Second, the main points that should be paid attention to in legal writing
1, no matter135,246 is clear.
Rhyme, rhyme, rhyme and rhyme are four forms. You should be familiar with these four formats. But in the actual writing, from ancient times to the present, some modifications have been made. Have a consistent understanding of quatrains and rhythmic poetry writing. Namely: one, three and five are indistinguishable, and two, four and six are distinct.
This sentence means that in every sentence of the poem, the first word, the third word and the fifth word can be reversed; The tones of the second, fourth and sixth words are fixed, and the tones can never be switched. This is for four lines or seven methods. The five methods should be: one, three regardless, two, four distinct.
Ignoring135,246 is obviously a flexible way to adjust the level of each word in a sentence when we write a seven-character poem. The basic essence of this adaptation is to deal with the use of flat and flat words flexibly, so that when writing poems, while respecting the harmony of flat and flat words, it will not be too rigid in flat and flat rules, thus causing the phenomenon of hurting the meaning because of words.
Also, due to the flexible rules of abstinence law, there are many more knowledge points in abstinence writing.
Then why can't the first 135 characters be switched and the last 46 characters be switched? This is the case that the word "135" has been switched. Under normal circumstances, the law will not violate the rules. There are few characters with solitary tails and three tails, and the switch of 246 characters is easy to produce solitary tails and three tails, and it is also easy to cause dislocation, stickiness and displacement of the whole poem.
These 246 poems are clearly written according to the rules, and no one will raise any objection. But this 135 is not an accurate statement. It is impossible to ignore it in every article. Many times, the word 135 still has to follow the rules. The principle is that the writing of the whole poem must not violate the basic taboo of the poem. When should it be discussed and when should it be ignored?
Generally speaking, as long as there is no isolated three-character suffix (including three-character suffix and three-character suffix) in the whole poem, dislocation, stickiness and displacement can be ignored, and you can play whatever you want with the theme you write. If, when writing, the whole poem appears lonely, three-tailed, misplaced, sticky and displaced, it must be discussed.
Look at an example first:
For example, if the third word is changed according to the principle of 135, it will become a flat word. In this sentence, apart from rhyme, there is only one flat word, which is sin. Moreover, the third word of the even-flat sentence in the five verses cannot be replaced, and once it is replaced, it will be flat.
Look at this sentence again
If you replace the fifth word, it will become flat, flat and flat, and it will become a three-level tone (that is, a three-level tail). In the five-line, it is flat and flat. If you replace the third word, it will become a three-level tail.
In the process of writing, we must consider it as a whole, not just the death rule of "135 regardless". When determining 135- regardless, we should pay attention to the specific conditions and circumstances, so as to achieve gradual and steady progress.
It's 135. Speaking of Duping, what is Duping? Please see:
2. Gu Ping and Sanpingwei
What is loneliness? Loneliness means that in the single sentence mode of metrical poetry, the whole sentence has only one flat sound except rhyme. If, when writing a poem, there is only one flat word in a poem except rhyme, that sentence of that poem is "loneliness" Once upon a time, many poets regarded loneliness as taboo. When writing a poem, you should pay special attention not to be lonely in the sentence of the poem.
For example, the "flat" sentence pattern in the five sentences must be flat; If you squeak, you are lonely. Because in addition to rhyme, there is only one flat word left. If five words are extended to seven words, there will be a sentence pattern of "occasionally flat". If the third word is even, it is also called solitary flat.
Nowadays, many poets define loneliness and flatness as two flats. That is, the flat style, this is still worth discussing. If defined in this way, there will be many such "solitude" in ancient laws. As long as there are two flat clips in any position, it is lonely, such as flat clip, flat clip and flat clip.
But I think loneliness is that apart from rhyme, only the first word in the whole poem is flat or a flat word is isolated. Such as Ping, Ping, Ping, Ping, Ping, Ping, Gu Ping has not had a unified definition since ancient times. Not in the Tang and Song Dynasties, and there was no so-called loneliness before Qianlong in the Qing Dynasty. However, in Tang and Song poetry, the phenomenon of loneliness is rare. Since the predecessors regarded loneliness as a taboo in writing laws and regulations, we should try not to be lonely when writing laws and regulations.
Besides loneliness, there will be loneliness. Loneliness is the antonym of loneliness, that is, there is only one word in a sentence. But loneliness, most abstinence writers, don't pay much attention to it. Because the ancients thought that the use of flat-voiced characters would make poetry stronger and louder.
What is a tertiary tail? Three flat tails mean that the three words at the end of the whole poem are flat. If there is a third-level ending, it will appear that the melody is not harmonious and violates the beauty of rhythm. Similarly, it is not appropriate to have three syllables at the end of the whole sentence, that is, three syllables. There are three levels at the end of a poem. Will affect the harmony of the whole poem. Therefore, it is generally required to avoid three levels or three blanks when writing articles.
The standard format of the last three words of each poem is generally: 1, flush; 2, flat; 3, flat and faint; 4. Ping. The first and second formats will become "occasionally flat" and "occasionally flat" after being changed; If you change the third and fourth formats, it will become three tails and three flat tails. If this situation is avoided according to the needs of the content.
Due to the strict requirements of the survey rules, violations are not allowed in leveling. In the process of writing, most writers use this writing method. According to the needs of the content, don't consider this alternative method, and don't commit the situation of loneliness (loneliness) three levels (three tails). In order to control the beauty of temperament, the "difficult to save" method is derived from the writing of 135.
In addition to being lonely and plain, the writing of the law should pay special attention to the three-character suffix. In order to control the relativity, adhesion and harmony of poetry, we should learn another writing method-the difficult-to-exist method.
3, it is difficult to save
Under the guidance of poetry, trying to save is to compensate temperament with the method of "135". Use this sentence or an adjacent sentence to correct the writing.
"Difficult to save" is compensation. "Wrong" means not smooth and harmonious. If there is any contradiction in the poem, it should be remedied in this sentence or the next couplet. This remedy is called "difficult to save".
The failure of rescue is caused by irregular sentences in the rhyme. Regardless of 135, there is a very awkward sentence. It doesn't matter if there are embarrassing sentences in French poetry, we can take some measures to remedy them, so as to "save" them. Generally speaking, there are two kinds of rescue: self-help in this sentence and mutual rescue in the opposite sentence.
In law, all flat and irregular sentences are called "awkward sentences", and unqualified words are called "awkward words".
Some specific formats, such as five "flat and parallel sentences" and seven "flat and parallel sentences", can also be considered as difficult sentences. But because it is commonly used, it is naturally different from ordinary awkward sentences. We regard this situation as a specific format.
Difficult to save is generally divided into the following three situations:
(1) A self-help sentence.
In the sentence pattern of "flat and even", this poem must be a sentence, because the word is at the end of the sentence. This format can be changed to "flat and flat", that is, the word "flat" should be used instead of "flat" in the third digit, so a flat and turbid word is added in the fourth digit, which is called "three contradictions and four rescues" (if it is seven methods, it is "five contradictions and six rescues", but the seven methods are not absolute, but it is also possible).
For example, the first sentence of Du Fu's To Li Bai at the End of the Day:
Cold wind is blowing from the distant sky,
be plain and simple
The sentence at the end of Wang Wei's Hunting Observation
Look back at the carving place,
be plain and simple
These two sentences are the way of three fights and four rescues.
And the sentence at the end of Du Fu's Ode to Monument.
Yu Xin's life is the most tragic,
Ping, ping, ping.
This is the method of five depression and six salvation. It should be noted here that sentence self-help is limited to this situation, and not any sentence can be changed at will. This rule can use four formulas to help memory:
"Flat steady, flat steady. Of course, if you are here to save Sansi, you must remember. "
② Lonely and helpless
In the sentence pattern of "(flat and even) flat and even", the flat and muddy words at the end of the sentence are the requirements of rhyme and must be used, so they are not counted. In addition, this sentence has only the first two flat words. At this time, if the first word also becomes a squeak, it is called loneliness. Then, the third word must be changed to a flat voice to remedy it. This is called "loneliness is hard to save".
For example, Du Fu's Twelve Sorrow Poems (3):
All ethnic groups are still preventing bandits, so what about today's homeland?
There were few acquaintances in the past, but there were many battlefields.
The third word "today" in the second sentence omits the first word "so", which is the self-help of this sentence.
(3) Save the sentence.
If the sentence is "mediocre", the fourth word should be "mediocre" and even "mediocre"
For example, Bai Juyi's Grass
The long grass is so lush that the withered grass will thicken the color of the grass every autumn and winter.
Wildfire can't burn it out, but the spring breeze can revive it.
(The third sentence "no" should be even, and the word "blow" in the sentence should be smooth. )
Such as Lu You's Night Park Water Village.
"A national mourning, temples are no longer green"
"Ping, Ping, Ping."
The word "Guo" (because the word "Guo" belongs to Rusheng in ancient Chinese, not Rusheng in Putonghua, and now it is zoned to Yangping, so the word "Guo" should be oblique in this ancient poem) means "one, one, one" and "can't be green for others to see"
This poem can be used to form the formula of "two rescues": "The death of serving the country cannot be green for others. No words to save the double depression, Jia Lian should remember clearly. "
Any sentence that is flat and does not conform to the normal meter is called "awkward sentence". Awkward sentences and normal sentences are antonyms. Solitary sentences, three-tailed sentences and three-tailed sentences are all awkward sentences. In order to avoid the appearance of "lonely flat" and "three flat tails", the poet adopted some special variants, which are specific flat formats for remedy.
The "level" of the five wonders has become "level"; The "average" of the five wonders must be changed to "average"; The change from "occasionally flat" to "occasionally flat" is flexibility and remedy.
Variation is the allowed format of metrical poetry. When we learn to write metrical poems, we try to use the original format of poems; If there are embarrassing sentences because of the need of content expression, it is also good to take remedial measures to solve them. If it is irretrievable, the form shall prevail and the content shall prevail. If all the sentences in a poem are awkward, then it is not a metrical poem.
4. Substitution, arrangement, adhesion and dislocation, dislocation and dislocation.
Let's see what is stickiness, what is substitutability and what is right.
(1), for:
"Substitution" refers to four clauses of a quatrain and eight clauses of a metrical poem. Words with 2, 4 and 6 digits (only 2 and 4 in the five laws) should be flush, not flush.
In order to facilitate your understanding, let's take Tang poetry as an example, and I will mark it at the back:
From the north side of Gushan Temple to the west side of Jiating, the lake is just level with the embankment, with low clouds and waves on the lake. (opening sentence)
Pingping? Pingping
Several early orioles raced to the sunny tree, and their new swallows were carrying mud in their nests. (sentence)
Pingping? Pingyi? flat
Colorful spring flowers will gradually fascinate people's eyes, and shallow spring grass can barely cover the horseshoe. (turning sentence)
Pingping? Pingping
I love the beauty on the east bank of the West Lake, and I can't get enough of it, especially the white sand embankment under the green poplar. (combined sentence)
Pingping? Pingyi? flat
In the above example poem, the words at the 2nd, 4th and 6th positions in each clause are flat or flat, which is called "substitution". It is worth noting that substitution refers to the alternation of the words at the 2nd, 4th and 6th positions in each clause, not between clauses. Because a metrical poem has eight clauses, a metrical poem has eight groups of "substitutions". The eight "substitutions" in the above-mentioned Tang poems are: mountain-north-pavilion; Face-flat-feet; Place-warbler-warm; Home-swallow-spring; Flower-desire-person; Grass-energy-horse; Love-East-No; Yang-Lisa.
Look at another poem by Tang:
Yu Jintang, a young woman from Lujia, couples of swallows perched on the hawksbill beam. (opening sentence)
Ping, ping, ping.
In September, the cold anvil urges ten leaves, and the Liaoyang expedition will go for ten years. (sentence)
Pingping? Pingping
And the news was lost in the White Wolf River. The autumn night in Red Phoenix here is long. (turning sentence)
Pingping? Pingping
There, a person who is heartbroken because of invisibility can only see the moonlight on the yellow silk waves on her textile machine. (combined sentence)
Pingping? Pingping
There are eight "body double" in this Tang poem, namely: family-wife-gold; Yan Qixie; Moon anvil ten; Year-garrison-Liao; Wolf-North-Book; Phoenix-south-night; For-worry-no; Teaching monthly flow.
The five laws and quatrains are the same as this example.
2. Right
A metrical poem is divided into four steps: beginning, inheriting, turning and combining. "Right" means that in the two clauses before and after the same step, the words in the second, fourth and sixth positions must be opposite.
Let's look at the first two Tang poems first.
From the north side of Gushan Temple to the west side of Jiating, the lake is just level with the embankment, with low clouds and waves on the lake. (opening sentence)
Pingping? Pingping
Several early orioles raced to the sunny tree, and their new swallows were carrying mud in their nests. (sentence)
Pingping? Pingping
Colorful spring flowers will gradually fascinate people's eyes, and shallow spring grass can barely cover the horseshoe. (turning sentence)
Ping, ping, ping.
I love the beauty on the east bank of the West Lake, and I can't get enough of it, especially the white sand embankment under the green poplar. (combined sentence)
Pingping? Pingping
The first sentence (that is, the first step) of this song is: Gushan Temple is north of Jiating West, and the water level is low.
Here are two clauses, and the words in the second, fourth and sixth positions of each clause have been marked. At each step, the second word of the previous clause must be even and opposite to the second word of the latter clause. Similarly, the fourth word of the preceding clause and the fourth word of the following clause must be even and opposite; The same is true of the sixth word of the two clauses.
The first step (that is, the sentence): Gushan Temple is in the north of Jiating West, with the water level at the beginning and the cloud feet low. There are three "pairs" here, namely: mountain (flat)-surface (flat); North (Ping)-Ping (Ping); Pavilion (horizontal)-feet (feet)
The second step (that is, the sentence): several early warblers compete for warm trees, and whose new swallow pecks at spring mud. There are also three "pairs" here, namely: Chu (Iraq)-Jia (Ping); Ying (Ping)-Yan (Xun); Warm spring (flat)
The third step (in other words): the flowers are more and more beautiful, and the shallow grass can be without horseshoes. There are also three pairs here, namely: flower (flat)-grass (flat); Desire-ability (equality); Man (Ping)-Horse (Xu)
The fourth step (that is, that sentence): I love the lack of eastward travel of the lake and the white sand embankment under the shade of Populus davidiana. There are also three "pairs" here, namely: love (Xu)-Yang (Ping); East (Ping)-Li (Ping); No sand (flat)
A song with seven laws and one * * * has 12 "pairs", and so on.
③ Viscosity
"Sticking" means that in two clauses connecting any two steps in the transition, their words in the second, fourth and sixth positions must be the same. Let's think about it first. How many pairs are there in a metrical poem, and two clauses connect two steps? A: One * * * has three pairs, namely the third clause and the second clause, connecting sentences with sentences; The fifth clause and the fourth clause connect the conversion sentence and the acceptance sentence; The seventh clause and the sixth clause connect complex sentences and turning sentences. Now let's look at the example just now.
From the north side of Gushan Temple to the west side of Jiating, the lake is just level with the embankment, with low clouds and waves on the lake. (opening sentence)
Pingping? Pingping
Several early orioles raced to the sunny tree, and their new swallows were carrying mud in their nests. (sentence)
Pingping? Pingping
Colorful spring flowers will gradually fascinate people's eyes, and shallow spring grass can barely cover the horseshoe. (turning sentence)
Pingyi? Ping? Pingping
I love the beauty on the east bank of the West Lake, and I can't get enough of it, especially the white sand embankment under the green poplar. (combined sentence)
Hey? Ping, ping, ping.
The second and third clauses in the poem connect sentences: the water level is low and the cloud foot is low; What are the characteristics of the words in the second, fourth and sixth positions of these two clauses? Yes, their level is the same, that is, "stickiness". There are three pairs of "sticky" in these two sentences, namely: face-place; Ping (Ping)-English (Ping); Pedal tree; The fourth clause and the fifth clause connect sentences, and the new swallow pecks at the spring mud and scatters flowers. There are also three pairs of "sticky" in these two sentences, namely: home (flat)-flower (flat); Yan (Xu)-Desire (Xu); Spring (Ping)-Full (Ping)
The sixth clause and the seventh clause are connected by conversion sentences and combination sentences. Shallow grass can love the east lake without horseshoes.
There are three pairs of "sticky" in these two sentences, namely: grass-love; Neng (Ping)-Dong (Ping); Ma (Xu)-No (Xu), to sum up, a seven-tone * * * has nine pairs of "sticky".
Knowing substitution, alignment and adhesion, we must figure out what dislocation, dislocation and adhesion are.
④ Substitution loss
In a metrical poem, in eight clauses, the words in the order of 2, 4 and 6 should be "flat and occasional" or "flat and occasional" alternately. If this law is violated, it will become "flat and flat" or "flat and flat".
(5). Angle error
In the same step of the metrical poem, the levels of the words at positions 2, 4 and 6 in the previous sentence are just opposite to those at positions 2, 4 and 6 in the following sentence. If there are no relatives, it is a mismatch.
6. Loss of adhesion
In metrical poetry, the clauses after the previous step are the same as those before the next step. The words in the second, fourth and sixth positions of these two clauses must be flat and equal. If their flat and equal positions are different, they are sticky.
The above has already talked about the basic knowledge of substitution, counterpoint and adhesion. Now let's emphasize some knowledge points of dislocation and adhesion.
There is a certain rule in the flat and parallel format of legal poems, which is the relativity and attachment of flat and parallel.
Relativity means that the words in the rhythm of sentences are opposite to each other, that is, the first sentence and the second sentence; The third and fourth sentences; The fifth and sixth sentences; The levels of words in the seventh sentence and the eighth sentence at the rhythm point should be opposite. This law is the "level-to-level opposition". If this law of mutual opposition is violated, it is called the "level-to-level opposition".
Sticking means that the words at the rhythm point of the sentence in the next couplet should be stuck with the words in the dialogue in the previous couplet. The so-called "sticky" means sticking together, being flat and sticky, being flat and consistent. This is the second sentence and the third sentence; The fourth and fifth sentences; The flatness of the words in the sixth and seventh sentences at the rhythm point is sticky. This rule is "flat and flat attachment". If the law breaks this rule in writing, it is called "losing attachment".
The function of "righteousness" and "stickiness" is to make the tone of poetry change instead of monotony, and to read it harmoniously, thus enhancing the aesthetic feeling of music. If the sentence and the antithesis are not right, the leveling of the upper and lower sentences will be repeated; If the antithesis of the previous couplet and the sentence of the next couplet are not sticky, the parallelism of the previous couplet and the next couplet will be repeated. This repetition loses the beauty of music. Therefore, mismatching and mispasting are absolutely inevitable in metrical poems.
Mastering the concepts of loss of substitution, power and attachment is of great benefit to abstinence writing. But after mastering this knowledge, when we appreciate ancient metrical poems, we must not make too many metrical judgments on Tang poetry and Song poetry.
We modern people must know that the concept of "parallelism" only came into being in the Yuan Dynasty, and all Tang poems use "parallelism" and "parallelism". There are many differences between the two, that is to say, many things that can't be explained by flat lines, if they are explained by flat lines, there will be no problem. After all, in the prosperous Tang and Song Dynasties, and even in the Yuan, Ming and Qing Dynasties, poetry was used for singing. Rhyme began in the early Tang Dynasty and was promulgated four times at the end of the Tang Dynasty. One of them is Wu Zetian's Zhou Dynasty. This time, on the basis of the deliberation in the early Tang Dynasty, the deliberation was led by Shangguan Waner, and Song was directly responsible, including Shen Quanqi and Du Fu (Du Fu's grandfather). After the last arrangement by Li Shangyin and others, the metrical pattern of metrical poems was basically formed.
The metrical knowledge we are talking about today was finally perfected in the Song Dynasty, and there has been no changed metrical knowledge since then, while Gu Ping's concept was perfected in the Qianlong period of the Qing Dynasty. Therefore, when we use the metrical standard of the Song Dynasty or the metrical standard of the Qing Dynasty to measure Tang poetry and Song poetry, there are undoubtedly some inconsistencies. We are all familiar with the slide rule, from the Jin Dynasty to the final Song Dynasty. It took about 700 years. In the past 700 years, some works have been flat and uneven, and the rhythms in different historical periods are definitely different. In the process of writing, although we don't stick to the format completely, we should also follow the rules of metrical rules.
Most of the knowledge mentioned above is the writing requirement of metrical poems, but it applies to quatrains. In the process of learning to write quatrains, the writing requirements of metrical poems should be involved. This cannot be discussed separately. This relationship will be made clear in future lectures. Generally speaking, it is the connection between law and abstinence, and the connection between law and abstinence.
Let's call it a day. Finally, the first lecture is attached to the text for the poets to keep learning.
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