The writing style of ancient style is typical of this poetic style, and the most familiar one is Li Bai's Thoughts on a Quiet Night: Is there frost in the moonlight in front of the window? . I looked up at the moon and looked down, feeling nostalgic. Another example is Wang Wei's "Weicheng Qu": Weicheng is rainy and dusty, and the guest house is green and willow. Sincerely advise friends to drink a glass of wine, and it is difficult to meet their loved ones when they go out to Yang Guan in the west. Ancient times can be divided into five words or seven words. This kind of poems with more than four sentences belong to the ancient style, which is divided into five words, seven words and long and short sentences. 1, flat and even (similar to ancient style, the number of ancient style sentences is not limited, you can rhyme, generally rhyme to the end, or change the rhyme halfway, five words are called "five ancient" and seven words are called "seven ancient"; It can also be used as the "ancient style" of long and short sentences. It can be divided into five words and seven words, but don't be careless or casual. For example, "Going to the Forbidden City on vacation" and "When is the source of the towering Kunlun Mountain", the first six words are all faint, and the last seven words are all plain, beautiful and full of artistic conception, but not easy to read (with the shadow of Allegro); For example, the first sentence is changed to "call friends to see the prosperity on holidays", and the second sentence is "the majestic Kunlun Mountain is famous all over the world". It seems that the artistic conception is somewhat discounted, but the latter sentence is catchy to read. It should be noted that poetry is very particular about "reading" (different from modern poetry). 2. Generally speaking, it is an ancient quatrain (she is different from the "five quatrains" and "seven quatrains", and the quatrains with uncoordinated rhythm cannot be easily marked with "X quatrains"). It is common to use rhyme (or not) in the first sentence, and rhyme must be used in the second and fourth sentences, and rhyme must be used at the end (there are usually many rhymes). For example, "plant a millet in spring and harvest 10 thousand seeds in autumn" and "people come and go on the river, but you love the beauty of perch". Antique: more than 4 sentences (each sentence can be 5 words, 7 words, or long and short sentences, except "word"), which are uneven, can cadence, or can change rhyme in the middle (but the rhyme cannot be confused), are generally classified as "antique". For example, Cui Hao's legalist archaism "Yellow Crane Tower": A long time ago, a yellow crane carried a saint to heaven, but now there is nothing left but the Yellow Crane Tower. The yellow crane never revisited earth, there have been no long white clouds for thousands of years. Every tree in Hanyang has become clear due to sunlight, and Nautilus Island is covered with sweet grass. But I looked home, and the twilight was getting thicker. The river is shrouded in mist, which brings people deep melancholy. Note: It is not rigorous to classify this poem as a "seven-character poem" in 300 Tang Poems. Although this poem has been handed down from generation to generation, the first four sentences are illegal in rhyme and meter. Even though some words are flat and flexible, they still do not conform to the sentence pattern of qualified rhymes. The first couplet is the same word, but it is wrong. Compound sentence used six tones and three tones at the end of the sentence, which should be avoided. If you don't conform to the law, you will lose your rights. The last four sentences conform to the rules of flat pasting, and the fifth word of the suffix is allowed to be modified, which is basically legal. Therefore, the first half of this poem is classical poetry, and the second half is metrical poetry. Although this poem is famous, it is not suitable for imitation when writing. Strictly speaking, it should be counted as "the legalization of ancient customs." Li Bai: I can't see you. How did the water of the Yellow River flow out of heaven and into the ocean, and never return? Have you noticed that the lovely hair in the bright mirror in the high room, although it is silky black in the morning, has turned into snow at night. Oh, let a man with spirit take risks where he wants to go, and never point his golden cup at the moon empty! ! Since God has given talents, let them be used! As for the money, although it is scattered, it will get together again. Cook a sheep, kill a cow, sharpen your appetite, and let me, 300 bowls, take a big drink! ! Master Cen, Dan Qiusheng, bring the wine in! Let your cup never stop! ! Let me sing you a song! , let your ears participate! ! What are bells and drums, delicacies and treasures? Let me get drunk forever and never be rational! ! Ancient sober people and sages have been forgotten, and only great drinkers can be immortalized! Chen bought a barrel of wine with 10 thousand gold coins at a banquet in the temple, and everyone laughed and said one-liners Why do you say, my master, your money is gone? Go buy wine, and we'll drink together! . Galla Chinensis, Hsi Chin, give them to that boy for good wine, and we can drown the sorrows of generations! !
Ancient styles are different in length, miscellaneous words, illegality and law. , its composition still applies to the "transition" short stories since ancient times, and its composition is found in the composition of quatrains. For a little longer, please refer to Metric. Medium-long ancient style is most suitable for narration, and it also involves scenery writing, discussion and lyricism. Its text structure method is similar to composition in some places. The transition is divided into one or several paragraphs, especially the turning part has many twists and turns, and the text is often long. Pay attention to hierarchy, teton, separation, response and transition when writing. , and express a central meaning without deviating from the subject. Narrative-oriented archaism can organize materials in chronological order, and can flashback, supplement and insert when necessary. For example, Du Fu's "To Wei Ba Chu Shi" begins with the feeling that life is impermanent and meets the sadness and joy of a brief encounter. Then I asked about the old love, and then elaborated the hospitality of Wei Ba's family and family members. Host and guest drink and talk about old things and feel each other. Finally, they got together for a while, and then ended up lamenting the reaction of the world. Use "tonight" first, then write "evening", and then say "tomorrow". The time thread runs through, orderly and orderly. The first four sentences are the beginning, six sentences in Scholar's Academy are the inheritance, twelve sentences in Farewell-Deliberately Long are the turning point, and the last two sentences are the conclusion. Han Yu's "The Rock" is a record of his visiting a mountain temple, narrating and writing scenes to express his feelings. The whole poetic level is what you see and hear at dusk, staying in the temple at night and leaving the temple at dawn. The first four sentences are rising, pointing out mountains and rivers, temples, dusk and new rain; The six sentences of "Monk's Words-Light Entering the Door" have tolerance and were written overnight; The six sentences of "Dawn-Wind-borne Clothes" are all turned and written away from the temple; The last four sentences are knot and sigh. Echo before and after: the first sentence of "going in and out" should be "the stone is accurate" and "no way" should be "small behavior"; Because of the "new rain", jathyapple is clear and the mountains are misty. The mountains (flowers) are red and green at dawn and sunrise, and then they can be "barefoot" and "excited by the underwater sound". The scenery written in the poem has a sense of light, humidity and hue, alternating with shades, becoming a unified and harmonious picture. Li Bai's "Difficult Road to Shu" suddenly started writing, always mentioning that "this trip is more difficult than climbing the sky", singing it out with strong feelings and pointing out the theme. The six sentences in Can Cong-Goulian say that Qin Shu has been blocked by mountains since ancient times. From Qin to Shu, Taibai Mountain bears the brunt, and bears the responsibility of explaining why the Shu Road is difficult to reach the sky. Sixteen sentences, "have-wither", is extremely dangerous to write about the mountain roads in the middle of Sichuan. Above is the mountain peak, which blocks the operation of the sun god, and below is the winding river, which takes care of it. He also said that yellow cranes are not allowed to fly, apes are difficult to climb, and people are naturally more sad. This is a further way of writing. The above is empty writing. Then describe the hardships of the people marching in Shu Road. Green mud ridge is not only tortuous, but also high enough to touch the stars, making people hold their breath and sigh, unable to move forward. This is writing. Pedestrians look so hard on foot, and it's so sad to hear "sad birds and ancient trees" and "devils singing jathyapple", which makes people feel chilling and sad. This is the side lining, which renders the ambient atmosphere to compare the difficulty of Shu Dao. The six sentences of "Lianfeng-Laizai" are a new wave. It is the most dangerous place in the Shu Road, with mountains and mountains, steep cliffs and dead pines, which is even more thrilling. Why do people from afar? It means tourists don't go. This paragraph is not only an inheritance, but also a turn, and it is a transition point connecting the context. Eleven sentences of Jiange-It's Early, written from Qin to Shu. The high terrain of Jiange has brought people's worries. If the garrison is unreliable, it may cause disaster, which implies that the politicians should be alert to war and make good use of others, thus revealing the theme. At the end of the sentence, reciting "such a trip is more difficult than climbing the blue sky" is not only the beginning of reference, but also the enrichment and sublimation of the rich content of the whole article, which is extremely touching. Shen Deqian, a scholar of the Qing Dynasty, commented on the composition: "Songs (ancient style and extravagant skills) should be sung before, and there is a trend of' Yellow River falling into the sky and going to the East China Sea'. The following twists and turns, step by step deformation, in the vast expanse, has its own traces and clues of gray snakes, dazzling its hall, still obey its vigilance. When it is closed, those from Xu Lai must fight to prevent it from spreading; In order to prevent those who are short of breath and steep bends, you might as well make melodious and swaying words to send them. You can't speak in the same way. This theory comes down in one continuous line with Li Bai's poems. At the end, it turns from steep to Xu, and finally, it is the words of Dou Jian. The syntax of Shu Dao Nan is changeable, with uneven levels, ranging from three words short to eleven words long. There are often many flat and even tones used together, or between flat and even tones, and some are pure prose sentences, such as "There are six dragons in the sky", which are eclectic and highly perfect in form and content. The change of rhyme in ancient style is closely related to the style of poetry. Generally speaking, it rhymes at the beginning of a new meaning. If the meaning of a layer has a small level, it can also rhyme. A rhyme can use several small levels, and sometimes it can cross a big level. Vulgar rhyme-change the ancient style, and change the rhyme when it turns to the end.
Avoid metrical poems (quatrains) When writing metrical poems, we should pay attention to the defects that should be avoided, such as rhyme, dislocation and stickiness. "Rhyme under Temptation" metrical poem (quatrain) must be put in the designated position at the end of rhyme. In addition to observing this rule, there is also temptation: 1, giving up rhyme, also called falling rhyme, is a taboo of metrical poetry (quatrains). In ancient times, there were different rhymes, and each rhyme stipulated how many words there were. Rhyme words can only be found in the same rhyme department, and words with other rhymes cannot be used. If they are used, they will be called rhymes. Under normal circumstances, this will not happen, but there are also complicated places in the ancient rhyme. For example, it is difficult to distinguish the words with one rhyme and two rhymes. "Dong, Deaf, Zhong, Zhong, Gong, Gong ..." all belong to the same rhyme, but the same pronunciation is "Dong, Nong, Zong, Zhong, Cong, Gong ..." Yuan Zhen Poetry Palace: "In the faded old palace, peonies are red, but no one comes to see them. The ladies-in-waiting are all white-haired, and they are talking about Xuanzong. " "Gong", "Hong" and "Zong" in the poem have one rhyme in the east and two rhymes in the east, which is called "rhyme". Ancient poems can be universal, and metrical poems (including metrical quatrains) should be avoided. There are also some words that have no difference in spoken language, but have different rhymes. If you don't pay attention, it will rhyme. But this commandment can be flexible, because this sound is different from the ancient sound, so we should use this rhyme in learning poetry today. Anything that rhymes with this rhyme can be universal and can't be regarded as "rhyme"; Don't use words with different rhymes. 2. It doesn't rhyme. In a poem, the same word cannot rhyme more than twice. If the old name is "rhyme", it should be avoided. This point cannot be changed. If the word is heavy, change it. If you don't change it, you will fail. 3. In classical poetry, because of rhyme, the word order is often reversed, such as Liu Changqing's poem: "The sunset is far away, cold and white. Chai Men smells dogs barking and returns to people in the snowy night. " The last sentence was originally meant to say that people come back on a snowy night. In order to rhyme, the word order of "human return" was changed to "human return" The word order can be reversed for rhyme, which often appears in ancient poems. However, it should be noted that not all words can be reversed. For example, "Liu" can't be reversed as "Liu" and "oriole" can't be reversed as "oriole". It is also necessary to avoid completely different meanings and neither fish nor fowl caused by word order reversal. 4. Dangerous rhyme is based on uncommon words and is called dangerous rhyme. Except idioms and allusions, there is no need to rhyme with uncommon words. The ancients also had dangerous rhyming winners. In fact, dangerous rhymes are hard to stay, words are not uncommon, and few people appreciate them. They usually work hard, but they are thankless. Every couplet that is mismatched and rhymed is opposite to the antithesis, that is to say, every word of the next sentence and the previous one must be opposite, and the previous one should be even; The last sentence is plain, and the next sentence should be plain. If the first sentence rhymes and the last word falls on a flat tone, then the first couplet is not completely relative, the second couplet is flush, and all other couplets are relative; This is called "right". It is called "losing power" if it does not conform to the law of "right", which is a problem that should be avoided. Besides saying "yes", we also say "sticky". Sticking means adhesion, and the first two words of the previous sentence and the next sentence must be the same. Because the first word is flexible, only the second word is required to be the same. Do not conform to the law of "sticky", called "sticky", but also to avoid. This refers to the five laws. When talking about "sticky", the first two words of each sentence required by the five laws are two or four words in the seven laws, but mainly the fourth word. "Orthodoxy" and "Stickiness" are the requirements stipulated in the flat format of orthographic poems. If they are incorrect and sticky, they are not in a flat format. Please read the Yellow Crane Tower in Cui Hao: A long time ago, a yellow crane carried a saint to heaven, but now there is nothing left but the Yellow Crane Tower. Even the yellow crane has never been here again, and even Baiyun will never have him. Flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, and parrot Island is a nest of herbs. Flat, flat, flat, flat, flat, flat, flat, but I look home, and the twilight is getting darker? Just plain, just plain, the river waves are filled with sad mist. Very flat, very flat.
This poem is a masterpiece, but as far as rhyme and meter are concerned, the first four sentences are illegal in many places. Even though some words are flat and flexible, they still do not conform to the sentence pattern of qualified rhymes. The first couplet is the same word, but it is wrong. Compound sentence used six tones and three tones at the end of the sentence, which should be avoided. If you don't conform to the law, you will lose your rights. The last four sentences conform to the rules of flat pasting, and the fifth word of the suffix is allowed to be modified, which is basically legal. Therefore, the first half of this poem is classical poetry, and the second half is metrical poetry. Although this poem is famous, it is not suitable for imitation when writing. Please read Liu Zongyuan's Jiang Xue: Hundreds of Mountains Without Birds, Pingping, Pingping and 1000 Trackless Paths again. Even a boat, a bamboo cloak, and even an old man fishing in the cold Jiang Xue. This poem is full of rhyme, and every sentence seems to conform to the statutory sentence pattern, but the first couplet is out of touch with the next couplet, so it is not a statutory quatrain, but an ancient quatrain. Wei Cheng Qu by Wang Wei: Weicheng is rainy and dusty, flat and flat, and the guest house is green and willow-colored. It is aboveboard to advise you to have another glass of wine, and it is also aboveboard to go out of Yangguan for no reason. Flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat
In antithesis, the ancients made three taboos, and the parts of speech were very detailed. Only nouns are divided into astronomy, geography, seasons, rooms, utensils, clothes, food, stationery, literature, plants, animals, bodies, personnel, ethics and so on. Only nouns are divided into names and place names, and numerals, locative words, disyllabic words and continuous words are also divided into their own categories. Work pair means requiring small classes to be relative. This is difficult for great poets to do in every song and couplet, so it is really much more free and loose to allow tolerance, that is, words with the same part of speech can be correct. Even so, there are several taboos to be avoided in the antithesis of orthodox poetry: first, avoid the same word in each couplet, and the upper sentence and the lower sentence cannot be the same word in the same word order. The same word must be at the same time and must be wrong. Second, avoid similarity. Similarity means that the antithesis of parallel couplets and necklaces is the same, and similarity will lead to repetition and rigidity of melody. This refers to the syllable structure of a sentence. For example, couplets are three disyllables followed by a monosyllable, so the neckline is changed to another structure, that is, two disyllables plus a monosyllable and a disyllable at the end of the sentence. Only in this way can the melody appear elastic. Third, avoid crossing your hands to indicate the same meaning, and avoid synonyms. "Four Poems" (Volume I) gives an example: "Silkworm racks are closed in the cold, and the family is idle in the daytime." This is a rural scene, but the last sentence is clumsy, overlapping the words "DPRK" and "Japan". It is also Wang Meng's means to make "the days are idle and rainy, and the spring silkworms are closed." Regarding the rules of antithesis of regular poems, let's talk about flexibility first. The antithesis of the two couplets in the middle is the requirement of metrical poetry, but it is certainly possible to have a triple or quadruple antithesis. For example, Du Fu's "The banks of the Yellow River were recovered by the imperial army" is a triple confrontation; Yu Miao, another poem by Du Fu, has four antitheses. It is difficult to do, and few people do it. The antithesis and necktie in the metrical poems are a positive example. It is best that both couplets are neat. If this is not possible, the couplets can be relaxed a little. For example, Li Bai's famous piece "Listening to the King Playing the Piano: Shu Monks Carrying the Celadon Pipa Box and Going West to Mount Emei". When I hear the sound of Matsutani, I wave my hand at will. I heard him in the clear stream, I heard him in the cold bell. I can't feel the change, although the mountains are getting dark and the sky is overcast in autumn? The couplets here seem to be right or wrong, but "a touch of the strings has taken me, and a thousand valleys are relaxing" is a famous sentence for thousands of years. Parallel couplets can be relaxed, but neck couplets cannot be relaxed. Some poems only use antithesis in necklaces, but antithesis is unnecessary in parallel prose. However, this is a change. There is no need to learn to write poetry. Poetry is mainly about meaning. When antithesis and poetry cannot be balanced, great poets like Li Bai and Du Fu will not pay strict attention to antithesis in order to preserve poetry. However, this is a last resort and only happens occasionally. Most of their chapters strive for harmonious phonology, neat antithesis and fair style.
Rhyme and level tone What is rhyme and how to rhyme?
There is nothing in ancient Chinese poetry that does not rhyme. However, it was laborious and time-consuming for the ancients to learn "rhyme", which was far less easy than it is now. In ancient times, it was not easy to explain what "rhyme" was. Now with the universal Chinese Pinyin, even primary school students can learn it thoroughly, which is convenient for explaining and mastering rhymes. Chinese pinyin has initials and finals. When Chinese characters are spelled with pinyin letters, there are generally initials and finals, with the initials in front and the finals behind. For example, Li Bai's poem "The Beginning of the City" said: "When you leave the colorful clouds (suddenly pronounced with the initial j and the vowel an), you will return to Jiangling for one day (also pronounced with the initial h and the vowel uan). Apes on both sides of the strait can't stop crying (live, initial zh, vowel U). The canoe passed the vowel (mountain, initial sh, vowel an) of the last word in Chung Shan Man's four poems. The so-called "rhyme" in poetry is roughly equal to the pronunciation of vowels in pinyin letters. Words with the same vowels are homophones, and homophones in a certain position are "rhymes". Generally, rhyme feet are always used at the end of sentences, which is called "rhyme feet", and words with the same rhyme on the rhyme feet of some sentences are called "rhyme". The rhyme feet of the first, second and fourth sentences in Li Bai's poems are all Ann's vowels, so they rhyme and put a rhyme. The third sentence rhymes differently, not rhymes. The quatrains stipulate that the third sentence cannot rhyme, so the rhyme of this poem is completely qualified. The rhyme rule of ancient poems or modern poems is generally that every other sentence rhymes, that is, every other sentence must have the same vowel, that is, every other sentence rhymes. No matter how many sentences there are, each pair must rhyme. As for the first sentence is a simple sentence, it can rhyme or not. At the same time, metrical poems and quatrains must rhyme to the end, and they cannot change rhyme in the middle; Long ancient style, allowing the middle to change rhyme. For example, if the ancient style grows to dozens or a hundred rhymes, it will be difficult to write this poem without changing the rhyme in the middle. Rhymes and quatrains can't be changed with only four or two rhymes. Rhyme, with wide rhyme and not narrow rhyme. The so-called "wide rhyme" means that there are many words in the same vowel, which can have a wider range of choices; The so-called "narrow rhyme" means that there are few words with the same vowels and metrical poems are rarely used. What is a broad rhyme and what is a narrow rhyme, it is clear at a glance by looking at Chinese Pinyin. Rhyme is sometimes flexible. In metrical poems, especially in arrangement, it is really difficult to find a suitable homonym to express the meaning accurately, and it is allowed to bet on "adjacent rhymes". The so-called "adjacent rhyme" means using words adjacent to rhyme. This is a variant. What's with the rhyme? This requires understanding the ancient rhyme department of ancient rhyme books. Ancient rhyming books and rhymes Ancient people wrote poems, and rhymes were based on rhyming books. The rhyme book was promulgated by the court and called "official rhyme". The development of Chinese phonetics can be roughly divided into four periods: ancient, medieval, modern and modern. Different periods have different phonology. The ancient phonology, that is, the phonology of the pre-Qin and Han dynasties, is represented by the phonology of the Book of Songs. This rhyme is far from the later generations, and it has changed a lot. It has not been used for a long time, so the rhyme book has been passed down from generation to generation. Scholars who study Chinese phonology have to study it. Medieval phonology is the standard of rhyme used by people in Tang and Song Dynasties. In the Sui Dynasty, there was a rhyme book called Qieyun, which was based on the Luoyang sound at that time. All the words are arranged according to rhyme, and * * * is divided into 193 rhyme to write poems. This rhyme book has long been lost. In the Tang Dynasty, Qieyun was used as the base book, and the words were added and the rhyme was updated. After publication, it was renamed Tang Yun. This book is also lost. In the Northern Song Dynasty, an official rhyme was published, the full name of which was "Rebuilding Guang Yun in the Great Song Dynasty", or Guang Yun for short. This is a rhyme book that expands Qieyun, with more than 26,000 words and 206 rhymes. This is the earliest preserved rhyme book so far. Because of its complicated division of rhymes and inconvenient use, it is stipulated that some adjacent rhymes can be used universally. Since some adjacent rhymes are allowed to be common, it can be seen that it is not practical to make the rhymes so complicated and detailed. There is no need to add a lot of uncommon words and old sayings to the rhyme of poetry selection. Therefore, the emperor also ordered civil servants to compile "Li Bu Yun", which often used less than 10 thousand words and was revised repeatedly to meet the needs of the imperial examination; At the same time, he also compiled another rhyme book with more than 53,000 words, about twice as much as Guang Yun. In fact, Qieyun, Tangyun, Guang Yun, Yunlue and Jiyun come down in one continuous line. Guang Yun was developed on the basis of Qieyun and Tangyun. Yunlue is a simplified version of Guang Yun, and Jiyun is an expanded version of Guang Yun. Like Guang Yun, it is divided into 206 rhymes. Liu Yuan, a Pingshui person in the Southern Song Dynasty, wrote the book "Renzi New Publication Ritual Rhyme", which merged the common rhymes allowed by "Guang Yun" from 206 to 107. Wang Wenyu, a native of Jin Dynasty, wrote "Li Yun of Pingshui New Publication", which combined Liu Yuan's "Jiong" and "Salvation" into 106 rhyme. This 106 rhyme has been circulating for a long time and is called "Pingshui rhyme". Rhyme books in Tang and Song Dynasties basically reflected the reality of Chinese phonetics in the Middle Ages, and poets in the Middle Ages used rhymes accordingly, which was in line with the prevailing spoken phonetics at that time. However, with the passage of time, in modern times, due to the development and change of pronunciation, there was a difference between Pingshui rhyme and actual pronunciation.
Five-character quatrains are flat and even, commonly known as quatrains, that is, regular quatrains. It and metrical poems are both new-style poems established in the Tang Dynasty, with strict metrical rules. It was called modern poetry at that time, and later it was called modern poetry. Contrary to ancient quatrains, French quatrains are referred to as near quatrains and quatrains for short. Modern poetry pays attention to the alternate coordination of flat tones, forming a sense of rhythm and rhythmic beauty. Five-character quatrains have four sentence patterns: (1) even, and the first word can be even. (2) it is plain. (3) even and even, the first word can be even. (4) flat, the first word can be flat. This legalized sentence pattern is called regular sentence. Modern poetry is usually limited to flat rhyme. The upper and lower sentences of modern poetry are called antithesis, the upper sentence is called antithesis, and the lower sentence is called antithesis. Metric requires that the two sentences in a couplet are relatively flat or basically opposite, and the second word of the last couplet is the same as the second word of the previous couplet, that is, stuck together (the first word is often flat and irregular, so the second word shall prevail). Those who violate these two provisions are called "misalignment" and "debonding". According to the above rules, five-character quatrains have the following four flat patterns: a. The first sentence does not rhyme: (Beijing) flat and flat, flat and flat. (Ping) Ping "Ping", (Ping) Ping (Ping Yun). Such as the heron staying in Wang Zhihuan: the mountains cover the day, and the sea drains the golden river. I want by going up one flight of stairs to see thousands of miles away. B. Stand flat. The first sentence doesn't rhyme: (flat) "flat", (flat) "flat". (Xu) Flat and even, flat and even (flat and even rhyme). Such as Li Duan: Listen to the zither, the jade hand in the snow window and the golden harp shining. Trying to please Zhou Lang as much as possible, you see she deliberately dialed the wrong string. * symbol: entering tone C. Cue up, the first entering rhyme: (Cue) Cue Ping (flat rhyme), flat Cue Ping (flat rhyme). (Ping) Ping "Ping", (Ping) Ping (Ping Yun). For example, "Julien Cesar II": The forest is dark and the wind blows, but the general tries to shoot at night. Dawn went to look for the arrow, which had gone deep into the edge of the stone. * White, stone: sounds like words, for example, I am Shu Ge: this constellation with seven high stars is Shu Ge holding up his sword in the dark. Today, the Tubo people who breed horses only dare to look into the distance; They dare not go south and cross Lintao County. * 7: Rusheng D. The first sentence Rusheng: (Ping) Ping Yi (Pingyun), (Ping) Yi (Pingyun). (Xu) Flat and even, flat and even (flat and even rhyme). For example, Wang Ya's "Boudoir People Give People away (1)" has bright flowers, dark flowers and new ditch. Time and tide wait for no man in order to report Liaoyang passengers. Note: Note: 1, the words in brackets () should be flat: (); 2. The words in brackets () should be flat: (flat); 3. The bracket ""should be even when it is biased: "flat"; 4. The bracket ""can be flat when offset: "". Beginners don't have to learn sentence patterns with partial patterns, but should respect the level of words in books. Five-character quatrains are often pursed up, and the first sentence doesn't rhyme. Modern poetry rhymes in strict accordance with the rhyme, not rhymes.
There are two taboos in the antithesis of regular poems: one is "crossing hands". In other words, the upper and lower sentences in a couplet are relative through synonyms, so that the meanings of the two sentences are completely or basically the same. For example, "A group of wise men can compose the music of the times, and a group of wise men can warn the world." The same is true of two taboos and two couplets. We should change the double sentence pattern to avoid repetition and rigidity. If the front couplet is "22 1", the back couplet should be changed to "2 12"; If the rhythm form cannot be changed, the grammatical structure must also be changed. For example, the prepositional verb is in the second word, and the suffix should be changed elsewhere. The third word of the preposition is a notional word, and the third word of the suffix may be a function word. Besides, don't just ask for work. Otherwise, the mind will be bound, which will easily lead to cross hands or become slim. You can combine work pairs with wide pairs. For example, Li's "When I heard your last name, I thought you were a stranger, and then I heard your name, I remembered your young face". The first four words are male, but the last word "see" (verb) is the antonym of "honor" (noun). Duality is always natural, neat and smooth. Poets often use color pairs, number pairs and orientation pairs, which are easy to form pairs of works and can give readers a distinct impression or increase momentum.