请教英诗的音步！非常感谢！！！

[florazheng]

各位:

请问怎么确定英诗中音步那一个是重读音节及非重读音节, 实义名词是根据单词本身的重音落在那一个音节上吗? 那虚词当非重读音节来读吗？我问过好几个母词是英词的人，可是我还是看不懂他们的回复。就以IAMBIC为例。我知道有很多种的音步。可是我分不清在英诗中怎么确定那个音节要重读，哪个音节不重读。

请你们帮帮我吧，我非常想知道这个问题。:wall :wall

非常感谢！！！ :roll:

（最好用中文回答我，不行的话用英语也可以。）

－－－－－－－－－－－－－－

为什么下面这首诗的第一句第一个“Ｉ”要重读，第二个“Ｉ”则是非重读音节呢？

1 I think that I shall never see １２１２１２

2 A poem as lovely as a tree.

3 A tree whose hungry mouth is prest

4 Against the earth's sweet flowing bre ast;

5 A tree that looks at God all day,

6 And lifts her leafy arms to pray;

7 A tree that may in Summer wear

8 A nest of robins in her hair;

9 Upon whose bosom snow has lain;

10 Who intimately lives with rain.

11 Poems are made by fools like me,

12 But only God can make a tree

[Altair]

我试着用中文给你解释以下这个问题、可是我的中文很不好。 可能我的意思不清楚。

一般的说英文的实词重读、虚词不重读。其实虽然有的音节决不可以重读但是每一个词都有可以重读的情况。一个词重读是有区别、表示新的信息、或者表示意外的意思。

我只重读 "I think" 中的 "think" 那个词是表示我的意见而已。我重读 "I think" 那两个词的时是又表示我的意见又表示我的意见可能和别的人的意见不同。

如果我重读"I shall never see" 中的 "I" 含义是限制那句话只把我的将来经验描述以下。对别的人的情况倒不表示意见。

朗诵英诗的时读者了解作者要表示一定的节奏。因此读者按照那个节奏把文句解释以下。可是把平常的节奏改变得过分可能仿佛有幼稚味道。例如 "as lovely as" 中的第二 "as" 或者 "in her hair" 中的 "in"。重读那两个词有一点过度的感觉。如果重读 "intimately" 那个词的第三个音节 ("mate")确定有昌幼儿歌的感觉。

Does my Chinese make any sense?

[florazheng]

非常感谢你，Altair! 我正非常失望以为没有人愿意或者能够帮助我。看到你的帖子我明白了一点了，不过我还是有很多的疑问。我很希望有一个既会中文又会英文的双语的人能帮助我，因为我不能很清楚地把自己的问题，特别是例子讲清楚而且看英语的时候我要花很长的时间。

１、那是哪个音节及哪个单词需要重读在英语中是没有固定的是吗？要根据说话的人的意图来确定对不对？

２、在中国的律诗中，我们也有似类音步的格律。一般是平平仄仄或者仄仄平平相互交替（还有特例，这里我不说了）。平是指汉语中的１，２声（例如：天１，来２）；仄是指指汉语中的第３，４声　（例如：好３，去４）

在写诗中，如果不是两平跟两仄（或者就会被认为是失律，不合诗的格律，不是律诗。

如：海上升素月

　　仄仄平仄月　　（素是第四声，为仄音，这个句子不符合诗律的。需要把“素”这个字改成其它的字）

　　海上升明月

　　仄仄平平仄　

我想问的是那在写一首英文的metric poem时，如果某一个词不符合音步，是不是诗人也要把那个词去掉换成另一个词。

例如: What a beautiful girl

　　　WHAT a BEAU-ti-ful GIRL (12/12/21) (1=重读，２＝非重读）

(我知道Iambic是以非重读然后跟着重读音，不过我这里只是想了解一下怎么重读和非重读音节，不管模式。)

那我是不是要把Beautiful 这个词换成一个音节符合音步的词呢？如Pretty

What a pretty girl===> WHAT a PRET-ti Girl (12/12/1)

再次谢谢你的回复，嗯，我觉得你的中文很达得很好，我能很容易地明白。如果你觉得用中文不方便，也可以用英文，我看不懂时你再尽可能用中文帮助我吧。万一我的中文你不明白，你告诉我，我尽可能用英语提问。

请你再回答我的问题。非常感谢！ :help

[nnt]

Sorry to post in English (laziness)

You can look at this link :

http://en.wikipedia.org/wiki/Iambic_pentameter

The "stressing" rules are not similar in English and in Tang's poetry : the 仄平 is inherent to each Chinese character, whereas in English, the rules are not so "automatic" as expressed in the above Webpage.

Most poets who have a great facility for iambic pentameter frequently vary the rhythm of their poetry as Donne and Shakespeare do here, both to create a more interesting overall rhythm and to highlight important thematic elements.

Trust your feeling, and "may the force be with you..."

[florazheng]

The "stressing" rules are not similar in English and in Tang's poetry : the 仄平 is inherent to each Chinese character, whereas in English, the rules are not so "automatic" as expressed in the above Webpage.

Thanks! I think I have some idea on the stressed and unstressed in English. There is not fixed rule for it in English. The stressed and unstressed words depend on each speaker's emotion while Chinese characters depend on the pronouciations afer Altair' response and as you said which I quote above. It is the right point which help me out!

BTW, I can't access Wikipedia. It is blocked in the mainland of China. Would you please copy the content to here?

Thank you!

[nnt]

Here is the above-mentioned Webpage from W...:

Iambic pentameter is a meter in poetry, consisting of lines with five feet (hence "pentameter") in which the iamb (or "iambus") is the dominant foot (hence "Iambic"). Iambic rhythms are quite easy to write in English and iambic pentameter is among the most common metrical forms in English poetry. Like other meters, it has its origins in Greek poetry.

William Shakespeare, like many of his contemporaries, wrote poetry and drama in iambic pentameter. Here is an example from his Sonnet XVIII:

Shall I compare thee to a summer's day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer's lease hath all too short a date:

When read aloud, such verse naturally follows a beat. There is some debate over whether works such as Shakespeare's was originally performed with the rhythm prominent, or whether it was disguised by the patterns of normal speech as is common today. In written form, the rhythm looks like this:

da-DUM da-DUM da-DUM da-DUM da-DUM

(weak STRONG / weak STRONG / weak STRONG / weak STRONG / weak STRONG)

Shall I com - PARE thee TO a SUM mer's DAY

Although strictly speaking, iambic pentameter refers to five iambs in a row (as above), in practice, most poets vary their iambic pentameter a great deal, while maintaining the iamb as the most common foot. The second foot of a line of iambic pentameter is almost never altered. The first foot, on the other hand, is the most likely to be changed, often in order to highlight a particular word or mark a shift in a poem. An iambic inversion, in which a trochee is substituted for an iamb in the first foot, is perhaps the most common alteration of the iambic pentameter pattern.

Here is the first quatrain of a sonnet by John Donne that demonstrates how poets use variations in their iambic pentameter:

Batter my heart three-personed God, for you

as yet but knock, breathe, shine and seek to mend.

That I may rise and stand o'erthrow me and bend

Your force to break, blow, burn and make me new.

The rhythm is:

DUM da | da DUM | da DUM | da DUM | da DUM

da DUM | da DUM | DUM DUM | da DUM | da DUM

da DUM | da DUM | da DUM | DUM DUM |dada DUM

da DUM | da DUM | DUM DUM | da DUM | da DUM

Donne uses a trochaic inversion in the first line to stress the key verb, "batter", and then sets up a clear iambic pattern with the rest of the line (da DUM da DUM da DUM da DUM). He uses spondees in the third foot to slow down the rhythm when he lists verbs in lines 2 and 4. The parallel rhythm and grammar of these lines highlights the comparison Donne sets up between what God does to him "as yet" (knock, breathe, shine and seek to mend"), and what he asks God to do ("break, blow, burn and make me new"). Donne also uses enjambment between lines 3 and 4 to speed up the flow as he builds to his desire to be made new. To further the quickening effect of the enjambment, Donne puts an anapest (dada DUM) in the final foot, carrying you to the next line.

The other common departure from standard iambic pentameter is the addition of a final unstressed syllable. This is known as a weak or feminine ending. The most famous line of iambic pentameter of them all is hendecasyllabic (eleven syllables):

To be, or not to be: that is the question.

Here, the rhythm is :

da DUM | da DUM | da DUM | DUM da | da DUM | da

Also note the trochaic inversion of the fourth foot, helped by the caesura following the second 'to be'.

Most poets who have a great facility for iambic pentameter frequently vary the rhythm of their poetry as Donne and Shakespeare do here, both to create a more interesting overall rhythm and to highlight important thematic elements. In fact, the skillful variation of iambic pentameter, rather than the consistent use of it, may well be what distinguishes the rhythmic artistry of poets like Donne, Shakespeare, Milton, and the 20th century sonneteer Edna St. Vincent Millay.

[florazheng]

Nnt, thank you for your help again. I have skipped it and wanna to chew it later. Just rush to say thank you here.

If I have any questions on this, I will post here and hope you and others can give me a hand further. :roll:

Cheers!

[Altair]

那是哪个音节及哪个单词需要重读在英语中是没有固定的是吗？要根据说话的人的意图来确定对不对？

对。还有每一个朗诵诗的人会有别具一格的读发。 (Everyone will recite poetry in a slightly different way.)

例如:

To be or not to be that is the question (一句由 Shakespeare 写的有名的 语录)

要绝对地符合音步的话,得用下个读法:

To BE | or NOT | to BE | that IS | the QUES- | tion. (The capitalized words show the stressed syllables.)

但是在我看来这个读法有一点奇怪。

我觉得下个读法更好:

To BE | or NOT | to BE | THAT is | the QUES- | tion.

但是那个读法的节拍不容易说。

我觉得最使用的读法是:

To BE | or NOT | to BE | THAT is the | QUEStion.

现代英师的理论是从法文、意大利文、拉丁文、 和古代希腊语文来的。这些语言的格律是和音节的数目有关系的、不过我觉得说英文的快慢和重读音节的数目更有关系。不是由全部音节的数目间接有关系。因此某一个词不符合音步时，诗人不必把那个词去掉换成另一个词。

英诗的音步是可以变化的。一般地说诗人使用这些变化来暗示一定的含义。诗韵格局却不可以变异。

What a pretty girl===> WHAT a PRET-ti Girl (12/12/1)

我觉得任何词可以用. "Pretty" 更符合音步可是有时 "beautiful" 那个词的快慢或者意义更符合诗人的意图。

下列是一些诗的几行诗句。节拍很清楚很强劲。

LISTen my CHILDren and YOU shall HEAR

of the MIDnight RIDE of PAUL ReVERE. (节奏有驰马的感觉)

WHEN the STARS threw DOWN their SPEARS,

And WATer'd HEAVen WITH their TEARS,

DID He SMILE His WORK to SEE?

Did HE who MADE the LAMB make THEE? (注意到这行诗局。因为指的不同, 所以"Did He" 那两个词变换地重读。)

TIger, TIger, BURNing BRIGHT

IN the FORest OF the NIGHT.

WHAT imMORtal HAND or EYE

Dare FRAME thy FEARful SYMmetry. (我觉得这里的韵用现代英文不合适 )

RISE, brothers, RISE; the WAKEning SKIES PRAY to the MORning LIGHT,

The WIND lies aSLEEP in the ARMS of the DAWN like a CHILD that has cried all

night.

COME, let us GATHer our NETS from the SHORE and SET our CATamarans (一类舟) FREE,

To CAPture the LEAPing WEALTH (正在跳的财富) of the TIDE, for WE are the KINGS of the SEA!

* * *

SWEET is the SHADE of the COconut GLADE (草地), and the SCENT (香味) of the MANgo GROVE (树丛),

And SWEET are the SANDS at the FULL o' (=of) the MOON with the SOUND of the VOIces we LOVE;

But SWEEter, O BROthers, the KISS of the SPRAY and the DANCE of the WILD FOAM'S GLEE;

ROW, brothers, ROW to the BLUE of the VERGE (边缘), where the LOW SKY MATES (交配) with the

SEA. (那行诗句因变异音步的缘故创造了有奔驰的感觉。)

那首师全部也有划船的节奏。

That's all I have time for now.

[Altair]

２、在中国的律诗中，我们也有似类音步的格律。一般是平平仄仄或者仄仄平平相互交替（还有特例，这里我不说了）。平是指汉语中的１，２声（例如：天１，来２）；仄是指指汉语中的第３，４声　（例如：好３，去４）

谢谢你说明那种格律。

I have several questions, but I have posted something similar on the Literature Forum and so will ask my questions there.

I also rushed my last post here and so have made some edits to make my meaning clearer and more 标准.