Metric poems, including metrical poems and quatrains, are called modern poems or modern poems. The ancients called them that, and so do we now. Although they are actually very old, they originated from Qi Liang in the Southern and Northern Dynasties and matured in the early Tang Dynasty. Poems before the Tang Dynasty, except the so-called "Qi Liang Style", are all called ancient styles. Poetry that does not conform to the modern style after the Tang Dynasty is also called ancient style.
There are differences between ancient style and modern style in syntax, rhyme and level tone;
Syntax: The number of words in each sentence in ancient style is uncertain, including four words, five words, six words, seven words and even miscellaneous words (uneven sentences), and the number of sentences in each song is also uncertain, ranging from two to dozens and hundreds. There are only five words and seven sentences in modern poetry, eight in metrical poetry, four in quatrains and more than eight in quatrains, which is also called long-style poetry.
Rhyme: each song in ancient style can use one rhyme, or two or more rhymes, and it is allowed to change rhymes; Each song can only use one rhyme, and even the arrangement of dozens of sentences cannot be changed. Antique can rhyme in even sentences, or even sentences can rhyme in odd sentences. The near aspect rhymes only in even sentences, except for the first sentence, which rhymes with a flat voice and does not rhyme. Five words don't gamble more, seven words gamble more), and the rest of the odd sentences don't rhyme; Antique can rhyme smoothly; Generally, only flat rhyme is used in the near body.
Smoothness: The biggest difference between ancient and modern styles is that ancient styles don't talk about flatness, while modern styles pay attention to flatness. After the Tang dynasty, the ancient style also pays attention to flatness, but it is irregular and can be ignored.
Classical poetry is basically metrical, so the following is only about modern poetry.
Metric rhyme
The rhyme book used in the Tang Dynasty is Qieyun written by Sui Lu Fa Yan, and it is also the originator of all rhyme books in later generations. Song people added Qieyun to Guang Yun, with more than 200 rhymes. In fact, the rhymes used by poets in Tang and Song Dynasties are not entirely based on these two rhymes. Poets' rhymes in Tang and Song Dynasties are well reflected in Ping Yun Shui edited by Wang Jinwen Yu, and later poets' rhymes are generally based on Ping Yun Shui.
"Ping Yun Shui" has 106 rhymes, of which Pingsheng has 30 rhymes, which are divided into upper and lower halves, called upper and lower Pingsheng. This is just for the convenience of arrangement, and there is no difference in tone between the two. Modern poetry only bet on flat and even rhymes, so we only look at the rhymes of these flat and even rhymes (the first word of each rhyme):
Shang Pingsheng: Yidong, Erdong, Sanjiang, Sizhi, Wuwei, Liu Yu, Qiyu, Bayi, Jiujia, Shi Hui, Shiyizhen, Shi Wen, thirteen yuan, fourteen cold and fifteen deleted.
Xia Pingsheng: Yixian, Erxiao, Sanyao, No.4,, Liu Ma, Qiyang, Bageng, Jiuqing,, Shiyiyou, Shieryan, Qin, Yan and Xi 'an.
From these rhymes alone, we can see that ancient sounds are very different from modern sounds. Some of them belonged to different rhymes in ancient times, but now they can't tell the difference, such as East and Winter, River and Yang, Fish and Danger, True and Wen, Xiao, Yao and Hao, Salty and Salty, Geng and Qing, Cold and Delete, and so on.
If we look at the words in each rhyme, we will find the opposite situation: what the ancients thought belonged to the same rhyme does not rhyme at all today.
The rhyme of classical poetry can be mixed with the rhyme of neighboring rhymes, such as Dong Yi and Er Dong, Si Zhi and Wu Wei, which are called tongyun. However, the rhyme of modern poetry must strictly only use words with the same rhyme. Even if the number of words in this rhyme is small (called narrow rhyme), it cannot be mixed with words in other rhymes. Otherwise, it is called rhyme, which is the taboo of modern poetry. But if the first sentence rhymes, you can borrow adjacent rhymes. Because the first sentence can be put or not, you can bend the rules.
Modern people can of course write modern poems with modern rhymes. If we want to use Pingyunshui according to tradition, we must pay attention to the differences between ancient and modern sounds, especially when reading ancient poems. These differences can sometimes be distinguished by dialects, but they are not necessarily reliable, so we should read more and recite more.
Metric four tones
There are four tones in Chinese, which were discovered by scholars in Qi and Liang Dynasties. On one occasion, Liang Wudi asked Zhu Yi, "You scholars have been talking about four tones all day. What does this mean? " Zhu took the opportunity to kiss up: "It means' Long live the son of heaven'." The sky is flat, the son is rising, the ten thousand is falling, and the blessing is entering the tone. When the balance is balanced, it constitutes the four tones of middle ancient Chinese, and when the sky is high, it is called falling tone.
Among these four tones, entering tone is the most problematic. Liang Wudi then asked: "Why is the' Tian Zi Hand Test' not four tones?" Heaven, Confucius and the birthday girl are all flat and up and down, but the exams are silent, indicating that ordinary people at that time didn't know what Rusheng was.
So what is raw milk? It's just that my pronunciation is short and my throat is blocked. One ends with t, p, k, and the other ends with a throat plug? Done. In Minnan dialect and Cantonese, these four tones are still intact, but in Wu dialect, they all degenerate into less obvious tones. It's over. The entering tone ending with T, P and K is not really pronounced with T, P and K. When making a stop sound, you should first block your throat and then blow it out with air. In the incoming sound, there is only blocking and no ventilation blasting, which is called incomplete blasting. For example, stop in English, when American English pronounces this word, it's not really a P, just shut up and it's over. This is an incomplete explosion, which can also be said to be a tone.
In Putonghua, Rusheng has disappeared. Some Rusheng words with different pronunciations and rhymes read exactly the same today. For example, "b, Yi, Yi" belongs to four tones, thirteen digits and fourteen strokes in Pingshui rhyme, and there is no difference in pronunciation in Putonghua (if it is read in Minnan, it can be clearly distinguished and pronounced as ik, IT and ip respectively).
The disappearance of Rusheng also leads to the difference between ancient and modern tones. Some ancient Rusheng words have become the present Rusheng and Xiasheng words, which are still in Rusheng, so we can ignore them. However, some entering tones in Putonghua have become flat words (Yin Ping or Yangping), which deserves our attention. This is the word "fu" in front of "Long live the son of heaven". Common flat words are:
A picture: a picture.
Two paintings: seventy or eighty
Three paintings: Wu Xi.
Four pictures: What is the servant saying?
Figure 5: The white juice turn that jumps out of Tashi Stone Festival.
Figure 6: Bamboo blessing keeps cutting, cutting, cutting, killing and grabbing the tongue, and decides to eat sunseeker together.
Seven paintings: barefoot pawn, horn barge, breaking the burning butterfly, that is, sucking the robbery box.
Eight Paintings: Uncle Zhu Guoxue directly accused the Buddha of bending, pulling, scraping, pulling and chivalrous, and threatened to quit the butterfly and choose to shoot, analyze and brush.
Nine Paintings: Feeling (Awakening) Urgent Punishment
Ten paintings: crying over candles, catching enemies and peeling philosophers, and pinching thieves and ducks.
Painting 1 1: Who is blaspheming the clan? She pecked off Guo Ge's flute attack and accepted the job as a spy.
Twelve paintings: Chrysanthemum calf redeems porridge, uncovers the blog, cuts the kudzu raft, slides down, chisels the blog, chisels the ridge, cultivates it, makes it wet and black, and puts it on the cheeks.
Painting 13: Dave Du Fu hails from Xiebo Cave in Yi Xi, and the ciliary diaphragm collapses.
Painting 14: Finish painting, cut the mold and pick up the lizard.
Figure 15: An adult bat has a blind forehead, bare knees and butterflies.
Sixteen pictures: orange snow is thin and exciting.
Seventeen paintings: crickets and crickets
Painting 19: you
Twenty paintings: Japanese chewing.
People who speak dialects with tone reservation naturally have no difficulty in recognizing these tone words as long as they are pronounced in dialects. People who speak northern dialects can be induced to help identify them according to their phonetic components, such as "Wisdom Fofo Agbo Wisdom Fofo Agbo Bat" and "Fudge Stick", but most of them can only be memorized. Modern people can write old-style poems according to the modern four tones. However, writing old-style poems is originally because it is too ancient, and it is understandable that some people are willing to write according to the ancient four tones, so we should pay special attention to this kind of flat words. What should I do when reading ancient poems in Mandarin? I think, in order to keep the tone harmonious, we might as well pronounce it as a falling tone. The intonation is low. If you read it a little shorter, it will sound a little strident. In fact, some people are used to pronounce this kind of entering tone, such as "I, amplitude, radial", and many people pronounce it in a falling tone.
Metric sentence
Although there are four tones in Chinese, in modern poetry, there is no need to distinguish four tones like words and songs, as long as they are roughly divided into two tones. To cause cadence in tone, it is necessary to use flat voice and flat voice alternately so as not to be monotonous. Chinese basically takes two syllables as a rhythm unit, and the stress falls on the next syllable. The basic sentence pattern of modern poetry consists of two syllables, which are called regular sentences. For Wuyan, its basic sentence pattern is:
be plain and simple
or
Very flat, very flat.
These two sentence patterns have the same level at the beginning and end, that is, the so-called upper level and lower level, upper level and lower level. If we want to make some changes and change to a different level, we can move the last word to the front and become:
Flat and light.
It is flat.
Except for the special cases mentioned later, no matter how the five-character modern poetry changes, these four basic sentence patterns can't be found.
Seven-character poem just adds a rhythm unit in front of five-character poem, and its basic sentence pattern is:
Ordinary, ordinary, ordinary.
Flat and light, flat and light.
Very flat, very flat.
Flat and light.
No matter how you change the seven-character modern poetry, you can't recognize these four basic sentence patterns.
There is a rule in these sentence patterns, that is, each pair will be reversed: the level of the fourth word is opposite to the second word, and the sixth word is opposite to the fourth word, thus forming a sense of rhythm. However, every word can be reversed, because the stress falls on even syllables and the singular syllables are relatively unimportant.
When we write poetry, it is difficult to make every sentence completely conform to the basic sentence patterns. It may be possible to write quatrains, but it is almost impossible to write eight or even longer metrical poems. How to be flexible? Then it is necessary to sacrifice unimportant single digits and keep more important two digits and the most important last word. Therefore, there is a formula called "No matter whether one, three, five, two, four and six are distinct", that is to say, the levels of the first, three and five words (only seven words) can be handled flexibly, while the levels of the second, four, six and last words must be strictly observed. This formula is not completely accurate. In some cases, one, three and five must be discussed, and two, four and six may be ambiguous in some sentence patterns. We'll talk about it later, but let's first look at how to form a complete poem from these basic sentence patterns.
Metric bonding pair
We already know the basic sentence patterns of modern poetry. How do we form a poem from these sentences?
The sentences in modern poetry are two sentences, and every two sentences (one and two, three and four, and so on) are a couplet. The upper and lower sentences of the same couplet are called antithesis, and the upper and lower sentences of the couplet are called adjacent sentences. The composition rule of modern poetry is: antithesis and adjacent sentences stick together.
Contradiction means that the upper and lower sentences in a couplet are just the opposite. If the last sentence is:
Very flat, very flat.
The next sentence is:
be plain and simple
Similarly, if the last sentence is:
Flat and light.
The next sentence is:
It is flat.
Except for the first couplet, the last sentence of other couplets can't rhyme, and it must end with a sigh, and the next sentence must rhyme and end with a flat voice. Therefore, in addition to the first couplet, there are only two forms of antithesis in five-character modern poetry. Seven words are similar to this.
If the sentence on the first couplet doesn't rhyme, it's no different from other couplets. If both the upper and lower sentences rhyme and the ending is flat, then the first couplet can't be completely opposite, only the beginning and the end are wrong, and its forms are nothing more than two:
Flat: Flat and uniform.
It is flat.
From the beginning: from the beginning to the end.
be plain and simple
Let's look at the adhesion of adjacent sentences. Sticking means the same thing, but because the odd-numbered sentences ending in a flat tone are used to stick the even-numbered sentences ending in a flat tone, the head can only stick to the tail, not the tail. For example, the last couplet is:
Very flat, very flat.
be plain and simple
The last sentence of the next couplet must be posted on the next sentence of the previous couplet, and it must start with a flat voice, but it must end with a squeak, which becomes:
Flat and light.
It is flat.
Why do adjacent sentences have to stick together? The reason is very simple, that is, changing sentence patterns is not monotonous. If duality is relative and adjacent sentences are relative, it becomes:
Very flat, very flat.
be plain and simple
Very flat, very flat.
be plain and simple
The first and second links are exactly the same. Before the Tang Dynasty, the so-called Qi Liang-style rhythmic poems only talked about relativity, but did not know how to stick together. From beginning to end, they just repeated two sentence patterns. After the Tang Dynasty, there was no repetition of sentence patterns in quatrains, because both antithesis and the adhesion of adjacent sentences were emphasized.
According to the law of adhesion, we can deduce four formats of five-character quatrains:
First, the first sentence doesn't rhyme:
Very flat, very flat.
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Second, the first sentence rhymes:
Fairness and flatness (rhyme)
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Third, the first sentence doesn't rhyme:
Flat and light.
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
Fourth, the first sentence rhymes:
Flat (rhyming)
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
The five-character rhyme is similar to this one, except that four sentences are added according to the principle of sticking to the right. For example, the first rhyming five-character poem is:
Fairness and flatness (rhyme)
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
Very flat, very flat.
Flat (rhyming)
Flat and light.
Fairness and flatness (rhyme)
According to the law of fit, ten sentences and twelve sentences can be added infinitely, which becomes the law of exclusion.
Metric Isolated Tones and Triple Accents
The aforementioned "135" is not completely correct. In some cases, 135 must be discussed.
For example, five words and other sentences:
be plain and simple
The third word of this sentence can be ignored, or you can use a flat voice. But if the first word becomes slur, it becomes:
Even, even, even.
In addition to rhyme, the whole sentence has only one flat tone, which is called "loneliness", which is a taboo in modern poetry and rare in Tang poetry. In Du Fu's poem "Hanging Two Bows on the Arm", it is such a lonely and irregular sentence, which is called an embarrassing sentence. Lao Du intentionally wrote many awkward modern poems, and this exploration is another matter.
What if the first word must be slurred? You can change the third word into a flat voice at the same time:
Just plain, just plain.
This avoids loneliness. This practice is called difficult to save, which means to avoid difficult sentences.
The so-called "loneliness" refers to the flat and even sentences (that is, rhyming sentences). If it is a flat sentence, even if there is only one flat word in the whole sentence, it is not lonely, but at most it is an awkward sentence. For example, changing the word "even" to "even" is not a crime and can be used.
There is also a situation, that is, a five-character flat sentence:
It is flat.
In this sentence pattern, the first word is even, and the third word cannot be flat and muddy. If you use a flat voiced word, it becomes:
It is flat.
There are three tones at the end of the sentence, which are called "three tones". This is a special form of classical poetry, which must be avoided as far as possible when writing modern poetry, and it cannot be remedied.
Similarly, the first and third words of the "flat" sentence can be flat, but the fifth word can't be flat, otherwise it will become a three-level tone.
As long as isolation and leveling can be avoided, "135 regardless" is completely correct.
Metric duality
These four verses all have a specific name. The first couplet is called the first couplet, the second couplet is called the platoon couplet, the third couplet is called the neck couplet and the fourth couplet is called the tail couplet. According to the regulations, parallel couplets and neck couplets must be opposite, and the first couplet and the last couplet can be right or wrong. These two quatrains are also right or wrong. The first couplet in the arrangement can be right or wrong, the middle couplet must be right or wrong, and the last couplet can only be ended if it is wrong.
The first characteristic of duality is that syntax should be the same.
The second characteristic of duality is that you can't use the same words to oppose each other. The antithesis like "people have joys and sorrows, and the moon is full of rain and shine" is allowed in lyrics and songs, but never allowed in modern poetry. In fact, unless it is necessary for rhetoric, the same words must be avoided in modern poetry.
The third characteristic of duality is that parts of speech should be relative, that is, noun to noun, verb to verb, adjective to adjective, adverb to adverb, pronoun to pronoun, function word to function word. If you want to be neat, you must also use words (mainly nouns) that belong to the same type in meaning, such as astronomy to astronomy, geography to geography, logarithm, orientation to each other, color to color, time to time, device to device, personnel to personnel, and biology to biology. , but they cannot be synonyms. The stars come down from the clearing, and the moon comes up from the river. The stars and the moon mentioned above are astronomical pairs, the leaves and the river are geographical pairs, and the vertical pair, the horizontal pair, the big pair, the wide pair and the current pair are also the same verbs and adjectives. Fighting like this is called workers' fighting.
There are some homonyms that form the duality of work, which is called borrowing. Metric-The origin of metrical comes from music. After the music dispersed, the researchers summed up the * * * homophony of ancient poetry, which formed the meter we see today. Metre-Views on Metre Since the Vernacular Movement, the literary world has advocated the creation of modern poetry and gradually ignored it. Wen Yiduo, a representative of the Crescent School, suggested that modern poetry should also abide by certain rules. Compared with prose, novels and other literary genres, poetry, especially old-style poetry, is increasingly ignored. This is closely related to the westernized lifestyle advocated by the overall westernization trend of thought. But there are also voices to revive traditional culture. Related Literature Wan Fang Data Periodical Papers Based on Statistical Lexical Extraction and Measurement to Establish a Corpus of Song Ci Segmentation-China Information News -20072 1 (2) Wan Fang Data Periodical Papers Review Timothy Steele's "Neo-formalism" Poetry Theory-Foreign Literature Research -2004 (1) Wan Fang Data Periodical Papers Analysis of the Trend of the Metrization of Yuefu Poetry in Tang Dynasty-Journal of Anhui University (Philosophy Six entries of metrical linguistics in ancient poetry format are helpful for me to share: I would like to suggest that the entries of the interactive encyclopedia (including the attached drawings) are uploaded by netizens. If you are suspected of infringement, please contact customer service, and we will. Without permission, commercial websites are prohibited from copying and crawling the contents of this site; Reasonable users, please indicate that they are from www.baike.com. Welcome to join the Interactive Encyclopedia family and share your insights with more than 5 million professional certified volunteers of Interactive Encyclopedia. If you are interested in the discussion, you can click the thumbs of "like" and "despise" to express your opinion. The wonderful content of the discussion forum will be pushed to the top by users, so that more people can feel everyone's recommendation. Have you noticed? After logging in, you will get personalized tips and help by using the interactive encyclopedia service, and you will also have the opportunity to communicate with more than 5 million professional certified volunteers. Interactive Encyclopedia users can also use the following website accounts to log in: Renren.com account login QQ account login Sina Weibo account login Interactive Encyclopedia content specification objective neutrality: objective neutrality is the basis of encyclopedia editing: reliable content sources, perfect reference materials, standardized editing, clear content, knowledge system: accurate entry classification and strong knowledge relevance. For details, see: Interactive Encyclopedia Entry Standard >> Wikipedia fever, a professional certified volunteer scientific consultant. Founder: graffiti. Number of college editors: 7 times. Number of editors in version history: 6. Last update time: 2011-06-1718: 01:20. More Sogood 1 college students shaguafb. Color college students gl020 college students can also add information module related items to edit and save drunken men. The fucking quatrains of Langya Valley are Pingyi's modern poems ... ancient poems, seven-character poems, Wang Zhidao's five-tone rhyme, Lin Yuling's interactive focus and interactive promotion.
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