The confrontation between the first sentence and the second sentence is called the first couplet confrontation, and the confrontation between the seventh sentence and the eighth sentence is called the tail couplet confrontation. This is true of five-character eight-sentence poems and seven-character eight-sentence poems. Long poems are wider in duality. The first couplet is the first, and the second sentence, together with the neck couplet (five or six sentences), can theoretically exist.
The first couplet of Chen Ziang's five-character poem "Farewell to Friends on a Spring Night" reads: "Silver candles smoke, and golden statues feast on each other". Literally, the couplet is "the moon hides high trees, but the long river is unknown." Take the first couplet: "Silver candle spits smoke, and golden statue gives a banquet". Du Fu's seven-character poem "Hate Farewell": "Los Angeles is 4,000 Li, and Hu Qi has lived for five or six years." The first couplet is opposite, and the first couplet is not opposite. The neck couplet "homesick for the moon and bright night, remembering my brother watching the clouds and sleeping all day".
? "Come back from this mountain, pass another mountain, go up from the south, and then go north-to my own town! "Du Fu's farewell. Some spiritual writers pay little attention to the antithesis of melody when writing metrical poems. In addition to paying strict attention to leveling, the two couplets in the middle, namely, the parallel couplet and the neck couplet, require confrontation, and the five-character rhythmic poem is the same as the seven-character rhythmic poem.