The beauty of sentence patterns is manifested in the harmony between levels, the neatness of the antithesis between upper and lower sentences and the structure of sentences. The first two points have been discussed before, and the following is the sentence structure. After the Tang Dynasty, Wuqiyan is the most common sentence pattern in ancient poetry.
There are many structures of five-character poems, of which the above two, three and three are the most common, called "meter"; There are also sentence patterns such as up, down, down, up and down, which are called "change"
Up, down, down, such as Du Fu's "Spring Hope":
The country is broken-the mountains and rivers are there, the city is spring-the vegetation is deep.
Feel Time-Tears in Flowers, and lonely birds have sung their grief.
A bonfire-even in March, a letter from home-is worth thousands of dollars.
White hair-scratch shorter, muddy desire-too much.
Up two and down three, such as Yuan Zhen's "Rewarding Lotte and Seeing Memories, Hurting the Central Plains":
Yu Honglou-disappointed, Baziguo-career.
Up and down four times, such as Yuan Zhen's "Rewarding Lotte and Seeing Memories, Hurting the Central Plains":
The river-as a natural melody, the river-inclines with the canyon;
Meng Jiao's Huainan Yue Hermit;
Rice-don't cook stones, eyebrows-should be as long as hair.
About the latter two, such as Wang Wei's "Mountains are Things":
Loneliness-hiding-Chai Fei, boundless-right-falling light.
Go up and down, such as Wang Wei's "Living in the mountains is a thing":
Crane nest pine trees-everywhere, people visit the mountain gate-rare
Seven-character sentence pattern is characterized by a constant lattice and a variable lattice, also called "folded lattice". In addition, there are other sentence patterns, such as upper two, lower five, upper five, lower two, the same seven characters, upper six and lower one, but they are rare.
Up, down, down, such as Bai Juyi's Qiantang Spring Tour:
North of Gushan Temple-west of Jiating, the water surface is flat-the clouds are low.
Several early warblers-competing for warm trees, and their families are new-pecked at the mud in spring.
Flowers are blooming-charming eyes, even shallow grass-without horseshoes.
I love the east side of the lake-lack of travel, tree-lined-Baishadi.
Up and down, such as Bai Juyi's "Tian Wen Hangzhou":
The big eaves-more goose teeth and boats-also draw faucets.
Ouyang Xiu's Two Poems of Han Shizhong in Beijing in Seclusion;
Love bamboo quietly-come to the wild temple to find spring alone-occasionally go to Xiqiao.
Lu Zanyuan's rain poems;
I want to travel-slide across the creek bridge and avoid the old farmer-and worry about the dry wheat ridge.
For the second five, such as Du Fu's Autumn:
Xueling-watching the sunset alone, Jianmen-still doesn't let northerners come.
Up five down two, such as Du Fu's Pavilion Night:
The sound of drums and horns-solemn and stirring, the shadow of the Three Gorges Galaxy-is stirring.
Seven characters, such as Du Fu's Wolf Folk Song:
Loose floating is inexhaustible, and rivers will collapse if they don't fall.
Go up and down six times, such as Lu You:
The guests came back from the work of the things they were grateful for-scattered and poetic places.
The above sentences are five-character and seven-character sentences, but no matter which sentence, his aesthetic feeling lies in the formation of structure or relaxation, or compact beauty, or elegant beauty, giving people a relaxed and orderly enjoyment of syllables. In actual poetry creation, the above sentence patterns often appear alternately, such as Cen Can's Shangshu Cui Wen Shi Shi Yu Guan Kou Sleeps in Huanji:
Wen Jun found a deserted temple and stayed in a hotel.
Creek on the cold temple is deep, and Jiang Yun holds a cloister.
The pine forest is quiet, and Chai Men is boiling with tea.
Victory cannot be picked up, and acacia grows.
The first sentence "Wen Jun Xunye Temple" is an upper, lower and second structure, and the next sentence "Convenient accommodation for public houses" is an upper, second and lower structure; The two sentences in the couplet are up and down, and the two sentences in the neckline are up and down. Tail-joint and neck-joint have the same structure, but the actual situation of using words is different. This change in participation is naturally read in public.
3. The Beauty of Harmony and Difficult Rescue
The harmony of phonology includes the overlapping of two sounds, the intricate beauty of coherence between different sounds, and the beauty of mutual harmony between homophones, all of which are discussed above. The following focuses on the beauty that is difficult to save.
What is right must be strange, and what is smooth must be reversed. Difficult to survive is a change of modern regular poetry. That is, in the combination and collocation of flat tones, it breaks the fixed conventional pattern and creates syllables, showing the sudden beauty different from the normal style. This is called "awkward" and this kind of poem is called "awkward". However, China's classical poetry must be flat and level, showing certain rules, so that the voice can be varied and varied. Therefore, when using the word "one sound" to bend, there can't be only one flat word in a sentence. This is called "Gu Ping", which is a taboo in the rhyme of metrical poems. So once this happens, we must find a way to remedy it. This is called "saving".
The salvation of poetic style also has certain rules. The works of poetry in Qing Dynasty, such as Wang Yuyang's Poetry, Zhao Qiugu's Yinpu, and Weng Fanggang's Poems of Five-Seven Words, list various methods of salvation. Wang Li's The Laws of China's Poetry is more detailed, and it collects all the difficult methods. Methods to overcome difficulties can be divided into two categories: single pride and double depression. The so-called single pride means that the sentence is awkward and the sentence is not awkward; Double contradiction means that both sentences and sentences are ambiguous.
Difficult sentences often increase the strength of sentences and form a spirit of rigidity, which is helpful to style and tone. Fan Ceng in Song Dynasty talked about the influence of "hard work" on poetic style. He said: "Five-character poems must be properly posted, but if they are posted too much, they will decline. If you can be surprised by the next sentence in No.3 Middle School, then there is a strong and straightforward wind in the appropriate words "(Night Talk to Bed). It is precisely because of this function that Fang Hui specially arranged "Ci" when compiling Ying Lv Kui in Yuan Dynasty, and said: "There are 159 Ci poems written by Lao Du Qi, which are often unpredictable. Although there are many words, the bones are steeper. "