Modern poetry, also known as modern poetry and metrical poetry, is a genre that pays attention to metrical, antithesis and rhyme in Chinese poetry. So what? Le
Modern poetry, also known as modern poetry and metrical poetry, is a genre that pays attention to metrical, antithesis and rhyme in Chinese poetry. So what? Let's find out.
Ancient modern poetry can be divided into metrical poems and quatrains.
1.
Rhyme is a genre of China's traditional poetry, which belongs to the category of modern poetry. Named for its strict metrical requirements. Metric poems originated from Shen Yue and other new-style poems that emphasized the antithesis of metrical poems in the Southern Dynasties, and were further developed and stereotyped by Shen Quanqi and Song Wenzhi in the early Tang Dynasty, which prevailed in the Tang and Song Dynasties. Rhyme has strict rules in word, rhyme, even tone and antithesis. Its common types are five-character poems and seven-character poems.
Rhyme is one of the basic forms of modern poetry. * * * The Tang Dynasty once regarded rhyme as the general term of modern poetry, including modern quatrains, which were later divided into * * *. It sprouted from Shen Yue's new-style poems which focused on rhythm and antithesis, sprouted in the Qi Yongming period of the Southern Dynasties, took shape in the early years of the prosperous Tang Dynasty and matured in the middle and late Tang Dynasty.
The physical metrical poems of Qi and Liang Dynasties constitute the meter * * * that is, the sections are not attached, the meter * * that is, the sections are attached, and the meter * * * that is, the sections are attached, and the meter * * * that is, there are three types of meter * *, both attached and unattached, but the meter is mainly opposite and the distance is perfect. Among them, from the middle and late Liang Dynasty to Chen, there are some works by Yin Keng, Yu Xin, Xu Ling and others. It is very close to the regular poems of the Tang Dynasty. Su Yang, Lu Sidao, Xue Daoheng and others in the Sui Dynasty, combined with the gorgeous ci works in the Southern Dynasty and the fresh and vigorous atmosphere in the northern region, created some beautiful and healthy poems, which pointed out the direction for the development of poetry in the transitional period.
The four outstanding poets in the early Tang Dynasty played an important role in the formation of rhythmic poetry. Since the early Tang Dynasty, the phenomenon of semi-ancient poetry and semi-rhythmic poetry in the process of legalization of poetry has been promoted to four outstanding figures, and its five-law antithetical works have dropped sharply. At the same time, some modern poems failed to achieve the harmony of rhythm, leaving more traces of transitional stages. The following articles, such as Four Friends, Shen Quanqi and Song, show a tendency to further consolidate and enhance the initial achievements and practical achievements of the four masters in separating and standardizing the chaotic state since the early Tang Dynasty. It can be said that at the end of the early Tang Dynasty, the antithesis works of the Five Laws disappeared, thus bidding farewell to the antithesis structure of Yongming style completely; The works of sticky-mixed law also showed a sharp decline trend, while the works of sticky-mixed law increased greatly and occupied a dominant position, which showed that the poets in the early Tang Dynasty found the goal of pursuing temperament and made great achievements: the sticky law of the five laws had been determined, and the construction of the art of rhythmic poetry in the early Tang Dynasty had been completed. Poets such as Shen Quanqi and Song Dynasty, in particular, summed up the achievements of new-style poetry since the Southern Dynasties, affirmed the mature form, and finally completed the task of "avoiding phonetic diseases and quasi-sentences" and formalized the five methods in their creation. Complete Tang Poetry includes 65,438+098 three-volume poems of Song Dynasty and 65,438+056 three-volume poems of Shen Quanqi, most of which are metrical poems.
In the prosperous Tang Dynasty, there were more and more writers of regular poems, and their styles tended to be pure and natural except for extravagant words in the early Tang Dynasty. The five laws before and after the Tang Dynasty mostly stayed in the stage of leisure and rarely touched the broad social life. As for the rise of the seven laws, it is later than the five laws. Shen Quanqi, Song, Du and Li Qiao began to write articles. In the prosperous Tang Dynasty, Wang Wei, Li Qi, Cen Can and Jia Zhi all intended to temper them and make them master the system, while Cui Hao and Li Bai still had miscellaneous works, half ancient and half French. Although the seven laws of this period are Gao Hua Xiulang's masterpieces, most of them belong to obedience, and the principle of being paid when boarding a ship is narrower than the five laws. At the same time, in the prosperous Tang Dynasty, most of the seven laws of poets such as Li Bai, Wang Wei and Gao Shi were wrong, sticky and emphasized. It was not until Du Fu that the seven-character rhythmic poem showed its poetic potential and opened the artistic world. Du Fu opened up the realm of metrical poetry in an all-round way, and current affairs, politics, life experiences, customs, cultural relics and historical sites were all integrated into strict metrical style, which raised the value of this poetic style to the level of being juxtaposed with ancient poems and quatrains.
In the mid-Tang Dynasty, Liu Changqing and Dali's ten gifted scholars specialized in metrical poems, especially in five-metrical poems, but they basically took the road of flourishing Tang philosophers. Their diction, sentence formation and meter are perfect and refined, but their tranquility and imagery are not as good as those of Du Fu's poems, even losing the "ancient meaning". In Yuanhe poetry circles, ancient customs spread, and rhythmic poetry was weak. Among them, Han Yu learned from Du Fu's radical opening and closing, but it was slightly stagnant; Yuan Zhen and Bai Juyi inherited Du Fu's poems, but they were superficial. Jia Dao went deep into the steep road, but was limited to the five laws, and focused on refining words and making sentences, lacking qi; Liu Yuxi and Liu Zongyuan, on the other hand, are alert and concise. Although they are full of emotion and rhythm, they finally lack posture. They each acquired a certain aspect of Du Fu's metrical poems, but failed to become great people and bring forth new ideas.
At the end of the Tang Dynasty, a new situation in the creation of regular poems was officially opened. In the early Tang Dynasty, only the metrical form was established, but the content was not substantial, and the aesthetic function of poetic style was far from being developed. After Du Fu's "transporting the past as the law", the realm began to expand, the emotion began to deepen, the change was amazing, and the dharma body was respected. By the end of the Tang Dynasty, Wen and Li Shangyin, poetry became more refined. In the late Tang Dynasty, metrical poetry was the most developed. From Yao He and Xu Hun to Si Kongtu and Han Wo, almost all famous poets are famous for their rhythmic poems, and some even practice them only. In particular, Li Shangyin, Du Mu, Wen and other seven-meter masters not only trimmed the form of metrical poems, but also reformed the rhythm of metrical poems, pushing the art of metrical poems to a new stage.
The five dynasties' regular poems are lacking in merit. The creation of regular poems in Song Dynasty continued the innovative efforts of Du Fu and poets in the middle and late Tang Dynasty, and gradually took shape in the hands of Jiangxi Poetry School, and embarked on a new road of emphasizing reason and interest and taking discussion as poetry. Its seven methods have high achievements, while the five methods have few excellent works. There are some achievements in legal poetry in Yuan Dynasty, and there are some excellent works in the Five Laws. Since the Ming and Qing Dynasties, regular poetry has gradually declined.
2.
Quatrains, also known as truncated sentences, broken sentences, short sentences and quatrains, belong to a form of modern poetry. There are different interpretations of it, and some people think that the "half-drawing method" is easy to sing. Quatrains are composed of four sentences, which are divided into quatrains and archaic quatrains, among which quatrains have strict metrical requirements. Common quatrains include five-character quatrains and seven-character quatrains, while six-character quatrains are rare.
The quatrains originated from the short chapters of Yuefu in the Han, Wei and Six Dynasties, and their names may come from the "couplets" written by literati in the Six Dynasties. According to the literature, there was a custom of writing poems in the banquets of literati in the Six Dynasties, and each person wrote four sentences and five words to synthesize a whole poem. If you cut off what everyone has done and write an article alone, it is called "stunt", hence the name of quatrains.
The absolutely unique concept of four sentences is naturally formed. Since the Book of Songs, most poems have taken four sentences as a paragraph. The poems in The Book of Songs are mostly four words and four sentences, which the ancients called "a chapter". During the Han and Wei Dynasties, there were very few four-sentence poems as a whole, so it is not necessary to define four-sentence poems as poetic nouns, that is to say, four-sentence poems did not become the standard. However, in a long poem, the creative method of four sentences is naturally formed. After the Jin and Song Dynasties, due to the influence of folk songs, poets liked to imitate four folk songs, and a large number of small poems with five words and four sentences appeared. After Qi and Liang Dynasties, four sentences and one sentence became the standard of poetry, and it was given the name "Jue". In the Southern Dynasties, "broken sentences", "short sentences" and "quatrains * * *" were all used to refer to poems with five words and four sentences.
Chen Xuling compiled Yutai New Poems, including four poems with five words and four sentences in Han Dynasty, with the title "Ancient quatrains", and four poems with five words and four sentences in Wu Jun, with the title "New quatrains". This reflects that the word "quatrains" was newly coined at that time. Since China's four untitled poems are called "ancient quatrains", we have to call the four poems written by contemporary Wu Yun "new quatrains". The words "new" and "ancient" are the differences of the times, not the poetic style. This poetic style is only called "quatrains". However, Ji, the author of Yutai New Poetry, changed the "new quatrains" into "miscellaneous quatrains" and added an explanation: "The style remains the same and should not be new. When the font is similar, it is wrong. " He thinks that Wu Yun's four quatrains are still the same quatrains in Han Dynasty, not the quatrains in modern poems in Tang Dynasty, and can't be said to be new quatrains, so they are changed to "miscellaneous quatrains". The reason is that the word "new" and the word "miscellaneous" are similar in shape but not in spirit.
There are two five-character and four-sentence poems in Yu Xin's Collection of Poems in the Northern Zhou Dynasty, namely "Three Masterpieces of He Kan" and "One Masterpiece of Listening to Songs". Yu Xin and Xu Ling were contemporaries, but one was in the Northern Dynasty and the other was in the Southern Dynasty. It can be seen that quatrains were named and stereotyped in the Southern and Northern Dynasties, referred to as "three quatrains" and "one quatrain" for short.
At the beginning of the Six Dynasties, the word quatrain only refers to a small poem with five words and four sentences, and it was extended to seven words after the Tang Dynasty. In the Tang Dynasty, due to the change of musical tune, the old Yuefu poems often could not be accompanied by music, so musicians often sang quatrains created by literati, which was an important reason for the prevalence of quatrains in the Tang Dynasty.
As far as development is concerned, five-character quatrains come first. Four outstanding figures in the early Tang Dynasty, Shen Quanqi, Song, Li Qiao, Cui Kun, etc. He has written many beautiful articles with harmonious scenes, beautiful syllables and certain personality. During the prosperous Tang Dynasty, a large number of famous artists appeared. Li Bai, Wang Wei and Cui constitute the three legs of the five wonders of the prosperous Tang Dynasty, which makes the future development of this poetic style rarely beyond its scope.
Seven-character quatrains originated from Yuefu songs in the Southern Dynasties. In the early Tang dynasty, the number of the seven wonders was very small, and the art was not mature enough. After entering the prosperous Tang Dynasty, the Seven Wonders have made great progress and can keep pace with the Five Wonders. Li Bai, Wang Changling, Li Junshuang, Wang Shenwan, Li Qingshu and Wang Bushu are the representatives of their highest achievements with different styles. Li Bai can better embody the typical style of quatrains in the prosperous Tang Dynasty, and Wang Changling seems to have pioneered quatrains in the middle and late Tang Dynasty. Du Fu is a new advocate of quatrains.
There are many famous quatrains in the poetry circles in the middle Tang Dynasty. However, the poetic styles of Lu Lun, Li Yixue, Li Bai and Wang Changling, as well as the inheritance of Wang Wei and Meng Haoran by Liu Changqing and Wei, have their own personalities and masterpieces, but their basic approaches have not broken through their predecessors. Although poets such as Han Yu and Bai Juyi further carried forward Du Fu's innovative spirit, they failed to really overcome the contradictions Du Fu faced in his innovation. Too realistic, too revealing, the same style and lack of rhyme are the disadvantages of many works in the middle Tang Dynasty to varying degrees.
The problems exposed in the transformation of quatrains in the middle Tang Dynasty were finally solved to some extent in the late Tang Dynasty. There are two new styles of quatrains in the late Tang Dynasty: one is sharp, novel and lively discussion style, and the other is euphemistic and deep lyric style. Both of them are represented by Li Shangyin and Du Mu.
During the Song and Yuan Dynasties, people generally referred to "quatrains" as "truncated sentences". They think that half of "quatrains" come from metrical poems. Since the Song Dynasty, people have been familiar with quatrains, and their close-up style has an overwhelming advantage. Poets in Yuan and Ming Dynasties all said that quatrains are "broken laws".
According to the poetic law, quatrains are divided into ancient quatrains and metrical poems. The ancient quatrains appeared before the appearance of the metrical poems, and the quatrains appeared after the rise of the metrical poems.
Typical works of metrical poems and quatrains.
Eight-sentence five-character verse
Wang Bo's Send Du Shaofu to Ren Shuchuan
Luo's "A Political Prisoner Listening to Cicada"
Meng Haoran's Offering Prime Minister Zhang in Dongting Lake
Liu Changqing's Farewell to Liang Geng in Tiaoxi.
One of Wang Wan's berths at the foot of Beibao Mountain.
Wang Wei's Autumn Night in the Deep Mountains
On Li Bai's Nostalgia Complex from "Sleeping at Night under the Niuzhu Mountain"
Li Bai bid farewell to his friends at Jingmen Ferry.
Du Fu's To Li Bai in the Horizon
Du Fu's Remembering Brothers on a Moonlit Night
Cen Can sent a message to Du Fu in the office of the Left Hospital.
Chang Jian's Zen Forest after Broken Mountain Temple
Liu Yuxi's "Temple of the First King in Shu"
Bai Juyi's Farewell to Ancient Grass
Liu Zongyuan's Autumn Tour to South Valley and Abandoned Village
Wen's early journey to goodness
Li Shangyin's Chu Palace
Seven-syllable/seven-syllable metrical poem
Yellow Crane Tower in Cui Hao
In Wang Wei's After the Rain, I live in Wangchuan.
Li Bai's "On the Phoenix Terrace in Nanjing"
Du Fu's Eight Poems of Autumn Prosperity
Han Yu's "Moving to the Left to Show Grandnephew's Neck"
Bai Juyi's Spring Tour in Qiantang
Li Shangyin's Spring Rain
Wende Suwu Temple
Four lines and five words of ancient poetry
Song Wenzhi's Crossing the Han River
Wang Zhihuan is at Luniao Mountain Villa.
Chai Lu by Wang Wei
Wangweide bamboo building
Wang Wei's farewell
Wang Wei's Acacia
Pei Di's slogan "Cui Jiu wants to go to Nanshan at once" and farewell.
Zuyong's "Looking at the Snow Peak in Central South"
Du Fu's Eight Arrays
Du Fu's two quatrains
Liu Changqing's "Send Che Ling"
Liu Changqing's Listening to the Piano
Liu Changqing's Send the Master.
Wei's Autumn Night Message Autumn
Wang Jian's "The Word of the Bride"
Yuan Zhen's palace.
A suggestion from Bai Juyi to his friend Liu.
He Manzi, Zhang Hu
Jia Dao's Absence Notes
Lishangyinle park scenic spot
Jin Changxu's "Spring Complaint"
Six-character quatrains
Wang Wei's Seven Pastoral Songs
Liu Changqing's Returning Li Lu to Wuzhong
Huang Tingjian's The Second Rhyme Choose My Uncle
Fan Chengda's two poems with six characters on his pillow
Wen Tianxiang's Six Words and Three Poems in the Mountain
Seven-syllable/seven-syllable quatrain
Li Bai sees Tianmen Mountain.
Li Bai sees Lushan Waterfall.
Li Bai's gift to Wang Lun.
Li Bai's "Early Making Baidicheng"
Du Fu's "Four quatrains"
Two Liangzhou Ci Poems by Wang Zhihuan
Seven Poems of Wang Changling Joining the Army
Wang Changling broke up with Xin Jian at Furong Inn.
Wang Wei's "Send Yuan and Twenty Shores to Xi"
Gao Shi's Two Poems of Biedongda University