The rhythm of classical modern poetry
1. Modern poetry:
Also known as "modern poetry". Poetic name. The general name for the regular verses and absolute verses formed in the Tang Dynasty is relative to the ancient poetry. There are strict regulations on the number of sentences, the number of words, the level of rhyme, and the use of rhyme.
2． Quatrains:
That is, "poetry". Also known as "jumping sentences" and "jumping sentences". Poetic name. "Jie", "Duan" and "Jue" all have short meanings, so they are named because they only have four sentences. Mainly five-character and seven-character, referred to as Wujue and Qijue. There are also six character quatrains. The popular style in the Tang Dynasty was modern style, which had certain requirements for level and rhyme. Some people say that Jueshi is made by cutting out half of the verses.
Wujue: the provincial name for five-character quatrains. Refers to the five-character rule. Four sentences with two or three rhymes. There are four regular patterns of flat and oblique patterns.
Qijue: the provincial name for seven-character quatrains. Refers to the seven-character law. Four sentences with two or three rhymes. There are four regular patterns of flat and oblique patterns.
3. Rhymed poetry:
The name of the poem. A type of modern poetry. The rhythm is strict, hence the name. It originated in the Northern and Southern Dynasties and matured in the early Tang Dynasty. Eight sentences, four or five rhymes. The two middle alliances must face each other. The second, fourth, sixth and eighth lines rhyme. The first line may or may not rhyme, but usually rhymes with flat tone. It is divided into five-character and seven-character styles, referred to as Wulu and Qilu. There are also six laws occasionally. If there are more than ten sentences in each poem, it is classified as rhythm.
In rhythmic poetry, any two sentences that match each other are called a "couplet". The first couplet (sentences one and two) of the Five and Seven Rhythms is called the "first couplet", the second couplet (sentences three and four) is called the "jaw couplet", the third couplet (sentences five and six) is called the "neck couplet", and the fourth couplet is called the "neck couplet". (Seven or eight sentences) called "tail couplet".
The upper sentence of each couplet is called "chuyu", and the lower sentence is called "couplet".
Wulu: The provincial name for five-character rhymed poetry. Eight sentences in four or five rhymes. There are four regular patterns of flat and oblique patterns.
Qilu: The provincial name for seven-character poems. Eight sentences in four or five rhymes. There are four regular patterns of flat and oblique patterns.
4. Ping and Ze:
The proper name of the rhythm. Ancient Chinese tones are divided into four tones: flat, rising, going, and entering. Ping refers to the flat tone among the four tones, including the two tones Yinping and Yangping; flat refers to the flat tone among the four tones, including the three tones of Shang, Lai and Ru. In the pronunciation of characters used in old poetry and parallel prose, the flat and oblique tones adjust each other to make the tones harmonious, which is called flat and oblique tones.
5. Rhyme:
Refers to the rhyme in which the poem is written or the rhyme book on which it is based. In the Sui Dynasty, Lu Fayan wrote "Qie Yun", which was divided into 206 rhyme parts. The divisions were too thin and it was inconvenient to rhyme. In the early Tang Dynasty, it was stipulated that similar rhymes could be used together. During the Southern Song Dynasty, Liu Yuan, a native of Pingshui, compiled the "Rhymes of Renzi Xinkan Rites" and merged the same rhymes into 107 rhymes. Later generations reduced it to 106 rhymes and called it Pingshui rhyme. This is the poetic rhyme that is still used today. The rhymes actually used in the Tang Dynasty were roughly the same as those compiled by Ping Shui Yun.
6． Rhyme:
Also known as "pressed rhyme". When writing poetry, rhyme is used at the end of a sentence or couplet. Because the old rhymes rhyme, the rhymes must be the same or connected, but there are also a few changes. Rhyming in poetry not only facilitates recitation or memory, but also gives the work the beauty of rhythm and tone.
7. Rhyming of modern poetry:
The rhyme requirements of modern poetry are strict. Regardless of quatrains, rhymed poems, or arranged rhymes, they must all use plain rhyme, and the rhyme must be in one rhyme to the end, and adjacent rhymes are not allowed to rhyme.
8． Dui and stickiness:
Pui, in the meaning of relative, means that the couplets in the same couplet and the outgoing sentence must be opposite to each other, that is, ki to ping, ping to ki.
Gui means adhesion or adhesion, which means that the sentences in the back couplet and the couplets in the front couplet must be consistent and adhere to each other, that is, flat and flat, flat and flat. The signs of right and sticky mainly depend on whether the second and fourth characters of five characters and the second, fourth and sixth characters of seven characters are correct. The most important positions of the second and fourth characters of five characters, seven characters and four characters must be clear.
9. Loss of stickiness:
Old-style poetry term. When writing rhyme and poems, there are errors in rhythm and rhythm, and the sound and rhyme are not cohesive. That is, the flat tone is used but the flat tone is misused, or the flat tone is used but the flat tone is misused.
10． Antithesis:
Refers to the antithesis of words and phrases in poetry. It can be relative between two sentences or within a sentence. Contrasts generally use the same sentence patterns and parts of speech. As a metrical requirement, the middle two couplets of the rhymed poem must be in opposition, but the first and last couplets do not need to be in opposition. But there are also variations, either the neck couplet is not in opposition, or the tail couplet is in opposition; it is less common that the first couplet is in opposition. There is no need for antithesis in quatrains, but there are occasional couplets.
11. Working pair:
Poetry terminology. Antithesis must use the same part of speech, such as noun to noun, pronoun to pronoun, adjective to adjective, adverb to lyrics, function word to function word. In the old days, nouns were divided into categories such as astronomy, seasons, geography, utensils, clothing, food and drink, stationery, literature, vegetation, birds, beasts, insects, fish, body, human affairs, and human relations. Strict oppositions, parts of speech, and parts of speech must be relative, which is called work pairing. Such as "The flying mirror under the moon, the clouds and sea towers."
12. Kuan Dui:
Poetry terminology. Relative to work. Broad pairs can be relative as long as they have the same part of speech. For example, "Drink the water from the horse rain and wear clothes dripping with floral dew."
13. Guping and Sanlianping:
Poetic terms. There are taboos in the rules. It means that the first character of the five-character "平平廄廄平" sentence pattern uses the oblique sound, and the third character of the seven-character "任仄平平廄仄平" sentence pattern uses the oblique tone. Apart from the rhyme, there is only one flat tone left in the whole sentence, so it is called . People in the Tang Dynasty were most afraid of "Guping" in their poetry. If the first character of the five-character or the third character of the seven-character sentence in the above sentence pattern must be used with a oblique tone character, and it is absolutely impossible to replace it with a flat tone character, a "rescue" approach must be taken.
"Sanping Diao" poetic terminology. Refers to the choice of three flat tones at the end of the poem. It is a taboo in modern poetry and one of the typical characteristics of ancient poetry.
14. Gassho:
A type of poetry disease. Refers to phenomena with the same meaning in confrontation. Antithesis in a couplet, the sentence and the couplet are completely synonymous or basically synonymous, which is called Gassho. This is a taboo for poets.
15. One, three, five, no matter:
A popular formula in the oblique format of metrical poetry. It is the abbreviation of "One, three, five, but two, four, six are clear". It means that the first, third, and fifth characters of a seven-character poem can be in any order, but the second, fourth, and sixth characters must follow the format, alternate between straight and oblique, and cannot be changed. By analogy, five-character poems can be divided into one and three, but two and four are distinct. This formula is concise and clear, but it is not comprehensive and accurate, and it is not suitable for some sentence patterns.
16. Aojiu:
In metrical poetry, any word that does not conform to the oblique format is called "Ao". Whenever "拗" is used, "save" must be used. Only when there is a "拗", there is a "save", and you will not be sick. For example, if the upper sentence should be flat, use 仄, and the next sentence should be flat, use ping. Ping, Ao and Zhe are used to adjust the tone and make it harmonious, which is called "Aojiu". Defeat can be roughly divided into two categories:
1. This sentence saves oneself, that is, Gu Ping is forced to save. In metrical poetry, when the five-character "平平廄廄平" sentence pattern is used in the first character with a oblique sound, and the seven-character "廻仄平平廄廄平" sentence pattern is "offended" because the third character is used in a oblique tone, Then use a flat tone character in the third character of five characters and the fifth character of seven characters as compensation.
2. Couplet to save each other:
A will be rescued if he is too stubborn. Point out that the fourth character of the five-character sentence pattern "廄仄平平廄" is awkward, and the sixth character of the seven-character sentence pattern "平平任仄平平仄" is awkward. It must be used in the third character of the five-character couplet and the fifth character of the seven-character sentence. A plain character as compensation.
B Xiaoao can be saved or not. It points out that the third character of the five-character sentence pattern "廄仄平平廄" is awkward, and the fifth character of the seven-character sentence pattern "平平任仄平平仄" is awkward, it can be used in the fifth character of the five-character couplet and the fifth character of the seven-character sentence. A plain character can be used as compensation, but it is not necessary to save it. This sentence of self-rescue and the couplet of "rescue" are often used at the same time.
17. Sing and sing:
Also called "singing reward" and "reward singing". It means writing poems to harmonize with others. There are roughly the following methods:
1. When writing harmonious poems, you only need to compose poems to reciprocate the harmony, without the original rhyme of the poem being harmonized;
2. Yi rhyme, also known as homo rhyme, and he poems belong to the same rhyme as bei he poems, but it is not necessary to use the original word;
3. Use rhyme, that is, use the words in the original poem's rhyme without necessarily ordering them;
4. Secondary rhyme, also called step rhyme, uses the original rhyme and original characters, and the order must be the same.
18． Gourd grid:
Also known as "Gourd rhyme". Poetic terminology. It is the same rhyme pattern as the forward and backward patterns. Those who rhyme with gourds, first two and then four. For example, "dong" and "dong" rhyme together, the first two rhymes with "dong", and the last four rhymes with "dong". It is small at first and then big, and looks like a gourd, hence its name.
19. Advance and retreat:
Also known as "advance and retreat rhyme". Poetic terminology. Lin rhyme is a special form of rhyme. Song Yanyu's "Canglang Poetry Talk·Poetry Style": "If there is a windlass rhyme, it will go out and double in. If there is an advance and retreat rhyme, it will advance and retreat." Wei Qingzhi's "Poet Yuchi" quoted "Xiansu Miscellaneous Notes" and said that Zheng Gu in the Tang Dynasty Together with Seng Qiji, Huang Sun and others, they have determined the style of modern poetry: "There are several rhymes used in poetry: one is called gourd, one is called windladder, and one is called advance and retreat." The advance and retreat pattern is the rhyme between the two rhymes, that is, the second rhyme pattern. , The sixth sentence uses A rhyme, and the fourth and eighth sentences use B rhyme that is compatible with A rhyme, such as "Han", "Delete" or "Yu", "Yu", etc., one advance and one retreat, rhyming alternately, Hence the name.
20． The windlass pattern
Also known as "the windlass rhyme". Poetic terminology. It is the same rhyme pattern as the forward and backward patterns. Those who rhyme with the windlass have two outs and two ins. That is, the second and fourth sentences of the rhymed poem use A rhyme, and the sixth and eighth sentences use B rhyme that is compatible with A rhyme. For example, "qiyu" is used first, and then "liuyu" is used, etc., double out and double in. This It rises and falls like a windlass, hence the name.