Generally, there are eight sentences in each sentence, and each five-character rhyme is called five-character rhyme, which is referred to as five laws (for example, Meng Haoran's Passing Old Village), and each seven-character rhyme is called seven-character rhyme, which is referred to as seven laws (for example, Lu You's Traveling to Shanxi Village). Rhyme is one of China's modern poems. The meter is very strict Shen Yue's new poems originated in the period of Qi Yongming in the Southern Dynasties, and paid attention to meter and duality. They were shaped in Shen Quanqi and Song Wenzhi in the early Tang Dynasty and matured in the prosperous Tang Dynasty. Rhyme requires the unity of the number of words in the poem, and each poem is five-character, six-character and seven-character sentences, which are referred to as five laws, six laws and seven laws, among which six laws are relatively rare. The usual metrical poems stipulate 8 sentences each. If there are only six sentences, it is called a small law or a three-rhyme poem; More than 8 sentences, that is, 10 sentences, are called exclusive laws or long laws. Usually eight paragraphs are completed, and every two sentences form a couplet, which counts as four paragraphs. It is customary to call the first couplet a title, the second couplet a parallel, the third couplet a neck couplet and the fourth couplet a sentence. The upper and lower sentences of two or three couplets (namely, parallel couplets and neck couplets) of each song must be antithetical sentences. In addition to the first and last couplet, the middle couplet must be duplicated. The dual requirements of secondary laws are more extensive. Rhyme requires the whole poem to rhyme, and the rhyme is limited; The second, fourth, sixth and eighth sentences rhyme, the first sentence can be put on or off, and the words of each rhyming sentence are flat. There are "flat rise" and "flat rise" in the upper and lower sentences. In addition, the metrical requirements of metrical poems also apply to quatrains. There are variations in metrical poems in Tang Dynasty before and after they are finalized. Some metrical poems are not completely written according to the format, such as the Yellow Crane Tower in Cui Hao, which means that the first half is archaic and the second half is homophonic. This change in metrical poetry is called "difficult style". Each quatrains four sentences, each sentence five words, referred to as five-character quatrains (such as Li Bai's "Silent Night Thinking"). Each sentence has seven words, which is called a seven-character quatrain, which is referred to as a seven-character quatrain for short (such as Mr. Wang Anshi's "Shu Hu Yin Bi"). Quatrains are also called broken sentences, broken sentences and broken poems. Each song has four sentences, usually five or seven words. Known as the five wonders, seven wonders, and occasionally six wonders. It originated from the ballads of the Han, Wei, Southern and Northern Dynasties. The name "Jueju" originated in the Southern Dynasties. Liang, generally, uses quatrains to refer to four short poems, and their rhymes are relatively free, or they are ancient quatrains. After the Tang Dynasty, quatrains in the near aspect prevailed, and the meter was the same as the first, last or middle four sentences in eight metrical poems. Therefore, some people in the Tang Dynasty attributed quatrains to metrical poems in their poetry collections. Later, some scholars thought that quatrains were formed by cutting off half of orthographic poems. Quatrains are flexible and light, suitable for expressing fleeting thoughts and feelings, and are widely used by poets, and their creation is more prosperous than other poems. In Song Dynasty, Hong Mai compiled 10,000 quatrains in Tang Dynasty, accounting for 1/5 of the total number of existing Tang poems. Besides Li Bai, Wang Changling, Du Mu and Li Shangyin are good at quatrains, there are many famous works throughout the ages, which are not necessarily written by famous writers. In addition, most quatrains in the Tang Dynasty were sung by music, such as Cheng Wei Qu by Wang Wei, Qing Ping Diao by Li Bai, Zhi Zhu Ci by Liu Yuxi and Bai Juyi, and Yang Liuzhi. Therefore, quatrains are also considered as Yuefu in the Tang Dynasty. Besides, every sentence must rhyme at the end. For example, the rhyming words in Lu You's Shanxi Village Tour are dolphin, village, deposit and gate, while the rhyming words in Li Bai's Silent Night Thinking are frost and hometown. Three or four sentences and five or six sentences of the seven-character rhyme should be opposed. In A Visit to Shanxi Village, there are antithetical sentences: "The mountains are heavy and the water is suspicious, but there is no road, and the willow flowers are bright and there is another village" and "The flute and drum follow the Spring Society, and the clothes are simple". In practice, seven laws and seven classics should be separated. The seven laws should be neat, calm and grand. I don't advocate that the seven laws are written too lightly and beautifully. This style does not conform to his physique, and it is also like Li Changji's fantasy style, which is not suitable for writing seven laws. Li Yishan's Seven Laws of Romance is touching and beautiful, but it is still refined and magnificent. Seven sections are suitable for beauty. When we read Xiao Du's seven verses, we are simply a group of fashionable beauties, charming and gorgeous, amazing. Lao Du's Seven Laws are unsmiling gentlemen. Imagine a man winking at readers, and I'm afraid no one can adapt. However, there are no absolute things in the world. There are exceptions like Anita Mui and Leslie Cheung, let alone poetry. The significance of freehand brushwork is that it is suitable for a wide range of perspectives. Taking photography as an analogy, the seven wonders are like macro, the seven methods are like wide angle, and the five words are like telephoto. The ancient style is closer to the standard head. Du Fu's "Zaiwulang" wrote a very small thing, which still reflects the great feelings of the times and compassion. But it should not be empty, especially when writing current events or feelings. I have always felt that the gap between Liu Gaizhi and Xin You 'an in ci can be used for reference. This is not just a gap between literary talent and knowledge. Everyone's experience is different, and some things cannot be forced. When writing feelings, it is inevitable to be sticky and silly. It is often useless to have true feelings. If there is no true feelings, take some beautiful sentences to make up the numbers. The former gives people the impression that the writing is not satisfactory, while the latter is more common. If you can't say it well, it's neat. If you say it, it's just nonsense, and there is no real emotion in it. From a technical point of view, the key points of the seven verses are the last two sentences, and some of the four sentences are equally weighted, and few of them are focused on the first two sentences. The first two sentences are well played and balanced. Even if there is nothing to recommend them, people should remember that the key lies in whether the last two sentences are improved on the basis of the first two sentences or made a big turn. You can also lay the groundwork for the first three sentences until the last one makes it clear that the big things come later, but it doesn't mean that the first two sentences can be casual. For example, Mutu's "Screen": "Screen Zhou Fang drew a slim waist and sold it for half a day. Leaning against the jade window, I have beautiful hair and envy others. " The first sentence lays out the background, and the second sentence points out the key points in a big tone, covering up the turning point behind it. If this sentence simply continues to write the beauty on the picture, the later turning point will be less powerful. The third sentence shifts the focus to the protagonist, and the last sentence clarifies the main idea and carries forward the sentence. The structure is extremely tight and immovable. This structure is good, you can score 100, and the overall score of the poem is another matter. I don't advocate overemphasizing structure, and the charm of poetry is more important. Writing seven methods, the foundation of learning and raising is very important, no more than seven stunts, more gas field, can be a little tricky. When books are read less and vocabulary sentences are not changed, poetry is easy to fade and can't hold back. The specific writing methods of the seven laws, such as words, sentences, couplets and chapters, have been discussed in previous dynasties, and there are also special chapters on the Internet, each with its own reasons. You might as well do what you believe, most of which will lead to the same goal. As long as you can write a good poem, the path doesn't matter. Really good poetry has the power to reverse the habit of appreciation, rather than accommodating the common habit of appreciation. The editor of 300 Tang Poems divides poems into three categories: classical poems, regular poems and quatrains, all of which are equipped with Yuefu. Ancient poems, regular poems and quatrains are divided into five words and seven words respectively. This is a kind of division. From the perspective of meter, poetry can be divided into classical poetry and modern poetry. Ancient poetry is also called ancient poetry or ancient style; Modern poetry is also called modern poetry. From the word count, there are four-character poems, five-character poems, seven-character poems and rare six-character poems. After the Tang Dynasty, there were few four-character poems, so the general poetry collections were only divided into five-character poems and seven-character poems. Classical poetry is written in the style of ancient poetry. In the eyes of the Tang people, everything from The Book of Songs to Geng Xin in the Southern and Northern Dynasties is ancient. Therefore, there is no certain standard for imitating ancient poetry. However, the ancient poems written by poets are consistent in one thing, that is, they are not bound by the rhythm of modern poetry. We can say that all poems that are not bound by the rhythm of modern poetry are ancient poems. Modern poetry is represented by metrical poetry. Metric poems pay attention to rhyme, flatness and antithesis. Because the meter is very strict, it is called meter poem. Rhyme has the following four characteristics: a. Each poem is limited to eight sentences, with five laws of * * * forty words and seven laws of * * fifty-six words; B. flat rhyme; C. the level of each sentence is stipulated; D. every article should have antithesis, and the position of antithesis is also stipulated. There is a kind of metrical poem with more than eight sentences, which is called long law. Dragon law is naturally a modern poem. The long method is generally five characters, and the number of rhymes is often indicated on the title. For example, Du Fu's "Thirty-six Rhymes of Sleeping Boat in the Rain" is 360 words; Bai Juyi's "Poems with Hundred Rhymes" is a thousand words. This long method uses antithesis except tail (or head-tail), so it is also called parallelism. Four-line poems are half as many words as ordinary poems. Five-character quatrains are only twenty crosses, and seven-character quatrains are only twenty-eight. In fact, quatrains can be divided into ancient quatrains and strict quatrains. Rhyme can be used in ancient times. Even if it rhymes, it is not bound by the rules of leveling in modern poetry. This can be classified as classical poetry. Rhythm not only balances the rhyme, but also follows the leveling rule of modern poetry. Formally, they are equivalent to half a metrical poem. This can be classified as modern poetry. To sum up, the so-called ancient poetry belongs to ancient poetry, while the regular poetry (including long law) belongs to modern poetry. Yuefu and quatrains, some belong to ancient style, some belong to modern poetry. Five words are five words and seven words are seven words. Five-character ancient poems are referred to as five ancient poems, and seven-character ancient poems are referred to as seven ancient poems. Five-character poems are referred to as five laws, and seven-character poems are referred to as seven laws; Five-character quatrains are referred to as five-character quatrains, and seven-character quatrains are referred to as seven-character quatrains. Ancient styles are divided into five ancient styles and seven ancient styles, which is only a rough division. In fact, in addition to five words and seven words, there are so-called miscellaneous words. Miscellaneous words refer to long and short sentences mixed together, mainly three, five and seven sentences, among which there are occasionally four, six and more than seven words. Miscellaneous poems generally do not have another category, only belong to the seven ancient. Even if there are no seven words in the article, as long as they are long and short sentences, they will be classified as seven ancient. This is a conventional classification and has no theoretical basis. Simply put, seven and five are based on the number of words in each sentence of a poem. The restrictions of metrical poems are stricter, while those of classical poems are looser. Here, we also need a basic understanding of the level of poetry. To distinguish a flat tone, you must first know the four tones. Four tones are four tones in ancient Chinese. Tone refers to the level, fluctuation and length of sound. The tones of ancient Chinese are divided into four tones: flat, rising, going and entering. "Ping" refers to the flat tone in the four tones, including Yin Ping and Yang Ping. "Cue" refers to four tones, including up, down and middle. According to tradition, a flat tone is a flat tone, a rising tone is a rising tone, a falling tone is a falling tone, and an entering tone is a short tone. In Ming dynasty, the interpretation of vacuum jade key song said: the tone is flat and level, but the road is not low, the rising tone is fierce and strong, the ending is clear and sad, and the tone is short and urgent. To put it simply, the key to the difference between flatness and unevenness lies in "unevenness is flatness". Even tones are divided according to the traditional four tones (not the current four tones in Mandarin). The traditional four tones are the abbreviations of flat tone, rising tone, falling tone and entering tone, but now the four tones in Putonghua refer to the abbreviations of flat tone, rising tone, rising tone and falling tone. Whether it is the ancient four tones or the present four tones, they are all divided according to the difference in pronunciation. The pronunciation of ancient "Ru" ending in -b, -d and -g is relatively short. Cantonese also has endings of -b, -d and -g (Banzhu is a northerner and has never heard of Guangzhou people). The vowels of -b, -d and -g of the ancient Rusheng words in Putonghua have disappeared, and the ancient Rusheng words belong to four tones: Yin, Yang, Shang and Qu respectively. For example, the word "Ba" of Gu Rusheng now sounds flat (one tone), the word "Ba" of Gu Rusheng now sounds flat (two tones), the word "Pen" of Gu Rusheng now sounds rising (three tones), and the word "Bi" of Gu Rusheng now sounds falling (four tones). In that case, there are many more. So when we read the poems written by the ancients, we often find inequality, and that's why. I see. Four tones, and the following can be said to be even. "Ping" is a flat tone (including one or two tones in Putonghua), and "Xu" is the other two tones besides "Ping" (three tones and four tones, and the entering tone in ancient or modern Guangzhou). In the flat format of poetry, the word "flat" must be used in the position of "flat", and the position of "flat" should be used in the three tones of "up, down and middle". The ancients wrote poems and divided the four tones into two categories, which were related to the rise and fall of pronunciation. The same sentence with the same tone is a bit dull, and only with different tones can it be changed and rhythmic. Parallel alternation or opposition in poetry can form the rhythm and melody of poetry and form the musical beauty of poetry. Therefore, the level tone is an important factor of poetic meter. Take "Bai Di Cheng" (Li Bai) as an example. The third and fourth sentences are c and c respectively. D flat and flat, flat and flat, flat and flat. Metric poetry is a kind of poetry that pays great attention to words, rhyme, tone and antithesis. It is stipulated that poetry should have definite sentences, definite characters in sentences, strict rhymes in flat tones, and the two couplets of metrical poems should be correct. Based on the characteristics of Chinese characters, sounds and tones, and the special requirements of poetry for the beauty of music, form and elegance, it has strong vitality and is endless. Metric poetry is very strict about temperament. Rhythm includes rhyme and level tone, in which level tone is the most important. As chairman Mao said, "because metrical poems should be flat and flat, they should not be flat and flat, that is, irregular poems." (A Letter to Comrade Chen Yi) Metric poems are divided into quatrains and metrical poems, both of which are divided into five words and seven words, and metrical poems are also arranged. The view that quatrains are a branch of metrical poems should be said to be incorrect. The quatrains came into being before the metrical poems, and the metrical poems were not fully finalized when they came into being, so there are still ancient quatrains that are illegal, such as the bright line at the foot of my bed. The definition of words and sentences in metrical poems needs a general understanding. It is worth mentioning that the two couplets in the middle of metrical poems must be opposite. In terms of rhyme, metrical poems are mainly flat rhyme, and the first sentence may or may not rhyme. Other single sentence endings pay attention to the level tone, which is definitely the antonym of the level tone. Then the most difficult thing should be the layering of words in a sentence. Here, let's briefly talk about the creative rules of metrical poems. Regarding the creation of metrical poems, Mr. Wang Yongyi compiled a ballad for reference: metrical poems are not difficult to remember, with 246 distinct poems. The first sentence is flat or flat. The upper and lower sentences should be right, and adjacent sentences should be glued together. Four words to prevent loneliness, the last three words. Repeat seven verses, and the seven laws will become. The two ends are flat and even, and the single end is more squeaky. It takes seven words to get rid of two words, and five words cost nothing. How do you know the type of beginning and end? The first sentence is final. It is not difficult to remember the meter of modern poetry, and the level of each sentence must be consistent. The word 246 in the first sentence should be flat and occasional, or flat and occasional. The level of the word 246 in the previous sentence should be opposite to that of the word 246 in the next sentence. The adjacent sentence is the last sentence of the first couplet and the first sentence of the second couplet, and the level of the word 246 should be the same. The fourth word of the "seven words" must be prevented from being flat. When it is flat and its neighbors are confused, it is called flat. The last three words of each sentence should be prevented from being leveled or confused. Determine the pace of metrical quatrains, and repetition becomes metrical poems. At the end of two sentences, every word in the metrical poem is flat and rhymes, while at the end of a single sentence, most words are ambiguous. The meter of the seven-character poem removes the first two words. Note that the fourth word should be the second word at this time, becoming the meter of the five-character poem. Whether a metrical poem is flat or even, flat or even depends on the second word in the first sentence and the word at the end of the sentence.
Satisfied, please adopt.