Poetry pays attention to meter. Rather than simply rhyming.
Metric refers to a series of unique rules in China's ancient poems, which should be followed in terms of format and rhythm. China's ancient modern poems have strict metrical requirements, while others, such as ancient poems, modern poems and Europeanized poems, have no clear and strict metrical requirements. Metric books come from music. After the music dispersed, the researchers summarized the laws of * * * in ancient poetry and formed the metrical book we see today.
Generally speaking, there are four elements in the metrical form of poetry: rhyme, flatness, duality and number of words. Among them, rhythmic poetry is the most strict, and all elements must be satisfied. Quatrains, words and Sanqu in modern poetry generally do not need confrontation. Classical poetry is relatively loose, generally only the concept of loose rhyme. Near body and ancient body
brief introduction
Metric poems, including metrical poems and quatrains, are called modern poems or modern poems. The ancients called them that, and so do we now. Although they are actually very old, they originated from Qi Liang in the Southern and Northern Dynasties and matured in the early Tang Dynasty. Poems before the Tang Dynasty, except the so-called "Qi Liang Style", are all called ancient styles. Poetry that does not conform to the modern style after the Tang Dynasty is also called ancient style.
differentiate
There are differences between ancient style and modern style in syntax, phonology and level tone. Syntax: The number of words in each sentence in ancient style is uncertain, including four words, five words, six words, seven words and even miscellaneous words (uneven sentences), and the number of sentences in each song is also uncertain, ranging from two to dozens and hundreds. There are only five words and seven sentences in modern poetry, eight in metrical poetry, four in quatrains and more than eight in quatrains, which is also called long-style poetry. Rhyme: each song in ancient style can use one rhyme, or two or more rhymes, and it is allowed to change rhymes; Each song can only use one rhyme, and even the arrangement of dozens of sentences cannot be changed. Antique can rhyme in even sentences, or even sentences can rhyme in odd sentences. The near aspect rhymes only in even sentences, except for the first sentence, which rhymes with a flat voice and does not rhyme. Five words don't gamble more, seven words gamble more), and the rest of the odd sentences don't rhyme; Antique can rhyme smoothly; Generally, only flat rhyme is used in the near body. Smoothness: The biggest difference between ancient and modern styles is that ancient styles don't talk about flatness, while modern styles pay attention to flatness. After the Tang dynasty, the ancient style also pays attention to flatness, but it is irregular and can be ignored. Classical poetry is basically metrical, so the following is only about modern poetry. rhyme
book
The rhyme book used in the Tang Dynasty is Qieyun written by Sui Lu Fa Yan, and it is also the originator of all rhyme books in later generations. Song people added Qieyun to Guang Yun, with more than 200 rhymes. In fact, the rhymes used by poets in Tang and Song Dynasties are not entirely based on these two rhymes. Poets' rhymes in Tang and Song Dynasties are well reflected in Ping Yun Shui edited by Wang Jinwen Yu, and later poets' rhymes are generally based on Ping Yun Shui.
rhyme
"Ping Yun Shui" has 106 rhymes, of which Pingsheng has 30 rhymes, which are divided into upper and lower halves, called upper and lower Pingsheng. This is just for the convenience of arrangement, and there is no difference in tone between the two. Modern poetry only pays attention to flat tones, so we only look at these flat rhymes (the first word of each rhyme). Shang Pingsheng: Yidong, Erdong, Sanjiang, Sizhi, Wuwei, Liu Yu, Qiyu, Baqi, Jiujia, Shi Hui, Eleven True, Twelve Articles, Thirteen Yuan, Fourteen Cold, and Fifteen Deleted Pingsheng: Yixian, Erxiao, Sanyao, Four Good, Five Songs, Six Hemps, Seven Yang, Eight Geng and Nine Qing.
develop
From these rhymes alone, we can see that ancient sounds are very different from modern sounds. Some of them belonged to different rhymes in ancient times, but now they can't tell the difference, such as East and Winter, River and Yang, Fish and Danger, True and Wen, Xiao, Yao and Hao, Salty and Salty, Geng and Qing, Cold and Delete, and so on. If we look at the words in each rhyme, we will find the opposite situation: what the ancients thought belonged to the same rhyme does not rhyme at all today. The rhyme of classical poetry can be mixed with the rhyme of neighboring rhymes, such as Dong Yi and Er Dong, Si Zhi and Wu Wei, which are called tongyun. However, the rhyme of modern poetry must strictly only use words with the same rhyme. Even if the number of words in this rhyme is small (called narrow rhyme), it cannot be mixed with words in other rhymes. Otherwise, it is called rhyme, which is the taboo of modern poetry. But if the first sentence rhymes, you can borrow adjacent rhymes. Because the first sentence can be put or not, you can bend the rules. Modern people can of course write modern poems with modern rhymes. If we want to use Pingyunshui according to tradition, we must pay attention to the differences between ancient and modern sounds, especially when reading ancient poems. These differences can sometimes be distinguished by dialects, but they are not necessarily reliable, so we should read more and recite more.
Edit the four tones of this paragraph.
introduce
There are four tones in Chinese, which were discovered by scholars in Qi and Liang Dynasties. On one occasion, Liang Wudi asked Zhu Yi, "You scholars have been talking about four tones all day. What does this mean? " Zhu took the opportunity to kiss up: "It means' Long live the son of heaven'." The sky is flat, the child is rising, the ten thousand is falling, and the blessing is entering the tone. When the balance is balanced, it constitutes the four tones of middle ancient Chinese, and when the sky is high, it is called falling tone. Among these four tones, entering tone is the most problematic. Liang Wudi then asked: "Why is the' Tian Zi Hand Test' not four tones?" Heaven, Confucius and the birthday girl are all flat and up and down, but the exams are silent, indicating that ordinary people at that time didn't know what Rusheng was. So what is raw milk? It's just that my pronunciation is short and my throat is blocked. One ends with t, p, k, and the other ends with a throat plug? Done. In Minnan dialect and Cantonese, these four tones are still intact, but in Wu dialect, they all degenerate into less obvious tones. It's over. The entering tone ending with T, P and K is not really pronounced with T, P and K. When making a stop sound, you should first block your throat and then blow it out with air. In the incoming sound, there is only blocking and no ventilation blasting, which is called incomplete blasting. For example, when the word "stop" is pronounced in English, American English doesn't really pronounce the word "P", but it just closes its mouth, which is an incomplete explosion, and it can also be said that it is entering the tone (this example is incorrect, English is pronounced "P" when reading, but there is one exception: if a word starting with a consonant is followed by it, P just opens its mouth and doesn't pronounce it, for the need of continuous reading). In Putonghua, Rusheng has disappeared. Some Rusheng words with different pronunciations and rhymes read exactly the same today. For example, "b, Yi, Yi" belongs to four tones, thirteen digits and fourteen strokes in Pingshui rhyme, and there is no difference in pronunciation in Putonghua (if it is read in Minnan, it can be clearly distinguished and pronounced as ik, IT and ip respectively). The disappearance of Rusheng also leads to the difference between ancient and modern tones. Some of the ancient Rusheng characters have become the current rising and falling tones, which are still in Rusheng, so we can ignore them. However, some entering tones in Putonghua have become flat words (Yin Ping or Yangping), which deserves our attention. This is the word "fu" in front of "Long live the son of heaven".
for instance
The common flat words are: a painting: a related book.
Two paintings: 70-83 paintings: four paintings: four paintings: servant's words and five paintings: jumping out of the lost stone festival of Za, the white juice is turned into six paintings: bamboo squatting, guarding, cutting, cutting, miscellaneous clamping, killing and grabbing the tongue, and deciding. Seven paintings: barefoot, squatting in the corner, refuting, burning, and grabbing boxes. Eight paintings: Uncle Zhu Zhuo, Bo, and I actually blame the Buddha for bending and scraping. Catch, peel and pinch the thief duck. Painting 11: Jia Du, a professional flute player pecked by Shu, learned to receive spies. Twelve paintings: Chrysanthemum calves redeem porridge, revealing Bohai sea cuts, ge rafts, sliding shovels and spikes. Painting 13: Fu Fu Fu Du Fu Du Bojue Xie Bodong, Yi Xi, cilia collapse 14 times. Painting on Cricket 19: Painting on Cricket 20: People who speak dialects with reserved voices naturally have no difficulty in recognizing these entering words, as long as they pronounce them in dialects. People who speak northern dialects can be induced to help identify them according to their phonetic components, such as "Wisdom Fofo Agbo Wisdom Fofo Agbo Bat" and "Fudge Stick", but most of them can only be memorized. Modern people can write old-style poems according to the modern four tones. But writing old-style poems is originally because it is so old, and it is understandable that some people are willing to write according to the ancient four tones, so we should pay special attention to this kind of flat words. What should I do when reading ancient poems in Mandarin? I think, in order to keep the tone harmonious, we might as well pronounce it as a falling tone. The intonation is low. If you read it a little shorter, it will sound a little strident. In fact, some people are used to pronounce this kind of entering tone, such as "I, amplitude, radial", and many people pronounce it in a falling tone.
Edit this sentence
sentence pattern
Although there are four tones in Chinese, in modern poetry, there is no need to distinguish four tones like words and songs, as long as they are roughly divided into two tones. To cause cadence in tone, it is necessary to use flat voice and flat voice alternately so as not to be monotonous. Chinese basically takes two syllables as a rhythm unit, and the stress falls on the next syllable. The basic sentence pattern of modern poetry consists of two syllables, which are called regular sentences. For Wuyan, its basic sentence patterns are: flat and flat, flat and flat, or flat and flat, flat and flat from beginning to end, that is, flat and flat, flat and flat, flat and flat. If you want to make some changes, you can move the last word to the front and it will become: plain, plain, plain. Except for the special cases mentioned later, no matter how these four basic sentence patterns change, they can't be found in five-character modern poems. The seven-character poem only adds a rhythm unit in front of the five-character poem, and its basic sentence pattern 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
interpret
There is a rule in these sentence patterns, that is, each pair will be reversed: the level of the fourth word is opposite to the second word, and the sixth word is opposite to the fourth word, thus forming a sense of rhythm. However, every word can be reversed, because the stress falls on even syllables and the singular syllables are relatively unimportant. When we write poetry, it is difficult to make every sentence completely conform to the basic sentence patterns. It may be possible to write quatrains, but it is almost impossible to write eight or even longer metrical poems. How to be flexible? Then it is necessary to sacrifice unimportant single digits and keep more important two digits and the most important last word. Therefore, there is a formula called "No matter whether one, three, five, two, four and six are distinct", that is to say, the levels of the first, three and five words (only seven words) can be handled flexibly, while the levels of the second, four, six and last words must be strictly observed. This formula is not completely accurate. In some cases, one, three and five must be discussed, and two, four and six may be ambiguous in some sentence patterns. We'll talk about it later, but let's first look at how to form a complete poem from these basic sentence patterns.
Edit this paragraph sticker.
We already know the basic sentence patterns of modern poetry. How do we form a poem from these sentences? The sentences of modern poetry take two sentences as a unit, and every two sentences (one and two, three and four, and so on) are a couplet. The upper and lower sentences of the same couplet are called antithesis, and the upper and lower sentences of couplet 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 last sentence is: flat and light, the next sentence is: flat and light. In the same way, if the previous sentence is flat and even, the next sentence is flat and even. Except for the first couplet, the previous sentence of other couplets can't rhyme. 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. The meaning of posting is the same, but because it is an odd sentence ending in a flat tone and an even sentence ending in a flat tone, it can only be posted head to 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. 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 fitting, we can derive four formats of five-character quatrains: First, the first sentence does not rhyme: 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
Edit this paragraph
The aforementioned "135" is not completely correct. In some cases, 135 must be discussed. For example, a five-character parallel sentence: the third word of a parallel sentence can be ignored, and so can a flat voice. However, if the first word is changed to a flat tone, it will become: flat tone. Except for rhyme, there is only one flat tone in the whole sentence, which is called "solitary flat tone", which is a taboo in modern poetry and rarely seen in Tang poetry. In Du Fu's poem "Hanging Two Bows on the Arm", it is such a lonely and irregular sentence, which is called an embarrassing sentence. Lao Du intentionally wrote many awkward modern poems, and this exploration is another matter. What if the first word must be slurred? At the same time, The third word can be changed to Pingsheng: 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 Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping. 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. This practice is called difficult to save, which means to avoid difficult sentences. The so-called "loneliness" refers to the flat and even sentences (that is, rhyming sentences). If it is a flat sentence, even if there is only one flat word in the whole sentence, it is not lonely, but at most it is an awkward sentence. For example, changing the word "even" to "even" is not a crime and can be used. There is another situation, which is a five-character flat and even sentence: flat and even, flat and even, flat and even, flat and even, flat and even. As long as isolation and leveling can be avoided, "135 regardless" is completely correct.
Edit this conversation
These four verses all have a specific name. The first couplet is called the first couplet, the second couplet is called the platoon couplet, the third couplet is called the neck couplet and the fourth couplet is called the tail couplet. According to the regulations, parallel couplets and neck couplets must be opposite, and the first couplet and the last couplet can be right or wrong. These two quatrains are also right or wrong. The first couplet in the arrangement can be right or wrong, the middle couplet must be right or wrong, and the last couplet can only be ended if it is wrong. The first characteristic of duality is that syntax should be the same. The second characteristic of duality is that you can't use the same words to oppose each other. The antithesis like "people have joys and sorrows, and the moon is full of rain and shine" is allowed in lyrics and songs, but never allowed in modern poetry. In fact, unless it is necessary for rhetoric, the same words must be avoided in modern poetry. The third characteristic of duality is that parts of speech should be relative, that is, noun to noun, verb to verb, adjective to adjective, adverb to adverb, pronoun to pronoun, function word to function word. If you want to be neat, you must also use words (mainly nouns) that belong to the same type in meaning, such as astronomy to astronomy, geography to geography, logarithm, orientation to each other, color to color, time to time, device to device, personnel to personnel, and biology to biology. , but they cannot be synonyms. The stars come down from the clearing, and the moon comes up from the river. The stars and the moon mentioned above are astronomical pairs, the leaves and the river are geographical pairs, and the vertical pair, the horizontal pair, the big pair, the wide pair and the current pair are also the same verbs and adjectives. Fighting like this is called workers' fighting. There are some homonyms that form the duality of work, which is called borrowing.
A new probe into the metrical reform of editing this paragraph
Liu Jiali thinks in the article "Discussion on the Flatness of Metric Poetry (including Absolute Metric Poetry)" that the metrical poetry includes several aspects, such as rhyme, structure and antithesis, and the rhyme is divided into two aspects: flatness and rhyme. As for the problem of treating metrical poems with flat tones, this paper holds that flat tones belong to the category of phonology, which can be traced back to music. It is an inevitable trend of the development of Chinese poetry to enhance the expression effect of language with intonation, which is also the unique advantage of Chinese poetry. However, just as a routine can be practiced at the beginning of martial arts and a tune can be practiced at the beginning of music, the limited flatness is the basis of mastering temperament skills, not the whole of temperament skills. In order to better express complex objective things and subjective emotions by using tonality, we must go beyond the limited combination form of "flat, flat and flat". A Probe into the Flatness of Metric Poems (including Metric Poems) The meter of Metric Poems includes phonology, structure, antithesis, etc. Phonology is divided into Flatness and Rhyme. In dealing with the level and level of rhythmic poetry, the young writer Mr. Liu Xiaofeng combined the purpose of "moving without beginning, becoming unprovoked, being real and imaginary, and conforming to nature", and his practice showed a new concept. Flat tones belong to the category of phonology, which can be traced back to music.
To digress, this is the most important point, please pay attention! ! ! ! ! ! If you have the heart to write a good poem, artistic conception and inspiration are the most important, as well as words. If you are interested in writing poetry, then I suggest you look at the words on it. Don't deliberately study or understand. Don't write poems into eight-part essays. Let's take a look at the ancient prose movement of Han Yu and Liu Zongyuan. Never be bound by the rules of Shangguan Yi. Otherwise, write a plain sentence instead of a poem from the heart! ! ! ! ! ! ! )