题：如此壮观的美景无与伦比，凡有正常情感的人都会被景色
打动。接下来诗歌就像摄影机镜头一样，首先对准城市（this city…），慢慢移向郊区

(ships…temples lie Open unto the fields, and to the sky)，移向更远处的山谷等地（valley, rock,
or hill）再将镜头收回来，对准泰晤士河、城市建筑和整座城市（river, houses, heart ）。四周
宁静，阳光普照，城市如披着新袍，一切建筑都在一尘不染的大气中光辉灿烂，城市与郊
外的田野和天空完美地融为一体，阳光也撒在纯粹是自然状态的峡谷山陵，河水静静流淌，
晨辉中像心脏一样强有力地跳动的伦敦城还沉浸在甜甜的睡梦之中。全诗每行十个音节，
分五个抑扬格韵步，前八行的韵式为abba abba，后六行韵式为cdc dcd。其中后六行与弥尔
顿的韵式有所不同，这是华兹华斯对押韵格式所作的变化。
华兹华斯的十四行诗《不要责备十四行诗》，既表达了诗人对十四行诗的总体评价，也是对
过去写作十四行诗的诗人给予独特的评价：
Scorn not the Sonnet; Critic, you have frowned,
Mindless of its just honours; with this key
Shakespeare unlocked his heart; the melody
Of this small lute gave ease to Petrarch's wound;
A thousand times this pipe did Tasso sound;
With it Camöens soothed an exile's grief;
The Sonnet glittered a gay myrtle leaf
Amid the cypress with which Dante crowned
His visionary brow: a glow-worm lamp,
It cheered mild Spenser, called from Faery- land
To struggle through dark ways; and, when a damp
Fell round the path of Milton, in his hand
The Thing became a trumpet; whence he blew
Soul-animating strains--alas, too few!
（William Wordsworth: Scorn not the Sonnet）
华兹华斯在此诗中历数西方诗坛风流人物与十四行诗的不解之缘。他写道：莎士比亚用它
作为钥匙（k ey）开启心扉；彼特拉克以它为提琴(lute)，奏出的旋律抚慰创伤；意大利文艺
复兴后期诗人塔索也以之为琴，奏出同样的曲调；十六世纪葡萄牙抒情诗人卡蒙斯用它减
轻流放的悲痛；它成了装饰在但丁头上一片闪光的田园叶子(leaf)；它是引领斯宾塞走在黑
暗路上的一盏灯(lamp)，它又是弥尔顿手里的一只号角(trumpet)。
全诗每行十个音节，分五个抑扬格韵步，前八行的韵式为abba abba，后六行韵式为cdc d ee。
其中后六行韵式与前一首又有所不同，即最后两行的押韵，类似莎士比亚体的最后两行韵
式。这里又体现出华兹华斯对押韵格式所作的变化。
三．济慈
济慈从1814年到1819 年的短短几年间，共写了四首十四行诗，这些诗主要抒发诗人自己
的内心感受，致力于对自己情感深处的探索，其中有的诗轻松欢乐，有的沉着凝重，有的
耽于哲理，有的抒发情感。这些诗主要是用彼特拉克体写成。以《欲重读〈李尔王〉》为例：
O golden-tongued Romance, with serene lute!
Fair plumed siren, queen of far-away!
Leave melodizing on this wintry day,
Shut up thine old pages, and be mute.
Adieu! For, once again, the fierce dispute
Betwixt damnation and impassion‘d clay
Must I burn through; once more humbly assay
The bitter-sweet of this Shakespearean fruit.

Chief Poet! And ye clouds of Albion,
Begetters of our deep eternal theme!
When through the old oak forest I am gone,
Let me not wander in a barren dream:
But, when I am consumed in the fire,
Give me new phoenix wings to fly at my desire.
（John Keats: On Sitting Down to Read King Lear Once Again）
诗歌第一个四行提出要传说中地中海岛上的女妖（siren）住口，她所唱的美妙歌曲总是引诱
航海者触礁毁灭。荷马史诗中，奥德修斯经过女妖所住的岛时，用蜜蜡堵住伙伴们的耳朵，
并让伙伴把自己绑在桅杆上，他才听到歌声而没有被引诱，由此可见其诱惑力有多大。即
便如此，济慈还是要女妖住口，因为诗人要离开，要去听更具诱惑力、更具有毁灭性的莎
翁的《李尔王》。第二个四行是把莎士比亚的《李尔王》同女妖配以诗琴唱出的美妙传奇相
媲美，甚至认为《李尔王》比女妖们的歌声更有诱惑力，诗人会在莎翁的诗中再次在燃烧
中体会激情与毁灭的激烈斗争，再次品尝莎翁式的苦涩甘果。所以第二个四行是对前面提
出要求的解释。接下来是对莎翁的赞美，称之为英格兰的云朵，深邃而永恒主题之父。最
后是总结，即希望自己在燃烧之后，如凤凰再生，插上翅膀，随心所欲地翱翔。
全诗每行十个音节，分五个抑扬格韵步，前八行的韵式为abba abba，后六行韵式为cdc d ee，
即隔行韵与双行韵的组合，其中最后两行的押韵，类似莎士比亚体的最后两行韵式，跟华
兹华斯的韵式变化相同。
第二节莎士比亚体十四行诗的押韵格式
莎士比亚体十四行诗是在彼特拉克体的基础上发展形成的。怀亚特把十四行诗引入英国时，
无论是翻译还是写作，其形式都不是单一的，有的属于彼特拉克体，有的接近后来的莎士
比亚体，霍华德的部分诗歌在形式上已经完全属于后来的莎士比亚体。莎士比亚选择了在
当时较为流行的形式进行创作，而他又是那个时代最伟大的戏剧家和诗人，于是就把这种
形式称为莎士比亚体。
这种诗歌形式在韵律和节奏上仍然同彼特拉克体保持一致，即每行诗还是属于抑扬格五韵
步，也就是说，每行十个音节，每两个音节为一个韵步，共五个韵步，重音在每个韵步的
第二个音节上。
但是在诗的结构上，莎士比亚体有所不同。彼特拉克体分为两个部分，即前八行和后六行。
全诗的内容从第九行出现转折，往往是前八行提出问题，后六行回答问题。莎士比亚体也
分为两个部分，即三个四行诗（three quartets）构成的前十二行，一个双行诗（couplet）构
成的后两行。转折点在十二行和两行之间。一般说来，前十二行提出问题，最后两行提供
答案。
在押韵上，莎士比亚体是前三个四行和后一个两行分别押韵，押韵格式通常为：abab cdcd efef
gg。
莎士比亚一共创作了一百五十四首十四行诗，下面以编号为12的十四行诗为例：
When I do count the clock that tells the time
And see the brave day sunk in hideous night,
When I behold the violet past prime
And sable curls ensilvered o‘er with white,
When lofty trees I see barren of leaves,
Which erst from heat did canopy the herd
And summer‘s green all girded up in sheaves
Borne on the bier with white and bristly beard:

Then of thy beauty do I question make
That thou among the wastes of time must go,
Since sweets and beauties do themselves forsake,
And die as fast as they see others grow;
And nothing ‘gainst time‘s scythe can make defence
Save breed, to brave him when he takes thee hence.
莎士比亚在这首诗中描写的主题是规劝友人生子。全诗由三个四行诗和一个双行诗构成，
在内容上可将前十二行和后两行分成两个部分。前面写时间的镰刀对一切美好事物的摧残，
后面写留下子嗣是唯一抵御时间镰刀的摧残的方法。第一个四行是两个时间状语从句，即
看见黑夜吞噬白天，看见鲜花凋谢和黑发变白。第二个四行是另一个时间状语从句，继续
前面的话题，即树叶脱落，夏苗变成麦芒被收割成捆被载上灵车。第三个四行是前面三个状语从句的主句，说明当看见前面那些东西时的感慨和原因，即为友人的美色担忧，因为
一切甘美之物看见别的事物生长时都会快速死去。最后两行是转折，即要抵御时间的镰刀，
抵御死亡，唯一的方法就是生子，把自己的青春和美丽存留显现在下一代身上。
从这首诗可看出，莎士比亚的十四行诗在内容上和韵式上比彼特拉克体前进了一大步。从
内容上看，前十二行是一个整体，一气呵成，一个主句带三个时间状语从句和一个原因状
语从句。从结构上看，最后两行对前面的问题加以解决，简洁紧凑。从押韵上看，前三个
四行分别押韵，即abab cdcd efef，最后两行押gg韵。它们在押韵结构上相互独立，不发生
关系，这就比此前的彼特拉克体的韵律结构灵活了许多，更加有利于诗人遣词造句，抒情 写意和表达情感，更加有利于诗人的想象力和创造力的发挥。
莎士比亚还把十四行诗放在《罗密欧与朱丽叶》的对话中：
Romeo[to Juliet]:
If I profane with my unworthiest hand
This holy shrine, the gentle fine is this,___
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
Juliet:
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims‘ hands do touch,
And palm to palm is holy palmers kiss.
Romeo:
Have not saints lips, and holy palmers too?
Juliet:
Ay, pilgrim, lips that they must use in prayer.
Romeo:
O, then, dear, saint, let lips do what hands do;
They pray; grant thou, lest faith turn to despair.
Juliet:
Saints do not move, though grant for prayers‘ sake.
Romeo:
Then move not, while my prayer‘s effect I take.
[kissing her
(Shakespeare: Romeo and Juliet, Act I. Scene V)

莎士比亚在这里把十四行诗分成两人的对话，首先每人一个四行（quartet ），押隔行韵，接
下来的四行中，罗密欧占三行，显示罗密欧的主动，最后的双行被分成每人一行。像这样
的对话十四行诗，十分罕见，可谓绝无仅有。
现当代诗人往往从各种诗体中吸取营养，将主要诗体融为一体。布鲁克写的有关战争的十
四行诗《士兵》最具有代表性：
If I should die, think only this of me:
That there‘s some corner of a foreign field
That is for ever England. There shall be
In that rich earth a richer dust concealed;
A dust whom England bore, shaped, made aware,
Gave, once, her flowers to love, her ways to roam,
A body of England‘s, breathing English air,
Washed by the rivers, blest by suns of home.
And think, this heart, all evil shed away,
A pulse in the eternal mind, no less
Gives somewhere back the thoughts by England given;
Her sights and sounds; dreams happy as her day;
And laughter, learnt of friends; and gentleness,
In hearts at peace, under an English heaven.
（Rupert Brooke: The Soldier, 1915）
这首诗从总体上来说属于彼特拉克体，分为前8行和后6行。但前8行押韵不是彼特拉克
体的abba abba形式，而是莎士比亚体的abab cdcd形式。因此，它在形式上是两种体的融
合。
第三节斯宾塞体十四行诗的押韵格式
斯宾塞的十四行诗收在《爱情小诗》中，共六十八首。他的十四行诗是在继承和发展怀亚
特和霍华德引进的十四行诗的形式的基础上创立的独特诗体，与彼特拉克体和莎士比亚体
并驾齐驱。
在结构上，与莎士比亚体相同，即由三个四行诗构成的前十二行和一个双行诗构成的后两
行组成。在内容上以问题开头，采用讨论的方式推动诗歌的思想向前发展，连环相扣，层
层推进，使诗中要表达的问题得到充分讨论和表达，问题的结论也即将到来。最后的双行
轻松结束全诗。
在韵律上，还是跟彼特拉克体和莎士比亚体一样，采用五韵步抑扬格。但在押韵上则显出
独特之处，其押韵格式为：abab bcbc cdcd ee，三个四行诗在押韵上相互衔接。这种形式被
称为吻韵。下面以编号为1的爱情小诗为例：
Happy ye leaves when as those lilly hands,
Which hold my life in their dead doing might,
Shall handle you and hold in loves soft bands,
Lyke captives trembling at the victors sight.
And happy lines, on which with starry light,
Those lamping eyes will deigne sometimes to look
And read my sorrows of my dying spright,
Written with teares in harts close bleeding book.
And happy rymes bath‘d in the sacred brooke
Of Helicon whence she derivèd is,

When ye behold that Angels blessèd looke,
My soules long lackèd food, my heavens blis.
Leaves, lines and rymes, seeke her to please alone,
Whom if ye please, I care for other none.
(Edmund Spenser: Amoretti)
这首诗的前三个四行层层递进地分别羡慕书页（leaves）、诗行(lines)和诗篇(rymes)，它们都
很幸运，因为诗人仰慕的情人能与它们亲密接触：她的玉手能触摸书页，她的明眸会去读
用血和泪水写成的诗行中传达出来的诗人的灵魂；她还会因灵魂受到触动而在诗篇上滴下
激动的泪水。从手到眼到灵魂，加上第四行和第五行、第八行和第九行在押韵上的相扣（sight
light，book brooke），将三个四行诗紧密连在一起，主题一步步推向高潮。最后的双行诗 中的结论水到渠成。另外，第十、十一、十二行中的derivèd、blessèd和lackèd中的 è表示
这个音算一个音节，从而使这些诗行构成五韵步，具体参见下一章第三节关于音节增减部
分。

第六章诗行与韵律
第一节结句行
诗行（line of poetry, line of verse）指诗歌中的一行文字。它是诗歌的基本结构单位，它遵循
的规则是韵律规则。作为诗行，它又不可能脱离普通语法规则，从语法意义上讲，诗行就
是诗句。诗歌是由一行一行的诗组成的，但一行诗不等于一句诗。一行诗不一定是一个完
整的语法句子，不一定表达一个完整的意思。
如果一行诗是一个完整诗句，表达完整意思，这样的诗行叫结句行（end- stopped line）。如
莎士比亚编号为77的十四行诗前四行：
Thy glass will show thee how thy beauties wear,
Thy dial how thy precious minutes waste,
The vacant leaves thy mind‘s imprint will bear,
And of this book this learning mayest thou taste.
又如米莱的《梦》第一诗节：
Love, if I weep it will not matter,
And if you laugh I shall not care;
Foolish am I to think about it,
But it is good to feel you there.
(Edna Vincent Millay: The Dream)
诗行受韵律限制，往往不能在一行诗中表达完整意思，因此，英语诗歌中的结局行占诗行
的比例不是很高，大多数还是下一节的延续行。
第二节延续行
一个句子表达一个完整的意思，但由于受音节限制，每行诗往往不能表达完整的意思，这
就必须跨到下一行甚至再下一行或多行，这样的诗行叫延续诗行（run- on line）或跨行
(enjambment)。以阿诺德《多佛海滩》最后一段为例：
Ah, love, let us me true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;

And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.
(Mathew Arnold: Dover Beach)
整个诗节共有九个诗行，但只有三个句子，即：第一句：Ah, love, let us be true to one another!
占一行半。第二句：for the world, which seems to lie before us like a land of dreams, so various,
so beautiful, so new, hath really neither joy, nor love, nor light, nor certitude, nor peace, nor help
for pain; 占四行半。第三句：And we are here as on a darkling plain swept with confused alarms
of struggle and flight, where ignorant armies clash by night. 占三行。
有时一个句子不但要跨行，甚至要跨诗节，如狄金森的《成功的滋味最甜》：
Success is counted sweetest
By those who ne‘er succeed.
To comprehend a nectar
Requires sorest need.
Not one of all the purple Host
Who took the Flag today
Can tell the definition
So clear of Victory
As he defeated—dying—
On whose forbidden ear
The distant strains of triumph
Burst agonized and clear!
(Emily Dickinson: Success Is Counted Sweetest)
第一诗节是两个句子，即Success is counted sweetest by those who ne‘er succeed和To
comprehend a nectar requires sorest need。第二、三诗节其实是一个比较复杂的句子，主干句
是Not one of all the purple host can tell the definition of victory so clear as he (诸公队列里没有
人能像他那样真切道出胜利的真谛)，除了在每个诗节里跨行，还跨了第二、三节。
再如威廉斯的《丛林》：
It is not the still weight
of the trees, the
breathless interior of the wood,
tangled with wrist-thick
vines, the flies, reptiles,
the forever fearful monkeys
screaming and running
in the branches___
but
a girl waiting
shy, brown soft-eyed___
to guide you
Upstairs, sir.
(William Carlos Williams: The Jungle) 丛林转义为为生存而残酷斗争的地方，丛林原则就是弱肉强食的原则。本诗写的一个年轻
女子就是这个丛林社会中的一块弱肉，而诗中的说话人也正在进入丛林。tangled with

wrist-thick vines修饰wood。不但跨行，还跨节，but悬空在两节之间，也很独特。全篇诗
除第一个词大写，其余各行皆小写开首，而独Uptairs是大写，这表明是女孩在招呼客人上
楼。
第三节音节的增减
为了合符韵律，有时一行诗里需要增加一个音节。通常的做法是，动词词尾ed中的e需要
发音。一般情况下，这个字母被加上一个发音符号，变成è，如哈代《黑暗中的画眉》最后
一个诗节：
So little cause for carolings
Of such ecstatic sound
Was written on terrestrial things
Afar or nigh around,
That I could think there trembled through
His happy good-night air
Some blessèd Hope, whereof he knew
And I was unaware.
(Thomas Hardy: The Darkling Thrush)
这个诗节的单数行是四韵步抑扬格诗行，双数行是三韵步抑扬格诗行。其中第七句的blessèd正常读音只有一个音节，为了韵律，就增加了这个动词的过去时词尾音节。这个诗行的韵
步分析如下：
_ _ _ _
Some bles|sèd Hope|, whereof |he knew
又如莎士比亚编号为77的十四行诗第五、六行：
The wrinkles which thy glass will truly show
Of mouthèd graves will give thee memory;
为了合抑扬格五韵步韵律，这里第二行的mouthèd算两个音节，该行韵步分析如下：
_ _ _ _ _ _
Of mou|thèd graves | will give | thee me|mory
另外，第五个韵步被替换成了抑抑格。这是一种普遍的拗变现象。
需要注意的是，并非每个头上加了符号― ̀ ”或― ́ ”的字母都表示增加一个音节，如弥尔顿
《论莎士比亚》第一、二诗行和最后两诗行：
What needs my Shakespeare for his honored bones,
The labour of an age in pilèd stones?
….
And so sepúlchered in such pomp dost lie
That kings for such a tomb would wish to die.
(John Milton: On Shakespeare)
pilèd中的è表示增加音节，sepúlchered中的ú则表示此音节重读。
有时在诗行里需要减少一个音节，如狄金森《我把我的力量握在手中》：
I took my power in my Hand
And went against the World
‘Twas not so much as David had
But I was twice as bold.
I aimed my Pebble but Myself
Was all the one that fell

Was it Goliath was too large
Or was myself too small?
(Emily Dickinson: I Took My Power in My Hand)
这首诗的单行为四韵步诗行，双行为三韵步诗行。为了确保单行的八个音节和双行的六个
音节，有些地方就需要省略一些不重要的音节，或不影响意思的代词，关联词等。第三行
的‘T是It的省略形式，元音省略了。第七行Was it Goliath (who) was too large中间省略了代
词who。
又如莎士比亚编号为75的十四行诗前四行：
So are you to my thoughts as food to life,
Or as sweet-seasoned showers are to the ground;
And for the peace of you I hold such strife
As ‘twixt a miser and his wealth is found.
这些诗行是抑扬格五韵步行，每行十个音节。第四行的‘twixt，是betwi xt的省略形式。用省
略号―‘‖省掉一个音节，这诗行就合韵律了。这行诗的韵步分析如下：
_ _ _ _ _ _
As ‘twixt | a mi|ser and | his wealth | is found

第四节句式倒装
为了押韵，有时要把一个句子的各个成分颠倒，如安•布拉兹特里特《作者致自己的诗集》
中的几行：
In better dress to trim thee was my mind,
But nought save homespun cloth i‘th‘house I find.
In this array ‘mongst vulgars may‘st thou roam.
In critic‘s hands beware thou dost not come.
(Ann Bradstreet: The Author to Her Book)
每行诗里都用了倒装，其正常语序应该如下：
My mind was to trim thee in better dress
But I find nought save homespun cloth i‘th‘house.
May‘st thou roam ‘mongst vulgars in this array.
Beware thou dost not come in critic‘s hands.
不难看出，正常语序下，诗歌就不押尾韵了。另外，为了保证每行诗都是五韵步，第二、
三行还使用了音节的减省，即in the house成了i‘th‘house，amongst成了‘mongst，都省去了
一个音节。

第七章五行打油诗与短回旋诗
五行打油诗（Limerick）与短回旋诗(Rondelet)属于轻体诗（light verse），以幽默讽刺为重要
特征。
第一节五行打油诗
五行打油诗是英国人爱德华•李尔(Edward Lear, 1812~1888)所创，此后，英国人写了无数的
五行打油诗，但大多是匿名作品。这类诗在形式上为五行，第一、二、五行为相同韵步，
押尾韵，第三、四行为相同韵步，押尾韵，韵式为aabba。例如：
The secret of love is the power
To weather the sweet and the sour
Your joy will not weaken

With love as your beacon
Through sunshine and through thunder shower.
（Anonymous: Love‘s Secret）
又如：
There once was a girl who loved rhyme;
She felt her writing was sublime.
Indeed quite a poet,
Though some didn't know it,
She'd be rich if each paid a dime.
（Anonymous）
再如：
I wish you success with your dreams.
It's easy if we work in teams
So all in due course
Lets give it more sauce.
It isn't as tough as it seems.
（Anonymous）
顺便一提，英语诗歌中有一种诗叫doggerel，俗称打油诗，指的是不合韵律且粗劣的蹩脚诗，
与五行打油诗是两个概念。
第二节短回旋诗
短回旋诗是一种法国诗体，由一个七行诗节构成，只有两个韵，其中，第三行和第七行与
第一行完全相同，是迭句（refrain）。其韵式为AbAabbA（A代表迭句的韵）。如无名氏的
《我的归属》：
Hearing your voice
The future is so much grander
Hearing your voice
Every morning I rejoice
No more am I a bystander
I look to you my commander
Hearing your voic
（Anolymous: I Belong）
又如无名氏的《留在身后》：
Feeling the pain
You should have seen but you were blind
Feeling the pain
Emptiness will drive you insane
Only memories to remind
Of how we used to lay entwined
Feeling the pain
(Anonymous: Left Behind)
第七章素体诗与自由诗
第一节素体诗
素体诗（blank verse）指由抑扬格五韵步写成但不押尾韵的诗歌。
莎士比亚的剧作大部分由素体诗写成，如《如愿》中第二幕第七景以下诗行：

All the world‘s a stage,
And all the men and women, merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His Acts being seven ages. At first the infant,
Mewling, and puking in the nurse‘s arms:
(Shakespeare: As You Like It, Act II, Scene 7)
除了第一行，其余诗行都是抑扬格五韵步，但不押尾韵。
弥尔顿的史诗《失乐园》也是用素体写成的，如一开始的第27行至第33行：
Say first—for heaven hides nothing from thy view,
Nor the deep tract of Hell—say first what cause
Moved our grand Parensts, in that happy state,
Favoured of Heaven so highly, to fall off
From their Creator, and transgress his will
For one restraint, lords of the World besides.
Who first seduced them to that foul revolt?
(John Milton: The Paradise Lost)
华兹华斯讲述自己心灵成长的长诗《序曲》，同样也是用素体写成的，如第三卷的开始诗节：
It was a dreary Morning when the Wheels
Rolled over a wide plain o‘erhung with clouds,
And nothing cheered our way till first we saw
The long-roof‘d Chapel of King‘s College lift
Turrets, and pinnacles in answering files,
Extended high above a dusky grove.
(William Wordsworth: The Prelude, Book Third)
第二节自由诗
自由诗指一种既没有规则的韵律格式，也没有可辨认的传统韵步的诗。从某种意义上讲，
有多少自由体诗人，就有多少种自由体诗歌技巧，诗人可以根据抒情的需要自行组织安排词句。但总体而言，自由诗也不是绝对的自由，它仍然有语言和节奏的韵律，也可以划分
出一些类型。
一、咒语式
适于吟诵或正式朗读，结构模式主要是重复，带有仪式色彩，具有明显但非格律的节奏，
其音调的抑扬同演说模式而非音乐节拍模式。如艾略特的《空心人》最后一部分前三诗节：
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o‘clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the shadow
For Thine is the Kingdom
Between the conception

And the creation
Between the emotion
And the response
Falls the shadow.
(T.S. Eliot: The Hollow Men)
开头四句是对儿童游戏韵诗行Here we go round the mulberry bush的改写，诗人用―带刺的梨‖
（prickly pear）取代―桑树丛‖(mulberry bush)，目的在于把现代世界比喻成―仙人掌世界‖
（cactus world）。For Thine is the Kingdom出自《主祷文》（The Lords‘ Prayer）。
惠特曼的大部分作品都属于这种模式，如《草叶集》中的《自我之歌》开始部分：
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.
I loafe and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.
My tongue, every atom of my blood, form‘d from this soul, this air,
Born here of parents born here from parents the same, and their parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.
(Walt Whitman: Song of Myself)
《草叶集》中的《我歌唱带电的肉体》开始部分如下：
I sing the body electric;
The armies of those I love engirth me, and I engirth them;
They will not let me off till I go with them, respond to them,
And discorrupt them, and charge them full with the charge of the Soul.
Was it doubted that those who corrupt their own bodies conceal themselves;
And if those who defile the living are as bad as they who defile the dead?
And if the body does not do as much as the Soul?
And if the body were not the Soul, what is the Soul?
（Walt Whitman: I Sing the Body Electric）
金斯伯格的《嚎叫》也属于这种模式，其开始部分如下：
I saw the best minds of my generation destroyed by madness, starving hysterical naked,
dragging themselves through the Negro streets at dawn looking for an angry fix,
angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the
machinery of night,
who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of
clod-water flats floating across the tops of cities contemplating jazz,
who bared their brains to Heaven under the El and saw Mohammedan angels staggering on
tenement roofs illuminated…...
（Allan Ginsberg: Howl）
二、意象式
1909年至1917年在英、美两国活跃着意象主义诗派，主要诗人有艾米•洛厄尔，弗林特、
阿尔丁顿、H.D.和庞德。他们的意象式自由体诗展现了鲜明的意象。先来看桑德堡的《雾》：
The fog comes
On little cat feet.

It sits looking
Over harbor and city
On silent haunches
And then movies on.
（Carl Sandburg: Fog）
再看杜利特尔的《热》：
O wind, rend open the heat,
Cut apart the heat,
Rend it to tatters.
Fruit cannot drop
Through this thick air___
Fruit cannot fall into heat
That presses up and blunts
The points of pears
And rounds the grapes.
Cut the heat—
Plough through it,
Turning it on either side
Of your path.
(H.D.: Heat)
三、万花筒式
这类诗歌就像滚动着的万花筒，不断变化的意象暗示主题。这类诗所用技巧也被叫着―电影
式‖技巧，是20世纪某些诗人从电影经验中发展而来的一种技巧，即在没有明显逻辑或语法
框架的情况下，从一个诱发性意象或典故向另一个转移，各种不同的意象和典故幻化出正
确的联想意义。艾略特的《荒原》和庞德的《诗章》是这类诗的杰出代表。
如《荒原》的结尾部分诗行：
I sat upon the shore
Fishing, with the arid plain behind me
Shall I at least set my lands in order?
London Bridge is falling down falling down falling down
Poi s'ascose nel foco che gli affina
Quando fiam uti chelidon—O swallow swallow
Le Prince d'Aquitaine à la tour abolie
These fragments I have shored against my ruins
Why then Ile fit you. Hieronymo's mad againe.
Datta. Dayadhvam. Damyata.
Shantih shantih shantih
(T.S. Eliot: The Waste Land, V. What the Thunder Said)
这些诗行如万花筒，意象不断变换以表达寻求灵魂得救的主题。第一、二行与Weston所著
《祭仪与传奇》（From Ritual to Romance，1920））第九章关于渔王的故事有关。垂钓含有寻
求灵魂得救，精神复苏以及生命永恒的意思。arid plain就是指荒原。第三行的整顿田园，
指整顿秩序，尽力去拯救尚未毁灭的一切。第四行来自一首通俗儿歌，其中迭句部分强调
世界文明在崩溃。第五行出自但丁《神曲•炼狱篇》第二十七章，其英译为：He disappears into
the flame that refines him，指人在炼狱里甘愿在火中受苦，以求净化而可有赎罪的希望。第

六行典出拉丁轶名诗人，其英译为：When shall I be like the swallow? 轶名诗人感叹其诗不
为人知，乃问何时春天来临，使他的诗能像燕子的叫声，为人所听。第七行典出十九世纪
一位法国诗人的一首十四行诗，其英译为：The Prince of Aquitaine at the ruined tower。诗人
自称是被关在废塔中的亚奎丹王子，暗示被剥夺了继承抒情诗人传统的权利，同时暗示传
统的丧失令人惋惜。第八行中的―残迹‖ （fragments），即前面提到的和后面引用的那些零残
的过去经验。人类要想得救，必须依赖对这些传统东西的珍视和延续。第九行的Hieronymo's
mad againe，出自英国伊丽莎白女王时代早期吉德（Thomas Kyd）的剧本《西班牙悲剧》（The
Spanish Tragedy, 1594），该剧本的副标题为Hieronymo's Mad Againe。这里引用这个故事的
用意是：人类精神文明虽被淹没，但若尽力营救，仍有恢复的希望。最后两行是梵文箴言，
即奉献、同情、克制引导人类进入出人意外的平安境界。即只要人遵行这些箴言，即使未
能真正解救荒原的困境，亦可得到出人意外的平安。
这类诗要求读者有较多的时间，较高的文化素养和较强的感受能力，因此它们不可能得到
多数人的欣赏。

第八章叙事诗
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.
(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.
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10 5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.
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.
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.
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.
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
《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.
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.
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，非常标准。
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
Of famous London town.
John Gilpin's spouse said to her dear,
Though wedded we have been
These twice ten tedious years, yet we
No holiday have seen.
To- morrow is our wedding-day,
And we will then repair
Unto 'The Bell' at Edmonton,
All in a chaise and pair.
My sister and my sister's child,
Myself and children three,
Will fill the chaise; so you must ride
On horseback after we.
这些诗节也是抑扬格三韵步和四韵步交替使用。
但是，并非所有的歌谣都是如此。变体形式很常见，例如济慈的歌谣《冷酷的妖女》第、
二、三、四诗节：
―O what can ail thee, knight-at-arms,
So haggard and so woe-begone?
The squirrel‘s granary is full,
And the harvest‘s done.
―I see a lily on thy brow
With anguish moist and fever dew;
And on thy cheek a fading rose
Fast withereth too.‖
―I met a lady in the meads,
Full beautiful ___ a faery‘s child,
Her hair was long, her foot was light,
And her eyes were wild.
(John Keats: La Belle Dame sans Merci)
每个诗节的前三行是抑扬格四韵步，第四行才是三韵步，而且这些韵步不是很统一，有的
是抑抑格，有的是抑扬格，第三个韵步还是省略了非重读音节的扬抑格。其押韵格式仍然是abxb。
王尔德的《雷丁监狱之歌》中，每个诗节则有六诗行，其开始两个诗节如下：
He did not wear his scarlet coat,
For blood and wine are red,
And blood and wine were on his hands
When they found him with the dead,

The poor dead woman whom he loved,
And murdered in her bed.
He walked amongst the Trial Men
In a suit of shabby grey;
A cricket cap was on his head,
And his step seemed light and gay;
But I never saw a man who looked
So wistfully at the day.
(Oscar Wilde: The Ballad of Reading Gaol)
虽然这些诗节仍然是四韵步和三韵步交替使用，但只有第二、六行属于三韵步。每个诗节
的押韵格式为a bxbyb。
华兹华斯的《荆棘》虽然也是四韵步和三韵步交替使用，但一个诗节已长达十一行，其第
六诗节如下：
Now would you see this aged Thorn,
This pond, and beauteous hill of moss,
You must take care and choose your time
The mountain where to cross.
For oft there sits between the heap
So like an infant‘s grave in size,
And that same pond of which I spoke,
A Woman in a scarlet cloak,
And to herself she cries,
―Oh misery! oh misery!
Oh woe is me! oh misery!‖
(William Wordsworth: The Thorn)
第三节戏剧诗
戏剧诗（dramatic poem）的含义宽泛，既指运用某中戏剧技巧，如戏剧对话（dramatic
dialogue）、戏剧独白(dramatic monologue)等写的诗歌，又指供阅读而不太适合演出的诗剧
（poetic drama or verse drama），还泛指任何剧本中出现的诗歌的各种形式。戏剧诗一般用素
体来写，如莎士比亚《如愿》以下诗行：
The sixth age shifts
Into the lean and slipper‘s pantaloon,
With spectacles on nose, and pouch on side,
His youthful hose well sav‘d, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness, and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
(Shakespeare: As You Like It, Act III, Scene VII)
弥尔顿的悲剧《力士参孙》（Samson Agonistes, 1671）和雪莱的《解放了的普罗米修斯》
(Prometheus Unbound, 1820)也属于戏剧诗。
《力士参孙》一开始就通过参孙之口介绍了他的处境：

SAMSON. A little onward lend thy guiding hand
To these dark steps, a little further on;
For yonder bank hath choice of sun or shade.
There I am wont to sit, when any chance
Relieves me from my task of servile toil,
Daily in the common prison else enjoined me,
Where I, a prisoner chained, scarce freely draw
The air, imprisoned also, close and damp,
Unwholesome draught. But here I feel amends—
The breath of Heaven fresh blowing, pure and sweet,
With day-spring born;
(John Milton: Samson Agonistes, Lines 1~11)
该诗剧的结尾处，是信使向外面的人传达参孙在皇宫宴会大厅是如何与敌人同归于尽的：
―Hitherto, Lords, what your commands imposed
I have performed, as reason was, obeying,
Not without wonder or delight beheld;
Now, of my own accord, such other trial
I mean to show you of my strength yet greater
As with amaze shall strike all who behold.‖
This uttered, straining all his nerves, he bowed;
As with the force of winds and waters pent
When mountains tremble, those two massy pillars
With horrible convulsion to and fro
He tugged, he shook, till down they came, and drew
The whole roof after them with burst of thunder
Upon the heads of all who sat beneath,
Lords, ladies, captains, counsellors, or priests,
Their choice nobility and flower, not only
Of this, but each Philistian city round,
Met from all parts to solemnise this feast.
Samson, with these immixed, inevitably
Pulled down the same destruction on himself;
The vulgar only scaped, who stood without.
(John Milton: Samson Agonistes, Lines 1640~1659)
雪莱的《解放了的普罗米修斯》描述了理想社会里解放了的女性是什么样子：
And women, too, frank, beautiful, and kind,
As the free heaven which rains fresh light and dew
On the wide earth, passed; gentle, radiant forms,
From custom's evil taint exempt and pure;
Speaking the wisdom once they could not think,
Looking emotions once they feared to feel,
And changed to all which once they dared not be,
Yet being now, made earth like heaven;
（Shelley: Prometheus Unbound, Act III, Scene IV, Lines 153-162）

妇女的解放只是全人类解放的一个部分，而整个社会的解放之后，将是一副全新的面目：
The loathsome mask has fallen, the man remains
Sceptreless, free, uncircumscribed, but man
Equal, unclassed, tribeless, and nationless,
Exempt from awe, worship, degree, the king
Over himself; just, gentle, wise; but man
Passionless--no, yet free from guilt or pain.
(Shelley: Prometheus Unbound, Act III, Scene IV, Lines 193-198)
第四节故事诗
故事诗（metrical ta le）就是用诗的形式讲的故事。《坎特伯雷故事》由很多个故事组成，向
人们清晰地展现了十四世纪上半叶英国社会各阶层的社会面貌。其中巴思妇所讲的关于她
自己的婚姻的故事就特别有代表性，她是讲她自己的故事。
Now sire, thanne wol I telle you forth my tale.
As evere mote I drinke win or ale,
I shal saye sooth: tho housbondes that I hadde,
As three of hem were goode, and two were bade,
The three men were goode, and riche, and olde;
Unnethe mighte they the statut holde
In which they were bounden unto me—
Ye woot wel what I mene of this, pardee.
As help me God, I laughe whan I thinke
How pitously anight I made hem swinke;
And by my fay, I tolde of it no stoor:
They hadde me yiven hir land and hir tresor;
Me deeded nat do lenger diligence
To winne hir love or doon hem reverence.
They loved me so wel, by God above,
That I ne tolde no daintee of hir love.
As wis womman wol bisye hire ever in oon
To gete hire love, ye, ther as she hath noon,
But sith I hadde hem hoolly in myn hand,
And sith that they hadde yiven me all hir land,
What sholde I take keep hem for to plese,
But it were for my profit and myn ese?
像巴思这样的女人，即使在今天，其思想也是很前卫的。从大家所能接受的道德标准来看，
她的某些思想一般人不敢恭维。
《坎特伯雷故事》中其他人讲的是关于他人的故事，比如磨房主就讲了一个住在一个很有
钱但很吝啬的木匠家里的穷书生的故事：
This clerk was cleped hende Nicholas.
Of derne love he coude, and of solas,
And therto he was sly and ful privee,
And lik a maide meeke for to see.
A chambre hadde he in that hostelrye
Alone, withouten any compaignye

Fetisly ydight with herbes swoote,
And he himself as sweete as is the roote
Of licoris or any setewale.
华兹华斯的《迈克尔》(Michael)，其副标题是―一首牧歌‖（a Pastoral Poe m），但它应该属于
叙事诗，主要讲述老牧人迈克尔一家三口的故事。诗歌一开始不久，就描述了主人公迈克
尔的情况：
Upon the forest-side in Grasmere Vale
There dwelt a Shepherd, Michael was his name;
An old man, stout of heart, and strong of limb.
His bodily fame had been from youth to age
Of an unusual strength: his mind was keen,
Intense and frugal, apt for all affairs,
And in his shepherd‘s calling he was prompt
And watchful more than ordinary men.
Hence had he learned the meaning of all winds.
Of blasts of every tone: and, oftentimes,
When others heeded not, he heard the South
Make subterraneous music, like the noise
Of bagpipers on distant Highland hills.
迈克尔老人老年得子，爱之如珍宝。但孩子长大后进城务工，堕落之后远走异国，一去不
回。儿子出事后，迈克尔老人仍然顽强健壮地生活在田园上：
His bodily frame had been from youth to age
Of an unusual strength. Among the rocks
He went, and still looked up to sun and cloud,
And listened to the wind: and, as before,
Performed all kinds of labour for his sheep,
And for the land, his small inheritance.
And to that hollow dell from time to time
Did he repair, to build the Fold of which
His flock had need.

第十章抒情诗
抒情诗以抒发感情为主要表达方式，侧重表现诗人对社会生活的内在感受和体验，一般不
具体叙述生活或事物的全过程，没有完整的故事情节，也不塑造完整的人物形象，只是通
过对一些生活片段或事物形象的描绘，表达诗人内心的感受。它以想象丰富、情感洋溢、
韵律优美为特色。抒情诗抒发个人情感，长度较短，包括颂诗、田园小诗、田园牧歌、挽
歌、赞美诗、爱情小诗等等。下面分节一一介绍。
第一节颂诗
颂诗（ode）起源于古希腊诗人品达（Pindar, 公元前518？~公元前438？）。在英国，直到
1629年，才出现模仿品达颂诗的英语颂诗，如本•琼生的《莫利森爵士死亡颂》（On the Death
of Sir H. Morison），弥尔顿的《基督诞辰的早上》（On the Morning of Christ‘s Nativity）。到
了18世纪，颂诗变成了表现崇高题材的写作方式。德莱顿的《圣西西莉亚节颂》（Song of St.
Cecilia‘s Day, 1687）还同音乐结合在一起，格雷和柯林斯（William Collins, 1721-59）使用 形象和类比的方法，把诗歌中焦虑的情绪变成了恐怖的情绪，以服务于诗歌的中心主题。

华兹华斯和柯尔律治在19世纪初开始创作他们的浪漫主义颂诗，雪莱，济慈也写出了他们
杰出的颂诗。
德莱顿的《圣西西莉亚节颂》第一节如下：
From harmony, from heavenly harmony,
This universal frame began:
When nature underneath a heap
Of jarring atoms lay,
And could not heave her head,
The tuneful voice was heard from high,
'Arise, ye more than dead!'
Then cold, and hot, and moist, and dry,
In order to their stations leap,
And Music's power obey.
From harmony, from heavenly harmony,
This universal frame began:
From harmony to harmony
Through all the compass of the notes it ran,
The diapason closing full in Man.
柯尔律治在1 800年左右发现自己的诗才在枯竭，十分沮丧。他曾经力图振作，但效果不大，
于1802年写出《沮丧颂》。其中第二、三诗节（即全诗第21行~第46行）如下：
A grief without a pang, void, dark, and drear,
A stifled, drowsy, unimpassioned grief,
Which finds no natural outlet, no relief,
In word, or sigh, or tear—
O Lady ! in this wan and heartless mood,
To other thoughts by yonder throstle woo'd,
All this long eve, so balmy and serene,
Have I been gazing on the western sky,
And its peculiar tint of yellow green :
And still I gaze—and with how blank an eye!
And those thin clouds above, in flakes and bars,
That give away their motion to the stars
Those stars, that glide behind them or between,
Now sparkling, now bedimmed, but always seen :
Yon crescent Moon, as fixed as if it grew
In its own cloudless, starless lake of blue
I see them all so excellently fair,
I see, not feel, how beautiful they are !
My genial spirits fail
And what can these avail
To lift the smothering weight from off my breast ?
It were a vain endeavour,
Though I should gaze for ever
On that green light that lingers in the west :

I may not hope from outward forms to win
The passion and the life, whose fountains are within.
(Samuel Taylor Coleridge: Dejection: An Ode, 1802)
诗歌一开始就比较抑郁，现在诗人只感到悲苦，因为注视着西方的天宇时，只能看到，而
不是感觉到自然之美。由于元气凋丧，一切都是徒劳，激情和生命的泉水都来自内在心境，
外在形体无论如何也不能让诗人得到欢娱。在第六诗节中，诗人进一步道出沮丧的原因，
即太多的―苦事‖（afflictions）把诗人压得匍匐在地（bore me down to earth），每一次苦事的
造访都隔断了诗人那―塑造一切的想象力‖（each visitation suspends.. my shaping spirit of
Imagination）。
华兹华斯的《不朽颂》探讨了童年的纯真的去向，其中第十诗节后半部分（全诗第175行~
第186行）如下：
What though the radiance which was once so bright
Be now for ever taken from my sight,
Though nothing can bring back the hour
Of splendor in the grass, of glory in the flower;
We will grieve not, rather find
Strength in what remains behind;
In the primal sympathy
Which having been must ever be;
In the soothing thoughts that spring
Out of human suffering;
In the faith that looks through death,
In years that bring the philosophic mind.
（William Wordsworth: Ode: Intimations of Immortality）
诗歌前面说我们从上帝身边来到人间，身上披着明辉，但是随着岁月的增长，这种明辉渐
渐消失在平凡的白日之光中。既然天堂的明辉在人的身上无法保持，我们就无须绝望，因
为最初的感情和最早的记忆没有任何力量能够完全摧毁，我们还能从很多东西―汲取力量‖。
雪莱的《西风颂》是用但丁三行体写成的诗歌，其最后诗行―既然冬天来临，春天还会远吗？‖
早已成为绝唱，它不知鼓舞了多少当时和之后全世界向旧事物进行斗争的人们。诗歌的第
一部分，写出了既是破坏者又是保存者的西风：
O wild West Wind, thou breath of Autumn's being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,
Yellow, and black, and pale, and hectic red,
Pestilence-stricken multitudes: O thou,
Who chariotest to their dark wintry bed
The winged seeds, where they lie cold and low,
Each like a corpse within its grave, until
Thine azure sister of the Spring shall blow
Her clarion o'er the dreaming earth, and fill
(Driving sweet buds like flocks to feed in air)
With living hues and odours plain and hill:
Wild Spirit, which art moving everywhere;
Destroyer and preserver; hear, oh hear!

（Percy Bysshe Shelley: Ode to the West Wind, I）
济慈写出了六大颂，时间是1819年，3月写出《怠惰颂》（Ode on Indolence），4月写出《心
灵颂》(Ode to Psyche)，5月初写出《夜莺颂》（Ode to a Nightingale），稍后写出《希腊古瓮
颂》（Ode on a Grecian Urn）和《忧郁颂》（Ode on Melancholy），9月19日写出《秋颂》（To
Autumn）。
六大颂歌各有主题。《怠惰颂》表达一种矛盾：是努力追求爱情、雄心、诗歌之神呢，还是
安于惰逸？《心灵颂》呼唤基督教以前的精神世界重来。《忧郁颂》表现人的情感变化，经
历昏沉、忧郁和喜悦过程。
另外三首颂，被称为英语中最美的三大颂诗。感人最深的是《夜莺颂》，这是在5月一个早
晨，诗人在花园李树下坐着听了夜莺的歌声后，用两三个小时写成的。诗开始写夜莺的歌
声引起的感觉，第一是麻木，接着是如饮醇酒，如坐南方的温暖、欢娱的气氛中，于是诗人想跟随夜莺隐没而去，以便离开身边的苦难世界。不过夜莺的歌声还是把诗人的心带到
了月夜星空，但并未远飞，而是落到幽暗小径，闻到各种花香，有点沉醉，觉得不如就此
死去，这是把死亡当作恋人追求的浪漫情思。然而诗人并没有彻底沉溺于个人情感之中，
现实感最终又回来了。诗歌的最后两诗节如下：
Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when, sick for home,
She stood in tears amid the alien corn;
The same that oft-times hath
Charm‘d magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.
Forlorn! The very word is like a bell
To toll me back from thee to my sole self!
Adieu! The fancy cannot cheat so well
As she is famed to do, deceiving elf.
Adieu! Adieu! Thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hill-sides, and now ‘tis buried deep
In the next valley-glades:
Was it a vision, or a waking dream?
Fled is that music: —Do I wake or sleep?
回到现实的诗人不再自怨自艾，而是想到古代和异域的别人别事了，这在情感上是一种很
大的超越。在几声―再见‖的呼喊声中，诗人谴责了―骗人的幻想‖ ，而夜莺的歌声也越溪登山
而去。诗人的自问―我是清醒，还是在梦乡‖留下了不绝余音。诗歌里始终充斥着两种力量，
即幻想与现实，两种力量一上一下，形成一种运动。
《希腊古瓮颂》表达了浪漫主义诗人对古希腊艺术品的倾心陶醉。诗歌一开始，就最大限
度地赞美了古瓮：
THOU still unravish'd bride of quietness,
Thou foster-child of Silence and slow Time,
Sylvan historian, who canst thus express

A flowery tale more sweetly than our rhyme:
这里把古瓮比喻成―保持着童贞的新娘‖―领养的少女‖―田园史家‖，作为新娘和少女，都跟―宁
静‖―沉默‖和―漫长时间‖相关联。作为田园史家，讲述的如花故事比诗歌还瑰丽。
诗歌的第二节提出了一个美学命题：
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
音乐的流动美同浮雕的静止美结合于古瓮上。歌声、树叶和热恋中的情人都被固定于一瞬，
而一瞬就是不朽。现实中，多少热恋中的情人们对情爱可望而不可即，只有艺术带来慰藉，
因为在艺术里人永远年轻，永远充满激情，爱情永不凋谢。
《秋颂》写的是丰足，是从收获后田野散步所获得的温暖感。诗歌最后一节如下：
Where are the songs of spring? Ay, where are they?
Think not of them, thou hast thy music too,—
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.
这写的是秋日傍晚，景物移到夕照下的田野、河流、河边树木、树后面的云天，境界扩大
了，在精神上也得到了丰足。
前面的颂诗都用的是十行诗节，这是济慈在斯宾塞九行体基础上创造的，《秋颂》则加了一
行，从上面这个诗节可看出，后面七行的韵式为abcabbc。即在三行韵中多了一重回响。

第二节悼亡诗
悼亡诗（elegy or monody or mournful poem）也被译成挽歌，哀歌，是哀悼个人之死，群体
之死，乃至整个人类之死的诗作。如弥尔顿的《黎西达斯》（Lyidas, 1637）是诗人对同学、
密友爱德华•金（Edward King）的哀悼之作。金和弥尔顿就读于剑桥大学基督学院，两人都
是诗人、学者和有事业心的好青年，是校方精心培养的牧师人才。金在163 3年获得硕士学
位后，继续在原校深造，准备做牧师，不幸的是，金于1637年夏天利用暑假去爱尔兰访友，
在威尔斯港外船破人溺。弥尔顿非常伤心，写下了这首哀歌，其前面部分如下：
Yet once more, O ye laurels, and once more,
Ye myrtles brown, with ivy never sere,
I come to pluck your berries harsh and crude,

And with forced fingers rude
Shatter your leaves before the mellowing year.
Bitter constraint, and sad occasion dear,
Compels me to disturb your season due;
For Lycidas is dead, dead ere his prime,
Young Lycidas, and hath not left his peer. 通过对亡友的哀悼，弥尔顿似乎成熟了许多，在结尾处暗示出要告别以前的诗歌创作风格，
准备走向革命战斗的诗歌新草地：
And now the sun had stretched out all the hills,
And now was dropped into the western bay.
At last he rose, and twitched his mantle blue:
Tomorrow to fresh woods, and pastures new.
1652年，弥尔顿第一任妻子玛丽（Marry Powell）产后三天去世，弥尔顿完全失明。1656
年娶年仅28岁的凯瑟琳（Katherine Woodc ock）为妻，不料凯瑟琳于1658年死于生产。弥
尔顿在凯瑟琳死后的第三年，即1600年，写下了十四行诗《悼亡妻》（On His Deceased Wife），
表达了他与妻子真挚的情感：
Methought I saw my late espoused saint
Brought me like Alcestis from the grave,
Whom Jove‘s great son to her glad husband gave,
Rescued from Death by force, though pale and faint.
Mine, as whom washed from spot of child-bed taint
Purification in the Old Law did save,
And such as yet once more I trust to have
Full sight of her in Heaven without restraint,
Came vested all in white , pure as her mind.
Her face was veiled; yet to my fancied sight
Love, sweetness, goodness, in her person shined
So clear as in no face with more delight.
But, oh! as to embrace me she inclined,
I waked, she fled, and day brought back my night.
托马斯•格雷的《墓园挽歌》，前两节如下：
The curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.
Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds:
（Thomas Gray: Elegy Written in a Country Churchyard）
这首诗表达了对乡土的爱和对农民的同情，歌颂的是淳朴，有一种难以派遣的感伤情绪，
因为当时英国工业革命正在开始，诗人感到它在破坏乡村的宁静生活，造成巨大变化，但
又不明究竟，无可奈何。这首诗结构谨严，词句精雕细刻，深刻的个人感受和浓厚的感伤 情绪得到完美结合。也是在这首诗里，这位充满感伤情绪的古典主义者传达了后来浪漫主

义诗人们大力宣泄的浪漫情调：
Full many a gem of purest ray serene,
The dark unfathom‘d caves of ocean bear:
Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.
华兹华斯的露西组诗，是为了纪念诗人曾经钟爱的姑娘，不幸的是姑娘已经不在人世，因
此这些诗里有一种忧郁的情调，《对死者的爱》表达了对这位姑娘的悼念：
A slumber did my spirit seal;
I had no human fears:
She seemed a thing that could not feel
The touch of earthly years.
No motion has she now, no force;
She neither hears nor sees;
Rolled round in earth‘s diurnal course,
With rocks, and stones, and trees.
(William Wordsworth: The Love for the Dead) 英诗中写得这样沉重的悼亡诗不多见，最后把一个弱女子的命运放在整个大自然的运转里，
从此得到一种不朽，又是华兹华斯的独有之笔。
雪莱的《阿多尼斯》（Adonais, 1821）是雪莱悼念济慈之死而作，第一节如下：
I weep for Adonais—he is dead!
O, weep for Adonais! though our tears
Thaw not the frost which binds so dear a head!
And thou, sad Hour, selected from all years
To mourn our loss, rouse thy obscure compeers,
And teach them thine own sorrow! Say: ‗With me
Died Adonais; till the Future dares
Forget the Past, his fate and fame shall be
An echo and a light unto eternity!‘
据希腊神话，阿多尼斯是一个美少年，为爱与美的女神阿弗洛狄忒（Aphrodite, 在罗马神话
中为维纳斯）所爱，不幸被野猪咬伤而亡。希腊妇女年年为其举行悼念仪式，诗人比翁（Bion, 100BC）曾写过挽诗哀悼。莎士比亚根据此神话写了英雄叙事诗《维纳斯与阿多尼斯》。雪
莱在这首诗中将阿多尼斯比拟济慈，阿多尼斯的故事和济慈的遭遇相互交织，不少章节都
仿效和取材于比翁哀悼阿多尼斯的挽诗。但比翁笔下的阿弗洛狄忒代表对肉体美的爱，雪
莱笔下的幽兰尼（Urania, 阿多尼斯或济慈的母亲）则象征对于精神的爱。
阿诺德的《色希斯》（Thyrsis, 1866）是悼念诗人朋友亚瑟•克拉夫（Arthur Hugh Clough,
1819~18 61），克拉夫作品表现对维多利亚时期道德和宗教的怀疑，可惜于1861年死于佛罗
伦萨。第一诗节如下：
How changed is here each spot man makes or fills!
In the two Hinkseys nothing keeps the same;
The village street its haunted mansion lacks,
And from the sign is gone Sibylla's name,
And from the roofs the twisted chimney- stacks--
Are ye too changed, ye hills?
See, 'tis no foot of unfamiliar men

To-night from Oxford up your pathway strays!
Here came I often, often, in old days--
Thyrsis and I; we still had Thyrsis then.
在希腊神话中，酒神杖（Thyrsus）是酒神狄俄尼索斯（Dionysus）的手杖。阿诺德将这个
词改变一个字母成为人名色希斯，用以比拟诗人朋友克拉夫，将朋友提到很高的地位。这
首诗追忆了诗人与克拉夫在牛津郡乡下漫步的美好时光、年轻时他们作为诗人的相互竞争
以及克拉夫离开他而进入更加纷乱的社会。诗歌一开始就睹物思人，哀伤油然而生。
托玛斯•哈代与前妻爱玛生前不睦，但婚后亦曾经有过多年的恩爱。1912年11月爱玛去世
后，哈代无限悲伤，回首往事，非常悔恨和自责，从1912年11月到1913年底，写下了五
十多首怀念亡妻的诗篇，其中有这篇《呼唤声》(The Voice)
Woman much missed, how you call to me, call to me,
Saying that now you are not as you were
When you had changed from the one who was all to me,
But as at first, when our day was fair.
Can it be you that I hear? Let me view you, then,
Standing as when I drew near to the town
Where you would wait for me: yes, as I knew you then,
Even to the original air-blue gown!
Or is it only the breeze, in its listlessness
Traveling across the wet mead to me here,
You being ever dissolved to wan wistlessness,
Heard no more again far or near?
Thus I; faltering forward,
Leaves around me falling,
Wind oozing thin through the thorn from norward,
And the woman calling.
这诗感情真挚，抚今追昔，低徊不已，写法也很朴实，没有一个浮词艳词，与一般浪漫派
诗歌不同。浪漫派诗歌是年轻人的诗，而此诗诗人作于老年，因历经沧桑而感受更深。甚
至―你变了，不再完全属于我‖（you had changed from the one who was all to me）也坦白说出，
如今一切又回到最初的热恋时刻，连她当年穿的―浅蓝裙衣 ‖都如在眼前，那一声声呼唤，也
就更加震撼心灵了。

第三节庆婚曲
顾名思义，庆婚曲(Epitholamion or marriage songs)是庆祝婚姻的诗作。最具代表性的是斯宾
塞的《祝婚曲》（Epithalamion, 1595），全诗包括二十三个诗节，每个诗节从十七行到十九行
不等。诗中以新娘和新郎为中心，周围是城镇街衢，即社会环境。城外是自然环境，在这
外围又呈现出神话世界，神话世界之上，则是基督教天国。总之，社会与自然、现实与想
象、异教与基督教等众多因素融为一体，创造了一个无限浩淼的宇宙空间。正是从宇宙空
间那黎明前的阴郁和沉寂开始，诗中首先出现了神话人物。在这种氛围之中，新娘从娘家
出发。随着旭日东升，人类社会看见庆婚队列穿过城镇街衢，来到教堂，举行神圣的婚仪。
接着是喜庆活动。夜幕降临后，众人散去，只把一对新婚夫妇留在洞房，这时又再次出现
神话人物和广阔宇宙。全诗以广阔的宇宙开始和结束。在这广阔的背景上，全诗以第十二、
十三两诗节描写教堂婚仪为中心，象征性地把人间之爱与神爱结合在一起，构成了一曲宇
宙欢乐的颂歌。其第十三诗节（即第223行~ 第241行）如下：

Behold whiles she before the altar stands
Hearing the holy priest that to her speaks
And blesseth her with his two happy hands,
How the red roses flush up in her cheeks,
And the pure snow with goodly vermill stain,
Like crimson dye in grain,
That even th' Angels which continually,
About the sacred Altar doe remain,
Forget their service and about her fly,
Oft peeping in her face that seems more fair,
The more they on it stare.
But her sad eyes still fastened on the ground,
Are governed with goodly modesty,
That suffers not one look to glance awry,
Which may let in a little thought unsound,
Why blush ye love to give to me your hand,
The pledge of all our band?
Sing ye sweet Angels Alleluya sing,
That all the woods may answer and your echo ring.
斯宾塞的《迎婚曲》（Prothalamion, 1596）是诗人为庆祝伍斯特伯爵萨默塞特两个女儿在埃
塞克斯府邸举行的婚礼而写的贺诗。全诗共十个诗节，其开始部分如下：
Calm was the day, and through the trembling air
Sweet-breathing Zephyrus did softly play―
A gentle spirit, that lightly did delay
Hot Titan‘s beams, which then did glister fair;
When I (whom sullen care,
Through discontent of my long fruitless stay
In princes‘ court, and expectation vain
Of idle hopes, which still do fly away
Like empty shadows, did afflict my brain),
Walk‘d forth to ease my pain
Along the shore of silver- streaming Thames;
Whose rutty bank, the which his river hems,
Was painted all with variable flowers,
And all the meads adorn‘d with dainty gems
Fit to deck maidens‘ bowers,
And crown their paramours
Against the bridal day, which is not long:
Sweet Thames! run softly, till I end my song.

第四节歌
歌（song）是诗歌的一种，与其他诗歌不同的是，歌主要用来配上乐曲唱，因而也就有歌曲
的特点，诸如合唱，反复等。例如：
‘T was at the royal feast, for Persia won

By Philip‘s warlike son:
Aloft in awful state
The godlike hero sate
On his imperial throne;
His valiant peers were placed around;
Their brows with roses and with myrtles bound:
(So should desert in arms be crowned).
The lovely Thaïs, by his side,
Sate like a blooming Eastern bride
In flower of youth and beauty‘s pride.
Happy, happy, happy pair!
None but the brave,
None but the brave,
None but the brave deserves the fair.
Chorus
Happy, happy, happy pair!
None but the brave,
None but the brave,
None but the brave deserves the fair.
（John Dryden: Alexander‘s Feast or The Power of Music; an Ode in Honor of St. Celilia‘s Day）
此诗是纪念西西莉亚节的颂歌。西西莉亚是罗马女子，早期基督徒，约在公元230年殉难。
相传她是管风琴的发明者，被尊为音乐保护神。1683至1703年期间，伦敦一音乐组织每年
在西西莉亚节（11月22日）举行宗教仪式和音乐会。此诗作于1697年，歌颂音乐的力量。
它以亚历山大大帝一生中一段著名经历为基础。他举兵入小亚系亚，大败波斯王。攻克波
斯首都后，举行盛大宴会，招待诸将领。席间，其雅典情妇泰依丝（Thaïs）叫他烧毁
宫殿，以报波斯王烧毁雅典之仇，亚历山大果然从命。英籍德国作曲家亨德尔于1736年为
此诗谱曲，使其流传很广。
又如莎士比亚《无事生非》中的一段歌：
Sigh no more, ladies, sigh no more,
Men were deceivers ever;
One foot in sea, and one on shore,
To one thing constant never.
Then sigh not so,
But let them go,
And be you blithe and bonny,
Converting all your sounds of woe
Into Hey nonny, nonny.
Sing no more ditties, sing no mo
Of dumps so dull and heavy;
The fraud of men was ever so,
Since summer first was leavy.
Then sigh not so,
But let them go,
And be you blithe and bonny,

Converting all your sounds of woe
Into hey nonny, nonny.
（William Shakespeare: Much Ado About Nothing, Act II, Scene III）
这是阿拉冈亲王唐佩德娄的仆人巴尔萨泽的一段唱词。歌的特点是反复重复一些词句。
以下是莎剧《如愿》中陪同被放逐的公爵的一个名叫哀米安斯的贵族的一段唱词。
Blow, blow, thou winter wind,
Thou art not so unkind
As man‘s ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude.
Heigh-ho! Sing, heigh-ho! unto the green holly:
Most friendship is feigning, most loving mere folly:
Then, heigh- ho, the holly!
This life is most jolly.
Freeze, freeze, thou bitter sky,
That dost not bite so nigh
As benefits forgot:
Though thou the waters warp,
Thy sting is not so sharp
As friend remembered not.
Heigh-ho! Sing, heigh-ho! unto the green holly:
Most friendship is feigning, most loving mere folly:
Then, heigh-ho, the holly!
This life is most jolly.
(William Shakespeare: As You Like It, Act II, Scene VII)
再如《暴风雨》第一幕第二场，精灵爱丽尔的一段唱词：
Full fathom five thy father lies,
Of his bones are coral made;
Those are pearls that were his eyes;
But doth suffer a sea-change
Into something rich and strange.
Sea nymphs hourly ring his knell:
(Burden)Ding-dong.
Hark! Now I hear them—Ding-dong bell.
(William Shakespeare: The Tempest, Act I, Scene II)
罗伯特•勃朗宁在诗剧《比芭经过》（Pippa Passes）中也有插曲：
The year‘s at the spring
And day‘s at the morn;
Morning‘s at seven;
The hillside‘s dew- pearled;
The lark‘s on the wing;
The snails on the thorn;
God‘s in His heaven__

All‘s right with the world!
(Robert Browning: Pippa‘s Song)
丁尼生的长篇叙事诗《公主》第三版插有多首短歌，19世纪和20世纪的一些作曲家曾为这
些诗谱过曲，其中就有插在第三章开始处的摇篮曲《轻柔的风，低微的风》：
Sweet and low, sweet and low,
Wind of the western sea,
Low, low, breathe and blow,
Wind of the western sea!
Over the rolling waters go,
Come from the dying moon, and blow,
Blow him again to me;
While my little one, while my pretty one, sleeps.
Sleep and rest, sleep and rest,
Father will come to thee soon;
Rest, test, on mother‘s breast,
Father will come to thee soon;
Father will come to his babe in the nest,
Silver sails all out of the west
Under the silver moon:
Sleep, my little one, sleep, my pretty one, sleep.
(Alfred Tennyson: The Princess)
第五节田园短诗
田园短诗（Idyl l）是描写乡村生活中平静、如画的风景和事件的诗歌。如华兹华斯的《写于
三月》：
The cock is crowing,
The stream is flowing,
The small birds twitter,
The Lake doth glitter,
The green field sleeps in the sun;
The oldest and youngest
Are at work with the strongest;
The cattle are grating,
Their heads never raising;
There are forty feeding like one!
Like an army defeated
The snow hath retreated,
And now doth fare ill,
On the top of the bare hill,
The ploughboy is whooping: anon-anon;
There‘s joy in the mountains;
There‘s life in the fountains;
Small sky prevailing;
The rain is over and gone!
(William Wordsworth: Written in March at Brother‘s Water)

诗歌中对湖水、溪水、泉水、绿野、蓝天、山顶、积雪等与雄鸡、小鸟、牛群以及劳作的
男女老少相交辉映，构成了一幅美丽自然山水图。这首诗的押韵格式很有特点，一般而言，
押双行韵的双行都紧挨在一起，这里押双行韵的第五行和第十行却被另外两对双行分开了。
叶芝的《茵尼斯弗利岛》描写的就是一个世外桃源：
I will rise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honeybee,
And live alone in the bee-loud glade.
And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight‘s all a glimmer, and noon a purple glow,
And evening full of the linnet‘s wings.
I will rise and go now, for always night and day,
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements gray,
I hear it in the deep heart‘s core.
（: The Lake Isle of Innisfree）
弥尔顿在《失乐园》第四卷中描绘了伊甸园的田园胜景：
A happy rural seat of various view:
Groves whose rich trees wept odorous gums and balm;
Others whose fruit, burnished with golden rind,
Hung amiable—Hesperian fables true,
If true, here only—and of delicious taste.
……
meanwhile murmuring waters fall
Down the slope hills, dispersed, or in a lake,
That to the fringèd bank with myrtle crowned
Her crystal mirror holds, unite their streams,
The birds their quire apply; airs, vernal airs,
Breathing the smell of field and grove.
(John Milton, Paradise Lost, IV, Lines 247~265)
这些诗行中，视觉上有―金色的‖（golden）、―晶莹的‖(crystal)，嗅觉上有―芳香四溢
的‖(odorous )、―芳馨‖（smell），听觉上有流水的―淙淙‖(murmuring)，鸟儿的―合
唱‖(q uire=choir)，味觉上有果子的―美味无比‖(delicious taste)，伊甸园的美景通过这四种感
觉被人类始祖所感知。诗人没有在这里提到触觉，这或许是因为伊甸园中那棵致命的知识树上的禁果是不可以随意触摸的缘故。
第六节田园牧歌
田园牧歌（pastoral poetry）就是牧人所唱的歌，或关于牧人的诗，在欧洲具有悠久传统，可
追溯到古希腊诗人特奥克里托斯（Theocritus, 310?~250?BC）和古罗马诗人维吉尔(Virgil,70
~19BC)。到了文艺复兴时期，牧歌已经发展成为一种被普遍采用的形式。
斯宾塞的《牧人月历》（The Shepheardes Calender）包括十二首牧歌，除头尾两首，均用对
话写成，前面有序诗，后面有一小节尾声。月历形式被用作诗的框架，十二首牧歌每首都
与一年的某个月份相应，每个月份既有各自不同的劳作和娱乐，又符合季节的特征和环境
氛围，同时也暗示特定的宗教节日。牧歌的中心人物叫柯林•克劳特，他是牧人，也是牧人

世界的歌唱家，他歌唱自己钟爱的农家姑娘罗莎琳，渴望获得她的爱情。
以其中的《十月》（October）开始卡狄和皮尔斯的对话为例，卡狄道：
Piers, I have pypèd erst so long with payne,
That all mine Oten reeds bene rent and wore:
And my poore Muse hath spent her sparèd store,
Yet little good hath got, and much lesse gayne.
Such pleassaunce makes the Grashopper so poore,
And ligge so layd, when Winter doth her straine.
The dapper ditties, that I wont devise,
To feede youths fancie, and the flocking fry,
Delighten much: what I the bett for thy?
They han the pleasure, I a sclender prise.
I beate the bush, the byrds to them doe flye:
What good thereof to Cuddie can arise?
皮尔斯回答道：
Cuddie, the prayse is better, then the price,
The glory eke much greater then the gayne:
O what an honour is it, to restraine
The lust of lawlesse youth with good advice:
Or pricke them forth with pleassaunce of thy vaine
Whereto thou list their traynèd willes entice.
Soone as thou gynst to sette thy notes in frame,
O how the rurall routes to thee doe cleave:
Seemeth thou dost their soule of sence bereave,
All as the shepheard, that did fetch his dame
From Plutoes balefull bowre withouten leave:
His musicks might the hellish hound did tame.
(Edward Spenser: The Shpheardes Calender, October)
卡狄代表受挫的诗人，皮尔斯是卡狄的同伴。也可以说，卡狄和皮尔斯代表诗人的不同侧
面。每个诗节是以抑扬格为主的五韵步，押韵格式为abbaba，属吻韵变体。
马洛的牧歌《热情牧人的情歌》最为人们熟知，其开始和结尾部分如下：
Come live with me and be my love,
And we will all the pleasures prove
That valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
And we will sit upon the rocks,
Seeing the shepherds feed their flocks,
By shallow rivers to whose falls
Melodious birds sing madrigals.
…
The shepherds‘ swains shall dance and sing
For thy delight each May morning:
If these delights thy mind may move,
Then live with me and be my love.

（Christopher Marlowe: The Passionate Shepherd to His Love）
这首诗用的是抑扬格四韵步诗行，押韵格式为aabb ，属双行韵。诗中的牧人向姑娘表达了
爱慕之心，语言朴素洗练，感情强烈大胆，这与当时很多情诗的凄婉哀怨情调大为不同。
但我们能注意到，牧人只是单方面表达了自己的情感，他能否打动姑娘，能否赢得姑娘的
芳心，从这首诗里找不到答案。沃尔特•罗利爵士替姑娘作了相应的回答：
If all the world and love were young
And truth in every shepherd‘s tongue
These pretty pleasures might me move
To live with thee and be thy love.
But Time drives flocks from field to fold;
When rivers rage and rocks grow cold;
And Philomel becometh dumb;
The rest complains of cares to come.
……
But could youth last, and love still breed,
Had joys no date, nor age no need,
Then these delights my mind might move
To live with thee and be thy Love.
（Sir Walter Raleigh: Her Reply）
从姑娘的回答看，姑娘几乎不可能成为牧人的爱人。
弥尔顿的《黎西达斯》是哀歌，但用的是牧歌体，其中一些诗行很有牧歌的味道：
For we were nursed upon the self-same hill,
Fed the same flock, by fountain, shade, and rill;
Together both, ere the high lawns appeared
Under the opening eyelids of the Morn,
We drove a-field, and both together heard
What time the grey-fly winds her sultry horn,
Battening our flocks with the fresh dews of night,
Oft till the star that rose at evening bright
Toward heaven‘s descent had sloped his westering wheel.
Meanwhile the rural ditties were not mute,
Tempered to the oaten flute,
Rough Satyres danced, and Fauns with cloven heel
From the glad sound would not be absent long;
And old Damœtas loved to hear our songs.
(John Milton, Lycidus, Lines 23~36)
这是诗人回忆跟密友爱德华•金一起从早到晚放牧的美好时光。他们一同驱赶羊群，谛听大
自然的妙音，唱歌吹笛，连森林之神撒蒂尔(Satyre)、长着偶蹄和半人半山羊形象的快乐牧
神芬恩(Faun)以及老牧神达摩塔斯(Damœtas)都跑来或跳舞或听歌。
第七节爱情短诗
爱情诗（love poem）是用来表达男女之情的诗歌。爱情是人类永恒的主题，爱情诗历来受
欢迎，古往今来的诗人们留下了很多脍炙人口的诗篇。
首先如本•琼森的《致西丽亚》：
Drink to me, only, with thine eyes,

And I will pledge with mine;
Or leave a kiss but in the cup,
And I‘ll not look for wine.
The thirst, that from the soul doth rise,
Doth ask a drink divine:
But might I of Jove‘s Nectar sup,
I would not change for thine.
I sent thee, late, a rosy wreath,
Not so much honoring thee,
As giving it a hope, that there
It could not withered be.
But thou thereon didst only breathe,
And sent‘st it back to me:
Since when it grows, and smells, I swear,
Not of it self, but thee.
(Ben Jonson : To Celia)
这首诗写得很典雅，写出了姑娘在诗人眼里的神圣高贵。最后一行表现机智，颇有玄学诗
的味道。
约翰•多恩的《赠别：莫伤悲》既把离别比喻成黄金被打成透明薄叶的延展，又拿圆规的双
脚来比一对夫妻，表示虽离别也仍彼此相连，丈夫动妻子也跟着动，因此不必因离别而悲：
But we by a love so much refined
That ourselves know not what it is,
Inter-assurèd of the mind,
Care less, eyes, lips and hands to miss.
Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to airy thinness beat.
If they be two, they are two so
As stiff twin compasses are two;
Thy soul, the fix'd foot, makes no show
To move, but doth, if th' other do.
And though it in the center sit,
Yet, when the other far doth roam,
It leans, and hearkens after it,
And grows erect, as that comes home.
Such wilt thou be to me, who must,
Like th' other foot, obliquely run
Thy firmness makes my circle just,
And makes me end where I begun.
（John Donne: A Validiction: Forbidding Mourning）
苏格兰诗人彭斯的《我的爱人像一朵红红的玫瑰》是经典爱情诗，他的其他爱情诗也一样
不同凡响，如《为我打开门，哦》：
O, open the door some pity to shew,

If love it may na be, O:
Tho‘ thou hast been false, I‘ll ever prove true,
O, open the door to me, O.
Cauld is the blast upon my pale cheek,
But caulder thy love for me, O:
The frost, that freezes the life at my heart,
Is nought to my pains frae thee, O.
The wan moon sets behind the white wave,
And Time is setting with me, O:
False friends, false love, farewell! For mair
I‘ll ne‘er trouble them or thee, O.
She has open‘d the door, she has open‘d it wide,
She sees the pale corse on the plain, O:
―My true love!‖ she cried, and sank down by his side—
Never to rise again, O.
(Robert Burns: Open the Door to Me, O)
这是一首关于爱情悲剧的诗。男孩和女孩应该是真心相爱，但由于一些误解，他们之间产
生了隔阂。男孩伤心欲绝地来到姑娘的家门口，希望得到恋人的同情，然后告别，等姑娘
敞开大门时，却发现男孩已经气绝，姑娘伤心地跟随自己的真爱而去。
拜伦的《当初我俩告别》写的是昔日恋人再次相见时的感受：
When we two parted
In silence and tears,
Half broken-hearted
To sever for years,
Pale grew thy cheek and cold,
Colder thy kiss;
Truly that hour foretold
Sorrow to this.
The dew of the morning
Sunk chill on my brow—
It felt like the warning
Of what I feel now.
Thy vows are all broken,
And light is thy fame;
I hear thy name spoken,
And share in its shame.
They name thee before me,
A knell to mine ear;
A shudder comes o‘er me—
Why wert thou so dear?
They knew not I knew thee,
Who knew thee too well—
Long, long shall I rue thee,
Too deeply to tell.

In secret we met—
In silence I grieve,
That thy heart could forget,
Thy spirit deceive.
If I should meet thee
After long years,
How should I greet thee ? —
With silence and tears.
(George Byron: When We Two Parted)
两人曾经悄悄相爱，分手时恋恋不舍，依依惜别，但当时的感受已经预示，他们的感情在
将来不复存在。不是因为―我‖不爱对方，而是对方早变得冷漠，在后来还变得轻浮，没有好
名声，熟人们都在背后对此人议论纷纷。对方把过去的一切甜言蜜语和山盟海誓都忘了，
两人数年后的相见和今后可能的相见，都只能用沉默和眼泪向对方打招呼了。诗歌的情感
表达得真切感人，读后如同亲身经历一般，让人感叹唏嘘。
雪莱的《致——》是一首别开生面的情诗：
One word is too often profaned
For me to profane it,
One feeling too falsely disdained
For thee to disdain it;
One hope is too like despair
For prudence to smother,
And pity from thee more dear
Than that from another.
I can give not what men call love,
But wilt thou accept not
The worship the heart lifts above
And the Heavens reject not,—
The desire of the moth for the star,
Of the night for the morrow,
The devotion to something afar
From the sphere of our sorrow?
(Shelley: To—)
明明是求爱，诗歌一开始却不说，到了第二节才出现―爱‖，但立即又换成―崇敬‖，紧接着是
两个比喻，即飞蛾扑火和黑夜追求黎明，这就把爱同理想联系起来了，扩大了意境，使得
爱情更加高尚。这首诗表达了一种非常高雅脱俗的对对方爱情的渴求。
罗伯特•勃朗宁的《夜会》，抒写了一对热恋的情人的激情幽会：
The grey sea and the long black land;
And the yellow half- moon large and low;
And the startled little waves that leap
In fiery ringlets from their sleep,
As I gain the cove with pushing prow,
And quench its speed i‘ the slushy sand.
Then a mile of warm sea-scented beach;
Three fields to cross till a farm appears;

A tap at the pane, the quick sharp scratch
And blue spurt of a lighted match,
And a voice less loud, thro‘ its joys and fears,
Than the two hearts beating each to each!
（Robert Browning: Meeting at Night）此诗写的是―我‖在夜里去会情人。―我‖先划船沿海前进，过小峡，到海滩，然后上岸步行，
过沙滩、田地，到达情人的农舍，―我‖在外面敲窗，屋里的情人听到暗号，马上擦火柴，两
颗心在欢喜和惊恐中博跳。这一切都描写得很细腻，却到此为止，不落俗套。此诗押韵格
式为abccba，属吻韵。
叶芝苦恋爱尔兰著名美人莫德•冈（Maud Gonne），多次向她求婚，都遭拒绝。为了表达自
己的情感，叶芝写了一本书《苇间风》（The Winds Among the Reeds）献给她,，《当你老时》
就是其中著名的一首：
When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how love fled
And placed upon the mountains overhead
And hid his face amid a crowd of star.
(W. B. Yeats: When You Are Old)
叶芝与莫德•冈终未结合，是因为两人政见不一。叶芝是温和派，而莫德•冈是激进派，主张
积极开展反英武装斗争，而且认为民族解放事业比个人幸福更重要。诗歌所称―朝圣者的
心‖(the pilgrim soul)就是指莫德•冈那一心向往爱尔兰的独立自由、勇往直前的气概。
美国女诗人安•布拉兹特里特的《致我深情的亲爱丈夫》表达了一个妻子对丈夫的无限深情
和他们夫妻的相亲相爱：
If ever two were one, then surely we.
If ever man were loved by wife, then thee;
If ever wife was happy in a man,
Compare with me, ye women, if you can.
I prize thy love more than whole mines of gold
Or all the riches that the Earth doth hold.
My love is such that rivers cannot quench,
Nor ought but love from thee, give recompense.
Thy love is such I can no way repay,
The heavens reward thee manifold, I pray.
Then while we live, in love let‘s so persevere
That when we live no more, we may live ever.
(Anne Bradstreet: To My Dear and Loving Husband)
爱情并非永远是甜蜜的，爱常有终结的时候，哈丽叶特•门罗的《抛弃》就表达了爱的终结。

其前半部分如下：
O love, my love, it's over then —
Your heart flies free;
And it's now no more us two again,
The door on you and me.
And it's now no more the supper spread,
The stove singing low.
Oh, worlds away your feet are led,
Where bold winds blow.
Oh, seas between and worlds away
Our paths run now.
Go, for more dead than coffined clay
Is love's dead vow.
Go, may your bread be sweet, your rest
As soft and deep be
As when you slept upon my breast
And gave the world for me.
Go, for my heart cries out with pain,
With joy cries out.
Go! you've unwound the golden chain —
Love's hope, love's doubt.
（Harriet Monroe: Deserted）
埃莉娜•怀丽的《轻微的低语》表达的是同床夫妻的咫尺天涯之感：
I need not die to go
So far you cannot know
My escape, my retreat,
And the prints of my feet
Written in blood or dew;
They shall be hid from you,
In fern-seed lost
Or the soft flakes of frost.
They will turn somewhere
Under water, over air,
To earth space or stellar,
Or the garret or cellar
Of the house next door;
You shall see me no more
Though each night I hide
In your bed, at your side.
(Elinor Wylie: Trivial Breath) 乔治•梅里狄斯的《现代之爱》组诗，把婚姻的破裂经过写得非常坦白，如其中第十七首前
八行：
At dinner, she is hostess, I am host.
Went the feast ever cheerfuller? She keeps

The Topic over intellectual deeps
In buoyancy afloat. They see no ghost.
With sparkling surface-eyes we ply the ball
It is in truth a most contagious game:
HIDING THE SKELETON, shall be its name.
Such play as this the devils might appall!
(George Meredith: Modern Love, 17)
这是在客人面前假装门面。所谓―鬼魂‖(ghost)就是两人婚姻已经破裂，现在他们却在演一场
表面欢笑的戏来― 盖住尸骨‖(HIDING THE SKELETON)，且用大写形式，做丈夫的心情之痛
苦可想而知。
厄纳斯特•道生的《辛娜拉》写的是虽另有所欢，但忘不了昔日所爱的辛娜拉：
Last night, ah, yesternight, betwixt her lips and mine
There fell thy shadow, Cynara! thy breath was shed
Upon my soul between the kisses and the wine;
And I was desolate and sick of an old passion,
Yea, I was desolate and bowed my head:
I have been faithful to thee, Cynara! in my fashion.
All night upon mine heart I felt her warm heart beat,
Night-long within mine arms in love and sleep she lay;
Surely the kisses of her bought red mouth were sweet,
But I was desolate and sick of an old passion,
When I awoke and found the dawn was grey:
I have been faithful to thee, Cynara! in my fashion.
(Ernest Dowson: Cynara)
诗人抒发的这种在新欢里也忘不了昔日旧情的感受，没有亲身经历，恐怕难以写出，相信
有相似经历的读者，必定会引起共鸣。
艾略特的《普罗弗洛克的情歌》是一个出入于贵妇客厅的中年知识分子的独白，道出了他
的迷惘、迟疑和爱欲。他想求婚，但又缺乏勇气。其中一部分如下：
And indeed there will be time
To wonder, ‗Do I dare?‘ and, ‗Do I dare?‘
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
(They will say: ‗How his hair is growing thin!‘)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
(They will say: ‗But how his arms and legs are thin!‘)
Do I dare
Disturb the universe ?
In a minute there is time
For decisions and revisions which a minute will reverse.
(T. S. Eliot: The Love Song of J. Alfred Prufrock, Lines 37~48)
第八节哲理诗
诗歌与哲学是近邻，诗歌往往含有一定的哲理，这样的诗歌可以被称为哲理诗（philosophical
poem）。

蒲柏的《人论》就是用双韵体写成的规模巨大的哲学论文，它从创世主、宇宙一直谈到人 性、人类社会、道德和人的快乐，其中心思想是柏拉图的伟大的生存之链，宇宙万物在此
链中各有位置，人处于天使与野兽之间，人只有安于这个位置，才能快乐。人应该坚信上
帝，学着看远看全，就会发现，一切都是合理的：
All nature is but art, unknown to thee;
All chance, direction, which thou canst not see;
All discord, harmony not understood;
All partial evil, universal good:
And, spite of pride, in erring reason‘s spite,
One truth is clear: whatever IS, is RIGHT.
(Alexander Pope: An Essay on Man, To Henry St, John, lines 289~294))
布莱克常辨证地看待问题，从《一粒沙》中可看出，诗人认识到事物之间有联系，小东西
里有大宇宙：
To see a world in a grain of sand,
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
And eternity in an hour.
(William Blake: A Grain of Sand)
华兹华斯在《我心跳动》（My Heart Leaps up）中的名句―儿童是成人的父亲‖(The Child is
father of the M an)表达了诗人的儿童观，即儿童是成年人的榜样，成年人应该向儿童学习，
很有哲理性。华兹华斯《不朽颂》探讨了童年的纯真来自天堂，但随着年龄的增长，天堂
明辉是如何逐渐消亡：
Our birth is but a sleep and a forgetting:
The soul that rises with us, our life‘s Star,
Hath had elsewhere its setting,
And cometh from afar:
Not in entire forgetfulness,
And not in utter nakedness,
But trailing clouds of glory do we come
From God, who is our home:
Heaven lies about us in our infancy!
Shades of the prison-house begin to close
Upon the growing Boy,
But He beholds the light, and whence it flows,
He sees it in his joy;
The Youth, who daily farther from the east
Must travel, still is Nature‘s Priest,
And by the vision splendid
Is on his way attended;
At length the Man perceives it die away,
And fade into the light of common day.
（William Wordsworth: Ode: Intimations of Immortality, Lines 58~76）
这里把人分为几个阶段：infancy，b oy，youth，man。年幼时，天堂就在眼前；儿童时，牢
笼阴影开始逼近，但他还能欣然看见天堂；少年时，天堂明辉还伴他旅行；到了成人，他

最终看见明辉彻底消失，平凡的白日之光将其彻底淹没。婴儿最纯真，但随着年龄的增长，
纯真逐渐消失，到了成年，人成了世俗之人。叶芝的《疯女简和主教谈话》借疯女之口，道出一个真理，即―美与丑是近亲，美需要丑‖，
具体地说，就是―爱情在排污处筑起他的殿堂‖，诗中疯女简的谈话如下：
―Fair and foul are near of kin,
And fair needs foul,‖ I cried.
―My friends are gone, but that‘s a truth
Nor grave nor bed denied,
Learned in bodily lowliness
And in the heart‘s pride.
―A woman can be proud and stiff
When on love intent;
But love has pitched his mansion in
For place of excrement;
For nothing can be sole or whole
That has not been rent.‖
（W. B. Yeats: Crazy Jane Talks with the Bishop）
诗里的话虽说得粗鲁，但这是一个经历了爱情和斗争、哲学探讨和美学思考的人才能达到
的粗鲁。我们不得不承认，有些真理就是粗鲁的，能够敏锐地感觉到并将之透彻地说出来，
需要一定的勇气。
弗洛斯特的诗始于愉悦，终于睿智，具有新英格兰乡村风味的诗使他荣获―乡村哲学家 ‖的称
号。最为人们熟悉的《雪夜林边驻足》揭示了活着的人的责任，即人在结束自己的人生旅
程之前，应该完成属于自己的事情(But I have promises to keep And miles to go before I
sleep)。《未选之路》则把人人都经历过的各式各样的―选择‖以具体的选择林中小路表达出来。
心想没有被选的路―就留待以后的日子再走‖(Oh, I kept the first for another day)，但又怀疑，
路一条条接下去，怎能回到起点选择当初没有选择的那条路(I doubted if I should ever come
back)。最后诗人不得不感叹：在人生的岔路口，因选择的不同，所有的差别也就由此造成
(Two roads diverged in a wood, and I— I took the one less traveled by, and that has made all
the difference.)，颇有人生哲理性。其他很多诗歌也富含哲理性，如《春潭》：
These pools, though in forests, still reflect
The total sky almost without defect,
And like the flowers beside them, chill and shiver,
Will like the flowers beside them soon be gone,
And yet not out by any brook or river,
But up by roots to bring dark foliage on.
The trees that have it in their pent-up buds
To darken nature and be summer woods—
Let them think twice before they use their powers
To blot out and drink up and sweep away
These flowery waters and these watery flowers
From snow that melted only yesterday.
(Robert Frost: Spring Pools)
这首诗里，树林中的水潭倒映着整个天空，旁边的花因寒冷而颤栗，潭水不是流入哪条溪
流江河，而是渗入树根，换来一片葱茏树荫，它像旁边的花，不久即将枯干消逝。水潭枯

了，花谢了，夏日树木却郁郁葱葱了，这都是昨日白雪融化的结果。这里的―雪——水潭——
树根——树林‖构成一个循环，相互对立的物体有着内在的统一律，一物的消失其实是变成
了另一种形式存在下来了（水被汲进新蕾），这就是宇宙万物的生死循环。诗人从水潭的转
换这种看似矛盾实则包含着一些哲理的过程中表达了他发现的一种辨证的宇宙观。
《白桦树》阐述了如何在现实与理想之间求得一种平衡，哲理性十分明显，该诗的后半部
分如下：
I'd like to get away from earth awhile
And then come back to it and begin over.
May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth's the right place for love:
I don't know where it's likely to go better.
I'd like to go by climbing a birch tree,
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.
(Robert Frost: Birches)

第九节宗教诗
宗教诗（religious poem）表达宗教信仰，多写信仰上的苦闷、疑虑、探索与和解。如多恩的
神学十四行诗《垂击我心，三位一体的上帝》的后六行：
Yet dearly I love you, and would be loved faine,
But are betrothed unto your enemie,
Divorce me, untie, or break that knot againe,
Take mee to you, imprison mee, for I,
Except you enthrall me, never shall be free,
Nor even chaste, except you ravish me.
（John Donne: Batter My Heart, Three Person‘s God）
乔治•赫伯特是一位教士，他的诗主要是他的宗教经验。《美德》表达了一种基督教信仰：凡
世俗万物，无论如何美好，都不能长留人间，惟有―一颗美好而圣洁的心灵‖方能流芳百世。
诗歌前三节的意象与最后一节形成强烈对照，从而使主题更加鲜明突出。其第三、四诗节
如下：
Sweet spring, full of sweet dayes and roses,
A box where sweets compacted lie;
My musick shows ye have your closes,
And all must die.
Onely a sweet and vertuous soul,
Like season‘d timber, never gives,
But though the whole world turn to coal,
Then chiefly lives.
（George Herbert: Vertue）
柯尔律治曾经布过道，他的《古舟子咏》中的一些段落，也含有布道的味道：

To walk together to the kirk,
And all together pray,
While each to his great Father bends,
Old men, and babes, and loving friends,
And youth and maidens gay!
Farewell, farewell! But this I tell
To thee, thou Wedding-Guest!
He prayeth well, who loveth well
Both man and bird and beast.
He prayeth best, who loveth best
All things both great and small;
For the dear God who loveth us,
He made and loveth all.
（Coleridge: The Rime of the Ancient Mariner, Lines 605~617）
在这里，古舟子劝告人们走进教堂，向上帝祷告，只有对一切生灵爱得最好的人，祷告才
最有成效。所以，人们心中一定要有爱，因为上帝创造一切，对一切都充满爱。我们也只
有心中有爱，才能得到上帝的爱。
美国诗歌之母安•布拉兹特里特是虔诚的清教徒，她的诗歌具有浓厚的宗教气息。《写在我家
失火之际》道出了诗人在自家被烧之后的安慰心理，因为高处还有一所房屋：
Raise up thy thoughts above the sky
That dunghill mists away may fly.
Thou hast a house on high erect,
Framed by that mighty Architect,
With glory richly furnished,
Stands permanent though this befled.
（Ann Bradstreet: On the Burning of Our House）

第十节赞美诗
赞美诗有很多种，《圣经》中有专门赞美上帝的赞美诗（psal m），当然也有赞美普通事情的
赞美诗，如朗费罗的《人生赞》（A Psalm of Life）。anthem是赞诗，最为人们熟悉的就是赞
美祖国的国歌（national anthem），它也可以用来赞美普通人，如欧文的《青年阵亡者的赞歌》
（Anthem for Doomed Youth）。英美诗人所写的赞美诗，有既赞美上帝或上帝之子基督，也
赞美一些重大事件的赞诗（hymn），也有诗人们赞扬伟大人物（尤其是前辈诗人）的诗歌，
如序诗（epigra ph）。
约翰•多恩写过几首赞美上帝和基督的诗歌。其中《基督赞，作于最后一次旅德行前》的第 二诗节如下：
I sacrifice this island unto thee,
And all whom I loved there, and who loved me;
When I have put our seats twixt them and me,
Put thou thy sea betwixt my sins and thee.
As the tree‘s sap doth seek the root below
In winter, in my winter now I go
Where none but thee, th‘eternal root of true love,
I may know.

(John Donne: A Hymn to Christ, at the Author‘s Last Going to Germany)
这里把基督比喻成―永恒的真爱之根‖，诗人向基督走去，就像树液找寻树根，获得养分。
又如《天父上帝赞》的最后诗节：
I have a sin of fear, that when I have spun
My last thread, I shall perish on the shore;
Swear by thy self, that at my death thy Son
Shall shine as he shines now and heretofore;
And, having done that, thou hast done,
I fear no more.
(John Donne: A Hymn to God the Father)
这里的Son与Sun同音，故云shine（普照），诗人在此乞求上帝之子的慈悲之光把有罪恶在
身的诗人从地狱的黑暗中解救出来。
柯尔律治的《日出之前的赞歌》是对欧洲最高山峰勃朗峰的赞美，也是对上帝伟大能力的
赞美，其中对勃朗峰的赞美诗节如下：
Thou first and chief, sole Sovran of the Vale!
O struggling with the Darkness all the night,
And visited all night by troops of stars,
Or when they climb the sky or when they sink:
Companion of the Morning- Star at Dawn,
Thyself Earth‘s ROSY STAR, and of the Dawn
Co-herald! wake, O wake, and utter praise!
Who sank thy sunless pillars deep in Earth?
Who fill‘d thy Countenance with rosy light?
Who made thee Parent of perpetual streams?
(Samuel Taylor Coleridge: Hymn Before Sun-rise, in the Vale of Chamouny, Lines 29~38)
赞美重大事件的诗歌如爱默生的《康科德赞歌》。康科德是马萨诸塞州东部城市，是美国独
立战争的战场，1836年7月4日，爱默生为康科德之战纪念碑落成而写下了这首诗，其中
后两个诗节如下：
On this green bank, by this soft stream,
We set today a votive stone;
That memory may their deed redeem,
When, like our sires, our sons are gone.
Spirit, that made those heroes dare
To die, and leave their children free,
Bid Time and Nature gently spare
The shaft we raise to them and thee.
(Ralph Waldo Emerson: Concord Hymn)
序诗指写在书籍或文章前面的诗歌，多是评介书籍或文章，这类评介往往以赞美为主。本•
琼生在1623年就为莎士比亚文集的第一个对开本写了序诗《致我敬爱的作者莎士比亚先生
和他所留给我们的东西》，高度赞美莎士比亚，并论述了天才与造就的关系：
Triumph, my Britain; thou hast one to show
To whom all scenes of Europe homage owe.
He was not of an age, but for all time!
….

Yet must I not give nature all; thy art,
My gentle Shakespeare, must enjoy a part.
For though the poet‘s matter nature be,
His art doth give the fashion; and that he
Who casts to write a living line must sweat
(Such as thine are) and strike the second heat
Upon the Muse‘s anvil; turn the same,
And himself with it, that he thinks to frame,
Or for the laurel he may gain a scorn;
For a good poet‘s made as well as born.
(Ben Jonson: To the Memory of My Beloved, The Author, Mr. William Shakespeare, and What He
Hath Left Us, Lines 41~63)
事实证明，琼森评价莎士比亚―不属于一个时代而属于所有的世纪‖，完全正确，这个评论也
被后人不断引用。莎士比亚是天才，但天才也要靠不断的炼就才能戴上桂冠，莎士比亚成
为天才与造就相结合的完美典范。
在1688年雅各布•汤森版《失乐园》（Jacob Tonson‘s edition of Paradise Lost）中，德莱顿在
弥尔顿肖像下题词：
Three poets, in three distant ages born,
Greece, Italy, and England did adorn.
The first in loftiness of thought surpassed,
The next in majesty, in both the last:
The force of Nature could no farther go;
To make a third, she joined the former two.
(John Dryden: Epigram on Milton)
三位诗人指古希腊的荷马，意大利的维吉尔和英国的弥尔顿。弥尔顿年轻时就立志写一部
英雄史诗，能与荷马和维吉尔的作品齐名，他的《失乐园》实现了他的夙愿。德莱顿高度
赞扬弥尔顿，称其作品糅合了荷马和维吉尔的长处。
欧文的《青年阵亡者的赞歌》是他在1917年对第一次世界大战中阵亡的青年写下的赞歌：
What passing-bells for these who die as cattle?
—Onlythe monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,—
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
Not in the hands of boys but in their eyes
Shall shine the holy glimmers of goodbyes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.
（Wilfred Owen: Anthem for Doomed Youth）
欧文是第一次世界大战期间的战争诗人，他的诗歌内容多表现战争给人们带来的内心的伤

痛，思想的混乱和精神的空虚。这首诗不仅描绘了战争的惨烈，也探索了现代战争对人性
的摧残。他自己也在1918年阵亡。这是一首十四行诗，押韵格式为abab cdcd eff ghh，是彼
特拉克体与莎士比亚体的组合形式。
朗费罗的《人生赞》最后三个诗节如下：
Lives of great men all remind us
We can make our lives sublime,
And, departing, leave behind us
Footprints on the sands of time;
Footprints, that, perhaps another,
Sailing o'er life's solemn main,
A forlorn and shipwrecked brother,
Seeing, shall take heart again.
Let us then be up and doing,
With a heart for any fate;
Still achieving, still pursuing,
Learn to labor and to wait.
（Henry Wadsworth Longfellow: A Psalm of Life）
这首诗一直广为传诵，被列入《美国人最喜爱的诗》。它还被认为是第一首被译成中文的美
国诗歌。
第十一节墓志铭
顾名思义，墓志铭（Epitaph）就是写来刻在墓碑上用以纪念死者的文字。有些墓志铭就是
很好的诗，尤其是诗人给杰出人物写的墓志铭，或诗人们写给自己的墓志铭。
文艺复兴时期诗人罗利（Water Raleigh, 1552~1618）为自己写下墓志铭，下面这些诗行就刻
在他的墓室里：
Even such is time that takes in trust
Our youth, our joys, and all we have,
And pays us but with age and dust:
Who in the dark and silent grave
When we have wandered all our ways
Shuts up the story of our days.
And from which earth and grave and dust
The Lord shall raise me up, I trust.
该墓志铭是一首抑扬格四韵步的八行诗，押韵格式为ababccaa，是隔行韵和双行韵的组合。
在莎士比亚的家乡圣三一教堂里，莎士比亚墓碑上的文字是：
GOOD FREND FOR IESVS SAKE FORBEARE
TO DIGG THE DVST ENCLOASED HEARE
BLESTE BE Y MAN Y SPARES THES STONES
AND CVRST BE HE ¶[AT] MOVES MY BONES
据传，这四行诗是莎士比亚亲自写的，其用意是要教堂司事不把他的尸骨挖出来扔到尸骨
存放处。也有人认为这不可能是莎翁本人所写，不过，他的坟墓一直没有被挖。该墓志铭
是一首抑扬格四韵步的四行诗，押韵格式为aabb，属双行韵。
约翰•多恩的墓志铭是：
Reader, I am to let thee know,
Donne's body only lies below;

For could the grave his soul comprise,
Earth would be richer than the skies.
该墓志铭是一首抑扬格四韵步的四行诗，押韵格式为aabb，属双行韵。
亚历山大•蒲伯的墓志铭是：
Heroes and Kings! your distance keep;
In peace let one poor Poet sleep,
Who never flatter'd Folks like you:
Let Horace blush, and Virgil too.
该墓志铭是一首抑扬格四韵步的四行诗，押韵格式为aabb，属双行韵。
蒲伯为牛顿在西敏思寺的墓碑写的墓志铭为：
Nature and Nature‘s Law lay hid in Night.
God said, Let Newton be! and All was Light.
(Alexander Pope: Intended for Sir Isaac Newton in Westminster Abbey)
格雷的悼亡诗《墓园挽歌》非常有名，该诗的最后部分是―墓志铭‖：
Here rests his head upon the lap of earth
A youth to Fortune and to Fame unkown.
Fair Science frowned not on his humble birth,
And Melancholy marked him for her own.
Large was his bounty, and his soul sincere,
Heaven did a recompense as largely send:
He gave to Misery all he had, a tear,
He gained from Heaven (‘twas all he wished) a friend.
No farther seek his merits to disclose,
Or draw his frailties from their dread abode
(There they alike in trembling hope repose),
the bosom of his Father and his God.
(Thomas Gray: Elegy Written in a Country Churchyard, the Epitaph)
雪莱的墓志铭引自莎士比亚《暴风雨》：

But doth suffer a sea-change
Into something rich and strange.
[Quotation from Shakespeare's The Tempest]
柯尔律治在1834年去世前几月，为自己写下了墓志铭：
Stop, Christian passer-by!—Stop, child of God,
And read with gentle breast. Beneath this sod
A poet lies, or that which once seem‘d he.
O, lift one thought in prayer for S.T.C.;
That he who many a year with toil of breath
Found death in life, may here find life in death!
Mercy for praise—to be forgiven for fame
He ask‘d, and hoped, through Christ. Do thou the same!
史蒂文森(Robert Louis Stevenson, 1850-94)的墓志铭引自他的诗歌《安魂曲》（Requiem,
1887）：
Under the wide and starry sky

Dig the grave and let me lie.
Glad did I live and gladly die,
And I laid me down with a will.
This be the verse you grave for me:
Here he lies where he longed to be;
Home is the sailor, home from the sea
And the hunter from the hill.
这些诗行是扬抑格和抑扬格混合使用的四韵步诗行，押韵格式为aaabcc cb，属单韵和隔行韵
的变体组合。
爱尔兰诗人叶芝在1938年的晚年诗作《本布尔本山下》（Under Ben Bulben）第六诗节中，
为自己写好了墓志铭：
Under bare Ben Bulben‘s head
In Drumcliff churchyard Yeats is laid.
An ancestor was rector there
Long years ago, a church stands near,
By the road an ancient cross.
No marble, no conventional phrase;
On limestone quarried near the spot
By his command these words are cut:
Cast a cold eye
On life, on death.
Horseman, pass by!
其墓碑上的文字就是这首诗的最后三行。
第十二节收场白
顾名思义，收场白（epilogue）指戏剧的结尾部分，一般用韵文写成。以莎士比亚戏剧为例，
《亨利五世》的收场白是剧情说明人（chorus）念的一首十四行诗：
Thus far, with rough and all unable pen,
Our bending author hath pursued the story;
In little room confining mighty men,
Mangling by starts the full course of their glory.
Small time, but in that small, most greatly liv‘d
This star of England: fortune made his sword;
By which the world‘s best garden he achieved,
And of it left his son imperial lord.
Henry the Sixth, in infant bands crown‘d King
Of France and England, did this king succeed;
Whose state so many had the managing,
That they lost France, and made his England bleed:
Which oft our stage hath shown; and, for their sake,
In your fair minds let this acceptance take.
(William Shakespeare: Henry V, Epilogue)
这段收场白是典型的莎士比亚体十四行诗，即抑扬格五韵步，韵式为abab cdcd efef gg。
《仲夏夜之梦》的收场白则不同，它是由剧中喜好作弄人的促狭鬼扑克（Puck, also called
Robin Goodfellow）在收场时念出来的：

If we shadows have offended,
Think about this, and all is mended,
That you have but slumb‘red here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend.
If you pardon, we will mend.
And, as I am an honest Puck,
If we have unearnèd luck
Now to ‘scape the serpent‘s tongue,
We will make amends, ere long:
Else the Puck a liar call.
So, good night unto you all.
Give me your hands, if we be friends:
And Robin shall restore amends.
(William Shakespeare:A Midsummer‘s Night Dream, Epilogue)
这段收场白是四韵步，韵式为双行韵。另外，为了韵步数一致，第十行的unearnèd增加了
一个音节，而第十一行的‘scape（即escape）则减了一个音节。
《暴风雨》的收场白也是由剧中人物普洛斯帕罗（Prospero）朗诵的，共二十行，每行四个
韵步，押双行韵，其最后几行如下：
Now I want
Spirits to enforce, art to enchant;
And my ending is despair,
Unless I be relieved by prayer,
Which pierces so, that it assaults
Mercy itself, and frees all faults.
As you from crimes would pardoned be,
Let your indulgence set me free.
(William Shakespeare:The Tempest, Epilogue)
《暴风雨》是莎士比亚在1611年创作的，之后只有161 2年的《亨利三世》，可以说，《暴风
雨》的收场白也几乎可以说是莎士比亚作为戏剧作家的收场白。剧中人物普洛斯帕罗是自
然庄严而和善的魔术家，他能从海底唤起精灵，并用极简易的方术役使他们，莎士比亚也
是这样的魔术家，他把想象当成精灵，任意使唤他们。剧终之际，普洛斯帕罗的魔法被毁，
莎士比亚也许也感到想象力已衰退，于是急流勇退，谦逊地请求诸位的宽宏大量，真正谢
幕了。

第十一章融入中国文化的英语诗歌
庞德（Ezra Pound, 1885~1972）的《河商妻：一封信》（The River-Merchant‘s Wife: A Letter）
译自李白的《长干行》，很多西方读者就是通过这首诗了解到中国古诗的魅力的，此诗常被
当成一首庞德的创作，其中从―十四为君妇‖到―猿声天上哀‖的译文如下：
At fifteen I stopped scowling,
I desired my dust to be mingled with yours
Forever and forever and forever.

Why should I climb the look out?
At sixteen you departed,
You went into far Ku-tou-yan, by the river of swirling eddies,
And you have been gone five months.
The monkeys make sorrowful noise overhead. 庞德当时并不懂汉语，某些地方的翻译并不到位，如典故―常存抱柱信‖就没有译出，只是意
译出了部分意思。―五月不可触‖原意指五月份的季节里，看见一切都充满生机，而自己独守
空房，了无生趣，十分伤心，译文you have been gone five months（你已离开五个月）是错
误理解的结果。
庞德还翻译了汉武帝的《落叶哀蝉曲》，名之为Liu Ch'e：
The rustling of the silk is discontinued,
Dust drifts over the court-yard,
There is no sound of foot-fall, and the leaves
Scurry into heaps and lie still,
And she the rejoicer of the heart is beneath them:
A wet leaf that clings to the threshold.
此诗被称为美国象征派诗史上的杰作。特别落叶一句，被称意象叠加法的典范，落叶句成
了美国诗史上一个很有名典故。庞德的这种翻译法，也被翻译界称为创造性翻译。
1938年，英国诗人奥登（1907~1973）同小说家衣修武德(Isherwood, 1904~1986)来到武汉，
并去前线采访，他们一个用诗，一个用散文写下了他们在中国的见闻，合作而成《战地行》
一书，于1939年出版。奥登的《中国十四行组诗》抒发了他对中国的关注，其中一首如下：
Far from a cultural centre he was used:
Abandoned by his general and his lice,
Under a padded quilt he turned to ice
And vanished. He will never be perused
When this campaign is tidied into books:
No vital knowledge perished in that skull;
His jokes were stale; like wartime, he was dull;
His name is lost for ever like his looks.
Though runeless, to instructions from headquarters
He added meaning like a comma when
He joined the dust of China, that our daughters
Might keep their upright carriage, not again
Be shamed before the dogs, that, where are waters,
Mountains and houses, may be also men.
(W.H. Auden: Sonnets from China, XII)
这首诗表现了一个英国诗人对普通中国士兵的深切同情，而且他还能充分理解，中国的士
兵化为尘，是为了我们的女儿不再为狗所凌辱，能够有一个充满人间烟火的江山田园。
女诗人凯莎（Carolyn Kizer, 1925~ ）在诗歌《我这辈子曾经去过的地方》（Where I‘ve Been
All My Life, 1984）的第三节，采取主观介入的态度，描写了叙述者在1949年以前，坐火车
经过中国的土地，亲眼看见中国的苦难：
The train will glide through fields of rice and men,
Bodies like tongs, and glorious genitals,
Not alien as Chinese, but Adam-strange.

Rejoiced by her first look at naked men,
Her soul swims out the window of the train!
She goes where newborn daughters clog the creeks;
Bank- porticos are strewn with starving rags.
Here the old dragon, China, thrashes, dying.
But the ancient, virile music of the race
Is rising, drenched in gongs and howls of dogs.
Island, the sighs of walled-up women
dreaming of peasants in their prison fields…
(Carolyn Kizer: from Mermaids in the Basement)
雷克思罗斯（Kenneth Rexroth, 1905~1982）深受中国古典文学的影响，他在1967年发表的
长诗《心之园园之心》（The Heart‘s Garden the Garden‘s Heart）的第一段就融入了《道德经》
第六章和《诗经•国风•绿衣》：
A man of
Sixty years, still wandering
Through wooded hills, gathering
Mushrooms, bracken fiddle necks
And bamboo shoots, listening
Deep in his mind to music
Lost far off in space and time.
The valley‘s soul is deathless.
It is called the dark woman.
The dark woman is the gate
To the root of heaven and earth.
If you draw her out like floss
She is inexhaustible.
She is possessed without effort.
It was a green jacket, a green
Jacket with a yellow lining.
When will the heartbreak stop?
It was a green jacket, a green
Jacket with a yellow skirt.
When will the heartbreak go?
The evergreen pines grow more
Green as Spring draws to an end.
Yellow rice blades in blue water.
其实，从The valley‘s soul is deathless到She is inexhaustible译自《道德经》第六章：―谷神
不死，是谓玄牝，是谓天地根，绵绵若存，用之不勤。‖而从It was a green jacket, a green到
When will the heartbreak go?则译自《诗经•国风•绿衣》：―绿兮衣兮，绿衣黄里，心之忧矣，
曷维其已？绿兮衣兮，绿衣黄裳，心之忧矣，曷为其亡？‖诗人把―玄牝‖译为―黑女人‖，表
现了诗人母系社会的宇宙观。
勃莱（Robert Bly, 1926~）《另一首无为之诗》（Another Doing Nothing Poem）受到道家思想
的影响，从内容看，明显采用了庄子《逍遥游》的比喻：
There is a bird that flies through the water.

It is like a whale ten miles high!
Before it went into the ocean,
It was just a bit of dust from under my bed!
微不足道的一粒沙化为巨大的鸟，鸟不是在天上飞，而是穿越海水，犹如《逍遥游》中的
鱼（即―鲲‖）化为鸟（即―鹏‖），然后―怒而飞‖了。勃莱进一步诠释了庄子关于万物幻化的
能力，表达了对自由幻化能力的欲望。
史奈德（Gary Snyder, 1930-）的《仿陶潜》（After T‘ao Ch‘ien, from Left out in the Rain,1986）：
―Swiftly the years, beyond recall;
Solemn the stillness of this spring morning.‖
I‘ll put on my boots & old levis
&hike across Tamalpais.
Along the coast the fog hovers,
Hovers an hour, then scatters.
There comes a wind, blowing from the sea,
That brushes the hills of spring grass.
陶潜的《时运》原文如下：―迈迈时运，穆穆良朝。袭我春服，薄言东郊。山涤余霭，宇暖
微霄。有风自南，翼彼新苗。‖第三、四句，陶潜写的是穿上纯衣去郊野，史奈德写的是穿
上靴子和运动裤去爬山；陶潜的五、六句写云雾在山上飘行，天色暗淡下来，史奈德写的
是云雾盘桓然后散去；陶潜的七、八句写从南方来的和风吹拂新苗，史奈德的七、八句写 来自海上的风扫过长着春草的群山。可见，该诗既直接引用了两行陶潜的诗句，其他诗句
也是亦步亦趋地模仿陶潜《时运》的经验模式与思维模式，但史奈德是在竭力掩藏这些，
以便其读起来像是地道的美国诗歌。
W.C.威廉斯写过一首《致白居易之魂》（To the Shade of Po C hü-I，1921）描写了在美国一个
冬天的路上见到一位美丽活泼的少女，这个少女使他联想到白居易在诗歌《游山示小妓》
中所写的十五岁的舞妓。威廉斯的诗歌如下：
The work is heavy. I see
Bare branches laden with snow.
I try to comfort myself
with thought of your old age.
A girl passes, in a red tam,
the coat above her quick ankles
snow smeared from running and falling—
Of what shall I think now
save of death the bright dancer?
白居易的这首诗是这样写的：―双鬓垂未合，三十才过半。本是绮罗人，今为山水伴。春泉
共挥弄，好树同攀玩。笑容花底迷，酒思风前乱。红凝舞袖急，黛惨歌声缓。莫唱杨柳枝，
无肠与君断。‖威廉斯并不懂汉语，但他读过英国汉学家和日语汉语翻译家韦理(Arthur Waley,
1889~1966)，在1919年出版的汉诗翻译，对白居易的这首诗的译文印象深刻。韦理把原诗 ―本
是绮罗人，今为山水伴‖描述的地位低下的舞妓译成了身着纱衣和缎袍的高雅淑女，心甘情
愿地陪伴诗人游山玩水（You who are really a lady of silks and satins Are now become my hill
and stream comp anion），这对西方男性而言，很能满足一种虚荣心。这也说明西方人对中国
文化的创造性翻译及其产生的一定影响。

学校大扫除作文-超越作文

北京公务员面试名单-穿着礼仪

举报信怎么写-安全教育主题班会教案

一建考试答案-中学政教处工作计划

沉香功效与作用-年终总结格式

重阳节图片-党员思想汇报格式

空军工程大学研究生-人事任命书

课桌椅样样齐备-见习报告的格式

管理制度

演讲稿

工作总结

巨鹿之战文言文阅读答案

训练八哥说话,详解八哥出笼玩耍的调教

关于《牛虻》的读书笔记5篇精选.doc

读《牛虻》有感范文

《牛虻》读书笔记1500字

【精编】部编版二年级语文下册仿写句子

关于描写水的句子_优美的句子

写荷花的作文600字优秀作文

小学三年级作文美丽的校园

二年级下册语文一课一练课文2《一匹出色的马》同步练习人教(部编版)(含答案)

部编版小学语文二年级下册课内外阅读试题(全套)

【最新】部编版二年级语文下册课内阅读专项

部编版(统编版)小学语文二年级下册第二单元《7 一匹出色的马》教学设计

描写茉莉花茶的句子

一匹出色的马教案反思

文档作者

巡山小妖精

错过了我你最好不要后悔，因为我会找一个比你好的

您可能关注的内容

1
巨鹿之战文言文阅读答案

2
训练八哥说话,详解八哥出笼玩耍的调教

3
关于《牛虻》的读书笔记5篇精选.doc

4
读《牛虻》有感范文

5
《牛虻》读书笔记1500字

6
【精编】部编版二年级语文下册仿写句子

7
关于描写水的句子_优美的句子

8
写荷花的作文600字优秀作文

9
小学三年级作文美丽的校园

10
二年级下册语文一课一练课文2《一匹出色的马》同步练习人教(部编版)(含答案)

为你推荐

巨鹿之战文言文阅读答案

训练八哥说话,详解八哥出笼玩耍的调教

关于《牛虻》的读书笔记5篇精选.doc

读《牛虻》有感范文

热门标签

[db:TAG]

标题

小学英语4年级

忆读书答案

整除

百部经典电影

童话

高尚的行为

趣味数学游戏

乘法结合律

七桥问题答案

小学数学公式

tonghua

什么路不能走

观察日记300字

活版练习题

秋色宜人

英语教学计划

必备古诗

牛吃草问题

72小时打一字

问题鸡蛋

名人成长故事

北人食菱

数学小论文

走马见诸葛

黄山奇石课文

将心比心课文

兰兰过桥

一面课文

煮书

中华少年课文

白杨课文

数列

一般将来时态

小学作文指导

小狮子爱尔莎

晏子辞千金

国庆专题

考试题

小学英语论文

北师大版教材

一片绿草地

整数

趣味数学故事

说课稿范文

走马荐诸葛

排列组合问题

教学课件

斜塔上的实验

5年级上册英语

四则混合运算

四则运算教案

三峡之秋

学习习惯

数学趣味故事

鸡兔同笼公式

分数应用题

角的分类

6年级上册英语

计算公式

50以内的口算题

衡州新学记

数独4宫格

乘法公式小学

利率的公式

学弈课文

10以内加法口诀

电子书课本

语文数学辅导

的棋盘

乘法口算100题

容积的公式

草船借箭原文

数学家手抄报

日记30

穷人课文原文

四上

神笔马良作者

五年级方程题

英语下册

元角分练习题

小学单词

五年级英语下

笋芽儿课文

加法公式

和差倍问题

数学成语

狮子和鹿课文

数学ppt

语文书

趣味数学100题

六年级语文上

小学生英文

等差

换元法

取整

裂项公式

小学生三年级

青蛙写诗课文

英语诗歌的韵律与类型

巡山小妖精

805次浏览

2020年08月15日 04:52

最佳经验

本文由作者推荐

外交学院综合信息系统英语诗歌的韵律与类型:关于马年的祝福语

夏季减肥食谱-中秋节的英语作文

学校大扫除作文-超越作文

北京公务员面试名单-穿着礼仪

举报信怎么写-安全教育主题班会教案

一建考试答案-中学政教处工作计划

沉香功效与作用-年终总结格式

重阳节图片-党员思想汇报格式

空军工程大学研究生-人事任命书

课桌椅样样齐备-见习报告的格式

您可能关注的内容

为你推荐

分类导航 :

英语诗歌的韵律与类型

夏季减肥食谱-中秋节的英语作文

学校大扫除作文-超越作文

北京公务员面试名单-穿着礼仪

举报信怎么写-安全教育主题班会教案

一建考试答案-中学政教处工作计划

沉香功效与作用-年终总结格式

重阳节图片-党员思想汇报格式

空军工程大学研究生-人事任命书

课桌椅样样齐备-见习报告的格式

相关推荐

变频空调压缩机驱动控制系统研究与实现

美国文学史及选读考试整理

让半球是什么意思

社会主义本质论文理论教学论文

会计外文翻译外文文献英文文献我国商业银行会计风险成因及防范对策

最适合学英语的20部高清英语动画片