Classical poetry is a kind of poetic style as opposed to "modern style". Before the formation of modern poetry, all kinds of poetry genres except Chu Ci were also called ancient poetry and ancient style. This is written according to the practice of ancient poetry, and the form is relatively free, not bound by meter. Informal and straightforward. The rhyme foot is wide, except for the rhyme foot of seven-character white and bright sentences, which generally rhymes with other sentences. The rhyme foot can be flat, flat or variable. There is no limit to the length of space. Sentences can be unified into four-character, five-character, six-character and seven-character fonts, or long and short sentences can be mixed and changed at will, which is miscellaneous.
There are many ancient poems with five words and seven words, which are referred to as "five ancient" and "seven ancient" for short. Miscellaneous words range from one word to many crosses, which are generally a mixture of three, four, five and seven words, mainly seven words, so they are customarily classified as seven ancient words. Since the Han and Wei Dynasties, Yuefu poems were originally accompanied by music, including songs, lines, songs and words. The Tang Dynasty imitated the previous Yuefu, such as Li Bai's Difficult Road to Shu, Du Fu's Three Officials, Three Farewells and Bai Juyi's New Yuefu, all of which were out of step and belonged to the category of ancient poetry. In addition, before the Tang Dynasty, there were quatrains with four sentences as the unit, or "ancient quatrains", and there were writers in the Tang Dynasty, which is also a kind of ancient poetry, which is different from the current quatrains that pay attention to the level.
There is an interactive relationship between ancient poetry and modern poetry in the process of development. In the late Northern and Southern Dynasties, some poems began to emphasize rhythm and duality, but they have not yet formed a complete rhythm, which is a form of transition from ancient style to modern style poetry, or "new style poetry".
Some ancient poems in the Tang Dynasty tend to be legalist. For example, Wang Bo's Tengwangge is an ancient poem, but it is flat and harmonious, with eight sentences, which are similar to two seven-character quatrains and two rhymes. After the Tang dynasty's metrical poems were finalized, the poets' ancient works were often integrated into the modern sentence pattern. Such as Wang Wei, Li Qi, Wang Changling and Meng Haoran, there are quite a few rhymes and couplets in the five ancient books. There are also many sentences in Bai Juyi's famous songs such as Song of Eternal Sorrow and Pipa Xing. However, some poets are consciously different from the modern style, often using awkward sentences and occasionally prose, and Li Bai, Du Fu and Han Yu have all created something. Later, scholars in Ming and Qing Dynasties consciously noticed the phenomenon that ancient poems were merged into regular sentences and strange sentences were used to avoid regular sentences. In Qing Dynasty, Wang Shiping thought that ancient poems were flat, so Zhao Zhixin, Weng Fanggang and others specially studied the tones of ancient poems. Their research has contributed to consciously distinguishing ancient and modern rhythms in poetry creation, but it seems far-fetched because it ignores the fact that ancient poems are mainly natural syllables, and even ridiculed as "it is useless not to treat them as secrets."
The concept of modern poetry;
Modern poetry can be divided into five words and seven words in sentence pattern; In terms of space, there are two kinds of metrical poems and quatrains. Rhyme can be divided into five laws and seven laws. The whole poem is * * * quadruple, the first two sentences are called the first couplet, three or four sentences are called the platoon couplet, five or six sentences are called the neck couplet, and seven or eight sentences are called the tail couplet. The middle two leagues demand confrontation. Two, four, six and eight sentences must rhyme at the end, usually in a flat rhyme.
Modern poetry, also known as modern poetry ("modern" and "modern" are Tang Dynasty terms), emphasizes strict meter. Modern poetry has four basic requirements: first, it stipulates the number of sentences and words; The second is to rhyme according to the prescribed rhyme department; Third, the words of the upper sentence and the lower sentence are required to be flat, right and sticky; Fourth, it is stipulated that some sentences should use words, that is, nouns to nouns, verbs to verbs, adjectives to adjectives, etc.
Modern poetry is divided into two categories: (1) regular poetry, which consists of eight sentences, five of which are called five-character regular poetry and seven are called seven-character regular poetry. (2) The quatrains consist of four sentences, five of which are called five-character quatrains and seven are called seven-character quatrains.
The difference between ancient poetry and modern poetry;
The number of sentences in an ancient poem can be more or less; Every modern poem has definite sentences, but there are only four quatrains and eight metrical poems. Ranked above the lawyer's sentence and made another statement.
Second, the number of words in ancient poetry is uncertain, including four words, five words, six words, seven words and miscellaneous words; Modern poetry and sentences have definite characters, and only five or seven words are popular, so they cannot be added or subtracted at will.
The rhyme of Sangu's poems is not rigorous, the rhyme foot can be even, and the rhyme can be variable; Modern poetry has a strict rhythm. Generally speaking, it should be balanced in sound and rhyme, rhyme to the end, and don't change the rhyme.
Four-style poems require a wide range of fluency in rhyme; Most modern poems have strict requirements on the level of words.
Five ancient poems do not require antithesis; In addition to quatrains, modern poetry also requires antithesis in a designated position.
[attention]
1 The rhyme of modern poetry is very strict. No matter quatrains, metrical poems or poems, they must rhyme to the end. Rhyme (also known as "falling rhyme") is a taboo in modern poetry.
Yunping is a positive example in modern poetry, and rhyming quatrains and metrical poems are rarely used. Yun's metrical poems are very similar to the ancient style, which can often be considered as "legalistic ancient style", because modern poetry is mainly based on flat rhyme after all.
In addition to the five laws and seven rhythms, there are occasionally some six-character poems, which are rare forms, just like the five-seven-character three-rhyme poems.
The characteristics of new poetry:
China's new poems came into being with the May 4th New Culture Movement, and China's literature entered a glorious modern period. Poetry after the May 4th Movement is regarded as an independent stage and a special part of China's poetry, which is called new poetry, not only because it belongs to modernity in time, but also because it reflects the modernization process of China's poetry and is a poem in the modern sense, which is also the reason why new poetry is new. As far as its mainstream is concerned, the characteristics of new poetry are as follows: (1) As a pioneer and column of modern literature in China, it is based on the socialist ideological trend under the enlightenment of modern democracy and scientific democratic culture, and shows its concern for the destiny of the people, the destiny of the people and the destiny of the country, and it has been strengthened in the personality of the subject of creation, the self-awareness of the object of description and the breadth and depth of socialization. (2) Taking changing the language of poetry as a breakthrough and vernacular as a weapon, it experienced a real "revolution in the field of poetry", broke away from the old tradition and consciously got rid of the strict rules of classical poetry, and finally realized "the great liberation of poetic style" and "changed from a poem very close to the old poem to a free new poem", thus forming a brand-new poetic form completely independent of traditional poetry and establishing a new tradition of modern poetry. (3) Since the new poetry takes the old poetry as the revolutionary object, it is bound to take the introduction of foreign forms as the poetry model. During the May 4th Movement, our new poetry basically borrowed from foreign poetry (mainly English poetry) "(Zhu Guangqian's" What does new poetry learn from old poetics ",so it is a new extension of the world's progressive literary tradition accumulated for hundreds of years". In the history of the evolution of China's poetry, it is precisely in this way that China's new poetry is constantly influenced by foreign countries and integrated into its own national style, so that it is more and more similar to foreign poetry in language casting and poetic art operation, and gradually increases its cosmopolitan color. (4) The new poetry really broke the old tradition and established a new tradition; But breaking and not breaking does not mean cutting, but sublating and absorbing, criticizing and inheriting, that is, bringing forth the old and bringing forth the new. If you don't bring forth the old and bring forth the new, you can't bring forth the new, and if you have nothing to push the old, you can't bring forth the new. The new poetry of each era is always created on the basis of folk songs and previous generation poems, absorbing new factors from other nationalities, but its root must be deeply rooted in the soil of social real life.
As far as people know, Hu Shi is the earliest pioneer of new poetry. Try vernacular poetry from1915-1916. From the beginning, he attacked in the direction of breaking the most stubborn language form of old poetry: "If you want to have new content and new spirit, you must first break the shackles of the spirit." He advocates that poetry should be "natural in language" and "how to write poetry". He once said: "Poetry should be written as a composition from the beginning of the poetry revolution". He called this "poetic exploration" an attempt, and summarized it as "the great solution of poetic style" (new poetic theory).