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Insightful! Thank you! Chinese poetry can achieve synchronou
来源: TJKCB 于 2023-02-20 12:43:52 [档案] [博客] [转至博客] [旧帖] [给我悄悄话] 本文已被阅读： 7 次 (3782 bytes)
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回答: 可否介绍一下英文诗中的音韵？中文诗基本可以做到音节和语义同步，英语诗中两者基本上是异步的，这在美感上是否别有一番天地？ 由 方外居士 于 2023-02-20 10:33:00
Insightful! Thank you! Yes. Chinese poetry can achieve synchronous syllables and semantics, while English poetry is asynchronous.
Phonology in English poetry refers to studying sound patterns and rhythms in poetry. Unlike Chinese poetry, which often focuses on achieving synchronous syllables and meaning, English poetry relies heavily on using stressed and unstressed syllables, known as meter, to create its unique rhythm.
In English poetry, the meter is created by arranging stressed and unstressed syllables in a line of poetry. The most common meter in English poetry is the iambic meter, where the stress falls on every other syllable, as in the line "Shall I compare thee to a summer's day?" from Shakespeare's sonnet 18. Other standard meters include the trochaic meter, where the stress falls on the first syllable, and the anapestic meter, where the stress falls on every third syllable.
English poetry also uses various sound devices, such as alliteration, where the repetition of the same consonant sound creates a pleasing, rhythmic effect, as in the line "From forth the fatal loins of these two foes" from Shakespeare's Romeo and Juliet. Assonance, where the repetition of vowel sounds creates a similar effect, is also frequently used in English poetry.
The beauty of English poetry lies in its ability to use these sound patterns and rhythms to create a unique and powerful emotional impact on the reader. For example, in Robert Frost's poem "The Road Not Taken," the use of iambic meter and repetition of the "o" sound in the words "road," "yellow," and "know" create a sense of introspection and contemplation, as the speaker reflects on the choices he has made in life.
"The Road Not Taken" is one of Robert Frost's most famous and beloved poems. Here it is in full:
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
In this poem, Frost uses the iambic tetrameter meter, with four iambs (unstressed syllables followed by a stressed syllable) in each line. The poem tells the story of a speaker who comes to a fork in the road and must choose which path to take. The speaker initially feels regret that he cannot travel both paths, but ultimately decides to take the less traveled one, which he says "has made all the difference."
The poem's beauty lies in its ambiguity and the way in which it speaks to the experience of making choices and reflecting on the paths not taken. The final lines, in which the speaker looks back on his choice with a sense of both pride and wistfulness, have become iconic in American literature.
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