Flat tone
First, distinguish the four tones and the flat tones of Chinese characters. According to the pronunciation, the ancients divided Chinese characters into four tones: flat tone, up tone, far tone and inside tone. The flat tone includes up tone, far tone and inside tone. The ancient tone of entering tone has basically disappeared in Putonghua. Now, the flat tone can be divided into the level tone and the level tone. Together with the rising tone and the falling tone, it forms the current "four tones", that is, "Ma Ma scolds". The first two are flat and the last two are awkward. The pronunciations of Rusheng characters are relatively short, and they also play a specific role in poetry reading, so they don't exist at all and can't be ignored. Words such as "De, Di, A, Yi, Qi, Blood, Blood, Jue" are Rusheng. There are many dialects in the south of modern China that still keep entering tone. For example, in Shanghai, Guangdong and other places, it is easy to distinguish the entering tone characters such as "Yi, Di" from the flat tone characters such as "Yi, Low". However, if you are a friend of the north, I'm afraid you need to learn and master it slowly. Second, the alternate characteristics of flat and even tones in metrical poems After understanding what flat and even tones are, we now begin to explain flat and even tones in metrical poems. Some metrical books list what is "flush, flush", which means flush in plain English. Metric poetry is summed up according to the tone of Chinese. Poems written according to the rules are cadenced in reading and have better musical effects. Generally speaking, in a seven-character sentence, there must be a gap between the flat lines of the second, fourth and sixth words (for example, the second word is flat, the fourth word is flat, and the sixth word is flat, and vice versa). In addition to the first two words, the five-character close-up is equivalent to a seven-character close-up. I have mastered seven words, and the alternation of five words is also very clear. Remember to read the meter again: 1. The antithesis of each couplet (that is, the last sentence) and its sentence (that is, the last sentence) must be opposite on the level tone. If the 246 words in the first sentence are flat, such as "Gushan Temple is north of Jiating West", then the 246 words in the second sentence must be flat, such as "the water level is flat and the cloud foot is low". 2, sticky, we are used to dividing eight rhyming sentences into four. The first sentence is combined with the second sentence as the head ring, the third and fourth sentences as the coordinate ring, the fifth and sixth sentences as the neck ring, and the seventh and eighth sentences as the tail ring. The relationship between couplets is flat, that is, the next couplet must be of the same type as the previous couplet, flat and sticky. For example, the 246 words in the first couplet (the second sentence) are flat, such as "the water level is low at the beginning", then the sentence in the couplet (the first sentence) must also be flat, such as "Ji". In summary, the key to mastering the flat format of various forms of modern poetry is to determine the flat format of the first sentence. But the first sentence is easy to determine, so the flat format of modern poetry is not mysterious and easy to master. The key is to make use of the characteristics of modern poetry's alternation of flat and flat, and adhere to the meter. In the past, some people thought it was a lie to recite, or they didn't matter. In fact, as long as you master the rules mentioned above, you will know all the standards of modern poetry, so you won't forget and make mistakes. It is wrong to say in general that "one, three and five don't matter, and two, four and six are distinct". This question is a bit complicated. Let's talk in another space. First, remember that in any case, it can be flat and informal, and it can only be the first word of every sentence in the seven-character modern poem.
Gu Ping aims at two kinds of rhyming sentences, namely, seven-character "flat and even" and five-character "flat and even". If you change the third word of the above seven-character sentence and the first word of the five-character sentence into a hyphen, you will be lonely. Loneliness is the word "life" of loneliness. Because after the change, in addition to the word "rhyme" in these two sentences, there is only one flat word, called "Gu Ping". There are only two sentences that can make you feel lonely. The five-character "Yi Yi Ping" entering tone sentence pattern is doomed to have only one flat tone besides rhyme, and it is not a "criminal", so it is not among the lonely people. Loneliness is the taboo of modern poetry, and it can't be violated unless it is absolutely necessary. In order to avoid loneliness, the third word of the seven-character sentence and the first word of the five-character sentence in the above two sentences must be flat. If we need to use the word "silence" in the actual process of writing poetry, we need to "save" in order to avoid loneliness, which is generally called loneliness. The so-called loneliness is hard to save, which means that when you have to be lonely, you can remedy it with awkward sentences that do not conform to the law of leveling, so as to avoid loneliness. The specific way is to change the fifth word of the seven-character sentence and the third word of the five-character sentence into a flat voice, which becomes an awkward sentence, but avoids loneliness. Besides loneliness, there are two common forms of ineffectiveness of metrical poetry. One kind of sentence is called abnormal sentence, that is, the fifth word and the sixth word in the flat even sentence are interchanged to make it (flat even). If it is five words, just remove the first two words, and the method of saving the world is the same as seven words. There is also a common dilemma, that is, in the sentence pattern of (even parity), the fifth word and the sixth word are even parity, which becomes (even parity), if it is only the fifth word. A well-known example is "four hundred and eighty halls in the southern dynasties, with many misty rains" (eighty sounds in ancient times). Five words are used in the same way as seven words. The famous example is "wildfire never completely devours them, but they grow taller in the spring breeze." Sometimes, this rescue method can be used together with the above-mentioned loneliness, because in the sentence pattern of (flat tone), if the fifth word is changed to flat tone, then the flat tone of the third word doesn't matter. Hehe, so this fifth word is really a treasure. As long as you use a flat voice, you can pronounce five or six words of the sentence and the third word of the sentence at will. In addition, there is a particularly awkward body, that is, three tails. That is to say, in the sentence pattern of (Ping-even), the third word is changed to Ping-even sound, which becomes (Ping-even). This embarrassing style can't be saved, but it can be seen more in the poems of the Tang Dynasty, such as Lao Du's "Next to the vicissitudes of life, the rock breaks like his sorrow". It is better to use it as little as possible today. Note: 246-word rhyming sentences must be clear. Except for the isolated words mentioned above, all the examples of being rescued by rhyming are rhyming sentences.
Qieyun, written by Lu in Sui Dynasty, classifies words with the same rhyme and tone, and words of the same kind can rhyme, that is, one rhyme part has 206 rhymes. In the Tang Dynasty, it was stipulated that near rhyme could be used together. In the Southern Song Dynasty, Liu Yuan, a Pingshui person, combined rhyme, which was reduced to 107, and later generations to 65438+.
Sentences and quatrains must rhyme (whether the quatrains rhyme or not, the first sentence can rhyme); The ending must rhyme, generally flat (rhyming poems are too few, omitted). This is the basic rhyme. The rhyme of modern poetry is very strict. Except for the first sentence, adjacent rhymes are generally not allowed, and even narrow rhymes with few words cannot rhyme. If contemporary people want to use new rhymes, they can input them in Putonghua. It's best not to read some new rhyme books that put "emotion and likeness" together.
Generally speaking, antithesis refers to a couplet in modern poetry (in fact, antithesis developed from modern poetry). The antithesis can be divided into two parts: lenient to work, strict to work, home flowers to weeds, mountains and rivers to rivers and mountains, 3 thousand to 800. The generalized pair is more relaxed, as long as the sentence structure components correspond, such as body words (that is, subject and object components in modern Chinese, noun words including nouns and pronouns) and body words and predicates (that is, predicate components including verbs and adjectives in modern Chinese) confront each other. Generally speaking, there is not much absolute right between merit and tolerance, and the antithesis of regular poems is mostly half-effective and half-wide sentences, such as "blush" and "heartbeat". Both "face" and "heart" are body parts, which can be regarded as work, but "red" and "jump" are adjectives and verbs, which are at best lenient, so such a pair is a half-hearted pair. Ancient Chinese has no part of speech. So duality mainly depends on meaning and structure. Some beginners always like to look at the part of speech of antithesis. When they find that a part of speech is wrong, they immediately call it wrong. This is ridiculous. In spring, silkworms will weave until they die, and every night, candles will dry the wick. What part of speech is "death"? What part of speech is "ash"? If the antithesis is subdivided, there are work pairs, borrowing pairs, slapping faces and running water. Workers' pairs, parts of speech and sentence patterns are all opposite. It is the most basic form of antithesis in orthographic poetry, which has been introduced above! Borrowing power means borrowing sound and meaning. For example, in the first couplet, "The third base of Xiyue is white, and the water in the South Lake shines on the long bridge", the words "white" and "green" in Du Fu's Seven Laws "Wang Ye" are not a working pair, but "green" and "green" are homophones, so "white" and "green" are opposites. The word "borrow" here refers to borrowing only "sound" but not "meaning", which makes people think of another word because of homophonic, and does not involve changing poetry. Another example is Du Fu's poem "Wine debts are common, but life is seventy years old and rare". "Ordinary" and "seventy" are not relative originally, but "Qiu" and "Heng" are ancient units of length, with eight feet for seeking and two feet for constant. In this sense, "ordinary" contains the concept of numbers, so borrowing here is relative to "seventy". Of course, this does not involve changing poetry. The former borrows "sound" and the latter borrows "meaning", both of which are borrowed. Running water pair means that the relationship between two opposing sentences is not antagonistic, but the same meaning is continuous, just like running water is inseparable, but it is still relative in part of speech and structure. As I wrote in "Shanghai Property Market", "a thousand things in one garden rise twice in three years" is a flowing couple. The above introduces the basic meter of modern poetry, and the attitude towards meter should be: admit meter, master meter, and break through meter for ideological content when necessary. Only in this way can poetry serve me and become the master of poetry. Generally speaking, the mandibular joint and the neck joint of metrical poetry must be right, and besides the first and second joints, the arrangement of rhyme feet must also be right. In metrical poems, especially in the five laws, sometimes antithesis is not opposite, which belongs to the unique style of metrical poems and should not be advocated. But there are also couplets, such as Du Fu's "Spring Watch" and "A leopard cannot change its spots". There are also couplets, such as Du Fu's poems. There are also all opposites, such as Du Fu's "Ascending the Mountain" (apes whimper in the high wind). The quatrains do not require antithesis originally, but there are also antitheses, such as Du Fu's Eight Arrays (The Three Kingdoms are divided, which has been bound by his greatness, and the Eight Faces Fortress is built on his fame) and all antitheses, such as Du Fu's quatrains (Two orioles sing green willows). Du Fu's poems are the most skillful, so it is suggested that poets start with Du Fu's poems. If the antithesis of modern poetry is used well, it can make poetry colorful. However, excessive pursuit of the neatness of confrontation will inevitably bind the mind, which should be treated correctly and not neglected.
Note: The above quotation is from Baidu Encyclopedia, and I have made some changes. If you want to learn metrical poems, I suggest reading Ancient Chinese, which has a very detailed discussion.
Modern poetry, also known as "vernacular poetry", is a kind of poetry. Compared with classical poetry, it is generally not restricted by format and rhythm. The discovery of modern poetry can be traced back to the late Qing Dynasty. At that time, some poems imported from the west began to be translated into vernacular Chinese, but these works were not very big, so little was known. 1953 used the name of modern poetry for the first time-it was established when Ji Xian founded the Modern Poetry Society. The main schools of modern poetry are Crescent School, kuya School and Misty School. I don't need to describe it here.
The form of poetry is just a carrier, serving the ideas you want to express. Of course, the knowledge inside still needs us to learn and master.