1 poetic rhyme. Poetic rhyme is a factor in the musicalization of poetry. Poetry and rhyme are not necessarily related, but closely related to language characteristics. Japanese poetry still doesn't rhyme. Ancient Greek poetry didn't need rhyme at all, and Latin poetry didn't need rhyme at first. Compared with English poetry, rhyme is more important to French poetry. English poetry pays no attention to the echo of rhyme because of its clear weight, neat pace and relaxed rhythm. French poetry is vague in French, and the length of "dun" varies, so it is difficult to see the rhythm in the light and heavy intonation. Therefore, rhyme should be used to increase the sense of rhythm and harmony. China's poems always rhyme. Because there are many ambiguities in Chinese language, syllables are easy to ramble and need rhyme to echo and penetrate. Through the combination, the jumping individual lines are connected into an aesthetic whole, which is smooth and pleasant, easy to remember and sing. The basic rules of rhyme in contemporary China poetry can be summarized as follows: (1) Respect China's tradition of poetic beauty and attach importance to rhyme. (2) Starting from the phonological features of modern Chinese, it rhymes according to thirteen strokes. (3) The rhyming formats are diversified. Generally, the first sentence rhymes, and the consecutive sentences rhyme, which can rhyme to the end or be changed in the middle.
2 lines of poetry. Looking back on the development history of China's poetry, we can see that the length of poetic lines has gone through the development process from four words to five words, seven words and long and short sentences. The usage rules of contemporary China's poems can be summarized as follows: (1) For the president, in order to adapt to the characteristics of modern Chinese with many disyllabic words, trisyllabic words and function words, while retaining 4 words, 5 words, 7 words and long and short sentences, 6 words, 8 words, 9 words, 10 words and 65438+ were developed. (2) In terms of the number of beats in poetry, while retaining each line of 2 beats and 3 beats, develop lines of 4 beats per line. (3) In the aspect of the beat length of poetry, while retaining 1 character and 2 beats, we should develop 3-character and 4-beat beats. For example, the local minor "Little Cowherd" has 9 syllables (words) with 3 or 4 beats per line. There are four kinds of beats, consisting of 1, 2, 3 and 4 syllables (words): "Tian/Thoreau/Who/Plant? On the ground/Yellow River/Who/Open? Who/the guard/the Sandao Pass? Who/became a monk/didn't/came back? "
(3) Poetry Festival. Most of the poems in The Book of Songs have several isomorphic chapters. This is because poetry and music were integrated at that time. Developed into five-character, seven-character rhyme and quatrains. Because the meter is too strict, a poem usually has only one chapter. At the stage of lyrics and songs, many poems are two or three chapters or more. Some foreign poems are composed of independent chapters, and some are composed of more than two identical or similar chapters. The composition of China's contemporary new poetry may be: (1) A poem consists of one chapter or several chapters. (2) Contemporary poetry can be composed of several isomorphic chapters because there is no restriction of antithesis and leveling. The so-called isomorphic relationship means that the total number of lines is the same, the number of syllables (words) in each line is basically the same, the number of beats in each line is the same, and the rhyme position is the same. (3) A poem composed of more than three verses, the first or last verse, need not form an isomorphic relationship with other verses.
(4) About the level of peace and confrontation. Ancient China literati have long sought to achieve the beauty of melody through the interlacing of flat tones. In the Tang Dynasty, Lian Tone was fixed as the metrical poem. Its rules are roughly embodied in three aspects. First, the beat points of each row should be flat and staggered; Second, the beat points of the upper couplet and the lower couplet of each couplet should be flat and opposite; Third, the lower sentence of the previous couplet is the same as the upper sentence of the latter couplet in the beat point. Through this smooth and harmonious interweaving, the beauty of poetry is formed. China's ancient metrical poems were also very strict about antithesis. In the middle of the five-character rhyme and the seven-character rhyme, the parts of speech are required to be opposite to each other. The reason why China's poems embarked on the road of antithesis is closely related to China's writing characteristics. China's writing is monosyllabic, and his poems are easy to be uniform, such as "the sky is high and the clouds are light" and "the scenery is beautiful". A little comparison will become the opposite. Monosyllabic words and polysyllabic words in the west are mixed, showing unevenness. Also, the structure of Chinese words is more flexible, and they are inverted sentences, unlike the grammar of western languages. That is to say, in grammar, Chinese is more suitable for poetry than western languages, and it is easier to be concise and neat, and it is easier to express images and artistic conception. For example, "the shadows are shallow and the fragrance floats at dusk." It shows the density of images and leaves rich imagination space for readers. For contemporary poetry, some suggestions are put forward on the use of parallel prose and antithesis: (1) Only by properly using antithesis and making good use of parallel prose can the beauty of neatness, elegance and harmony of poetry be reflected. (2) At the beat point of each line, try to be smooth and staggered. (3) the use of antithesis need not be too harsh, just roughly.
(5) About the soft-spoken characters. In modern Chinese, there are light words with high frequency, which are easy to appear at the end of lines or beat points. This should be the rhythm stress, which will seriously affect the loudness of poetry. It should be said that this gives contemporary poetry a difficult problem. The rhythm of western stressed poems based on stress can give us some lessons. It forms rhythm by alternating stress and light tone. In contemporary poetry, we can't avoid light words. A better way is to find out their strengths and make use of them. In the lines of poetry, light words may appear in such positions: first, at the end of the line: for example, dear, what, ok, let's go; Second, the end of a beat point in a poem, such as helplessness and gentleness; Third, the middle of a beat in a line of poetry, such as my heart, who. This paper puts forward three suggestions on how to use light words well: (1) Don't rhyme with light words. (2) Try not to let light words appear at the end of the line. (3) Try to make light tone characters appear alternately with other words in the lines of poetry, so as to form a light contrast relationship between lines of poetry. A successful example in this respect is the first paragraph of Xu Zhimo's Farewell to Cambridge: "I left gently, just as I came gently;" I waved my hand gently and bid farewell to the clouds in the western sky. " There are ***28 words here, and there are 9 words alone. A careful understanding, in fact, has constituted the relationship between the alternation of light and heavy between the lines and the contrast of light and heavy between the lines. There are light and heavy, harmonious phonology, the poet's chic and elegant, and passionate feelings.
This book is deeply loved by readers because of its conciseness, vivid image, rich literary talent, profound knowledge and unique views. It not only provides enlightenment for readers to appreciate poetry, but also provides useful guidance for beginners to create poetry.