一字大師: 迎來春天換人間 to《迎來春色換人間》

How to tell the power of 音韻感, 一字大師見功底, 中國人寫字講究行氣，“字怕掛”，因為它沒有行氣。“氣猶水也，言浮物也，水大則物之輕重者皆浮；氣盛，則言之長短與聲之高下者皆宜。”

"還有一個例子，過去的樣板戲《智取威虎山》裏有一句詞，楊子榮“打虎上山”唱的，原來是“迎來春天換人間”．後來毛主席給改了，把“春天”改成“春色”。為什麽要改呢?當然“春色”要比“春天”具體，這是一；另外這完全出於詩人對聲音的敏感。你想，如果是“迎來春天換人間”，基本上是平聲字。“迎來”、“春天”、“人間”，就一個“換”字是去聲，如果安上腔是飄的，都是高音區，怎麽唱呢?沒法唱。換個“色”呢，把整個的音扳下來了，平衡了。平仄的關係就是平仄產生矛盾，然後推動語言的聲韻。外國沒有這個東西，但是外國也有類似中國的雙聲疊韻。太多的韻母相似的音也不好聽。高爾基就曾經批評一個人的作品，他說“你這篇作品用‘S’這個音太多了，好像是蛇叫。”這證明外國人也有音韻感。中國既然有這個語言特點，那麽就應該了解、掌握、利用它。所以我建議你們在對學生講創作時，也讓他們讀一點、會一點，而且講一點平仄聲的道理，來訓練他們的語感。語言學上有個詞叫語感，語言感覺，語言好就是這個作家的語感；語言不好，這個作家的語感也不好。" ( 汪曾祺)

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• 汪曾祺：小說的思想和語言 - 路邊野花不採白不採 - ♂ 

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評論數

【男歌女唱 vs 女歌男唱】《迎來春色換人間》現代京劇【智取威虎山】唱段，樹燁子學唱，配小燁子滑雪視頻

樹燁子 現代京劇《智取威虎山》打虎上山 唱段 學唱: 樹燁子（2006年） 滑雪: 小燁子（2006年） 攝像: 藍燁子 封麵: 子榮同誌   » 2023-02-19 15:42:09 ( 5103 reads)

[TJKCB]

? 一字大師: 迎來春天換人間 to《迎來春色換人間》 - TJKCB - 給 TJKCB 發送悄悄話 TJKCB 的博客首頁 (6733 bytes) (58 reads) 02/20/2023 10:24:00

? 可否介紹一下英文詩中的音韻？中文詩基本可以做到音節和語義同步，英語詩中兩者基本上是異步的，這在美感上是否別有一番天地？ - 方外居士 - 給 方外居士 發送悄悄話 (0 bytes) (2 reads) 02/20/2023 10:33:00 (1)

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

? iambic meter: 感覺類似於中文的平仄！也許古代語言之間有共通性，但後來的發展中文讓平仄成了表意工具，而且其它西語則停 - 方外居士 - 給 方外居士 發送悄悄話 (0 bytes) (0 reads) 02/20/2023 14:03:00

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Insightful! Thank you! Chinese poetry can achieve synchronou
來源: TJKCB 於 2023-02-20 12:43:52 [檔案] [博客] [轉至博客] [舊帖] [給我悄悄話] 本文已被閱讀： 7 次 (3782 bytes)
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回答: 可否介紹一下英文詩中的音韻？中文詩基本可以做到音節和語義同步，英語詩中兩者基本上是異步的，這在美感上是否別有一番天地？ 由 方外居士 於 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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