It was cold and rainy, and it entered Wuhe.
Seeing Fujian off in Pingming, Chushan is lonely and flat, flat and flat.
Relatives and friends in Luoyang asked each other if they were average.
A piece of ice heart lies flat in the jade pot.
The main points are as follows:
Two, two, one, two
Two, two, two, one.
Two, two, one, two
Two, two, one, two
The rhythm is:
Two, two, two, one.
Two, two, one, two
Two, two, two, one.
Two, two, two, one.
The point and rhythm of the last three sentences of the two sentences are opposite. Fendun is not in the range of even numbers and even cases, so the sentence patterns discussed below refer to the level of rhythm.
The rhythm of a metrical sentence must meet two basic conditions: first, each rhythm must be synchronized with two steps; Second, the adjacent rhythms must be even and gentle. If the two-step rhythm is different in sound, or the rhythm and rhythm are uneven, it will not be a sentence, and it will be impossible to form a flat case.
Because the five-character sentence pattern is preceded by different rhythms of flat and even words, that is, the seven-character sentence pattern contains five words, so the following sentence pattern analysis is convenient and simple, focusing only on seven words-although the formation of flat and even words began with five words.
Of the four basic sentence patterns of Qiyan, two are completely harmonious, namely:
Flat and light, flat and light.
Ordinary, ordinary, ordinary.
This sentence pattern is "two, two, two, one", which can be called sentence pattern. Except for the one-step rhythm at the end of the sentence, all the other rhythms are two-step rhythm synchronization, and the rhythm is different from the rhythm, which is a standard sentence.
The other two sentence patterns of Qiyan are:
Very flat, very flat.
Flat and light.
This sentence pattern is "two, two, one, two", which can be called B sentence pattern. Except for the middle one-step rhythm, all other rhythms are two-step rhythm synchronization. However, the rhythm of different sounds is incomplete. The second and third rhythms of the two sentences are adjacent at the same time, which does not meet the requirements of melody. If the rhythm is flat and alternate, and it is also "two, two, one, two" type, its sentence pattern should be:
Flat and uniform.
It is flat, flat, flat.
This sentence pattern can be called C-type sentence pattern. There is also a single-step rhythm and three simultaneous two-step rhythms, and the rhythm and rhythm alternate gently, which fully meets the requirements of temperament. The C-type sentence is not a regular sentence, while the B-type sentence with even and incomplete rhythm becomes a seven-character basic sentence. Why? This is about finding the root from the A sentence pattern.
In the two sentence patterns of A, the rhythm chains of "Ping-Ping-Ping" and "Ping-Ping-Ping" are formed. But this two-step synchronous rhythm chain, except for sentence pattern A, other types of sentence patterns can't appear, so there can't be any connection between them, and the format can't be generated. Therefore, this rhythm chain must be deepened and simplified in order to make appropriate changes.
Every two-step rhythm contains two syllables, the first syllable is called node cover, and the last syllable is called node bottom. Because the stress of the two steps at the same time falls at the bottom of the node, the bottom of the node is also called the rhythm point. "Ping-Ping-Ping" and "Ping-Ping-Ping" are also reflected in each rhythm point, so the rhythm chain can be simplified as "Ping-Ping" and "Ping", and the three rhythm points of sentence pattern A are just at the positions of two, four and six, so the sentence patterns corresponding to the rhythm chain can be determined from the positions of two, four and six.
In the C-type sentence, because the third rhythm is a single step, although the rhythm alternates gently, it can not only form a two-step rhythm chain like the A-type sentence, but also form "Ping-Xu-Xu" and "Xu-Ping-Ping" in the second, fourth and sixth sentences.
In the second, fourth and sixth sentences, although the third one-step rhythm cannot form the same two-step rhythm chain as the first sentence, it can correspond to the "flat-flat" and "flat-flat-flat" rhythm chains in the first sentence, so it is fortunate to be adopted. Then, as far as the nature of rhythm chain is concerned, can sentence B have the same rhythm rationality as sentence A? I can't.
The rhythm chain of sentence B is not reflected in three consecutive adjacent simultaneous two-step rhythms. One is that there is a one-step rhythm between the second and third rhythm points, and the other is that: Thirdly, the last rhythm point is not a real rhythm point, because it is the node cover of the fourth rhythm rather than the node bottom. In this regard, the metrical school has another theory.
According to the metrical school, the third rhythm of B-sentence is not a one-step rhythm, but a two-step rhythm with different sounds. So its rhythm chain is still formed in the first three rhythms, and the third rhythm point also falls at the bottom of the node. But this view is completely untenable.
As for the rhythm of sentence patterns, the metrical school also admits that there are two kinds of patterns, namely "two, two, two, one" and "two, two, one, two". This division is determined by the structure of the first four sentences and the last three sentences and the simultaneous syllables. Therefore, the last three sentences of sentence B are "Pingping" and "Pingping". Can only be divided into "one, two", not "two, one". This is the same as the "one, two" procedures in the last three systems of C-sentence. What is the basis or reason for forcibly separating an original simultaneous two-step rhythm, defining the last syllable as a one-step rhythm, and forcibly combining the previous syllable with the original one-step rhythm to form a different two-step rhythm, thus changing the natural division of "one, two" into the artificial division of "two, one"? If four basic sentence patterns are framed by "two, two, two, one", where are the sentence patterns of "two, two, one, two"? We can't think that the following statement is accurate: "The step segmentation in sentences is generally' 2+2+1'and' 2+2+2+1',which sounds like a pacing rhythm." (Chinese rhythm, page 237) To be exact, it is not "generally yes" but "half yes"; That is to say, among the four basic sentence patterns, only two sentence patterns (a) are classified as "two, two, two, one". The other half, that is, the two sentences of B, can only be divided into "two, two, one, two". Can't this division be "out of tonality?"
Flat and even metrical sentences can only be formed according to the simultaneous two-step rhythm, otherwise the metrical sentences and their formation will become nonsense. In other words, metrical sentences can't be produced from the rhythm of two syllables, so there is no rhythm of two syllables. The word "positive body" is mainly defined here.
Because of the defect of flat rhythm in B-sentence, it is impossible to form a rhythm chain internally. Only through the correspondence between the second, fourth and sixth digits and the rhythm chain of A-sentence can we obtain the equivalent qualification. Therefore, strictly speaking, the B sentence pattern is by no means a complete regular sentence, but a quasi-regular sentence at most, so it is very reluctant to compare with the A sentence pattern.
It can be seen that only two of the four basic sentence patterns of the level tone meter are impeccable, and the other two are by no means impeccable. Therefore, as far as sentence patterns are concerned, it is far from perfect. In other words, the overall tone rationality of the sentence is greatly reduced.