Rhyme is one of China's modern poems. It originated from Shen Yue's new-style poems, which paid attention to rhythm and duality in the Southern Dynasties. It was formalized in Shen Quanqi and Song Wenzhi in the early Tang Dynasty and matured in the prosperous Tang Dynasty. Rhyme requires a uniform number of words and consists of eight sentences. Seven-character quatrains are a kind of rhyme. Rhyme is one of China's modern poems, because it has strict rhythm. Four rhymes or five rhymes The two couplets in the middle must be right. The second, fourth, sixth and eighth sentences rhyme, and the first sentence can be pledged or not, usually with a flat voice. Divided into five words and seven words. Seven-character verse is called seven-character verse, or seven-character verse for short.
Four (eight) sentences per rhyme, five words per sentence and seven words per sentence. The first and second rhyming sentences are called "first couplet", the third and fourth sentences are called "couplets", and the fifth and sixth sentences are called "necklaces". The last word of the second, fourth, sixth and eighth sentences must rhyme. Modern poetry, also known as modern poetry, is a new style of poetry that appeared in the Tang Dynasty, and it is named because it is different from the ancient style. Modern poetry can be divided into quatrains and metrical poems, and four quatrains and eight metrical poems.
Poetic meter
Basic sentence pattern
Eight sentences each, seven words each, fifty-six words * * *. Generally, even sentences (the first sentence can be bet or not) have rhyme at the end, and there is no rhyme change.
These four verses all have a specific name. The first couplet is called the first couplet, the second couplet is called the parallel couplet, the third couplet is called the neck couplet and the fourth couplet is called the tail couplet. According to the regulations, platoon couplet and neck couplet must be numbered, and the first couplet and tail couplet can be right or wrong.
There are four basic sentence patterns in the Seven Laws:
Flat and flat (the last word is flat and flat, called flat and flat feet);
Flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat;
Flat and flat (the last word is awkward, called awkward feet);
Flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat.
These four sentence patterns are the basis for the change of the flat and flat format of the seven-character quatrains.
The first format
The first sentence is plain.
Flat and light, flat and light.
◎⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙8
Very simple, very simple.
⊙ ●◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎
Flat, flat, flat, flat.
◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎967
Very simple, very simple.
⊙ ●◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎
Description: 0 means flat; ◎ means that the flat can be done; Low expression; ⊙ indicates that it can be flattened.
The second format
The first sentence is flat.
For the overlap of the second half of the first format.
Flat, flat, flat, flat.
◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎967
Very simple, very simple.
⊙ ●◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎
Flat, flat, flat, flat.
◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎967
Very simple, very simple.
⊙ ●◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎
The third format
The first sentence is flat.
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙
Flat, flat, flat, flat.
◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎967
Very simple, very simple.
⊙ ●◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎
Flat, flat, flat, flat.
◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎967
The fourth format
The first sentence begins and ends.
Overlap for the second half of the third format.
Very simple, very simple.
⊙ ●◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎
Flat, flat, flat, flat.
◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎967
Very simple, very simple.
⊙ ●◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎
Flat, flat, flat, flat.
◎⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙⊙?
The rhyme of seven-character verse
Let's talk about modern poetry first, then classical poetry, because we can better understand classical poetry after we thoroughly understand modern poetry.
First, since the characteristics of classical poetry are not bound by the metrical rules of modern poetry, we must first know the metrical rules of modern poetry.
What is it, and then we can know what is classical poetry. Secondly, due to the existence of metrical poetry, classical poetry can not be ignored.
Therefore, we must first understand metrical poetry, and then we can know what the influence of metrical poetry is.
The ancients wrote rhyming poems in strict accordance with rhymes. There is no need to describe the history of rhyming books in detail here. Ordinary people in Qing dynasty
The rhyming books such as Integration of Rhyme and Combination of Rhyme, which are frequently consulted, can not only explain the rhyming of metrical poems in Qing Dynasty, but also explain the rhyming characteristics of metrical poems in Qing Dynasty.
Explain the rhyme of Tang and Song Dynasties. The so-called "poetic rhyme" generally refers to this.
Pei Wen Shi Yun has a total of 106 rhyme * *: 30 rhymes for a flat tone, 29 rhymes for a rising tone, 30 rhymes for a falling tone and 17 rhymes for an entering tone. Rhyme can only be flat.
Rhyme, so this section only talks about flat rhyme; As for rhyme, we will discuss it later when we talk about ancient poetry.
In the rhyme book, the level tone is divided into upper level tone and lower level tone. There are many flat lines, so it is divided into two volumes, which means that flat lines roll up and flat lines roll down, and there is no other meaning.
Eight-sentence five-character verse
Five-character metrical poem, referred to as five-character metrical poem for short, is a style in China's modern poetry. Its format is the whole poem ***8 sentences, each with five words, and there are three or four sentences, five or six of which are antithetical sentences. Representative poems include Farewell by Li Bai, a poet in the Tang Dynasty, and Spring Hope by Du Fu.
Five-character metrical poetry is a kind of metrical poetry, that is, a poem with five words and eight sentences that conforms to the norms of metrical poetry, and belongs to the category of modern poetry. Metric poetry is rigorous, originated in the Southern Dynasties, and evolved from Shen Yue of Qi Yongming in the Southern Dynasties, which paid attention to rhythm and duality. It was shaped by Shen Quanqi and Song in the early Tang Dynasty and matured in the prosperous Tang Dynasty. Metric poetry needs a unified number of words.
For the people in the Tang Dynasty, five-character rhythmic poetry is a new poetic style born out of five-character ancient poetry. It inherits the principle that every sentence has a definite character and rhymes every other sentence in the Five Dynasties, and draws lessons from the principles of rhythm and duality of parallel prose, which has developed in many aspects:
1, eight sentences each;
2. The third and fourth sentences, the fifth and sixth sentences must be dual (or dual);
3. Leveling must be arranged in a specific format, with one copy correct and two copies pasted;
4, only rhyme can be flat, rhyme has a fixed position, that is, even sentences rhyme (also the first sentence rhymes);
5. Strictly speaking, the rhythm form is two double-tone steps plus one single-tone step. The single-tone step can only appear in the sentence or at the end of the sentence, but not at the beginning of the sentence. The levels of two adjacent double-tone steps must be opposite.
According to the above laws, five-character rhythmic poems can be divided into two types: flat and even, and each type can be divided into positive and partial.
Development history
The five laws inherit the basic characteristics of five syllables per sentence, two sentences in a group, and the total number of sentences is even, and at the same time add the rules of duality and parallelism. And these rules are borrowed from parallel prose; Parallel prose came into being from Chu ci (Sao poetry) to Han fu; Therefore, in the final analysis, the Five Laws are the products of grafting five kinds of ancient prose and parallel prose, and their origins are all poems.
In the early Tang Dynasty, the Five Laws were fully mature. In particular, poets such as Shen Quanqi and Song summed up the achievements of new poetry since the Southern Dynasties, affirmed the mature forms, and finally completed the task of "avoiding phonetic diseases and quasi-sentences", making the five methods formalized 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.
Five Statutes were written in the early Tang Dynasty. Apart from Shen Song, Wang Ji, Su Weidao, Du Fu, Li Qiao and others all had excellent works.
The Five Laws were formed in the early Tang Dynasty, but the highest achievement was in the prosperous Tang Dynasty, with Du Fu, Li Bai and Wang Wei as the best representatives.
Hu Yinglin in the Ming Dynasty said in his poem: "The works of the Ministry of Industry are magnificent in weather and huge in scale. They came into this world, complicated, unreal and untraceable. They are just returns through the ages. " Evaluation to the extreme. Du Fu wrote poems with the motto of "talking nonstop", and the achievements of regular poems and new Yuefu were really unparalleled. There are more than 100 metrical poems in modern poetry, among which five are famous: Climbing Yueyang Tower, Looking at Spring, Riverside, One Night in a Foreign Country, Jianghan, Moonlit Night and Delighting in Rain on a Spring Night. It is worthy of being "only one person."
Du Fu's modern poems express profound thoughts and feelings with superb skills, both in form and content have reached an unprecedented level, showing the Confucian style. From the Middle Tang Dynasty to the Ming and Qing Dynasties, Du Fu's learners were always the majority, some were close in thoughts and feelings, and some were close in artistic forms, which was already remarkable. As for those who are close to each other, there are very few.
Since Yuan Zhen, many poets have suppressed Li. As far as metrical poems are concerned, especially the seven laws are reasonable. Li Bai is romantic and unrestrained, disdaining being bound by metrical rules, and his strength lies in miscellaneous words. Du Fu is rigorous and diligent, and his strength lies in metrical poems. But the Five Laws were formed in the Southern Dynasties, and Li Bai's was good at verve. Hu Yinglin said, "Too white and elegant."
Li Bai's five laws, like his ideological foundation based on Taoist thought, are very elegant and natural. His poems, such as Xia Sai Qu, Niu Zhu's Thoughts on Sleeping at Night, Farewell to Friends, and Farewell to Friends at Jingmen Ferry, are all natural without any traces of embellishment. Without comprehensive knowledge and talent, it is difficult to learn well.
Besides Du Li, Wang Wei's five laws are the best. The Complete Tang Poetry consists of four volumes and 387 poems, among which the most important achievement is the Five Laws. Wang Wei's ideological foundation is mainly Buddhism, and his poems are also full of Buddhist artistic conception. His Five Laws are Autumn Night in the Mountain, A Message from Wangchuan to Pei Di, Wang Gui's Zuo Zhuan, Sitting Alone in Autumn Night and Jianghan.
During the prosperous Tang Dynasty, there were numerous famous works of the Five Laws, such as Facing Dongting Lake by Meng Haoran, Crossing the Old People's Village, Watching the Boat, Buddhism and Zen Closed after the Broken Mountain Temple, etc., which were often built, and Berthing at the foot of Beibao Mountain, all of which were Wang Wan's.
Wei and Liu Changqing were slightly better in the middle of the prosperous Tang Dynasty, and "Ten Talents in Dali Period" and others occasionally made excellent works.
In the era of Han, Liu, Bai and Liu, see ZTE again.
In the late Tang Dynasty, Li Shangyin's modern poetry directly followed Du Fu, with a slight echo, and his achievements surpassed those in the middle Tang Dynasty. Famous works include Drinking at Night, Chu Palace, Falling Flowers, Pei Mingfu Mansion and so on. Besides Li Shangyin, Xu Hun, Wen and Ma Dai also have their own characteristics.
The highest achievement of five-character rhythmic poetry was that it gradually declined after the prosperous Tang Dynasty and the middle Tang Dynasty, and it was rarely mentioned in the Five Dynasties. In Song Dynasty, modern poems are mostly seven-character poems, but five-character poems are not very successful, and there are not many excellent poems, even few excellent ones. Only Mei's Poor Shore, His Miscellaneous Poems after the Rebellion, Wang Zao's Send Your Majesty's Nephew to Changzhou after the Rebellion, and Geng Zi's Recommend Hunger, etc.
The Yuan Dynasty advocated Tang poetry, but the artistic achievements of modern poetry were higher than those of the Song Dynasty. Famous poets and works include Wu Cheng's Send Liu Yin Bing Yi to Beijing, Hu Bingwen's Tomb of the King of Yue, Wang Zhen's Summer in the Mountains, Chen Shen's Poems on the River, Huang Geng's Poems on the Echo, Wu Song's Five Mountains in Tongling and Zhen Wu's Mountain Residence.
After the Ming and Qing Dynasties, there were even fewer masterpieces of the Five Laws. Only Qu Dajun's Tomb of Danger, Autumn Watch of Yunzhou, Things Beyond the Clouds, Wu's Feeling of Crossing the Wujiang River, Zhu Yizun's Wang and Firefly have some features.
Poetic meter
Five-character rhyme is composed of eight sentences, each with five words and 40 words. Generally, the rhyme of even sentences is even (the first sentence can be bet or not), and there is no rhyme change.
These four verses all have a specific name. The first couplet is called the first couplet, the second couplet is called the parallel couplet, the third couplet is called the neck couplet and the fourth couplet is called the tail couplet. Parallel couplet and neck couplet must be opposite, and the first couplet and the tail couplet can be right or wrong.
There are four basic sentence patterns in the Five Laws:
Flat and flat (up and down);
Flat and flat (flat and flat);
Flat and flat (flat and flat);
It is flat (flat and peaceful)
These four sentence patterns are the basis for the change of the flat and flat format of five-character rhythmic poems.
The first format: rhyme the first sentence, and start.
Very simple, very simple.
Flat and light, flat and light.
Even, even, even.
Flat and light, flat and light.
Example:
Autumn tour to the capital, engraved in Tongmen Inn.
The red leaves fluttered in the dusk and passed the pavilion where I drank.
Cloud cracks are blowing towards Dahuashan, and a shower is passing through the central ridge.
I can see the trees on the wall in the distance, and I can hear the river looking for the sea.
I'm going to the imperial city tomorrow, but I dream of a woodcutter and a fisherman.
The second format: the first sentence doesn't rhyme.
Even, even, even.
Flat and light, flat and light.
Even, even, even.
Flat and light, flat and light.
Example:
spring scenery
Although a country is divided, mountains and rivers last forever, and the spring of trees and grass is back.
Petals fall like tears, and lonely birds sing their sadness.
After three months of war, a piece of news from home is worth a ton of gold.
The bald head has become shorter, and there is no room for hairpins.
The third format: the first sentence enters the rhyme level.
Just plain, just plain.
Even, even, even.
Flat and light, flat and light.
Even, even, even.
Example:
Yat sen villa
Living in the depths of the city, spring and summer are still clear.
God has mercy on the grass, and the sun shines on the earth.
Add another lofty pavilion, with small windows and bright windows.
After crossing the nest, the flying body is lighter.
The fourth format: the first sentence doesn't rhyme.
Flat and light, flat and light.
Even, even, even.
Flat and light, flat and light.
Even, even, even.
Example:
Send a friend away
To the north of the Great Wall is a blue mountain range, and to the east is a white waterline.
Here, you must leave me and drift away for hundreds of miles like loose grass.
I will think of you in the clouds, so think of me in the sunset.
We waved goodbye and my horse neighed again and again.
(Note: Parentheses indicate even numbers; Bold words rhyme and need to be flat. The five-character rhyme is formal, the first sentence doesn't rhyme, and wrinkling is common. )
Four lines and five words of ancient poetry
Five-character quatrains are a kind of quatrains, that is, five-character four-sentence short poems that conform to the norms of metrical poems, and belong to the category of modern poems. They have two styles: rising and falling. This style originated from Yuefu poems in the Han Dynasty and was deeply influenced by folk songs in the Six Dynasties. In the Tang Dynasty, they were twin sisters with modern regular poetry, and they appeared in the poetry circle with brand-new brilliance. Five-character quatrains can only be crossed. Short chapters and rich contents are its greatest characteristics. Representative works include Wang Wei's Birding Creek, Li Bai's Sitting Alone in Jingting Mountain, Du Fu's Eight Arrays, Wang Zhihuan's In the Heron Tower, and Liu Changqing's Seeing the Graceful Master.
Five-character quatrains are a kind of quatrains, which belong to the category of modern poetry. Or they think that "semi-French cutting" is to sing for fun, but there are different interpretations. The quatrains are composed of four sentences, which have strict metrical requirements. The common quatrains are five-character quatrains, seven-character quatrains and six-character quatrains. A poem with four sentences in five-character quatrains is called five-character quatrains for short.
Judging from a five-character poem named Jueju written by Northern Zhou poet Yu Xin, the five-character Jueju was not created by the Tang Dynasty poet, but its stylistic form was formed at least at the end of the Southern and Northern Dynasties. "Over the years, you have a lot of feelings. Learn Hengyang geese in recent years and cross the river in the autumn equinox. " This is one of Yu Xin's "Three Qualities of Master He Kan". This poem is straightforward and completely in line with the Tang Dynasty. The title of this poem is Jue. But before the Tang Dynasty, there were not many such neat five-character quatrains. It was not until the early Tang Dynasty that modern poetry came into being, and the five-character quatrains gradually improved their stereotypes. Previously, five-character poems were generally called "five-character ancient poems" or "five-character poems".
Due to the limitation of words, compared with other systems of poetry, five-character quatrains require more conciseness and generalization in language and expression, and are more difficult to create. Zhang Qianyi summed it up with the words "short and long, especially difficult to get into the wonderful". Therefore, the five-character quatrains naturally became the brightest pearl in the prosperous Tang Dynasty and the essence of Tang poetry. The five-character quatrains in the early Tang Dynasty started at a higher level, such as ". In particular, Wang Bo's five-character poems, because of their indecision, were praised by Shen Deqian as "the beginning of correct pronunciation". In the prosperous Tang Dynasty, a large number of literati, such as Cui, Meng Haoran, Chu Guangxi and Zuyong, further promoted and perfected the five-character poems, among which Wang Wei and Li Bai pushed the creation of the five-character poems to the extreme, making their development reach the peak of prosperity.
Poetic meter
Overview of prosodic patterns
The five-character quatrains before the prosperous Tang Dynasty not only did not have antithesis, but also did not pay attention to parallelism. After the prosperous Tang Dynasty, five-character quatrains strictly followed the rules of metrical poems. Although a few "ancient poems" were written according to the practice of ancient poems, they did not pay attention to parallel antithesis, but the five-character quatrains in the prosperous Tang Dynasty are now perfect modern poems in terms of meter. This is mainly manifested in the following three aspects:
The number of (1) sentences is fixed. Only four sentences, five words each, a total of * * * twenty.
(2) Rhyme is strict. Poetry rhymes, some with one sentence, some with other sentences. There is no essential difference between rhyming with other sentences and classical poetry. His rhyming is strictly manifested in: generally only rhymes, not rhymes. That is to say, it can't rhyme with words with the same rhyme, and words with adjacent rhymes are not allowed.
(3) Pay attention to fluency. On the basis of "Shun-Shun, Shun-Shun", add a syllable to form "Shun-Shun-Shun, Shun-Shun-Shun"
(4) Regarding antithesis, because quatrains can be regarded as the interception of metrical poems, the requirements for antithesis are not too strict. Because metrical poems generally require parallel prose and neck couplets to confront each other, there is no clear requirement on whether the first couplet and the last couplet confront each other, so when quatrains are used as the second half of metrical poems, one or two sentences are opposed, and three or four sentences are not needed, such as Wang Zhihuan's "In Lusu"; If you want to regard it as the first and last couplet of a metrical poem, you don't have to go against it, such as Wang Wei's Acacia. If it is regarded as the first half of the poem, three or four sentences are opposite, and one or two sentences are not needed; If it is regarded as an interception of parallel connection and neck connection, the two should be in opposition. The latter two cases are relatively rare.
Flat sentence pattern
Basic sentence patterns:
A. flat and flat
B. Flat and uniform
C. it's plain
D.it's flat
A-type initial sentence
Flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat.
Example: the mountains cover the day, the sea exhausts the golden river, and it goes up to the next floor for 300 miles.
B-type initial sentence
(Ping) Ping, (Ping) Ping. Flat, flat.
Example: Zheng Ming Jin Sugui, shining on the golden harp, touched a wrong note from time to time to attract Zhou Yu's keen eye. (Listen to Zheng by Li Duan)
C-type initial sentence
Flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat.
Ex.: Spring blossoms and willows blow in the ditch. In order to repay the guests in Liaoyang, Yu Xiang waits for no one. (Wang Ya's "Boudoir Giving away")
D-type initial sentence
Flat, flat. Flat, flat.
Example: In the dim moonlight, wild geese are soaring, the Tatar chieftain is fleeing in the dark, and we chase them. The horses are lightly loaded, and there is a layer of snow on our bows and swords. (Xia Sai Qu by Lu Lun)
(Note: Parentheses indicate even numbers; Bold characters rhyme and need to be flat. The first sentence of the five-character quatrains does not rhyme, while the first sentence of the seven-character quatrains rhymes. Five-character quatrains are common in contraction, and seven-character quatrains are common in rising. After the late Tang Dynasty, the first sentence was allowed to use adjacent rhymes. )
Reading and Writing in English: An Introduction to Five-character quatrains The ancient people spoke quatrains, which are often called "cut sentences" and "cut sentences", meaning to cut off half of the metrical poems, and the first four sentences, the last four sentences or the middle four sentences can be cut off. If the sentence is in a flat format, this explanation is ok, but if it is the source, it is not correct. As early as the Han Dynasty, there were many four-sentence five-character poems. Therefore, the five-character quatrains are the product of the grafting of ancient five-character quatrains and the elements of modern poetry. The metrical elements of five-character quatrains are closely related to five-character metrical poems, which are slightly different: 65,438+0, four sentences each; 2. Leveling must be arranged in a specific format, with one copy correct and two copies pasted; 3. Only rhyme can be flat, and rhyme has a fixed position, that is, even sentences rhyme (also the first sentence rhymes); 4. Strictly speaking, the rhythm form is two double-tone steps plus one single-tone step, and the single-tone step can only appear in the sentence or at the end of the sentence, but not at the beginning of the sentence, and the levels of two adjacent double-tone steps must be opposite. According to the above rules, five-character quatrains, like five-character metrical poems, are divided into two parts: ascending and descending, and each part is divided into positive and partial parts. Five-character rhythmic poetry matured in the early Tang Dynasty. Since then, many poets have tried this genre. However, it is very difficult to express a complete artistic conception because of short sentences and short chapters. Some people say that a five-character quatrain is like a gathering of twenty talented people, and there is no room for a mediocre person. Therefore, a famous article is far less than a seven-character quatrain.
Seven-syllable/seven-syllable quatrain
Seven-character quatrains are a kind of quatrains, which belong to the category of modern poetry. The quatrains are composed of four sentences, which have strict metrical requirements. Common quatrains include five-character quatrains, seven-character quatrains and rare six-character quatrains. A quatrain with seven words in each sentence is a quatrain with seven words.
Metric categorical quatrains: four-fold four sentences. (different from metrical poetry: four heavy and eight sentences. )
Seven laws can be divided into two categories and four sentence patterns:
There are two kinds of uprights: 1, upright and flat, the first sentence rhymes, 2, upright and flat, and the first sentence does not rhyme.
There are two kinds of oblique rising: 1, rising horizontally, the first sentence rhymes, and 2, rising horizontally, the first sentence does not rhyme.
Four basic sentence patterns
Generally speaking, the first two or four sentences are homophonic; The third sentence rhymes differently. The penultimate word in the second and fourth sentences is usually a vowel. The whole poem has lofty artistic conception, elegant language and profound meaning.
The first sentence rhymes.
Flat (flat) flat, (flat) flat. (Ping) Ping.
The first sentence is plain and blank.
Flat (flat) flat, (flat) flat ◎. (flat) flat, (flat)
Start with the first sentence and rhyme.
(Ping) Ping ◎, (Ping) Ping ◎, (Ping) Ping ◎, (Ping)
The first sentence doesn't rhyme.
(Ping) Ping, (Ping) Ping, (Ping) Ping.
(Note: Parentheses indicate even numbers; ◎ For rhymes, be sure to use a flat voice) (The above text is edited according to the Appreciation Dictionary of Tang Poetry)
Examples of basic sentence patterns:
( 1)
Flat (flat) flat, (flat) flat ◎. (flat) flat, (flat)
I once planted willows in Jiang Nanan, and I bid farewell to Jiangnan twice in spring. I don't know who I climbed from the green river bank in the distance. Bai Juyi's Memories of Liu Jiang (Eleven True Rhymes)
(2)
(Ping) Ping, (Ping) Ping, (Ping) Ping.
There is no shelter from the rain in the lotus, but there are still branches of Ao Shuang in the chrysanthemum. You must remember the good scenery of that year, especially when it was orange, yellow and green. Su Shi's Gift to Liu Jingwen (Four Rhymes)
Being in a foreign land, I miss my relatives twice every holiday. When I knew my brother's climbing place from a distance, there was one person missing from the dogwood. Wang Wei's Mountain Holiday Thinking of Shandong Brothers (Eleven Rhymes)
(3)
(Ping) Ping ◎, (Ping) Ping ◎, (Ping) Ping ◎, (Ping)
When you ask about the untimely return date, it rains at night in the autumn pool. When * * * cut the candle at the west window, but talk about the rain at night, Li Shangyin's Notes for Friends in the North on a Rainy Night (four rhymes).
In the distance, there are people in the depths of white clouds. Stop and sit in the maple forest late, and the frost leaves are red in February. Mutu's Mountain Walk (Six Rhymes)
(4)
Flat (flat) flat, (flat) flat. (flat) flat
Thousands of miles away, Jiangling returned in one day. Apes on both sides of the strait can't stop crying, and the canoe has passed Chung Shan Man Li Bai's "Send Baidicheng Early" (15 rhymes deleted)
The moon was bright in Qin dynasty, closed in Han dynasty, and the Long March did not return. However, when Dragon City flies, Huma doesn't teach to go to Yinshan Mountain. Wang Changling's "Out of the Castle" (deleted rhyme 15) (Note: brackets indicate fairness; ◎ In order to rhyme, you must use a flat voice)