Taiping Liu
The last lesson of this advanced seminar on "General Principles of Common Law" was arranged for me to preside over. Strictly speaking, it is not a "class". It can only be regarded as my experience in studying the general outline in combination with years of practical experience in creation and evaluation. The topic I want to talk about is "establishing a scientific concept of couplets and promoting the creation, appreciation and evaluation of couplets". Some gentlemen once equated couplets with the laws of nature and thought that couplets were the first in the world. What they said was too "scientific" was of course inconsistent with the facts. However, there may still be some gentlemen who will say that "cheap law" is a conventional literary law and seems unscientific. As far as the rules are concerned, this statement does make sense. However, when we examine the history of this convention and why it came into being, this discussion is objective and scientific. Just as everything has a process of development, couplets have also experienced a complex historical process of origin, germination, emergence, development and maturity. Synchronized with the development history of couplets, the internal form requirements of couplets-that is, the rhythm of couplets we call today-are also in the process of continuous development, enrichment, sublation and perfection, and this process. Things can only apply their corresponding laws in different development periods, and there is no law a priori in the next stage, especially the literary genre of couplets.
The style of couplets did not appear overnight, but went through a long process from spontaneous to conscious. To paraphrase Mr. Lu Xun, "There were no couplets in the world, but many people wrote them." The linguistic basis of couplets is the rhetoric of couplets since ancient times. Before the appearance of antithetical couplets, the rhetoric of antithetical couplets has always been the basic skill of poetry, parallel prose and other literary creations. In order to master this skill, dual rhetoric education has been the most important content in children's enlightenment education since the Tang and Song Dynasties. In the short-to-long antithetical training, some very subtle antitheses, such as "Xanthium sibiricum" and "Pulsatilla", and some famous people's intentional or unintentional antitheses, such as "Lu Shilong in the Cloud" and "Looking for a Crane in the Dawn", are widely circulated because of their humor, which is the source of humorous antithetical couplets. However, such works can only be regarded as the lowest form of couplets, which is somewhat different from the requirements of mature couplets. Practical couplets in folk sense occasionally appear. In the Northern Song Dynasty, only Meng Chang and Su Shi wrote couplets with peach symbols. At this time, the style of couplets is in what we call spontaneous stage, and the author has no subjective intention to create couplets. It was not until Zhu's creation in the Southern Song Dynasty that we began to have a hazy cultural awareness of couplets. When we see couplets everywhere in our lives, we will take it for granted that couplets can be seen everywhere in the lives of the ancients. In fact, this is not a historical fact at all. A clear understanding of couplet style should begin in Li Kaixian and Yang Shen in the middle of Ming Dynasty, and then couplet style entered the conscious stage.
First, the development history of the joint table
The rhyme of couplets is the basic formal requirement of couplets as an independent style. The rhyme of couplets is not an objective stipulation that existed before the couplet style, but only a summary of the basic formal requirements of couplets that the previous generation of couplets followed in their creative practice. The scientific and systematic metrical study of couplets is an important cornerstone of the construction of couplets in China.
Because couplets are born out of regular poems and parallel prose, they constantly absorb the formal elements of various styles in the process of development, so different language styles have different requirements for the form of couplets. Because couplets are produced by folk customs, they have been living in the gap between folk literature and mainstream literature for thousands of years. From elegance to vulgarity, the team of writers is very complicated, from emperors to generals, from literati to ordinary people, and everyone follows different stylistic norms. It can be said that the style of couplets has not yet formed such strict rules as metrical poem "articles have definite sentences, sentences have definite words and words have definite sounds", but the style of couplets obviously has basic formal norms, but the norms in everyone's mind are slightly different. Let's put aside the preconceived "norms" and analyze the formal requirements of couplets from scratch in the order of the development history of couplets.
1, harmonious couplets and their formal requirements
In order to fully understand the culture of couplets, we can divide the connotation of couplets into three parts: harmony, practicality and literariness. Among them, Hehe couplets are the earliest and most widely circulated, and the metrical requirements are also the most complex and broad. Generally speaking, harmonious couplets pursue dual ingenuity in form. As for melody, some works are relatively standardized, while others are basically not particular about it.
The appearance of harmonious antithesis can be traced back to the couplets of "Lu Shilong in the clouds and Xun in the sun" in the Western Jin Dynasty. Today, this couplet is quite satisfactory in melody, but because there was no "four-tone theory" at that time, it can only be considered as an accidental coincidence. Since then, harmony has spread to all generations, and in melody, it is between talking and not talking, as contained in Wei Juan's Mei Qing Poetry in the Yuan Dynasty:
"Three Lotus Poems" says, "Or rich Duke Zheng served Liao, and the emissary said,' Climbing the peak of chicken eggs early is as dangerous as eggs." A: The Zhang family in Taishan spent the night. He also said,' wine is like a thread, because the needle is what you see.' Rich replied, "Bread is like the moon, but it becomes scarce when it meets food." "
The first couplet of Answering the Envoys of Fu Bi and Liao Dynasty has a relatively harmonious rhythm, while the latter couplet focuses on the double rhetoric of homophonic pun with irregular tone. This situation has been developing to the present era. For example, Cao De the Cow in Biyetian is completely in line with the rhythm, while Shanghai Tap Water Comes from the Sea has no tone, and its requirements for sentences are of course limited to the end of the level tone.
Liang Zhangju was the first to realize the great difference between "Bridge Pair" and "Couplet" in form. He compiled "Qiao Dui Lu", which is a collection of Qiao Dui and Qiao Dui. His practice has great reference significance for us to sort out couplet rhymes today, that is, to exclude the formal requirements of harmony and ingenuity from couplet rhymes. In practical application, when harmony elements are involved in general couplets, we can allow the limitation of melody to retreat to its width. For example, Lindong Academy Union: "The wind and rain sound the sound of reading, and the sound is heard; Family affairs and state affairs, everything cares. "
2. Poetry antithesis and its rhythm.
Rhyme is the main source of couplets. It can be said that the original couplet completely inherits the metrical requirements of the two couplets in rhyme. We can see "Qing Yu New Year's Eve, Celebrate the Festival" from the earliest Spring Festival couplets. Changchun believes that it not only inherits all the dual metrical forms of five-character metrical poems, but also inherits the difficult way of metrical poems, and writes "flat" as "flat".
From Song Dynasty to Yuan Dynasty, couplets were always in the period of coexistence of "Fu Tao Poems" and "Fu Tao Spring Festival couplets". It should be very common to extract antithetical couplets from previous or contemporary poems as Spring Festival couplets, such as Lu You's theme of Book Nest, and "Never see the ancient and modern volumes; A window is dim, sending a fleeting time. "This is a poem written by himself. It is said that Zhao Mengfu once wrote Spring Festival couplets for Kublai Khan: "The sun and the moon are both virtuous and the mountains and rivers are strong." Chen's poems in the Southern Dynasties. Therefore, the self-written couplets of five or seven words in this period are no different from the requirements of metrical rules, such as "Cangzhou Jingshe Topic" written by Zhu in the Southern Song Dynasty: "Love Jun, love Taotai; Worrying about the country is willing to be rich. " Another example is "Spring Post" written in Yuan Dynasty (y incarnation): "Just rely on Dongbi Bookstore; The heart is in the mountains and rivers of the West Lake. " They all belong to the relatively standardized sentence patterns of rhythmic poetry.
There are only two rules in the rhythm of metrical sentence patterns: one is that even flat sentences appear alternately, which is often called "even flat pole", and the other is that a word opposite to even flat sentences is added behind or in front of the last rhythm unit to form odd sentences, which is far superior to even flat sentences in tone. From these two laws, it can be concluded that there are only the following two types of regular poetic sentence patterns (taking seven words as an example): "Flat, flat; It's flat and flat. " And "plain; It's flat and flat. " Since the Ming and Qing Dynasties, it has been a very common phenomenon to write five-seven-word couplets with rhythmic sentences, except for a few seven-word couplets with skillful pairs and three-four structures or five-word couplets with one-four structures. Proceeding from this tradition, when we create five-character and seven-character couplets today, we'd better try our best to choose the standard sentence patterns of these two kinds of metrical poems.
3. Parallel prose antithesis and its rhythm.
Parallel prose is another source of couplets. Compared with prose, parallel prose is mainly characterized by four or six sentence patterns, emphasizing antithesis and sentence opposition, and emphasizing the alternation and opposition of parallel prose in phonology to achieve phonological harmony. The article "Wen" in "The Whole Tang Poetry" records:
Li Yishan said, "It's a couplet. As the saying goes,' Far better than Zhao Gong, killing the city in thirty-six years', but there is no even sentence." Wen said, "Why not say,' Let's get close to Guo Ling and enter the book in twenty-four years'".
Wen's response to Li Shangyin is a standard parallel prose sentence. Of course, according to Liang Zhangju's classification, this couplet can only belong to a "clever pair" of names, not a formal "couplet".
The standard four or six sentences in parallel prose can be grouped in pairs like metrical poems, but in many cases, the sentence pattern will be changed because of the function words, so we can't use the method of parallel prose and parallel prose alternately mechanically, but discuss the alternation and relative of rhythm points according to the actual semantic rhythm.
The couplets of early parallel prose sentences should be based on Zhu's works in the Southern Song Dynasty. Conghua couplet contains:
There are still many couplets posted on the Complete Works of Zhu Zi ... Li Anyun of Mingluntang, Jianning Fu Xue said: "Learn from ordinary teachers, live in a safe house and stand at attention; He is a priest, and he entered the ritual door from the righteous way. " Li Anyun of Xuemingluntang in Songxi County said: "Learning to be excellent is an official, such as the phoenix is auspicious, and the dragon and tiger change; Virtue gives birth to people, such as rain and dew, thunderous.
The characteristic of these two couplets is that they pay more attention to the end level of each sentence, but not to the alternation and relative level of the end level. In the Ming and Qing Dynasties, there were more and more authors of parallel prose couplets, and Yang Shen, Li Kaixian, Xu Wei and Li Yu all had similar works. The prosodic feature of their couplets is to ensure that the sentence feet are flat, and parallel prose is generally arranged alternately and relatively according to the semantic rhythm, but sometimes it is not alternating or even relative, which shows that parallel prose also exists.
4. The influence of lyrics, ancient prose and vernacular sentence patterns on couplets.
Since the Ming and Qing Dynasties, more and more writers have devoted themselves to the creation of couplets. Influenced by their stylistic preferences and language habits, the sentence features of couplets are gradually eroded by various styles. As the mainstream literature in Song and Yuan Dynasties, Ci and Qu first influenced the sentence patterns of couplets. The most obvious feature is that the protagonist in the word and the clip word in the middle of the word are introduced into the couplet, which can play the role of the protagonist, and the clip word is mostly a function word, which can adjust the rhythm. Due to the intervention of these factors, while enhancing the stylistic expression of couplets, it also makes the metrical requirements of couplets more complex and broad, because the metrical requirements of the protagonist's lattice in words are wider, and the lines between lines can basically be even and even in music. The influence of lyrics and songs on couplets is also manifested in the fact that the alternation of flat and flat words in sentences does not necessarily follow the rhythm of every two words, such as six sentences "Where to wake up tonight" and eight sentences "It should be a beautiful scene in name only".
With the evolution of the art of couplets, ancient Chinese brushwork has also been introduced into the creation of couplets, among which Zeng Guofan is the most famous, and his masterpiece is as follows: "Nothing is easy in the world; How can there be free time in the world? " Another example is Tang Peng's couplets, which were once called the best works in ancient Chinese by predecessors: "It is not enough to write a book in 200,000 words; It has spread throughout Kyushu, and its name has followed. " With ancient prose as the link, I pay attention to meaningful writing, but I don't want works, I just want my own works. In terms of tone, only pay attention to the important rhythm points at the end of the sentence and the sentence, regardless of how many words are eaten as food, and the span is large, which can achieve endless and gloomy effects.
After the May 4th New Literature Movement, some co-authors tried to use vernacular couplets as couplets. In the Republic of China, Chen Yiquan compiled a book, The Complete Works of Vernacular Couplets, which included thousands of works. Nowadays, the most popular vernacular couplets, such as Tao Xingzhi's couplets, "Come with a heart, go without grass." Mao Zedong United "The world belongs to us, and we need everyone to do things." Wait a minute. At present, it is hard to say how many successful works have been made in vernacular couplets. In form, they tend to pursue simplicity and fluency, while in duality, they tend to be correct or semi-correct. In melody, they can be as wide as the end of a sentence, and the rest are lacking in statutes. Cai Dongfan's China traditional couplet practice? The preface says:
Vernacular writing is popular recently, or there are some vernacular works on it. It's right to speak in vernacular Chinese secretly, which is especially difficult than classical Chinese, but the vernacular couplets I have seen are just vernacular Chinese, and there is no law of couplets. Those who can use vernacular Chinese as couplets are not yet famous.
The above analysis basically summarizes the outline of the development and evolution of couplet law. Couplets have gradually formed their own language characteristics and basic rules and regulations after combining poetry, music, prose and ancient Chinese style. As Xiang Yi published in 1923, "Six Monuments, Buddhist Shrine, Your Mountain and Couples?" The couplet miscellaneous compose says:
The five or seven words in the couplet are also poetic; Four or six characters, four or six bodies; Four-character people are also famous for their style. Regardless of temperament, long and short sentences are also prose; Its theory of temperament, parallel prose style also. Although it is used in combination and has different styles, it is tasteless to use more than four or six sentences. When the lengths are used together, it can be seen that the flow is decreasing (dànɡ). If you don't do it vigorously, you can't be bold. It is easier for a husband to be good at poetry syntax because he is in the mood of words.
1926, Qin tongpei wrote a book "guide to writing couplets", in which a chapter was devoted to the method of couplets. He divided couplets into three types: poetic style, essay style and colloquial style, and poetic style was divided into poetic style and poetic style. Because of the different rhythm of language, the temperament is also different.
In the late 1940s, Li Chengyu also made a similar statement in "Don't build couplets late":
There are some classics, some history, some essays, some poems, some lyrics and some lotus flowers. The author's idea is to cut clothes according to materials.
Among the couplets writers since the Qing Dynasty, the writers who insist on the right-of-center are generally mainly poetic languages in function words or languages with less parallel prose. They pay attention to the combination of even and odd sentence patterns, and use more sentence patterns such as "47", "57" and "547", without or with less leading words, giving people a sense of solemnity and elegance. This kind of antithetical couplet completely follows the poetic style in form. Other writers who flaunt their individuality and like to win by surprise often use parallel prose, even ancient prose, and the syntax and sentence patterns of poems, use more words, correct themselves, and increase their arrogance with a sonorous tone. Such joint work is relatively free in terms of rules, but it always has its own statutes, that is, things are written and the situation is qualified. If couplets have their own "meter" different from the rhythm of poetry, such couplets should be typical representatives.
In addition to the above-mentioned mainstream forms, it is an unavoidable objective reality that metrical requirements are diluted by the influence of slang, spoken language and vernacular, and relaxed by the pursuit of writing skills. As far as specific authors and couplets are concerned, the formal requirements of couplets range from extremely strict to extremely wide, and there are different conditions for continuous delivery.
Second, the research history of the joint law
Couplets can be said to be a mature style in recent years. As far as the publication of couplets is concerned, the earliest couplet is "A Man at the Foot of a Mountain is Stupid" by Li Kaixian, a Jiajing scholar in Ming Dynasty. As far as the object of couplets is concerned, the earliest couplets calligraphy works we can see can only be traced back to the middle and late Ming Dynasty. Therefore, couplets are almost the latest literary form in the history of China's literary style development.
There are only a few words in the preface and postscript of Li Kaixian's couplets in the Ming Dynasty: "Zhonglushan people continue to pair?" Foreword:
In ancient times, those who were correct in words were not correct in heart, but naturally came into being when they met, and Yi Shu's poems were handed down from generation to generation. Later generations restrained the melody, classified it, cracked down hard, and smoked yellow dialogue, which naturally meant ridiculous.
Although there are criticisms on the metrical requirements of couplets here, we can see that the so-called metrical requirements are also "temperament" and "classification".
The Qing Dynasty is the stage when all kinds of traditional literary styles in China reached their peak and maturity, and the new antithetical couplets reached their peak by using this era. Kang Gan has been in office for a long time, and those in power need a literary form to decorate the peace, so couplet has become a "remarkable study" created by literati and celebrities.
Although the style of couplets reached unprecedented prosperity in the Kangxi period, no one collected, sorted out and studied these works in this way. During the reign of Kangxi, Wang Sheng wrote in "Selected Classics? The preface says: "Words and words, life and death, truth and falsehood, fluency and seiyuu should be consistent, that is, the object of meaning and the subject and object must be indistinguishable enemies." The metrical requirements mentioned here should be the metrical requirements of double-base training for poetry and prose, including couplets but not focusing on couplets. Wang Ji, Wang Sheng's nephew, said in the postscript of the book: "Anyone who writes four or six characters is quiet and high-pitched, and the words are not true or false, and they are all ignorant of the teachings." More obviously, his "method of reform" is aimed at parallel prose writing. In addition, this book is full of humorous couplets, and there are many cases where the form requirements are very broad because of ingenuity.
Until the Daoguang period, Liang Zhangju compiled a series of couplets in Conghua, which initiated the couplets' works, which can be said to be the beginning of a systematic study of couplets' styles. Liang's systematic research on the style of couplets is mainly reflected in the source, technique and language style of couplets, but little attention is paid to the basic level of couplets. The book only commented on a pair of couplets, saying, "It's a pity that the characters are asymmetrical and even not harmonious." Such a sentence. After Liang Zhangju, Lin Qingquan wrote the Record of Couplets. This book rarely talks about the metrical aspects of couplets, which quoted a passage from his father, Lin Changyi: "Where couplets are long and short, there must be rules, so it is advisable to get rid of artistic words. If it is illegal, that is, five words and seven words, straight two sentences. " Whether "having laws" here refers to language style or metrical requirements is actually very vague. Another thing to point out is that Mr. Yu Dequan has such a passage in On Unicom:
Lin Qingchang said; "Where a flat tone is used, the top sentence is also flat; If the sentence is pronounced with a hyphen, the link at the top will also be pronounced with a hyphen. By analogy, the syllables are all leaves (xié). " (Lin Qingquan's Couplet Record) In other words, it is "flat top and flat top". This application law of couplets is called "horseshoe rhyme", also called "horseshoe lattice".
In fact, this sentence can't be found in Lin Qingquan's Couplets Record. Did the Qing people say this sentence? Who said that? We can only be suspicious until we see credible information.
After the Republic of China, the style of couplets was less impacted by the New Culture Movement, and a large number of couplets and couplets were published. However, the discussion of rhyme in couplets' works still stays in a few words. For example, in Wu Gongheng's Lian Tan, there have been several statements such as "Chu N", "less tune" and "flat harmony", and even the references to "good law" and "improper law" have been mentioned, but the systematic joint plan has not been mentioned. It is worth mentioning that this book reveals Zhu Zhizhi, one of the footnotes of Changlian, by recording a conversation between the author and his teacher, Uncle Zhu Yao:
He asked again, "Is writing a few words tiring, as smooth as writing a poem?" "No," he said. A couplet is ten sentences long. The first nine sentences in the picture are flat, and the last sentence is flat, which is contrary to the picture.
There are some other couplets, such as "Couplet Newspeak" written by Lei Yan, which is about the taboo of irregular double-line characters, and there are other couplets. Xiangyi's "Six Monuments Pit in Guishan" couplet? There are also some chapters in Couplet Miscellanies, such as "couplets have their own rhythm" and "couplets have their own antithesis" and so on. Although it is not systematic, it has been discussed in detail.
In addition to the works of couplets, several popular books were published during the Republic of China. Because these books are intended to guide beginners to make couplets, they comprehensively describe their formal requirements for understanding couplets-close to what contemporary people call "couplets".
1, Cai Dongfan's "China Traditional Couplet Exercise"
This book is divided into three parts: system, material, format and annotation. The first volume of the book is about the formal requirements of conjoined bodies. The author summarizes it as three: "The system of couplets is different from three: one is homophonic, the other is even sentence, and the third is modifier."
About "homophonic", that is, the so-called "leveling" The author lists two fixed formats of five-character couplets and seven-character couplets. The nonstandard format is called "Jugu" or "Antique" by the author, and the tone can range from wide to flat tone that only pays attention to "waist eyes" and "evil feet". After that, it introduces the flat format of multi-clause couplets, which is roughly the same. Regarding the principle of plane arrangement of long sentences, the concept of "section" introduced by the author is equivalent to what we call dividing levels and paragraphs. The foot of a sentence is flat, and each paragraph is staggered and stuck between the upper and lower paragraphs. The author said: "The longer the couplets are, the more sections there are. Each section begins with one sentence and ends with four sentences. If the last sentence of the previous section is flat, then the next section should be flat, and its usage is the same. " . However, you should always use the word "pout" at the end of a sentence. At the end of couplets, the word "ping sheng" is always used: this kind of fixed couplets is also a common practice. "The arrangement of this kind of feet is closely related to the content of the joint work. It is reasonable to alternate flat and even words by section, and pay attention to the connection between sections, unlike the horseshoe rhyme, which only mechanically alternates flat and even words.
Regarding "even sentences", he emphasized: "Couplets are especially dual, otherwise they will not be couplets." The dual method is nothing more than matching words of the same kind with words of the same kind. It is worth noting that the concept of parts of speech from western linguistics and the concept of parts of speech in ancient China confronted each other for the first time in his works: "Scholars who used to write never focused on parts of speech. The first is to distinguish between true and false, such as nouns, static words and exclamations, which are mostly called content words; Prepositions, conjunctions and auxiliary words are often called function words; Verbs, adverbials and pronouns are virtual and real. " He believes that duality should ultimately be based on the traditional relativity of reality and reality: "The method of combining pairs does not need to be limited to today's literary works, but is consistent with the practice of combining content words with content words and function words with function words. Scholars specialize in the authenticity of words and the flatness of sounds, thinking that the combination of pointers is enough. "
In terms of "modifying words", Cai Dongfan only put forward the criterion of "cutting sentences should be particularly simple and using words skillfully". Regarding the relationship between the style and content of couplets, the author thinks: "Couplets pay more attention to form and meaning. Words are harmonious and even, and sentences are dual, which is a formal model; As for the meaning, it is also necessary to do so. " Therefore, Cai Dongfan's couplet law can basically be summarized as "word harmony and occasional, sentence duality". The method of making couplets mentioned in this book is still very useful today.
2. The practice of couplets in Wenguang Bookstore.
This book is only compiled by the editing unit, not the author, and is the opening of the eight-volume series of couplets compiled by Wenguang Bookstore. In the chapter "couplets and poems", this book clearly points out four stylistic differences between couplets and metrical poems: "The length of couplets is not limited, as long as you want, as long as you want, depending on your own wishes." "Although couplets are also flat and level, you will never remain calm, just pay attention to whether the tone is appropriate." "Although the advantages of couplets are only three or four short words, they can also convey the overall meaning, and sometimes the shorter they are, the more natural, subtle and interesting they feel." "Couplets are conjunctions, meaning integrity rather than fragments."
In the chapter of "the level of couplets", the author thinks that "couplets are one of the rhymes" and "the next word is also flat. It is flat and flat, and the couplets it constitutes are naturally smooth, clear and turbid. " At the same time, the book also pointed out: "In a couplet, a flat voice is used somewhere and a flat voice is used somewhere. It should be used according to the intention and tone, and the rules are not dead. If there is a rule that can't be slightly violated, it is that the last word of the first part of the couplet should be silent and the last word of the second part should be flat. "
In the chapter "antithesis of couplets", the author puts forward: "Every word in couplets should be not only flat, but also opposite from top to bottom, that is, all forms and spirits should be accurate. It belongs to the Dharma and has endless changes. " "Specifically, nouns should be nouns, verbs should be verbs, and adjectives, function words, reduplicated words, reduplicated sentences, more than two words and other words should be compared with the same example." Although the author uses grammatical words such as nouns, verbs and adjectives, he makes a further distinction. In addition to nouns, he also divided verbs into "internal verbs" and "external verbs" and so on, which were very finely divided. It can be said that this book's discussion of duality is a dual theory of blending Chinese and western, and its gains and losses are also mixed.
3. Li on the art of couplets.
This book was written by Li of Shuangliu County, Sichuan Province, published in 1923, and later entered the first volume of the couplets series.
In the "Practice" section, the author said bluntly: "The practice of couplets is nothing more than the harmony of sound and rhyme and the emphasis on antithesis." This book has a section on "Metric", which holds that "Metric cloud, that is, certain format rules, is the first step to proofread couplets." After listing in detail the common formats of five-character couplets to twelve-character couplets, the author added: "Sometimes it is not necessary to stop using idioms, as long as the words at the end of the upper and lower sentences are equal or equal, it is impossible." If couplets can be changed at will, but have a certain rhythm, you can fan every breath with a flat voice and every breath with a silent voice, and it will be over; Every time the next fan blows, it ends with a silence, and then the next fan is finished. "This illustrates two points: first, in the author's mind, if idioms are used as antonyms, the rhythm in a sentence can be so wide that only the end of the sentence is flat; Secondly, the author advocates the "Zhu rule" of long conjunctions.
4. "Simple method" to keep photons.
This book is published every year 1922, and then compiled into the first volume of the couplet series.
In the chapter "essentials of couplet practice", the author first makes it clear that "couplets should have two aspects, one is the harmony of phonology, and the other is the neatness of antithesis." In the following detailed description, the author introduces the methods of arguing four tones and adjusting the parallelism, and later emphasizes that "it is not necessary to use idioms flat, or the last word of the upper couplet is flat, and the last word of the lower couplet is even, which can be regarded as the ear of the couplet." When talking about duality, the author said: "For beginners, the word" level "can be reconciled, especially for antithesis." Then, the subcategories of 29 notional words, such as astronomy, geography and season, are classified, and finally a conclusion is drawn:
According to the above explanation, you can get a general idea. If you want to make couplets, you must learn them correctly first. From the second word to the fourth word and the fifth word, you have finished the couplet. Sometimes, if you feel that you are slow to move and can't find the right one, you can bring it up from the above categories. The first word of the couplet can be flat and even, and the third word of the seven-character couplet can also be informal. However, idioms can be used to make up.
Behind this book, there are discussions such as "Five Essentials for Beginners to Work Together" and "Ten Taboos for Beginners to Work Together", which are very beneficial to novices.
5. Qin Tongpei's Guide to Writing Couplets
This book was published in 1926 by Jiangsu Qin Tongpei, and later compiled into the first volume of the couplets series.
The first chapter of this book is "the rhyme method of couplets". The author pays more attention to the waist and tail of sentences in the rhyme of couplets:
Couplets are just antithetical sentences, and there are many sentences. However, rhyme, as a disguised form of ancient long and short sentences, does not have to be as flat as the words in metrical poems. For the most superficial, you just need to pay attention to the end of the sentence. The most important sentence, waist flat, tail wide, waist flat, tail flat. The rest can sometimes be informal. The so-called sentence waist depends on the number of words in a sentence.
After discussing the stricter "poetic law" and the wider "unusual cases", the author summarizes two rules of rhyme in joint sentences: "First, rhyme in joint sentences, and pay attention to every double word according to poetic law to make it even and flat, which is a formal tone. The second is the rhyme of the couplet, but pay attention to the eye words that can be paused in each sentence, so that the homophonic leaves are read, and everything else is convenient, which is an informal tone. " These two points can be said to be the earliest discussion on the relationship between "rhythmic rhythm" and "semantic rhythm" in later generations. As for the flat lines under long couplets, the author takes the flat lines (mainly flat single lines, not double lines with horseshoe rhyme) as a positive example, and the "Zhu Law" as a variant.
The second chapter of this book is "antithesis of couplets". The author thinks: "couplets are antithetical sentences, so we must pay attention to them in the antithesis." It is legal to match content words with content words, function words with function words, and reality with reality. However, although there are no rules in empty word, real characters have all kinds of established things, which are indispensable for beginners, especially important ones, such as numbers, colors, branches and years. Then, the book lists examples and analysis of various small types of work pairs.
The book also introduces in detail the specific methods of conjunctions, such as words, affixes, appropriateness and style.
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