Flat tone is the most important factor in rhythmic poetry. Its rules were applied to the songs and songs of later generations. When we talk about the metrical form of poetry, we mainly talk about leveling.
Flat tone is a term of poetic meter. The so-called level tone refers to the tone of language. The tones of Chinese are composed of the flat, high and long tones. Surface height and elevation are the main factors. Take the tone of Putonghua as an example, * * * has four tones, namely, flat tone, rising tone and falling tone: flat tone is Gao Pingtiao (flat tone without rising or falling); The upper voice is a rising tone (not high or low); The rising tone is a low rising tone (sometimes a low flat tone); Voiced is a high tone.
Ancient Chinese has four tones, but it is not exactly the same as Mandarin today. The four tones in ancient times were: flat tone, rising tone, falling tone and entering tone. Traditionally, the flat tone should be the middle tone, the rising tone should be the rising tone, the falling tone should be the falling tone, and the entering tone should be the short tone. There is a song formula called "Four Tones":
Flat voice, flat road, mo di ang,
The voice above shouted fiercely and strongly:
It's a long way to go, Xiu Yuan,
The urgent voice is short and urgent.
Although this narrative is not scientific enough, it also gives us a general understanding of the ancient four tones.
It is very clear in the rhyme book that what words belong to what tune. Pay special attention to the situation of "reading a word twice". Sometimes, a word has two meanings (often different parts of speech) and two pronunciations. Without giving detailed examples, readers can discriminate according to their own knowledge.
Knowing what four tones are, it is easy to understand the flat tone. The poet divides the four tones into two categories: flat tones, that is, flat tones; Well, it means to make progress three times (well, literally, it means uneven) If these two tones are interlaced in poetry, they will make the tones diversified instead of monotonous. The so-called "sonorous voice" of the ancients, although there are many stresses, is also an important factor.
The law of the alternation of flat and flat lines in poetry can be roughly summarized as two sentences: flat and flat lines alternate in this sentence and the opposite in the dialogue. This law of balance is more obvious in metrical poems.
(A) the level of the five laws
There are only four kinds of five-character flat lines, which can form two couplets. Namely:
"It's plain, plain;
Flat and light, flat and light. "
From the complicated changes of these two couplets, a pattern of five laws and four levels can be formed. In fact, there are only two basic formats, and the other two are only slightly changed on the basis of the basic format.
1, starting type
Flat and light, flat and light.
Average average, average average.
Flat and light, flat and light.
Average average, average average.
Another type:
Moderately flat, flat, flat.
Average average, average average.
Flat and light, flat and light.
Average average, average average.
2. Flat type
Average average, average average.
Flat and light, flat and light.
Average average, average average.
Flat and light, flat and light.
Another type:
Flat and flat, medium and flat.
Flat and light, flat and light.
Average average, average average.
Flat and light, flat and light.
(B) the level of the seven laws
The seven laws are the expansion of the five laws, and the way of expansion is to add a two-word prefix before five sentences. Add a flat top, add a flat top. Try the following comparison table:
1, flat feet
Five words from beginning to end: OO, even number.
Seven words equality: equality, equality.
2. Flat feet
Five words equality: OO equality.
Seven words are equal: equal, equal, equal.
Step 3 be at a loss
Five words are even: OO is even, even.
Seven words from beginning to end: plain and faint.
4. Flat feet
Five words are equal: OO is equal.
The seven words are flat: flat.
So there are only four kinds of parallelism in the seven laws, and these four kinds can also form two couplets, namely:
"Ordinary ordinary ordinary ordinary ordinary ordinary ordinary.
Flat and light, flat and light. "
From the intricate changes of these two parallel lines, four parallel lines of the Seven Laws can be formed. In fact, there are only two basic formats, and the other two are only slightly changed on the basis of the basic format.
1, starting type
The middle is flat, and the middle is flat.
Average, average, average, average, average, average.
The middle is flat, and the middle is flat.
Average, average, average, average, average, average.
Another type:
It's flat and flat, flat and flat.
Average, average, average, average, average, average.
The middle is flat, and the middle is flat.
Average, average, average, average, average, average.
2. Flat type
Average flat, average flat, average flat.
The middle is flat, and the middle is flat.
Average, average, average, average, average, average.
The middle is flat, and the middle is flat.
Another type:
Average, average, average, average, average, average.
The middle is flat, and the middle is flat.
Average, average, average, average, average, average.
The middle is flat, and the middle is flat.
(3) the principle of "persistence".
There is a rule of "sticking to the right" in the leveling of metrical poems. The so-called right is flat to flat, flat to flat. That is to say, as mentioned above, in the antithesis, leveling is opposite.
1, the "right" in the five laws only appears in the form of two couplets, namely:
Flat and light, flat and light.
Flat and light, flat and light.
2, the "right" in the seven laws, there are only two pairs of couplets, namely:
Plain, plain, plain.
Flat and light, flat and light.
If the first sentence rhymes, the first pair is not a complete antithesis (because rhyme must
It is a flat rhyme, the same below). In this way,
The first couplet of the five laws becomes:
A is flat, flat, flat.
Or:
B average, average.
The first sentence of the seven laws is:
A is flat and flat, flat and flat.
Or:
B average, average, average, average.
The so-called "sticky" means flat and sticky; The outline of the second word in the following sentence
It is consistent with the second word in the previous couplet. In other words, "the third sentence sticks to the second sentence, the fifth sentence sticks to the fourth sentence, and the seventh sentence sticks to the sixth sentence."
The function of matching is to diversify the timbre. If it is not "right", the level of the upper and lower sentences will be the same; If you don't "paste", the horizontal lines of the front and back couplets will be almost the same. Violation of the "stickiness" rule is called "stickiness"; Violation of the "right" rule is called "loss of power".
Understanding the principle of "right paste" can not only help us recite the lyrics (that is, the format) of flat tiles, but also help us understand the flat tiles of long laws (no matter how long they are, they are only arranged according to the rules of "right paste").
(D) the taboo of loneliness
Lonely and plain is the taboo of regular poetry (including long law and absolute law)! Not only should we pay attention to avoiding loneliness when writing metrical poems, but we should also pay attention to avoiding loneliness when using similar sentences in lyrics and songs.
In the five-character sentence pattern of "Pingou", the first word must be flat, and the flat word is lonely. Because in addition to rhyme, there is only one flat word left.
Seven words is the expansion of five words. So in "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 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.
The level presentation has a specific format, which is somewhat different from the ordinary format. Although it is also very common, because too many questions will affect our learning progress, I won't elaborate here. Just a general introduction, so that readers can better understand the whole picture of metrical poetry. In the five-character and seven-character sentence patterns, we can use another format, namely "Ping-even" and "Ping-even". This special flat format is used in the seventh sentence, and we must avoid "loneliness".
(5) difficult to preserve
Any flat and irregular sentence is called "embarrassing sentence" The word "embarrassed" is used in front of it, and "rescue" must be used behind it. The so-called "salvation" means compensation. There are three kinds of common situations, namely "this sentence saves oneself", "opposite sentence rescues" and "can be saved or not".
Generally speaking, the flat sound should be used in the front, and the flat sound should be compensated at a suitable position in the back. These three common situations will be explained below:
1, "This sentence saved myself". In which "Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Ping
2. "save the sentence." If the fourth word (or three or four words) is used in a flat tone where it should be used, the third word of the sentence is replaced by a flat tone to compensate. This becomes "middle, middle." The seven words became "Pingzhong, Pingzhong, Pingzhong."
3. "Can be saved or not". Where the word "flush" should be used, if the fourth word is not used, only the third word is used, instead of the sixth word in the seven words (flush), the fifth word is used. This is called "semi-depression", which can be saved or not.
From this point of view, regular poetry is generally always harmonious. Some metrical poems seem to be illegal, but in fact they are "difficult to survive" and still conform to the law. This difficult practice is more common in Tang poetry. Later, Su Shi and Lu You who paid attention to temperament were also very good at it. There is no need to imitate today, so let's fill it out in the prescribed format.
There is a saying that "No matter what the 135 is, the 246 is clear", which is aimed at the seven laws (including seven verses). This means that the levels of the first, third and fifth characters can be arbitrary, while the levels of the second, fourth and sixth characters must be different. As for the seventh word, it is naturally clear because of the limitation of rhyme format. As far as the five-character rhyme is concerned, it should be "whether one or three, two or four are clear." This formula is simple and clear for beginners and can help them remember. However, its analysis of the problem is not comprehensive, which is easy to cause misunderstanding. Therefore, it is best not to use this to learn the rules.
Third, the antithesis of metrical poems.
The ancient guard of honor is relative, which is the origin of the word "antithesis".
Duality in poetry is called duality. Duality means juxtaposing similar or opposing concepts. Duality can be self-aligned in one sentence or opposed in two sentences. Generally speaking, duality refers to the latter. In antithetical sentences, the former sentence is called "sentence" and the latter sentence is called "duality".
Duality is a rhetorical device, whose function is to form neat beauty. The general law of duality is that "words with the same part of speech are opposite to each other".
Duality in metrical poems has its specific rules:
1, sentence and sentence level are relative;
2. Words with the same position as sentences and antitheses cannot be repeated.
(A) the type of duality
The classification of words (referring to words or phrases, not words in poetry) is the basis of antithesis. according to
Generally speaking, words can be divided into the following nine categories: nouns and verbs.
Adjectives, adverbs, numerals (numerals), pronouns, function words, color words and locative words.
Words of the same kind are opposite to each other, so we should pay special attention to the following points: 1, numbers are of the same kind, and words such as "solitary", "semi", "single" and "double" are also counted as numbers; 2, the color is self-contained; 3. Orientation belongs to its own category, mainly the words "east, west, south and north"; 4. intransitive verbs are often the opposite of adjectives; 5. Lian Mian characters can only be relative to Lianmian characters, and Lian Mian characters with different parts of speech can't be relative generally; 6. Proper nouns can only be relative proper nouns, such as name-to-name and ground-to-ground.
Nouns can also be subdivided into the following categories: astronomy, geography, seasons, palaces, utensils, clothing, body, plants, animals, interpersonal relationships, personnel and so on.
(2) The routine of antithesis
1, the routine of antithesis is "Chinese-Chinese antithesis". The ancients called the first and second sentences of metrical poems the first couplet, the third and fourth sentences the parallel couplet, the fifth and sixth sentences the neck couplet, and the seventh and eighth sentences the tail couplet. The antithesis is generally used in parallel prose and neck couplets, namely the third and fourth sentences and the fifth and sixth sentences. This is called the opposition between China and the United States.
2. The antithesis of the first couplet can be used or not. If the first couplet also uses antithesis, the whole poem is actually antithesis. There are more antitheses in the first couplet of the Five Laws and fewer antitheses in the Seven Laws. The main reason is that the first sentence of the five laws does not rhyme, and the first sentence of the seven laws does not rhyme.
3. End couplets are generally not couplets, but there are a few exceptions. The last two sentences can be done in one go, and they are a flowing pair (see below for details).
4. Of course, the principle of metrical poetry is "antithetical couplet", but under special circumstances, it can also be antithetical couplet. This single-dual form is usually used for necklaces.
5. In the long method, only the tail couplet does not need to be checked, the first couplet can be used or not, and other couplets must be checked.
(3) Pay attention to antithesis
There are many rules and stresses in the antithesis of metrical poems. Let's talk about the more important and common ones first.
1, work team
(1) Where similar words are relative, they are called male pairs;
(2) The words in the same small category are relatively correct;
(3) In the sentence, self-correction is opposite to the two sentences, and it is regarded as a working pair;
(4) In couplets, as long as the numbers are arranged neatly, they are a pair. Beyond this limit, it is not neat, but slim.
Synonyms are relative, like working but clumsy. "Opposition is superior, and correctness is not good." Synonyms are relatively natural and worse than right. In a poem, it doesn't matter if you accidentally use a pair of synonyms, but it's inappropriate to use too many synonyms. If the sentence and antithesis are completely synonymous, or basically synonymous, it is called "crossing hands", which is even more taboo for poets!
Step 2 be lenient
There is an adjacent pair between the wide pair and the working pair, that is, the adjacent things are relative. Form is subordinate to content, and poets should not damage their ideology in pursuit of their works. If necessary, wide pairs or adjacent pairs can be used. For example, astronomy is in season, geography is in the house, color is in the opposite position, synonyms are in Lian Mian, and so on.
More broadly, it is noun to noun, verb to verb, adjective to adjective, etc. These are the most common situations.
A little wider is half wrong. The antithesis of the first couplet can be used or not, so it is definitely possible that the first couplet is half wrong. If the first sentence rhymes, it is more common for the first couplet to be right or wrong. The antithesis of parallel prose is not as strict as that of necklaces, so half-and-half antithesis is also common in parallel prose.
3. Sorry
If a word has two (or more) meanings, use the first meaning in the poem, but at the same time borrow its second meaning to oppose another word. This is called metonymy.
Sometimes, borrowing is not borrowing meaning, but borrowing sound. Loanwords usually appear in pairs, such as "blue" for baskets, "yellow" for emperors, "Cang" for Cang, "Zhu" for Zhu, and "Qing" for Qing.
4. flowing water pair
Duality is generally two parallel sentences, and each sentence has its own independence. But there is also a duality that one sentence is divided into two sentences, and the sentences are meaningless or incomplete. This is called running water. Yes What is said above is its form. Let's explain its meaning here.
In a word, the antithesis of orthodox poetry is not as strict as Pingze, and the freedom of using antithesis when writing poetry is greater. Poets with high artistic accomplishment and rich literary skills will certainly be better if they can successfully use neat antithesis to better express their ideological content. If we pursue the neatness and exquisiteness of the opposite unprincipled, we will lose more than we gain.
Fourth, forbearance
Rhyme, like metrical poetry, is entered into rhyme with a flat rhyme foot, which should be adhered to according to the flat rhyme of metrical poetry.
Several formats of this major are listed below:
Five-character rule
1, starting type
Flat and light, flat and light.
Average average, average average.
Another type:
Moderately flat, flat, flat.
Average average, average average.
2. Flat type
Average average, average average.
Flat and light, flat and light.
Another type:
Flat and flat, medium and flat.
Flat and light, flat and light.
(2) Seven-character rule
1, starting type
The middle is flat, and the middle is flat.
Average, average, average, average, average, average.
Another type:
The middle is flat, and the middle is flat.
Average, average, average, average, average, average.
2. Flat type
Average flat, average flat, average flat.
The middle is flat, and the middle is flat.
Another type:
Average, average, average, average, average, average.
The middle is flat, and the middle is flat.
Like metrical poems, the first name of a five-character quatrain is not rhyme, while the first sentence of a seven-character quatrain is rhyme.
Is common; The five-character method often stands up, and the seven-character method often stands up.
Rhyme must also rhyme according to the rhyme part of the rhyme book, and the first sentence is also allowed to rhyme with adjacent rhymes.
We should also avoid loneliness in discipline.
In principle, you don't have to fight. If you use antithesis, it is often in the first couplet. Tailing is also useful, but it is rare. The beginning and end of couplets are connected, that is to say, there are few whole couplets.
You can also use that specific format to make the law, because this specific format has not been discussed in detail in previous poems, so you should also try it here without doing detailed research.