I remember when I first started writing poetry, I often found that what I wrote was awkward to read. I didn't understand why at that time. I didn't understand why until I touched the rhythm of poetry. It turns out that I broke the taboo of metrical rules.
There are four pronunciations of Chinese characters in Putonghua, one is flat, the other is rising, the third is turning, and the fourth is falling. These four pronunciations are also called Yin Ping, Uprising Tone, Shangsheng and Desheng respectively, referred to as "Yin and Yang Shang". And Yang Ping are called "Ping", while Shang Shengde is called "Yi", which means "Ping" in rice.
Ancient pronunciation is different from today's. In ancient times, there was no distinction between yin and yang, which was called "Shang Ping Jin". Among them, "Rusheng" has disappeared from the pronunciation of Putonghua and widely exists in many local dialects in the south. Therefore, southerners often use "ancient rhyme" in their poems, while northerners use "new rhyme" because it sounds cadence and cadence in their accustomed language.
Because I am a northerner, the content of this article is mainly "new rhyme".
The requirements of metrical rules are as fine as misty rain and as numerous as a dime a dozen. It's a long story I am only interested in poetry, and my research is not profound. I dare not say how to write correctly. Let's talk about the key issues first.
First of all, as a poem, rhyme is the first requirement, because it rhymes from the Book of Songs at the earliest, which is the biggest feature that distinguishes "poetry" from other styles, and every period must rhyme, which is the basic requirement. Modern poetry can of course rhyme, so I won't go into details here.
The basic requirement of meter is that the second and fourth words of a single sentence are flat and opposite, and the second and fourth words of the upper and lower sentences are flat and opposite, which is the first standard. The second and fourth words are the keynote of this poem. Only when these two words are opposite, will there be a sense of cadence.
Example:
The long grass is so lush that the withered grass will thicken the color of the grass every autumn and winter. -"Fu Degu Cao Yuan Farewell" Bai Juyi.
Here "Li" is a flat sound, "Shang" is a flat sound, and the second and fourth words of the previous sentence are flat; The next sentence "Sui" is flat, "Ku" is flat, and the second and fourth words of the next sentence are flat, but the order is opposite to the previous sentence. After reading the complete poem, you will feel cadence.
Look at seven more words:
Early in the morning, I bid farewell to Jiangling city, which is high into the sky, thousands of miles away, and the boat is only one day away. -"Early Baidu City" Li Bai.
The word "kindness" here is flat, the word "emperor" is flat, and the second and fourth words in the previous sentence are flat and flat; The next sentence "Li" is a flat voice, "Ling" is a flat voice, and the second and fourth words of the next sentence are also flat, which is the opposite of the previous sentence. This is the reason for the cadence.
So are there any exceptions? Of course there are:
Is there frost already? . -"Silent Night Thinking" Li Bai.
At night, Qingxi flows to the Three Gorges-Li Bai's "Emei Mountain Moon Song".
Li Bai is spontaneous, advocating freedom and despising powerful people. His works also have this feature completely, and are not bound by the framework.
We can see that the second sentence and the fourth sentence of these two famous poems are the same, but when we are reading, as long as we don't read too fast, we can read them by chanting, which will not affect their aesthetic feeling at all. This should be the real standard of ancient poetry, paying attention to connotation, taking into account rhyme and rhyme, and catchy.
Another is the taboo of leveling, and there are two main ones, namely "Ping Guo San Lian" and "Gu Ping".
When we use more than three words "Ping" or "Xu" in a poem, it will be awkward to read, such as:
"The breeze in the mountains blows my clothes." I made this sentence and the following sentences up temporarily. If you look at this sentence, there is no problem with semantic expression at all, but it is a bit awkward to read because of the five consecutive "flat" sounds.
The sentence "Birds are flying up and down in the forest" is also strange and messy to read after five consecutive times. In fact, if there are more than three "draws" or "draws" in a row, there will be an embarrassing feeling, which is the taboo of "falling three times in a row".
As for "lonely flat", it means that there is a flat sound between two "flat" sounds, which is also awkward to read.
For example, "My heart is falling apart", where the "eight" and "heart" are "isolated and flat", so it is as uneven as ECG and uncomfortable to read.
Are there any famous sentences that violate this taboo? And:
In spring, as long as you sow a seed, you can harvest a lot of food in autumn. -"Farmers" Li Shen.
The second and fourth words in the last sentence here are Xu, and the second and fourth words in the next sentence are Ping, Yi, Xing or Gu Ping. When we recite this poem, it is difficult to achieve vigorous cadence, but the connotation of this poem is not suitable for cadence, but should use a low and compassionate tone and intonation.
Therefore, we should not only understand the knowledge of meter, but also understand the connotation of poetry. As long as the meaning we want to express is consistent with the meter, that is, we can't feel the awkwardness of mood and intonation when reading aloud, this meter should be successful.
The next step is opposition. As is almost known to all, the format of metrical poems requires antithesis, at least the mandibular joint and the cervical joint, on the basis of flat and level.
Confrontation can be divided into "strict confrontation" and "loose confrontation" in form and "frontal confrontation", "opposition" and "mobile confrontation" in content.
Formally: Because my talent is limited and my foundation is not firm, I think it is enough to be lenient. It would be better if I could be stricter.
Content:
Right is the comparison of duality. These two sentences have similar meanings and complement each other, such as:
On a green spring day, I began to go home, singing my songs loudly and drinking my wine. -"The Imperial Army Recovered the Banks of the Yellow River" Du Fu.
Objection is to compare two different aspects, such as:
The wine and meat in Zhumen stink, and the road has frozen bones. -"From Beijing to Fengxian, chanting 500 words" Du Fu.
Running water, that is, before and after the sentence is causal, single sentence can not be taken out independently, such as:
Make further progress-"In the Heron Villa" by Wang Zhihuan.
In terms of difficulty, it is generally strict > wide, running water > opposition > right.
But there are also masterpieces that are not qualified for antithesis, such as Cui Hao's Yellow Crane Tower:
It is said that Li Bai passed by the Yellow Crane Tower and was excited by the beautiful scenery. He was about to write a poem when he suddenly saw the Yellow Crane Tower on the wall. He thought for a long time and sighed, "There is no scenery in front of him. Cui Hao wrote a poem on it."
Later, Li Bai imitated the Yellow Crane Tower and wrote about Phoenix Tower and Nautilus Island in "Landing in Nanjing", which shows that the rumors that Li Bai was impressed by Cui Hao were not groundless.
This song "Yellow Crane Tower" has only the third antithesis, which is basically unqualified in meter, and there are several songs "Lonely Ping", but it is completely won by connotation and has become a masterpiece through the ages.
It can be seen that as long as the content is enlightening and can attract people's attention, the requirements of metrical rules can be completely relaxed, that is to say, the connotation of the work should be expressed as much as possible within metrical rules, but when the connotation conflicts with metrical rules, the connotation should be the most important, which is what the ancients called "breaking the rules", that is, breaking through metrical rules.
Of course, the premise is that your connotation is deep enough and your realm is high enough, so you can't express it perfectly within the rules. Without connotation and rhythm, it is divorced from the essence of "poetry" and cannot be regarded as poetry.
Another thing to note in the melody is that when two three-tone words (that is, the word "Shang" of "Yin and Yang ascending") are together, the previous three-tone words will be pronounced into two sounds, that is, Shang Sheng.
In an instant. When we read Biography, we read it in two tones. Similar to "a few cents", the "several" in it is pronounced "urgent"; As blind as a bat, the word "you" in it is pronounced "oil".
So when this situation leads to loneliness and even harmony, how to choose? Personally, I treat it with tolerance.
For example, the rain and cold suddenly penetrated the bead curtain. Although the cold word is flat and flat on both sides, it belongs to "loneliness", but the word "Zhuan" is pronounced in two tones, which is completely harmless, so it should be possible.
This is the metrical content of ancient poetry, including rhyming, leveling, antithesis and format (that is, the number of words).
As for Ci, in fact, the first Song Ci was based on musicality. Zhou Bangyan is familiar with the melody of the Song Dynasty, and his works are harmonious and elegant. Wang Guowei commented: "In addition to words, we should also taste its melody ... Although its voice is dead today, people who read its words still feel angry, self-forgiving and elegant, and men's voices promote festivals ..."
Just because the score of Song Ci has been lost (only Jiang Kui has a collection of works with the score in the Southern Song Dynasty), the musicality cannot be verified. It is understandable to supplement it with metrical rules, but it is too bad to study metrical rules and even ignore the connotation, so I feel a little presumptuous. As Liu Dakui said in My Essays in Qing Dynasty, "If you don't obey the law, you will die."
A poem for readers:
Who will study Du Li and Du Li as poets?
Broad-minded and exclusive, with different ways.
This paper aims to help beginners create better works. The metrical requirements mentioned in this paper are only the most basic standards, so as to avoid the novice being afraid of poetry and being too bound by metrical rules and affecting the connotation of the work. With a deeper understanding and application of meter and poetry, the connotation and meter will be strengthened and improved. After all, all poetry essays have strict requirements on meter and connotation. )
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