"Out of place", "out of alignment" and "not sticking together", the neck couplets of metrical poems are not opposed, and there is something wrong with rhyme, all of which are taboos in metrical poetry creation and belong to the immutable iron law.
Once it appears, it will deprive this work of its identity as a modern poem and become an ancient poem.
It's not that any kind of poetry is better, but these principles are the distinguishing standards between modern poetry and ancient poetry.
Therefore, if you want to write modern poetry, you must abide by these standards: level and parallel, thick and relative, neck and neck, and rigorous and unified rhyme.
In addition to these rules that affect the identification of metrical poems, there are two taboos.
One is "three flat tails" and the other is "lonely flat".
These two problems are the most serious poetry diseases. How serious are they?
As soon as it appears, many friends will regard the whole poem as a law, that is, regard these two problems as the same nature as principles.
But in fact, this is debatable, and it is precisely because of this that these two issues are on the second floor of taboo.
The first is "three flat tails", which is generally considered to be a serious illness and needs to be revised. But judging from the principle of metrical poetry, it does not necessarily violate the principle of "substitution, opposition and adhesion". For example, the fifth word is changed to a flat voice, which means "flat, flat, flat", forming a three-level tail. However, under the rule of "135 regardless", this is not a substitute, and the position of 246 is still clearly alternating.
In fact, in this case, "135 regardless" is not allowed, just to avoid three flat tails.
Although the previous three-level tail is rare, it does exist. For example, Du Fu's "Wowa blood seed, Kirin in the sky" is three flat tails in a five-character poem, but his "unicorn" here belongs to the canon and is understandable.
Therefore, although this is a poetic disease, it is not a taboo that cannot be committed.
As for "loneliness", it will be difficult to recover at that step. However, Gu Ping also has two theories today, namely, Wang Li's theory and Qi Gong's theory. I won't go into details here. I have written articles in the past.
Since there is no exact definition, it is not taboo to judge poetry disease according to personal habits, although it is a big problem and needs to be saved.
In addition to the major problems in the creation of metrical poems, such as dislocation, dislocation, loss of adhesion, falling rhyme, three flat tails and loneliness, on the basis of harmony, there are also many minor poetic diseases that need our attention.
Although these problems will not lead to the formation of modern poetry, they will destroy the fluency of poetry and reduce the aesthetic feeling of poetry, which is also a small taboo in writing metrical poetry.
These poetic diseases refer to: bumping into rhyme, stepping on feet and flattening the head and tail.
Rhythm collision means that the rhyme used in singular sentences of metrical poems is only flat and the rhyme is the same as that of the whole poem, and the pronunciation is the same.
For example, the famous Wang Anshi's "Boating in Guazhou" rhymes:
The word "shore" in the third sentence rhymes with the fifteen places deleted from the whole poem.
Although the problem is not big, you can feel the influence of rhyme on the fluency of poetry after reciting it several times.
Stepping on the foot means that the last word of the third sentence is flat. Because the ending words that don't rhyme in the third sentence or the first sentence all end softly, these words that don't rhyme are "white feet", and once the white feet are flat, they are called "stepping on the feet".
In fact, this phenomenon can also be attributed to the principle. If a metrical poem steps on its foot, it is out of order.
Sipingtou refers to four or six words with repeated meanings in metrical poems, which occupy the space for development, which is inappropriate in the grammar of metrical poems, such as Lu You's Two Songs in the Snow:
Among them, the first words of mandibular joint and cervical joint are "deep mark", "smokeless", "frozen soil" and "cold forest".
This is not a terrible problem, but repetition in writing restricts the rich expression of content in disguise, so it "hinders".
The ending is also called "crane knee", which means that all singular sentences in the poem are pronounced "Shang", which is the third sound we say today. This question is not against the rules, but it sounds strange. Try to avoid it. For example:
"Zhu" and "Shadow" are both upper tones (the third tone). This problem will be avoided if one of them is changed into an entering tone or a falling tone (the fourth tone).
Strictly speaking, we can call it taboo except for the problem that leads to illegality, and everything else is minor fault. Even great poets occasionally commit crimes when they are not paying attention, which is no big deal.
However, if you can follow them all, you will naturally be able to write very qualified modern poetry and become a master of modern poetry.
You can only talk about artistic conception if you are more than meters.
In fact, the best way to judge these poems is to read them aloud several times after writing them. If there is any problem, it will naturally affect their fluency.
As long as the poem is written smoothly and clearly, and it is not dumb, these problems will be solved.