This is not a Northeastern dialect, but a common one across the country. Lianqiao is also called brother-in-law, which refers to the mutual title between sons-in-law. The relationship between the husband of an older sister and the husband of a younger sister is called a close relationship between the husbands of sisters, an uncle relationship between the husbands of uncles and sisters, and an uncle relationship between the husbands of uncles and sisters. You can joke and joke between bridges.
"Lianqiao" is said to have first appeared in Du Fu's works. In his later years, he lived in eastern Sichuan and got acquainted with a local old man named Li. To put it bluntly, the two families were still relatives in a roundabout way. The two got along very well, exchanging letters or chatting and drinking together every three days. Later, Du Fu was about to leave the gorge and go east to Huxiang. He wrote a poem "Farewell to Li Fifteen Zhangs". He recalled and narrated the process of making acquaintance. Some of the lines are: "We are lonely and lonely, but we are not close to each other. How dare we be equal in rank? People and business are in harmony, and they are in love with each other." "Coupled with each other." This only describes the close relationship between each other, and does not have the kind of relationship between sisters and husbands that was later called.
"Farewell to Li Fifteen Zhangs" is a poem written by Du Fu, a poet in the Tang Dynasty. It was written in early August of the first year of the Dali calendar (766), the second year of Yongtai. Li Shishi will look for Zhao Guozhen, Duke of Yi, to observe the envoy in central Guizhou, and Duke Du will write a poem to say goodbye. The whole poem expresses the poet's reluctance to leave his friend, and the deep feelings between the poet and his friend are expressed between the lines.
Du Fu (712-770), whose courtesy name is Zimei, who calls himself Shaoling Yelao, is also known as "Du Gongbu", "Du Shaoling", etc., Han nationality, Gong County, Henan Province (now Gongyi City, Henan Province) Du Fu, a great realist poet in the Tang Dynasty, is revered as the "Sage of Poetry" by the world, and his poems are called "the history of poetry". Du Fu and Li Bai are collectively known as "Li Du". In order to distinguish them from the other two poets Li Shangyin and Du Mu, known as "Little Li Du", Du Fu and Li Bai are also collectively known as "Big Li Du". He was concerned about the country and the people, and had a noble personality. About 1,400 of his poems have been preserved. His poetic skills are exquisite, and he is highly respected in Chinese classical poetry and has far-reaching influence. He lived in Chengdu from 759 to 766, and is commemorated by Du Fu thatched cottage in later generations.
Rhymed poetry occupies a very important position in Du Shi. The achievement of Du Fu's rhymed poetry lies first in expanding the scope of expression of rhymed poetry. He not only wrote about social events, commemorations, travels, banquets, and landscapes in rhythmic poetry, but also wrote about current affairs in rhythmic poetry. Writing current affairs in rhythmic poetry is more difficult because the number of words and meter are limited, but Du Fu can use it with ease. Du Fu wrote rhymed poems in an unbridled and unbridled manner, making every possible change. They were in harmony with the rhythm but could not see the constraints of the rhythm, and the antithesis was neat but no trace of antithesis could be seen.
For example, "Deng Gao", which Yang Lun called "the number one in Du Ji's seven-character rhyme", is such a poem: "The wind is strong, the apes high in the sky whistle in mourning, and the white birds fly back from the clear sand in Zhu. The endless falling trees are rustling, and the endless Yangtze River is rolling in. The sad autumn is always a guest, and the hardships and hardships have caused the frost on the temples. The whole poem is very precise in the rhythm and sentence structure. , sophisticated. All eight sentences are correct, including the first couplet. The strict contrasts are concealed by the fluidity of the image, and the strictness becomes loose and smooth.
The highest achievement of Du Fu's rhythmic poetry can be said to be to write this style so smoothly and smoothly that there is no trace to be found. If it is written casually, people will forget that it is a rhythmic poetry. For example, "Spring Night Happy Rain": "Good rain knows the season, and spring will happen. Sneak into the night with the wind, moistening things silently. The clouds are all dark on the wild paths, and the fire on the river boats is only bright. At dawn, I can see the red and wet places, and the flowers are heavy on the official city. "The first four sentences are written in flowing water, and the charm of the spring rain is written in one breath. It comes silently and unexpectedly. The last couplet writes a surprise of suddenly looking back. The rhythm is rigorous and unified.
Du Fu is good at using many systems of classical poetry and developing them creatively. Du Fu's concern for people's livelihood and his achievements in rhythmic poetry directly influenced the New Yuefu creations of Yuan Zhen, Bai Juyi and others in the mid-Tang Dynasty. He is the pioneer of the new Yuefu style of poetry. His Yuefu poems contributed to the development of the New Yuefu Movement in the mid-Tang Dynasty.
His May 7 ancient novel is both poetry and history. It unfolds the narrative, but also focuses on the convolution of the entire article, marking a high achievement in the art of Chinese poetry. The Song Dynasty, which was full of social contradictions, was the most prosperous era for studying Du Fu, and the Jiangxi School of Poetry with Du Fu as its sect emerged. Gu Yanwu and others in the late Ming Dynasty and early Qing Dynasty also had an obvious tendency to learn from Du Fu. Like Du Fu, they also used rhymed poems to reflect the anti-Qing struggle at that time and were impassioned.