Flexible sentence patterns
Sanqu, like ci, adopts long and short sentence patterns, but the sentence patterns are more flexible. For example, the number of epigraph sentences is very strict, and it is not allowed to increase or decrease at will. Sanqu can break through the number of sentences stipulated by Qupai and add more sentences according to the needs of the content. For another example, the sentence structure of a word is as short as one or two words, and the longest is no more than 1 1 word; The sentence patterns of Sanqu vary greatly from one or two short sentences to dozens long ones. This is mainly due to the unique "sandwich" way of Sanqu. The so-called interline refers to the words outside the sentence pattern in the song. For example, the last sentence of the song "Gong Zheng Sai Qiu Hong" is seven words, but the last sentence of Guan Yunshi's "Sai Qiu Hong Daizuo" is "I am sick today, and I just wrote two sentences about lovesickness", which becomes 14 words. The seven words added in this box are between lines. The addition of interlining breaks through the limitation of the number of words, so that the number of words in the melody can increase or decrease freely with the reciprocating melody. At the same time, in art, interlining also obviously has the function of making the language colloquial and popular, and making the meaning of songs humorous and lively. For example, Guan Hanqing's song "I am a copper pea", accompanied by the words "I can't steam, boil, beat, fry or clang copper peas", is bold and provocative, and shows the character of "copper peas" to the fullest.
Vulgarity-oriented Language Style and Oral and Prose Culture
The language of traditional lyric literature poetry is elegant, elegant and neat, precise and delicate, and generally speaking, it rejects popularity. Although the language of Sanqu is elegant, the general trend is that vulgarity is beautiful. Reading Sanqu, common sayings, barbarians (minority languages), banter (banter), slang (nagging and trivial words), vernacular (jargon, argot, riddles) and dialects abound, which makes people suddenly immersed in a rich life atmosphere. The syntax of Sanqu emphasizes completeness and coherence, omitting grammatical relations. It is rare to see common writing methods in poetry, such as direct arrangement of images and jumping between sentences. Therefore, the language of Sanqu is obviously colloquial and prosaic.
Bright, clear, natural and hearty aesthetic orientation
The aesthetic orientation of Sanqu certainly does not exclude implication, which is quite prominent in the integration of poetry, but it still advocates the beauty of lightness, openness and nature on the whole, which is very different from poetry with implication as the mainstream aesthetic orientation. Ren Ne has made a wonderful exposition on this aesthetic orientation of Sanqu: "It is most important for Sanqu to be thorough, not only not to relax and reserve, but also to blurt out more, if you can't wait for others;" Intention is completely exposed in words, and the contrast between what is used and what is said also shows that it is not hidden. This attitude is urgent and frank, just the opposite of Ci. "Sanqu is often not" implicated "in its meaning, but" implicated "in its feelings. But I am afraid that its meaning is not obvious and my feelings are not smooth until the ultimate feelings are incisive. A typical example is the song [Huang Weizhong] quoted by Guan Hanqing.