一字大师: 迎来春天换人间 to《迎来春色换人间》

How to tell the power of 音韵感, 一字大师见功底, 中国人写字讲究行气，“字怕挂”，因为它没有行气。“气犹水也，言浮物也，水大则物之轻重者皆浮；气盛，则言之长短与声之高下者皆宜。”

"还有一个例子，过去的样板戏《智取威虎山》里有一句词，杨子荣“打虎上山”唱的，原来是“迎来春天换人间”．后来毛主席给改了，把“春天”改成“春色”。为什么要改呢?当然“春色”要比“春天”具体，这是一；另外这完全出于诗人对声音的敏感。你想，如果是“迎来春天换人间”，基本上是平声字。“迎来”、“春天”、“人间”，就一个“换”字是去声，如果安上腔是飘的，都是高音区，怎么唱呢?没法唱。换个“色”呢，把整个的音扳下来了，平衡了。平仄的关系就是平仄产生矛盾，然后推动语言的声韵。外国没有这个东西，但是外国也有类似中国的双声叠韵。太多的韵母相似的音也不好听。高尔基就曾经批评一个人的作品，他说“你这篇作品用‘S’这个音太多了，好像是蛇叫。”这证明外国人也有音韵感。中国既然有这个语言特点，那么就应该了解、掌握、利用它。所以我建议你们在对学生讲创作时，也让他们读一点、会一点，而且讲一点平仄声的道理，来训练他们的语感。语言学上有个词叫语感，语言感觉，语言好就是这个作家的语感；语言不好，这个作家的语感也不好。" ( 汪曾祺)

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• 汪曾祺：小说的思想和语言 - 路边野花不採白不採 - ♂ 

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【男歌女唱 vs 女歌男唱】《迎来春色换人间》现代京剧【智取威虎山】唱段，树烨子学唱，配小烨子滑雪视频

树烨子 现代京剧《智取威虎山》打虎上山 唱段 学唱: 树烨子（2006年） 滑雪: 小烨子（2006年） 摄像: 蓝烨子 封面: 子荣同志   » 2023-02-19 15:42:09 ( 5103 reads)

[TJKCB]

? 一字大师: 迎来春天换人间 to《迎来春色换人间》 - TJKCB - 给 TJKCB 发送悄悄话 TJKCB 的博客首页 (6733 bytes) (58 reads) 02/20/2023 10:24:00

? 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？ - 方外居士 - 给 方外居士 发送悄悄话 (0 bytes) (2 reads) 02/20/2023 10:33:00 (1)

? Insightful! Thank you! Chinese poetry can achieve synchronou - TJKCB - 给 TJKCB 发送悄悄话 TJKCB 的博客首页 (3782 bytes) (6 reads) 02/20/2023 12:43:52 (1)

? iambic meter: 感觉类似于中文的平仄！也许古代语言之间有共通性，但后来的发展中文让平仄成了表意工具，而且其它西语则停 - 方外居士 - 给 方外居士 发送悄悄话 (0 bytes) (0 reads) 02/20/2023 14:03:00

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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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