The name quatrains came into being during the Qi and Liang Dynasties in the Southern Dynasties. At that time, a poem of five words and four sentences was called quatrains. In the process of popularity, after the use and perfection of some poets, it gradually matured. In the hands of the Tang Dynasty, a complete set of metrical rules was formulated, which formally set the pattern for quatrains. Every capital letter is five words or seven words and four sentences, which has its specific strict requirements in phonology and meter. Therefore, this kind of quatrains is also called quatrains.
The rhyme of quatrains is to rhyme with the same rhyme at the end of the first, second and fourth sentences of each poem; Except the first sentence can rhyme, the last word of the second sentence and the fourth sentence should rhyme with the words that belong to the same rhyme and are all flat (first or second sound).
In word arrangement, the words where each beat is located in each sentence (excluding the words at the end of the sentence) should be flat and staggered, the first, second, third and fourth sentences should be flat and opposite to the beat words, and the beat words between the second and third sentences should be flat and sticky. The first sentence of a quatrain (excluding the last word of this blank sentence) and the fourth sentence have the same level arrangement in rhythm; Except for the rhyme, the second sentence and the third sentence are arranged in the same level.
Lvshi
Rhyme is also divided into five words and seven words, each word is limited to eight sentences, and more than eight sentences are called "excluded rhythm" or "long rhyme" Rhyme, like quatrains, appeared in the Qi and Liang Dynasties in the Southern Dynasties, but the meter was incomplete. It was not until the period of Wu Zetian in the Tang Dynasty that the seven laws were formed. Rhyme is usually rhymed in a flat tone. The first sentence, the second sentence, the fourth sentence, the sixth sentence and the last sentence all rhyme. The first sentence can rhyme or not; If you don't use rhyme, the last word of a sentence is usually ambiguous. Like quatrains, the even arrangement between metrical poems requires that the beat be even and staggered in one sentence; The first and second sentences, the third and fourth sentences, the fifth and sixth sentences, and the seventh and eighth sentences are evenly matched; Between the third sentence and the second sentence, between the fifth sentence and the fourth sentence, and between the seventh sentence and the sixth sentence, it is flat and flat.
Rhyme must also talk about antithesis, and every two sentences are called couplet: the first two sentences are called first couplet or opening couplet, the third and fourth sentences are called parallel couplet, the fifth and sixth sentences are called neck couplet (also called abdominal couplet), and the seventh and eighth sentences are called tail couplet. Among them, antithesis must be used in couplets and necklaces, that is, the phrase structure and part of speech in the two sentences should be the same, paired with each other, and opposite to each other like the ancient guard of honor. The couplets and necklaces of regular poems are two couplets.
For example, Wei Zhuang, a poet in the late Tang Dynasty, wrote two sentences in the middle of the seven laws, "boating in Nanxi on a snowy night":
┌ There is a strong wind blowing in Yushu on both sides of the Taiwan Strait.
┤||-|||
└ A pool of bright moon bathed in the silver beach.
(-)-(-)||-⊙
┌ I met a fisherman because I sought a field trip.
Necklace ┤-||-|
Gengwanshang restaurant
|| - ||⊙
Among them, the phrase structure of the antithesis sentence is that the two sides of the strait and the strong wind blow the Yushu, and the phrase structure of the antithesis sentence is that the beach, the bright moon and the silver sand are all three phrases composed of two words, two words and three words, which are very neat. Let's look at its part of speech: "two banks" is a phrase composed of the numeral "two" and the sentence "shore", and "one beach" in the next sentence is also composed of the numeral "one" and the noun "beach". "Yan Feng" and "Yue Ming" are phrases composed of adjectives that modify nouns. The verb-object structure of "blowing Yushu" and "basking in silver sand" is also composed of words of the same part of speech.
There are 40 words in five-character poems and 56 words in seven-character poems, and there are basically no duplicate words. This is the general rule of metrical poetry, but the reduplicated words such as "leaves fall like waterfall foam, but I think the long river always rolls forward" in Du Fu's Ascending the Mountain, and the sentence pairs such as "the pond is full of flowers and the sun is full of gas" in Li Shangyin's Sentence Pair still conform to the metrical.