The rhythm and freedom of the word style Li Qingzhao's "Ci Lun" puts forward very strict requirements for the rhythm of the word: "Poems are divided into flat sides (oblique), while lyrics are divided into five tones and five tones. , and divided into six rhymes, including clear, turbid, light, and heavy. "Some words have both flat rhymes and oblique rhymes. Among the flat tones, there are those that require special emphasis on the up, down, or entering tone. The length of the sentence pattern of each lexical tone and the level of the words in the sentence are also regulated. Among traditional poems, rhymed poetry has the strictest rhythm. The number of words, equivalence, and antitheses are all determined according to the principles of rhetoric, aesthetics, and phonology. Therefore, Fang Hui of the Yuan Dynasty said in "Yingkui Lvsui": "The essence of writing is poetry, and the essence of poetry is rhythm." When writing lyrics based on sound, each word must be filled in according to the music score. In terms of rhythm, the requirements are more stringent than those of rhythm poetry, which makes the language tone of the words particularly exquisite. However, the reason why most authors are happy to use the word style and use it successfully is not only the precise rhythm but also the considerable freedom in its use. The rhythm of words is also a far more liberator than the rhythm of poetry. First of all, words have a large number of harmonic forms with different rhythmic sentence patterns, and the author can choose the tone of words that meets the needs of creation in an extremely wide range. According to the "Cipu" compiled during the reign of Emperor Kangxi of the Qing Dynasty, there are 826 tunes and 2306 styles, and there are many more that have not yet been collected. The length, sentence patterns, and vocal moods of various tones vary widely, and they are suitable for expressing and depicting various emotional images, whether they are happy or sad, hard or soft, or full of sorrow and joy, and both hard and soft. The tone of words can serve as a window for catharsis. Furthermore, there is no limit to the changes and creations of tone and style. Writers who understand music can create their own tunes and variations. Kangxi's "Preface to the Ci Pu" says: "Ci is based on the tune. The number of words has a fixed number, the length of the sentence has a fixed pattern, the rhymes have a definite tone, and only when there is no difference between the sudden and the sudden can it be harmonious." However, let's take a look at what is contained in the "Ci Pu" The sentence structure, rhythm, rhyme, and word count of the same words and styles are often quite different, which shows that the ancients had a considerable degree of freedom when filling in the words. The rhyme of words is often broader than the rhyme of poetry. Sometimes the tones can be rhymed together or replaced, and sometimes the tones are rhymed with dialect sounds. For example, the tone of the lyrics of "Man Jiang Hong" is usually rhymed with oblique tones to convey a sense of uprightness and injustice. Yue Fei's "Man Jiang Hong" (full of anger and anger) expresses intense ambition, which makes people generous, sad and angry when read, and is rhymed with "entry rhyme". However, Jiang Kui's "Man Jiang Hong" (When Immortal Grandma Comes), in which he daydreams about the goddess on the lake, changes the rhyme to a plain rhyme, and the tone becomes gentle and soothing, full of a free and leisurely taste. The preface to Jiang Kui's "Changting Yuanman" says: "I like to compose my own music. I first start with long and short sentences, and then combine them with rhythm, so the front and back lines are different." There is a sentence in the poem such as: "There are many people reading, who can Changting tree? If the tree is sentimental, it will not be so green! "At dusk, I can't see the high city, but see countless mountains. How can I forget to get Yuhuan?" However, because the author is well versed in the rhythm of music, even if he chooses short or long sentences at will, they will naturally conform to the rhythm and adapt to the singer's tone. "Do what you want without going beyond the rules." This is a product of a high degree of unity between freedom and law. There is a development process in the rhythm of words. From the Tang Dynasty to the early Northern Song Dynasty, it was still relatively loose, but from the late Northern Song Dynasty to the Southern Song Dynasty, it became more and more strict. Different writers in each period also have different requirements for the rhythm of sound review. If someone thinks that Su Shi's lyrics are inconsistent with the rhythm, someone will defend it. Lu You's "Notes of Laoxue'an" says: Shiyan Dongpo could not sing, so most of his music compositions were inconsistent with the rhythm. Chao Yidao said: "In the early days of Shaosheng, he also said in "Postscript Dongpo Qixi Ci": "At the end of the song, Dongpo was different from Bianshang, Dongpo was drunk and sang "Yangguan Song"." Ze Gong It's not that he can't sing, but he's bold and doesn't like to tailor his music to suit his ears. "Postscript to Dongpo's Qixi Festival Poems" says: "At the end of the song, I feel the wind and sea rain approaching." This can also be seen from other records. Su Shi's representative works such as "Shui Tiao Ge Tou" (When Will the Bright Moon Come) and "Nian Nujiao" (The River Goes East) have also been sung or praised by "good reviewers", which shows that they are still sung with joy, but there are some places where the sound breaks through. bound by law. Generally speaking, if you don't follow the rhythm too much, you may lose the charm of the words, and if you follow the rhythm too strictly, it will become a shackles. The important thing is to use the rhythm to serve the emotion. For example, in the tune of "Slow Sound", before Li Qingzhao, the authors mostly rhymed with flat rhymes, but Li Qingzhao chose oblique rhymes, and also used words with multi-dental and tongue sounds, creating a special artistic effect of blending scenes. It can be seen that she is required to write lyrics with strict rhythm, but she uses it freely to break through stereotypes and create, instead of being trapped in a cocoon. There are many excellent poems in the Song Dynasty. Although they are long and short, they are free and easy to write. Some of them are similar to spoken language and prose, but when recited, they are full of charm and rhythm. The mystery is worth our understanding. In some cases, this may not be possible. For example, Zhang Yan's "Etymology" records that his father Zhang Shu "wrote "Cherishing Flowers and Getting Up Early in Spring" and said: 'Suo Chuang Shen'. The pronunciation of 'Shen' does not match, so it is changed to the word 'You'; if it does not match the pronunciation, it is changed to 'You'. The word "Ming" is the beginning of song. These three characters are all flat tones. Is that so? "Yes." According to the "deep", "secluded" and "ming" scenes, they are changed again and again. Even if the changes are completely adapted to the singing voice, although the rules are strict, it is not an attitude in literary creation worthy of imitation.
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