Old sayings and metrical poems have strict requirements on the fluency of words, which is known to those who are familiar with ancient Chinese. Take the Seven Laws as an example. In the first connection, parallel connection, neck connection and tail connection, it is especially required that the middle two connections be strictly opposed. Tone, first of all, is flat, that is, there can be no continuous flat or flat tone. Of course, this requirement is only for even numbers, that is, the so-called 135 is not divided, and the 246 is clear. Secondly, there is a connection between couplet and inline alignment, that is, the post-couplet sentence is the same as the pre-couplet sentence, and the post-couplet sentence is flat and opposite. There are more tag formats of words, and the forms of flush words are more complicated, but flush words are still an important principle.
All kinds of quatrains with fixed formats have their own distinct aesthetic and poetic characteristics. Taking five words and seven characters as a sentence, on the one hand, the rhythm is distinct, on the other hand, it is more in line with the requirements of memory, and this clause is the easiest to remember; Dui has a typical axisymmetrical aesthetic feeling, which coincides with the aesthetic characteristics of China culture. For example, the typical feature of ancient buildings is axial symmetry; Consistent rhymes can make reading and reciting harmonious and smooth; The alternation of flat and flat makes the poem cadence; Even the poem can link the tone of the whole poem, which is similar to the thimble in China's rhetoric. The importance and necessity of various characteristics also show that they are not equal.
Tone is unique to Chinese and an indispensable phonetic feature of Chinese characters, unlike English, which only has syllable features. The essence of tone is the change of pitch when a word is pronounced. Continuous treble is flat, from low to high is flat, falling first and then rising, and from high to low is flat. Simply put, tone sandhi is tone. But word of mouth has changed a lot, and because of geographical differences, it is more difficult to unify, unlike the fixed circulation form of words, which is relatively stable. An editor talked about the wet words in my poem "Sitting and Watching Cold Mountain Wet", and thought they belonged to the category of entering tone and falling tone. It is true that many local languages still have Rusheng, just like ancient tones, but now the popular Mandarin has been deleted and its original Rusheng characters are classified as Yin and Yang. Then, in the creation of modern ancient poetry, should Putonghua be the standard, or should the ancient sound be the standard, or should the local sound be the standard? If there is a standard, it should of course be the standard of Putonghua. There are seven quatrains in the Tang Dynasty in Liangzhou Ci (there is no first one, and only some critics are quoted here to explain the position of this poem). "Why should a strong flute blame a willow?" The "flute" is a kind of falling tone in ancient times. Today, Mandarin is rising, flat and out of line; And the word "Yang" is flat, which is also out of line. This also shows from the side that the requirements for standards should not be too strict, because sometimes we can't even completely determine the unified standards of standards.
Ancient poetry is gratifying to sing and poetry can be recited. Singing is not singing, it just lengthens the pronunciation and changes the tone. When you sing pride, you should shake your voice a few times. Ci also has the theory of composing ci by sound, and the actual epigraph is a song that has been composed. Once ancient poetry is put into music, its tonal nature will cease to exist, and even the tone will lose its meaning. Only when there is a pure language form, even the tone will have a certain meaning, but its aesthetic characteristics are not necessarily necessary, that is, the role of tone in the creation of ancient poetry should be mainly to define a word, which can only be judged by reading, not even in this position. This requirement is obvious. A famous vocalist asked the former to be soft and the latter to be hard when teaching how to sing the difference between "the violinist" and "the beast". Soft refers to the pronunciation from weak to strong, similar to rising tone or rising tone, which simply refers to the sudden and even pronunciation, similar to silencing. Comparing the sound intensity with the pitch, it also shows that Chinese characters lose the meaning of tone when they enter music. Forced stylization often limits the development of art, taking music as an example. As early as 7,000 years ago, Jia Hu bone flute could play a variety of tones. According to experts' research, we should understand the truth before the establishment of the law of twelve averages (that is, a group of octaves is divided into twelve semitones on average, and octaves refers to the span between a tone and its dual-frequency tones, such as the existing piano central frequency 26 1.6Hz and 523.2Hz to form an octave), but in ancient music, an octave was divided into five tones: palace, top, angle, positive and melancholy. I don't know why ancient musicians just simplified it to five notes and made fun of it. The achievements of China's ancient instrumental music creation are far from those of European instrumental music. In fact, the disadvantages of stylization are hard to blame. I hope this sentence will not attract criticism from narrow nationalists.
Great music works can be created with harmonious intervals, and great works can also be created with disharmonious intervals. The flat tone is beautiful, but you can also use continuous tone to express your urgent tone, or let your meaning go in one go; Express relaxed, lively or peaceful artistic conception with continuous flat voice. When writing poetry, the first is the artistic conception, the second is the vividness, accuracy and image of the words, and the third is fluency, which can't hurt the meaning. Too one-sided pursuit of form is harmful to art, which will hinder the development of art today when art is popular. Art is not a science, only a few scientists can understand it, but for most people, it is almost completely submerged in poetic words, so creators should understand what is more important. Cui Hao's "Yellow Crane Tower" is regarded as the pinnacle of the Seven Laws in the Tang Dynasty, and the couplet "The Yellow Crane will never return to earth, and the white clouds will never fly without him" is simply out of line from the perspective of antithesis, especially from the perspective of leveling. The first sentence is full of sound, but it has become a famous sentence through the ages because of the coherence of the poem, the vividness of description and the blending of scenes. This is the case with metrical poems, and there are even fewer flat meanings of ancient words.
If metrical poems or metrical words want to be well inherited and developed in modern times, it is wise to properly abandon the shackles of Pinge words and give consideration to Pinge words as much as possible without hurting the meaning of the text.