The poetic rhythm we want to talk about refers to the metrical mode of modern poetry, and does not involve the ancient poems in the Book of Songs and Yuefu. Modern poetry was gradually formed after the Tang Dynasty, and it has strict requirements on the level of parallelism, antithesis and word count. Modern poetry can be divided into three styles: quatrains (four sentences each), regular poems (generally eight sentences each) and parallel poems (more than ten sentences each). The foundation is quatrains. If you know quatrains, the rest will be easy to understand.
(02) The basic format of plane and parallel.
The most basic format of flush arrangement is:
Flat and flat (flat and then add) flat and flat (flat and then add)
Flat flat (before flat flat) flat flat (before flat flat)
So this is a "basic format", because other formats (including five words and seven words, including quatrains and metrical poems, *** 16) can be derived from it. In learning, we must first memorize this "basic format" and remember it. Deriving other formats from the basic format is a learning skill. If you list all the 16 formats, it will be difficult to remember them mechanically.
The word "ping" in this "basic format" is basically the words "Yin Ping" and "rising tone" in Mandarin. "Xu" is generally a word like "Shang Sheng" and "Qu Sheng" in Mandarin. So we can only say "in general" here, because it is not completely so. We'll talk about this later.
The basic format mentioned above is actually one of the five-character quatrains. Give two examples. Example 1:
The saddest place in the world is this farewell acie law.
Spring breeze will also want to leave the pain of parting, instead of urging this willow tree to turn green.
-Li Bai's Old Laoting
(The first word in the poem, the word "Tian" in this application, is a flat and turbid word, but it is allowed here. The reason will be mentioned later. )
Example 2:
The sun sets slowly near the western hills, and the Yellow River flows into the East China Sea.
By going up one flight of stairs, look further.
-Wang Zhihuan is at the Heron Hotel.
(The word "one" is pronounced in Tang Yun and will be mentioned later. )
(03) Rules of "Right" and "Sticking"
As can be seen from the basic format mentioned above, the levels of the first sentence and the second sentence are opposite, which is called "right". The levelness of the third sentence and the fourth sentence is also opposite, which is also "right". However, from the first two words, the second sentence and the third sentence are the same, called "sticky", which is what rhymes need. If you can't meet this requirement, it is called "dislocation" and "stickiness", which is a problem.
According to poetic terminology, starting from a poem, every two sentences are called a couplet, the last sentence in each couplet is called a sentence, and the next sentence is called a antithesis. In other words, the sentence and antithesis of each couplet must be "correct", and the antithesis of the upper couplet and the sentence of the lower couplet must be "sticky". "Right" and "sticky", look at the first two words of a poem, because the first word can sometimes be even, so in fact, the standards of "right" and "sticky" are mainly measured by the second word. For example, in Wang Zhihuan's In Lusu, the word "day" in the first sentence is flat and the word "harmony" in the second sentence is flat and turbid, which meets the requirements of "right". The word "he" in the second sentence and the word "poor" in the third sentence are both flat-voiced words, which meet the requirements of "stickiness". The word "difference" in the third sentence is flat, while the word "up" in the fourth sentence is flat, which meets the requirements of "right". By mastering the laws of "right" and "sticky", we can easily deduce other flat formats according to the basic format.
(04) Another format of five-character quatrains
There is a requirement for quatrains and metrical poems, that is, consecutive sentences must rhyme, and single sentences can be rhymed (the first sentence is an exception, and rhymes don't rhyme). In a quatrain, the last word of the second sentence and the last word of the fourth sentence must rhyme. For example, "Liu" and "Lou" in "Heron House" rhyme. Rhyming words must be flat words. Of course, there are rhyming poems, but there are very few, which are not normal. I will put them here for the time being.
According to the requirements of even sentences and the laws of duality and stickiness, we can deduce other different formats from the basic formats mentioned above. As mentioned earlier, the basic format is:
Pingping Pingping Pingping Pingping Pingping Pingping.
Flat and light, flat and light.
Every sentence (* * * four sentences) in this format can be the first sentence. Every time you change the first sentence, it is a new format. If you take the second sentence in the basic format as the first sentence, then the next sentence must be "right" and must end in a flat voice to rhyme, so you can only choose "flat". The third sentence must be "sticky" with the second sentence, and it must end with the word "shun", so you have to choose "shun" The fourth sentence should be "right" with the third sentence, and it must end in a flat voice, so you can only choose "flat and flat" This produces a second format:
Flat and light, flat and light.
Pingping Pingping Pingping Pingping Pingping Pingping.
For example:
The sun is shining in Nanshan, and spring enters the phoenix.
Smelling the strings everywhere is nothing more than the sound of wine.
-Liu Yuxi's "Songs by the Road"
By analogy, if the third sentence in the basic format is taken as the first sentence, a third format can be derived:
Flat and light, flat and light.
Pingping Pingping Pingping Pingping Pingping Pingping.
Sample poem:
It's late spring and sunset on the coast of Shui Ying.
In the silence and deep smoke, the fishing boat didn't come home at night.
-Si Kongshu's "Yellow Skin"
If the fourth sentence is taken as the first sentence, the fourth format can be derived:
It is flat, flat, flat.
Flat and light, flat and light.
Sample poem:
That night, the black geese flew very high, and Khan quietly escaped during the night.
I was about to lead the light cavalry to catch up when the snow fell full of bows and knives.
-Lu Lun's "Six Pieces of the Same Servant Shooting Plug"
The above is the complete format of five-character quatrains, and there are four kinds of * * *. In fact, it is the order of four sentences in the basic format. Different first sentences lead to different formats.
Of course, you can also mechanically memorize these four formats. But the combination of rote memorization and mastering the rules can get twice the result with half the effort.
(05) Five-character Rhyme
Five-character verse, referred to as five laws. Just plain. In the sentence structure, five-character quatrains are derived from four sentences into eight sentences according to the law of "righteousness" and "stickiness", that is, five-character quatrains. Because five-character quatrains have four formats, five-character poems also have four corresponding formats.
The first format:
Pingping Pingping Pingping Pingping Pingping Pingping.
Flat and light, flat and light.
Pingping Pingping Pingping Pingping Pingping Pingping.
Flat and light, flat and light.
As you can see, this is actually a repetition of the basic format mentioned above twice. For example:
The abbot is connected by muddy water, and the roof always reflects clouds.
People always look at photos, but they always hate Kong Wen.
Fan Lizhou is young and not with Wang.
Follow everything in this life, wherever there is dust.
-Gui Fu's "Watching Li Sima Di Painting Water"
It should be noted that there are often some words in example poems, which on the surface do not completely meet the requirements of the format. There are reasons for this, which will be explained step by step later.
The second format:
Flat and light, flat and light.
Pingping Pingping Pingping Pingping Pingping Pingping.
Flat and light, flat and light.
Pingping Pingping Pingping Pingping Pingping Pingping.
The first sentence of this format rhymes. For example:
Take care of your head, full of Cangzhou murals.
Red sun and stone forest gas, blue sky and river flow.
The crane sees the tin flying, but the gull is not afraid of the cup crossing.
It seems to be Lushan Road, so I won't travel with you.
-Du Fu's "Xuanwu Jackson House Wall"
The third format:
Flat and light, flat and light.
Pingping Pingping Pingping Pingping Pingping Pingping.
Flat and light, flat and light.
Pingping Pingping Pingping Pingping Pingping Pingping.
For example:
The city by the river is as beautiful as the picture, and the mountains are getting late. I climbed the Xie Tiao Building to overlook the clear sky.
Between the two rivers, one lake is like a bright mirror; The two bridges on the river look like rainbows falling from the sky.
People are cold orange pomelo and autumn old phoenix tree.
Besides me, who will think of the North Tower and welcome the autumn wind, Miss Xie?
-Li Bai's "Qiu Deng Xuancheng Xie Tiao North Building"
The fourth format:
It is flat, flat, flat.
Flat and light, flat and light.
Pingping Pingping Pingping Pingping Pingping Pingping.
Flat and light, flat and light.
This format is also the rhyme of the first sentence. For example:
A vagrant heard the drums heralding the battle, which was the first call of a wild goose on the border in autumn.
The dew turns to frost tonight, and the moonlight at home is bright!
Brothers are scattered, and no one can ask about life and death.
Delivering books is often late. What can we expect in a war? .
-Du Fu's Moonlight Remembering My Brother
(06) Seven-character quatrains and seven-character poems
What I said before are all five-character poems. Now I say seven-character poems, including seven-character quatrains and seven-character poems, which are referred to as seven-character poems and seven-character poems for short. The flat pattern of a seven-character poem is to add two words before a five-character sentence, which is the opposite of the flat pattern of the first two words in a five-character sentence.
As far as the basic flat format of five-character poems is concerned, it is like this to become a seven-character poem:
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
It is flat, flat, flat, flat.
This is the first format of seven-character quatrains. In practical application, the first word of the seven-character poem is not rigorous and even. List:
The water is bright and sunny, and the mountains are cloudy and rainy.
If there are more dead beauties in the West Lake, C+ is so appropriate.
-Su Shi's Drinking on the Lake, After the Rain.
The second format of seven-character quatrains is:
Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
The first sentence of this format rhymes. For example:
Is there any pride like the old flowers blooming and falling?
When do you cry for Jiang Nanyu and Simin?
-Lu Xun's mourning for Yang Quan
The third format of seven-character quatrains is:
It is flat, flat, flat, flat.
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
For example:
The lotus flower withered, so did the lotus leaf holding the rain, and only the branches of chrysanthemum stood proudly against the frost.
Good years must be remembered, especially when it is orange, yellow and green.
-Su Shi's To Liu Jingwen
The fourth format of seven-character quatrains is:
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
It is flat, flat, flat, flat.
The first sentence of this format rhymes. For example:
Lanling wine tulips, jade bowls filled with amber light.
But I got the host drunk and didn't know where it was.
-Li Bai's Traveler's Bank
Now let's talk about the seven-character rhyme. Seven-character poems also have four formats, which correspond to the four formats of five-character poems, but there are two more words in front of each poem.
The first format of seven-character verse is:
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
It is flat, flat, flat, flat.
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
It is flat, flat, flat, flat.
For example:
I can't stop looking at the city in spring, but I will swim by candlelight at night.
On both sides of the romantic Wanjiahe River, the west building of the county seat is full of songs.
The more you listen to the poem, the harder it is to sing, and the wine is dissuaded by Wu Wa.
Life is like a dream, and laughter in the dream is better than sadness.
-Bai Juyi's Banquet in the City
The second format of seven-character verse is:
Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
It is flat, flat, flat, flat.
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
The first sentence of this format rhymes. For example:
There are no more cars, and there is no trace of Xiayun.
Pear flower courtyard melts the moon, and the catkin pond has a faint wind.
After a few days of loneliness and injury, there is a ban on smoking.
Where do you want to send the fish book? Water is far away and mountains are long. Yan Shu's "Implicit"
The word "da" rhymes. The question of rhyme will be discussed later.
The third format of seven-character verse is:
It is flat, flat, flat, flat.
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
It is flat, flat, flat, flat.
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
For example:
Every holiday season, I miss my parents, and the peaches and plums smile, and the Noda wilderness is only sad.
The thunder stung the snake, and the grass trees in the suburbs were soft after the rain.
People ask for sacrifices more than I am arrogant, and it is unfair to be willing to burn.
A clever fool has known who it is for thousands of years, and his eyes are full of chrysanthemum.
-Huang Tingjian's Tomb-Sweeping Day
The fourth format of seven-character verse is:
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
It is flat, flat, flat, flat.
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
It is flat, flat, flat, flat.
This format is also the rhyme of the first sentence. For example:
Mount Jiuyi went up to Bai Yunfei, and Di Zi rode the wind.
A mottled bamboo tears, and a hundred thousand flowers in Xia Hong are heavy clothes.
It snows in Dongting, and Long Island people sing poems.
I want to dream big and the Netherlands is full of sunshine.
-Mao Zedong "Answer a friend"
(07) Rules outside the format
I have talked about sixteen formats of five-character poems (five sentences and five laws) and seven-character poems (seven sentences and seven laws). In fact, few of the metrical poems we see, including Tang poetry, Song ci and later works, conform to the above-mentioned flat and level format, and almost every poem always has some words that do not conform. This is because the above is a standardized and idealized format. These formats are very important foundations, but there are other rules at work besides formats. These rules are also formed and recognized by history. There are four main types.
First, "135 doesn't matter"
There has always been a saying that "135 doesn't matter, 246 is distinct" about the flat format of regular poems. It means that the first word, the third word and the fifth word of every sentence in a seven-character poem can be even, and even and ambiguous words can be used. The second word, the fourth word and the sixth word must be clear and clear. Of course, the seventh word must be clear, which goes without saying, because it involves rhyme. As far as five-character poetry is concerned, it is
No matter one or three, two or four are clear. Of course, the fifth word is self-evident and must be distinguished.
This formula is concise and easy to remember, which is very useful. However, it must be noted that this is only a general statement, which is not completely accurate. When you master it, you need to add some amendments. In addition to the changes in form, there are two most important changes (in terms of five-character poems):
First, it is very important to pay attention to the sentence "Pingping", and its first word must not be ignored. It is a big mistake to misuse the word "even voiced" and turn this sentence into "even voiced". The term of poetic theory is "fox turbidity" (except rhyme, there is only one flat and turbid word left). In the imperial examination, I wrote a poem "Lonely Ping" and failed the poem. This is not allowed.
Second, the third word should also be discussed in the sentence "average" If, in any case, the last three words become flat, this sentence becomes flat, which is called "three-tone". "Three-tone" is a characteristic of the ancient style and is considered to be a big problem of the metrical poem and should be avoided.
In addition, in the "flat" sentence, the third word can be silent, so as not to form a "three-legged stand", but this is not a rigid rule of the meter.
Let's look at the basic format of the four sentences (kinds) of the five-character poem, and add the words of gentle and graceful, caring for each other, and it becomes the following:
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
Flat (flat) flat (flat) flat (flat) flat
The basic format of this seven-character poem is:
Ping (Ping) Ping (Ping) Ping (Ping) Ping (Ping) Ping (Ping) Ping (Ping)
Flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat.
It can be seen that the height of the first word in various sentences in seven-character poems can be ignored; The level of the second word must be clear. The requirements of the last five words are the same as those of the five-character poem.
Second, "the lonely are hard to save."
As mentioned earlier, the first word of the sentence pattern "Flat and Uneven" (seven-character sentence is the third word in "Flat and Uneven") cannot be ignored, and it must be flat. If you use the word "silence", you are "lonely", which is a taboo in writing regular poems.
But sometimes, according to the needs of poetry, the first word has to be pronounced, so it is better to use it in the context. What should I do? There is a way: after the first word is used up, the third word is changed to a flat voice. In this way, the whole sentence becomes "even" (the seven-character sentence becomes "even"), which is allowed. This change is called "loneliness is hard to save". For example:
If the pet is deep, it will be surprised (Yu Wang called it a "sleeping doll")
Birds sing in spring (old cold food)
Events cast their shadows before them (Xu Hun's "East Building of Xianyang City")
Jiang Shang's daughter wins flowers (Wang Changling's "Huansha Girl")
Generally speaking, the poems of famous poets in Tang and Song Dynasties are extremely rare, which can be said to be unique. However, lonely poems are very common, which shows that this has always been a recognized law in poetry circles.
Third, "three or four words help each other"
The third sentence in the basic format of five-character poems is also irregular. This change is to exchange the flat positions of the third word and the fourth word.
Achieve the effect of mutual rescue. In this way, this sentence pattern becomes "flat and flat" If it is seven words, it will change from "plain" to "plain".
For example:
Falling flowers are full of spring water, and sparse willows reflect the new Tang Dynasty. (Chu Guangxi's Answer to Wang Shiwan)
When you worry about the strings, you are heartbroken. (Cui Yuan's "Spring Complaint")
Zhu Shi is dotted with Jiuhua Hall, full of flowers and old branches. (Cui Xingzong's "Giving Guanbai Cherry to Wang Wei")
Sparse trees are faintly visible on the horizon, and the sunset is swaying in the rushing river. (Wei's From Gongluo Prefecture to the Yellow River)
This sentence pattern is a variant of flat format. It is worth noting that it broke through the formula of "246 distinct". The fourth word of five characters (the sixth word of seven characters) should use the word "one" instead of "flat". Although this sentence pattern is irregular, it has been widely used in metrical poems since the Tang and Song Dynasties, even less than metrical poems, and even exam-oriented poems are allowed to be used.
Fourth, "mutually stored sentences"
In five words, sentence-to-sentence rescue is mainly applicable to the following couplet formats:
Pingping Pingping Pingping Pingping Pingping Pingping.
These are the first two sentences of the basic format. In these two sentences, if the third word in the opposite sentence (the second sentence) is flat, then in the sentence (the first sentence), not only the first word can be flat, but also the third and fourth words can be flat. In this way, it is possible that all sentences are silent. The overall format of these two sentences is as follows:
(Flat) (Flat) (Flat) Flat (Flat)
The words in brackets are even and ambiguous. It can also be explained in reverse: the third and fourth words of the sentence (that is, the first sentence) should have been flat, but if this word is lost, it can be saved in the antithesis (that is, the second sentence) by changing the third word of the antithesis into a flat voice, while the first word of the antithesis can still be flat according to the law of "being alone and difficult to save", and so on, just add two words in front according to the normal law.
For example:
Wildfire can't burn it out, but the spring breeze can revive it. (Bai Juyi's "Ancient Grass")
Drink on the sunset pool, and the breeze will come. (Meng Haoran's "Pei Shisi Jianxun")
In the above two examples, the third word of the antithetical sentence is used to save the fourth word of the sentence.
In the evening, I was unhappy and drove to Gu. (Li Shangyin's Leyuan Scenic Area)
The vegetation is dying, and Qing Jiang is frosty and snowy. (Du Fu's Farewell)
The sentences in the above two cases are all grunts. There are many such examples in famous poems of Tang and Song Dynasties, so I don't want to list them here.
Before the moon came out, the Wangjiang River flowed by itself. (Li Bai's "Hanging on the Xijiang River and Waiting for the Moon")
Visitors to the High Court have been competing to leave; The spring flowers in the small garden are dancing in the wind. (Li Shangyin's fallen petal)
In the above two cases, not only the third and fourth words of the sentence are ambiguous, but also the first word of the sentence is ambiguous. The rule of "loneliness is hard to save" is used in the sentence. The flat voice of the third word of antithesis sentence not only saves the loneliness of this sentence, but also plays a role in saving the previous sentence.
Give a few more seven-word examples:
More than 480 ancient temples were left in the Southern Dynasties, and countless pagodas were shrouded in wind and rain. (Du Mu's "Jiangnan Spring" "Ten" is the key)
There is a 10% discount on official tours, and no mountain is hateful. (Lu You's Tonglu and Boating East)
Horseshoe treads snow for six or seven miles, and mountain pass spends three or four. (Fang Yue dreamed that Xun Mei's "Seven" was Rusheng)
I was very happy to read a good book, but unfortunately I finished it. I am very happy to have a cordial conversation with my intimate friends, but my friends can't come often. (Chen Shidao's four quatrains)
It should be noted that this variant form of "existential sentence" also breaks through the formula of "two, four and six distinct". So be sure to remember that "135,135,246" is not very accurate, and there are some corrections when using it.
(08) Simple formula
I have talked about all kinds of flat forms of modern poetry, the basic format is only four sentences, and I have also talked about four rules outside the normal format. These four principles, which mainly focus on the difficulty in saving and the abnormal style, are also an indispensable part of poetry, and are by no means dispensable. Professor Wang Li of Peking University, an authority on the study of poetic meter, has a good metaphor. He said: "When we talk about poetic meter, we should also talk about salvation, which is equal to the legal" proviso "; The' proviso' should be regarded as part of the law, not something outside the law. " He also said, "It is not a disease if it can be saved."
Difficult to exist, or collectively called variants, is of great use in poetry creation. First of all, we can expand the freedom of choosing words, keep some words that must be used and improve the quality of poetry. For example, in Du Fu's poem "Jian Nan Xiang Luoyang", Jian Nan is a place name, and it is difficult to change the word "Jian". It is natural and harmonious to save it with the word "Xiang". Another example is "the eaves fly by and the windows fall on Jingting Mountain". (Li Bai's Guo Cui Ba Ting) Among them, "Wanxi" and "Jingting" are place names, and the variation of "three or four words to save each other" in the sentence solves the difficulty in using words, and the poem is harmonious and smooth. Chairman Mao's poem "I want to dream of a vast space" uses the variant of "three or four words to save each other", and the position of "sparseness" and "dream" cannot be changed in order to make up a correct space. The wonderful use of change is really indispensable.
Secondly, sometimes a very difficult and wonderful antithesis can only be completed by changing the form (the antithesis will be discussed in detail later). Especially when it comes to the antithesis of numbers, it is often necessary to use case changes. Because according to rhyme, of all the numbers, only "three" and "thousand" are flat tones, others are flat tones, and it is difficult to get it right without changing the form. The example quoted earlier, "Horseshoe treads snow for six or seven miles, and Yamaguchi spends three or four flowers", is very correct. If we don't change the pattern, we won't have this effect. There are many similar poems in the famous works of Tang and Song Dynasties.
It's not difficult to understand the rules of the flat-level format and the variation rules outside the format, but it's generally difficult for beginners to remember. Therefore, based on my own experience, I summarized a simple formula for your consideration.
Variable lattice
(flat)
Pingpingping
Basic lattice
(flat) flat
Pingping (Xu Ping)
(flat) flat (flat)
Even number.
Binary lattice
Just plain.
Just plain.
The relationship between the above basic format and the one-two-variable lattice includes all the rules mentioned above about plane format and variable lattice. Four basic sentence patterns and four variants can be found in this formula table.
The middle part is the basic format of leveling. Other formats, including five-character poems and seven-character poems, can be derived from them. The words in brackets are applicable to the word "135 regardless", even and ambiguous.
Capitalization is a one-or two-sentence variant corresponding to the basic case format, that is, the corresponding single-sentence case variant. The first sentence below is a variant of the second sentence of the basic format, which is the basic format corresponding to the second sentence of "Lonely and Difficult to Save", and the second variant of the third sentence is "Three-four words help each other"
On the left is the variant form of two sentences that change at the same time (connected by braces), which is the "save sentence" form mentioned above.
Beginners, when writing or learning poetry, can refer to this table at any time, which is much simpler and faster than looking up rules in books.
09) Clever pursuit of non-metrical rules
All of the above are about the rules of flat and even lines in regular poetry. There are four basic sentence patterns (plus the requirements of "right" and "sticky") and four rules (outside the format). Mastering these, writing poetry will not violate the law of leveling.
What I said before is the recognized rules of metrical patterns in past dynasties, which must be observed when writing metrical poems. In addition, there are some artistic pursuits of some poets outside the country; There is also a saying that it belongs to one family. These are not part of the meter, and poets may not necessarily abide by it, but it is necessary to know them.
First, extensive mutual assistance.
Even if you can't save it, you must save it. The first word and the third word of a seven-character poem, except the solitary sentence, could have been ignored and did not need to be preserved, but some poets tried their best to preserve the tone of the poem in order to make the poem more cadence and forceful. In this sentence, the first word and the third word help each other For example:
If it weren't for those Yushan clan chiefs. (Li Bai's "Qing Ping Diao Ci")
So, light up the candles and brighten the red makeup. (Su Shi's Begonia)
Some help each other one by one and three by three in the conversation. Others save each other in this sentence, and at the same time save each other in the dialogue. For example:
Chitose cranes still hate it and live alone for a year without mercy. (Du Mu's "Moving to Yan Xi Ting")
After the phoenix flies upstairs, the white clouds and red leaves belong to the pheasant. (Wang Jian's Old Village of Nine Immortals)
The city takes the sunset to smell the drums, and the temple looks at the balcony against the autumn water. (Xu Hun's West Lake Pavilion Banquet)
Due to the adoption of this method of mutual rescue for many times, the sentence pattern of "flat and flat, flat and flat, flat and flat" becomes the following form:
Flat and flat, flat and flat.
Pingping Pingping Pingping Pingping Pingping Pingping.
This form is very common in poetry after the middle and late Tang Dynasty, and it is used no less than the formal form.
Second, avoid "tails"
The rhythm of poetry pays attention to the level tone, which includes three sounds: up, down and inside. Some people think that the three sounds of up, down and middle should be used alternately. Avoid using the same sound at the same time, such as "up", "go" and "enter". Also, the four sentences (ending) of a metrical poem should have all intonation, falling tone and entering tone. At least, don't use two sounds together, two sounds together or two sounds together. Even if it is used, it is also called "upper tail". Many people in Tang poetry, especially Du Fu, pay more attention to this point. For example:
intellectual family
Where is the temple of the famous Prime Minister (Ping)? In a pine forest near the Silk City.
The green grass in spring dyed the steps (entrance) red, and the birds sang happily under the leaves.
The third call aggravated his state affairs, and he gave his sincerity to two generations.
But before he conquered, he was dead (I often make the hero cry).
Qujiang
A yellow flower reduces spring (peace), and the wind blows ten thousand points to make people sad.
And see if you want to spend all your time on your eyes (above), and don't be too tired to drink too much.
In the small hall by the river, the emerald nest (gone), the unicorn lying on the edge of the garden.
If you push physics seriously, you must eat, drink and be merry (enter), then why not trip this body with a floating name?
From the perspective of writing skills, we should try to avoid the problem of "ending". However, avoiding the "ending" is not a poetic method, and there is no need to abide by it.
Third, don't emphasize words.
Many poets pay great attention to this article and never use two identical words in the same poem. Of course, some poets deliberately use repetitive words in order to create a double rhyme or to emphasize a certain point, but this is not the case. Such as: "The sound of the Song Guanta is thin, and the night is heavy" (Su Shi); "Moonlight is like water, and water is like sky" (Zhao Wei); "Outside the Castle Peak Building" (Lin Sheng); "Hometown is in the north of the mountain, and the third day of March is poor" (Wang
To). Wait a minute. The use of repeated words in these poems pursues a special artistic effect, not an unintentional mistake. But there are also some poems that obviously don't deliberately use repetitive words. For example, Lu You's Wind and Rain on November 4th said: "A lonely village does not feel sorry for itself, but still thinks about protecting its family. Lying at night listening to the wind and rain, the iron horse glacier dream. " The word "lie" is used in the poem, and the poet may not care or neglect it. But this is a good poem after all, a very good poem. Then again, in the same poem, it is certainly better to avoid repeating words without special effects.
(10) Juvenile Law and Exclusion Law
As I said before, every poem written in accordance with the requirements of the leveling of metrical poems is called four quatrains (five verses and seven sentences), and eight verses are called metrical poems (five laws and seven laws). In addition, there are two kinds: each song with only six sentences is called a rhyme, which is also called a rhyme (even if the first sentence enters rhyme, it is still called a rhyme); More than eight sentences, reaching more than ten sentences, is called exclusion. Some people only recognize the three variants of quatrains, metrical poems and parallel poems, and regard the small law as a kind of metrical poems. There are fewer poems, that is, the small method and the exclusive method.
Three examples of rhyme:
Bai Juyi in a cold night
It's so cold in the middle of the night that I can't sleep alone.
The incense in the cage burns out, and the tears in the towel turn into ice.
Cherish the shadow and keep the light on all night.
Li Bai, the general of Paitao.
The general went out to exercise the ship, and the flag on the river was painted with purple smoke. Wan Li explored the tiger's den and danced three cups of swords in Longquan.
Poets in Mo Dao have no courage, and they will be given a whip when they leave.
Parallelism is written like five laws or seven laws, but it should always be written according to the laws of "right" and "sticky". Except for the first couplet and the last couplet, antithesis is used in the middle couplet. How many "rhymes" are often used as arrangement rules.