There is no limit to the number of words in each sentence of ancient poetry. Three words, four words, five words, six words, seven words and miscellaneous words are all acceptable. Generally, it is classified according to the number of words in a poem: four words and one sentence are called four-character ancient poems, referred to as "four words" for short; Five words and one sentence are called five-word ancient poems, referred to as "five ancient poems" for short; Seven-character ancient poems are referred to as seven-character ancient poems for short.
Ancient poems with irregular sentences are called miscellaneous poems. Classical poems that are purely trilingual are rare.
Second, rhyming is more free. Classical poetry can be used to balance the rhyme, or it can be used to offset the rhyme, and the two can be used interchangeably.
You can rhyme every sentence, every other sentence or even three or four sentences. Some ancient poems rhyme from beginning to end, some change rhyme in the middle, some change rhyme regularly, and some hats have no rules to follow.
Some rhymes with homonyms, while others use adjacent rhymes. Third, do not pay attention to leveling.
There are no special rules for the leveling of ancient poetry. Fourth, there is no need to fight.
Generally speaking, there is no antithesis in classical poetry. Even if there is occasional confrontation, it is not the requirement of metrical style, but the need of rhetoric. If you use duality, you don't specify a position.
Don't avoid the important in the confrontation.
2. What do you mean by "four or six sentences" in classical Chinese? The "four or six sentences" in classical Chinese refers to the sentence pattern of parallel prose, which is mainly four or six sentences, pays attention to antithesis and has the opposite sentence pattern. When breaking sentences in this kind of classical Chinese, we can break sentences accurately according to the characteristics of this sentence pattern.
For example, in the classical Chinese "To Zhu Shu", there are mostly four sentences, and each sentence pays attention to antithesis: "The wind and smoke are clean, and the Tianshan Mountains are * * *. Floating from the stream, anything will do. " "Strange mountains and strange waters, chinese odyssey. The water is blue, and thousands of feet bottoms out. You can swim with the fine stones and look directly at them. If fierce wave rushes, how fast the arrow will go. Sandwiched between mountains, cold trees grow and compete with each other. Strive for higher heights, Qianfeng. Spring rock, crisp; Good birds sing rhymes. " "Cross upon the cover, still faint in the sky; Sparse reflections, sometimes see the sun. " There are six words in the middle, "cicadas are endless, apes are endless" and nine words, "Those who fly kites against the sky, look at the peak and relax; Those who manage world affairs are eager to forget the rebellion. They are all opposites. Only one sentence is prose, "from Fuyang to Tonglu for a hundred miles". If you break sentences for this classical Chinese and master the rule that parallel prose is mostly four or six sentences, you will feel very comfortable.
Parallel prose with four or six sentences is a relative title of prose. It is a style divided from the perspective of rhetoric, and it is a beautiful article between prose and verse, which mainly exists in antithetical sentences. Originated in the Han and Wei Dynasties, it was formed in the Southern and Northern Dynasties, which had a certain influence on later literature.
3. What are the functions of "zhi" in classical Chinese?
First, as an auxiliary word. There are four main uses:
1, a structural auxiliary word. It is equivalent to the "de" in modern Chinese, and it is placed between the attribute and the head language as a symbol of the attribute.
Its format is: attribute+ambition+prefix. For example:
(1) so when there are things outside the interests. (Shen Fu's Interesting Childhood) Translation: Surpassing the fun of the object itself.
(2) in the northeast corner of the hall. (Lin Sihuan's ventriloquism) Translation: In the northeast corner of the living room.
(3) Terrestrial flowers and aquatic vegetation. (Zhou Dunyi's "Jin Ming in the Humble Room")-flowers of all kinds of vegetation.
(4) the love of looking at things, without exception? (Fan Zhongyan's "Yueyang Tower") Translation: (They) feel after seeing the natural scenery.
⑤ Forget the distance of the road. I forgot the distance of the road.
⑥ There were people in the Ming Dynasty who were very clever ... people who could use wood. (Wei Xueyi's "nuclear ship") Translation: wood with a diameter of one inch.
⑦ The love of chrysanthemum flowers is rarely heard after autumn. Love for chrysanthemums.