The sentences of modern poetry are in units of two sentences, and every two sentences (one and two, three and four, and so on) are called a couplet, the upper and lower sentences of the same couplet are called antitheses, and the upper and lower sentences of couplets are called adjacent sentences.
The composition rule of modern poetry is: antithesis and adjacent sentences stick together.
Contradiction means that the upper and lower sentences in a couplet are just the opposite. If the previous sentence is: Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
Except for the first couplet, the last sentence of other couplets can't rhyme, and it must end with a sigh, and the next sentence must rhyme and end with a flat voice. Therefore, in addition to the first couplet, there are only two forms of antithesis in five-character modern poetry. Seven words are similar to this. If the sentence on the first couplet doesn't rhyme, it's no different from other couplets. If both the upper and lower sentences rhyme and the ending is flat, then the first couplet can't be completely opposite, only the beginning and the end are wrong, and its forms are nothing more than two: flat, flat, flat and flat.
Let's look at the adhesion of adjacent sentences. Sticking means the same thing, but because the odd-numbered sentences ending in a flat tone are used to stick the even-numbered sentences ending in a flat tone, the head can only stick to the tail, not the tail. For example, the last couplet is: Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
Why do adjacent sentences have to stick together?
The reason is very simple, that is, changing sentence patterns is not monotonous. If the opposite sentence is opposite, the adjacent sentence is also opposite, which means: average, average, average, average. Before the Tang Dynasty, the so-called Qi Liang-style rhythmic poems only talked about relativity, but did not know how to stick together. From beginning to end, they just repeated two sentence patterns. After the Tang Dynasty, there was no repetition of sentence patterns in quatrains, because both antithesis and the adhesion of adjacent sentences were emphasized.
According to the law of adhesion, we can deduce four formats of five-character quatrains:
First, the first sentence doesn't rhyme:
Very flat, very flat.
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Second, the first sentence rhymes:
Fairness and flatness (rhyme)
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Third, the first sentence doesn't rhyme:
Flat and light.
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
Fourth, the first sentence rhymes:
Flat (rhyming)
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
The five-character rhyme is similar to this one, except that four sentences are added according to the principle of sticking to the right.
For example, the first rhyming five-character poem is:
Fairness and flatness (rhyme)
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
According to the law of fit, ten sentences and twelve sentences can be added infinitely, which becomes the law of exclusion.
Sticking to the right also has some flexibility, basically following the formula of "135 regardless, 246 distinct", that is to say, whether a modern poem follows sticking to the right is generally based on its even number and the last word. If the sentence is wrong, it is called wrong; If adjacent sentences are not sticky, they are called sticky. Dislocation and stickiness are taboos in modern poetry. Comparatively speaking, dislocation is more serious than sticking.
Quatrains and metrical poems are basically poetic styles gradually produced and stereotyped in the Tang Dynasty. At present, there is no research and demonstration on rhyme or quatrains.
There are three basic elements in quatrains: level tone, antithesis and rhyme; I have already talked about the rhyme of flat tones, so I won't talk about it any more.
Generally speaking, quatrains can be used or not, and they are completely free and not demanding.
There are only four sentences in the poem, and paying attention to the composition of "starting, inheriting, turning and combining" is the basic law that poets in ancient and modern times abide by.
The first sentence is "qi", that is, beginning; The second sentence is "career", that is, commitment; The third sentence is "turn", that is, turning point; The last sentence is "off", which means close.
It is not prescribed by anyone, but is constantly summarized and followed by the poet in the process of creating poetry, which is naturally formed, indicating that poetry does not need to cover the poet in form; It was not until the Yuan Dynasty that someone summed up the composition and structure of Fajue poetry. Specific techniques: start straight, accept tolerance, turn to change and combine forever. Master the requirements of these four sentences, and you can write a quatrain.
There are four forms of "starting, bearing, turning and combining", which are summarized as follows:
Parallel. For example, Du Fu's quatrain "Two orioles sing green willows, and a row of egrets go up to the sky. My window framed the snow-covered western hills. My door often says "goodbye" to ships sailing eastward.