This work is a little different from most of the ancient poems we usually read, so we will talk about the special features of the phonological format of ancient poems through appreciation.
The three beauties of poetry are nothing more than the beauty of sound, form and meaning. We appreciate poetry from these three points. The writing background, the poet's experience and the characteristics of the times will all add unique images and aesthetic feelings to poetry-but the beauty of the three elements plays a decisive role.
It is easier to judge the beauty of sound and shape, after all, there are standards of flatness and meter.
Wei was stubborn and dissolute when he was a teenager, which harmed the village. When I was young, I began to study hard because of the fall of Emperor Xuanzong of the Tang Dynasty, and lost my dependence. Writing poetry belongs to becoming a monk halfway. The background color in his personal character is probably not interested in this set of things, just to be famous.
Therefore, his good works are basically spontaneous and do not follow the rules. Such as Chuzhou and Jianyi heron on Xixi. , all belong to the ancient style of unqualified method, but it does not affect chanting.
Because the metrical form is originally an incomplete induction of the phonological relationship of words-since it is incomplete, of course, there are still a lot of beautiful, clear and fluent words that have not been summarized-well-written ancient styles are mostly the epitome of poetic beauty, just wandering outside the relationship of 46-46.
Therefore, for the first two of the three beauties, we only need to look at the unconditional law. Five words and eight sentences, the sentence length is arranged in an orderly way, and the middle couplets, including the first couplet, are antithetical sentences. This kind of "beauty" is quite good.
"Sound beauty" is certain. Even if it is not beautiful now, it must have been good at that time, otherwise it would have been eliminated long ago. Then let's just see if it's qualified. No matter how beautiful it is, it doesn't make much sense, because the times have long been different and the pronunciation has changed.
First of all, the rhyming words "Hou", "Night", "Bai" and "Ke" in this poem seem to rhyme completely.
Are those writers who write poems that don't rhyme happy to find their peers in the Tang Dynasty? Look, Wei's poems don't rhyme. Who dares to laugh at our work?
Wait, wait, wait.
In the old rhyme, these four words are Rusheng characters and belong to the "Eleven Mo" department. In other words, this is an ancient poem that rhymes. Although entering tone is classified as rhyme, we can't call it a rhyme poem-because it is different from "falling tone and rising tone", and their vowels can be different, such as "white", "mourning", "guest", "e", "Hou" and "I", and their unified feature is short pronunciation and explosion.
So how do we read it like a poem? From the perspective of Putonghua, there is really no way to kill two birds with one stone.
Personally, I am used to reading all the entering words as light tones, thus offsetting the loud differences between different vowels.