Analysis:
Poetry in ancient style
Classical poetry, also called archaic style, is written according to the practice of ancient poetry, and its form is relatively free, and it is not bound by metrical rules.
Judging from the number of words in poetry, there are four-character poems, five-character poems and seven-character poems. Four words are four words, five words are five words and seven words are seven words. After the Tang Dynasty, there were few four-character poems, so they were usually divided into five-character poems and seven-character poems. Five-character ancient poems are referred to as five ancient poems for short; Seven-character ancient poems are referred to as seven ancient poems; The use of three, five and seven characters at the same time is generally considered as seven ancient characters.
There are no rules for the leveling of ancient poetry. The leveling of poems in Han, Wei and Six Dynasties is completely free. After the Tang Dynasty, classical poetry was influenced by metrical poetry, and it was biased on the level tone. Accordingly, ancient poetry can be divided into two types: one is pure ancient style, and the other is legalist ancient style.
Pure antique leveling is basically free. However, after the Tang Dynasty, some poets deliberately avoided metrical sentences when writing classical poems, thus creating an invisible atmosphere to distinguish classical poems from metrical poems as much as possible. In this way, the sentences of classical poetry have some characteristics.
As mentioned above, Sanpingdiao is a special form of ancient style, which has become one of the characteristics of ancient style. In addition to this third-level tone, the last three words all end in the first-level tone; There are also two rare ones with flat or flat endings. That is to say, flat sentences, the third word of five words or the fifth word of seven words are all based on the principle of using flat voice; In lame sentences, the third word of five words or the fifth word of seven words is based on the principle of using sound. Judging from the flatness of the whole sentence, the rhythm of most sentences is not flat, but flat, that is to say, the second and fourth words of Wugu are flat, or the second and fourth words are flat; Gucci is flat with the fourth and sixth words. For example, Du Fu's Sui Yan Xing:
At the end of the year, there are many northerly winds, and it is snowing in Xiaoxiang Dongting. The fisherman's cold net is bitter and frozen, and he doesn't shoot geese and sing mulberry bows. Last year, there was a shortage of rice in the army. This year, rice is cheap and hurts farmers. High-tech officials hate wine and meat, and this generation is empty. Chu people value fish more than birds, so they should not kill Nan in vain. It is said that men and women are everywhere, and cutting kindness and forbearance is also a matter of renting a house. In the past, money was used to catch private castings, but now lead, tin and bronze are used. Carved clay is the easiest thing to get, and likes and dislikes can't be concealed by looks. When will the sadness of this song end?
Fifteen of the eighteen sentences in the whole poem meet the requirements of the four three-character suffixes mentioned above; In particular, seven of the ten flat sentences are three-level tones, which is particularly noteworthy. There are nine sentences that meet the requirements of overlapping. There are only two sentences left ("Mickey was badly beaten this year" and "the world city blew its horn"). This shows that there is a great difference between pure ancient style and orthodox poetry.
The ancient style of entering the law is just the opposite of pure ancient style, and poets try their best to use legal sentences. The reason why the ancient custom of entering the law is different from metrical poems lies in the following: (1) the number of sentences is uncertain; (2) Alternating rhymes and rhymes; (3) It is often four sentences and one rhyme. This kind of situation generally exists only in the seven-character ancient style. For example, in Wang Bo's "Marten Pavilion", the sentences are basically homophonic. Simply put, two poems are linked together, but one of them is only a rhyming quatrain. This kind of rhyme alternated with flat tones, and four sentences changed rhyme, which later became a typical example of legalist ancient style. Bai Juyi's Song of Eternal Sorrow is basically in this form, as well as his Pipa, Yuan Zhen and Lotus Palace Ci. This is what is commonly called "Yuanhe".