At the end of the Warring States period, in the southern state of Chu, Chu poets represented by Qu Yuan, on the basis of studying Chu Ci, created a new style poem with unique Chu cultural brilliance-Chu Ci. The poetic style of Chu Ci is mainly composed of six words and seven words, with different lengths and fleXibility, and the modal particle "xi" is commonly used. Poetry is full of magical and magnificent imagination and unique Chu culture romance. Qu Yuan, a great patriotic poet, used this form of poetry to create the first lyric poem Li Sao, eleven beautiful and moving poems, nine lyrical poems, Tian Wen, and 25 works of Chu Ci in the history of ancient literature. Qu Yuan's successors include Song Yu, Le Tang and Jing Ke. Li Sao, as the peak and representative of the art of Chu Ci, is also called "Sao" with the Book of Songs in the history of literature, setting an example for future generations.
Chongwen in the Han dynasty, the heyday of the unified empire, required literature to sing and dance. As a result, a literary style that mainly describes emperors and urban life-Ci Fu came into being. Fu is the most popular style in Han Dynasty, and it is the symbol of a generation of literature. Its style originated from Xunzi's prose and absorbed some formal elements of Chu Ci. At the beginning of Han Dynasty, Jia Yi's and Huainan Xiaoshan's Fu were not divorced from Chu Ci, which was called Sao Style Fu. Mei Cheng's "Seven Hair" laid the formal pattern of great fu in Han Dynasty. By the time of Emperor Wu of the Han Dynasty, the atmosphere of chanting Fu flourished, resulting in a large number of Fu writers. Sima Xiangru's Zixu Fu and Shanglin Fu described the prosperity of the imperial garden and the joy of hunting, and later Yang Xiong had Ganquan Hunting Feather Fu. These poems are written in a comprehensive way: mostly for the purpose of singing praises. In the Eastern Han Dynasty, Ban Gu's Dong Fu, Xi Fu, Zhang Heng's Tokyo Fu and Xijing Fu were still magnificent works in prose poetry. With the intensification of social contradictions, the imperial power is no longer strong, and some people of insight began to express their feelings with ci fu, stabbing the times. Zhang Heng's Return to Tianfu, Zhao Yi's Ci on Diseases and Cai Yong's Fu on Shuxing are all famous works in this field. Their creation broke through the original system of great fu, which had a positive impact on Fu Xiao, a lyrical poet in Wei and Jin Dynasties, and prose fu in Tang and Song Dynasties.
The most valuable literature in Han Dynasty is folk songs in Yuefu poems. Yuefu is a national music management institution, which has the functions of editing and editing folk songs and singing along with music. Later generations called the songs sung by Yuefu organizations Han Yuefu poems. Han Yuefu folk songs and The Book of Songs are in the same strain, and The Book of Songs is "Hungry people sing about their food, and laborers sing about their affairs". Han Yuefu profoundly reflected all aspects of social life in the Han Dynasty and expressed the wishes and demands of the working people at that time with the realistic spirit of "feeling sad and happy, all because of things". Some accuse the rulers of their militaristic policies, such as "fighting in the north" and "enlisting in the army on the 15th", some expose the evils of feudal ethics and patriarchal clan system, express their yearning for sincere love, such as Peacock Flying Southeast, Evil and Thinking, and some express deep sympathy for the misfortunes of the lower classes, such as Travel Notes of the East Gate.
Line ","orphan line "and so on. The Book of Songs is mainly lyrical, and Han Yuefu is good at narrative interpretation, which indicates the complete maturity of ancient narrative poems. Peacock Flying Southeast is the first narrative poem of Han nationality in ancient China.
Literati' poetry in Han Dynasty never achieved anything. In the Eastern Han Dynasty, under the influence of Yuefu folk songs, scholars tried to write five-character poems. Ban Gu's Poem of Ode to the Historic Poem is the earliest extant five-character poem of literati. Nineteen Ancient Poems, which came into being at the end of the Eastern Han Dynasty, became a symbol of the maturity of literati's five-character poems. Nineteen Ancient Poems is a group of lyric short poems created by anonymous literati in the late Eastern Han Dynasty. It did not take away a person's moment, but expressed the sadness of the lower-class literati in the turbulent years, which has certain social significance. Different from the folk songs of Han Yuefu, the main artistic feature of Nineteen Ancient Poems is that it is longer than lyric. It is tactful, natural and simple, showing the artistic characteristics of refinement, and its predecessors have won the praise of "the crown of five words"
During the Wei, Jin, Southern and Northern Dynasties, literature gradually got rid of the influence of Confucian classics, gained independent development, and began to enter the conscious era of literature. Poetry, prose, ci fu, parallel prose, novels and other styles have made remarkable achievements.
The position of poetry is still the most important. At the end of the Han Dynasty, under the social background of Wei Chu's "chaos in the world, surging clouds and rising public grievances", literati's poetry creation entered a period of great development of "five words soaring". During this period, with Cao Cao, Cao Pi and Cao Zhi as the core, Ye Ren Xia Group was formed with Kong Rong, RoyceWong, Serina Liu, Chen Lin and other so-called "seven sons of Jian 'an", which created the glory of Jian 'an literature. The works of Jian 'an literati have the same style of the times as "generosity". Among them, Cao Cao's poems, such as Hao, Short, Walking Out of Xiamen, which reflect the turbulent social reality and express the poet's ambition to make contributions and unify the world, are all relatively successful chapters. Cao Zhi's literary achievements are the highest, and he is called "the outstanding man in Jian 'an". His poem is "high-spirited, and his words are taken from Hua Mao". "White Horse" and "White Horse Wang Biao" are his representative works in his early and later periods. His prose and ci fu also show high ideological and artistic quality, and the famous "Luo Shen Fu" is beautiful. RoyceWong is the most accomplished writer among the "Seven Scholars", and his Seven Wounded Poems and Loutai Fu are masterpieces with realistic spirit in Jian 'an literature.
At the turn of Wei and Jin Dynasties, with the change of social customs, poetry creation showed a different style from that of Jian 'an era. Ruan Ji and Ji Kang's works are either gloomy and difficult, or sharp-edged. They inherited the excellent tradition of Jian 'an literature and further promoted the development of five-character poems. Poetry flourished in the Taikang period of the Western Jin Dynasty, and the poet was known as "three land, two left". But most of the works are in China, and only Zuo Si's poems are vigorous and powerful, inheriting the spirit of Jian 'an literature. His poem "Ode to History" opens up a new way to combine history with nostalgia. Under the influence of metaphysics in the Eastern Jin Dynasty, metaphysical poems with "tasteless rhetoric" once flooded, and Tao Yuanming was the greatest poet who could transcend the secular world. In Tao Yuanming's era, "Zhen Feng died, and the Great Pseudo prospered". He walked out of poverty and witnessed the darkness of officialdom, unwilling to go with the flow. He is determined to resign and retire, keeping his personal spirit. His pastoral poems depict the beauty of natural scenery, praise the tranquility of rural life, and show the joy and hardship of personally participating in agricultural production and labor. It has created an artistic realm that combines emotion, scenery and reason, and is plain and mellow. Drinking in the Garden is his masterpiece of pastoral poetry. The style of Tao's poetry naturally faded into the mainstream, but reading Shan Hai Jing (Jing Wei Fill Micro Wood) and Jing Ke Fu also showed the poet's "King Kong glaring" side. It can be seen that the poet's heart is not peaceful, and he has not forgotten the world. Tao Yuanming's poems have a great influence on later generations, especially the pastoral poetry school in Tang Dynasty. Tao Yuanming's literary achievements are manifold. Although his prose and words are few in number, they are all excellent. His representative works include Peach Blossom Garden, Gui Qu Ci, and Qing Shi Fu.
During the Southern and Northern Dynasties, many literati devoted themselves to literary creation, and the main literary styles used were poetry and parallel prose. The landscape poems of the Southern Dynasties shone brilliantly in the hands of Xie Lingyun, and then Xie Tiao's landscape poems were fresh and mellow, known as "big and small thanks". The poet Bao Zhao was born in poverty, but he was good at expressing his cynical feelings with seven-character ancient poems. His rhyming seven-character songs have contributed to the development of seven-character poems. Northern Wen Yuan is a bit lonely, but prose.
There are also many famous works, such as Notes on Water Classics by Li Daoyuan in the Northern Wei Dynasty, Galand in Luoyang by Yang Xuanzhi, and Family Instructions of Yan Family by Yan Zhitui in the Northern Qi Dynasty. The most successful writer is Yu Xin from south to north. His Poem Fu is a masterpiece of North and South literature, which combines the exquisite and mature artistic skills of the South with the vigorous and hearty spirit of the North and becomes the forerunner of the poetic style in the Tang Dynasty. Parallel prose dominated the whole literary world in this period. Bao Zhao's Climbing the Thunder Shore and Sisters' Book, Wucheng Fu and Yu Xin's Jiangnan Fu are all excellent works. Generally speaking, the pursuit of formal temperament by literati in the Southern Dynasties made full preparations for the finalization and maturity of Tang Dynasty literature, especially modern poetry.
In addition, Yuefu folk songs in the Southern and Northern Dynasties can also reflect Yuefu poems in the Han Dynasty. Wu Ge and operas in the Southern Dynasties are lively and graceful, while minority songs in the Northern Dynasties are vigorous and powerful, with different styles, but they are sincere. Poetry in the Tang Dynasty is the symbol of a generation of literature, and the peak of China's classical poetry is the golden age in the history of poetry. In the early, prosperous, middle and late stages, famous artists came forth in large numbers, and everyone was colorful. Poetry creation covers almost all walks of life, men, women and children. There are more than 2,000 poets and nearly 50,000 poems in the whole Tang poetry, but the reality is far more than that.
In the early Tang Dynasty, the palace poems inherited the legacy of Qi Liang and Yu Feng, and the elegant and gentle "Shangguan Feng" poems became popular. Yang Jiong, Lu, Luo, and later, following the trend of Han and Wei, they tried their best to sweep away the decadent style of the court poems of Qi and Liang, so that the Tang poetry began to move from the court to the society, from eroticism to reality, and from decadent voice to fresh and healthy singing. At the same time, Song and Shen Quanqi also made bold explorations in the form of poetry. Together, they paved the way for the development of Tang poetry.
During the Kaiyuan and Tianbao years of Xuanzong in the Tang Dynasty, it was known as the prosperous Tang Dynasty. During this period, there appeared two major schools of poetry and the "Gemini" in the history of China's poetry. The school of pastoral poetry represented by Wang Wei, Meng Haoran, Chu Guangxi and others inherited the thoughts of Tao Yuanming and Xie Lingyun. Wang Wei's poem is "there is a picture in the poem and a poem in the picture". Chai Lu, Wu Xinyi and other five-character quatrains collected in "Selected Works of Wangchuan" are good at combining scenery painting with Buddhist interest, with beautiful artistic conception and exquisite art. The frontier poets are represented by Gao Shi, Cen Can and Wang Changling, and their poetic style is vigorous. The charm is deep and long, singing a strong voice in the prosperous Tang Dynasty. Gao Shi's seven-character poems, such as "Travel" and "Bai Xuege Farewell to the Field-Document Wu Return to the Hometown", describe the magnificent frontier fortress scenery and hard military life, either tragic or extraordinary, and are all excellent frontier fortress poems in the Tang Dynasty. Li Bai and Du Fu are "Gemini" in ancient and modern poetry circles. Li Bai's poems are bold and elegant, and are known as "poetic immortals" in history. Such as Into the Wine, it is hard to go, Difficult Road to Shu, etc., all show the poet's unique emotional tone and artistic personality. Du Fu's poems are known as "the history of poetry" and have a gloomy style. He expressed his concern for the country and the people through his poetry creation. Poems such as Three Officials and Three Farewells record a series of important events in the rise and fall of the Tang Dynasty, and are the most famous. Those beautiful poems describing the scenery do not forget to care about the country and the people, such as Ascending the Mountain is a masterpiece in this respect.
After the Anshi Rebellion, he entered the middle Tang Dynasty. After a short decline, poetry creation has formed a new climax. The landscape poems of Liu Changqing and Wei are the continuation of those of Wang Wei and Meng Haoran. The frontier poems of Lu Lun and Li Yi are the last works of Gao Shi and Cen Can. Realistic poets headed by Bai Juyi and Yuan Zhen launched a new Yuefu movement. He put forward the creative ideas that "articles should be written in time, songs and poems should be written for things" and "only songs can make people sick, and I hope the emperor can know", and he devoted himself to the creative practice of new Yuefu poems with great enthusiasm. Their new Yuefu poems often choose typical social phenomena, concentrate on summarizing and satirizing a series of wrong policies of the imperial court and the social abuses caused by them. The theme is clear, the theme is concentrated, and there are distinct images and strong militancy, such as chapters such as "Selling Charcoal Weng" and "Du Lingcuo", which have been recited for thousands of years. Bai Juyi's poetic achievements are manifold. Song of Eternal Sorrow and Pipa Travel are also representative works of ancient narrative poems. During this period, the Han (Yue)-Meng (Jiao) Poetic School was as famous as the Poetic School, and its poetic style was very interesting. Han Meng's poetry school is based on scholarship and argument.
The refinement of dragon's poems and the difficult adventure of survival opened the atmosphere of later Song poetry. In addition, famous poets with their own artistic personality include Liu Zongyuan, Liu Yuxi, Jia Dao and Li He. Li He is unique with his rich and romantic poetic style, and inspired Li Shangyin in the late Tang Dynasty.
In the late Tang Dynasty, with the decline of the Li and Tang Dynasties, the poetic style was heavily influenced by decline and sadness. The most accomplished poets are Du Mu and Li Shangyin. The world is called "Little Du Li". Du Mu is good at writing the Four Wonders, and can compete with Wang Changling, the "Master of the Four Wonders" in the prosperous Tang Dynasty. His style of praising history and cherishing ancient poems is handsome and cool. The scenery is also natural and beautiful, such as "hiking", which makes people never tire of seeing it. Li Shangyin's seven laws are profound and beautiful, and he is good at winning with love poems. His untitled poems are full of allusions, which are often profound and thought-provoking, while some of his works are obscure.
The overall achievement of Song poetry is not as good as that of Tang poetry, but it also has its own characteristics in ideological content and artistic expression. Poets in the early Song Dynasty, such as Yang Yi and Qian, learned from Li Shangyin in the late Tang Dynasty, but paid more attention to melody rhetoric, paid attention to both refined and popular tastes, and lacked social content, so they were named Ti. Wang Yucheng began to contend with it, and his works faced reality and took a simple and smooth road. Subsequently, Mei He made innovations in view of the disadvantages of style. Ouyang Xiu, as a leading figure in the Song Dynasty's poetry innovation movement, has different opinions. He advocates a simple and fluent poetic style, pays attention to integrity and is good at thinking, and has formed his own characteristics. The two most influential poets in the Northern Song Dynasty were Su Shi and Huang Tingjian. Su Shi's poems are lyrical and free-spirited, which further developed the argumentative and prosaic cultural tendency in the Song Dynasty. Because of his rich life experience and profound artistic accomplishment, he can avoid the shortcomings of being shallow and tasteless or blunt and obscure made by many poets. His works represent the highest achievement of the poetic innovation movement in the Northern Song Dynasty. The poems of Huang Tingjian and his Jiangxi poetry school have the most characteristics of the Song Dynasty. His poems are based on Du Fu, self-improvement, thin and hard innovation. Jiangxi poetry school poets include Chen, Chen, Han Ju and so on. Lu You, Yang Wanli and Fan Chengda all came from Jiangxi Poetry School, and finally they all had their own schools. Lu You was the greatest patriotic poet in the Song Dynasty. He left over 9300 poems. The most touching thing about his poems is his patriotism in resisting the enemy and rejuvenating the country. In the poem Guan Shanyue, we can deeply feel the poet's anxiety. Yang Wanli's poems are fresh and lively, while Fan Chengda's poems are good at writing pastoral scenery, which is quite interesting in life. They all made their own efforts to create unique poetic styles. "Yongjia Siling" and Jianghu Poetry School also appeared in the late Southern Song Dynasty, but their works were not realistic and their poetic style was weak. By the end of Song Dynasty, the patriotic poems of Wen Tianxiang, Wang Yuanliang and others were magnificent, which added the last glory to the poems of this period.
The development of poetry has gone through the development process of The Book of Songs → Chu Ci → Han Fu → Han Yuefu Poetry → Jian 'an Poetry → Wei, Jin, Southern and Northern Dynasties Folk Songs → Tang Poetry → Song Poetry → Song Yuan Poetry → Ming and Qing Poetry → Modern Poetry.
Poetry is a highly concentrated literary genre that reflects social life. Full of the author's thoughts and feelings and rich imagination. Its language is concise and vivid, with distinct rhythm, harmonious rhyme and rich musical beauty. The sentences are generally in rows and pay attention to the beauty of structural form. He Qifang, a modern poet and literary critic in China, once said: "Poetry is the literary style that most strongly reflects social life. It is full of rich imagination and feelings, and it is often expressed in a direct lyrical way. Moreover, in the degree of exquisiteness and harmony, especially in the distinct rhythm, its language and prose are different. " This definition summarizes several basic characteristics of poetry: first, it reflects life in a highly concentrated and general way; The second is lyrical expression, full of rich thoughts and feelings; Third, rich imagination, association and fantasy; Fourth, language has musical beauty.
Classification, ancient poetry, modern poetry, lyrics
1 Irony 2 Love 3 Philosophy 4 Farewell 5 Scenery 6 Ambition 7 Imagination 8 Story 9 Thought
Narrative poems and lyric poems, metrical poems, free poems, prose poems and rhyme poems.
As the name implies, it is a literary genre, which generally means that the end of each line of poetry must rhyme, and the poem reads like a ballad. Rhyme here refers to modern rhyme, which belongs to a new style of poetry, similar to the popular rhyme of Fang on the Internet. Debuted after 2000.
The main schools of modern (contemporary) poetry: May 4th Poetry, Crescent School, Modernist School, kuya School, Vague Poetry, Intermediate Generation, New Generation, Huxiang Poets, etc.
New national wind
rhythm
Repeat regularly to form a rhythm. The order of the four seasons, the alternation of morning and evening, the full moon, flowers, the ups and downs of water, the ups and downs of mountains, the breathing of the lungs, the beating of the heart, the trembling of the pole when carrying things, and the ups and downs of the arm when doing business can all form a rhythm. Rhythm can give people pleasure and beauty, and can meet people's physiological and psychological requirements. Every time a new cycle is repeated, it gives people a feeling of deja vu, as if seeing an old friend, which makes people feel cordial and happy. There is a pavilion at intervals along the promenade of the Summer Palace, which not only provides a place for people to rest, but also allows people to stop and enjoy the surrounding lakes and mountains. And in the alternation of walking and stopping for a while, you will also feel the joy and beauty brought by the rhythm. After a new rhythm is familiar. There will also be a psychological expectation, and there will be a sense of satisfaction if you expect to win. Rhythm can also make individuals unified, different and coordinated, loose and concentrated. The chant shouted when everyone is working together and the leopard password when the team is marching have this effect. It can be seen that just the rhythm itself has a charm. Language can also form rhythm. Everyone's voice is high or low. Each has a fixed habit and can form a sense of rhythm. This is the natural rhythm of language, unprocessed and not very distinct. In addition, there is another rhythm of language, namely the rhythm of music, which is processed on the basis of the natural rhythm of language. It emphasizes some factors of natural rhythm, and makes it stereotyped and has a more distinct sense of rhythm. The rhythm of poetry is based on this rhythm. However, poetry is too loose to accommodate the natural rhythm of language. Not catchy; Excessive pursuit of music rhythm will become an artifact that is superficial. Not natural. Only the poetic rhythm that is full of music and superior to the natural rhythm can be widely accepted. Once this rhythm is found, it will gradually become fixed and become a common rhythm. The rhythm of poetry must conform to the national characteristics of language. Please speak Greek and Latin; The difference of vowel length is obvious, so both ancient Greek poetry and Latin poetry form rhythm by the regular alternation of vowel length. There are short squares, short squares, long and short squares. Long and short spaces, etc. Homer's epics "Heriat" and "Odyssey" are composed of five long and short bars and one long and short bar, which are called six-step verse. Ancient Sanskrit poetry mainly relies on long and short cases to form rhythm. German, English and Russian have obvious differences in pronunciation, so poetry forms a rhythm with regular alternation of light and heavy cases, such as light and heavy cases. The rhythm of China's grand ceremony poems is based on the characteristics of bilingualism, which is determined by the following two factors. The first is syllable and syllable combination. In Chinese, a word is one syllable, a four-character poem is four syllables, a five-character poem is five syllables and a seven-character poem is seven syllables. The syllables of each sentence are fixed. Several syllables in a poem are not isolated. Generally, the two together are one meal. Pause, some people call it a sound group or step. Four words and two meals, each with two syllables; Three meals with five characters, each syllable is 22 1 or 2212; Seven words and four meals, each syllable is 222 1 or 22 12. It must be pointed out that the pause is not necessarily the place where the sound stops, on the contrary, it usually takes a long time to recite. The division of intonation should not only consider the order of syllables. And the integrity of meaning. The combination of syllables not only forms a meal, but also forms a kind of luck. Funny is the most meaningful meal in one sentence. The basic rule of China's ancient and modern poems is that there must be a Liao in a poem. The poem is divided into two halves, and the syllable distribution is: four words 22, five words 23 and seven words 43. Mr Lin Geng pointed out that this is the formal rule of China's poetry. And call it "semi-teasing method". He said: "Half-teasing method is the basic law that China follows in his poetic lines based on his own language characteristics, which is also the universal feature of China's poetry in national form." Only by revealing the "law of half luck" can we explain why some sentences are composed of four, five and seven words, but they are still not like poems. The reason is that today's syllable group does not conform to this law. Revealing the "semi-funny law" can also explain why the six-character rhyme has never become the main form, just because the syllable group of 222 can not form semi-funny, which is not in line with the habit of China's poetry rhythm. There is another interesting phenomenon. Reading four-character poems feels dull, while five or seven words are lively. The secret lies in the combination of syllables. Four-character poems have two syllables before and after teasing. Equal parts, unchanged. Five-character seven-character poem, teasing by the difference of one syllable before and after, leaving.
The Change of Order makes you feel vivid when you read it. Four words 22, five words 23 and seven words 43, these are the basic rules of a poem. Comply with this rule. It's like putting up a pillar for a building. As for other rules, such as civilians and duality, they are just decorations added to this column. The meter of China's poems seems very complicated, but it's actually that simple. Secondly, rhyme is also an important factor to form the rhythm of China's poems. Rhyme is the repetition of even vowels in word pronunciation. The repetition of the same vowel in a certain position according to the law will form a rhyme foot and produce rhythm. This kind of festival can combine scattered sounds into a whole, making people look forward to the latter sentence when reading the previous sentence and recall the previous sentence when reading the latter sentence. In some national poems, rhyme is not so important. For example, ancient Greek poetry, old English poetry and ancient Sanskrit poetry. According to/kloc-On Teachers written by Agam, a British scholar in the 6th century, the rhyme between Europeans and poetry began in Italy, but after the times, China literature once prevailed. The German epic Song of Niblongen and many narrative poems in medieval France all rhyme. After the Renaissance. European poets learn from ancient Greece. Rhyme is not so popular again. /kloc-after the 0/7th century, rhymes became popular again. With the rise of modern free verse, the number of rhyming poems has decreased. China's classical poems must rhyme, because there is no obvious difference between the length and severity of Chinese pronunciation, and the rhythm cannot be formed by them, so rhyme has become an element of rhythm formation. The rhyme of China's classical poems was based entirely on spoken language before the Tang Dynasty, and it must be based on rhyme after the Tang Dynasty. According to the actual rhyming situation of pre-Qin poetry, we can see that the rhymes at that time were relatively wide and easy to rhyme, and the rhymes of Chinese poetry were also relatively wide. After Wei and Jin Dynasties, it gradually became strict, and some rhyming books appeared, such as Li Deng's phonology. Lu jingyun's collection. Xiahou Yong's "Four Rhymes" and so on, but these private works can not play a unified role in rhyme standards. In the Tang Dynasty, Sun Hou published Tang Yun based on Qieyun, which became the official rhyme book. The phonetic system of Qieyun is a combination of ancient and modern phonetics and Northern Dynasties phonetics, which was determined by sorting out, and did not completely conform to the actual phonetics in any region at that time. Since rhyming poems should be based on it; Naturally, it leaves the actual situation of spoken English. This is a major change in the rhyme of classical poetry. In Song Dynasty, Chen Pengnian and others wrote a novel "Guang Yun", and its phonetic system was basically based on "Tang Yun", which was divided into four tones with * * * 206 rhymes. It's complicated, but poems are allowed to be used together, and similar rhymes can also be used together, so there are actually only 112 rhymes. In Song Chun, Liu Yuan and Pingshui revised the rhymes of The Book of Rites, and simply combined the rhymes that can be used together in Guang Yun into 107 rhymes, which is called Pingshui Rhyme. At the end of the Yuan Dynasty, Yin Shifu researched Ping Yun Shui and wrote Rhyme of Fu Qun Language, which was also called 106 Rhyme. Since the Ming and Qing Dynasties, poets have basically written poems according to this rhyme 106. However, Ping Yun Shui retained the pronunciation of Sui and Tang Dynasties, which was far from the spoken language at that time, so another kind of "song book" appeared in Yuan Dynasty, which was completely written according to the phonetic system of the north at that time to meet the needs of writing northern songs. It is worth noting that Zhou Deqing's "Central Plains Rhyme" has four tones and nineteen rhymes. Modern northern quyi rhymes with "thirteen strings", which is the inheritance of the rhyme of the Central Plains. "Thirteen" accords with the phonetic system of modern Mandarin and can be used as the basis of new poetic rhyme. In short; Rhyme is the regular repetition of the same vowel, just like the repeated tonic in music, and the whole music can run through it. The rhyme of China's poems is at the end of the sentence, which is always a pause in meaning and then rhymes, so the sense of rhythm is stronger.