The metrical requirements of metrical poems are various. First of all, the number of words in a poem is required to be uniform. Each poem has five words, six words or seven words, which are called five laws, six laws and seven laws for short, among which six laws are rare. Secondly, there are different restrictions on the number of poems, and the usual metrical poems stipulate eight sentences each. If there are only six sentences, it is called a small law or a three-rhyme poem; A metrical poem with more than eight sentences, that is, more than ten sentences, is called a unique law or a long law. The third is the specific dual requirements. Usually eight sentences are used to complete a poem, and every two sentences are connected into a couplet, which counts as four sentences. According to the structure of the old rhyme writing, it is customary to call the first couplet a title, the second couplet a parallel poem, the third couplet a neck couplet and the fourth couplet a sentence. The two couplets in the middle of each song, that is, the upper and lower sentences of parallel couplets and neck couplets, must be antithetical sentences. Except for the first two couplets, exclusion is not external, and the couplets in the middle must be dual. The infinitesimal duality requires a wide range, or one or two pairs, or two or three pairs, or only two pairs require dual sentences. The fourth is to strictly demand rhyme and meter.
Take the commonly used five laws and seven laws as examples. The first is rhyme, which requires the whole poem to rhyme, and the rhyme is limited; The second, fourth, sixth and eighth sentences rhyme, and the first sentence can be taken or not. Most of the first sentences of the five laws don't rhyme, and most of the first sentences of the seven laws rhyme. There are rhymes, some people think that rhymes should belong to the ancient style. Second is the tone. Ancient Chinese is divided into four tones. The tone of poetry is flat and flat, and the above three tones are the same, which is called "promoting sound" Every sentence in metrical poems is flat and even, while the flat and even words in the upper and lower sentences are opposite, and there are two types of flat and even words.
The five laws are different from each other.
-flat and flat, flat and flat.
□ Flat and flat, flat and flat.
-flat and flat, flat and flat.
□ Flat and flat, flat and flat.
Five-law level rise
□ Flat and flat, flat and flat.
-flat and flat, flat and flat.
□ Flat and flat, flat and flat.
-flat and flat, flat and flat.
Seven-method starting formula
□ Ping, Ping, Ping, Ping, Ping.
□ Ping □ Ping, Ping, Ping, Ping.
□ Flat and flat, flat and flat.
□ Ping □ Ping, Ping, Ping, Ping.
The level of seven laws rises.
□ Ping □ Ping, Ping, Ping.
□ Flat and flat, flat and flat.
□ Ping □ Ping, Ping, Ping, Ping.
□ Flat and flat, flat and flat.
The circled words indicate fairness. If the first sentence of the Five Laws rhymes, the initial form should be changed to □ Jue Jue □ Jue, and the initial form should be changed to "Jue Jue"; The first sentence of Qiyun doesn't rhyme, and the initial form is changed to □ flat couple, and the initial form is changed to □ flat couple, and the rest remains unchanged. Also, the upper sentence in each couplet is called antithesis, and the lower sentence is called antithesis. The flatness of the second word of the last sentence must be consistent with the second word of the previous sentence, which is called "sticking", otherwise it is called "debonding"; Broadly speaking, the loss of adhesion also refers to all uneven leveling phenomena.
Regarding the rhythm of metrical poems, there is an old saying that "the first, third and fifth words of seven-character metrical poems can be flat, but the second, fourth and sixth words must be clear". The five-character sentence can be inferred as "one is not divided into three, and two is clear." This is not accurate. In fact, the first word of the seven words can be ignored. The first word of five words and the third word of seven words can be ignored in most cases, but in sentences with five words and seven words, the first word of five words and the third word of seven words must be flat, for example. The last three words of the five-character "fair and square" sentence and the seven-character "fair and square" sentence can sometimes be replaced by "fair and square", but there is a condition that the first word of the five-character sentence and the third word of the seven-character sentence cannot be replaced. Neither the third word of a five-character sentence nor the fifth word of a seven-character sentence can be ignored. The prosody and metrical requirements of the above-mentioned five-seven laws are also applicable to arranger and minor law.
The development process of stereotyped writing in Tang Dynasty and the creative practice after stereotyped writing are different. In the process of stereotypes, some metrical poems are not written in full accordance with the format. The first half of Cui Hao's Yellow Crane Tower is an ancient poem, and the second half is in line with the law. After their physical maturity, some writers consciously changed the rules of leveling, which is called "Olympic Sports". In addition to changing the levels of the second, fourth and sixth words in the sentence, the levels of the third word of five words and the fifth word of seven words are also changed. Both couplets are called "clumsy sentences" and the whole couplet is called "clumsy methods". There is a so-called "Wu style" in the seven laws, which is also an embarrassing method. Du Fu's creative strength is perfect and imitated by later generations. There is also the so-called "difficult to save." As in the previous sentence, use the word "ping" instead of "ping", and use the word "ping" to adjust the syllable in the next sentence. There are also people who save themselves or don't save themselves.
In addition, because the quatrains in the Tang Dynasty are essentially intercepted from some metrical poems, their metrical requirements are the same as those in metrical poems. Therefore, in the Tang Dynasty, quatrains were also called regular poems, or "small regular poems" (Tang Shenyin style selected by Liang Qian in Qing Dynasty).
Antique poetry-Antique poetry, also known as archaism, is written according to the practice of archaism poetry, and its form is relatively free, and it is not bound by metrical rules.
Judging from the number of words in poetry, there are four-character poems, five-character poems and seven-character poems. Four words are four words, five words are five words and seven words are seven words. After the Tang Dynasty, there were few four-character poems, so they were usually divided into five-character poems and seven-character poems. Five-character ancient poems are referred to as five ancient poems for short; Seven-character ancient poems are referred to as seven ancient poems; The use of three, five and seven characters at the same time is generally considered as seven ancient characters.
There are no rules for the leveling of ancient poetry. The leveling of poems in Han, Wei and Six Dynasties is completely free. After the Tang Dynasty, classical poetry was influenced by metrical poetry, and it was biased on the level tone. Accordingly, ancient poetry can be divided into two types: one is pure ancient style, and the other is legalist ancient style.
Pure antique leveling is basically free. However, after the Tang Dynasty, some poets deliberately avoided metrical sentences when writing classical poems, thus creating an invisible atmosphere to distinguish classical poems from metrical poems as much as possible. In this way, the sentences of classical poetry have some characteristics.
As mentioned above, Sanpingdiao is a special form of ancient style, which has become one of the characteristics of ancient style. In addition to this third-level tone, the last three words all end in the first-level tone; There are also two rare ones with flat or flat endings. That is to say, flat sentences, the third word of five words or the fifth word of seven words are all based on the principle of using flat voice; In lame sentences, the third word of five words or the fifth word of seven words is based on the principle of using sound. Judging from the flatness of the whole sentence, the rhythm of most sentences is not flat, but flat, that is to say, the second and fourth words of Wugu are flat, or the second and fourth words are flat; Gucci is flat with the fourth and sixth words. For example, Du Fu's Sui Yan Xing:
At the end of the year, there are many northerly winds, and it is snowing in Xiaoxiang Dongting. The fisherman's cold net is bitter and frozen, and he doesn't shoot geese and sing mulberry bows. Last year, there was a shortage of rice in the army. This year, rice is cheap and hurts farmers. High-tech officials hate wine and meat, and this generation is empty. Chu people value fish more than birds, so they should not kill Nan in vain. It is said that men and women are everywhere, and cutting kindness and forbearance is also a matter of renting a house. In the past, money was used to catch private castings, but now lead, tin and bronze are used. Carved clay is the easiest thing to get, and likes and dislikes can't be concealed by looks. When will the sadness of this song end?
Fifteen of the eighteen sentences in the whole poem meet the requirements of the four three-character suffixes mentioned above; In particular, seven of the ten flat sentences are three-level tones, which is particularly noteworthy. There are nine sentences that meet the requirements of overlapping. There are only two sentences left ("Mickey was badly beaten this year" and "the world city blew its horn"). This shows that there is a great difference between pure ancient style and orthodox poetry.
The ancient style of entering the law is just the opposite of pure ancient style, and poets try their best to use legal sentences. The reason why the ancient custom of entering the law is different from metrical poems lies in the following: (1) the number of sentences is uncertain; (2) Alternating rhymes and rhymes; (3) It is often four sentences and one rhyme. This kind of situation generally exists only in the seven-character ancient style. For example, in Wang Bo's "Marten Pavilion", the sentences are basically homophonic. Simply put, two poems are linked together, but one of them is only a rhyming quatrain. This kind of rhyme alternated with flat tones, and four sentences changed rhyme, which later became a typical example of legalist ancient style. Bai Juyi's Song of Eternal Sorrow is basically in this form, as well as his Pipa, Yuan Zhen and Lotus Palace Ci. This is what is commonly called "Yuanhe".
Yuefu poetry style-ancient poetry style. There are broad sense and narrow sense: narrow sense refers to folk songs and lyrics collected by Yuefu government in Han Dynasty; Broadly speaking, it refers to satirical poems imitated by literati writers in Han Dynasty, especially after Wei and Jin Dynasties, which are generally called Yuefu poems. Yuefu was originally the official name in charge of music in Han Dynasty. People in the Han Dynasty called the poems recorded and played by Yuefu organs "songs". During the Wei, Jin and Six Dynasties, people began to call these songs "Yuefu" or "Yuefu Poems" and classify them separately (Liu Xie's Wen Xin Diao Long and Xiao Tong's Selected Works).
In the history of literature, the so-called Yuefu poetry not only refers to the works collected by Yuefu organs, but also refers to the Yuefu works copied by writers in previous dynasties after Wei and Jin Dynasties. There are several different situations in this imitation work: ① Re-creating new poems according to the old score of Yuefu; (2) Inheriting and imitating the spirit and artistic features of the old Yuefu poems is actually no longer pleasant; (3) It is not fun not to copy old topics and be completely independent of new topics and new ideas, also known as "new Yuefu". Of these three categories, the second category is the most common and the most common.
Yuefu poems in the Han Dynasty broke the tradition of taking four words as the truth since the Book of Songs, created miscellaneous poems and initiated a complete five-character poem. A large number of narrative poems appeared in Yuefu poems in Han Dynasty, which marked the new development of China's ancient narrative poems. Yuefu in the Southern and Northern Dynasties was dominated by short chapters of five words and four sentences, with occasional four words, seven words and miscellaneous words. It has a direct impact on the rise of quatrains in later generations. In addition, after the Song Dynasty, there were poems and songs as music squares.