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2017-5-14 07:16 |
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无韵不成诗，这句话要看你怎么理解，如果说诗歌的语言在声音上的和谐性、节奏感，或者说着某种类似于音乐上的美感，这个在文学界内基本上是个共识。
自由体对语言也是有要求的。
但是诗歌语言的和谐性节奏感并不等于“格律”。
中国的律诗（七律或者五律）属于格律体，西方的十四行诗也是格律体，对于押韵，字数／音节数，平仄／音步都有一定的规范。
自由体就没有这些约束，但是读上去仍然是感到有一定的音乐美感为好，当然这个是比较微妙的。自由体也分比较自由的，和很自由的。自由体有时候也压尾韵，有时候也不押韵，但是一般来讲，节奏感还是有的。
比如惠特曼的《O Captain! My Captain!》
第一节如下：
O CAPTAIN! my Captain! our fearful trip is done;
The ship has weather’d every rack, the prize we sought is won;
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring:
But O heart! heart! heart!
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.
句子长长短短，读来有节奏感，也有一定的押韵。
再看还是惠特曼的《Song of Myself》头两节：
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.
可见除了语句长长短短，连押韵也不要了。
这两个例子都是惠特曼的代表作。后者更是惠特曼的“个人史诗”。
再看艾略特的例子，荒原的第一节
April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten, 10
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm' aus Litauen, echt deutsch.
And when we were children, staying at the archduke's,
My cousin's, he took me out on a sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.
有趣的是它前一半押韵，后一般忽然又不押韵了。后半段很口语的，这个我戏仿过发在爱坛上的，艾略特的荒原被很多戏仿过。
再看艾略特的《四个四重奏》之一《烧毁的诺顿》第一节：
Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.
But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.
基本上没有押韵，但是语言还是铿锵错落的，具体的我就不讲了。
这里我要说的是，我绝对不是要否定诗歌的韵律，无论中外古今。只是说明诗歌的丰富多变性。
一个人来到田纳西，其实也是有节奏感的。
当代中国诗坛的知名人物，如果你承认那些是诗的话，其实基本都不押韵，但不代表其中没有语言的和谐性或者节奏感之类。
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