The rules of equivalence and obliqueness in couplets mainly include the upper oblique and lower equivalence, the equivalence and obliqueness of the couplets, the relative obliqueness and obliqueness, and the inability to replace each other.
1. The upper line is oblique and the lower line is flat
The first line must end with an oblique tone, and the second line must end with a level tone. This is consistent with the rule of the second couplet in rhymed poetry. Because ending with a flat tone is equivalent to a short pause, while ending with a flat tone tells the reader that the sentence is finished. Rhymed poetry all rhymes with flat tones, so the first sentence must end in a flat tone, and the next sentence must have a flat tones rhyme. This is the requirement of meter and the rule of confrontation.
2. The corresponding positions of the upper line and the second line should be relative to each other. Give an example. The first line of the first couplet is "Mountain scenery preserves the literary spirit", and the simplification is "ping ze ping ping che", then the second line "the lake light clears the heart to read" ping chee is "ping ze ze ping", where "read" is the rudimentary character, pronounced oblique pronunciation. The word "Cuan" is a multi-phonetic character. The second tone of "cuan" pronounced here is a flat pronunciation, which means "gathering". "Cheng" is also a polyphonic character. The four tones of "deng" pronounced here are oblique sounds, which means "clarification".
3. No substitutions can be made
This means that in the upper or lower lines, they must be evenly spaced and cannot be flat all the way, such as "廄廄廄廄廄, even, even, even, even" . Although this kind of couplet is relative to the upper and lower parts, it is also consistent with the upper and lower levels, but this is a "displacement" in metrical poetry, and naturally it cannot be used in couplets. Likewise, there cannot be solitary flats or three flat tails. These are all derived directly from the rules of metrical poetry.
Methods for using flat and oblique couplets:
1. Dual metrical patterns in rhythmic poetry
Be sure to rectify the source, avoid three flats, and encounter awkward sentences and lonely flats. "save". But only five- and seven-character sentences are allowed. As for the three-, four-, and six-character short couplets cut forward at the end of the seven-character sentences, the focus can be on the contrast between the flat and oblique steps. However, not all five- and seven-character sentences are in the rhythmic verse style, there are also "three two two" or "two three two", etc. This requires careful identification and avoid confusion.
2. The metrical type of non-rhythmic poetry antithesis
It has no constant format to imitate. It generally contains two connotations, the semantic unit in the sentence, and breaks through the disyllabic (including disyllabic) , there are three, four or at least several characters with different syllables (rhythm points). When creating, the strict requirements should be that "the foot steps in the middle of the sentence must alternate, and the foot steps between the sentences must be opposite to each other." To be more relaxed, the foot steps in the middle and between sentences do not need to be counted in the foot, but the foot of the sentence must be counted in the foot. , if you strive to press the "horseshoe grid" at the end of each sentence, it will be excellent.