Notes on Learning Poetry —— Metric Poetry

After the Han Dynasty, from the Wei and Jin Dynasties to the Southern and Northern Dynasties, China's poetic style changed from ancient style to rhythmic poetry, because this period was the heyday of aestheticism in China's literary history, and the author paid more and more attention to the use of skills and the discussion became more and more subtle, which led to the dualism of rhythmic poetry. The rise of these two theories is indeed the inevitable product of reflection and self-awareness on the characteristics of China's writing.

The most obvious features of Chinese characters in China can be said to have two points: one is monosyllabic, and the other is monosyllabic. Because it is simplex, it is suitable for duality; Because it is monosyllabic, it is suitable for talking about temperament. As for the application of duality, we can see its increasingly neat trend from the poems of Zhang Heng, RoyceWong and Lu Ji. Although people have been paying attention to the theory of temperament for a long time, such as Sima Xiangru's Answer to Wen Lan and Zuo Fu, the so-called "one latitude, one palace and one business" and Lu Ji's "Wen Fu" call it "sound iteration, if five colors are suitable", it still refers to the sound of nature. In the Song and Qi Dynasties, due to the influence of Sanskrit pronunciation of Buddhism, the distinction between sound and rhyme was more accurate. The names of the four tones have been established from Four Tones in Zhou Pian and Four Tones Spectrum by Shen Yue, and China's beautiful writing has been greatly developed because of his increasing emphasis on the double rhythm. This is the formation of cet-4 and cet-6 prose and the rise of metrical words.

The so-called metrical words, on the one hand, emphasize the harmony of four tones, on the other hand, emphasize the neatness of duality, and their relative association must be consistent in syllables, cadence and cadence, and be fair and opposite, and the parts of speech should be commensurate. This metrical style is really the ultimate beauty that China's writing features can express. The Jin Dynasty and the Southern and Northern Dynasties were the period when this kind of law gradually matured. From the poems of Xie Lingyun, Yan Yanzhi, Xie Tiao and Shen Yue to those of He Xun, Yin Keng, Xu Ling and Wa Xin, we can clearly see the trace of this evolution.

As for the Tang Dynasty, it was the era of China's poetry. On the one hand, it inherited the ancient poetry Yuefu since Wei and Jin Dynasties, making it more extensive and innovative; On the other hand, it has completed some emerging formats since the Southern and Northern Dynasties, making it more refined and established.

Although the expansion and innovation of ancient poetry can be seen from rhetoric, planning, rhyme and other aspects, as far as the style of poetry is concerned, it is still a theory linking the past with the future since the Han and Wei Dynasties. As for its new format, there are five-character seven-character poems, five-character seven-character poems and five-character seven-character quatrains. Compared with the previous classical poetry, these new formats are called modern poetry.