Jingru
From the next year of Qi Liangyong, Shen Yue and others created the Four Tones of Reading and Reciting. This special and beautiful style of metrical poetry gradually formed and developed, and it was perfected in the prosperous Tang Dynasty. However, metrical poems only involve two rough tones and are not subdivided into real four tones. Later, poets in the Tang Dynasty also standardized Yuefu, and gradually developed it into Song Ci and Yuan Qu, which were related to Ping, Shang, Qu and Ru in form (Beiqu has no tone, and Pingsheng is divided into yin and yang, but it is also very different from the new rhyme of Mandarin). Moreover, both Song Ci and Yuan Qu are closely related to music, that is, the lyrics and opera lines of ancient Yuefu and Yanle at that time are closely related to ancient Yuegong tune.
Based on the present situation of poetry clubs in our county, there are many new poets, so it is necessary to further strengthen the mastery of basic knowledge and basic theory. I will focus on the metrical problem of poetry, but it is not necessary to cover everything, just count as scattered words.
First of all, you need to master the basic knowledge of formal measurement.
The meter of poetry is mainly five words, and there are four forms of meter sentences. It's no use remembering too much.
A: (even) even.
B: even numbers and even numbers.
C: (Ping) Ping
D: (Xu)
(Equitable in brackets)
Seven-character words are formed by adding different (flat) words or (flat) words before five words.
The law of "right" and "sticky" requires (right) between the first sentence and the second sentence, that is, the even digits are different, while the second sentence and the third sentence require (sticky), that is, the even digits are the same, and the third sentence requires (right). If there is a requirement between the fourth sentence and the fifth sentence, the fifth and sixth sentences (right), the sixth and seventh sentences (right), the seventh and eighth sentences (right). In other words, even and odd sentences can be regarded as a pair of couplets, two sentences in this couplet require (right) and two adjacent couplets require (adhesion). Look at two or four words for five words and two or four words for seven words. Five characters or four characters are flat, flat or flat, and seven characters or four characters or six characters are flat, flat or flat, flat or flat. Once you have mastered the law of right and sticky, you can write the law at will. Talking too much is heresy, and there are a lot of materials that confuse the audience, which takes a lot of time to master the law.
The rule of the last three words of a five-character quatrain is:
Flat,
Even.
Even,
Plain.
(b) even,
Plain.
Flat,
Even.
The two characters, four characters and six characters of the seven-character quatrain are:
(c) even,
Just plain.
Flat and faint,
Flat.
(d) level,
Flat.
Even,
Just plain.
In these forms, two overlapping quatrains of the same kind are a metrical poem. For example: (A)(A)(B)(B)(C)(C)(D)(D), the two associations in the middle demand confrontation and pay attention to transfer (assembly). I have mastered the laws of alignment and adhesion, and I don't even have to remember them.
Several Common Taboos of Sentence Structure
In metrical poems, except for the four basic sentence patterns of A, B, C and D, they are all considered as "awkward sentences". First of all, let me briefly talk about the three-level tail and the three-level tail. "Three-level tail" is also called "three-level foot", "three-level foot" and "lower three-level foot" ... There are many names, which are also taboo in metrical poetry, and its taboo is not inferior to "loneliness", not because fixed nouns are inevitable, and no one wants to violate this law. As for the "three-pointed tail", it is also called "three-pointed foot", "three-legged" and "three-legged" ... although it is not taboo for the ancients, it is controversial in today's poetry circles. After all, it is an embarrassing sentence. If used, there are certain conditions and skills. Beginners should try to avoid it. There are some obstacles in the sense of music when chanting, whether it is even three levels or three lines. Some ancient or present poets used the word "Saint Xun Wei" for some reasons. On the one hand, it aggravates the gloomy color of poetry, and on the other hand, fixed nouns are inseparable, but most of them have undergone certain artistic treatment, and there are few phenomena of "three ups", "three songs" and "three advances". I advise novices who don't know music not to use it. Generally, editors who assemble poems are reluctant to accept such works because beginners rarely know these rules. "Three-level tail" often appears in ancient style. Antique if there are not a few three-level tails, you can't taste the real antique in kind. However, in metrical poetry, it should be strictly avoided as far as possible. Although it is "China's disease", it is a persistent disease, and there is almost no cure. It's like a scar on a person's face. Although it does not affect health, it is not beautiful after all. "Three-level tail" will greatly reduce the cadence of metrical poetry. The ancients even taboo "three-level rhyme", not to mention the three-level tail in one sentence. "Saint Xun Wei" is a minor illness, which often appears in ancient poems. However, after careful study, it is found that the ancients played down Saint Xun Wei to some extent. That is, although there are three linked pronunciations, the pronunciations of "three tones", "three tones" and "three tones" are absolutely eliminated.
Please remember: although it is taboo, it can still be used after treatment. Some people say that it is a taboo in Sanpingwei, but it is basically incurable. In fact, it should also be taboo and can only be used after treatment.
Third, the common forms of variation.
Once a sentence is deformed, it becomes an awkward sentence. When reading ancient poems, we often find a special sentence pattern, which is often used in metrical poems and is called "special twisted sentence". The special sentence pattern in the five-character poem is flat and parallel, and the flat and parallel in the seven-character poem is really flat and parallel, or when the fixed nouns are inseparable, they can be used directly. In fact, it is to replace the third and fourth words in the five words C: "Ping Bian", and the seventh word is to replace the fifth and sixth words in "(Ping Bian)", which is the world of poetry. Both ancient and modern times agree that it was fashionable in the Tang Dynasty, which can enhance the ups and downs of poetry, but if a poem is not used more than once, it is not a disease. The ancients often used some special words, such as: "My boat is moving forward in the fog" (Meng Haoran), "Now the mountains are cold and blue", (Wang Wei), "The secret is close to the world", (Du Fu), "Why should the Qiangdi blame the willow? (Wang Zhihuan)," She sewed gold thread year after year ",(Qin Taoyu) and" Ignore. Seeing this sentence pattern, people who are not proficient in meter often think it is "irregular" and will be laughed at by experts, but it is actually legal. As far as our present situation is concerned, most of us are beginners, so we should try our best to write regular metrical sentences. As for awkward sentences, use them as little as possible, because you still need a lot of creative skills as the basis. Cui Hao's Yellow Crane Tower often uses awkward sentences, but it was praised as "the first uniformity in Tang Dynasty" by Yan Yu, a famous poet in Song Dynasty. If you write like this, no one will call it a regular poem, even if you are ridiculed, you don't understand why.
"Loneliness" in metrical poems is a common disease and a serious illness, so there is no rule of law when you are sick? By no means, the first thing is prevention. Try not to get sick. If you are sick, you need timely treatment. Let's talk about the treatment methods respectively. First of all, it is mainly the first word of sentence pattern B: "Ping and Ping" (if there are seven words, pay attention to the third word). If you use a tone, it will become a "flat tone". Except for rhyme, there is only the second word left. So how to treat this disease? As long as the third word is replaced by a flat voice, the problem will be solved and become a "flat" sentence pattern. In fact, it is to change the tone of the first and third digits in the original sentence (the seven words are transposed by three to five). We also believe that harmony is the simplest and often difficult to save.
For A, it can sometimes be changed to (mm-mm-mm) even. Although it doesn't break the clear rule of 24 (6), it is generally not a serious matter, and it is ok to leave it alone. However, the detailed discussion is also a bit embarrassing (some people call it "dull"). So what should we do? This sentence can't be even (if you don't feel lonely, each sentence must be connected by two levels), so you can remedy it in the confrontation (if it is really difficult to save, you can not save it), so the confrontation is even, that is, you can save it by "clamping". Another situation is that the format of "24 (6)" is broken, and such a sentence is called "big awkward sentence" ("especially awkward sentence" is also a kind of big awkward sentence). Embarrassment sentences are usually produced in the beginning sentences, which can be remedied by antithesis. If the antithesis is "awkward", it can't be remedied, and it can only be called poetic disease or ancient style. The sentence pattern of d, if used in duality, is generally not allowed to be changed.
Let's talk about a big contradiction being saved by a pair of sentences. Let's first look at a famous poem "Jiangnan Spring" by Du Mu, a famous poet in the Tang Dynasty: Ti Ying is green and red, and the mountain village is full of wine flags. More than 480 ancient temples were left in the Southern Dynasties, and countless pagodas were shrouded in wind and rain. Its rules are: Ping, Ping, Ping, Ping, Ping. Flat and light, flat and light. Obviously, the word "80" in the inflection sentence should be flat, but it is really awkward here and it has become a big awkward sentence. The fifth word of the sentence (sentence) should be awkward, but it is replaced by the flat word "smoke", which saves the sentence. The secret of general poetry lies in the three words at the end of each sentence. "Big and clumsy sentences" can have the effect of "big suppression", and using the flat voice of sentences to make them "big" can strengthen the rhythm and melody of poems and become a common expression method for famous poets. Someone asked, wouldn't it be better not to quarrel? Yes, that's the most normal. For example, in music, regular melodies are like serenades, mostly gentle intervals, while big awkward sentences are like jumping melodies, full of pride and strong sense of cadence. Another example is a person's life record. If you have been trouble-free, well-fed and enterprising, it is difficult to create an earth-shattering career, mostly a mediocre life. How many of those rich people have not experienced hardships, difficulties or even disasters? As the saying goes: "If you survive a disaster, you will be rewarded." There is a profound truth. How can a great poet compare with us who usually write some poems in terms of ideological temperament and artistic attainments? For us at present, most of us are novices. To put it bluntly, there are still amateurs. We can't be too ambitious. We must write according to the norms on the basis of understanding the ancients, and only after practice can we be comfortable. Just like primary and secondary school students, we should know the general situation of universities, but we must not give up the study of primary and secondary school courses too early and study university courses. If you don't know anything about the theory of salvation, you can't understand the works of the ancients, and even think that the ancients don't know the rules, isn't that a joke?
Let's enjoy the famous poem Yellow Crane Tower written by Cui Hao, a famous poet in the Tang Dynasty. The sentence "Yellow crane carries saints to heaven" in the first couplet doesn't rhyme. According to the normal rules, it should be (flat) and even, but this sentence is flat and even, but it is "riding" and "crane". The first sentence in the couplet, "Yellow crane will never come to the soil again", should be flat, but this sentence is flat, only the first word is flat. The first two couplets are really ups and downs, just like two stormy waves. The last two couplets can no longer be played freely like this. They must show themselves and calmly turn around and close the door, but they can't settle down at once. A small clip leveled the "Hanyang Tree" in the first sentence of the necklace, and the sentence was preserved by a small clip called "Nautilus Island". The couplet ends with two standard sentences, no wonder it is "uniform in Tang Dynasty". After careful study, we find that the relationship between the "right" and "sticky" of the second word in the four-part eight sentences of Yellow Crane Tower has not changed at all, making the whole poem still a whole. Although you don't have the ability to play these skills yet, you should write fewer variants, but you must be familiar with them early.
Fourth, poetry
In some famous Tang poems, all words and songs are clearly written in the titles. Now, some so-called "poetics" stubbornly rely on poetry to invent some bizarre terms, which is really for fear of chaos and harm to the world. For example, Wang Wei's "Weicheng Qu": "Weicheng is rainy and dusty, and the guest house is green and willow-colored. I advise you to drink more wine. It makes no sense to go to Yangguan in the west. " The meter is: Ping, Ping, Ping, Ping, Ping. Flat and light, flat and light. Now some so-called "experts" call it "stickiness", which is really flattering. Another example is Shen Yu's "Wu Yang Farewell Words": "Chrysanthemum deer and white geese fly at the beginning, and the flute is full of tears. When you send your husband to Qiuhe, when you go to the East, you will come back. " It is also the same metrical form, that is, Ci, which has been compiled into Dunhuang Quzi Ci. I suggest that poets learn some lyrics on the basis of mastering metrical poems, and even know a little about Sanqu. It would be better if they could combine music, art, calligraphy and other arts.
The above is just my personal opinion on poetry writing. I haven't referred to the works of celebrities, and there are no guidelines. It is inevitable to try the sea with examples, not to mention any systematic theory, which is simply a topic-breaking speech. I hope it will be beneficial to friends who are beginners in writing poetry. I've had enough!
(This article was written in 20 18, with slight modifications.