英文歌中英文歌词

2024-07-11

英文歌中英文歌词（精选8篇）

篇1：英文歌中英文歌词

Ma Ma do you remember, 妈妈你可曾记得

the old straw hat you gave to me, 你送给我那草帽I lost that hat long ago, 很久以前失落了

flew to the foggy canyon.它飘向浓雾的山岙

Yeh Ma ma I wonder 耶哎妈妈那顶草帽

what happened to that old straw hat, 它在何方你可知道falling down the mountain side 掉落在那山坳

out of my reach like your heart.就像你的心儿我再也得不到Suddenly that wind came up, 忽然间狂风呼啸

stealing my hat from me yeh.夺去我的草帽耶哎Swirling whirling gust of wind, 高高卷走了草帽啊blowing it higher away.飘向那天外云霄

Ma ma that old straw hat 妈妈只有那草帽

was the only one I really loved, 是我珍爱的无价之宝but we lost it.但我们已经失去

No one could bring it back, 没有人再能找到

like the life you gave me.就像是你给我的生命

篇2：英文歌中英文歌词

英文歌歌词 1.Body body bop bop!Body bop bop!

Body body bop bop!Body bop bop!Wash your head.Wash your shoulders.Body body bop bop bop!Wash your tummy.Wash your bottom.Body body body body bop!Body body bop bop!Body bop bop!Touch your eyes.Touch your nose.Body body bop bop bop!Touch your mouth.Touch your ears.Body body body body bop!Body body bop bop!Body bop bop!

Body body bop bop!Body bop bop!

2.Five Senses Song 歌词：

I have two eyes so I can see and a nose to smell.I have ten fingers that can touch, they do it very well.I have two ears so I can hear the birds up in the trees.I have a tongue inside my mouth to taste the food I eat.3.Happy birthday, shark!Happy birthday, shark!Happy birthday to you, baby shark.It’s for you.It’s for you.Have fun today.“Thank you!I’m so happy!” Doo doo doo doo doo.Doo doo doo doo doo.Doo doo doo doo doo doo doo.“Stop!Wait!”

Doo doo doo doo doo.Doo doo doo doo doo.Doo doo doo doo doo doo doo doo.Happy birthday, shark!Happy birthday, shark!This is for you, baby shark.“Ouch!” Happy birthday, baby shark!3 一起唱吧：Morning, morning.Good morning!Morning, morning.Happy morning!Morning, morning.Shiny morning!Good morning!Good morning!

本周Goodmorning Song歌词：

Morning, morning.Good morning!Morning, morning.Happy morning!Morning, morning.Shiny morning!Good morning!Good morning!

When the sunny sun comes up.Morning, morning.It’s morning!With a pretty smiley face.Morning, morning.It’s morning!

The birds chirp, chirp.“Hello, wake up!” The bees buzz, buzz.“Hello, get up!” Everybody everyone says, “Hello!” Morning, morning.It’s morning!

篇3：英文歌中英文歌词

1 主述位结构及主位推进模式

Halliday (2000) 在他的“An Introduction to Functional Grammar”一书中介绍了系统功能语法的三个主要元功能, 即人际功能, 交际功能以及语篇功能。在语篇功能中详细说明了什么是主位与述位, 并探讨了主位与述位与语篇连贯之间的关系。Halliday (2000) 认为, 主位是小句中的成分开始部分, 是说话者或作者提供信息的起点, 是讲话者要讨论的话题。根据Halliday (2000:38) 主位又可以分为简单主位 (Simple Theme) 、多重主位 (Multiple Theme) 以及句项主位 (Clausal Theme) 。

黄国文 (2001) 认为, “对于单个的句子, 其主位和述位是孤立的、没有发展的, 但在具体的语篇里, 前后句子的主位和述位之间的关系就会发生某种联系和变化, 这种联系和变化就叫做主位推进。”Danes (1970) 总结出了四种主位推进模式。黄国文也基本赞成这种分法。黄衍 (1985, 1987) 认为有7种主位推进模式, 在这里由于本篇材料只涉及三种主位推进模式, 所以就重点介绍这三种, 分别如下:1、平行性的主位推进模式:即主位相同, 述位不同。例如:Li Mei went to the supermarket.Li Mei bought some potatoes.Li Mei bought some tomatoes.Li Mei met an old friend.2、延续型主位推进模式:即每个述位都成为下句话的主位。例如:遥远的夜空, 有一个弯弯的月亮。弯弯的月亮下面, 是那童年的阿娇。阿娇摇着船, 唱着那童年的歌谣。3、并列型:即奇数序号的小句中主位相同, 偶数序号中的小句主位相同。例如:你有你的规则, 我有我的选择。你嘲笑我一无所有, 我可怜你不配去爱。

2 语篇分析

本篇论文选了两首关于爱情的英文歌, 一首是Taylor Swift的“You Belong with Me”, 一首是Colbie Caillat的“Falling For You”。选择同一主题的英文歌词分析, 探讨这两篇语篇在主位推进模式上有何异同, 下面将对两首歌进行逐一分析。

Taylor Swift的这首歌涉及三个人之间的感情, 语篇中的“我”和“他”是好朋友, 但“我”仍然爱上了有女朋友的“他”。限于篇幅, 作者只选取这首歌的第一部分进行主位以及主位推进模式的分析。这首歌按句意划分, 总共有15句, 其相应的主述位结构如表1所示。

首先来看上面的图表, 第一句主位为“you”, 引出贯穿全篇主题的人物, 表现“you”正在与女朋友通电话, 从第一句的述位“she”自然的引出三角关系中的另一个人物, 第二到第四句主位均为“she”, 描写“She”有烦恼在向“you”倾诉。第五句、第七句主位均为“I”, 描述“I”自己一个人做事情, 并且侧面表达了“I”比“she”更懂得理解“you”。第八句主位仍为“she”。第九句到第十二句采取对比的表达方式, 表现“我”与“她”的不同。这篇歌词的主题是“love”, 但是通篇没有“love”这个词。此外, 词作者以一种叙事的口吻淡淡的描写人物的状态, 间接表达人物的感谢, 最后通过“I”和“she”之间的对比, 即各种不同来突出主题:“You should love me, because I am the best for you compared with her.”各句间的主位推进模式主要如图1。

从图1所示的图式可以看出, 第一句的述位是第二句的主位, 采用了延续型的主位推进模式。第二句到第四句的主位相同但述位不同, 采用的是平行型的主位推进模式, 第八句和第九句也是主位相同都是“she”, 但是述位不同, 采用的也是平行型的主位推进模式。第九句到第十二句采用的是并列型的主位推进模式, 即奇数序号的主位相同, 偶数序号的主位相同。第十四句与第十五句的主位相同, 采取的是平行型的主位推进模式。

综上可以看到, 在这首歌曲里, 涉及的主位推进模式有延续型、平行型以及并列型, 从语篇整体来看, 平行型的主位推进模式用的最多, 总共用了四次。就主位类型来说, 基本上都是简单主位, 并且都以人称代词为主, 仅第十四句用了句项主位。此外, 有一句的主位是省略的, 这是属于歌词语篇特有的特点, 即歌词语篇中常会出现人称代词的省略来表达上下语篇之间的连贯。

“Falling for you”这也是一首描述爱情的歌曲, 与上一首不同的是, 这首歌只涉及到两个人, 并且侧重的是歌唱者的单恋, 因此, 语篇大部分都是以“我”的视角来讲述。这首歌词的主述位结构如表2所示。

这篇歌词的主位基本上都是“I”, 采用的是平行性的主位推进模式, 即主位相同, 述位不同。词作者描述“我”对“一个男孩”爱慕, 倾心, 但又不敢表白, 只能把感情隐藏起来, 只能是傻傻的“想念”, 紧张中又觉的“我自己”可能爱上了这个“男孩”, 限于篇幅, 这里不一一列举其主位推进模式图表。这篇歌词的主题也是“love”, 但是“love”也不是作为语篇的主位, 而是通过“我”这个人物, 描写“我”的内心感受, 直接抒发“我”的情感。因为是暗恋, 所以整篇都是以作为暗恋主体的“我”来作为主位来推进语篇的发展。纵观全篇, 这种平行性的主位推进模式很好的表达了词作者对“I”自我感情的抒发, 比较直白。此外, 全篇的主位大部分用的是简单主位, 也有5处用了复项主位, 大部分也都是人称代词。

3 结果与讨论

综合上面的分析可以看出, 这两首歌都是以爱情为主题的抒情曲, 不过所表达的主题稍有一点差别, 同样都是暗恋, 一个涉及“三角关系”, 一个只是单纯的暗恋, 无关第三者。主题都是“love”, 但两篇都没有出现“love”这个词, 两篇抒情曲都是以“love”涉及的对象人来展开的。词作者把爱情这种抽象的感情通过人物状态的描写以及内心感情的抒发表达的更加具体, 更加生动。“You belong with me”中采用了平行性的主位方式来描写“她”与“我”各自的状态, 用并列型的主位推进模式来增强鲜明的对比, 来表达“我不如她穿的漂亮, 不如她爱撒娇, 但却最懂你。”从而突出“我”和“她”的不同, 点明本首歌的主旨:“我才是最适合你的。”而在“Falling for you”中, 词作者只采取了平行性这一种主位推进模式, 通篇都以“我”为主位, 通过“我”的忐忑、紧张与不安, 以及对“你”各种情绪的直接抒发来展开组织整个语篇。同样都有采用平行型的主位推进模式, 但在“You belong with me”中只是简单的描述, 间接的表达了人物的感情, 其实也是为了下文的对比做铺垫, 而在“Falling for you”中则是感情的直接表达。

在抒情方面, 尤其是在表达爱情主题这一方面, 两篇语篇都较多的使用了平行性主位推进模式, 都是以参与的人物为主位展开, 这也从侧面说明平行性主位推进模式有利于词作者感情的抒发, 在爱情抒情曲中也比较常见。另外, “You belong with me”中采用了多种主位推进模式而“Falling for you”中只用了一种, 就这两篇来说, 尽管是同一主题, 但英文歌词主题方面稍微的偏差也会影响词作者对整个语篇的组织与发展, 其语篇的主位推进模式也不尽相同。两篇语篇的主位基本上都属于简单主位, 并且以人称代词为主, 这也体现了歌词语篇的特点。用人称代词作主位一方面是更加直白的表达了人物的状态以及内心情感, 另一方面更能拉近与听众的距离, 使听众容易将自己置身其中, 相似的经历更容易引起听众的共鸣, 这在歌词语篇中比较常见。总的来说, 英文爱情歌曲中感情表达方式比较直接, 符合西方人直线型思维的特点。

4 结束语

用主位推进模式分析英文爱情歌词语篇并不多见, 可以看出, 尽管主题相同, 但两篇在主位推进模式上却存在着一些差异。平行性的主位推进模式更有利于词作者感情的抒发, 因此, 英文爱情歌曲中平行型主位推进模式比较常见, 人称代词的主位更利于拉近与听众之间的距离, 所以大部分英文爱情歌词的主位都是以人称代词为主。尽管语料有限, 一些发现有待于进一步搜集大量语料来证明, 但是本篇论文也给大家一些启发与思索, 比如, 其他主题的英文歌词的主位推进模式是怎样的呢?叙事曲或者是颂歌它们的主位选择以及主位推进模式又与爱情主题的歌词在主位推进模式方面有什么异同点呢?这些方面都值得大家去关注和探讨。

参考文献

[1]Halliday M A K.An Introduction to Functional Grammar[M].Beijing:Foreign Language Teaching and Research Press, 2000.

[2]黄国文.语篇分析的理论与实践[M].上海:上海外语教育出版社, 2001.

[3]Danes F.One Instance of Prague School Methodology:Func tional Analysis of Utterance and Text[A]//In PL.Garvin.Method and Theory in Linguistics[C].Hague:Mouton, 1970.

[4]黄衍.试论英语主位和述位[J].外国语, 1985 (5) .

[5]陈琳, 夏慧言.中英歌词的主述位结构对比分析—以两首爱情歌曲为例[J].海外英语, 2012 (14) .

[6]You Belong With Me[EB/OL].http://wenku.baidu.com/view/b06187fafab069dc5022010a.html.

篇4：论英文歌词的翻译原则

【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。

参考文献：

[1]王艳萍，张修海.漫谈英文歌曲翻译标准[J].时代文学.上半月，2012（08）.

[2]薛范.歌曲翻译的必要性[J].人民音乐，2002（12）.

[3]庄三生.论英文歌曲翻译的原则[J].人民音乐，2013（07）.

[4]张志强.英文歌词的翻译[J].河南师范大学学报（哲学社会科学版），1997（02）.

篇5：PCR之歌中英文歌词

Nucleotides（核苷酸）and polymerases（聚合酶）, too.Denaturing（变性）, annealing（退火）, and extending（延伸）.Well it’s amazing what heating and cooling and heating will do.PCR, when you need to detect mutations（基因突变）.PCR, when you need to recombine（基因重组）.PCR, when you need to find out who the daddy is.PCR, when you need to solve a crime.中文歌词：

从前你要扩增DNA，总有培养大批细胞的重任要你背。

这时有个家伙叫Kary Mullis博士的，他钻出来说体外合成也一样OK！只要把你的模板混上缓冲液，再加些引物，还有核苷和聚合酶。变性，退火，和延伸。

加热~冷却~加热~太神奇了！当你想要检测突变，来啊做PCR吧！

当你想要基因重组，来啊做PCR吧！

篇6：三首英文歌歌词(修改版本)

1、Hello 歌

hello hello hello hello hello hello how are you? hello hello hello hello hello hello how are you? thank you thank you I’m fine

and I hope that you are too.（这句难度大，改成lalalalala…）

thank you thank you I’m fine

and I hope that you are too.（改成lalalalalala…）

2、one little finger

one little finger, one little finger, one little finger qia qia qia!put your finger up, put your finger down, put it on your head, head!

one little finger, one little finger qia qia qia!put your finger up,put your finger down, put it on your nose, nose!

one little finger, one little finger qia qia qia!put your finger up,put your finger down, put it on your chin, chin!

finger, one little finger, one little one little finger, one little finger, one little finger qia qia qia!put your finger up, put your finger down,put it on your arm, arm!

one little finger, one little finger, one little finger qia qia qia!put your finger up, put your finger down, put it on your leg, leg!

one little finger, one little finger, one little finger qia qia qia!put your finger up, put your finger down, put it on your foot, foot!

put it on your leg, leg!put it on your arm, arm!put it on your chin, chin!put it on your nose, nose!put it on your head, head!

now let’s say goodbye, goodbye!

3、finger family

daddy finger daddy finger where are you? here I am here I am, how do you do ?

mommy finger mommy finger where are you? here I am here I am, how do you do?

brother finger brother finger where are you? here I am here I am, how do you do?

sister finger sister finger where are you? here I am here I am, how do you do?

篇7：英文歌中英文歌词

歌词:Edelweiss,edelweiss

Everymorningyougreetme

Smallandwhite

Cleanandbright

Youlookhappytomeetme

Blossomofsnow

Mayyoubloomandgrow

Bloomandgrowforever

Edelweiss,edelweiss

Blessmyhomelandforever

Smallandwhite

Cleanandbright

Youlookhappytomeetme

Blossomofsnow

Mayyoubloomandgrow

Bloomandgrowforever

Edelweiss,edelweiss

Blessmyhomelandforever

雪绒花，雪绒花

每天清晨向我致意

小巧而洁白

干净又明亮遇见我你很快乐雪白的花朵愿你开放成长永远开放成长雪绒花，雪绒花

愿你永远保佑我的祖国小巧而洁白干净又明亮遇见我你很快乐雪白的花朵愿你开放成长永远开放成长雪绒花，雪绒花

篇8：英文歌中英文歌词

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