Ancient poetry and metrical poetry have strict requirements on the plainness of words, as anyone who is familiar with ancient poetry will know
Taking Qilu as an example, the first couplet, chin couplet, neck couplet, and tail couplet are in the middle, and the middle two couplets are especially required to be in strict opposition. In terms of tone, first of all, it should be flat and oblique, that is, there should be no continuous flat or oblique tones.
Of course, this requirement is only made for even-digit characters, which is the so-called "one, three, five, no matter, two, four, six"
Ming. Secondly, there is inter-coupling and intra-coupling pairing, that is, the last sentence of the first line is the same as the previous sentence of the second line, and the middle line of the same couplet is equal and opposite. There are more word card formats for words, and the flat and oblique patterns are more complex, but the alternation of flat and oblique patterns is still an important principle.
The various fixed forms of quatrains in verse have their own distinctive aesthetic and poetic characteristics.
Using five or seven characters as a sentence, firstly, the reading rhythm is clear, and secondly, it is more in line with the requirements of memory
This kind of syntax is the easiest to remember; the antithesis has The beauty of the typical axially symmetrical form happens to be in harmony with the aesthetic characteristics of Chinese culture. For example, the typical feature of ancient architecture is its axial symmetry; the rhyme and rhyme can be consistent. It makes the reading and recitation harmonious and smooth; the alternation of level and oblique makes the poem rhythmic; the combination of level and oblique between couplets can play a coherent role in the tone of the whole poem, similar to the top in Chinese rhetorical techniques
Needle. The importance and necessity of various characteristics can also be seen from this.
Tone is unique to Chinese. It is an essential phonetic feature of a Chinese character, unlike
English only has syllable features. The essence of tone is the changing characteristics of the pitch of a word when it is pronounced. Sustained
High pitch is Yinping, going from low to high is Yangping, falling first and then rising to rising tone, going from high to low is falling tone, simply
Simply speaking, the change of pitch is tone. However, tones are passed down orally, so they vary greatly, and there are
regional differences, making it more difficult to unify. Unlike writing, which has a fixed form of circulation and is relatively stable. An editor
discussed the word "shi" in the poem "Sitting and Watching the Cold Mountains Become Wet" and believed that the word "shi" belongs to the Ru tone and belongs to the oblique tone type. Indeed, there are still many places to this day. The Ru tone is retained in the language, just like the ancient pronunciation, but now the popular Mandarin has deleted the Ru tone, and its original Ru tone characters have been divided into the four tones of Yin and Yang respectively. So
In the creation of modern ancient poetry, should Mandarin be used as the standard, or should the ancient pronunciation be the standard?
Or should the local pronunciation be the standard? If there is a standard, of course Mandarin should be the standard.
There is "Why should the Qiang flute blame the willows" in "Liangzhou Ci", which is the first among the seven works of the Tang Dynasty (the text is not the first, here I just borrow the words of some critics to illustrate the status of this poem
In ancient times, the word "di" was Rusheng
, which belongs to the oblique tone and is in the style; today in Mandarin, it is Yangping, which is the level tone and is out of style; and the character "Yang" is in the level tone
, which is also out of style. This also shows from the side that the requirements for Ping and Cheeks cannot be too strict, because sometimes we cannot even fully determine the unified standards for Ping and Cheeks.
Ancient poems can be sung to music. Poems are recited. Reciting is not singing, but
lengthens the pronunciation of the words and changes the pitch. You also need to vibrate the sound a few times. There is also a saying that lyrics are written in a
tone. In fact, the lyrics are actually a piece of music that has already been composed. Once ancient poems are put into music, the nature of their tone will no longer exist, and the tone will lose its meaning. Only when it exists in the form of pure language, the tone will have a certain meaning. , but its aesthetic characteristics are not necessarily necessary.
That is, the main role of tone in the creation of ancient poetry should be to define a word, which can be judged by reading alone.
Instead of having to fix flatness or obliqueness in this position, the requirements in this regard obviously should not be the same as the strict requirements of architecture for the sake of symmetry and beauty. When a famous vocalist taught how to sing the difference between "
Piano player" and "Beast", he asked the former to be soft and the latter to be hard. It is pronounced from weak to strong, similar to the Yangping sound or the upper tone. The stiffness refers to the sudden eruption of the sound
evenly during the pronunciation, which is similar to the pronunciation of the falling tone. This is compared with the sound intensity. As for the pitch, it also shows that
Chinese characters have lost their tonal meaning when incorporated into music. Forced stylized requirements often restrict the development of art.
Taking music as an example, the Jiahu bone flute as far back as 7,000 years ago can play multiple tones. According to expert research, after the creation of twelve equal temperaments (that is, a group of octaves divided equally into Twelve semitones
an octave refers to the span between a note and its double frequency tone. For example, the frequency of central C in the piano is 261.6 Hz and 523.2Hz constitute an octave). Before, one octave in ancient musical sounds was also classified into seven tones. After that, we should understand the reason more clearly, but ancient musical sounds will
An octave is divided into five tones of Gong, Shang, Jiao, Zheng and Yu. Compared with the West, fa and si are missing. It
simplifies and stylizes creation, but It also limits the freedom of creation, curbs creativity, and greatly reduces the richness of music. I don’t know why ancient musicians reduced it to five tones and composed music accordingly
The achievements of ancient Chinese instrumental music creation are far from being comparable to those of European instrumental music. In fact, the shortcomings of stylization are not to blame. I hope this sentence will not attract the verbal criticism of narrow-minded nationalists.
Great musical works can be created using consonant intervals, and great works can also be created using dissonant intervals.
The alternation of oblique and oblique sounds is beautiful, but you can also use continuous oblique tones to express an urgent tone, or to make the meaning coherent; use continuous oblique tones to express a lively or peaceful artistic conception. When writing poetry and lyrics, the first thing is the artistic conception, the second thing is the vividness, accuracy, and image of the words used
The rhyme and rhyme are smooth, and the third thing is the smoothness, and the style should not be used to hurt the mood. Too one-sided pursuit of form
It is harmful to art, and it will even hinder the development of art today when art is becoming popular. Art is not a science. It can only be understood by a few scientists. But for most people, it is almost completely submerged in the poetic realm. Therefore, creation Readers should understand what is more important. Cui Hao's "Yellow Crane Tower", known as the pinnacle of the Tang Dynasty's Qilu, has a couplet in his mouth: "The yellow crane is gone and will never return, and the white clouds are empty." Especially from the confrontation. The oblique tone seems out of place, as the previous sentence has a continuous oblique tone, but because the whole poem is coherent, the description is vivid, and the scenes are blended together, it has become a famous sentence through the ages. This is true for metrical poetry, but the oblique meaning of ancient words is even less important.
If metrical poems or lyrics are to be well inherited and developed in modern times
It is necessary to appropriately abandon the constraints of flatness and obliqueness and try to take into account the obliqueness and obliqueness without damaging the meaning of the text. A wise move
.