The sentences of modern poetry are in units of two sentences, and every two sentences (one and two, three and four, and so on) are called a couplet, the upper and lower sentences of the same couplet are called antitheses, and the upper and lower sentences of couplets are called adjacent sentences.
The composition rule of modern poetry is: antithesis and adjacent sentences stick together.
Contradiction means that the upper and lower sentences in a couplet are just the opposite. If the previous sentence is: Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
Except for the first couplet, the last sentence of other couplets can't rhyme, and it must end with a sigh, and the next sentence must rhyme and end with a flat voice. Therefore, in addition to the first couplet, there are only two forms of antithesis in five-character modern poetry. Seven words are similar to this. If the sentence on the first couplet doesn't rhyme, it's no different from other couplets. If both the upper and lower sentences rhyme and the ending is flat, then the first couplet can't be completely opposite, only the beginning and the end are wrong, and its forms are nothing more than two: flat, flat, flat and flat.
Let's look at the adhesion of adjacent sentences. Sticking means the same thing, but because the odd-numbered sentences ending in a flat tone are used to stick the even-numbered sentences ending in a flat tone, the head can only stick to the tail, not the tail. For example, the last couplet is: Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
Why do adjacent sentences have to stick together?
The reason is very simple, that is, changing sentence patterns is not monotonous. If the opposite sentence is opposite, the adjacent sentence is also opposite, which means: average, average, average, average. Before the Tang Dynasty, the so-called Qi Liang-style rhythmic poems only talked about relativity, but did not know how to stick together. From beginning to end, they just repeated two sentence patterns. After the Tang Dynasty, there was no repetition of sentence patterns in quatrains, because both antithesis and the adhesion of adjacent sentences were emphasized.
According to the law of adhesion, we can deduce four formats of five-character quatrains:
First, the first sentence doesn't rhyme:
Very flat, very flat.
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Second, the first sentence rhymes:
Fairness and flatness (rhyme)
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Third, the first sentence doesn't rhyme:
Flat and light.
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
Fourth, the first sentence rhymes:
Flat (rhyming)
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
The five-character rhyme is similar to this one, except that four sentences are added according to the principle of sticking to the right.
For example, the first rhyming five-character poem is:
Fairness and flatness (rhyme)
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
According to the law of fit, ten sentences and twelve sentences can be added infinitely, which becomes the law of exclusion.
Sticking to the right also has some flexibility, basically following the formula of "135 regardless, 246 distinct", that is to say, whether a modern poem follows sticking to the right is generally based on its even number and the last word. If the sentence is wrong, it is called wrong; If adjacent sentences are not sticky, they are called sticky. Dislocation and stickiness are taboos in modern poetry. Comparatively speaking, dislocation is more serious than sticking.
Quatrains and metrical poems are basically poetic styles gradually produced and stereotyped in the Tang Dynasty. At present, there is no research and demonstration on rhyme or quatrains.
There are three basic elements in quatrains: level tone, antithesis and rhyme; I have already talked about the rhyme of flat tones, so I won't talk about it any more.
Generally speaking, quatrains can be used or not, and they are completely free and not demanding.
There are only four sentences in the poem, and paying attention to the composition of "starting, inheriting, turning and combining" is the basic law that poets in ancient and modern times abide by.
The first sentence is "qi", that is, beginning; The second sentence is "career", that is, commitment; The third sentence is "turn", that is, turning point; The last sentence is "off", which means close.
It is not prescribed by anyone, but is constantly summarized and followed by the poet in the process of creating poetry, which is naturally formed, indicating that poetry does not need to cover the poet in form; It was not until the Yuan Dynasty that someone summed up the composition and structure of Fajue poetry. Specific techniques: start straight, accept tolerance, turn to change and combine forever. Master the requirements of these four sentences, and you can write a quatrain.
There are four forms of "starting, bearing, turning and combining", which are summarized as follows:
Parallel. For example, Du Fu's quatrain "Two orioles sing green willows, and a row of egrets go up to the sky. The window contains autumn snow in Xiling, and the Wu Dong Wan Li boat stops at the door. " This poem has four sentences, each of which expresses its meaning separately, and each sentence writes a scene. For example, four paintings are hung side by side and combined into one. We can all see that we are far, near, high and low, and each has its own wonderful results.
(2) career type. For example, Liu Yuxi's Zhi Zhu poem "Peach blossoms are all over the sky, and the spring water in Shu hits the mountain stream. Bonuses are easy to decline like Lang Yi, and the water is endless. " The first two sentences of this poem each write a scene, saying mountain flowers on the top and river water on the bottom; The third sentence is the first sentence, which comes from "Peach and Red Flower"; The fourth sentence inherits the second sentence and comes from "spring water in Shu" The four poems are juxtaposed in pairs, corresponding to each other, rigorous in structure, fresh in style and quite characteristic of folk songs.
(3) turning type. For example, Li Bai sent a message to Bai Di City in the early morning, saying that Jiangling, thousands of miles away, would be returned within one day. Apes on both sides of the Taiwan Strait can't stop crying. The canoe has passed Chung Shan Man. "The first two sentences of this poem say' Bai Di, Xiajiangling', and the third sentence is suddenly translated into' ape', making a turning point, and then ending. The third sentence is a wonderful turning point, which makes Tongtou spirit fly.
(4) Causality. For example, Wang Changling always said in his mind, "Young women in the boudoir don't know how to worry, and spring comes to make up the Cuilou. Suddenly I saw the willow color on the stranger's head and regretted teaching my husband to find the marquis. " The first sentence and the second sentence, the third sentence and the fourth sentence of this poem are mutually causal; The first two sentences and three or four sentences are also causal: that is, young women "go to brothels" because they "don't know how to worry"; Because "the sight of a willow turns pale" and "regrets" (teaching my husband to find a marquis). Because of "going to the brothel" and "seeing the willow color", the cause and effect are related and the structure is rigorous.
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 word in a metrical poem is flat and even, while the flat and even of the upper and lower sentences are opposite, and there are two kinds of flat and even.
Metric poems are twice as big as quatrains, so you can write more things or scenes and express more detailed emotions. "scattered in the whole, often changed, neat and tidy, and rich in content"; "The five laws are short, straightforward and powerful, and the seven laws are smooth, melodious and elegant. Rhyme is difficult to write because it is flat and smooth, rhyming and antithetical.
The four formats of the Five Laws (namely, the score of poems) are:
One,
Even, even,
Flat and light.
Flat and faint,
It is flat.
Even, even,
Flat and light.
Flat and faint,
It is flat.
Second,
It's flat,
Flat and light.
Flat and faint,
It is flat.
Even, even,
Flat and light.
Flat and faint,
It is flat.
Third,
Flat and faint,
It is flat.
Even, even,
Flat and light.
Flat and faint,
It is flat.
Even, even,
Flat and light.
Fourth,
Flat and faint,
It is flat.
Even, even,
Flat and light.
Flat and faint,
It is flat.
Even, even,
be plain and simple
Actually, it's very simple to say. To sum up, the meter of five-character quatrains is the antonym of the first sentence and the second sentence. For example, the first sentence is flush.
The second sentence is very dull.
The third sentence and the second sentence are flat, that is:
The second sentence is very dull.
The third sentence is even, even.
The fourth sentence is the antonym of the third sentence, that is to say:
The third sentence is even, even.
The fourth sentence is even.
Together, it is a four-line poem meter:
be plain and simple
It is flat.
Very flat, very flat.
be plain and simple