好听的英文歌歌词

好听的英文歌歌词（精选7篇）

好听的英文歌歌词 篇1

Baby are you down down down down down, Downnnnnnn, downnnnnnn, Even if the sky is falling down, Downnnnn, downnnnn Ooohhh(ohhh)

(Verse 1)

You oughta know, tonight is the night to let it go, Put on a show, i wanna see how you lose control，(Bridge)

So leave it behind ‘cause we, have a night to get away, So come on and fly with me, as we make our great escape.(Chorus)

So baby don’t worry, you are my only，You won’t be lonely, even if the sky is falling down, You’ll be my only, no need to worry, Baby are you down down down down down, Doe on and bring your body next to me, I’ll take you away, hey, turn this place into our private getaway，(Bridge)

So leave it behind ‘cause we, have a night to get away, So come on and fly with me, as we make our great escape，(So why don’t we run away)

(Chorus)

So baby don’t worry, you are my only, You won’t be lonely, even if the sky is falling down, You’ll be my only, no need to worry，Baby are you down down down down down, Dowwwnnnnn, Dowwnnnnn, Baby are you down down down down down, Downnnnn, Downnnnnn, Even if the sky is falling down，LiL Wayne

(Verse 3)

Even if the sky is falling down like she supposed to be, She gets down low for me, Down like her temperature, ‘cause to me she too raw degree, She crawl all over things, I got that girl from overseas, Now she my miss America, I can’t help be her souljah pleaser, I’m fighting for this girl, I’m in battlefield love，Don’t it look like baby cupid sent his arrows from above, Don’t you ever leave the side of me，Indefinitely, now probably, and honestly get down like that, be proud of me, Yeahhhhhh

(Chorus)

好听的英文歌歌词 篇2

According to Hallidayan Systematic functional grammar (SFG) , the purpose of using language can be divided into three broad categories.They are called as three metafunctions of language using.This paper will use the interpersonal function as the theoretical framework to analyze the text.Many researchers apply this theory to various texts analysis, but only a few of them focus on song lyrics, which share the qualities of both spoken and written text.As Hey, Jude is a classical song in history and it was sung at the end of the opening ceremony of London Olympics.The target of this paper is the lyrics of this song.The purpose of the paper is to find out how interpersonal functions in this song are achieved through mood, modality and person system.

"Hey Jude"is a song of the English rock band The Beatles, written by one of the member Paul McCartney.He wrote this as"Hey Jules, "a song meant to comfort another member John Lennon's son Julian, as his parents were getting a divorce.Paul McCartney wanted to encourage him to face the reality bravely.But later, he changed the name Jules to Jude because it was more instinct.The first sentence of the song"Hey, Jude, don't make it bad"was a verbal sentence Paul said to the boy when he comforted him.The song was released in 1968, the single has sold approximately eight million copies and is frequently included on professional lists of the all-time best songs.As it's a classical song, Paul McCartney closed the London Olympics opening ceremony leading the crowd in a mass sing-a-long of this song When everyone sung along with Paul, it showed that everyone was involved in the game, which is just one spirit of the Olympic Games.

2 Theoretical Framework

2.1 The concept of interpersonal metafunction

In 1960, Halliday presented us his theory of systemic-functional grammar, the theory covers both semantic and functional aspects.Semantics connects context and lexical grammar, so it is regarded as the core in this theory.Besides, there are three functional components in this semantic system:ideational function, interpersonal function and textual function.Linguists call them as the"three metafunctions"of language.These three metafunctions are closely related to the meanings expressed by the speakers in the texts.As a tool to communicate with other people, language is used to gain certain social roles and relationship with people This kind of function of language is known as interpersonal function, through which speakers express their own feelings and attitude towards something.Moreover, they also can influence the feelings and attitude of others.According to Eggins (Eggins, 200412) , interpersonal meaning are meaning about roule relationships with other people and people’s attitudes to each other.

2.2 Aspects of interpersonal function

At clause level, the interpersonal element is represented by mood and modality, which means the selection of a particular role by the speaker in the speech situation, and the expression of his judgements and predictions (Halliday, 1973:316) .In addition, the interpersonal function can also be realied through person system, both as prounoun and as possessive.In fact, there are several aspects in interpersonal function, this paper will only focus on three aspects—mood, modality and person prououn.This part will present these three aspects.

In line with Thompson, the subject and the finite constitude one component of a clause which is called the mood (Thompson, 2000:41) .Different mood of a clause can be demonstrated by different order of the subject and the finite.In general, most languages possess three or four speech function prototypes, they are statement, question, offer and command (Thompson, 2000:40) .These three or four speech functions are closely related to some particular grammatical structures.For instance, statements are delivered by declarative clauses;questions are delivered by interrogative clauses;commands are delivered by imperative clauses.Declarative clauses, interrogative clauses and imperative clauses are three main ways to realize the interpersonal metafunction in the mood system of the clauses.

Halliday regards modality as the area of meaning that lies between yes and no intermediate ground between positive and negative polarity (Halliday, 2000) .He also distinguishes two subcategories of modality, they are modalization and modulation.According to his explanation, modalization is the expression of the speaker's attitude towards what he or she is saying.It is the way that the speaker conveys a judgment about the likelihood, certainty or frequency of something (Eggins, 2004:172) .

There are mainly two ways of role-projecting:naming and the use of personal pronouns.Personal pronouns usually reveal interpersonal relationship between or among the individuals involved in interaction.Speakers or writers can choose different personal pronouns to indicate their attitudes and relationships to readers in their texts, presenting statements subjectively, interactively, or objectively (Zhang, 2006:112) .

3 Analysis

3.1 Mood system in the song

There are three types of mood in English:declarative, interrogative and imperative.From the analyzing result of the song Hey, jude, it indicates that the imperative mood makes up the major part and in a dominant position in the song lyrics.Declarative and interrogative are follwoing behind.It’s shown in the following table.

From the above table we can see that this song is composed of 26 clauses, among which imperative clauses take up 54%, declarative clauses take up 42%and interrogative clause only take up 4%.

3.1.1 Interpersonal meaning of declarative mood

Most of the clauses in the lyrics are declaratives, whoes unmarked function is to provide information.The proportions indicate that the song writer was trying his best to encourage listeners by describing his attitude rather than ask questions.He just gave information directly to inspire the boy, to help him go out from the shadow of the divorce of his parents.And all these information provided by the songwriter are very inspiring.

However, as one type of literary discourse, lyrics are not just information-giver.They also function as a whole to provide the audience with goods and serices.For example, they can provide the audience with something to appreciate:the language can portary a picture which can fulfill the emotional needs of the audience.Besides asking the audience to appreciate and empathize, they go further to influence the recipients’iedology and social values.For instance, "For well you know that it's a fool who plays it cool, by making his world a little colder".In this part the songwriter tells listeners that the one who wants to behave cool would make his world worse on the contrary.He is using his pen to perfectly explain that you don't need to carry all the terrible things on your shoulder, under such situation, what you need is courage and enthusiasm but not to behave indifferently.In general, the lyrics is a carrier of the audience’s emotion, and mora education.

3.1.2 Interpersonal meaning of imperative mood

As Roger and Kress refered to, imperative sentences are formed by various commands, then a sense of authority will directly come from the power of the speaker (Hodge&Kress1993) .As the function of imperative is not to discuss or consult but to demand people do something.By using a mass of imperatives in the song, the writer trys to influence listeners’behavior Besides, the use of imperatives can arouse the attention of the audience, because they create a sense of dialogue.For instance the clause"remember to let her into your heart", the writer uses the structure"remember to..."three times, he is expecting the boy to take the suggestion.By taking up a role of demand, the narrator assigns a corresponding role for audience.Though the narrator does not talk to the audience face to face, the audience's emotions are aroused.

3.1.3 Interpersonal meaning of interrogative mood

Only one interrogative is found in this song, that is"Don't you know that it's just you...?".This interrogative clause reflects that the writer want to enlighten the listener and inspire them in thinking about the question he asks.In this way, listeners are involved, however, the writer does not expect them to answer the question, but intends to attract their attention and to get them think about the question as the writer has already gave the answer.Listeners don’t need to answer"yes"or"no"to the question he asked as the question already has the answer.It is just used to give the listener much chance to think about whether it is true or not.The answer of this question is obviously"yes, it is myself", but the narrator also used a question form.Because the writer wants to let the boy know he is the best and he can do everthing by himself.

3.2 Modality system in the song

In the song, modalization is realized through modal operators.According to Halliday, modal operators can be used to express the validity of speaker's proposal (Halliday, 2000) .He classified modal operators into three classes:the low, median and high degrees of mood, all of them can be used to realize interpersonal meanings.Altogether, three modal operators are used in this lyric, “can”, “will”and“need”.All these three modal operators are postitive ones, can is of the low degree, will is of the median degree and need is of the high degree.

The writer make use of positive modal operators to show the boy his positive believes and attitude towards life.Besides, the writer uses more low positive modal operators than high positive ones, as the word“can”appeared 2 times but“will”and“need”just appeared for one time, which indicates that the writer wants to make his idea more acceptable in the interact process with the listener.Nevertheless, he still uses the positive high modal operator“need”to express his sronger emotion towards the boy's sorrow.

According to Thompson, the modal operator“can”expresses the speaker’s permission which can be regarded as the lowest level of pressure and let others to choose and decide whether to take the action or to believe the proposal or not (Thompson, 2000) .It helps to make the texts more negotiable and acceptable.According to Hallidy (2000:359) , there is another type of meaning for“can”:the ability.For example, the clause"then you can strart to make it better", the can here means the ability of the boy, the author insists that the boy is capable of making it well.By using the operator“will”, the song writer shows his confirmation and his confidence to make the listener believe what he says in the lyrics.

3.3 Person system in the song

From the table we can see clearly that the writer uses second-person pronouns and third-person pronouns most.The pronoun you is used 14 times, which occupies the highest proportion.It is because that you can be regarded as the most interactive form among personal pronouns, since it explicitly acknowledges the presence of the reader.The songwriter uses the name of the boy to arouse his attention at the beginning of the song, then, many you are used in the lyrics.Obviously, the pronoun you in this song refers to the boy Jude.As Li Zhanzhi (2002:154said, though you does not address the audience, the audience still can share this private conversation between the author and the person addressed.For instance, in the clause"then you can start to make it better", you is directed to the boy, creating the sense that the song writer is just talking to a friend, shortening the distance between them.Then, it would be easier for the boy to take the writer's words and become optimistic.Also, the audience of this song can treat this you as everyone of them.In this case, they stand in the writer's shoes and are in agreement with his opinion, such as the opinion that"the movement you need is on your shoulder".

4 Discussion

The present study investigates how interpersonal functions in this song are achieved through mood, modality and person system.In general, we found that imperative clauses are most frequently used in this song lyrics, followed by declarative and interrogative.The modality system states clearly that positive value modal operators are used more often.In person system, the use of the name Jude and person pronouns shortens the distance between the song writer and the listener.As has been noted, the function of this song is to encourage those who are going through hard times.By analyzing the three aspects of the interpersonal system, the song writer successfully achieved the purpose of writing the song.

As the analysis of song lyric discourse is still at its beginning stage, this paper is a tentative study to reveal the interpersonal meaning realized in one particular song.This paper is of some significance for future research in this field, and for the application of SFG to the analysis of lyrics.However, there are some limitations in this paper.The interpersonal function includes plenty of aspects.The present study is not able to cover all facets of interpersonal meaning.Resources such as tense, evaluation, and attitude are not covered in this study.Therefore, the analysis is only an eye to this topic.

Suggestions for future research would be to expand the analysis to more types of song lyrics or even to all types of song lyrics.Furthermore, even if the focus of a study is only on one kind of songs, theories used to analyze them can also be different.Theories from the textual aspect such as theme, rhyme, transitivity from the ideational perspective and coherence can also be used for further study on the features of English song lyrics.

5 Conclusion

To conclude, different mood types contribute to the realization of interpersonal meaning in this song.Declarative clauses provide some inspiring information for the audience.Imperatives and interrogatives create a sense of dialogue, arousing listeners'attention and evoking their thinking.Positive modal operators are used to encourage the audience to be optimistic.The use of the name of the boy helps to shorten the distance between the writer and the addressee.Also, the second person pronouns give the audience the idea that the narrator is talking to them.By using

Appendix

The text of the song:

Hey Jude

1 Hey Jude, don't make it bad

2 Take a sad song and make it better

3 Remember to let her into your heart

4 Then you can start to make it better

5 Hey Jude, don't be afraid

6 You were made to go out and get her

7 The minute you let her under your skin

8 Then you begin to make it better

9 And anytime you feel the pain, hey Jude, refrain

10 Don't carry the world upon your shoulders

11 For well you know that it's a fool who plays it cool

12 By making his world a little colder

13 Hey Jude, don't let me down

14 You have found her, now go and get her

15 Remember to let her into your heart

16 Then you can start to make it better

17 So let it out and let it in, hey Jude, begin

18 You're waiting for someone to perform with

19 And don't you know that it's just you

20 Hey Jude, you'll do

21 The movement you need is on your shoulder

22 Hey Jude, don't make it bad

23 Take a sad song and make it better

24 Remember to let her under your skin

25 Then you'll begin to make it

26 Better better better better better better, oh

27 Na na na na na, na na na, hey Jude.... (Cited from:http://music.baidu.com/song/274921?fm=altg5)

参考文献

[1] Eggins S.An Introduction to Systemic Functional Linguistic [M].2nd ed.New York:Continuum International Publishing Group, 2004.

[2] Halliday M A K.Explorations in the Functions of Language[M]. London:Edward Arnold, 1973.

[3] Thompson G.Introducing functional grammar[M].Beijing:For eign Language Teaching and Research Press, 2000.

[4] Halliday M A K.An introduction to functional grammar[M].Bei jing:Foreign Teaching and Research Press, 2000.

[5] 张丽.论歌词中的语码转换[J].宜宾学院学报, 2006 (1) .

[6] Hodge R, Kress G.Language as Ideology[M].2nd ed.London: Routledge, 1993.

论英文歌词的翻译原则 篇3

【关键词】英文歌词 英文歌曲 翻译原则

随着世界文化交流的不断发展，英文歌曲翻译将音乐、英语、文化三者紧密结合，其必要性和重要性已不言而喻，在艺术界和翻译界受到了广泛关注。好的英文歌词译作需要遵循一定的翻译原则和方法，只有严格遵循这些原则和方法，译者才能呈现出更高质量的译作。

一、英文歌曲歌词的翻译原则

虽然对于不同的译者来说，一首英文歌曲的歌词可采用不同的翻译原则，在翻译中的可变因素也很多，需要根据具体情况进行适当的调整。但即便如此，英文歌曲歌词的翻译仍然有固定的原则可循，主要分为以下四点：

1.忠实原作、没有译痕。综合严复及刘重德先生的观点，文学翻译应遵循“信、达、切”的原则，歌词作为文学的一部分，理应遵循这些原则，其中，“信”是指“忠实”，译文首先需要忠于原文，故“信”是文学翻译的最基本原则，歌词的翻译也是如此。这就要求译者在翻译之前必须对歌曲创作的形式和内容进行研究，掌握歌曲创作的时代、背景、社会、文化等要素，正确传递歌词含义，最大限度体现出忠实原作的风格、意境和表现方法，力求翻译真实可信，准确到位，不仅要表现原作字面意义的忠实，而且还要表现在忠实于字面意义下所蕴含的深层含义、语境、意象和作者的创作意图、风格及世界观等，要将原作中原汁原味的内容通过转码的方式更多的呈现给听众。例如《Happy Birthday to You》（《祝你生日快乐》）中，整首歌不同的旋律却只有一句话——祝你生日快乐，这首歌歌词最简单，但是最“忠实原文且没有译痕”。

2.通顺自然，优美动听。这一点与“达”相符合，是指译文要通顺自然，在译文表达上要尽量化解英汉语言文化障碍，要求译者在对歌词进行翻译时充分考虑原曲词汇的排列顺序，词藻风格的选取，节奏和音域的运用等特点，必要时可以“以歌译歌”，在词汇、句式和风格方面下功夫，使翻译后的歌词准确自然，无违和感。具体地说，也就是要符合歌曲的节奏，韵律，但需要注意翻译时不能单纯的原曲对应、英汉死译而导致译词和节奏变化不协调，使之听上去生硬晦涩无美感。歌词作为诗歌的一个分支，应具有诗歌一般的优雅和美感，这种美不仅要体现在歌词词藻和意境的优美上，还应该体现在旋律与歌词相配合的和谐之美上，使译文进入雅境，要使译文读者真切地感受到原作的意境美、音律美、自然美、语言美、哲思美。同时，译文一定要在节奏、音韵、旋律等要素方面充分达到原歌词之配于原歌曲。大家熟知的泰坦尼克号主题曲《My Heart Will Go on》（《我心永恒》）便是一个很好的译例，译文歌词优雅，意境优美，歌词和旋律相得益彰，充分表达了原作的独特韵味并拨动听众心弦从而产生共鸣：

That is hour I know you go on 你是依旧深情相许

Far across the distance and spaces between us 穿过那早已逝去的岁月

You have come to show you go on 向我诉说永远的爱 ……

3.切合原文风格。这是“切”的观点，要求我们在翻译过程中，在再创原文风格上，紧密结合原文人物的个性化语言，最佳地切合原文本身的创作风格。作者的创作风格和音乐风格受各种音乐要素——曲调、节奏、音色、力度、和声、织体和曲式等富有个性的结合方式的影响，同时受时代、民族、流派、大环境、大区域甚至作者本身固有的鲜明个性的影响，这些因素都不能忽略，要求译者平时注重提高自身的音乐鉴赏力。译文用语要审时度势，最大限度遵循原创作曲风格，搞错了原文风格，就不叫译作，叫改编。例如，美国乡村音乐特点是曲调简单，节奏平稳，带有叙事性，乡土气息浓厚，所以翻译时既要考虑译品能表现美国白人民族的感情与习尚，又要译出他们独特的名族气质与风情格调并体现浓郁的地域色彩。来自John Denver《Take Me Home Country Road》（《乡村路带我回家》），译品具有较浓的乡土气息，亲切热情，且不失流行元素，家乡的思念之情淋漓尽致：

Almost heaven West Virginia 简直是天堂啊

Blue Ridge Mountain Shenandoah River 兰岭山，谢纳多阿河

Life is old there 那里的生命年代久远

Older than the tree 比树木古老

Younger than the mountains 比群山年轻

Growing like a breeze 象和风一样慢慢生长

4.可唱性强。这是对英文歌曲歌词译者的最高要求，译者需按照四项基本翻译原则进行翻译，处理好译文“达意”和“配乐”之间的关系，努力将译文的形、音、意相结合，在忠实原作的基础上，使译文朗朗上口，优美押韵，可唱性强，达到词与谱的完美结合。如果只做到“词”的翻译，而做不到“歌”的翻译，译文不能“入歌”，就无法配曲歌唱，译文歌词再忠实原作、再优美华丽，如果不能唱，不能为译文歌手再度创作发挥作用，那么它充其量是“歌词大意”罢了。所以，翻译出的歌词不仅应该具有文学性，还应具有音乐性。一般情况下，词与谱的配合应包括两个方面：一是词与音符的配合，尽量做到一个汉字与英语单词的一个音节相对应，如果一个音符下有多个汉字，就很有可能超出节拍限制，过多这样的情况发生，就会破坏译文的语气，不利于歌唱，此情况应结合“可译”或“可不译”的互补理论处理，而且译文要将实词或者需要强调的词对应到英文的重音节上，把虚词或不重要的词放在非重音上；二是词与曲谱所表现的情绪的配合，曲调伤感宜选用闭口或撮口呼词，曲调欢快高亢，则宜选用开口呼的词。经典歌曲《Yesterday Once More》（《昨日重现》）脍炙人口，译文“入歌”，具有较强的“音乐性”，“词”和“谱”完美结合、“达意”与“配乐”处理得当，可唱性强。

二、结语

英文歌曲翻译受到越来越多关注，其意义和重要性也毋庸置疑，在这样的背景下，对于译者翻译的质量和水平的要求也越来越高。译者需要严格遵循英文歌曲翻译的主要原则，力求译文的忠实，自然，紧切，可唱。由此可见，要想译出较好的英汉歌曲作品，译者需要全面掌握翻译和音乐知识，缺一不可，真切希望能有更多的翻译工作者和诸多经验前辈给予歌曲翻译更多关注，为英文歌曲翻译构建较为完整的译学体系并为促进中西世界文化交流添砖加瓦。

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圣诞歌英文歌词 篇4

o what fun it is to ride

in a one-horse open sleigh.

dashing through the snow

on a one-horse open sleigh,

over the fields we go,

laughing all the way;

bells on bob-tail ring,

making spirits bright,

what fun it is to ride and sing

好听的歌词句子 篇5

1、若无其事，原来是最狠的报复。――《想哭》

2、你的头发都烧成了过眼云烟我也抽不完，是否我们再一次拥抱以后答案就会不一样。――《越快乐越堕落》

3、趁冲动，能换到感动，这幻觉不去用苏醒以后难道你会哭出笑容。――《梦死醉生》

4、我愿意做你的老师，示范着执子之手如何解释，不愿为深奥的感情变白痴。――《诗人的情人》方大同

5、如果你知我苦衷，何以没一点感动――《如果你知我苦衷》

6、可能在我左右，你才追求，孤独的自由。――《红豆》

7、天爱上地，不会完全凭运气。这刻春光明媚，差点不忍记起。――《奇迹》

8、原来过得很快乐，原来我并不快乐，只我一人未发觉。――《再见二丁目》

9、思念太猖狂，一个冷不防。一想起你，忙碌的生活变得空荡荡――《你太猖狂》

10、若真的可以，能和你未一起便白头未算迟。――《守时》

11、忘了告诉你我的路途，看不到你苍老。――《晚节不保》

12、如果日夜一起想不起我曾被爱，难道分手会令感动再来。――《黑夜不再来》

13、如是我闻，仰慕比暗恋还苦……难道爱比恨更难宽恕。――《宽恕》

14、爱是没名字的歌，留给这世上没名字的你。――《没名字的歌，无名字的你》

15、黑了倦眼都侧耳倾听，让我做只路过蜻蜓，留下能被怀念过程，虚耗着我这便宜生命。――《路过蜻蜓》

16、我想哭，你可不可以暂时别要睡。――《假如让我说下去》

17、十年之后，我们是朋友，还可以问候；只是那种温柔，再也找不到拥抱的理由。――《十年》

18、不信眼泪，能令失乐的你爱下去。难收的覆水，将感情慢慢荡开去。如果你太累，及时地道别没有罪。牵手来，空手去就去。――《玻璃之情》

19、你说不必生生世世，只要夜来仍能念出你名字。――《不夜情》

20、谁能告诉我，要有多坚强，才敢念念不忘。――《当时的月亮》

21、谁貌似花美艳？是谁努力照亮半边天？但是情无独钟，贪心的你偏爱哪一边？――《情无独钟》

22、谁能告诉我，要有多坚强，才敢念念不忘。――《当时的月亮》王菲

23、我不完美，但你未见得很爱美。我想完美，难怪被你太早放弃。――《你爱我爱不起》

24、从前和以后一夜间拥有，难道这不算相恋到白头，但愿会相信缠绵时分手，能令我减轻了内疚。――《红颜白发》

25、有生之年狭路相逢终不能幸免，手心忽然长出纠缠的曲线，懂事之前情动以后长不过一天，留不住算不出流年。――《流年》

26、我只想跟你未来浸在爱河，而你那呵欠绝得不能绝，绝到溶掉我。――《k歌之王》

27、只想追赶生命里一分一秒，原来多麽可笑，你是真正目标。――《追》

28、那日我狂哭不止，曾经差一点想过死，多少艰辛不可告人，多少光阴都因为等。――《奇迹》

29、感情寻找它的模特儿，衣服挂在橱窗，有太多人适合，没有独一无二。――《香奈儿》

30、有生之年能遇见你，竟花光我所有运气。――《明年今日》

31、别离原为战胜与光阴的竞赛，每把声音定会嘱咐要早出早回来，只是回头便知时代早不存在，临别的激动和悲哀却可印证着爱。――《早去早回》

32、有一种爱，对方白白爱你一场，你也白白爱了一场；完事之后，被爱者却比施爱者更难受。这就叫无辜的爱情。――《无辜的爱情》

33、你是我的红药水，他只是杯黑咖啡。你会问我累不累，他却让我不能睡。――《女朋友的男朋友》

34、如果再见不能红着眼，是否还能红着脸，如果过去还值得眷恋，别太快冰释前嫌。――《匆匆那年》

35、有生之年狭路相逢终不能幸免，手心忽然长出纠缠的曲线。――《流年》

36、寂寞便找我，但是令你笑的不是我，是你不清楚，尽管相爱过，内心真正爱什么。――《寂寞便找我》

37、爱是一朵从天飘下来的雪花还没结果已经枯萎，爱是一滴擦不干烧不完的眼泪还没凝固已经成灰。――《天下有情人》

38、被你一贯的赞许，却不配爱下去。――《钟无艳》

39、无论热恋中失恋中，都永远记住第一戒，别要张开双眼。――《相爱很难》

40、害怕悲剧重演我的命中命中，越美丽的东西我越不可碰。其实我再去爱惜你又有何用，难道这次我抱紧你未必落空？――《暗涌》

41、如能忘掉渴望，岁月长衣裳薄。――《再见二丁目》

42、我就是我，是颜色不一样的烟火。天空海阔，要做最坚强的泡沫。――《我》

43、我们拥有的，多不过付出的一切。――《不爱我的我不爱》

44、谁能改变人生的长度，谁知道永恒有多么恐怖，但现实往往比命运还残酷，只是没有人愿意认输。――《无间道》

45、得到，你的爱情，还要再得到你任性。一切，原是注定，因我跟你都任性。――《明知故犯》

46、却没人像你，让我眼泪背着流，严重似情侣讲分手。――《最佳损友》

47、拿下了你这感情包袱或者反而相信爱。――《邮差》

48、我想知如何用爱换取爱，如何赤足走过茫茫深海，超乎奇迹以外。当赤道留住雪花，眼泪融掉细沙，你肯珍惜我吗？――《当这地球没有花》

49、爱是一段一段一丝一丝的是非，叫有情人再不能够说再会。――《天下有情人》

50、你喜欢不如我喜欢，你的不满成全我的美满。――《你喜欢不如我喜欢》

51、多么妒忌你昨日同过的窗，早些看着你美丽模样，对你天真的赞赏，遗憾我当时年纪不可亲手拥抱你欣赏。――《时光倒流二十年》

52、没有拥抱你只怕这个游戏代价不菲，没有爱上谁也该知道爱一个人好累。――《想入非非》

53、没明白么，在乎什么，败在什么。――《以身试爱》

好听的歌词个性签名 篇6

1、给我一个理由忘记，那么爱我的你。

2、突然好想你，你会在哪里，过得快乐或委屈?

3、世界不管怎样荒凉爱过你就不怕孤单。

4、等不到天黑烟火不会太完美，回忆烧成灰还是等不到结尾。

5、黄沙的海风吹皱在天地倾斜的尽头，千年不过一组慢镜头。

6、火柴划过瞬间，烙下爱的燃点。就算灼伤，缺氧的呼吸也眷恋。

7、让我断了气铁了心爱的过火一回头就找到出路让我成为了无情的k歌之王麦克风都我征服。

8、明知道爱情并不牢靠，但是我还是拼命往里跳。

9、不如让我们抬头望着天，在星空下面许个愿，短暂的分离会让我们去了解这个复杂的世界。

10、如果这就是爱，在转身就该勇敢留下来。

11、爱我别走如果你说你不爱我请你不要真的说出口再给我一点温柔。

12、他一定很爱你，比我会讨好你，不会像我这样孩子气，为难这你。

13、真的痛，总是来得很轻盈，没声音，从背后慢慢缓缓抱着我，就象你。

14、这是一首简单的小情歌唱着人们心肠的曲折。

15、我等你半年为期,逾期就狠狠把你忘记,不止是伤心,还包括一切甜蜜,要等你,要证明自己我可以纵容你在心底,也可以当你只是路人而已。

16、我们都忘了，这条路走了多久。

17、一杯酒淹没喉不再强求你的温柔眼泪在流怎么挽留脚步还能撑多久。

18、如果没有你，没有过去我不会有伤心。

19、来不知道自己如此的软弱，当我发现不敢爱了，那一刻，才懂，那一颗你指过的遥远星球，象一个我永远都到达不了的一个梦。

20、亲爱的小孩快快擦干你的泪珠我愿意陪伴你走上回家的路。

21、我是天上的飞鸟错误的遇到了你就算是折断翅膀也不能在你怀里。

22、爱情的电影,散不散都没了关系,一人安静一人哭泣,散场电影全世界伤心。

23、寂寞的时候，我低下头，跟着路上别人的鞋子走。

24、怎么会忘了情，让我丢了你、傻傻的，还以为能够在一起。

25、想笑，来伪装掉下的眼泪。点点头，承认自己会怕黑。

26、错过的太多，结局太心痛。

27、下一站是不是天堂，就算失望，不能绝望。

28、释怀说了太多就成真不了，也许时间是一种解药，也是我现在正服下的毒药。

29、在角落唱沙哑的歌，再大声也都是给你，请用心听，不要说话。

30、想念如果会有声音，不愿那是悲伤的哭泣。

31、越伤的深越明白爱要放得开，是我不该，怎么我会眷着你眷成依赖，让浓情在转眼间变成了伤害。

32、分手不是伤害或失败，是彩排爱情，怎样到来。

33、离别的秋，终于放开后的手。你走以后，只剩落叶陪我逗留。

34、少了我得手臂当枕头你习不习惯,你的望远镜望不到我北半球的孤单。

35、为了爱情我也背叛了所有。

36、如果你一层一层地剥开我的心，你会鼻酸，你会流泪，只要你能听到我看到我的全心全意。

37、你用你的笑容，试探我的温柔，还是那么温柔，触碰我的伤口。

38、熬过了多久患难.湿了多长眼眶，才能知道伤感是爱的遗产。

39、你残忍杀了我的温柔,我不能让你杀的片甲不留。

40、我知道你还是爱着我，虽然分开的理由我们都已接受。

41、悲伤的唱，副歌第一行，原来伤心不是哭一哭，那么简单。

42、我猜模糊了期待，就有勇气再重来。

43、十年之前，我不认识你，你不属于我。

44、我会挡住别人对你冰冷的语言，要让你抱着玫瑰感动落泪。

45、天空，下起雨了。他撑的伞，在你身边陪着。

46、是否幸福轻的太沉重，过度使用不痒不痛。

47、想要问问你敢不敢,像你说过那样的爱我。

48、他让你红了眼眶你却还笑着原谅原来你早就想好你要留在谁身旁。

49、独揽月下萤火，照亮一纸寂寞。

50、我说了所有的谎，你全都相信。简单的，我爱你，你却老不信。

51、往往，心中最爱的那个人，最后却离自己最远。

52、我愿做你最后一个情人，守护着你每个清晨日出到黄昏。

53、爱你是我最美的伤口，我的成就，我的所有。

54、有的人说不清哪里好，但就是谁都替代不了。

55、一千种恋爱，一些需要清泪灌溉。枯毁的温柔，在最后会长回来？

56、多么痛的领悟,你曾是我的全部,只是我回首来时的每一步,都走得好孤独。

57、爱要坦荡荡，不要装模作样。

58、说出的誓言收不回来给不了你有我的.未来。

59、终于从相爱走到了分开，终于把承诺都变成伤害，那一双手在牵过以后却放开，曾经的海誓山盟只是句对白。

60、一段用过心的感情能让人懂得好多事情。

61、没有一点点防备，也没有一丝顾虑，你就这样出现在我的世界里。

62、你存在我深深的脑海里，我的梦里，我的心里，我的歌声里！

63、我以为终究你会慢慢明白他的心不在你身上我的关心你依然无动于衷我的以为只是我以为。

64、直到和你做了多年朋友，才明白我的眼泪，不是为你而流，也为别人而流。

65、假装幸福太悲哀，到不如流着泪坦白。

66、我不知道，何为意外，如果真心相爱，为何不相信未来。

67、我已经相信有些人我永远不必等，所以我明白在灯火栏珊处为什么会哭。

68、你不会相信嫁给我明天有多幸福。

69、爱如果变成了依赖如果只剩下习惯对两个人都是伤害。

70、我明白太放不开你的爱。

71、我们说好绝不放开相互牵的手，可现实说过有爱还不够。

72、我在人间彷徨，寻不到你的天堂。

73、我的剧情已落幕，我的爱恨已入土。

74、如果不能全给我，就全都别给我。

75、你永远不懂我伤悲像白天不懂夜的黑。

76、为何你对我许下了承诺，这一刻却又狠心离开我。

77、这城市那么空这回忆那么凶我能和谁相拥。

78、我以为我能全力填满你感情缺口专心陪在你左右弥补他一切的错也许我太过天真以为奇迹会发生。

79、想不到你若无其事的说这样滥情何苦。

80、就算大雨让整座城市颠倒，我也给你怀抱。

81、你若化成风，我幻化成雨，守护你身边。

82、得不到的永远在骚动被偏爱的都有恃无恐。

83、还会有什么痛比废墟的绿更鲜明，千年来我一直保持清醒，在寻找永恒的所谓爱情，这难道是宿命。

84、你的伤从不肯完全地愈合，我站在你左侧，却像隔着银河。

85、整座城市陷入漆黑，孤独的人在寻找自己的定位，伪装变成了一种防备，防备被人看穿了心碎。

86、当孤单已经成为一种习惯，习惯到我已经不在去想该怎么办，也许心烦意乱，也许没有人作伴。

87、一整个宇宙，换一颗红豆。

88、我再也不愿听你要求,我受够了你那些自私要求。

89、是不是我的坏脾气永远的任性。会给你太多太多太多的恐惧，我想我也许太依赖让你受伤害，其实你早就想要离开。

中英文歌词衔接手段对比分析 篇7

一、衔接理论

韩礼德和哈桑 (1976) 对衔接作了明确的界定, 用“衔接”这个词专门指那些组成语篇的非结构性关系。它们是语义关系, 语篇是一个语义单位。衔接出现于语篇中对某个成分的意义解释需要依赖于对另一个成分的解释时, 成分一预设了成分二, 两者相辅相承, 就有组成语篇的可能性。他们把衔接分为结构衔接和非结构衔接两种, 把衔接的意义和范围扩大到了实现谋篇意义的结构之间的关系。韩礼德和哈桑将衔接手段分为两大块, 即语法衔接手段和词汇衔接手段。语法衔接手段包括照应、省略、替代和连接, 词汇衔接手段包括词汇重述、同义、上下义和搭配等。不管是词汇衔接还是语法衔接, 在诸多歌词中都是有迹可循的。

二、研究成果

笔者从《奥斯卡经典100首珍藏》、《春节联欢晚会金曲100首》这两本书中随机挑选出50首歌曲组成语料库, 并将定性研究与定量研究相结合进行比较分析。总体而言, 两者的相同点是词汇衔接在中英文歌词的编写中使用最为频繁, 替代则使用最少。这其实是由于重复是歌词创作的常用手段这一原因造成的。针对衔接的具体手段, 英汉歌词也有细节上的异同。首先是指称方面。根据数据分析, 我们发现人称指称在英汉歌词中的使用均位居首位, 指示指称其次, 而比较指称则使用极少。笔者认为, 造成这一结果的原因可以用韩礼德的语言的功能所解释。语言的三大元功能是概念功能、人际功能和语篇功能。而歌词的撰写更多涉及到人际功能, 即为了唤起创作者与听众之间的情感交流, 因此人称指称的频繁使用可以加强这种互动。具体而言, 英语歌词中第三人称代词的使用最为频繁, 而汉语歌词中第一二人称代词则最为常见。笔者认为, 这是因为在中英两种语境下不同的文化所造成的思维方式的不同:大多情况下, 英语把客观角度作为出发点, 而汉语则习惯于从主观角度出发。同时, 由于英语歌曲多涉及到爱, 因此第三人称代词的使用也比较频繁。而汉语歌词的第二人称的使用, 不仅迎合了观众的情感需求, 也促进了创作者与听众之间能够建立一种亲密和谐的关系。此外, 汉语中没有定冠词the, 而英语中经常使用the, 这是它们使用指示指称的最大区别。但是, 这并不意味着中文歌词无法表达特殊概念的涵义。中文通常在所要描述的概念前加上“这”或“那”。这两个词的实际意义可以等同于英语中的the。例如, “你就像那冬天里的一把火, 熊熊火焰温暖了我的心窝。”这里的“那”就等同于the。另外, 英语中“this”和“that”与中文中对等的“这”与“那”的使用也存在一些不同。在英语中“this”的使用频率要比“that”高, 而在中文中“那”的使用频率则比“这”高。从时间和空间的角度来看, “这”一般指向较近的事物, 而“那”则指向较远的事物。笔者认为, 造成这一不同的原因是在中文歌词中“那”的使用并没有明确的时间和地点指向, 其充当的作用实际上等同于英语中的“the”。第二关于替换。从语法和修辞的角度, 替换的作用是为了避免重复。然而, 重复却是歌词写作中的一种重要手段, 它可以押韵, 突出重点以及增强情感。因此, 替换也不可避免地成为英汉歌词衔接中最常用的手段之一。同样地, 替换在中文歌词中使用的频率也低于英文歌词, 这是由于中文常常原封不动地重述词语和句子来完成文本的衔接。第三关于省略。省略实质上是一种特殊的替换, 它不仅能充当衔接的手段, 还能够使句子更加精简明了。通过数据分析, 笔者发现省略在英文歌词文本中的使用频率要低于在汉语歌词中使用的频率。造成这一结果的原因, 可以归结为两个因素:一方面, 英语是形合语言, 注重形式;而汉语是意合语言, 注重意义的表达;另一方面, 由于歌词篇幅短小且是时间艺术, 因此歌词要用较少的语言表达较多的内容。第四关于连接词。连接词的使用在英汉歌词中均有相同点, 即会选取简洁明了的。英文歌词通常选取的连接词有“and”, “or”, “but”, “because”, “so”, “for”;而中文的通常选择“只要”, “尽管”, “再过”, “那时候”, “从前”。原因其实比较简单, 歌词最终服务于歌曲, 而为大众所接受的歌曲, 其歌词必然是口语化和通俗易懂的。它们的不同点在于中文歌词文本中使用的连接词数量少于英语歌词文本中的, 由于英语注重形合, 汉语重意合, 因此英语更倾向于使用显性连接词, 汉语则倾向于使用隐性连接词。以英文歌曲Sutter’s Mill:“....Well, he took it to the city, where the word, like wildfire, spread.And old John Sutter soon came to wish (he’d) left that stone in the river bed.....”和中文歌曲“老王”:“老王老王进寨那天没出太阳, 乡亲都很高兴拍起巴掌, 他在城里满好还来这地方, 更莫说人家还是个什么长。握握手哎老王眼一热, 掀开锅哎老王泪汪汪。……”为例, 英文歌曲采用了“and”这个显性连接词来展示更多的信息, 而在“老王”中, 我们并未发现显性连接词, 但是这并不妨碍文本的连续性, 因为受众可以在歌曲的情节和主题中得到更为生动的形象。最后是关于词汇衔接。词汇衔接的两大常用手段重述和搭配, 在歌词中都得到了最频繁的应用。重复与排比的交替使用使得重述成为英汉歌词衔接的最基本和最常用的手段。

笔者以韩礼德和哈桑提出的衔接理论为基础, 重点研究了中英文歌曲中歌词的衔接手段的异同点及原因。通过对比分析, 笔者发现衔接手段的使用最终是为了服务于句子衔接和语篇衔接, 使它们能够过渡得十分自然, 从而更有利于思想情感的表达。

参考文献

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