First, the rhythm
Repeat regularly to form a rhythm. The order of the four seasons, the alternation of morning and evening, the full moon, flowers, the ups and downs of water, the ups and downs of mountains, the breathing of the lungs, the beating of the heart, the trembling of the pole when carrying things, and the ups and downs of the arm when doing business can all form a rhythm.
Rhythm can give people pleasure and beauty, and can meet people's physiological and psychological requirements. Every time a new cycle is repeated, it gives people a feeling of deja vu, as if seeing an old friend, which makes people feel cordial and happy. There is a pavilion at intervals along the promenade of the Summer Palace, which not only provides a place for people to rest, but also allows people to stop and enjoy the surrounding lakes and mountains. And in the alternation of walking and stopping for a while, you will also feel the joy and beauty brought by the rhythm. After a new rhythm is familiar. There will also be a psychological expectation, and there will be a sense of satisfaction if you expect to win. Rhythm can also make individuals unified, different and coordinated, loose and concentrated. The chant shouted when everyone is working together and the leopard password when the team is marching have this effect.
It can be seen that just the rhythm itself has a charm.
Language can also form rhythm. Everyone's voice is high or low. Each has a fixed habit and can form a sense of rhythm. This is the natural rhythm of language, unprocessed and not very distinct. In addition, there is another rhythm of language, namely the rhythm of music, which is processed on the basis of the natural rhythm of language. It emphasizes some factors of natural rhythm, and makes it stereotyped and has a more distinct sense of rhythm. The rhythm of poetry is based on this rhythm. However, poetry is too loose to accommodate the natural rhythm of language. Not catchy; Excessive pursuit of music rhythm will become an artifact that is superficial. Not natural. Only the poetic rhythm that is full of music and superior to the natural rhythm can be widely accepted. Once this rhythm is found, it will gradually become fixed and become a common rhythm.
The rhythm of poetry must conform to the national characteristics of language. Please speak Greek and Latin; The difference of vowel length is obvious, so both ancient Greek poetry and Latin poetry form rhythm by the regular alternation of vowel length. There are short squares, short squares, long and short squares. Long and short spaces, etc. Homer's epics "Heriat" and "Odyssey" are composed of five long and short bars and one long and short bar, which are called six-step verse. Ancient Sanskrit poetry mainly relies on long and short cases to form rhythm. German, English and Russian have obvious differences in pronunciation, so poetry forms a rhythm with regular alternation of light and heavy cases, such as light and heavy cases.
The rhythm of China's grand ceremony poems is based on the characteristics of bilingualism, which is determined by the following two factors.
The first is syllable and syllable combination. In Chinese, a word is one syllable, a four-character poem is four syllables, a five-character poem is five syllables and a seven-character poem is seven syllables. The syllables of each sentence are fixed. Several syllables in a poem are not isolated. Generally, the two together are one meal. Pause, some people call it a sound group or step. Four words and two meals, each with two syllables; Three meals with five characters, each syllable is 22 1 or 2212; Seven words and four meals, each syllable is 222 1 or 22 12. It must be pointed out that the pause is not necessarily the place where the sound stops, on the contrary, it usually takes a long time to recite. The division of intonation should not only consider the order of syllables. And the integrity of meaning.
The combination of syllables not only forms a meal, but also forms a kind of luck. Funny is the most meaningful meal in one sentence. The basic rule of China's ancient and modern poems is that there must be a Liao in a poem. The poem is divided into two halves, and the syllable distribution is: four words 22, five words 23 and seven words 43. Mr Lin Geng pointed out that this is the formal rule of China's poetry. And call it "semi-teasing method". He said: "Half-teasing method is the basic law that China follows in his poetic lines based on his own language characteristics, which is also the universal feature of China's poetry in national form."
Only by revealing the "law of half luck" can we explain why some sentences are composed of four, five and seven words, but they are still not like poems. The reason is that today's syllable group does not conform to this law. Revealing the "semi-funny law" can also explain why the six-character rhyme has never become the main form, just because the syllable group of 222 can not form semi-funny, which is not in line with the habit of China's poetry rhythm.
There is another interesting phenomenon. Reading four-character poems feels dull, while five or seven words are lively. The secret lies in the combination of syllables. Four-character poems have two syllables before and after teasing. Equal parts, unchanged. The five-seven-character poem, with one syllable before and after teasing, feels lively when the order is changed.
Four words 22, five words 23 and seven words 43, these are the basic rules of a poem. Comply with this rule. It's like putting up a pillar for a building. As for other rules, such as civilians and duality, they are just decorations added to this column. The meter of China's poems seems very complicated, but it's actually that simple.
Secondly, it is also an element that constitutes the rhythm of China's poetry.
Rhyme is the repetition of even vowels in word pronunciation. The repetition of the same vowel in a certain position according to the law will form a rhyme foot and produce rhythm. This kind of festival can combine scattered sounds into a whole, making people look forward to the latter sentence when reading the previous sentence and recall the previous sentence when reading the latter sentence.
In some national poems, rhyme is not so important. For example, ancient Greek poetry, old English poetry and ancient Sanskrit poetry. According to/kloc-On Teachers written by Agam, a British scholar in the 6th century, the rhyme between Europeans and poetry began in Italy, but after the times, China literature once prevailed. The German epic Song of Niblongen and many narrative poems in medieval France all rhyme. After the Renaissance. European poets learn from ancient Greece. Rhyme is not so popular again. /kloc-after the 0/7th century, rhymes became popular again. With the rise of modern free verse, the number of rhyming poems has decreased. China's classical poems must rhyme, because there is no obvious difference between the length and severity of Chinese pronunciation, and the rhythm cannot be formed by them, so rhyme has become an element of rhythm formation.
The rhyme of China's classical poems was based entirely on spoken language before the Tang Dynasty, and it must be based on rhyme after the Tang Dynasty. According to the actual rhyming situation of pre-Qin poetry, we can see that the rhymes at that time were relatively wide and easy to rhyme, and the rhymes of Chinese poetry were also relatively wide. After Wei and Jin Dynasties, it gradually became strict, and some rhyming books appeared, such as Li Deng's phonology. Lu jingyun's collection. Xiahou Yong's "Four Rhymes" and so on, but these private works can not play a unified role in rhyme standards. In the Tang Dynasty, Sun Hou published Tang Yun based on Qieyun, which became the official rhyme book. The phonetic system of Qieyun is a combination of ancient and modern phonetics and Northern Dynasties phonetics, which was determined by sorting out, and did not completely conform to the actual phonetics in any region at that time. Since rhyming poems should be based on it; Naturally, it leaves the actual situation of spoken English. This is a major change in the rhyme of classical poetry. In Song Dynasty, Chen Pengnian and others wrote a novel "Guang Yun", and its phonetic system was basically based on "Tang Yun", which was divided into four tones with * * * 206 rhymes. It's complicated, but poems are allowed to be used together, and similar rhymes can also be used together, so there are actually only 112 rhymes. In Song Chun, Liu Yuan and Pingshui revised the rhymes of The Book of Rites, and simply combined the rhymes that can be used together in Guang Yun into 107 rhymes, which is called Pingshui Rhyme. At the end of the Yuan Dynasty, Yin Shifu researched Ping Yun Shui and wrote Rhyme of Fu Qun Language, which was also called 106 Rhyme. Since the Ming and Qing Dynasties, poets have basically written poems according to this rhyme 106. However, Ping Yun Shui retained the pronunciation of Sui and Tang Dynasties, which was far from the spoken language at that time, so another kind of "song book" appeared in Yuan Dynasty, which was completely written according to the phonetic system of the north at that time to meet the needs of writing northern songs. It is worth noting that Zhou Deqing's "Central Plains Rhyme" has four tones and nineteen rhymes. Modern northern quyi rhymes with "thirteen strings", which is the inheritance of the rhyme of the Central Plains. "Thirteen" accords with the phonetic system of modern Mandarin and can be used as the basis of new poetic rhyme.
In short; Rhyme is the regular repetition of the same vowel, just like the repeated tonic in music, and the whole music can run through it. The rhyme of China's poems is at the end of the sentence, which is always a pause in meaning and then a rhyme, so the sense of rhythm is stronger.