Wang Li's Poetic Metre is really good. It is better to read more books such as Poetics. Of course, there is no provision for even and flat meter in ancient style, but it is also a poetic rhyme with rhythmic requirements, also called horizontal rhyme. It is the standard rhyme book for writing both poems and words in the history of China. Lv Fayan in Sui Dynasty was divided into 206 four-tone rhymes, which was called "cutting rhyme" by the world and became the authority of rhyme books in previous dynasties. Following "Qieyun", during the Kaiyuan period of Tang Dynasty, Sun Kui was ordered to compile "Tangyun". Guang Yun was compiled by Chen Pengnian and others in the early years of Northern Song Dynasty. Later, Ding Du and others compiled Ji Yun. In the Southern Song Dynasty, Liu Yuan, a Pingshui person in Jiangbei, edited the rhyme of Renzi New Publication, which merged 206 rhymes into 107 rhyme. Because Liu Yuan was a Pingshui person, later people called him Pingshui Rhyme. But Liu Yuan's Pingshui rhyme has been lost. Before it was lost, Wang Wenyu of the Jin Dynasty wrote a book "A Brief Introduction to Pingshui Rhyme", which changed the rhyme of Pingshui Rhyme from 107 to 106, which became popular later. Because 206 rhymes are too thin to write poems, the Tang Dynasty stipulated that similar rhymes can be used together. The rhyme of "General" is similar to that of "Ping Yun Shui", which combines 206 rhymes into 106 rhymes. Therefore, "Ping Yun Shui" can not only explain the rhyme of rhymes in previous dynasties after publication, but also explain the rhyme of rhymes in Tang and Song Dynasties before publication. The rhyme of Pingshui 106 is divided into four tones: flat, up, far and forward. Among them, there are 30 prosodic rhymes, 29 super-prosodic rhymes, 30 prosodic rhymes and 17 entering rhymes. It is not a problem to write modern poetry with Pingshui rhyme, but in recent decades, the argument that Pingshui rhyme should be replaced by the so-called new rhyme of Putonghua has been rampant, so I have to say a few words on this issue:-Pingshui rhyme is an authoritative rhyme recognized since ancient times. Since the Tang Dynasty, it has been the only rhyme standard for poets and officials to write poems. There are many masterpieces handed down from generation to generation, which laid the foundation. What's the point of learning classical poetry and giving up Pingshui rhyme? You might as well write a new poem. -Pingshui Rhyme belongs to Guang Yun, which reflects the elegant sounds in the Central Plains during the Tang and Song Dynasties, and is a relatively pure Chinese pronunciation. Hanwang, as a call of China culture, should advocate writing China's classical poems with Pingshui rhyme. -Putonghua has been popularized all over the country, taking advantage of the language, and there is no need to protect it. In order to inherit the culture of our ancestors and prevent it from disappearing in our generation and becoming illiterate in classical poetry, we have the responsibility to advocate rhyme. For thousands of years, China's classical poems written by poets have a particularly mellow charm. This is due to the accumulation of culture, and we have no reason to refuse. Besides prosodic poems, there are even tones, which are the most important metrical elements in modern poetry. When we talk about the metrical elements of modern poetry, we mainly talk about flat tones. According to the characteristics of Chinese tones, the poet arranges a rhythm of alternating high and low, which is called "melody", and seeks the beauty of melody through the interaction of flat tones. Since modern poetry, leveling has been fixed as a rule. So what is leveling? As we all know, the tones of ancient Chinese are divided into flat tones, rising tones, falling tones and entering tones (Mandarin is flat tones, rising tones and falling tones). Flat tones are two major classifications of these four tones. Flat is a flat sound in four tones (upper flat and lower flat), and even a flat sound. Even the meaning of injustice. Of the four tones, going up, going and entering are all dull sounds. The tones of Putonghua and ancient Chinese are very different, and some people may find it difficult to master flat tones. But in fact, it is not difficult to master the level as long as you are a little careful. Yes Take Mandarin as an example, the tone is flat and the tone is flat. In ancient Chinese, some syllables were voiced, but they were pronounced in Mandarin. Some are silent. Now read it out loud. We don't care about this, it's all squeaky anyway. In the same way, the ancient entering tone characters are now turned into upper and lower tones, so don't worry about it, they are all boring anyway. Only words transferred to Yin Pingping and Yang Pingping need to be recorded, and such words are limited. People who speak Wu dialect, Min dialect, Cantonese, Hakka dialect, Xiang dialect and Gan dialect can easily distinguish Pingdiao, because there are Rusheng tones in their dialects. Even in the northern dialect area, there are many places where the entering tone is preserved. Therefore, after some study, it is not difficult for people in various places to distinguish the tone. Here, I want to focus on entering tone. Since there is no Rusheng in Mandarin, what kind of tone is Rusheng? How to read it? Troubled many people. There was no recording equipment in ancient times, and we can only know that Rusheng is a short tone from the description of Rusheng by the ancients. For example, in Yuan He Yun Pu, Chu Zhong in Tang Dynasty said: "Rush into the tune and straighten it", while in Ming Dynasty, the vacuum monk said: "Rush into the tune and make it short and urgent", and in Argument, Gu, a famous anti-Qing scholar in Qing Dynasty, said: "Rush into the tune and make no sound". These all emphasize the characteristics of short tones. According to the ancient literature and the existing entering tone in modern Chinese, and referring to Chinese loanwords from Japan, Korea and Vietnam, modern phonologists have come to the conclusion that entering tone in the Middle Ages is a kind of "promoting tone", which is closely related to the ending of the stop tone. Described by the symbols of modern linguistics, the entering vowel has a consonant ending b [p] d [t] g [k] and a glottis [? ] 。 The first three exist in Cantonese, Min dialect, Hakka dialect and other dialects, while Wu dialect in Shanghai dialect retains only one throat.