Qing dynasty.
About the author: Che Wanyu (1632~175), born in Shaoyang, Hunan Province, was named Shuangting,No. Hetian. Kangxi Jiachen Jinshi, the official to the military department to give things. In the second year of Kangxi (1663), he took Huguang after having obtained the provincial examination with his brother Wan Bei. In 1664, he became a scholar and chose Jishi Shu.
I am upright and outspoken, and my voice shakes the world. I am pure and knowledgeable. He is good at calligraphy, and he has the richest ink in Ming Dynasty, including ten volumes of stone carvings of Ming Dynasty calligraphy in Yinghao Hall. Bao Qing Fu Zhi.
The Enlightenment of Rhythm is an enlightening reading to train children to cope and master the rhyme and meter. According to the rhyme, including astronomy, geography, flowers and trees, birds and beasts, figures, utensils and so on. From single-word pairs to double-word pairs, three-word pairs, five-word pairs, seven-word pairs to eleven-word pairs, the phonology is harmonious and catchy, from which the training of pronunciation, vocabulary and rhetoric is obtained.
from single word to multi-word, it reads like singing. Compared with other three-character and four-character sentence patterns, it is more attractive. This kind of reading material is unique and enduring among the enlightenment reading materials. Since the Ming and Qing Dynasties, books such as Xun Meng Pian Sentence and Li Weng Dui Yun have been written in this way and have been widely circulated.
expanding materials
the charm of
First, the number of words and sentences should be equal. This is the most basic requirement of couplets and antithetical sentences, such as "wild crossing swallow wears willow rain, fragrant pond fish plays with lotus wind", and the upper and lower couplets are all seven words. "Fishing boats sing late, and the coast of Peng Li is poor; Yan zhen was shocked by the cold, and the sound broke the Pu of Hengyang. "The context is two sentences and ten words.
Second, the parts of speech are the same. That is, nouns, verbs, adjectives and quantifiers in notional words, adverbs, prepositions, conjunctions, auxiliary words and exclamations in function words, nouns to nouns, verbs to verbs, adjectives to adjectives and so on. Such as "snow outside the setting sun lake outside the mountain, water in front of the window and books in front of the pillow", that is, nouns are relative; "A few rickety rooms, a person with a southern accent and a northern accent" is the opposite of quantifiers and locative words.
thirdly, the structure is the same. The upper and lower dialogues should be symmetrical in sentence structure. That is to say, verb-object phrases, verb-complement phrases and radical phrases in sentences should be relative to each other, verb-object phrases against verb-object phrases and verb-complement phrases against verb-complement phrases.
For example, "Push out the moon in front of the window behind closed doors, and throw stones to open the underwater sky", in which "close doors" and "throw stones" are both verb-object structures, "push out" and "push out" are both verb-complement structures, and "moon in front of the window" and "underwater sky" are both partial structures.
the fourth is semantic relevance. The upper and lower couplets should be related to each other in content without repetition, that is, what the upper and lower couplets express is related, not unrelated, and each says its own thing.
For example, "Sitting and watching the clouds forget the years, laughing and holding the dove's stick to talk about Sang Ma", the upper and lower couplets all talk about the leisure life of the rural elderly, but the contents expressed are not repeated. Another example is "great expectations, the heel needs to stand firm; Endless years, your steps are peaceful. "Both the upper and lower couplets involve shoes, but each has its own meaning and warning.
the fifth is the coordination of leveling and leveling. Every word in the text is required to be even and level. "even to the ground, even to the ground." Generally speaking, the words at the end of the text are required to be flat and flat.
Pingsheng refers to a level tone and a level tone in Mandarin, while Cuo refers to a rising tone and a falling tone. Flat and flat, it is rhythmic and pleasant to read. However, in order to make the form obey the content, couplets, like metrical poems, can also adopt the theory that "one, three, and five are different, and two, four, and six are distinct", that is, the double numbers in the text should be even and relative, while the single numbers can be flexible.
this kind of levelness and antithesis is the unique attribute of Chinese characters as monosyllabic characters. The square Chinese characters are like tiles. Users can arrange and combine them with ingenuity, so that the characters can not only express profound contents, but also have beautiful and harmonious forms and tones. This is the unique function of the square Chinese characters and the unique charm of Chinese culture.
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