I. Definition:
Five-character quatrains are one of the genres of Chinese poetry, which belongs to one kind of quatrains, that is, five-character four-sentence short poems that conform to the norms of metrical poetry, and belong to the category of modern poetry. There are two squares, one is convex and the other is horizontal. This style originated from Yuefu poems in the Han Dynasty and was deeply influenced by folk songs in the Six Dynasties. In the Tang Dynasty, it was like a twin sister with modern regular poetry, and it appeared in the poetry circle with brand-new brilliance. Five-word quatrains but twenty crosses can show a fresh picture and convey a true artistic conception. Seeing the big because of the small, there are always many small ones, and short chapters contain rich content, which is its biggest feature.
Second, the characteristics:
1, fixed number of sentences. 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 duality. 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.
Third, the masterpiece:
Representative works include Li Bai's Thoughts on a Quiet Night, Liu Zongyuan's Jiang Xue, Wang Wei's Bird Watching Creek, Du Fu's Eight Arrays, Wang Zhihuan's In the Heron Tower, and Liu Changqing's Farewell to the Graceful Master.