In this paper, six-character poems are defined as non-Sao poems with six words per sentence. "Six words per sentence" is basically nonsense, but so-called non-Sao poems, such as Song of the Black Que in Wu Yue Chun Qiu and Widow's Poem by Cao Pi, are not included. This is not to say that every six-character poem in Sao style is not a six-character poem, but whether it is or not is left to the tangled people to discuss. This definition just shows that the six-character poem discussed in this paper is right and wrong.
There are five theories about the origin of six-character rhyme:
1. The Book of Songs
2. Chu ci
3. Hans Gu Nong Yong
4. Dong Fangshuo
5. Kong Rong
There are scattered six-character sentences in The Book of Songs, but there is no complete six-character poem. Chu ci or Sao style is quite different from six characters, which will be discussed later. Six words originally came from Yong, written by Yan Canglang in the Southern Dynasties, Yan Canglang in the Song Dynasty, Gao Yun in the Ming Dynasty, and their poems no longer exist today. There are only two sentences left in Dong Fangshuo's poem. The earliest extant six-character rhyme is found in Kong Rong. Therefore, it can't be verified that the six-character sentence pattern of "Piracy" started from the Book of Songs, while the six-character poem started from Gu Yong or Dong Fangshuo, a farmer in the Han Dynasty. As far as the available materials are concerned, it is more appropriate to start from Kong Rong.
Commentators said that six words originated from Chu Ci, such as "national mourning". If you remove the word "Xi" from the sentence, it will be six words. But in fact, the function words "Xi" and "Xi" such as "Zhi", "Yu", "Yi", "Er" and "Hu" have their own uses in the sentence, which is exactly what Liu Xizai said in "A Ghost in Fu Gui". Yan Ai's "A handsome and rare guest opens a new realm-on the specialty of six-character rhythmic poetry" also points out that "the use of Xi involves syllables, which makes lyrical feelings (the so-called lyrical feelings in Xu Wei's" Narration of South Ci "refer to the emotional ups and downs that can be realized in silent reading, but can be shown in recitation) turn around, and when you go, you feel that expression has no place to belong." Chuci, such as "Mourning the Country", uses three words and two beats for one sentence, while the six-character rhyme has more than two words and three beats for one sentence, and the sentence structure is different. Therefore, stealing six-character poems does not originate from Chu Ci.
As far as the six-character method is concerned, Mr. Qi Gong thinks that there are only ten six-character sentences in poetry manuscripts, which are divided into two categories:
1. Flat top and flat bottom type: flat top and flat bottom, flat top and flat bottom, flat top and flat bottom, flat top and flat bottom;
2. Taking and placing methods: flat, flat, flat, flat, flat, flat, flat.
As far as syntax is concerned, if the whole poem is concerned, Liu Jicai divides it into four categories in On the Formation and Influence of Six-character Modern Poetry in Tang Dynasty: rhythmic, antithetical, cohesive and mixed.
From this, it can be said that from the standard of modern poetry, the six-character rhyme has natural defects: it is either wrong, not sticky or awkward.
Lu Shiyong said in "A Survey of Poetry Mirrors": "Six words are sweet and charming", which I think is very consistent with the characteristics of six-word poetry. In the words of modern people:
If five words are used for comparison, Zhou Yukai also discusses in the Beauty of Painting and Architecture of Six-character quatrains in Song Dynasty:
I read the six-character poems of past dynasties, such as Wang Youcheng's seven pastoral poems and Gong Jing's two poems about the Western Palace Wall, and I think this view is very appropriate.
Jade Chip, a poet of Qingjiang Lanxu, quoted Cai's Miscellanies: "A six-character poem should be solid in words and sonorous in sound, and never be a sentence in one word. Although flat and uneven. " This is called syntax. As far as composition is concerned, taking six-character quatrains as an example, Yan Ai's "Handsome and Rare Guests Open a New Realm-On the Specialty of Six-character Poems" divides them into three types:
1. streaming
2. Row seat type
3. Near-leaf type
"flowing water" is the "flowing water" of "flowing water pair"; "Liezuo" means that each sentence is divided into one thing, and the qi and pulse are combined into one; "Closing the door" means "the first two are separated, the first half is divided, and the second half is semi-coherent". The following is an example of each method:
Flowing water type: boudoir moon, Chongyang, chrysanthemum appreciation and Meng Wanzhou.
Last month, I lost my hat while climbing the mountain. Today, I mentioned wine as a drink.
Fortunately, the chrysanthemums in Shanglin suffered this Double Ninth Festival.
Row seat type: the fifth of the pastoral seven pleasures? Wang Wei
There is a lonely village at the foot of the mountain and a lonely plateau on the horizon.
A swallow flies back to the alley, and Mr. Wu or Liu faces the door.
Types of closing doors: Wang Wei, the second of seven pastoral songs
Goodbye, Hou, and I'll talk to you about a pair.
It is better to plow south acres than to lie high in the east window.
What is worth mentioning is the "hinge type". The reason why the hinge type is chosen is because it is different from "the first half is divided and the second half is coherent" mentioned by Ai Yan. One or two sentences are separated, three or four sentences are also separated, and one or two sentences and three or four sentences constitute coherence. In fact, it is common in six-character quatrains that one or two sentences are separated and three or four sentences are coherent, which is a special column. As for the composition of other six-character poems, I have seen very little, so I will avoid talking about it for the time being.
Six-character poems are far less popular than five-character and seven-character poems, because there are two schools: one thinks it is related to the background of the times and the development trend of poetry; Another school thinks it is related to the defects of the six-character poem itself.
Let's start with the first one. 198 1 year, Huang Zheng attributed the lack of six-character poems to "the rigidity and model of feudal society" and the suppression of other poems by selecting poets in the Tang Dynasty. I don't agree with this. Although the political system affects literary and artistic creation, it is not created out of thin air. Besides, the trial poems in the Tang Dynasty are five words and six rhymes, and the poems circulated are not these.
Why Wei Shaosheng's six-character poems are not widely circulated —— Also on the evaluation of six-character poems. The development of poems is diversified, and the Book of Songs, which is mainly composed of four characters, has been circulated for hundreds of years. "The result of the continuous development of classical poetry is bound to be the change of poetic form dominated by even-numbered sentences and disyllabic words." This statement seems reasonable, but it is also debatable. First of all, although the four characters and six characters are all even characters, there are still differences. "Four words are graceful and graceful, and six words are sweet and charming", with different styles, practices and emotions suitable for expression. Secondly, after the poem "diversified" into short sentences, the law is orderly, but the law has not declined. Comparing the number of Song poetry and Qing poetry and Qing poetry, we can see that although I have not done statistics, I am confident to say so. Why has the six-character poem never flourished?
In my opinion, to talk about the background of the times, we need to start with the characteristics of the six-character poem itself. As mentioned above, the six-character poem is graceful and elegant, with a long ancient meaning, which is probably a bit out of tune with the vigorous atmosphere of the Han and Wei Dynasties and the spirit of the times in the prosperous Tang Dynasty, as pointed out by Tang Ai Xia in the study of the ancient six-character poem:
However, there were a little more six-character poems in the Song Dynasty, which was close to the aesthetic orientation of the whole era at that time. But in general, people who write poems, whether officials or hermits, always have a "home country and the world" that they can't let go of. The leisure characteristics of six-character poems are inconsistent with this spirit in the bones.
However, Tan and Cao Changhe believe that the six-character poem has three defects in "On Six-character quatrains —— Also on the origin and rise and fall of six-character sentences in the poem":
1. The word combination is too monotonous;
2. The syllables are too stiff;
3. Training lacks diversity and is too formal.
The first point is unknown. As for the second point, Yujiu Matsuura put forward the concept of "pause" in "Research on the Form and Rhythm of Poetry", that is, "in the stream with rhythm, there is a stream phenomenon of" there is a beat but no sound ",such as five or seven words, and there is a half-beat pause at the end of the sentence. In other words, six words are the neat beat of "2222", lacking the odd-even change like five or seven words.
Tan and Cao think that the six-character sentence has only two formats, namely "flat and even" and "flat and even", so it is "lack of change and too formal", but I disagree. Mr. Qi Gong thinks that there are ten kinds of six-character sentences, which should be more appropriate. However, there are some defects in Six-character Tactics. Because of the lack of sentence patterns, it is either wrong, sticky or awkward. For poets in the period when the rules of modern poetry are quite complete, they may not be willing to choose six-character poems to express their feelings.
At the same time, we can see that compared with five-character poems and seven-character poems, six-character poems lack the guiding theory of literary criticism. This is both the result and one of the reasons why the six-character poem is not good.
So you can make a summary, so the six-character poem is not obvious. I think there are three reasons:
1. The characteristics of six-character rhythmic poems do not conform to the spirit of ancient poets;
2. There are some defects in the six-character rhyme itself;
3. The vicious circle of the lack of six-character rhyme and literary theory.
That's about it. I finally finished it. I looked up and slept with my ex-girlfriend
(1) The original text is "leisure", and the "Preliminary Model of Poetics" contains: "The natural words should be solid and the tone should be loud. Yes or no, but you don't need to use scattered words to make sentences, and "leisure" corresponds to the simplified word "leisure", and the word "leisure" in the original text of "empty" is mistaken for "empty". So, I made a mistake and asked for all kinds of examples.
Ma, Li and Chen. The emergence of ancient six-character metrical poetry and its metrical process [J]. Journal of Shaoguan University (Social Science Edition), 2002,23 (05): 32-33.
[2] Yan Ai. Unique and exotic guests create a new continent-on the characteristics of six-character rhythmic poetry [J]. Appreciation of masterpieces, 199 1, (04):92-95.
[3] Liu Jicai. On the formation and influence of six-character modern poetry in Tang Dynasty [J]. Literary heritage, 1988, (02):64-72.
[4] Zhou Yukai. The beauty of painting and architecture of six-character quatrains in Song Dynasty [J]. Journal of Jishou University: Social Science Edition, 2004(02).
[5] Matsuura Yujiu. Study on the style and rhythm of poetry [J]. Literary Heritage, 2002 (4):131-135
[6] Tan, Cao Changhe. On Six-character quatrains —— Also on the origin and rise and fall of six-character quatrains in poetry [J]. Tianjin Social Sciences, 1983, (06):86-92.
[7] Yu Zhanghua, covered. On the ancient six-character rhyme [J]. Literary Criticism, 2002, (05):40-44.
[8] Wei Shaosheng. Why the Six-character Rhyme has not been widely popularized —— Also on the evaluation of the Six-character Rhyme [J]. Academic journal of zhongzhou, 2006, (02): 198-203.
[9] Huang Zheng. A preliminary study of six-character rhythmic poetry [J]. Journal of Hangzhou Normal University (Social Science Edition), 1982, (01):108-13.
[10] Study on Six-character Rhyme in Ancient Tang Dynasty [J]. Journal of China Youshi University (Social Science Edition), 2008,24 (2): 92-97.
Note: I read all kinds of monographs such as ancient books, some of which I don't know where I have read before, some are electronic versions, and some are online versions, so it is not easy to list them one by one. Therefore, the references only list periodicals.