It feels so profound. . .
Wan Shu's "Ci Lv" in the Qing Dynasty further developed and explained it. His "Ci Lv·Fa Fan" said: "The falling tone is often used in the transitions and ups and downs of nouns. Why? Three tones. Zhong, Shang, and Ru can be used as flat, but go is different. Therefore, although Lun Sheng uses Yi Ping to compare with Sanqi, Lun Ge should use Lai to match Ping, Shang, and Ru, which is not the case. "Que" cannot be used. Do not use "Ping" or "Shang" when cutting off. "One level versus three levels is the general rule of level and level in poetry, and the distinctive feature of words in terms of rhyme is that the falling tone plays a particularly important role. It almost forms a pattern of going to level, going up, and entering. Wan's discussion is obviously a development and deepening of Shen Yifu's views, and the inheritance relationship between the two in terms of poetry is obvious. Wu Mei, a recent scholar, said in "General Theory of Ci Studies" that Wan Shu's discussion of "the use of falling tones at the turning points of nouns" was "deeply influenced by the samadhi of relying on sound", and cited Jiang Kui's "Yangzhou Man" as an example:
Huai Zuo Mingdu, a good place in Zhuxi, where Xie An Shao was stationed on the first journey. Ten miles after the spring breeze, all the shepherds and wheat are green. Since Hu Ma peeked into the river, the trees in the pond were abandoned, and the soldiers were still tired of talking about it. It's getting dusk, the clear corners are blowing cold, and we are all in an empty city. Du Lang's handsome reward is now so serious that I am shocked. Despite Cardamom's lyrical skills, Dream of a Brothel is good, but it is difficult to describe it with deep emotion. The Twenty-Four Bridge is still there, the waves are swaying, and the cold moon is silent.
Reading the red medicine beside the bridge, who will I know every year?