琵琶行是乐府诗还是歌行体

一、琵琶行是乐府诗还是歌行体

歌行体的特点是格式节奏上没有严格要求，也不讲究平仄，字数五七言为主，可参差不齐，可变韵。亦称古诗、古风。 “行”就是歌行体的一种，这是没有任何问题的。

汉代乐府诗

两汉所谓乐府指音乐机关.它除了将文人歌功颂德的诗制成曲谱并制作, 演奏新的歌舞外, 又收集民间的歌辞入乐.《汉书 艺文志》记: 「自孝武帝立乐府而采歌谣, 于是有赵,代之讴, 秦,楚之风, 皆感于哀乐, 缘事而发, 亦可以观风俗, 知薄厚云」.汉武帝采诗, 除为考察民隐外, 亦在丰富乐府的乐章, 以供娱乐.六朝时, 乐府乃由机关的名称变为一种带有音乐性的诗体的名称.

两者区别:歌行体诗是古代诗歌的一体,汉魏以下的乐府诗常题名为歌或行二者名虽不同,其实并无严格的区别.后遂统称歌行体.<唐音审体>谓:歌行本出自乐

府,然指事咏物...形式较自由.语言通俗流畅,文辞比较铺展.行,有乐曲的意思.

它们当然属于古体诗.因为古体诗从时间上说指1840年鸦片战争前中国的诗歌作品；从格律上看，古诗可分为古体诗和近体诗。

乐府诗：一种合乐的古诗，因传自乐府官署而得名。乐府原为汉武帝刘彻设置得音乐机关，专事制作乐章并采集整理各地民间俗乐和歌辞，分别用于朝廷典礼和宴会时演唱。后来就叫“乐府诗”，为继《诗经》《楚辞》而起的一种新诗体。

歌行体诗是古代诗歌的一体,汉魏以下的乐府诗常题名为歌或行二者名虽不同,其实并无严格的区别.后遂统称歌行体.<唐音审体>谓:歌行本出自乐

府,然指事咏物...形式较自由.语言通俗流畅,文辞比较铺展.行,有乐曲的意思.

1

B

二、写琵琶行送老师可以不

写琵琶行送老师可以。

因为《琵琶行》写的是关于“离别”的古诗词。

《琵琶行》作者是白居易，是唐代著名的现实主义诗人。《琵琶行》是他四十五岁时写的，这是白居易生平最重要的转折点。

三、琵琶行属于哪种诗？1.七言绝句2.律诗3.赋

是a、王昌龄《出塞》。

张若虚的《春江花月夜》和白居易的《琵琶行》都是古体诗，《蜀相》是五言律诗。

长篇乐府诗

1

七言的不是绝句

四、高三考生必听曲目《琵琶行》，英文译本也美得不要不要的！

又快到高考时刻了，高考语文考卷有一项必考内容是背诵古诗词，而白居易作的《琵琶行》，是每个高中学生必背的经典。这篇600多字的长诗背哭了一代又一代的高考考生。而然近日平行工作室将这首长诗改编成朗朗上口的流行歌曲。

这首《琵琶行》歌曲视频将古典元素和现代流行音乐唱腔结合起来，不仅旋律动听、朗朗上口，还让人容易记忆，该视频上传到网络瞬间被点爆，在微博热搜榜上成为了#高三考生必听曲目#

来感受一下这首《琵琶行》流行歌曲

听完歌曲众多高中生对《琵琶行》变成歌曲感到喜大普奔，纷纷留言称：“终于找到了背古诗的正确姿势！”“我已经安利（推荐）给语文老师了。”“感谢！我就是这篇总背不熟，现在有救啦！

如果将这首琵琶行改编成英文流行歌曲，又会是怎样的一番韵味？

无论有没琵琶行的英文流行歌曲，让我们先来感受下许老先生的《琵琶行》英文译本吧，超美的！

Song of a Pipa PlayerBa Juyi

许渊冲 译

One night by riverside I bade a friend goodbye;

In maple leaves and rushes autumn seemed to sigh.

My friend and I dismounted and came into the boat;

Without flute songs we drank our cups with heavy heart;

The moonbeams blended with water when we were to part.

Suddenly o’er the stream we heard a pipa sound;

I forgot to go home and the guest stood spell-bound.

We followed where the music led to find the player,

But heard the pipa stop and no music in the air.

We moved our boat towards the one whence came the strain,

Brought back the lamp, asked for more wine and drank again.

Repeatedly we called for the fair player still.

She came, her face half hidden behind a pipa still.

She turned the pegs and tested twice or thrice each string;

Before a tune was played we heard her feelings sing.

Each string she plucked, each note she struck with pathos strong,

All seemed to say she’d missed her dreams all her life long.

Head bent, she played with unpremeditated art

On and on to pour out her overflowing heart.

She lightly plucked, slowly stroked and twanged loud

The song of “Green Waist” after that of “Rainbow Cloud”.

The thick strings loudly thrummed like the pattering rain;

The fine strings softly tinkled in a murmuring strain.

When mingling loud and sot notes were together played,

You heard orioles warble in a flowery land,

Then a sobbing stream run along a beach of sand.

But the stream seemed so cold as to tighten the string;

From tightened strings no more song could be heard to sing.

Still we heard hidden grief and vague regret concealed;

Then music expressed far less than silence revealed.

Suddenly we heard water burst a silver jar,

And the clash of spears and sabers come from afar.

She made a central sweep when the music was ending;

The four strings made one sound, as if silk one was rending.

Silence reigned left and right of the boat, east and west;

We saw but autumn moon white in the river’s breast.

She slid the plectrum pensively between the strings,

Smoothed out her dress and rose with a composed mien.

“I spent,” she said, “in the capital my early springs,

Where at the foot of Mount of Toads my home had been.

At thirteen I learned on the pipa how to play,

And my name was among the primas of the day.

I won my master’s admiration for my skill;

My beauty was envied by songstresses fair still.

The gallant young men vied to shower gifts on me;

One tune played, countless silk rolls were given with glee.

Beating time, I let silver comb and pin drop down,

And spilt-out wine oft stained my blood-red silken gown.

From year to year I laughed my joyous life away

On moonlit autumn light as windy vernal day.

My younger brother left for war, and died my maid;

Days passed, nights came, and my beauty began to fade.

Fewer and fewer were cabs and steeds at my door;

I married a smug merchant when my prime was o’er.

The merchant cared for money much more than for me;

One month ago he went away to purchase tea,

Leaving his lonely wife alone in empty boat;

Shrouded in moonlight, on the cold river I float.

Deep in the night I dreams of happy bygone years,

And woke to find my rouged face crisscrossed with tears.”

Listening to her story, I signed again and again.

Both of us in misfortune go from shore to shore.

Meeting now, need we have known each other before?

“I was banished from the capital last year

To live degraded and ill in this city here.

The city’s too remote to know melodious song,

So I have never heard music all the year long.

I dwell by riverbank on a low and damp ground

In a house with wild reeds and stunted bamboos around.

What is here to be heard from daybreak till nightfall

But gibbon’s cry and cuckoo’s homeward-going call?

By blooming riverside and under autumn moon

I’ve often taken wine up and drunk it alone.

Thought I have mountain songs and village pipes to hear,

Yet they are crude and strident and grate on the ear.

Listening to you playing on pipa tonight,

With your music divine e’en my hearing seems bright.

Will you sit down and play for us a tune once more?

I’ll write for you an ode to the pipa I adore.”

Touched by what I said, the player stood for long,

Then sat down, tore at strings and played another song.

So sad, so drear, so different, it moved us deep;

Those who heard it hid the face and began to weep.

Of all the company at table who wept most?

It was none other than the exiled blue-robed host.

许老先生的翻译功底真是大家风范，不愧是中英法翻译第一人！