Who made the rules of metrical poetry?

Metric poetry is a kind of poetic style that conforms to the level and level tone meter, which was summarized by court poets in the early Tang Dynasty on the basis of "Yongming style" in the Southern Dynasty. The biggest difference between this style of poetry and the previous dynasty is that it abides by the flat and even meter. At that time, in order to distinguish it from previous poems, it was called "Modern Poetry". Metric poetry was quickly recognized by most poets and developed rapidly, keeping pace with the "archaic poetry" that did not follow the metrical rules, and became the two major schools of poetry in the prosperous Tang Dynasty.

After entering the Song Dynasty, scholars began to sort out Tang poems on a large scale. Naturally, it can no longer be called "modern poetry", but changed its name to "modern poetry". Compared with "ancient poetry", this name has been used to this day.

The rules of physical rhythm poetry are only a dividing standard. Obedience is a modern poem, and disobedience is an ancient poem, which has nothing to do with the quality of the poem. Those who write ancient poems must call themselves modern poems, which are purely ignorant and have nothing to do with breaking the shackles.

If only the poems that break through the shackles were not called metrical poems.

The metrical pattern of modern poetry was formed in the early Tang Dynasty and remained basically unchanged. Therefore, the prosodic standards in metrical poems were formulated by people in the Tang Dynasty and before.

Flat relation

The level and the relationship between levels in a single sentence are the key positions, that is, what we usually call "246 distinct". No matter which metrical poem, five words or seven words, the level at the 24 (6) position in the sentence must be opposite and alternating. The basic flat format of the five wonders is "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 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.

If a sentence does not conform to this rule, we call it "substitution"

relative

In metrical poetry, sentences and sentence levels must be opposite at key positions.

If the sentence is flat, then the antithesis must be flat, and the upper and lower sentences conform to the flat relationship of metrical poetry.

If there is an antonym, we call it "out of pair".

During the Wei, Jin, Southern and Northern Dynasties, with the development of phonology, a large number of flat and even poems appeared, but the most obvious sign was that Shen Yue, a phonologist and poet, used "four tones" in his poetry creation, which quickly became popular and created an "eternal style".

Therefore, Shen Yue is a symbol of rank and rank relationship in metrical poems. However, there was no leveling in this period, only four-tone notation. Poetry flourished in the early Tang Dynasty, but the four-tone notation was relatively complicated. Therefore, at the instigation of Wu Zetian, Xu revised the Book of Rhymes, invented the concept of "level tone", simplified the notation of poetry, and laid the foundation for the formation of meter.

support

The last sentence in the key position is the same as the previous sentence.

For example, if the last sentence is flush, then the next sentence can only be flush, which not only ensures the 24th flush, but also ensures the flush of the sentence.

Poems that don't adhere to adhesion are called "adhesion".

It is common for Tang poetry to lose its adhesion, because the meter is constantly improving. We call these detached half-meters "bending over"-they were originally metrical poems, but their waists were broken.

Until a poet named jing yuan defined the rules of changing heads in his poem Brain. Among them, the single-headed change is the adhesion in metrical poems.

contrast

In addition to Pingping's "substitution, opposition and adhesion", metrical poems also require confrontation between Chinese and English.

Duality is a rhetorical way, while duality is a more refined and clear duality. Shangguan Yi, the grandfather of the famous Shangguan Waner, formed the rule of "antithesis". He summed up the antithesis methods in poems since the Six Dynasties, including "six pairs" and "eight pairs", which had a great influence on the formation of metrical poems in later generations.

Form a kind of meter

The formation of meter is the achievement of countless poets, and the main rules are formulated by the above people as the benchmark.

However, it is the court poets in the Wu Zetian period, represented by Shen Quanqi, Song and Du Fu.

The real master is the poet Du Fu, the grandson of Du Shenyan.