The first chapter is about some concepts of poetic meter. The first section is rhyme, which is one of the basic elements of poetry meter. Poets use rhyme in their poems, which is called rhyme. Poetry from The Book of Songs to later generations has almost no rhyme. There are no folk songs that don't rhyme. In the northern operas of China, rhyme is also called "quotation" and rhyme is also called "match". Most people can tell whether a poem rhymes or not. As for explaining what rhyme is, it is not very simple. However, today we have hanyu pinyin, and the concept of rhyme is easy to explain. The so-called rhyme in poetry is roughly equal to the so-called vowel in Chinese Pinyin. As we all know, when a Chinese character is spelled with pinyin letters, there are usually initials and finals. For example, the word "male" is spelled g instead of ng, where g is the initial and ong is the final. The first letter is always in front and the vowel is always in the back. Let's look at "Dong", "Tong" tūng, "Long" lūng, "Zong" Zong, "C ū ng" C3 ū ng and so on. Their vowels are all long, so they are homophones. Any rhyming word can rhyme. The so-called rhyme means putting two or more rhyming words in the same position. Generally, rhyme is always placed at the end of a sentence, so it is also called "rhyme foot". Let's take a look at the following example: Zhang Biliu in the Southern Song Dynasty, with dark Gai Lou and tung flowers falling to build incense (xiāng). The opening of the painting hall is cool in the evening breeze (liáng), and the forehead of the high-volume crystal curtain is lined with the sunset (Y× ng). Here "Xiang", "Liang" and "Yang" rhyme, because their vowels are all ang. In pinyin, I, u, u can be added before a, e and o, such as ia, ua, uai, iao, ian, uan, iang, uang, ie, üe, ONG and uen. These I, U and U are called rhymes, and words with different rhymes can also be regarded as homophones. For example, although the vowels of "Ma (má)", "Jia (jiā)" and "Gua (guā)" are not exactly the same, they are all homophones, and they are equally harmonious together. The purpose of rhyming is to rhyme harmoniously. The repetition of the same music in the same position constitutes the beauty of sound circulation. However, why do we often feel that the rhymes of ancient poems are not very harmonious or even harmonious when we read them? This is because times have changed. With the development of language and the change of pronunciation, we naturally can't read them with modern pronunciation. For example, in the Tang Dynasty, Du Mu was far away from the mountains, and there were people in the depths of white clouds. Stop and sit in the maple forest late, and the frost leaves are redder than the February flowers (huā). The word "Xie" here was pronounced sia(s pronounced voiced) in the Tang Dynasty, which is the same as the pronunciation of "Xie" in modern Shanghai. So, it was harmonious. Today, it is certainly impossible (and unnecessary) for us to read the poems of the ancients according to the ancient sounds. The ancients rhymed according to rhyming books. The so-called "official rhyme" of the ancients is the rhyme book promulgated by the court. This rhyme book is basically consistent with the spoken language in Tang Dynasty, and it is reasonable to rhyme according to the rhyme book. After the Song Dynasty, the pronunciation changed greatly, and the poet still rhymed according to the rhyme book, which was even more unreasonable. Today, if we rely on sound to write poems, we naturally don't have to rhyme according to rhyme books. However, when we read the poems of the ancients, we still need to know their poetic rhyme. In the second section, four tones and four tones refer to the four tones in ancient Chinese. If you want to know the four tones, you must first know how the tones are formed. So let's start with the tone. Tone is the characteristic of Chinese (and some other languages). The tone of Chinese is composed of the ups and downs and the length of the voice, and the ups and downs are the main factors. Take the tone of Mandarin as an example, * * * has four tones: the flat tone is Gao Pingtiao (it is flat if it doesn't rise or fall); The upper voice is a rising tone (not high or low); The rising tone is a low rising tone (sometimes a low flat tone); Voiced is a high tone. Ancient Chinese has four tones, but it is not exactly the same as Mandarin today. The four tones in ancient times were: (1) flat tones. This tone is divided into Yin Ping and Yang Ping in later generations. (2) in sound. Part of this tone will become unvoiced in future generations. (3) go to the sound. This tone is still unvoiced in later generations. (4) if you are born. This sound is short. Modern Jiangsu, Zhejiang, Fujian, Guangdong, Guangxi, Jiangxi and other places still preserve the milk sheng. There are also many places in the north (such as Shanxi and Inner Mongolia) where raw milk is preserved. Hunan Rusheng is not short, but it also retains the tone category of Rusheng. In most spoken languages in the north and southwest, the entering tone has disappeared. In the north, some entering tones are flattened, some are flattened, some are raised and some are lowered. As far as Putonghua is concerned, the entering tone words have the most disyllables, followed by the upper tone; Become the most silent. The entering tones of southwest dialects (from Hunan to Yunnan) have all become yangping. It is impossible to understand in detail the formation process of ancient four-tone ups and downs. Traditionally, the flat tone should be the middle tone, the rising tone should be the rising tone, and the entering tone should be the short tone. There is a Song formula in front of Kangxi dictionary, which is called "Four Tones Division". It says, "Don't go up and down, when the voice is loud, it is violence and strength; The voice is gone, and I am obviously sad for a long time; When the voice is short, hurry to close it. This narrative is not scientific enough, but it also gives us a general understanding of the ancient four tones. The relationship between four tones and rhyme is very close. In rhyme books, words with different tones cannot be regarded as homophones. In poetry, words with different tones generally cannot rhyme. It is very clear in the rhyme book that what words belong to what tune. It is quite clear that a word belongs to a certain tone in Chinese dialects that still retain the tone of entering tone today. Pay special attention to reading one word and two words. Sometimes, a word has two meanings (often different parts of speech) and two pronunciations. For example, when the word "for" is used as a verb, it is interpreted as "doing", and it reads flat (rising tone); When used as a preposition, it is interpreted as "because" and "for the sake of". In ancient Chinese, this situation is much more than that in modern Chinese. Now give a few examples: riding, flat voice, verb, riding; Disyllabic, noun, cavalry. Thinking, flat voice, verb, absence; Remove sounds, nouns, thoughts and feelings. Fame, flat voice, verbs, praise; Disyllabic, noun, reputation. Dirty, flat voices, adjectives, filth; Disyllabic, verb, dirty. Number, consonant, verb, calculation; Disyllabic words, nouns, numbers, fate; Such as sound (read like new moon), adjective, frequent. Teaching, desensitization, noun, enlightenment, education; Life, verb, make, let. Command, silence, noun, command; Life, verb, make, let. Forbidden, silent, noun, forbidden, forbidden; Life, verb, can stand. Kill, Rusheng, transitive verb, kill; De-sounding (sounds like Sun), intransitive verbs, fade. Some words, which were originally flat, were later changed to disyllabic, but their meanings and parts of speech have not changed. " "Wang" and "Tan" have been pronounced in Tang poetry, and the word "Wang" is often pronounced in a flat voice (such as diary) before modern regular poetry. In modern Chinese, except for the word "table" of "guard", all the words "table" are pronounced horizontally. There are more complicated situations: for example, when the word "Guo" is used as a verb, it should be read twice. As for the use of nouns, when they are interpreted as wrong, they have to be read again. Distinguishing four tones is the basis of distinguishing flat tones. In the third quarter, Pingping knows what four tones are, which Pingping can easily understand. Flat tone is a term of poetic meter: poets divide four tones into two categories, flat tone is flat tone, and flat tone is three tones. Well, literally, it means uneven. What makes it possible to divide it into two categories? Because the flat sound does not rise or fall, it is long, while the other three sounds do rise or fall (the incoming sound may also slightly rise or fall), and it is short, so it forms two types. If these two tones are interlaced in poetry, the tones will be diversified, not monotonous. The so-called "sonorous voice" of the ancients, although there are many stresses, is also an important factor. How are the flat lines in poetry staggered? We can sum it up in two sentences: (1) hierarchy and level alternate in this sentence; (2) Pingzhuan is opposite in the antithesis. This kind of flat and even rule is particularly obvious in metrical poems. For example, the fifth and sixth sentences of Mao Zedong's poem Long March say: Jinsha River is warm on the cliff, and Dadu Bridge is cold on the crossbar. These two poems are flat and even, flat and even. As far as this sentence is concerned, every word has a rhythm. Pingping's sentence is followed by Xu Wei, followed by Pingping, and the last one is Xu Wei. When you start a sentence, it is flat, followed by flat, and finally flat. This is alternation. As far as sentences are concerned, "Jinsha" is flat to "Dadu", "Shuipai" is flat to "Qiaodu" and "Yunya" is flat to "Tiesuo". This is opposition. The rules of poetry are also discussed in detail below. Now, let's talk about how to distinguish the level. If you have tones in your dialect (for example, you are from Jiangsu, Zhejiang, Shanxi, Hunan and South China), then the problem will be solved easily. In those dialects with entering tones, there are more than four tones, not only yin and yang, but also yin and yang. Like Guangzhou Rusheng, it can be divided into three categories. It's all easy to do: just combine them, for example, combine the level tone and the level tone into a flat tone, and combine the above-yin, above-yang, out-yin, out-yang, in-yin and in-yang into a flat tone. The problem is that you must first find out how many tones there are in your dialect. It is necessary to find a friend who understands the tone to help. It would be better if you had learned the corresponding rules of dialect tone and Mandarin tone in Chinese class, and made clear the tone of your own dialect. If you are from Hubei, Sichuan, Yunnan, Guizhou and northern Guangxi, all the Rusheng words in your dialect belong to Yangping. In this way, we should pay special attention to Yangping characters, some of which belonged to Rusheng characters in ancient times. As for which words belong to entering tone and which words belong to entering tone, you have to look them up in a dictionary or rhyme book. (If you are from the north, the method of distinguishing flat tones is slightly different from that in Hubei and other places. ). Because most of the ancient entering tone words in Mandarin have become disyllabic, so disyllabic is also a disyllabic; The other part of the voice changed, and the voice was low. Therefore, the words from entry to change and from entry to change do not prevent us from distinguishing levels; Only when the entrance is leveled (Yin Ping and Yang Ping), it is difficult to distinguish leveled. We came across a place where rhyme was stipulated in the Law of Poetry, and the poet used a word that sounded very flat today, which aroused our suspicion. We can look it up in a dictionary or rhyme book. Note that any word ending in -n or -ng will not be an entering tone word. As far as Hubei, Sichuan, Yunnan, Guizhou and northwestern Guangxi are concerned, there are basically no syllables such as AI, ei, AO and ou. In a word, the problem of entering tone is the only obstacle to distinguish flat tones. This obstacle can only be eliminated by looking up a dictionary or rhyme book; However, the truth of leveling is easy to understand. Moreover, about half of China is reserved for entering tone, so people in those places have no problem in distinguishing flat tones. The antithesis in antithetical poems in the fourth quarter is called antithesis. The ancient guard of honor is relative, which is the origin of the word "antithesis". What is duality? Duality means juxtaposing similar concepts or opposing concepts, such as "resisting US aggression and aiding Korea" and "resisting US aggression and aiding Korea" to form duality. In the middle is in the middle of a sentence, and two sentences can be opposite. For example, "to resist US aggression and aid Korea" is self-contradictory, while "to resist US aggression and aid Korea and defend the country" are two opposite sentences. Generally speaking, duality refers to two opposite sentences. The last sentence is called a sentence, and the next sentence is called a sentence. The general rules of duality are noun to noun, verb to verb, adjective to adjective, adverb to adverb. Take "Resist US aggression and aid Korea and defend our country" as an example: "Resistance", "aid", "protection" and "defense" are all relative verbs, and "beauty", "Korea", "home" and "country" are all relative nouns. In fact, nouns can be subdivided into several categories, and similar nouns are relatively neat and dual, referred to as "work pairs". Here, "beauty" and "Korea" are proper names and abbreviations, so they are industrial pairs; Both "home" and "country" are people's collectives, so they are also the rights of workers. "Defending the country and defending the country" is also right for "resisting US aggression and aiding Korea", because the sentences are self-aligned, so it is not required that the two sentences are equally neat. Duality is a rhetorical device, whose function is to form neat beauty. The characteristics of Chinese are especially suitable for disyllablization, because there are many monosyllabic words, even disyllabic words, among which morphemes are quite independent and easy to cause disyllablization. Because duality is a rhetorical device, it is necessary for both prose and poetry. For example, the Book of Changes says, "Respond with one voice and seek a spirit." ("Dry a Classical Chinese") The Book of Songs says: "I was not there yesterday, Liu Yang Yiyi; I think about it today, it's raining. " ("Xiaoya Cai Wei") These antitheses are all to meet the needs of rhetoric. (But the antithesis in regular poems still has its rules, not as casual as the Book of Songs. I won't go into details here. Attachment: Recognition method of entering tone words 1. Take the sound side of harmony as an analogy: which foot is in the valley, which foot is in the fingernail, which foot is in the country of Basomo, which foot is in the first place, which foot is in the wrong position, which foot is in the wrong position, which foot is in the right position and which foot is in the right position. ) Vowel feature recognition method: 1) Words with initials J and ZH and pronounced as rising tone must be Rusheng words (referring to Putonghua). 2) Words with vowel üe are entering words (note: except the word "boots"). 3) In Sichuan, Guizhou and other places, words with Mi and uê as vowels (such as or, country, black, white) are entered words. Third, homophone recognition method: all words with the same pronunciation as the following words are straight into the tone, and the nose flute reads bamboo, which board is full of rafts, and if it wins the country, it is clean and pure. Fourth, remember according to the rhyme of poetry, such as the rhyme of the epigraph "Man Jiang Hong" and "Nian Nujiao". 5. Memorize with the corresponding rules of dialects: the three tones of Mandarin, Qu and Yang Ping in Southwest Dialect are Rusheng. Chapter II Sources and Types of Words Section I Lexicology, the biggest difference from the old physical law poems in form is that the old physical law poems are neat five or seven words (qi Yan) and the words are long and short sentences (miscellaneous words). But are long and short sentences the characteristics of words? That's not true. Because words are not all long and short sentences, and the poems that make long and short sentences are not words. For example, in the ancient book The Book of Songs in the pre-Qin period, there are some poems with long and short sentences, but they are not "words". Because the poems in The Book of Songs are the words of elegant music, the poems of Yuefu in Han and Wei Dynasties are the words of pure music, and "Ci" is the words of Yan music. The so-called "Le Yan", according to the Records of Music in Sui Shu, was a new music with pipa as the main instrument that was introduced into the Central Plains from Indian Central Asia through Xinjiang before the Northern Zhou Dynasty. This kind of music from the Western Regions became popular in Sui and Tang Dynasties. Because it is often used at banquets, it is called "Yanle" (Yanhe). After Yan Yue was introduced into the Central Plains, it was also influenced by folk music, which contained some elements of folk music, but its main body was still a large number of Hu Yue imported from outside. Because the melody of "Le Hu" is quite complicated, the original neat five-character seven-character poem can only be matched with a part of music, and a large number of songs with irregular structure are difficult to match, so we can only fill in the "words" of long and short sentences according to the beat of the music. That's how the word came into being, and it developed at the same time from the beginning. It can be seen that those words that appear in the form of miscellaneous words require different sentences, and the words and levels of each sentence are different. What rhyme and where it is used are not arbitrary, but "the length of the sentence depends on the curvature", which is stipulated by the music score. Like poetry, "Ci" originated from the people. As for the era of "Ci", it can be traced back to the Sui Dynasty at the earliest. For example, River Mourning and Yang Liuzhi in the Sui Dynasty may be folk tunes. Moreover, because "Ci" is the lyrics of music, some of its original works are probably written by musicians who are familiar with music except folk songs. Literati Ci after the middle Tang Dynasty gradually developed and matured on the basis of folk Ci. Ci, since it is a lyric with a pleasant countenance, the exact name should be called "Quzi Ci". "Quzi" refers to the music part, and "Ci" refers to the literature part. In the music lyrics, the two are not public. Liu Jingxi Xizai said: "Ci is a word of Qu, and Qu is a song of Ci", so the name "Qu Zi Ci" clearly explains the nature of Ci style and the relationship between Ci and Qu. In addition, the names of words also include: Yuefu, poetry, long and short sentences, music, Qin music, language industry, songs and other tones. Wait a minute. Tones of words are divided into poems, alto and long tones according to the number of words; Or divided into poems and slow words. In addition to this classification by the number of words, the tones of words are also different from single-high-speed two-tone, three-tone and four-tone because of segmentation. A paragraph of a word is called a piece or a paragraph. The relationship between movies is a pause of music, not a full dimension, just like the situation that modern songs are sung into one song over and over again. Words that are not segmented are monotonous, and words that are divided into two parts (or upper and lower parts) are disyllabic. The triple stack is divided into three parts. If the first two stacks are short and the grammar is exactly the same, then the double-headed person in the third stack seems to be called "double-headed". The quadruple is divided into four sections. Disyllabic is the most common word form. Usually, the number of words in the upper and lower films is equal or basically equal, and the tone is roughly the same. Where the number of words and word levels of the upper and lower films are different, the first sentence of the next film is called "head change" or "cross-film". Tones are divided into four categories according to the different musical rhythms: ling, leading, approaching and slowing. Although it is not necessarily related to the number of words, there are still some differences in the number of words: even words are generally less, synonyms and quotations are generally longer than ling and shorter than slow words. Slow words are mostly long sounds. Of course, the difference in the number of words is only general, not absolute. In order to greatly enrich the tone of ci, the poet not only created his own tone, but also adopted the method of creating new sounds while creating. It mainly includes: breaking tone, transferring tone, expanding, reducing words, stealing sound, overlapping rhyme, adding words, promoting shooting and joint printing. Musically speaking, pitch is tone. Every tone expresses some kind of emotion, whether it is joy or anger, or sadness or joy, it is all sound and emotion. Different accents express different feelings. Generally speaking, today's Quyi is like this from words, songs to some tunes. For example, there are passionate lyrics that are suitable for expressing heroic feelings, such as "Six States Song Tou", "Man Jiang Hong" and "Nian Nu Jiao". There are Ruan Langgui, Mei and Ling. Suitable for sad feelings on both sides. Express cheerful emotions, such as "Zhipu" and "Fairy Song"; It shows a leisurely and elegant artistic conception, such as "The First Order of Clothes". These all show the different sounds and feelings of words. Of course, the so-called tone and emotion can't be absolute. As early as the Song Dynasty, because some poets didn't write lyrics for singing, most of them ignored the expressive tone, and the phenomenon of "lamenting songs and singing music, complaining about words" appeared very early. Section 2: Rhyme, sentence pattern, parallelism and antithesis (1) Rhyme There are no formal rules about rhyme. Ge Zi's "Linz Zheng Yun" divides Shang Ping's three tones into fourteen parts, the entering tone into five parts and the * * * into nineteen parts. It is said to be based on the poems of famous ancient poets. Many people used to follow. These nineteen novels are actually just a rough combination of poetic rhyme, similar to Guang Yun's ancient poems. Now these nineteen parts are listed in the back for reference. (1) Go up to the fourteenth part (1), go up to the east, go up to the east and swell, and go far to send songs. (2) Jiang Yang's voice is flat, uplifting and ringing. (3) The flat branches are slightly neat and semi-gray; At the end of the paper, bribe half; The voice is gone, but it's half, and the team is half. (4) lifelong fish insurance; Shangsheng; Go to the voice meeting. (5) the sound is half flat and half gray; On crabs, there are bribes; Go to Thailand for half, divination for half, and team for half. (6) flat voice is true, half yuan; I am also half-hearted about the sound of a kiss; I am willing to ask. (7) Delete the flat cold sound first, and then the half element; About the voice of dry grinding, there are also half; I am willing to give up my voice and protest to you. (8) Xiao Yaohao's voice is flat, Xiao Qiaohao's voice is high, and Mix's voice is low. (9) Pingshengge, Shangshengxian, Qusheng. (10) flat voice and hemp, and half; Get on the horse, make a sound, and do divination. (1 1) Steamed quietly, with sharp and respectful voice. (12) The flat sound is extremely high, the upper sound is high and the lower sound is low. (13) flat sound invasion, sound sleep, sound sleep. (14) The sound is salty and frugal [both left and right], except for the sound to explore the beauty. (b) If there are five houses (1). (2) Sensory drugs. (3) The quality of tin work. (4) The residual leaves of Aralia elata. (5) Close contact. These nineteen books can only be adapted to most situations of Song Ci. In fact, among some poets' works, the sixth part has long been connected with the eleventh and thirteenth parts, and the seventh part has long been connected with the tenth part. This is because of the development of pronunciation and the influence of dialects. The entering rhyme is very independent. Some words are customarily used in phonology, such as Qin Yi E and Niannujiao. The boundary between cloud level and silver cloud is also clear. If a tune is stipulated to use flat rhyme, it can't be used; If rhyme is stipulated, you can't use flat rhyme. Unless there is another body. Only by going up twice can you pass the bet. This situation has already begun in the ancient poems of the Tang Dynasty. (2) The sentence patterns of words are different from those of modern poetry. There are only five or seven forms of modern poetry, and the words range from one word to eleven words. Most of the sentences of a word are used between long and short sentences, so some people call them long and short sentences. There are seven sentences of "Huanxisha" and five sentences of "Shengchazi", which are quite neat. There are several special sentence patterns in the sentence patterns of words, which should be paid attention to when reading or filling in words.