Rhyme!
Since modern poetry is a development and change from ancient poetry, the rhyme used in modern poetry has stricter rules than ancient poetry.
(1) The rhyme position of modern poetry is fixed. Quatrains have two or four lines that rhyme, rhymed verses have two, four, six, and eight lines that rhyme, and rhymes also have even lines that rhyme. In modern poetry, every sentence cannot rhyme, let alone changing rhymes in the middle. Any five-character or seven-character or eight-line poem that does not comply with this rule, even if its rhythm and style are close to rhythmic poetry, cannot be counted as rhythmic poetry.
Whether it is a quatrain or a verse, the first sentence may or may not use rhyme.
(2) The rhyme of modern poetry must be rhymed to the end. No rhyme changes are allowed in the middle, and adjacent rhymes are not allowed to rhyme together.
(3) Most modern poetry rhymes with flat tones, while fewer rhymes with oblique tones. Because from the perspective of corresponding with the same tone and echoing back and forth, the oblique rhyme is not as harmonious and soft as the flat rhyme in terms of acoustic effect. The flat rhyme is a relatively flat tone; the oblique rhyme is a tone with rising and falling changes; the flat rhyme has a long rhythm, while the oblique rhyme is Short rhythm. In modern poetry, whether five-character or seven-character, the position at the end of the sentence is a short beat composed of one word. If oblique rhyme is used, it will be even more uncoordinated.
The rules of tone and tones in modern poetry
Ping and tones
Before the rise of Yongming’s theory of the four tones of tones, the so-called tone harmony from the Book of Songs onwards, and even to the Western Han Dynasty in Ci and Fu, Gongshang, floating cut, circumflex, etc. have been explored many times and have accumulated many forms. In the early days, the distinction between sounds was often expressed by the descriptive words of music such as Gong, Shang, Jiao, Zheng, and Yu, or floating, cutting, light, and heavy. After Buddhism was introduced to China, when Buddhist scriptures were translated into Chinese, because Sanskrit was divided into Modo and Tiwen, the Han people gradually explored and discovered the phonological structure of Chinese. It is said that Shen Yue was the first to discover that Chinese has Ping, Shang, Qu, Ru, etc. Divided into four tones. According to the pronunciation of the four tones, there were discussions on the so-called "eight diseases" during the Six Dynasties. The so-called eight diseases refer to the eight kinds of phonological defects in poetry. The discussion of the Eight Diseases gradually formed the rules for the combination of flat tones and oblique tones in modern poetry in the Tang Dynasty. Among the original eight diseases, the requirements for the matching of phonology are more complicated and detailed, and some even extend to the matching of words and meanings. In the Tang Dynasty, there was even a saying of twenty-eight diseases, which was very detailed but difficult to strictly adhere to. Therefore, the metrical restrictions that are adjusted by the combination of flat tones and oblique tones gradually evolved.
The so-called difference between level and tones means that the upper, lower and entering tones among the four tones are collectively called the tones of tones and tones, which are opposite to the level tones.