First, the evolution of poetic style
Poetry is a literary genre with a certain rhythm and rhythm, which vividly expresses the author's rich feelings in highly concise language and reflects social life in a concentrated way. Paying attention to formal beauty is the characteristic of poetry, and it is also the most national.
Regarding the evolution of poetic style, Yan Yu of the Southern Song Dynasty once said: "Style, elegance and fu are all dead. If you change away from *, the Western Han Dynasty will become five words, three songs and lines, and four poems of Shen Song." This sentence basically reflects the changing track of China's poetic form.
Poetry originated from labor, such as "playing songs" recorded in Wu Yue Chun Qiu: "Break bamboo, continue bamboo, fly soil and drive it away." From the content point of view, it shows the scene of inventing slingshot hunting. Formally, it has a simple rhythm, and "bamboo" rhymes with "husband", so it has the most basic characteristics of poetry.
The Book of Songs is the earliest collection of poems in China. 305 poems from the early years of the Western Zhou Dynasty to the middle of the Spring and Autumn Period were collected, which were divided into three parts: style, elegance and ode. "Wind" refers to "national wind", which is a local folk song, while "elegance" and "ode" are "lyrics in the temples in the suburbs of the imperial court". One of the most important is the "national style", which is valuable.
Most of the poems in The Book of Songs are four-sentence, with even-numbered rhymes at the end, thus forming the basic rhythm of ancient Chinese poetry. For example, The Book of Songs-Guanju: "Guanguan/the mother pigeon is in the river/continent. My fair lady, a gentleman is good. "
The second major change in the form of poetry is Chu Ci, which was created by the patriotic poet Qu Yuan on the basis of Chu folk songs. Chu ci is different from the book of songs, and it is generally seven words. The fourth word in the sentence is "Xi", such as "national mourning": "Fuck Wu Gexi was caught by rhinoceros, and the car was wrong. Covering the sun, the enemy is like a cloud, and the war is the first ... Honesty is brave and fearless, but ultimately it is strong and unyielding. Physical death, gods, souls. "
The historical contribution of Chu Ci to the development of poetry style in later generations is to establish the rhythm of three-character suffix. The word "Xi" was added in the middle of the five-character sentence of Chu Ci, but the seven-character sentence was different, and the three-character rhythm appeared, which prepared the conditions for the development of the seven-character poem. In addition, Chu ci is also related to Han fu, and Li * is also called * style fu.
One of the main characteristics of Han Fu is parallelism, that is, the antithesis of the upper and lower sentences. For example, there is a passage in Ban Gu's "Journey to the West": "The left cow and the right weaver girl are like the vast sea of clouds and the Han Dynasty. The trees are covered with lush trees, and the grass is covered with dams. Blue hair color, leaves. If embroidered with brocade, candles will give off bright light. Are the birds Hei He, Egrets and Orioles? Storks, pigeons, birds and birds, herons and geese. Make rivers and seas early and stay in Jianghan late. Ups and downs, foggy. " Han Fu can only recite, but can't sing, which is far from the tradition of folk songs, so it has lost its vitality, but its antithesis form has been inherited and developed by later metrical poems.
Five-character poems were written in the Han Dynasty, and Ban Gu's Ode to History in the Eastern Han Dynasty can be regarded as a sign of the maturity of five-character poems. Most of the five-character poems in Han Dynasty are preserved in Yuefu poems compiled by Guo Maoqian in Song Dynasty, and Yuefu poems are the representative poems of Han Dynasty. Yuefu is a music institution established during the period of Emperor Wu of Han Dynasty, which is responsible for making music scores, collecting folk songs and training musicians to play. These songs are collectively called "Yuefu Poetry" or "Yuefu" for short. Yuefu poems written or adapted by later literati are not necessarily sung, but also called Yuefu. Yuefu poems mostly come from folk songs, and Yuefu songs are mainly miscellaneous words, but some five-character poems are excellent, such as Peacock Flying Southeast and Mulan Poetry.
The origin of seven-character poems may be earlier than that of five-character poems, but the maturity of seven-character poems is later than that of five-character poems. Four Sorrow Poems written by Zhang Heng at the end of Han Dynasty and Ge Yanxing written by Cao Pi in the Three Kingdoms Period are relatively mature works, which are the representatives of early seven-character poems. During the Southern Dynasties and the Song Dynasty, Bao Zhao wrote eighteen poems, which used a lot of seven-character quatrains, mixed with some five-character quatrains, completely broke the pattern of Bailiang's use of rhyme and rigorous words, and created a new seven-character singing method, which became the basic mode of seven-character quatrains after the Tang Dynasty. Five-character sentences are mainly composed of upper two and lower three types, while seven-character sentences are mainly composed of upper four and lower three types. Shang Er and Shang Si still inherit the ancient pattern of "one rice and two characters", and the next three characters can be divided into two types according to the meaning and rhyme. Such as "quasi-hard to go" (Part IV):
Drain/place/level the ground/east-west/north-south/flow direction respectively.
Life/also have/life, can be safe/sigh/reply/sit and worry.
Drink/drink/be generous, raise a glass/break/sing/have a hard time.
Heart is wrong/wood is stone/no feeling, swallowing sound/lingering/dare not speak.
This flexible change of rhythm enables the three-character suffix to be adjusted and changed in a neat five-character or seven-character sentence. Therefore, the five-seven-word style has become an odd-numbered sentence pattern gradually chosen by poets in their creative practice. The maturity of May 4th poetry laid a formal foundation for the formation of modern poetry.
Second, the common sense of poetry and rhyme
Modern poetry, also known as "modern poetry", was relatively mature in the Tang Dynasty, so people in the Tang Dynasty called it modern poetry. Poems written before the Tang Dynasty and poems imitated by later generations that are not written according to the rhythm of modern poetry are collectively called ancient poems. Modern poetry is also a metrical poem in the Tang Dynasty. They are five-character metrical poems and quatrains, which matured and prospered in the Tang Dynasty and reached the point of perfection. For example, Du Fu is a master of metrical poetry. The basic characteristics of metrical poems are as follows: ① Each poem is limited to eight sentences in quadruple, forty words in five laws and fifty-six words in seven laws; (2) flatten the rhyme; (3) The level of each sentence has rules to follow; (4) Every duality is regular. For example, Du Fu's Ascending the Mountain:
The wind is fast and high, the ape cries sadly, and the birds are circling in the white sand. (first copy)
The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. (jaw joint)
Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. (Neck chain)
After all the hardships and hatred, the white hair is full, and the wine glasses are damaged. (Tail connection)
This is a seven-character metrical poem, the first sentence rhymes, the last word rhymes, and all four parts are spelled to the end (the metrical poem requires two parts in the middle), and the first part is self-correcting in the sentence. Only Du Fu can write such demanding rules.
A quatrain, also called a truncated sentence, is a half of a metrical poem, or the upper part, or the lower part, or the middle couplet, or the first and second couplet. Understand the rhythm of metrical poems, and you will understand the rhythm of quatrains.
Rhyme, flatness and antithesis should be emphasized in metrical poems.
Rhyme is one of the basic elements of poetry meter. From folk songs to literati poems, from the ancient Book of Songs to modern new poems, they all rhyme, but they are different in leniency and strictness. So what is rhyme? Rhyme in poetry is roughly equivalent to vowels in Chinese Pinyin. In poetry, all rhyming words can be used to rhyme. The so-called rhyme means that two or more rhyming words are placed in the same position, and the rhyme is usually placed at the end of the sentence, so it is also called rhyme. For example, Li Bai's "Thinking about a Quiet Night": "The foot of the bed is bright, is there frost? . Looking up, I found that it was moonlight, sinking again, and I suddenly thought of home. " Light, cool, fragrant and rhyme are all ong, so they all rhyme. Even sentences rhyme at the end, and odd sentences can be put on or off. For example, the last word of quatrains 2 and 4 should rhyme, and the last word of rhymes 2, 4, 6 and 8 should rhyme. Another example is Wang Wei's Living in the Autumn Mountains:
The empty mountains are bathed in a new rain, and feel the early autumn at night.
The bright moon shed clear light from the cracks and cleared the fountain on the rocks.
The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe.
Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.
"Autumn, flow, boat, stay", the vowel is iu, so it rhymes. The rhyme of ancient poetry is based on rhyming books, so some ancient rhyming words no longer rhyme, which is the result of sound change. Such as Li Yi's "Jiangnan Fu":
After marrying Zhai Tang's family, he broke his promise every day.
If I thought the tide was so regular, I might choose a boy by the river.
Here, "Qi" and "Er" don't rhyme in Mandarin, but rhyme in Jiangsu and Zhejiang dialects, and the pronunciation of Er is (resistance), because a large number of ancient sounds are preserved in dialects. The rhyme of modern poetry is based on the rhyme book, that is, the rhyme cut or Tang rhyme, with ***206 rhymes, but it is stipulated that adjacent rhymes can be used together. The rhyme books on which these poems are based are promulgated by the imperial court, so they are called official rhymes. By the Song and Yuan Dynasties, people had combined these rhymes into 106 rhyme, which was called Pingshui rhyme. Since then, the poet has written metrical poems based on Pingshui rhyme, also known as poetic rhyme. Writing a poem without rhyme is called rhyme, which is a big taboo in writing modern poetry.
Flat tones are closely related to Chinese four tones. The four tones in ancient Chinese are "Ping, Shang, Qu and Ren", while the four tones in modern Chinese are: Yin Ping, Yang Ping, Shang Sheng and Qu Sheng. They don't correspond to each other. The evolution from ancient Chinese four tones to modern Chinese four tones is basically as follows: First, ancient flat tones are divided into Yin Ping and Yang Ping in modern Mandarin. Therefore, Yin Ping and Yang Ping in Mandarin mostly belong to Gu Ping phonetic characters. However, some A-tone characters have also evolved into Yang Ping, such as "Bo, Shu, Du, Cry, Tin, Strength, Weaving, Black, Stripping, Drawing, Wet, Sucking, Sticking, Picking, Blinking, Taking". Secondly, some of the ancient Shang Sheng characters have evolved into disyllables, and the rest are Shang Sheng. In the rising tone of Putonghua, there are also some words from the ancients, such as "A, Fa, Ge, B, Narrow, Hundred, Bu, Gu, Insult" and so on. Thirdly, all the ancient disyllabic words in Putonghua have evolved into disyllabic words. In addition, some ancient consonants and ancient sounds have also evolved into disyllables in Putonghua.
Since Qihe discovered the four tones of "Ping, Shang, Qu and Ru" in Chinese next year, they have further dualized the four tones, that is, they are divided into two categories, namely "Ping" in ancient times and "Yi" in ancient times. Pingsheng characters don't rise or fall, so they read in a slow tone. When they rise, they rise, when they fall, they fall, and they read relatively short. In a poem, if you simply use flat words or oblique words, it will be monotonous to read. Both ancient poetry and modern poetry should be avoided. If the word "flat" appears alternately in poetry, the tone will be diversified and sonorous. In this sentence, ping and ping alternate, but in the dialogue, they are opposite. Another example is Lu You's book Anger:
When I was a child, I knew that the world was unbearable and the Central Plains looked like a mountain. (mediocre)
It snowed all night in the building, and the autumn wind dispersed in the iron horse. (even, even, even, even)
Stuck on the Great Wall and make an empty promise, the sideburns in the mirror have long faded. (average, average)
Who can compare with a teacher for a thousand years? (even, even, even, even)
There is also a rule of "sticking to the right" in the flat and even tones of metrical poems. Yes, it's even. It's even. That is to say, in the antithesis, the level balance is the opposite. In fact, the "correctness" of the five laws only appears in the form of two couplets, namely:
Standing style: flat and flat, flat and flat. Departure style: flat and flat, flat and flat.
Understand the "right" of the five laws will also understand the "right" of the seven laws. As long as the "flat" of the five laws is added before the "flat" and the "flat" is added before it, two links of the seven laws are formed:
Starting form: (flat and flat, flat and flat.
Standing: (flat) flat, flat.
If the first sentence rhymes, the first couplet is not completely opposite. Due to the limitation of rhyme, the first connection of the five laws is: flat and even. Or: flat and light, flat and light.
The first connection of the seven laws is: flat and flat, flat and flat, flat and flat. Or: Pingping Pingping Pingping Pingping Pingping Pingping.
Sticky, that is, flat sticky; The levelness of the second word of the subsequent sentence should be consistent with that of the previous sentence. Specifically, the third sentence should adhere to the second sentence, the fifth sentence to the fourth sentence, and the seventh sentence to the sixth sentence. Simply put, it is a five-character poem. The sentence of the second couplet is the same as the first two words of the first couplet, and the last three words are "somersaulted" from back to front. If the couplet is: flush, then the couplet is: flush; Or the couplet is: flat and flat, and the couplet is: flat and flat.
There are still some things about leveling. In a word, we understand that we should stick to the correct principle. As long as you know the level of the first sentence, the level of the whole article will be easy to write (say).
The antithesis in poetry is duality, that is, juxtaposing similar concepts or opposing concepts, such as "mountains are heavy and water is heavy." Duality can be self-aligned in one sentence, such as "the future is bright", or it can be opposed in two sentences, "Resist US aggression and aid Korea and defend the country". The general rules of duality are noun to noun, verb to verb, adjective to adjective, adverb to adverb. The duality in metrical poems is more strict, and the parts of speech are divided into nine categories: nouns, adjectives, numerals (numerals), color words, locative words, verbs, adverbs, function words and pronouns ("zhi" and "qi" are classified as function words). Conjunctions can only be relative to conjunctions, and conjunctions of different parts of speech are generally not relative. Proper nouns can only be relative proper nouns, that is, names to names and place names to place names. Nouns can also be subdivided into several subcategories, such as astronomy, seasons, geography, palaces, clothes, utensils, plants, animals, interpersonal relationships, personnel, body and so on.
There are several basic types of duality: working pair, adjacent pair, wide pair, borrowing pair and running water.
The so-called work pair is the relative word of the same kind. Just like the nouns in small classes are relative, that is even more correct. For example, Du Fu's quatrains:
"Two orioles sing green willows, and egrets cover the sky."
There are 1000 autumn snows in Xiling on the windowsill, and the Wu Dong Wan Li boat is moored at the door.
The antithesis of this poem is very neat, quantifier to quantifier, color word to color word, locative word to appositive word, noun to noun, verb to verb.
Neighboring pairs are opposites of neighboring things, such as astronomy and seasons, geography and palaces, colors and positions, synonyms and conjunctions. For example, Wang Wei's "Going to the East" says: "If you collect Peng, you will return to the wild goose." Chen Ziang's "Farewell to Friends on Spring Night": "Don't go around mountains and rivers when you leave the hall."
Tolerance means noun to noun, verb to verb, adjective to adjective. A little wider is half right and half wrong. For example, Chen Ziang's "Send David to the Army": "The Huns are still alive, and Jiang Wei will resume his military service."
The word "borrowing power" has two meanings. The poet uses the first meaning in his poems, but at the same time borrows its second meaning to oppose another word. For example, Du Fu's Qujiang: "Wine debts are common, and life is seventy years old."
Sometimes, the sound is borrowed to be opposite to another word, which is common in color pairs, such as borrowing "basket" to mean "blue" and "emperor"
For yellow, for Zhu, for Qing. For example, Du Fu's "Hate Farewell": "I miss home, and I stand clear at night, and I miss my brother and watch the clouds sleep during the day."
Generally speaking, the last sentence and the next sentence are two compound sentence with complete meanings. But there is also an opposition between the last sentence and the next sentence. It is meaningless to look at it separately, at least it is incomplete. This kind of confrontation is called running water confrontation. For example, Wang Wei's "My Retreat in Zhongnanshan": "I will walk until the water stops my way, and then sit and watch the rising clouds."
Don't cross your hands, they are exactly the same in the confrontation. The so-called folded hands means that the meaning of the sentence and the meaning of the antithesis are exactly the same or basically the same, which is the taboo of the poet, such as "the unique hero drives the tiger and leopard, and no hero is afraid of the hero." Duality is neat but it all means "heroism", so crossing your hands is a taboo. In addition, poets should try to avoid the similarity of dual methods. Such as "the heart is like the universe, the arm is like the sky", which means the same thing.
Duality is a rhetorical device, and its function is to form neat beauty. The antithesis in regular poems is strict, which requires that the antithesis and antithesis are opposite, and the words of antithesis and antithesis cannot be repeated. Among them, couplets and necklaces in rhyme must be right, and the first couplet and the last couplet can be right or wrong. Such as Du Fu's "Spring Hope":
Chang' an fell, the country was broken, and only the mountains and rivers remained; Spring has come, and the sparsely populated Chang' an city is densely forested. (even, even, even)
Petals shed like tears, and I don't want to say goodbye. (average, average)
The war lasted for more than half a year, and letters from home were rare, with a hundred thousand gold. (even, even, even)
Twisting with melancholy, scratching my head and thinking, the more I scratch my white hair, I can hardly insert a hairpin. (average, average)
The two couplets in the middle are couplets. "After three months of war, a letter from home is worth a ton of gold" is a famous saying.
Third, the common sense of couplets
Couplets, commonly known as couplets or couplets, evolved from antitheses in regular poems. They are unique literary styles in China and cultural treasures of the Chinese nation. It can be written on paper, cloth or engraved on bamboo, wood or columns. Among a large number of places of interest and natural attractions in China, couplets are the most common and instructive art.
1. The origin and development of couplets
As early as before the Qin and Han dynasties, there was a custom of hanging peach symbols in the New Year. The so-called Fu Tao refers to writing the names of the legendary gods "Shen Tu" and "Lei Yu" on two mahogany boards and hanging them on the left and right doors to exorcise ghosts and eliminate evil spirits. This custom lasted for more than 1000 years, and it was not until the Five Dynasties that people began to write couplets on mahogany boards. According to "Songshi Shu Family", Meng Chang, the master of Shu after the Five Dynasties, "ordered a bachelor's degree every year, inscribed a peach symbol, and set the bedroom door on the left and right. At the end of the year, I worshipped Yin Xun and wrote a poem, claiming that it was not a job, and wrote another sentence,' Come to Qing Yu in the New Year, and the number of festivals is Changchun' ". This is the earliest Spring Festival couplets in China. After the Song Dynasty, it was quite common for people to hang Spring Festival couplets in the New Year. In Wang Anshi's poems, the phrase "Thousands of households always change new peaches for old ones" is a true portrayal of the grand occasion at that time. Because the appearance of Spring Festival couplets is closely related to peach symbols, the ancients also called Spring Festival couplets "peach symbols".
In the Ming dynasty, people began to use red paper instead of red boards, and the Spring Festival couplets we see today appeared. According to "Clouds and Flowers", the Ming Emperor Zhu Yuanzhang made Jinling his capital. Before New Year's Eve, he ordered officials and scholars to add a pair of Spring Festival couplets to their homes, go out in person to visit incognito and watch from house to house for fun. From then on, all scholars think antithesis is an elegant thing. After entering the Qing Dynasty, couplets once flourished, and many famous couplets appeared. With the development of cultural exchanges between countries, couplets have also spread to Vietnam, North Korea, Japan, Singapore and other countries.
2. Classification of couplets
There are many classification standards for couplets, and the standards of different categories are different. According to the purpose, it can be divided into the following categories.
(1) Spring Festival couplets: special couplets for Chinese New Year. Such as: "Willow spits Kyushu green; Peach and apricot compete for spring in May. "
(2) Door couplets: also called doorposts and door pairs. Different from Spring Festival couplets, Spring Festival couplets are not temporary festivals, but beautiful ones are printed on the door for a long time, which mainly reflects the characteristics of family status and industry. For example, Confucius' couplet in Qufu, Shandong Province: "Rest in peace with the country; The same day and the old article moral saint family. "
(3) Hall couplets: a kind of decorative couplets, which are used to beautify the hall and bedroom. The content is extensive, which often entrusts the author's feelings, interests and ambitions. For example, Lin Zexu wrote his own couplet: "All rivers run into the sea, with great tolerance;" The wall stands thousands of miles, and there is no desire. "
(4) Greeting couplets: used for birthday, marriage, housewarming, having children, opening business and other festive occasions. Such as western union: "a pair of hearts in four directions; Two ingenious hand-painted new pictures. " Shou Lian: "Lucky as the East China Sea; Shoubi Nanshan. "
⑤ elegiac couplet: used to mourn the dead. Such as: "books have a strong future and will shock the world; The spirit shines, and then benefits the world. "
(6) Donation: praise or encourage others to use it. Such as: "wind, rain, reading, ear sounds;" Family affairs, state affairs and what's going on in the world are all concerned. "
(7) Self-encouragement: For self-encouragement. Such as: "often read books related to the country; Nothing is good for body and mind. "
(8) Industry Association: Different industries are posted at the door or in the store. As posted in the bookstore: "If you want to know the past and present; I have to read five books. " Stick to the barber shop: "Although it is unscathed business; But it is the top effort. " Posted in the hotel: "Welcome guests in spring, summer, autumn and winter; Entertain people from east, west, north and south. "
(9) Yan Zhilian: Expressing ambition and inspiring. Such as: "I would rather be Zhao's ghost; Not his vassal. "
(10) Inscription couplet: It is a couplet inscribed on scenic spots or historical celebrities and monuments. For example, the couplet on the iron sill in front of the moon powder in Hangzhou reads: "Castle Peak is fortunate to bury loyal bones, and white iron casts innocent courtiers."
3. The characteristics of couplets
Because couplets are developed from the antithesis of metrical poems, they retain some characteristics of metrical poems. The ancient people compared the antithesis of chanting poems, which reflected the close relationship between them to some extent. Couplets require neat antithesis, smooth coordination, flat tail on the top and flat tail on the bottom. These characteristics are similar to those of regular poems, so some people call couplets paste poems. However, couplets are different from poems. They only have couplets. Generally speaking, they are more concise, more flexible, longer or shorter, and more flexible than poems. Couplets can generally be four characters, five characters, six characters, eight characters, nine characters, crosses and tens of crosses. There are even hundreds of long couplets in ancient buildings in China. There are also one-word couplet, two-word couplet and three-word couplet. Whether chanting objects or writing scenery and expressing feelings, couplets require the author to have high language generalization ability and the ability to control words, so as to achieve the combination of emotion, spirit and form in a few words and give people the enjoyment of ideological and artistic beauty.
Couplets are paired in form, but they should be both paired and linked in semantics. Yes, they are two opposite things, or two sides of the same thing; Contact means that the two are interrelated, cooperate with each other, promote each other and express a theme in a unified way. Don't repeat the contents of couplets, but struggle back and forth. It should be focused on each other, and the division of labor is based on the division of labor. According to the different columns, there are the following situations:
(l) writing about landscapes. Scenery has spatial state and temporal state. Space has distance, up and down, back and forth, size and so on. And the time is morning and evening, day and night, winter and spring, present and past, etc. There are also different situations such as movements, melodies, and constant changes. As far as the specific objects are concerned, there are heaven and earth, land and sea, mountains and rivers, Yunlin, Chunyan, natural objects and buildings. There are pavilions and temples on the building and peach and apricot pines on the plants. In this way, the scenes of the opposing sides are endless.
Uplink and downlink can be divided into two parts, such as write space state and write time state; Write far, write near; Write a sound and a color; Write a spring, a stone; Write a building and a pavilion; Write a real scene in front of you, an imaginary scene or an imaginary scene in the past, * * * shows the characteristics of the scenery. For example, Kowloon Castle Peak Temple Federation:
Shili Songshan Wei Ancient Temple,
Hundreds of clouds and water surround the green hills.
The first part of the book is about close-up and static scenery, which combines the natural landscape with the Millennium Temple, quiet and solemn. The second part is about the vision and dynamic scenery, surrounded by clouds, infinitely open, and the water ring rushes, making Qingshan very imposing. In this way, the seven couplets cooperate with each other and set off each other, making the Qingshan Buddhist Temple surrounded by clouds, water, pine and fir look different and colorful.
(2) Remember people's narratives. The upper and lower alliances have a division of labor and each has its own emphasis. You can talk about others or yourself. Write a story to express your feelings; One is solid and the other is empty. When talking about others, the upper and lower leagues can write about morality and achievements, morality and knowledge, achievements and life, public and private, words and deeds, literature and martial arts, joy and evil, gains and losses, present and past, before and after death, present and future, etc. Both are narratives, and the upper and lower couplet can write poems and articles, classics and history, ci and fu, books and paintings, poems and calligraphy, piano and chess, and teachers and friends respectively.
For example, Tang (called Qiu) wrote to Taiwan Province Temple Union:
Scholar sealed the king, propped up half of the old rivers and mountains, and made a name for the world's scholars;
Drive foreigners out of the country and open up a new world for future generations. Those who have the will in China will be brave again.
The All-China Federation praised the success of the national hero Hao, but there is still a division of labor between the upper and lower leagues. The first part is about his resistance to the Qing Dynasty, and the second part is about his expulsion of foreigners, that is, the expulsion of Dutch colonists from Taiwan Province Province. One is to "support the old mountains and rivers" and the other is to "open up a new world"; One focuses on showing the past and the other focuses on influencing the future; The first part praised his achievements, and the second part raised hope for the younger generation: Zheng Chenggong was fully affirmed and praised.
The theme of couplets is the connection and intersection of upper and lower couplets. If a pair of couplets can grasp the theme and meet the meaning of the topic, the upper and lower couplets have their own emphasis, and * * * expresses the same central meaning, indicating that they are all right and interlinked. The meaning of couplets should also pay attention to the beginning and end. The first couplet must be well-formed, and the second couplet must be well-formed. That kind of long couplet, but also pay attention to, bearing, turning, knot, such as Zhu Yuanzhang gave Xu Dalian:
Broken lupin, the first place in ancient and modern times; (bearing)
When you go out, you look good, chinese odyssey. (knot)
Some medium-long couplets, especially super-long couplets, also play the role of bearing and turning.
If couplets are hung and pasted, they are generally written vertically, with right upper couplet, left _F couplet and horizontal batch in the middle. Horizontal criticism is a high generalization of the theme of couplets.
Although antithesis of couplets has something in common with poetry, it is more demanding than poetry. Couplets can be divided into wide pairs and narrow pairs. Wide pairs can only be formed if the contents of the upper and lower couplets are related, while narrow pairs should be written in strict accordance with the standards of Li Weng Dui Yun. However, in practical couplets, wide couplets are often used, while narrow couplets are because the requirements for antithesis are too strict, which fetters people's thoughts and harms righteousness because of the text.
The level and horizontal laws of couplets are basically the same as those of poems, and generally follow the basic laws of distinguishing poems 135 and 246. To judge the upper and lower couplets, we should not only distinguish them from their contents, but more importantly, judge them from the flat sound of the couplets. It is strictly stipulated in couplets that the last word of the first couplet should be wrinkled and the last word of the second couplet should be flat: later people call this rule wrinkle flat.
In addition to rhyming antithesis, couplets also have certain rules in terms of phrases and structures. When designing the layout of couplets, the author must pay attention to the consistency of the phrase structure of the upper and lower couplets, which is also an important rule that couplets must follow. Such as: contentment is always happy; Can tolerate self-satisfaction. The phrases and structures of the upper and lower couplets should be consistent. The upper couplet is a verb-object structure, and the lower couplet must also be a verb-object structure phrase, such as "shake red; Cui Di. " The upper couplet is a radical phrase, and the lower couplet must also be opposite to it with a radical phrase. For example, "concentric knot" and "parallel flower" are the same phrase structure.
In a word, to sum up, couplets must do the following: First, the number of words should be equal and the sentences should be consistent. In addition to deliberately leaving a place for a word to achieve a certain effect, the number of words in the upper and lower couplets must be the same, neither more nor less. Second, it is necessary to be honest and have a harmonious tone. The traditional habit is to "pucker up and fall flat", that is, the ending word of the last sentence of the first couplet is puckered up and the ending word of the last sentence of the second couplet is flat. Third, the parts of speech should be relative and the position should be consistent. It is generally called "virtual to virtual, real to real", which means that nouns to nouns, verbs to verbs, adjectives to adjectives, quantifiers to quantifiers, adverbs to adverbs and related words must be in the same position. Fourth, the content should be related from top to bottom. The meaning of up and down links must be interrelated, but they cannot be repeated. Fifth, the traditional practice of hanging couplets must also be straight and vertical, from right to left and from top to bottom, and cannot be reversed. Sixth, the horizontal criticism of couplets can be said to be the title and center of couplets. Good reviews can make the finishing point and complement each other in couplets.