Let's learn the general law of leveling in poetry.
At the end of last class, we mentioned the concepts of "substitution" and "right". What does that mean? For example.
For example, the fifth and sixth sentences of Chairman Mao's Long March poem:
Jinsha River is warm in the clouds and cliffs, and Dadu Bridge is cold with the cross rail.
The level of these two poems is:
Flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat | flat |
This is one of the antithetical sentences, and every two words are connected into a rhythm. The rhythm is 222 1. In the last sentence, Pingping is followed by Ruo, Ruo is followed by Pingping, and the last sentence is Ruo. The next sentence begins with Ping, followed by Ping, and the last sentence is Ping. The formation of rhythmic sentences is the alternation of even and even words in poems. We call it for short. Simply put, substitution is the parallel alternation of sentences.
As far as couplet poems are concerned, "Jinsha" is equal to "Dadu", "Shuipai" is equal to "Bridge Crossing" and "Cloud Cliff" is equal to "Iron Lock". Form a horizontal confrontation, which is opposition. We call it right for short. Simply put, right means that in a couplet, parallel lines in the same position are opposite.
From this, we can draw a conclusion that in each poem, flat and even lines appear alternately, otherwise it is called dislocation. In a couplet (two sentences are a couplet, called the upper sentence and the lower sentence respectively), levels and levels are opposite, otherwise it is called mismatch.
The whole poem is as follows
The red army is not afraid of the expedition, and Qianshan is just idle.
Flat and light, flat and light.
Wuling makes waves, and Wumeng takes mud pills.
Very simple, very simple.
Jinsha River is warm in the clouds and cliffs, and Dadu Bridge is cold with the cross rail.
Plain, plain, plain.
I'm glad to see that Minshan Mountain is covered with snow and stretches for miles. Our soldiers crossed it and showed a bright smile.
Flat and light, flat and light.
Do any students want to ask?
Is it necessary to strictly follow the flat behind, and the flat behind must strictly follow, which is called not losing substitution? Of course not. Usually, we only call the 246-bit word in the sentence flat error, which is called dislocation. This leads to the saying "135 doesn't matter, 246 is clear". The position of 246 in the poem is called the key position, and the level cannot be changed casually, while the position of 135 can be relaxed, and the level can be changed if conditions permit, so as to increase the diversity and inclusiveness of the poem, otherwise it will be too monotonous.
Just remember this concept for the time being. There are other connotations and emphases of this statement, which need further study and discussion.
It is not enough to understand only the concepts of "substitution" and "right". There is also a problem of "stickiness". Now let's take out the whole poem and have a look:
The red army is not afraid of the expedition, and Qianshan is just idle.
Flat and light, flat and light.
Wuling makes waves, and Wumeng takes mud pills.
Very simple, very simple.
Jinsha River is warm in the clouds and cliffs, and Dadu Bridge is cold with the cross rail.
Plain, plain, plain.
I'm glad to see that Minshan Mountain is covered with snow and stretches for miles. Our soldiers crossed it and showed a bright smile.
Flat and light, flat and light.
Let's have a look at this poem. The word "ridge" in the second sentence is the same as the word "water" in the second sentence. The word "Sha" in the second word of the fifth sentence is the same as the word "Meng" in the second word of the fourth sentence. The "Xi" in the second word of the seventh sentence is the same as the "Du" in the second word of the sixth sentence. This phenomenon is called "stickiness" or "adhesion". It can be concluded that "stickiness" is the problem of connection and connection. All poems that meet the requirements of modern poetic meter should conform to the law of stickiness.
To put it simply, the rule of the word "paste" in metrical poems requires that the second word in the last sentence of the couplet should be flush with the second word in the next sentence of the couplet. If it is inconsistent, it is called "stuck". Metric poetry is not allowed to be "sticky"
Examples are as follows:
First, the quatrains of adhesion and loss of adhesion
1, the quatrains of adhesion. The following Wang Zhihuan's "Liangzhou Ci", the second word in the second sentence, and the second word flute in the third sentence are all hummed. This is adhesion.
The Yellow River is far above the white clouds.
Wan Ren is an isolated city.
Why should a strong brother complain about willow?
The spring breeze does not pass through Yumen Pass.
Note: dizi is an entering tone character.
2. There is such a poem in our common Three Hundred Tang Poems. For example, in Wang Wei's "Cheng Wei Qu/Song Yuan Twenty An Xi", the inconsistency between "Shejun" and "Pingbian" is the loss of adhesion.
Weicheng is drizzling,
The guest rooms are green and willow.
I advise you to drink more wine,
There is no reason to go out of Yangguan in the west.
Second, the attachment and loss of attachment of rhythmic poems.
1, five laws of adhesion. Looking at the five laws again, the water in the second sentence and the land in the third sentence of Li Bai's "seeing friends off" are all muffled; The {Peng} in the fourth sentence and the {Cloud} in the fifth sentence are both flat; The sun in the sixth sentence and the hand in the seventh sentence are both purring.
There is a blue mountain line north of the Great Wall.
To the east of the city is a white waterline.
Here you must leave me and drift away,
Solitary {Peng} Wan Li sign.
Walking through the clouds,
So think of me in the sunset.
We waved goodbye,
My horse brays again and again.
2. Seven laws of losing adhesion. Li Bai's On Ascending Nanjing to Phoenix Terrace is a famous seven-way debonding. It can be seen that there are three places to persist and two places to lose.
Phoenix once performed here, so this place is named after them.
Now abandon it in this desolate river.
The path of Wu Palace was twisted and twisted by weeds.
Jin (Dai) is wearing an ancient mountain costume.
Three mountains are in the sky,
Just like this, Egret Island divides rivers.
A cloud rose between the light of heaven and me,
Hide his city from my melancholy heart.
The second and third sentences are out of attachment: going to the palace, training, losing attachment; The fourth sentence and the fifth sentence are due to adhesion: {generation}, {mountain}, leveling, due to adhesion. However, the sixth and seventh sentences are correct: both water and behavior are snoring.
We say that in the early Tang dynasty, metrical poems lost a lot of attachment, and after the prosperous Tang dynasty, they lost a lot. There is a problem of exploring the law of shaping, which is not discussed here. In the early Tang Dynasty, the metrical poems inherited the eternal style of Qi and Liang Dynasties, and the horizontal and horizontal antithesis of the poems in the eternal style was very mature, but adhesion had not yet become the criterion of metrical poems in that period.
We study modern poetry. As a beginner, we should try our best to avoid sticking, shifting and aligning, especially avoiding sticking. If a place is out of date or out of date because of necessity, it can be saved in many cases, but it is very troublesome, and it is impossible to save Sanlian, Sanlian and Lonely Equality. This knowledge will be learned while you master the basic knowledge.
As a beginner, we should first grasp the three basic requirements of substitution, counterpoint and adhesion.
Of course, there are more than these rules about poetry leveling, and there are also problems about rhyme, which we will talk about separately later. In this section, let's talk about it in the form of use case solutions to help understand.
The purpose is to understand and master the three concepts and principles of substitution, opposition and attachment, and then deduce the basic sentence patterns of irregular poems.
It can be seen that according to these three requirements, as long as there is the first sentence of the poem, it is not difficult to infer that the following sentence patterns are even, and the first sentence of the poem is distinguished according to the second word of the first sentence. There are only two kinds of even sentences, and this derivation is reserved for homework first. See if you can deduce what problems you will find.
Key tip:
Substitution refers to the alternation of ping and ping in a sentence!
Right means that the next sentence is the antonym of the previous sentence!
Sticking means that the second word in the last sentence of the second couplet is the same as the second word in the next sentence of the first couplet!
Pay attention, especially to 246-bit words.
This content is a text courseware, so we should combine the video to deepen our understanding and grasp, so as to learn the principle of firm paste.
Assignment: According to the principles of substitution, opposition and adhesion, the basic sentence patterns of five-character and seven-character regular sentences are derived from the first sentence. My homework was given to me by private letter.