"Loneliness" is a special noun and taboo in regular poetry. This issue has always been controversial. Why is it controversial? The reason is that the Tang people did not leave us the concept and theory of loneliness. Looking through ancient books, there was no record of this theory before the early Qing Dynasty. It was not until the Kangxi period of Qing Dynasty and even after that that a few scholars discussed this issue, such as Wang Shizhen. However, as Qi Gong said: "It is a formula that has never been handed down, but there is no comment, and the position of any word is no exception." The concept is not clear enough. In modern times, three other scholars, such as Wang Li, Wu Zhangshu, Qi Gong and Lin Zheng, as their names suggest, have come up with two different definitions on the basis of the four schools of thought in the Qing Dynasty, forming two schools of thought. Therefore, the lack of authoritative unified conclusion has always been controversial. Below, the author will systematically sort out the definition, origin and theoretical basis of the two schools, and make the following induction and context combing for the viewer's comparative analysis and understanding.
First of all, let's learn about the theoretical theories of four representative authoritative scholars and two different definitions of "loneliness".
1, contemporary scholar Wang Li said
Wang Li (1900-1986), a famous linguist and poet, mentioned in the third section of "The Taboo of Ping-even Poems" in the five-character "Ping-even Poem" sentence pattern: "In addition to rhyme, the first word must be flat". Seven words are the expansion of five words, so if the third word is ambiguous in the sentence pattern of' plain and plain', it is also called loneliness. ""Loneliness is the taboo of metrical poems (including long and strict laws), so poets should pay attention to avoiding loneliness when writing metrical poems. When using similar sentences in lyrics, we should also pay attention to avoid loneliness. "
"Han Poetry Law" says: "The five words' Pingqi' should not be changed to' Pingqi'; The seven-character phrase "even, even, even" should not be changed to "even, even, even". If modern poetry violates this law, it is called' committing loneliness'. Because the rhyming flat and even words are fixed, in addition, there is only one flat and even word left in the sentence. "
"In the five-character B-type sentence (that is, even and even couples), if the first word is flat and even, then the third word must be flat and even to remedy it (in this way, there are two flat and turbid words besides rhyming, so that you won't be lonely), while in the seven-character B-type sentence (that is, even and even couples),
Wang Li's theory begins with the denial that "135 regardless, 246 distinct" cannot be generalized, that is, "135 regardless, 246 distinct" is not absolute, such as "flat and flat" or "flat and flat". Otherwise, it will be "lonely". This is the same as Zhao Zhixin's poem Occasionally Ping in Qing Dynasty. Regardless of second language errors, many people don't know that this case is a point of view starting from 135. His theory of "loneliness" is basically defined on the basis of summarizing the theories of Wang Shizhen, Zhao Zhixin and Li Ruxiang in Qing Dynasty, but it abandons Zhao Zhixin's view that there are "loneliness" even in rhyming sentences.
2. Contemporary scholar Wu Zhangshu said.
Wu Zhangshu (19 19 ~ 2006), a famous scholar and poet, mentioned in On Ci: "The so-called loneliness is an isolated flat-voiced word, which refers to the scope of a poem. If there is an isolated flat sound word in a poem, it is called' making a lonely flat'. In particular, it refers to two sentence patterns:' plain and faint' and' plain and faint'; There is only one flat-voiced word in the sentence except the flat-voiced word at the end of the sentence, and it is isolated, so both sentences are isolated. Ambiguous sentences at the end of sentences are not subject to this restriction. Even if there is only one flat word in the whole sentence, it is not lonely. "
His theory is basically consistent with Wang Li's definition, and they all think that only when the sentences are flat and rhyming will they be "lonely". And "a sentence with an ambiguous ending, even if there is only one flat word in the whole sentence, is not lonely."
Because their views are loose, they are accepted by most people. The other school, represented by Qi Gong and Lin Zhengsan, is another story.
3. Contemporary scholar Qi Gong said
Qigong (19 12-2005), a master of Chinese studies, mentioned in his On the Rhythm of Poetry and Prose: "It is a formula that has never been handed down, but there is no comment on the position of any word, and there is no exception. Wouldn't it be a big mistake if someone saw the word' solitary' and inferred that the flat tone at the end of the first sentence should also be taboo? Because' solitude' is actually a level sandwiched between two levels, and the single level at the end of the first sentence is not included. " Quote:
"The stone post of the monarch (the word' head' is lonely and flat)"
"In the past, it was forbidden to use money for private casting (private characters were isolated)."
"If your place (the fourth word of five words or the sixth word of seven words) is caught by two people, or one is caught by two people, it is illegal."
Mr. Qi Gong used the word "ping" to explain the word "ping", and thought that no matter whether it was a flat sentence or a flat sentence, except the beginning and the end of the sentence, every sentence with two flat words committed "ping", which was defined by Dong's theory of "clamping flat" in Qing Dynasty. From then on, the saying that "two things are flat and one thing is flat" is well known to modern people. However, it seems that there are few believers in Chinese mainland, and it is another person-Taiwan Province scholar Lin Zhengsan who further promoted it.
4. Lin Zhengsan, a contemporary scholar in Taiwan Province Province, said.
Lin Zhengsan (born in 1943), a scholar and poet in Taiwan Province Province, said in the Outline of Poetics: "The so-called loneliness means that the words before and after the sentence are silent, with a flat tone in the middle. Loneliness is commonly known as "difficult sentence", but it is not embarrassing if it can be saved. The first word of the seven words can be completely ignored because it is far from the syllable. So, although the second word' loneliness' is allowed. As for those who committed crimes in other places and were not saved, it can be said that there are very few. Some predecessors looked for it from the whole Tang poetry, but they only got the following two situations:
If you are drunk, you don't have to worry. (Gao Shi "Shang Qi sends Wei Sicang")
Centenarians don't farm. (Old man Li Weiye shows his back) "
Lin Zhengsan said: "As for the use of the four tones, that is the highest realm of tones. Modern poets have rarely been able to make hair, but Dong has a very detailed theory of four tones. " Therefore, his theory of "loneliness" is the same as Qigong's. Both of them use "two gaps and one level" to explain "loneliness", but the scope of responsibility is slightly wider than Qigong's. "The first word of seven words can be completely flat because it is far from syllables. Therefore, although the second word' committing loneliness' is also allowed. " When referring to the situation of "ping, ping, ping, ping".
Lin Zhengsan's views, as the name implies, are all based on Dong's "Ping" theory in Qing Dynasty. Dong did not explain the relationship between "Ping" and "Solitude", while He Zhengsan clearly stated that "Two Ping" is "Solitude". This definition is stricter than that of Wang Li and Wu Zhangshu, and it is precisely because Lin Zhengsan's "two-object level" is "isolated level", which is very popular in Taiwan Province Province, and now it has gradually affected the mainland and even led to controversy.
However, there is a problem here. Lin Zhengsan's definition of "Jia Ping" is obviously much stricter than Wang Li's definition of "Gu Ping". The examples he cited to prove that "the criminals elsewhere were isolated but not saved" in The Whole Tang Poetry are just two examples cited by Wang Li in The Laws of China Poetry to prove his "Gu Ping" theory, which was scientifically explored.
Now, let's take a look at how the predecessors discussed "loneliness" to understand the theoretical basis and basis of the four contemporary schools. According to the data, the first person who mentioned the problem of "loneliness" in history was Wang Shizhen, a scholar in the Kangxi period of the Qing Dynasty. Later, his nephew, Zhao Zhixin, a scholar of Kangxi, made further discussions. But none of them used the term "solitary apartment". During the Qianlong period, scholar Li Ruxiang first used the word "solitary flat". Later, during the Tongzhi period, Dong put forward the concept of "clamp leveling".
1, said Wang Shizhen, a scholar of Kangxi in Qing Dynasty.
Wang Shizhen (1634-1711), Minister of Kangxi in the Qing Dynasty, listed the example poems in the first style "Five words are too vague to rhyme" and pointed out in big characters: "Two sentences and four sentences in the Five Laws should be even. The word "even" and the word "flat" are connected together, and singles are not allowed. The second and fourth words should be flat, the first word can be flat, and the three words can be connected and changed into flat words. "
Wang Shizhen believes that the rhyme sentence in the Five Rhymes should be "flat and flat", and the first word must be flat, and the flat words should not be broken, so that the flat words can be isolated, and two flat words should be kept connected. In the sentence of "Ping Ping", the first word can be Ping Ping.
In the seventh form, the poem begins with an example: "When the Golden Gate of Japan leaked, there was a note under the third word:" This word must be flat, and flat things cannot be made. The relationship of this word is no more than three sentences, five sentences and seven sentences. "
This means that the rhyme of the first sentence and the complex sentence is the same, and it is not allowed to make a single sentence, and the relationship is no better than other single sentences that do not rhyme. In other words, sentences with rhyme are more demanding than sentences without rhyme, so we should pay attention to the "loneliness" in sentences with rhyme. Here, although Wang Shizhen didn't explicitly put forward the concept of "loneliness" and didn't mention "difficult to save", he said the definition summarized by contemporary scholar Wang Li. Therefore, he was the first person to mention "Gu Ping" in history.
2. Zhao Zhixin, a scholar of Emperor Kangxi of Qing Dynasty, said:
After Wang Shizhen, his nephew, Kangxi Jinshi Zhao Zhixin (1659- 1733), quoted the second sentence in Du Mu's poem "Seeing Lu Peixiu off for the Summer" in his Music Spectrum. He also quoted the antithesis in Li Shangyin's poem "Falling Flowers" that "petals are confused in my small garden" and bet that "this word is hard to survive". Note at the end of the poem: "The next sentence of' flat and even' is' flat and even', which is often used in metrical poems. If it is' ping, ping, ping', it is a falling tone. If there are three flats under the cover, it will be flat. " Another kind of cloud:
"The rhyme is even", the second sentence is correct. If "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. If many people don't know this, they will make mistakes in two languages from 135. " "Seven words are no more than five words, and flat ears are always on the fifth and sixth words. Five or six words of seven words, that is, three or four words of five words, can be analogized. "
"The second word and the fourth word of the sentence are flat, such as' flat and flat' or' flat and flat' or' flat and flat'. For example,' Ping and Ping', "The first sentence of the Tang Dynasty also has this tone, which is' Ping and Ping' or' Ping and Ping', but the next sentence must be three or four levels (such as' Ping and Ping' and' Ping and Ping')." The third word of the previous sentence is flat, and the third word of the next sentence can be flat. If the third word of the previous sentence is flat, then the third word of the next sentence should be flat. This is in the first couplet, and there are also informal people in the Tang Dynasty. If they are in the second league, they will not relax. "
Here, Zhao Zhixin not only mentioned the five-character quatrains "occasionally" and the seven-character quatrains "occasionally", but also put forward the non-quatrains "occasionally" and "occasionally". More importantly, he also put forward the methods of "self-help in this sentence" and "mutual assistance in antithesis", which are further and more specific than Wang Shizhen's theory, but he still did not use "Gu Ping".
3. Qing Ganlong scholar Li Yuxiang said.
Li Ruxiang (the year of birth and death is unknown) wrote a five-character statute in the second volume of Guang Yin Pu, including "Gu Ping Ti" and three poems:
Tang Du Fu's "The Moon is the King of Hanzhong" begins: "The night is clear and the moon is full of rivers. )"
The second sentence of Tang Li Bai's "Nanyang Fujian": "(You can't compete for wine, Do not forget your initiative mind."
The second sentence of Don Dai Shulun's Send Friends to the East: "(Liu Se, Wan Li) Go out to see an old friend."
Next to the first sentence of these three poems, Li Ruxiang marked the place of "loneliness" and wrote at the back that "loneliness is a taboo in modern poetry because it leaves no leaves." However, the five laws are ancient and different from the seven laws. Therefore, there are many people who use one and two in Tang poetry, but they must be matched with the body. This is not unintentional by the ancients. Misuse without inspection, that is far away. It is also clearly pointed out: "When it comes to the sentence of' flat and flat', the first word should not be flat. But if you use the first word, the third word must be flat, which is called an awkward sentence. "And quote the first sentence of Zheng Gu's poem" The Wall of a Book Village ":"Grass is fat to herd cattle ".If cursive characters are used, Korean characters will be used, and the fat characters will be flat and one-way. If this word is leveled, the word fat will not be on the top, but it will still be on the bottom. It is not a single line, so the name is awkward and can be used. "
Li Ruxiang listed three kinds of "lonely flat" sentence patterns, all of which used rhyming sentences (flat couple). The first word should be flat, but the second word "lonely flat" appeared. There is no mention of "loneliness" in sentences that don't rhyme, that is to say, they all commit "loneliness" in sentences like "even". It is the first time to use the word "lonely apartment" and put forward that it is a "taboo" in modern poetry. From this point of view, Li Ruxiang's "loneliness" theory can be regarded as a master of stages, which has a far-reaching influence on the research of scholars such as Wang Li in later generations.
4. Dong, a scholar of Tongzhi in Qing Dynasty, said
Dong (1833—— 1877) pointed out in Volume XI of his Four Tones Diagram: "In this formula, a horizontal tone is sandwiched between two horizontal tones." For the first time, there is a saying that it is "flat". Let's look at his explanation again: "The first sentence of the couplet' fair and decent, fair and decent' is ambiguous. If the first word is not saved, the last three words will be ambiguous. Save it. If the three words in the next sentence are flat, the first sentence can also be squashed. If you cover two or three even words, you don't have to be flat, so you can save the first sentence. "
That is to say, if the third word in the upper part is flat, it needs to be flat in the lower part and "saved" with flat. The lower part is flat, and the upper part can also be flat. "Ersanzi Dui" refers to the sentence pattern of "Ping Dui". If two or three words are even, and it is guaranteed that they will not be pinched, then the first word is even, even. There are two flat tones connected, that is, you don't make a "clip". It's about "saving each other's sentences." Another example is: "the sentence of' fairness' is a positive law rather than an ancient sentence. There was no flat disease in the first two days. " The implication is that if the first two words are not even, they will become "even" and also a "flat".
The problem of "ping" in non-rhyming sentences is mentioned here, that is to say, there is a problem of "ping" in both rhyming sentences and non-rhyming sentences. From this point of view, the problem of "clamping flat" explained by Dong is actually the problem of "isolation flat", but different concepts are used. However, in Volume 12, he said: "As for lonely and plain poems, they are the most taboo, while clumsy people prefer loneliness and plain to avoid loneliness." But putting the two concepts of "loneliness" and "clamping" together, there is no example of what "loneliness" is. There are questions here.
To sum up, it is the author's induction and arrangement of eight influential "loneliness" theories since Kangxi in the Qing Dynasty. Therefore, the theory of "loneliness" began, pushed to, settled on Li Ruxiang and changed to Dong. The word "Gu Ping" began with Li Ruxiang, and the word "Jia Ping" began with Dong. Wang Li and Wu Zhangshu inherited the theories of Wang Shizhen, Zhao Zhixin and Li Ruxiang, abandoned Zhao Zhixin's theory of "loneliness" and summarized and defined "loneliness". He and Lin Zhengsan completely inherited Dong's theory and defined "ping" as "isolation". In order to form two factions, there was a dispute. As far as the current poetry circle is concerned (couplet is no longer taboo), it generally follows Wang Li's definition and is basically lenient.
The author thinks that the meaning of "Gu Ping" and "Ping Jia" are the same, and both of them emphasize both being flat and avoiding being flat, but their words are different. The crux of the problem is that the two standards for defining the scope of application are different. As far as the personal experience of learning poetry couplets is concerned, it is also a relatively recognized definition of Wang Li. According to its definition, the specific understanding is as follows:
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