Overview of prosodic patterns
The five-character quatrains before the prosperous Tang Dynasty were not only antithetical, but also did not pay attention to words. 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 way of ancient poems, they did not pay attention to the antithesis of even words, 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 crosses.
(2) Rhyme is strict. Poetry rhymes, some of them rhyme with each other, and there is no essential difference between them and classical poetry. His rhyme is strictly manifested in the fact that it is generally flat and can't rhyme. That is to say, you can't rhyme, and you must use words with the same rhyme, not words with adjacent rhymes.
(3) Pay attention to leveling. On the basis of "Pingping-Zuoping, Zuoping-Pingping", a syllable is added to form "Pingping-Zuoping-Pingping, Zuoping-Pingping, Pingping".
(4) On the dual problem. Because quatrains can be regarded as the interception of metrical poems, the requirements for antithesis are not too strict. Because metrical poems generally require antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithe 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 couplets and necklaces, it will be confronted. The latter two cases are relatively rare.