There are many kinds of poems and complicated problems. The basic classification of Sanjiang Oil Workshop is modern poetry, ancient style, miscellaneous words, doggerel and ci.
Modern poetry, also known as metrical poetry, mainly refers to metrical poetry and quatrains, which are divided into five words and seven words respectively. In addition, there is a long method, and even a rhyming white body, which is rarely bought by poetry shops, so I will put it here for the time being. Modern poetry is the most important business of oil mill. In fact, generally speaking, poetry refers to this.
Antique, also known as classical poetry, originally refers to poetry that is not bound by meter, but in order to distinguish it from modern poetry, antique also has a set of so-called "meter". This kind of poem is common in the oil mill market and difficult to write. We have basically not bought it.
Miscellaneous words are actually a kind of ancient poetry, that is, long and short sentences, which can change from three words to eleven words at will. Because of their bold and similar prose, this business is basically not done at present, because there are fewer oil mills.
The meter of limerick of the Five Elements is basically the same as that of modern poetry. Because the market is large, the audience is enthusiastic and the meter is slightly wider, it is listed separately. Of course, there are some ancient limerick poems, but they are not good to read, and the oil mill basically does not advocate them.
Ci is an independent family with many dictionaries, which is also the main business of Youfang. Moreover, in general, mm prefers to write lyrics.
2, the definition of rice and others.
What is rice? Some people say that it is a norm formulated by the ancients, while others say that it is a shackle. According to the understanding of Sanjiang Oil Workshop, it is the experience summed up by predecessors that conforms to China people's pronunciation, recitation and singing habits.
The first time I sang a poem, my voice was long and trembling, which was really interesting. Sanjiang was originally studied for a few days. No one sings like this today, and it is more important for rice to read smoothly.
China's poems probably changed from peasants to intellectuals in the Spring and Autumn Period. After many years, poets and scholars in the Jin Dynasty and the early Tang Dynasty also explored the rhythm of poetry, and basically summed up something with a sense of rhythm, which was recognized by most poets and written in words. This is the meter. Before that, it was called classical poetry. Since then, almost everyone has followed this point in writing poems. Of course, some people are nostalgic and write something that is not in line with the law. But at this time, in order to show its elegance, ancient poetry is generally firmly opposed to the law.
Generally speaking, the poems that conform to the rules look bright and refreshing. Knowing and using the experience of predecessors will greatly improve your ability to write poems. In "You Fang Ji", there is no master of poetry today who does not practice meter. Many friends who hang out in the oil mill have been able to extract excellent poems with extraordinary artistic conception after being honed by metrical rules, and have become the masters of today's network classical poems; Of course, there are also some friends who insist on writing the so-called "ancient style" with the concept of law without harm. This is of course his freedom, but so far, the shopkeeper has not found that he can write a good poem like this, even if the artistic conception is not independently improved as he pursues. Then, we can at least draw a conclusion that practicing meter is a shortcut to improve the skill of writing poetry. This is also an experience.
So, did the ancients control the meter before writing poetry?
This problem has two levels. First of all, to write a poem, most people always have an idea first, then refine it, then choose a genre, draft it, and then refine the text. When it's time to train your mind, don't worry about those rules and regulations, and you'll take care of the rest.
Writing a poem is really not to fill in the blanks. You must feel it before writing (except doing homework and practicing rules), but this is the level of refining meaning after all, and there is no rule at the back.
Many friends like to talk about Li Bai and Su Dongpo, Li Bai's ancient style, and Dongpo's neglect of rhythm. In fact, Li Bai is very particular about meter. As long as it is a metrical poem, there is almost no deviation. According to my research, Li Bai is a very difficult poet. Su Dongpo is also good at being difficult to save, so he is a refined figure, unpredictable, but sometimes informal. I don't believe in genius. Although I don't have to write it on paper like Li He, my mind has also gone through this process, but it is late.
Of course, if you write more, you will be deeply impressed by the rules. Adding rules conforms to language habits, and what comes out once conforms to rules. This is not uncommon, but it is not a genius, but an accumulation.
This is what people today can do. The shopkeeper wrote something that moaned every day more than ten years ago, and the sentences were not unfamiliar. He often makes some sentences without changing them, but of course there are mistakes.
One more question: Can the meter be broken?
The answer is yes. Law does not harm meaning.
However, I have always opposed this statement.
Generally speaking, breaking the law has a premise that breaking the law is better than not breaking the law. Some sentences are so-called nature, which is not difficult to read. It would be even more melodramatic to be sure that it is in line with the law. In addition, sometimes it is understandable to choose some words that are not in line with the artistic conception, but it must be that you can't find other words to replace them after searching for a long time.
Generally speaking, I don't agree with others that there is no way to change poetry. Of course, the meaning doesn't need to be changed and can't be changed, but there are so many Chinese characters that there is certainly considerable room for change. In fact, I often see sentences that can be solved by the most basic inversion sentences. I think that's because I don't know the meter.
So I often say: measurement is not unbreakable, but it must be understood before it is broken.
(In fact, shopkeepers often break the law. On the one hand, he has some good sentences; on the other hand, he is lazy and unwilling to make great efforts. )
After many years, can ancient watches still be used today?
I think the answer is yes. But there are some questionable situations in some places, so the shopkeeper said that the measure is not whether there is a necessary problem, but how to improve it.
Below, the shopkeeper will briefly introduce the so-called rice and some of my views on rice.
3. Flat, rhyming, antithesis
When it comes to the metrical form of poetry, there are always three basic aspects: parallelism, rhyme and duality.
The antithesis of the original antithesis is also called duality, which means juxtaposing similar or opposing concepts. General nouns are nouns, verbs are verbs, adjectives are adjectives, and adverbs are adverbs. At the same time, there can be no double characters in the same position, and the requirements for leveling are opposite. Among them, there are also many craft classifications, which are just a single technique of writing poetry. Later, just like the separation of sketch and drama, it became a couplet major, and many friends are fans in this field. Generally speaking, antithesis in poetry writing is a little looser than antithesis in couplets, that is, working antithesis, wide antithesis, borrowing antithesis, flowing antithesis, fanning the face, etc., and the last word is used more. The problem of duality is not discussed in detail here.
Literally, it is easier to understand the level. The so-called flat tone means that it does not rise or fall when reading, which is basically one or two tones in Chinese Pinyin. The so-called flat tone means that when reading, it rises or falls or is short, that is, there are basically three or four tones in Chinese, and the tone entering is more complicated.
So what is raw milk? It's just that my pronunciation is short and my throat is blocked. One ends with t, p and k, and the other ends with a throat plug. In Minnan dialect and Cantonese, these four entering tones are still intact, but in Wu dialect, they all degenerate into less obvious endings. 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.
The problem of entering tone may be the biggest obstacle to learning ancient tones. Nowadays, there is basically no entering tone in Mandarin, and all you can see is rote memorization or learning Pingshui rhyme to find it.
From the perspective of recitation, I personally think that when refining poetry, we should cancel entering tone and distinguish flat tones directly according to Chinese Pinyin.
Rhyme is one of the basic elements of poetry. Poetry uses rhyme, called rhyme. Since the Book of Songs, poetry must have rhyme. The so-called rhyme is basically equal to the vowel of Chinese pinyin. In ancient times, there was an official rhyme, and scholars had to look up books when they published poems. The name of that book is Ping Shui Yun Bu. Here's the thing:
Before the Tang Dynasty, the ancients divided phonology into 206 parts, which integrated many dialects in China. Later, it was reduced to 65,438+006 rhyme in Guang Yun, which was basically consistent with the later Pingshui rhyme.
Ping Shui Yun was edited by Yuan people according to the rhyme of their predecessors, which reflected the accent of Tang people. It was promulgated by the then emperor. Because at that time, metrical poems had to be tested, if poets from all over the country had some unnecessary disputes because of different accents, they would combine the accents from all over the country and get such a level rhyme, which is still in use today. It can be said that it will not be abandoned for a thousand years. Because the economy in the south of the Yangtze River was relatively developed and there were many poets at that time, there were many components to take care of (it is estimated that there would be no problem of bribery). The problem of entering tone is mainly caused by the accent of southerners.
The general rhyme of Pingshui is *** 106, in which the flat tone is 30, the upper tone is 29, the falling tone is 30, and the pitch is 17.
Since poetry generally uses flat tones (excluding words), let's briefly introduce flat tones. Pingyin * * * has 30 rhymes, which are divided into upper and lower halves, called upper and lower tones. The rhyme of each part is as follows (the first word of each rhyme):
Shang Pingsheng: one east, two winters, three rivers, four branches, five micro, six fish, seven dangers, eight qi, nine goodness and ten ashes,
Eleven truths, twelve essays, thirteen yuan, fourteen cold, fifteen deletions.
Keep your voice down: one, two, Xiao, three dishes, four treasures, five songs, six hemp, seven yang, eight Geng, nine green, ten steamed,
Over eleven, over twelve, over thirteen, over fourteen and over fifteen.
(Electronic version of Pingshui Rhyme Department attached)
Some people like to write poems in plain water, which is of course no problem, but it should be noted that ancient and modern rhymes cannot be universal, otherwise it will be neither fish nor fowl.
Due to the change of pronunciation, many sounds have changed a lot today, and there are also cases of homophones with different rhymes. In order to adapt to the development of the times, Youpu thinks that it is more in line with the habit of reciting, mainly according to Chinese pinyin, and individual rhymes (that is, similar rhymes) are also allowed under certain circumstances.
However, in view of the completeness and systematicness of Pingshui rhyme, there are still many problems that have not been solved and no systematic theory has been formed. At present, there are two main schools, one is the new rhyme of China Poetry Society, and the other is the use of complete Chinese Pinyin.
The new edition of Poetic Rhyme is a bit out of date. It retains the entering tone that no longer exists in Putonghua, but at the same time it is endowed with other rhymes. Many rhymes are also problematic.
At present, there is a considerable market for completely using Chinese Pinyin, which has been recommended to everyone before. However, some problems were found later, and I felt that the final use of this rhyme did make a complete regulation. Now I'll tell you something I've been thinking about for your reference.
The rhyme is flat, which is based on the tone of Chinese pinyin. The tone of 12 is flat and the tone of 34 is flat.
Mainly according to the vowels to distinguish the rhyme parts, consider the influence of initials on vowels, and consider the phonetic homing of Chinese Pinyin. Then, rhyme is divided into the following parts:
Marijuana: a word with vowels.
Wave: the vowel is o, and e doesn't rhyme. The so-called lack of rhyme refers to the pronunciation of I, De, Te, Le, Ge, Ke, He, Zhe, Che, She, Ze, Ce and Se. Judging from the pronunciation of Chinese pinyin, there are actually no other initials and O pinyin characters except MO, and the pronunciation of GE is basically closer to O, so of course, if a friend thinks that the song rhymes alone, I don't mind too much;
All: words with IE and UE vowels;
ZHI: Chinese pinyin refers to "red", "zi", "times", "thinking and day". They basically pronounce initials, but vowels are not pronounced, but because the pronunciation of words, words and silk is still quite different, they can also be used as the rhyme part of the body alone;
Qi: Except for branch rhyme and body rhyme, words with I as the vowel do not rhyme;
ER: words with er vowels are suspected of being unusable, but I haven't thought of a way to deal with them yet;
Micro: the vowel is EI, and the vowel with vowel is I, that is, the vowel is UI. Actually, the pronunciation of UI is UEI, which is omitted.
On: a word with the vowel AI.
Ancient: the vowel is u, and the vowel is pronounced house.
Fish: The vowel sound is U (a little) or V, and the vowel sound is fish, mainly including Lu, NV, Yu, Ju, Qu and Xu. Some people think that the two rhymes of Grain Rain should be merged, but I have no special objection.
HOU: The vowels are OU and IU. In fact, IU is the abbreviation of IOU.
Good: words with AO as vowel;
Cold: a word with an ending;
Mark: a word with vowel EN;
Tang: A word with the vowel ang.
G: the vowel is ENG, and the initial is not b, p, m, f, w.
Dong: Vowels are vowels and vowels are ENG, and initials are B, P, M, F, W. Pronuncially speaking, when BPMFW and ENG are combined, ENG should be pronounced.
Min: a word with vowel 1N;
Cyan: a word with vowels.
The rhyme I proposed has not been recognized by either side. It mainly involves the return of the original sound of Chinese pinyin, and whether this formulation has vitality and theoretical basis needs further study. I don't know much about the phonetic changes of Chinese Pinyin, so I put forward this idea, but I think it is a direction worth studying. )
Of course, some people have suggested that rhymes should be used in writing poems. Personally, I don't think it is appropriate, because it doesn't solve the problem of sound change, but I don't object.
The rhyme is wider. At first, there was a book called Linz Zheng Yun, which talked about the rhyme of words. Basically, it integrates Pingshui rhyme, and Pingshui Tone stipulates 19 rhyme. Among them, Yin Ping and Yang Ping are naturally homophonic, and the upper voice is also homophonic, and the tone is independent and impossible to pass. In this case, the total * * * is 33 rhymes, 1- 14 is flat tone, and 15- 19 is entering tone. (with electronic verse)
Of course, if you use this tone, Youfang suggests canceling it. However, regarding whether Mandarin has tones, Xiangpi wrote in one of his articles:
Suddenly I found a more incredible phenomenon, that is, there is an entering tone in Mandarin. It's just that we don't even think about it You can compare the words "knowledge" and "time". Naturally, we will read the former word "knowledge" (ancient tone) very short. It would be strange if the pronunciation is long. And the word "time", no matter how long you pull it, will not feel so strange. There are many such examples. Almost we are used to the sound changes and long and short sound changes in Chinese vocabulary, but foreigners often find it strange to learn Chinese strictly according to our Chinese spelling. This is because our Chinese spelling scheme only has pitch and ignores a sound length problem. If we use phonetic symbols to represent Chinese, it means that we ignore the long vowels and short vowels in Chinese characters. Although the pronunciation of Chinese has changed for a long time, there are no Rusheng words in our Mandarin, but many short pronunciation habits of these words stubbornly persist (you can find such Rusheng words to recite repeatedly by yourself, and you will naturally have a deeper understanding), so we will carefully analyze the beat we said earlier, and you will find that there are actually Rusheng words, one word is actually less than half a beat, only a quarter beat, and the remaining quarter beat is often given to another. In this way, the melody of one of our songs will change more and it will sound better.
In my opinion, the view of elephant skin makes sense and deserves reflection. Moreover, commonly used Rusheng words are often pronounced shorter in Putonghua. On the question of turning words into sounds, let's talk about it next.
Personally, I think the rhyme of words is a little less than that of poems. In the above rhymes, Borg, Zhi Zi Qier, the old saying, Qin Geng and Min Qing (or distinguish the nasal sounds before and after) can continue to communicate.
So much for rhyming. The shopkeeper thinks that even if we use the current sound to transfer rhyme, we should learn the horizontal rhyme properly. After all, at present, the main outstanding works of metrical poems are all in rhyme. Only by learning horizontal rhyme can we figure out the rhythmic beauty of ancient works and better serve the improvement of poetry refining skills.
4. Laws and judgments
After the problem of phonology is solved, it should be said that the problem of writing poetry is solved. Let's talk about sentences again.
A very important point in writing ancient poems is French sentences. Many friends wrote a poem according to the prescribed number of words. When commenting, the shopkeeper said that this is not a sentence, and that is not a sentence. So some people think that this Sanjiang oil shop is a black shop, and it is really a great injustice to deduct customers' oil money.
In fact, the most important thing in poetry is metrical sentences, especially metrical poems and words. It is this metrical sentence that is said that metrical poetry conforms to the habit of chanting. Strictly speaking, a poem can only be called a poem if it lacks a regular sentence.
It can be said that some friends who don't care about rules hate this sentence. So, let's see what these friends hate.
Poetry turned out to be a style suitable for singing. Today, you should be able to read it aloud. If a poem doesn't feel catchy when read, then no matter how much you emphasize its meaning, it can't be called a good poem.
Chinese is a monosyllabic language, so it is naturally impossible to have a natural rhythm and rhythm like western languages. So at present, most Chinese songs are not as good as Spanish songs. No matter how narrow my national pride is, I can't help but admit the fact that I love listening to western songs. I feel sick when I hear western songs translated from Chinese. Fortunately, we don't need to be depressed, because other advantages of Chinese are nothing compared with this "deficiency". On the contrary, how many mouth movements does everyone have to do in their life to say the same thing as us? ) Our ancestors were not fools either. After analyzing the changes of Chinese high and low tones, they have summed up the language art of "poetry with national characteristics" and expressed its beauty through the changes of phonology, thus creating a completely different poetic form from their previous western poems. We don't need to worry that foreigners can't understand China's poems. They want to appreciate their learning Chinese. I think I will never appreciate western poetry because I don't know Spanish. I don't like Chinese translation anyway.
Let me say a few more words here. Friends who know western poetry say that in fact, western poetry also has its strict rules, such as sonnets, which are more organized and rhyming than our ancient poems. Western poetry spread to China, expressed in China language, and inherited its expression techniques, but it abolished the meter (no way, because Chinese characters could not use its original meter), but did not create new meter standards, and even the rhyme could not be pledged, lacking a symbolic distinction between form and branch prose. Judging from the fact that poetry is a kind of verse, new poetry does not solve the problem of authenticity. So I have an extremely absurd idea that China's new poems will one day create their own unique meter according to the linguistic characteristics of Chinese. I believe all the friends who write new poems think that new poems are more difficult than ancient poems, because it is difficult to have other standards besides poetic sentiment, so I especially admire all the friends who write new poems for their exploration.
Let's look back at the law. There are two kinds of metrical sentences. One is the seven-character metrical poem and the five-character metrical poem that we often see, which are used in metrical poems and words. The other is the French sentence of other characters, which is mainly used for Chinese characters, and the more common ones are 4 characters and 6 characters.
Let's start with the common seven words (five words are one thing, two words are missing a beat, but our shopkeeper prefers seven words, just like all metrical books are five words, so our shopkeeper doesn't start well), and there are only four absolutely standard metrical sentences. It is roughly like this: (Because the shopkeeper is older and the typing speed is slow, this article uses 1 flat, 2 flat, 3 informal flat)
1122112, etc.
1122211is an equal ratio sentence.
22 1 1 122 Beginning sentence
Flat sentences starting from 22 1 122 1
No matter what kind of sentence pattern, there are four rhythms (it can also be called three rhythms, and the problem of taking the three-character suffix as rhythm-three-character suffix is explained separately below). Every two words in the front count as one beat, and the last three words and the stop sign count as two beats. The last three words are called three-word suffixes, one word is a half beat (either the previous word or the latter word), and the other two words are beats, plus a pause. Together, it is a four-beat sentence, just like a beat. The pitch of the previous beat is high, and the pitch of the next beat is naturally low, and vice versa. This patchwork arrangement will definitely have a special charm and musical sense when recited. This is called in the sentence.
Generally speaking, the seventh word has a basic rule in the suffix of three words, so when the ancients formulated and summarized the meter, they separated the seventh word and formed a beat with the rest, so the first two words naturally formed a beat.
Because the focus of the rhythm of each beat often falls on 246 words, we often say "135 doesn't matter, 246 is clear", so we should pay special attention to the second word of each beat when writing poetry. As long as you eat the words, generally speaking, the rhythm will be there.
It should be noted here that since the level of the seventh word is often fixed, the level of the sixth word is the same as that of the second word, and the level of the sixth and seventh words is often the same, then the fifth word cannot be ignored at this time. If we continue to ignore it, it may form a three-tier or three-tier situation, such as 165438.
Next, let's talk about loneliness. We really can't verify the statement of loneliness in the Tang Dynasty, but what is certain is that when poets in the Tang Dynasty wrote metrical poems, they almost never committed loneliness. Someone has verified it. There are only two sentences in the whole Tang poetry that are suspected of being lonely. The first is "seeing the old friend off through customs", and the second is "centenarians don't farm".
The so-called solitude literally means that the whole sentence has only one flat tone except rhyme, which is also introduced in the book, but this definition is actually inaccurate and easy to cause misunderstanding. There is only one actual situation or general statement, so please remember: the so-called solitude refers to the sentence whose last five words are 2 122 1 Sentences like 222 1 1 are not lonely.
Of course, there are also some scholars who, according to the records in the books returned from Japan, put forward that "two lost and one leveled" is also isolated. The so-called two losses and one draw refers to the last five-word sentence of 322 12, but such sentences are everywhere in the whole Tang poetry, which is not acceptable. What's more, some people in Taiwan Province Province think that everything is flat, which is even more pedantic and boring.
Having said that, we should have a basic concept of the law. Generally speaking, we call it a regular sentence that conforms to this law, and we call it an awkward sentence that does not conform to this law. It can be seen from this awkward word that the ancients thought that sentences that did not conform to this law were awkward. But if some words are strictly controlled, poetry will not be difficult to write, and it will really be like filling in the blanks. Of course, don't worry about this. There is a saying that it is difficult to save, just to solve this problem. There are two kinds of salvation, one is to save yourself in this sentence, and the other is to save each other in pairs. Let's talk about the contradiction between sentences and the self-help of this sentence.
The so-called rescue means that this place should be flat or flat, and an appropriate flat or flat word should be added to the informal place to satisfy the due sense of rhythm.
As a legal sentence, there is always a contradiction in the book, which is called a minor contradiction or a semi-contradiction, and then it is said whether it can be saved. There are roughly two situations, 3 1322 12 and 32 1 12 1, which are mainly aimed at the first word in the three-character suffix. Since it can be saved, that means it should be established in itself. Of course, I don't object if it can be saved. I think, as we all know, some people will say that you are a little awkward, but they will not say that your plan is wrong. Of course, when you think about it, it does feel a little awkward.