Modern poetry, also known as modern poetry, is relative to ancient poetry, which shows that it is a "contemporary" new poetry genre that did not exist in ancient times. What's new about this type?
First of all, the novelty lies in rice.
Secondly, it is new in layout structure.
Metric poetry is its most important and remarkable feature, so it also has a name, called metrical poetry, or metrical poetry for short. If a poem has eight sentences, each with seven words, it is called seven-character poem, or seven-character poem for short. If it is more than eight sentences, it is called seven-character arrangement. If you have read 300 poems of the Tang Dynasty, you may remember that this book is classified into five-character ancient poems, seven-character ancient poems, five-character regular poems, seven-character regular poems and so on.
Modern poetry pays special attention to meter. The so-called meter, as the name implies, is the format and temperament. The format is very simple, with seven words per sentence, which belongs to the format. The melody is more complicated. The ancients divided the tones of Chinese characters into flat and even tones. All direct reading, such as "Ah-"and upper reading, such as "Who", are called flat-voiced characters, and all lower reading, such as "I" and "Qu", are called flat-voiced characters. Of course, the accents of the people in the Tang Dynasty are different from those of Mandarin today, and their four tones are not the four tones of Mandarin, but this is not important. What is important is that once we have a clear concept of level tone, we can consciously adjust the timbre beauty of poetry. Simply put, it is to make poetry easier to read.
The core rule of flat and even words is that flat and even words should be staggered alternately, so that poetry will feel particularly rhythmic when read. The so-called cadence, "suppression" is muffled sound, and "uplift" is flat sound. In English poetry, there are so-called iambic, iambic and so on. Although English has no tone, it has stress and light tone, so the relationship between stress and light tone is used to form a hierarchical relationship.
With leveling, there will be confrontation. Therefore, writing couplets should not only have a correspondence in word meaning, but also have a correspondence in level and level relationship. Eight sentences in a seven-character poem are essentially four couplets, so modern poetry often takes couplets as sentence units. Quadruple is called first couplet, parallel couplet, neck couplet and tail couplet in turn. Although the head couplet and the tail couplet must have a corresponding relationship, the semantics need not be antagonistic, while the parallel couplet and the neck couplet must form a strict antagonistic relationship from hierarchy to semantics. Therefore, even if you don't have a good understanding of parallel prose, you can judge who is an ancient poem and who is a modern poem only from the semantic relationship between parallel prose and neck prose. "I have been in Henan for a long time, so I can sit by this window", which is obviously not a couplet, but "Three biographies focus on state affairs and offer sincerity to two generations". At least it can be seen that "three cares" is against "two dynasties" and "one plan under the world" is against "the heart of the old minister", which is obvious. If you think of Selected Works of Zhao Ming and Parallel Prose from here, congratulations. Parallel Prose is a great source of modern poetry, and the understanding of Pingzhuan developed from the Southern Dynasties, especially during the Qi and Liang Dynasties.
Compared with modern poetry, classical poetry can almost be said to be free poetry, with few metrical restrictions. If you want to write more words, you can write more words, interspersed with a little, three words, five words, nine words, seven words and ten words. Change the rhyme if you want, just pay attention to the rhyme.
In the Tang Dynasty, although Li Bai and Du Fu were juxtaposed as two peaks, in fact, Li Bai's highest achievement was in ancient poetry and Du Fu's highest achievement was in modern poetry. Classical poetry is free and loose, which is especially suitable for Li Bai's character. It is this free and unrestrained genre that has made his "100 poems about fighting wine" and "1,000 poems about agility". If you rewrite modern poetry, no matter how talented you are, you can't write it so fast. The same is true of Cao Zhi's "seven steps into poetry". If he is asked to write a poem with seven steps and seven rhythms, it is difficult for him to learn from gifted scholars and others.
When Li Bai was young, he also carefully studied the writing of modern poetry, but this genre is too inconsistent with his temperament after all, so the more skilled he is in writing poetry, the more casual he will be.