1, working right.
This is the most demanding duality, that is, not only the same kind of words are relative, but also the small categories in the same kind of words. For example, nouns can be divided into astronomy, geography, seasons, names of people, place names, animals, plants and many other small categories. All or most of the workers' demands are contrary. For example, Bai Juyi's "Walking under the censer peak": "The south eaves are warm in winter, and the north households are cool in summer." Among them, South and North are orientation pairs, Yan and Hu are palace pairs, Na and Ying are verb pairs, Winter and Xia Yue are season pairs, and Warm and Cool are adjective pairs. The first four words in Fu's "Broad Garden and Wide River on the Moon" (One Night Abroad) are neat, the last word "broad" is an adjective, and "flow" is a verb. There is no opposite, but it is also a work right.
2. lean to the right.
Contrary to workers' pairs, as long as the same part of speech between sentences and dialogues is relative, there is no requirement that subcategories are also relative. For example, Yuan Zhen's Drink Horse Fish to Scare Water and Wear Flower Dew to Drop Clothes (Early Return), in which "horse" and "flower", "fish" and "dew", "water" and "clothes" are nouns but do not belong to the same subclass.
3. flowing water pair.
Public pair and wide pair are two opposite parallel things, and sentences and antitheses can even be synonymous and interchangeable, such as "the smoke in the desert is straight, the long river sets the yen" and "two flowers bloom with tears, and a lonely boat is the heart of hometown". But the flowing water pairs are coherent in meaning and cause and effect, and their positions are not interchangeable, just like flowing water, such as Du Fu's "Come back from this mountain, pass another mountain, come up from the south, and then go north-to my own town!" ("The Imperial Army Recovered the Banks of the Yellow River"); Li Yi's "Never frozen through the mountain road, but today he diverted to the Han ambassador" ("Crossing Wuyuan Huer Drinking Horse Spring") and so on.
There are naturally more than the above three forms of antithesis, as well as fan (sentence-to-sentence), borrowing, sentence-to-sentence, and intricate equivalence, which are not listed here.
Second, the expression of poetic melody beauty
The beauty of rhythm in poetry is mainly manifested in the beauty of syllables between words and between words; The beauty of various sentences and the structural beauty within a sentence; The beauty of harmony and depression in the whole poem. The following are discussed separately:
1, the beauty of syllables
As mentioned above, Chinese characters are characterized by one syllable per word. The beauty of syllables in poetry is nothing more than the beauty of overlapping homophones, the complexity of continuity between homophones and the beauty of echoing homophones. Every effort the poet makes here is to "change new poems into long poems", forge the rhythm of sentences, and make the rhyme of the next word the most exquisite between cadence and cadence. Shen Deqian, a metrical poetess in Qing Dynasty, said: "Poetry uses sound. Its subtlety lies in its ups and downs. The reader recites leisurely according to the stanza, and finds it difficult to write the previous sound and wonderful to spread it ("Talking about Poetry"). Among them, the beauty of the linkage between homophones and the beauty of the echo of homophones have been discussed in the previous rhyming antithesis, and the beauty of overlap is emphasized here.
The beauty of (1) reduplication lies in disyllabic and reduplication between two words. Shuang Sheng refers to two words with the same initials, such as Forbidden City, Home, Busheng, Jia Jian, Jiao Jie, Quan Yi and Jia Jingguo. Overlapping rhymes have the same vowels, such as squeal, homing, salvation, trickery, gorgeous, cock crow, system, slander and so on. There are five forms of disyllabic rhyme in poetry:
First, two tones. For example, Song Guoyun said that "there are several villages in the grass, listening to songs across the river", among which "several villages", "village grass", "singing" and "across the river" are all double voices. Li Qunyu "walks on a bumpy road and listens to the hook", in which "crooked" and "rugged" are disyllabic; Pipa in the ancient battle song, when the throb of the war drum echoes in the sand wind, we hear the guitar of the Chinese princess telling her endless sadness; Bai Juyi's feeling of looking at the moon: "My fields and gardens were destroyed by war, and my flesh and blood became the scum of the street" and "loneliness".
Second, rhyme. For example, in Hu Zai's "Tunxi Fish Conghua Twin Clouds", "Moon shadow invades the cold, river light forces shoes to be clear" invades women, and "forcing shoes" is a rhyme; Bai Juyi's trip to the pipa: the "gap" in "The flowers are slippery, but the water is difficult to follow the throat"; Xie Lingyun's "Seven Li Sese": "Shallow water gurgles, and the setting sun shines on the mountains" are all rhymes;
Third, the antonym of rhyme, such as Su Shi's Drinking Rain after Chu Qing on the Lake, "The lake is beautiful and sunny, and the mountains are rainy and strange", which means "rhyme" in the sentence and "ethereal" in the dialogue; Du Fu's Gu Baixing: "Cui Wei" in the sentence "Cui Weizhi is too old to care about the bright colors of doors and windows" and "graceful and restrained" in the dialogue; In A Monument in Love, there are "disappointments" in the sentence and "depression" in the dialogue.
Fourth, the double tone and the overlapping rhyme are opposite, such as "the lonely lane is separated by the dense forest, and the empty window looks at the distant mountain" in Wang Wei's Old General, where the "vastness" in the sentence is the overlapping rhyme and the "sparseness" in the antithesis is the double tone; Du Fu's Su Fu: "My emissary flies and the rain and sand are scattered, and the traffic jam is depressed." Among them, the word "time flies like an arrow" rhymes with the word "depressed" in the battle; Luo Yin's "For a Friend": "Time flies, the heart is still eager, and I can't dream of mountains and rivers." "Time flies" in the sentence is rhyme, and "time flies" in the sentence is a double tone; Grandson Zuo Fu's farewell to his old friend: "The scenery falls over the fence, and the piano plays on the lonely steps." The word "lixi" in the sentence rhymes, and the word "sad" is disyllabic.
The beauty of two syllables first makes the tone cadence, euphemistic and implicit. "Wen Xin Diao Long Sheng Rhythm", the article says: "When the sound turns to a kiss, Lingling is like jade; Too many words to hear, as many as pearls. " This is the most accurate way to describe the beauty of disyllabic rhyme. Li Zhonghua's "Yi Zhen Zhai Shi Shuo" also said: "Rhyme is like two jade rings interlocking, taking its sonorous; Two voices are connected like pearls, so accept them tactfully. "
Of course, the beauty of disyllabic sounds is definitely not just euphemism. Its imitation of sound and imitation, frustration and lyricism can render the atmosphere and strengthen the effect. With the help of diphthongs, we can capture various abstract or concrete situations, make sound and emotion, sound and things, sound and emotion better combined, and better highlight the theme and what the poet deliberately emphasized. We only need to read "big strings are like rain, small strings are like dense" in the pipa. Humming, whispering-and then mixing together, like pouring large and small pearls into a plate of jade. From the passage "The flower of Guan Ying is slippery, but it is difficult to choke on the ice", we can know the role of double phonology in this excellent musical description, which is also the key passage for Pipa Xing to gain such a good reputation: it turns abstract and unpredictable musical words into concrete images, tangible images and audible feelings. Metaphor plays a key role in it, and disyllabic rhyme makes sound and emotion, sound and things, sound and things better combined. Because of this, if you play tricks blindly, it will become a worthless word game, even famous poets are no exception, such as Yao He, a representative martial arts writer in the Tang Dynasty, Poems on the Grape Shelf:
Grape vines are in the east yard, and the leaves are swaying.
In clear autumn, the green is low, and in winter, it is frozen.
The four sentences in the whole poem are all double rhymes. In order to accommodate the double rhyme feet, poetry is very obscure. What is the meaning of "attracting leaves to overflow" is very puzzling. As for the poem "Winter withers", it is very vulgar. It can be seen that it is entirely for the purpose of making up diphthongs. Even from the phonological point of view, such as "leading leaves to overflow and shake", "clear autumn and green drooping" and "winter withering to freezing", it is awkward to read and has no aesthetic feeling.
The use of double rhyme feet will also encourage poets to form their own unique style. Xie Lingyun is the pioneer of China's landscape poems. He used a lot of double-tone rhymes to form a unique complicated and elegant style, which is also one of the remarkable features of Xie Lingyun's landscape poems. For example, "shallow water gurgles and the setting sun shines on the mountains." If the wild forest is crowded, the whining birds will scream. "Famous sentences such as Qilisete, Gentle Side Path and Exquisite Surrounding the continent" (From Nanshan to Beishan Wanghu) all use double phonology. In Li Bai's poems, there are also a lot of disyllabic feet. In the poem "Watching Wu Wangshan and Wei Wan Go Back to the Palace", nearly 20 disyllabic rhymes such as "As soon as possible" and "Isolated Island" are even used.
(2) The beauty of complexity refers to the aesthetic feeling produced by the continuity of different phonetic characters. It includes the intricate beauty of the flat tones formed by the combination of flat tones, as well as the aesthetic feeling produced by the alternate use of rising tone, falling tone and entering tone in flat tones. Regarding the aesthetic feeling produced by the alternation of flat and flat lines, Yu Yang praised the influence of the alternation of flat and flat lines in Yi Lao Tang Shi Hua, saying that "if the fu sentence is divided into flat lines, the words are combined and restrained, and the method of approaching the body is ready." There are many rules in five-character poems and seven-character poems, which have been listed before, so I won't repeat them here. Even in ancient times, there were rules for participating in martial arts. Generally speaking, if a seven-character archaic style rhymes in the end, then the second word of the sentence is mostly flat and the fifth word is mostly vague; The fifth word must be flat, and the fourth word must be flat. For example, the first four sentences of Bai Juyi's Song of Eternal Sorrow say: "The emperor of China, whose lust may shake the beauty of an empire, has been in office for many years and has never found it. Until a child of the Yang family was born in the inner room before she grew up, no one knew her. The second word "Huang" and "home" in the sentence are all flat, and the fifth word "Si" and "Chu" are all boring. The fourth word "nian" and "female" in the sentence are flat, and the fifth word "Qiu" and "Chu" are flat. If the word "ping" is used in the fifth word of a sentence, the word "ping" is used in the sixth word to avoid mixing the sentence. Wang Yuyang pointed out in "On Elegance of Ancient Poetry" that five characters are the key in seven-character ancient poetry and three characters in five-character poetry, indicating that ancient poetry should also pay attention to elegance.
There are two situations in which ascending tone, descending tone and entering tone are used alternately:
The first case is the last word of a single sentence, and the three tones of going up, going and entering are used in turn, such as Du Fu's "Sending Fourteen Mothers in Jiangdong to North Korea":
The soldiers couldn't see Lao Lai's clothes and lamented that everything in the world was wrong.
I don't have a home to find my sister-in-law, so where are you going to see the court today?
Huangniuxia turns to a quiet beach, while Baima River is shaded by cold trees.
We should make every effort to leave this place, but I am still afraid that my hometown will not come back together.
Among them, "clothes" is flat voice, "sister" is falling tone, "turn" is rising tone, and "strength" is entering tone. Four sentences, four tones, the twists and turns between the participants and Wu, not only produced a complex aesthetic feeling, but also showed the helplessness and homelessness of missing relatives in the war from the perspective of phonology.
In the second case, a sentence has three syllables, namely, go, go and enter. For example, Du's Spring Tour in Jinning Lucheng:
Only those who are far away from home are particularly sensitive to the change of natural phenology.
The bright sun on the sea is about to rise, and Jiangnan in the south of the Yangtze River is reviving.
Warm spring urges warblers to sing, and duckweed in the clear sun is dark in color.
Suddenly I heard that simple melody you sang, which made people cry.
Among them, there are three sentences, namely, Coming Only to Wanderers, White Clouds and Red Clouds Breaking Dawn from the Sea, and Suddenly There is an Old Song to Fill in, each with four tones: flat, upward, downward and inward. The four sentences of "the ever-changing beauty is shocking", "the spring of wild plum and willow" and "suddenly an old song fills my heart and tears are in my eyes" are used alternately without repetition, forming a complicated beauty of participation.