The sentence patterns of Tang poems are basically the same as those of Han, Wei and Six Dynasties. But after the Tang Dynasty, there were more seven-character poems, and the sentence patterns naturally changed. In addition to the four or three forms mentioned in the last section, the seven-character poem can also add two sounds before the whole five-character poem to become an independent rhythm, thus forming a sentence pattern of "25". For example:
Draw a building-fly to Nanpu cloud and bead curtain-rain rolls in the western hills at dusk. (Wang Boteng, Wang Ge)
News-men and women are everywhere. (Du Fu Sui Yanxing)
Shocked-colorful feathers. (Bai Juyi's Song of Eternal Sorrow)
Knowing is-litchi and longan are coming. (Su Shi sighs)
If we carefully analyze the last five words of these seven-character poems, some are 2 12, such as Du Fu's Yan Suixing. Have a plenty of 22 1, such as Wang Bo's "Wang Teng Ge" and Bai Juyi's "Song of Eternal Sorrow"; Some are 4 1 year-old, such as Su Shi's Li.
On the other hand, the five-two style is very rare. Du Fu's fermented bean curd "half-sad at night-talking to himself, the moonlight in the sky is good-who will see it" is the only situation.
There is not much difference between the sentence patterns of modern poetry and ancient poetry. The general sentence patterns of five words and seven languages, ancient poetry and modern poetry are all applicable. There are only two supplementary notes here:
(1) The sentence pattern of modern poetry is generally that every two syllables constitute a rhythm unit, and each rhythm unit is equivalent to a two-syllable word or phrase. Music rhythm and meaning unit are basically the same. For example:
White clouds-looking back-off, green smoke-looking for-no. (Wang Wei Zhong Nanshan)
Endless-falling wood-rustling-falling, endless-the Yangtze River-rolling in.
(Du Fu goes up the mountain)
Providence-pity-grass, human feelings-weight-yat sen villa. (Li Shangyin, Yat Sen)
Embarrassed-often sad-like-Chu prisoners, moving-happy-learning-together with you.
(Lu You Huangzhou)
It can be seen that a disyllabic word or a disyllabic noun phrase generally does not cross two rhythmic units. However, disyllabic words or disyllabic noun phrases should span two prosodic units, such as "the time was long before I met her, but longer after we broke up" in Li Shangyin's Untitled, in which "when we met" means crossing two prosodic units; Another example is Moonlight on the Twenty-four Bridges in Du Mu's Report to Hanchuo, Yangzhou Magistrate, in which "Twenty-four" also spans two rhythmic units. But this kind of situation is relatively rare in modern poetry.
(2) The sentence pattern of modern poetry often ends with three characters, which keeps considerable independence. That is to say, although three-character suffixes can be subdivided into 2 1 or 12, they always form a whole: if it is a pentameter, the last three words and the first two words are divided into two larger rhythms; If it is a seven-syllable rhythm, the last three words and the first four words are separated into two larger rhythms. Therefore, some sentence patterns in the poems of the Han, Wei, Six Dynasties and the ancient poems after the Tang Dynasty generally cannot be used in modern poetry. For example:
Meet me in the grave. (Ancient poem "Jiao Zhongqing's Wife")
So is the risk. (Li Bai can't walk through the channel)
Enjoy this glass of wine. (Tao Yuanming drinks, third)
A foot of carpet needs thousands of filaments. (Bai Juyi red carpet)
Chen Tao is blood or water. (Du Fu mourns Chen Tao)
Living in her parents' house at the foot of Toad Mountain. (Bai Juyi pipa)
Judging from the meaning unit, these poems are not the end of three letters. One or two squares are suffixes, three or four squares are suffixes, and five or six squares are suffixes. This does not conform to the rhythm of ordinary sentences. In particular, suffix is the last word used in modern poetry.
The following are the sentence patterns of modern poetry. Let's start with the grammatical features of modern poetry.
Poetry in the Han, Wei and Six Dynasties and ancient poetry after the Tang Dynasty are grammatically consistent with prose. Modern poetry is different. Modern poetry has some grammar, especially prose. Some poems can be distinguished not only from the level tone but also from the grammar. So is the ancient custom of entering the law. We are not going to go into too many details about this problem. Here are only two points: ellipsis and inversion.
Let's talk about ellipsis first. Modern poetry has a limited number of words, so the language requirements are particularly detailed. It goes without saying that subjects, conjunctions and prepositions are often omitted; The following is a sentence lacking verb predicate, which can be subdivided into four types:
The first is to use only simple noun phrases. For example:
The spring rain in the mountains has not stopped all night, and the trees on the treetops are spring. (Message from Wang Wei to Zizhou Commissioner Li)
Now, I am alone on the spring tree in Weibei, and you are on each side of the sun, sunset and sky in the southeast, and you can only miss. (Du Fu's Spring Memories of Li Bai)
After falling out of favor, Ji returned to the hospital that night, but when the veteran went upstairs. (Bai Juyi's Mid-Autumn Festival Full Moon)
The second is to put two noun phrases together, so that readers can understand their relationship. For example:
Floating clouds are like wanderers, like wandering, and the sunset slowly goes down the mountain, which seems to be nostalgic. (Li Bai sends a friend)
The breeze rippled on the grassy coast, through the night, and blew to my still mast. (Du Fu's night abroad)
Wuxia, the ape is sad and tears, Hengyang Guiyan brings me the book. (Gao Shi to deputy governors Li and Wang were demoted and transferred to middle summer and Changsha)
The third is to keep adverbs and omit verbs. For example:
The old country is still untouched, and the country is full. (Du Fu sends him away)
His old home between mountains and rivers-empty works, empty sex platform-is certainly not imagined in the dream? . (Du Fuyong Huai Monument (2))
It is difficult to determine which verbs are omitted after adverbs, but the meaning is clear.
The fourth is a complex sentence, where one clause has a predicate and the other clause has no predicate. For example:
Her cloudy hair is sweet with mist, and her jade-white shoulders are cold in the moonlight. (Du Fu Moonlit Night)
Cold birds gather at dusk, and monks are cold in autumn rain. (Bai Juyi travels to Kong Jing)
Every tree in Hanyang becomes clear in the water, a country of parrots. (Yellow Crane Tower, Cui Hao)
This kind of ellipsis often appears in modern poetry.
Say the inverted sentence first. In order to meet the requirements of temperament, modern poetry can often make appropriate changes in word order, which is a syntactic inversion sentence. Although prose also has inverted syntax, it is not as free as modern poetry and far less free. Some inverted sentences in modern poetry are not allowed in prose. For example:
Green wind breaks bamboo shoots, and red rain makes bloom plum blossom. (Du Fu accompanied Zheng Guangwen)
(The wind breaks the bamboo shoots and turns green, while the rain makes the plum blossom red. )
After the rain, the colors of Hsinchu are refreshing, and the mountains are more lovely against the sunset glow. (Qian Qi Taniguchi Shu Qi sent Yang to fill the vacancy)
After the new rain, pity the bamboo and love the mountains in the sunset. )
The fragrant rice pecked at the parrot's grain, and the branches of the old phoenix perched in Wu Bi. (Du and his eight)
(Parrots peck at the fragrance of rice grains, and phoenix inhabits old trees. )
Always remember that rivers and lakes belong to the White Temple, and return to heaven and earth to enter the boat. (Li Shangyin Anding Tower)
I will always remember the White Temple in the Jianghu.
This change of word order is difficult to understand from the grammar of prose. But in modern poetry, it not only adapts to the requirements of temperament, but also increases the emotional charm of poetry.
Only by understanding the special grammar of modern poetry can we better understand the meaning of modern poetry, instead of reading prose or ancient poetry.