Rhymed poetry is a type of modern Chinese poetry with very strict metrical requirements. The common types are five-rhythm, seven-rhythm and arranged rhyme. Table of Contents Characteristics of rhymed poetry Form of rhymed poetry Name of each couplet Rhymed verses of rhymed poetry Sticking to Gu Ping and San Ping Diao Ao Save Antiphons Types of Rhymed Poems Example Five Rhythm Type Seven Rhythm Type One and Seven Rhythm Type Two and Seven Rhythm Type Three and Seven Rhythm Type Characteristics of Four Rhythm Poetry Form of Rhymed Poetry Name of Each Couplet of Rhymed Poetry Rhythm and Rhythm Sentences of Rhymed Poetry Sticking to Gu Ping and San Ping Typical Rhythmic Poetry Type Example Five Rhythm Type Seven Rhythm Type One Seven Rhythm Type Two Seven Rhythm Type Three Seven Rhythm Type Four Expand Edit Characteristics of Rhythmic Poetry in this Section Appreciation of Works Rhymed Poetry originated from Shen Yue and other new poets who paid attention to rhythm and antithesis during the reign of Qi Yongming in the Southern Dynasty. Style poetry was formally finalized in the Shen Quan period of the early Tang Dynasty and the Wen period of the Song Dynasty, and matured in the prosperous Tang Dynasty. Rhymed poetry requires a uniform number of words in the poems, and each poem is a five-character, six-character, or seven-character sentence, referred to as Wulu, Liulu, and Qilu. Among them, six lines are less common. The usual regulation poems stipulate that each poem has 8 lines. If there are only 6 lines, it is called short line; if there are more than 8 lines, that is, more than 10 lines, it is called row line or long line. It usually ends with 8 lines. Every two sentences form a couplet, totaling four couplets. It is customary to call the first couplet the first couplet (the first couplet), the second couplet the jaw couplet, the third couplet the neck couplet, and the fourth couplet the conclusion (the last couplet). The upper and lower sentences of the second and third couplets (i.e. chin couplets and neck couplets) of each poem must be dual sentences. Except for the first and last couplets of the verses, the upper and lower sentences of the middle couplets must be dual sentences. The minor rhythm couplet requirements are wider. Rhymed poetry requires the entire poem. All rhymes are in one rhyme, but only flat rhyme; the second, fourth, sixth, and eighth lines rhyme, and the first line may or may not rhyme. The words in each line of the rhyme poem are alternately flat and oblique. The oblique and oblique words in the upper and lower sentences are relative, such as "仄qi" and "廄qi" "Pingqi" two forms. In addition, the metrical requirements of rhymed poetry also apply to quatrains. There were variations in the rhymed poetry in the Tang Dynasty during and after the finalization process. Some rhymed poems were not written completely according to the format, such as Cui Hao's "Yellow Crane Tower" 》, that is, the first half of the poem is in ancient style, and the second half is in rhythm. This change in rhythmic poetry is called Aoti. Every two lines of a rhythmic poem are one couplet, with *** four couplets, the first couplet (No. 1, 2 sentences) is called the "first couplet" (or starting couplet), the second couplet (sentences 3 and 4) is called the "jaw couplet", the third couplet (sentences 5 and 6) is called the "neck couplet", and the fourth couplet (sentences 7 and 7) is called the "neck couplet". , 8 sentences) is called "tail couplet" (or joint couplet). The upper sentence of each couplet is called a sentence, and the lower sentence is called a couplet. The capacity of rhythmic poetry is doubled compared to quatrains, so more things or scenes can be written. It can express more and more detailed emotions. "It has integrity in its scattered parts, changes in its regularity, neat contrasts, and substantial content." "The five rhymes appear short, simple, and powerful, while the seven rhymes appear smooth, melodious, and slow. The rhymed poems are both The rhythm of rhythmic poetry is very strict. There are strict regulations on the number of sentences, the number of words, rhyme, rhythm, and antithesis: 1. Each poem is limited to eight lines. : The Five Rhythm stipulates that each sentence has five characters, and the whole poem has 40 characters; the Seven Rhythms stipulates that each sentence has seven characters, and the whole poem has 56 characters. 2. It is restricted to use plain rhyme, and one rhyme to the end, and no rhyme changes are allowed in the middle. If the first sentence does not rhyme, it is a regular example, if it does rhyme, it will be a variation; for Qilu, if the first sentence does rhyme, it will be a regular example, if it does not rhyme, it will be a variation. 3. There are regulations for the sentence structure and the level of the characters of each sentence: pay attention to coherence. Yes. 4. The two middle couplets of each poem must use antithesis, which is an important feature of the verse. It is up to you to decide whether to use antithesis in the other two couplets. Edit the names of each couplet in this paragraph. A verse has two lines as one couplet,* ** Four couplets, the first couplet (sentences 1 and 2) is called the "first couplet" (or starting couplet), the second couplet (sentences 3 and 4) is called the "chin couplet", the third couplet (sentences 5 and 6) is called ) is called "neck couplet", and the fourth couplet (sentences 7 and 8) is called "tail couplet" (or joint couplet). The capacity of rhymed poetry is doubled compared to quatrains, so more things or scenes can be written and more expressions can be expressed. More and more detailed emotions. "It is unified in concentration, changes in regularity, neatly contrasted, and rich in content"; "The five rhymes appear short, simple, and powerful, while the seven rhymes appear smooth, melodious, and slow. The verses are smooth and rhyming. , and it also talks about antithesis, so writing is more difficult. Edit the metrical verses in this paragraph. Although Chinese has four tones, in modern poetry, it is not necessary to distinguish the four tones like lyrics and music. It only needs to be roughly divided into two tones, equal and oblique. To create an ups and downs in tone,
It is necessary to use flat tones and oblique tones alternately to avoid monotony. Chinese basically uses two syllables as a rhythm unit, and the stress falls on the following syllables. Using two syllables as a unit to interweave flat and oblique tones constitutes the basic style of modern poetry. Sentence patterns are called regular sentences. For Wuyan, its basic sentence patterns are: Ping Ping Ze Ping or Ping Ping Ping. The beginning and end of the two sentence patterns are the same, which is the so-called Ping Qi Ping Fa and Ping Qi. If we want to make some changes and change the first and last words to be different, we can move the last word to the front and it becomes: 平平平任仄仄仄仄平平. Except for the special cases that will be mentioned later, no matter how the five-character modern poetry is There are no changes out of these four basic sentence patterns. The seven-character poem just adds a rhythm unit in front of the five-character poem, and its basic sentence pattern is: No matter how the Ping Ping seven-character modern poems change, they never fall out of these four basic sentence patterns. There is a rule in these sentence patterns, that is, they must be reversed every time: the fourth character Ping and Oblique is opposite to the second character, and the sixth character is the same as the fourth character. The words are opposite, and this repetition creates a sense of rhythm. However, it can be reversed or not when it is odd. This is because the stress falls on the even syllables, and the singular syllables are unimportant in comparison. When we write poems, we often It is difficult to make every sentence completely conform to the basic sentence pattern. It may be possible when writing quatrains, but it is almost impossible to write eight or even longer rhyme poems. How to change it? Then you have to sacrifice less important singular numbers, and Keep the more important double numbers and the most important last word. Therefore, there is such a mantra, called "One, three, and five don't matter, two, four, and six are clear", that is, first, three, and five (only (refers to seven characters), the equality of characters can be handled flexibly, while the equality of the second, fourth, sixth and last characters must be strictly adhered to. This formula is not completely accurate. In some cases, the first, third and fifth characters must be discussed, and in specific cases The second, fourth, and sixth sentence patterns are not necessarily clear, we will talk about them later, but let's first look at how to form a complete poem from these basic sentence patterns. We already know the basic sentence patterns of modern poetry. , how to form a poem from these sentences? The sentences of modern poetry are based on two sentences as a unit. Every two sentences (one and two, three and four, and so on) are called a couplet, and the upper and lower sentences of the same couplet are called In a couplet, the lower sentence of the first couplet and the upper sentence of the second couplet are called adjacent sentences. The composition rule of modern poetry is: the couplets are opposite and the adjacent sentences stick to each other. The relative sentences of the couplets mean that the upper and lower sentences in a couplet are exactly the opposite. .If the previous sentence is: 仄仄平仄平平, the next sentence is: 平平仄仄平. In the same way, if the previous sentence is: 平平仄仄平平, the upper sentence of each couplet cannot rhyme except for the first couplet. , must end with a oblique tone, the next sentence must rhyme, and must end with a flat tone, so the couplets of five-character modern poetry, except for the first couplet, only have these two forms. The seven-character poems are similar to this. If the first couplet does not rhyme, the couplets , is no different from other couplets. If the upper and lower sentences both rhyme and end in a flat tone, the first couplet cannot be completely opposite to each other. It can only be wrong from beginning to end. There are only two forms. : Pingqi: 平平任仄平仄仄仄平平廄起: 任仄仄平平仄仄平 Let’s take a look at the adjacent sentences that stick together. The meaning of sticking together is originally the same, but because it is an odd-numbered sentence that ends with a oblique tone to stick together Even-numbered sentences that end with a flat tone can only stick to the beginning but not the end. For example, the previous couplet is: 廄仄平仄平平仄仄平. The upper sentence of the next couplet must be glued to the lower sentence of the previous couplet, that is, It must start with a flat tone, but must end with a oblique tone, so it becomes: Ping Ping Ping 仄仄仄仄仄Pingping Why do adjacent sentences have to stick to each other? The reason is very simple. It is to change the sentence pattern and not be monotonous. If the couplets are opposite, the adjacent sentences must be connected. When the sentences are also relative, it becomes: 仄仄平平仄平仄仄平仄仄平仄平平仄仄平 The first and second couplets are exactly the same. Before the Tang Dynasty, the so-called Qi Liang style poems only talked about relativeness and did not know about adhesion. , from beginning to end, there are just two sentence patterns repeated constantly. After Tang Dynasty