Metric poems, including metrical poems and quatrains, were called modern poems or modern poems by the ancients, and we are now.
Also known as this method, although it is actually very old, it began in Qi Liang in the Northern and Southern Dynasties and was completed in the early Tang Dynasty.
Shu. Poems before the Tang Dynasty, except the so-called "Qi Liang Style", are all called ancient styles. Poetry after the Tang Dynasty is not close in style.
Also known as ancient style.
There are differences between ancient style and modern style in syntax, rhyme and level tone;
Syntax: the number of words in each sentence of ancient Chinese is uncertain, including four words, five words, six words, seven words and even miscellaneous words (the sentences are uneven)
Qi), the number of sentences in each song is also uncertain, ranging from two to dozens or hundreds. There are only five words in the near body.
There are two kinds of seven words: eight words in metrical poems, four words in quatrains and more than eight words in rhyme.
Rhyme: each song in ancient style can use one rhyme, or two or more rhymes, and it is allowed to change rhymes; near
Each song can only use one rhyme, and even the arrangement of dozens of sentences cannot be changed. Antique can be used in even sentences.
Rhyme, even and odd sentences can rhyme. The near aspect rhymes only in even sentences, except the first sentence.
Bet (rhymes with a flat tone and does not rhyme with a Legato. Five words don't gamble more, seven words gamble more, and the rest.
None of the odd sentences rhyme; Antique can rhyme smoothly; Generally, only flat rhyme is used in the near body.
Pingyi: The biggest difference between ancient style and modern style is that ancient style does not talk about Pingyi, while modern style pays attention to Pingyi. After the Tang Dynasty,
Antique also pays attention to levelness, but it is irregular and can be ignored.
Classical poetry is basically metrical, so the following is only about modern poetry.
rhyme
The rhyme book used in the Tang Dynasty is Qieyun written by Sui Lu Fa Yan, which is the originator of all rhyme books in later generations.
The Song people added Qieyun to compose Guang Yun with more than 200 rhymes. In fact, poets in the Tang and Song Dynasties never ran out of rhyme.
According to these two rhymes, Ping Yun Shui, edited by Wang Jinwenyu, can better reflect the rhymes of poets in Tang and Song Dynasties.
In the future, poets will use rhymes based on flat clouds and water.
Ping has a rhyme of 106, in which Pingsheng has 30 rhymes, divided into upper and lower halves, which is called Shang.
Pingsheng is just the convenience of arranging music, and there is no difference in timbre between them.
Flat rhymes, we only look at the rhymes of these flat rhymes (the first word of each rhyme):
Shang Pingsheng: one east, two winters, three rivers, four branches, five micro, six fish, seven dangers, eight qi, nine goodness and ten ashes,
Eleven truths, twelve essays, thirteen yuan, fourteen cold, fifteen deletions.
Keep your voice down: one, two, Xiao, three dishes, four treasures, five songs, six hemp, seven yang, eight Geng, nine green, ten steamed,
Over eleven, over twelve, over thirteen, over fourteen and over fifteen.
From these rhymes alone, we can see that ancient sounds are very different from modern sounds. Some were different in ancient times.
Rhyme, now I can't see the difference, such as east and winter, river and yang, fish and danger, Zhen Hewen, Xiao, and food.
Hao, first, salt and salty, more and clear, cold and delete, and so on.
Four tones in classical Chinese pronunciation
There are four tones in Chinese, which were discovered by scholars in Qi and Liang Dynasties. Liang Wudi once asked Zhu Yi, "What about you?"
Help the literati talk four times all day. What does that mean? Zhu took the opportunity to kiss up: "It's Tianzi Pill."
The meaning of "Fu". "Balance, the child is the upper sound, all is the stop sound, and the blessing is the sound. When it is flat, it constitutes the middle. "
In ancient Chinese, the four tones of Shangsheng, Rusheng and Hesheng were called monosyllabic.
Among these four tones, entering tone is the most problematic. Liang Wudi then asked: "Why can't the' Tian Zi Hand Test' work?"
Is it four tones? "Heaven, Confucius, longevity, flat, up and down, but failed to enter the exam, indicating that ordinary people at that time could not do it.
Know what entering tone is.
So what is raw milk? Just a short pronunciation and a blocked throat. One is to stop the sound t,
P, k ends, and the other ends in a guttural voice? The ending. In Minnan and Cantonese, this is still intact.
The four entering tones of Wu dialect have all degenerated into less obvious entering tones. It's over. It ends with t, p, k, p and K.
Sound, not really pronounce t, p, k p, k, when you make a stop sound, you should block your throat before you pronounce it.
Air explosion will produce noise. In the incoming sound, there is only blocking without blowing, which is called incomplete blowing.
American English didn't really pronounce the word p, but closed its mouth.
Well, this is an incomplete blasting, or it can be said that the sound enters.
In Putonghua, Rusheng has disappeared. The entering tone words with different pronunciations and rhymes are
For example, the words "b", "billion" and "one" belong to the four tones of Ping Shui Yun.
Thirteen posts and fourteen arrests have different rhymes, and it doesn't matter if you read them in Mandarin (you can tell them clearly when you read them in Minnan).
Chu, pronounced ik, it, ip).
The disappearance of Rusheng also leads to the difference between ancient and modern tones, and some ancient Rusheng words have become modern ones.
Disyllabic words are still silent, which we can ignore; However, some entering tone words in Putonghua have become.
The word "Pingsheng" (Yin Ping or Yang Ping) deserves our attention. The word "Fu" in front of "Fu Tianzi"
This is the case. Common flat words are:
A picture: a picture.
Two paintings: seventy or eighty
Three paintings: Wu Xi.
Four pictures: What is the servant saying?
Figure 5: The white juice turn that jumps out of Tashi Stone Festival.
Figure 6: Bamboo blessing keeps cutting, cutting, cutting, killing and grabbing the tongue, and decides to eat sunseeker together.
Seven paintings: barefoot pawn, horn barge, breaking the burning butterfly, that is, sucking the robbery box.
Eight Paintings: Uncle Zhu Guoxue directly accused the Buddha of bending, pulling, scraping, pulling and chivalrous, and threatened to quit the butterfly and choose to shoot, analyze and brush.
Nine Paintings: Feeling (Awakening) Urgent Punishment
Ten paintings: crying over candles, catching enemies and peeling philosophers, and pinching thieves and ducks.
Painting 1 1: Who is the blasphemer of the clan? She pecked off Guo Ge's flute attack and accepted the job as a spy.
Twelve paintings: Chrysanthemum calf redeems porridge, uncovers the blog, cuts the kudzu raft, slides down, chisels the blog, chisels the ridge, cultivates it, makes it wet and black, and puts it on the cheeks.
Painting 13: Dave Du Fu hails from Xiebo Cave in Yi Xi, and the ciliary diaphragm collapses.
Painting 14: Finish painting, cut the mold and pick up the lizard.
Figure 15: An adult bat has a blind forehead, bare knees and butterflies.
Sixteen pictures: orange snow is thin and exciting.
Seventeen paintings: crickets and crickets
Painting 19: you
Twenty Paintings: Ji Gu's Chewing.
People who speak dialects with reserved sounds naturally have no difficulty in recognizing these entering words, as long as they use dialects.
Just say it. People who speak northern dialects can help identify them through sound side induction, such as "crouching bats".
But most of them can only be memorized. Modern people can write old-style poems according to modernity.
Write in four tones. But writing old-style poems is originally because it is so old, and it is understandable that some people are willing to write according to the ancient four tones.
No, then we should pay special attention to this kind of flat words. How do you meet such words when reading ancient poems in Mandarin?
So what? In my opinion, in order to keep the tone harmonious, we might as well pronounce it as a falling tone. Turn down, and then read short.
Some, it sounds a bit like entering tone. In fact, some people are used to reading this tone as falling tone.
For example, "I, amplitude and radiation" is pronounced as unvoiced sound by many people.
In ancient times, a large part of words with rising tones were pronounced as falling tones in Mandarin. Both rising and falling tones belong to falling tones.
We can ignore these words, but we must pay attention to another tone sandhi: some ancient flat tones.
Word, now pronounce it as a phonetic word. Such as "Tsefu":
It's a cold autumn night, on the Laka tree in this courtyard,
Stay alone in Jiangcheng.
I heard the lonely sound of the horn in the dark,
The moon is in the sky, but no one shares it with me.
My messenger was dispersed by the vortex of rain and sand,
Depressed by the blockade, it is difficult to go.
However, I endured a miserable life for ten years.
Find a perch and a twig here, and you will be safe tonight.
The rhyme "Look" in the fourth sentence is the word "Pingsheng". We'd better read "Yin Ping" when reading (modern).
The doorman's "watch" is still read flat).
Regular sentence
Although there are four tones in Chinese, in modern poetry, there is no need to distinguish four tones like words and songs, as long as they are roughly divided.
Evenness is enough. In order to make the tone feel cadence, it is necessary to use peaceful tones alternately, not only
Tone. Chinese basically takes two syllables as a rhythm unit, and the stress falls on the next syllable. It needs two people.
The basic sentence pattern of modern poetry, that is, the so-called regular sentence, is based on a syllable and is interwoven with flat and flat words.
For example, its basic sentence pattern is:
be plain and simple
or
Very flat, very flat.
These two sentence patterns have the same level at the beginning and end, that is, the so-called upper level, lower level, upper level and lower level. If we want to make
Change the point, change the level, and move the last word to the front to become:
Flat and light.
It is flat.
Except for the special cases mentioned later, no matter how these four basic sentence patterns change, they can't be found in five-character modern poems.
Seven-character poem just adds a rhythm unit in front of five-character poem, and its basic sentence pattern is:
Ordinary, ordinary, ordinary.
Flat and light, flat and light.
Very flat, very flat.
Flat and light.
No matter how you change the seven-character modern poetry, you can't recognize these four basic sentence patterns.
There is a rule in these sentence patterns, that is, each pair will be reversed: the level of the fourth word is opposite to that of the second word, and the sixth word
Contrary to the fourth word, this repetition forms a sense of rhythm, but it can be reversed when it comes to singles. this is because
Stress falls on even syllables, while singular syllables are relatively unimportant.
When we write poetry, it is difficult to make every sentence completely conform to the basic sentence patterns, and it may be ok to write quatrains.
It is almost impossible to get and write eight sentences or even longer. How to change it? The sacrifice is not too heavy.
Want a single number, but keep the more important double number and the most important last word. So there's this one.
The formula of the sentence is called "whether one, three, five, two, four and six are clear", that is, the first, three and five (only
The leveling of "seven words" can be handled flexibly, and the leveling of "two words, four words, six words and the last word" must be strict.
Observe the case. This formula is not completely accurate. In some cases, one, three and five must be discussed in certain sentence patterns.
Form two, form four and form six are not necessarily clear. We will talk about this later, but let's see how to start with this first.
These basic sentence patterns constitute a complete poem.
Viscous pair
We already know the basic sentence patterns of modern poetry. How do we form a poem from these sentences?
Sentences in modern poetry are in units of two sentences, each two (one and two, three and four, and so on).
It is called a couplet, the upper and lower sentences of the same couplet are called antithetical sentences, and the upper and lower sentences of the couplet are called adjacent sentences.
The law of poetry formation is: antithesis and adjacent sentences stick together.
Contradiction means that the upper and lower sentences in a couplet are just the opposite. If the above sentence is:
Very flat, very flat.
The next sentence is:
be plain and simple
Similarly, if the last sentence is:
Flat and light.
The next sentence is:
It is flat.
Except for the first couplet, the first sentence of other couplets cannot rhyme, and it must end with a sigh, and the next sentence must rhyme.
It must end in a flat voice, so the antithesis of five-character modern poetry has only two forms except the first couplet.
Something like this.
If the sentence of the first couplet doesn't rhyme, it is no different from other couplets. If the upper and lower sentences rhyme,
Everyone should end in a flat voice. This couplet can't be completely opposite, but the beginning and the end are wrong and the form is different.
Two kinds:
Upgrade:
be plain and simple
It is flat.
Tip:
It is flat.
be plain and simple
Let's look at the adjacent sentences sticking together. Sticking together means the same thing, just because the ending sound is strange.
If you insist on a sentence ending in a flat voice, you can only insist on the head, not the tail. For example, the last couplet is:
Very flat, very flat.
be plain and simple
The upper sentence of the next couplet should be affixed with the lower sentence of the next couplet, and it must also start with a flat voice, but it must also start with a hyphen.
The ending became:
Flat and light.
It is flat.
Why do adjacent sentences have to stick together? The reason is very simple, that is, to change the sentence pattern, not monotonous.
Relative, adjacent sentences are also relative, which becomes:
Very flat, very flat.
be plain and simple
Very flat, very flat.
be plain and simple
The first and second couplets are exactly the same. I didn't know that the so-called Qi-Liang poems before the Tang Dynasty only talked about relativity.
Stick together and repeat the two sentence patterns from beginning to end. After the Tang Dynasty, we talked about antithesis and neighbors.
Sentences stick together, so there will be no repeated sentence patterns in a quatrain.
According to the law of adhesion, we can deduce four formats of five-character quatrains:
First, the first sentence doesn't rhyme:
Very flat, very flat.
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Second, the first sentence rhymes:
Fairness and flatness (rhyme)
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Third, the first sentence doesn't rhyme:
Flat and light.
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
Fourth, the first sentence rhymes:
Flat (rhyming)
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
The five-character rhyme is similar to this one, except that four sentences are added according to the principle of sticking to the right. Like pouting at the first sentence.
The rhyming quatrains are:
Fairness and flatness (rhyme)
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
According to the paste method, ten sentences and twelve sentences can be added indefinitely, which becomes the exclusive method.
Sticking to the right also has some flexibility, basically following the principle of "135 regardless, 246 distinct"
Formula, that is to say, to check whether a modern poem follows the stick pair, generally look at its even number and the last word.
Yes If the sentence is wrong, it is called wrong; If adjacent sentences are not sticky, they are called sticky. Dislocation and stickiness are both modern poems.
On the contrary, losing alignment is more serious than losing adhesion. The rules of attachment were determined later, in the early Tang Dynasty.
Sticking is often seen in poems, even in Du Fu's poems, occasionally sticking, such as the famous poem "Yong"
The second poem of Nostalgia Monument:
I know Song Yu's sadness,
Romantic and elegant, he is also my teacher.
Looking sadly at a thousand autumn days, a tear,
Melancholy in different times, not at the same time.
Between mountains and rivers, his old home-emptying his works,
Abandoned sex platform-certainly not imagined in the dream, right? .
All the palaces of Chu were destroyed,
The fishermen who pointed out them today are uncertain.
The third sentence failed to stick to the second sentence, which may be unconsciously influenced by the poets of Qi and Liang Dynasties.
Ignore in time.
The correct rules were established in Qi and Liang Dynasties, so mistakes are rarely seen in Tang poetry. Du Fu's modern style exists.
Among these poems, only one poem "To Ten Generals Wang Chengjun" is out of alignment:
The general is brave,
There are two horns hanging on the arm.
The tangled green horse,
In and out of Jincheng.
In times of crisis, lottery tickets are not awarded,
It's hard to work when you bend over.
The guests are full,
Who means the same thing?
Except the first word, all the words in the first sentence and the second sentence are exactly the same, which is a mismatch. This could be
When I gave a poem, I didn't have time to process it carefully, and I was negligent for a while.
There is another situation, that is, regardless of the needs of metrical expression. For example, another famous poem by Du Fu, White.
Emperor:
The clouds in Bai Di City have dispersed,
The rain turned over the basin of Baidicheng.
Gao Jiang gorge thunder fight,
The sun, the moon and the vine are faint.
Why don't you return a military horse to Ma Yi,
There are 1000 schools of thought today.
Mourn for the widow,
Where are the villages in Yuan Qiu?
The second word in the second sentence should have been flat, but now the word "emperor" is used, which is different from the first sentence.
Stuck by the third sentence again. However, the intentional reuse of "Baidicheng" caused parallelism and had to be sacrificed.
Law.
Monotones and tristones
The previous statement "135 regardless" is not entirely correct. Sometimes, 135 must be said.
For example, five words and other sentences:
be plain and simple
The third word of this sentence can be ignored, or you can use a flat voice. However, if the first word becomes flat,
It becomes:
Even, even, even.
In addition to rhyme, the whole sentence has only one flat tone, which is called "loneliness", which is the taboo of modern poetry.
Rare to see. The poem "Two Bows on the Arms" quoted by Du Fu before is such a lonely and irregular sentence called
Lao Du deliberately wrote many awkward modern poems. This exploration is another matter.
What if the first word must be slurred? You can change the third word into a flat voice at the same time:
Just plain, just plain.
This avoids loneliness. This practice is called "difficult to save", which means to avoid embarrassing sentences. Such as "reply"
Sorrow 12 "the third:
All countries are brave,
What's your hometown like today?
I didn't know each other very well,
There are already many battlefields.
The second sentence should have been "plain", but now the first word is "so", and the third word must be changed.
Say "today" in a flat voice.
The seven-character poem is similar to this one, that is, the third word of its flat sentence is "Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
Cuosh, if you use Cuosh, you must change the fifth word to a flat voice to avoid loneliness. For example, quatrains are full of happiness.
One of the nine ":
Seeing the guests worried,
Hooligans come to Jiangting in spring.
Is to send flowers for further study,
He taught Yingying to speak too Ding Ning.
The first sentence should be "even, even, even", now the third word is "guest", and the fifth word is
Remedy with a dull voice "worry" (note that "wake up" is a dull voice)
The so-called "loneliness" refers to flat and even sentences (that is, rhyming sentences). If it is a flat sentence, that is to say,
Let the whole sentence have only one flat tone, not an isolated sentence, but at most an awkward sentence. For example, "plain"
Change it to "even and flat", which is not a crime and can be used.
There is also a situation, that is, a five-character flat sentence:
It is flat.
In this sentence pattern, the first word is flat and occasional, but the third word can't be flat, if used.
The dull voice, word for word, became:
It is flat.
There are three tones at the end of the sentence, called "three tones", which is a special form of classical poetry.
Modern poetry must be avoided as far as possible and cannot be remedied.
Similarly, the first and third words of the sentence "Ping Ping" can be Ping Ping, but
But the fifth word can't be flat, otherwise it will become three tones.
As long as isolation and leveling can be avoided, "135 regardless" is completely correct.
Difficult to preserve
If you carefully look at the basic format of recent poems mentioned above, you will find a rule: in one
In couplets, the total number of flat and oblique characters is equal. If we deal with "135" flexibly.
Place, the use of flat type and oblique type (or use oblique type and flat type), then it is often necessary.
In this sentence or antithesis, the word "one sound" is changed to "flat sound" (or "flat sound" is changed to "one sound") where appropriate to ensure that.
Maintain a balance between the number of levels and the number of levels in the joint. In other words, use the depression (illegal) first, and then save it and close it.
It's hard to save when you get up.
The remedy for loneliness mentioned above belongs to self-help in this sentence. In another case, it is to remedy the sentence.
For example, in the five-character "even ping" sentence, the third word is changed to even tone, often in the third sentence.
The word "ping ping" is replaced by "ping ping, ping ping" and becomes "ping ping,
Pingping. " For example, Li Bai wrote in At the End of the Sky:
Cold wind is blowing from the distant sky,
What are you thinking, old friend? .
Goose never answers me,
Rivers and lakes are flooded by rain.
A poet should beware of prosperity,
However, the devil will haunt the wanderer.
It should be a ghost,
Throw poems at him, where he threw himself into the river.
The third sentence "the geese cross the river and don't answer me" should be smooth and steady, and the fourth sentence "the rivers and lakes are full of rain" should be the third word.
Changed it to a flat voice. Seven characters are similar to this. It is the fifth word of "Pingping, Pingping, Pingping" with a flat voice.
The fifth word of the sentence is replaced by a flat voice to remedy it, that is, "flat, flat, flat" has become "
Flat and light, flat and light. "
Even the first word, poets like to keep it. For example, Delighting in Rain on a Spring Night:
Good rain knows its correct time;
When spring comes.
The wind blows its mouth at night;
Moisturize things silently.
Dark clouds filled the wild lane;
The fire of a river boat is unique.
Dawn sees saturated red;
Flowers weigh heavily on Jinguan City.
The first word of the seventh sentence should be flat, and the word "small" should be used, and the word "Hua" should be added to the first word of the eighth sentence.
Save.
contrast
These four verses all have a specific name. The first couplet is called the first couplet, the second couplet is called the parallel couplet, and the third couplet.
It's called neck joint, and the fourth one is called tail joint. According to the regulations, platoon couplet and neck couplet must be right, and the first couplet and tail couplet can be right or wrong.
That's right. These two quatrains are also right or wrong. The first couplet arranged is right or wrong, and all the couplets in the middle should be seated accordingly.
The last couplet is wrong, so it ends.
The first characteristic of duality is that syntax should be the same. For example, one night abroad:
The breeze rippled on the grass bank,
Through the night, I came to my still tall mast.
The stars tilt down from the empty place,
The moon runs up the river.
If my art can make me famous,
Free my sick old age from the office! .
Flying around, what am I like?
But sandpipers in the vast world! .
This is a confrontation between the head, chin and neck. The first sentence of the first couplet has no predicate, and the second sentence is relatively meaningless.
The sentence pattern of the upper sentence of the couplet is "subject-predicate-object", and the following sentence is the same sentence pattern. Necklace also uses phase.
Same sentence pattern. That's it.