Avoidances on antithesis
Poetry aims at conciseness. For antithesis sentences, conciseness is especially important, thus forming some taboos. Taboos are situations that are not allowed in poetry. There are two main aspects to avoid fighting:
One is to avoid the same character, and the other is to avoid joining the palms together.
Poetry uses the shortest sentences to express the richest content, which requires that the same words should not appear in the poems as much as possible. The same words can easily lead to redundant words and poetic meaning. of blandness. For example, Wang Wei
"After being forgiven, he returned to pay homage to the official, felt the grace of the Holy Spirit, stole the letter, and despised the emperor, and also offered the new document to the emperor and other princes":
Suddenly the Han imperial edict was returned. With the crown, I realized that the King of Yin had untied the snare.
The sun is brighter than the emperor, but it is still dark, and the longevity of the sages in the sky is not long.
Everyone knows how to laugh when flowers welcome joy, and when birds recognize joy, they also sing.
After hearing about the new seals in hundreds of cities, I also came to the two palaces to sing.
There are two words "huan" and two words "jie" in the poem, which is a bad phenomenon in the rhythm of poetry. The appearance of the same word is a taboo in antithesis, unless the poet does it specifically for some special rhetorical needs, otherwise it is not allowed. Chang Jian's song "Listening to the Qin and Presenting it to Master Kou on an Autumn Night" appears with the same character, which was obviously deliberately chosen by him:
Chang Jian
Listening to the Qin on an Autumn Night, the situation is People in the cave.
One finger points in response to the law, and the sound is refreshing.
The cold insects are silent, and the light is blowing frequently.
Why should I have a good ear? I am amiable when I am a good listener.
In the confrontation, you should also try to avoid synonymous opposites. Such as "River" versus "Chuan", "Red" versus "Red", "Bing" versus "Pawn", otherwise it is a sick pair. For example, "seeing flowers in a foreign place will end up lonely, and hearing music in a foreign land will be even more desolate" (Wei Zhuang's "Thinking of Return"), where "foreign place" and "foreign land" are synonyms, and "loneliness" and "desolation" are synonyms. This pairing is actually a repetition of the meaning of the sentence, which is a taboo in the pairing, that is, "putting the palms together".
Gassho refers to two opposing lines expressing the same meaning. In a poem, if the words used in the sentence and the couplet are basically synonymous or completely synonymous, then the meaning of the upper and lower sentences will be repeated, which is like two palms coming together, so this kind of antithesis is called "gasshou" . This phenomenon was occasionally seen in modern poetry in the Tang Dynasty. After the Song Dynasty, the restrictions on joining the palms became more stringent and basically no longer appeared. For example, "The water's heart is not racing, and the clouds are too late to care" (Du Fu's "Jiang Pavilion"), where "the heart is not racing" and "the mind is late" have the same meaning, which means that you have committed the disease of "joining your palms". Another example is "Tang Chang Yu Rui Hui, worshiping the peony period" (Bai Juyi's "A Hundred Rhymes of Poems in Daishu"), the "Yu Rui Hui" and "Peony Period" also have the palms together, because "Yu Rui" is another name for "peony", "Hui" and "Qi" also have the same meaning.
In addition, the structure of the upper and lower couplets is exactly the same, that is, the way the upper couplet and the next couplet are exactly the same, this situation should be avoided. It is easy to make the whole poem look dull.