The Rhyme of the Ministry of Rites
In the early years of the Song Dynasty, at about the same time as the "Qie Yun" was reviewed and rewritten as the "Guang Yun", in order to meet the needs of the imperial examination. The Ministry of Rites, which presided over the imperial examinations, promulgated the "Yun Lue", which was simpler than the "Guang Yun". This "Yun Lue" was generally called the "Jingde Yun Lue" because it was written during the Jingde period of the Song Dynasty. It is actually an abbreviated version of "Guangyun". Dai Zhen's "Examination of Sound and Yun" states: "At that time, there was no such thing as "Yun Lue" of the Ministry of Rites. Its title, "Yun Lue", was the same as the edited "Qie Yun" (case: that is, "Guang Yun Yu" was promulgated on the same day. It was used independently and with the same examples. No difference. Next year, "Qie Yun" was renamed "Guang Yun", and "Guang Yun" and "Yun Lue" were the two books of "Jingde Yun Lue" and "Xianfu Jian Xing Lue". "Guangyun" was produced at the same time. In the fourth year of Jingyou (AD 1037), that is, when "Jiyun" was written, Song Renzong ordered Ding Du, the author of "Jiyun", and others to "publish the thirteen places of narrow rhyme". "Jingde Yunlue" was reprinted and renamed "Libu Yunlue". It can be seen that it is a work at the same time as "Jiyun". "Guangyun" has a lot less words. The reason for the fewer words is to facilitate the memorization and mastering of the examination scholars. However, the rhyme part is still the same as "Guangyun", and it is divided into 206 parts after this book was published. In the 32nd year of Shaoxing in the Song Dynasty (AD 1162), Mao Huang presented to the emperor his "Additional Review of the Rhymes of the Ministry of Rites" and this book was added to the original book by two thousand. More than 600 words. By the time of Chunxi (the reign of Emperor Xiaozong of Song Dynasty), the so-called "Rhyme of the Ministry of Rites" appeared again, and the popular version was titled "The Rhyme of the Ministry of Rites with Explanatory Notes", which was still divided into 200 parts. Six rhymes. In the 12th year of Song Chunyou (AD 1252), Liu Yuan, a native of Shanxi Province, revised it into "Renzi Xinkan Yunlue of the Ministry of Rites". This book is better than the original "Yunlue of the Rites". "" added 436 words. At the same time, it returned the 206 rhymes of the original book to 107. This book was lost to posterity, but "Yun Hui" was written by Huang Gongshao of the Yuan Dynasty. The 107 divisions are based on this book. From the Northern Song Dynasty to the Southern Song Dynasty, scholars used rhyme in poetry, especially in imperial examinations. However, "The Book of Rites" was used as the basis. The original book of "Yun Lue" no longer exists, and what is available now is "Yun Lue of the Ministry of Rites". The four tones of ancient Chinese are summarized by Ping and Li. Ping includes Shang, Lai and Ru tones. In modern poetry, Ping tones and Li tones are regularly juxtaposed, interlaced, and opposite to form characters with different tones. Misuse constitutes one of the important expressions of poetry rhythm, which is called "ping and oblique rhythms". The metrical poems of the Tang and Song Dynasties generally only use the parallel and oblique oppositions. However, the lyrics and music that appeared in the Song and Yuan Dynasties were not only used for singing needs. We should pay attention to the tone and tones, and pay special attention to the use of Shang, Lai and human tones in oblique characters, and pay special attention to the use of Shang and Li tones. This is an important difference in the use of tones in modern poetry and music. To use it, one is to pay attention to the arrangement of the flat and oblique sounds in the sentence; or the alternation of the oblique and oblique tones in a sentence, or the opposition of the oblique and oblique tones in a couplet, and the other is the arrangement of the oblique and oblique tones in each sentence in a piece. Such as the emphasis on mutual adhesion, the alternation, opposition, and mutual rescue of flat and oblique patterns, etc., diversify the format of the poems. This is what Liu Xie calls "different sounds and phases" in "Wen Xin Diao Long·Sound Rhythm Chapter". "Concordance is called harmony, and the same sound corresponds to the rhyme." This is a manifestation of the conformity of different sounds.