Poetry knowledge

I copied a lot below, I hope it will help you. However, personally, I think that whatever it is, it is poetry and good poetry to write touching sentences.

even tone law is the classification of Chinese tones from the perspective of literary temperament. In ancient Chinese, Chinese characters were divided into four tones: flat, up, away and into * * *. Ping refers to a flat voice, and it refers to going up, going away and entering the voice. After Yuan Dynasty, the entering tone in the north gradually disappeared, and it turned into the present two tones and four tones, while the flat tone gradually evolved into two categories: Yin Ping and Yang Ping. In modern Chinese, the four tones of level tone, rising tone, rising tone and falling tone are called new four tones. Any tone with a level tone and a level tone (referring to one or two tones in standard pinyin) is called a flat tone, and any tone with a rising tone and a falling tone (referring to three or four tones in standard pinyin) is called a slur. Some words that used to belong to Rusheng in ancient Chinese are now classified as Yinping and Yangping, but when it comes to Pingping, they should still belong to Ruping.

according to this principle, people divide all Chinese characters into two categories: one is flat and the other is flat, and the relationship between them is yin and yang. The alternation of flat and flat tones produces rhythm, which also produces the beauty of Chinese phonology.

antithetical couplets should alternate not only with the same sentence, but also with the upper and lower couplets, that is, the corresponding positions of the upper and lower couplets must be flat and opposite. The antithesis of the pronunciation and the antithesis of the meaning of the words form the uneven beauty of the joint sentence structure, which will be catchy, cadence and harmonious when read.

To make couplets, the following rules should be followed:

(1) The number of words in the upper and lower couplets must be equal, and repeated words cannot be used.

(2) The last sentence of the first couplet must be silent, and the last word of the next couplet must be flat.

(3) The sentence patterns of the upper and lower couplets must be consistent (the parts of speech are equivalent and the structures are corresponding).

(4) The horizontal lines of the upper and lower couplets should be opposite to each other. Where the upper couplet uses the flat sound, the lower couplet must use the flat sound, and vice versa. Cue, Cue, including the words with three tones of up, down and in).

(5) The meanings of the upper and lower couplets can be similar or opposite, and one thing can be said, or two things can be said separately.

The antithesis between couplets and metrical poems has a relationship of inheritance and evolution. The flat and even meter of metrical poems and the principle of "No matter one, three or five, two, four and six are distinct" are also applicable to couplets. As for the number of words in each pair of couplets, there is no limit, ranging from four words, five words, six words, seven words, eight characters and nine words to tens or hundreds of words, as long as there is something to say, it will do.

rhymes should be harmonious when writing couplets. The language is concise, consistent with the law, and has certain content. The words are not relative, the level and level are not harmonious, or the slogan-style sentences are divided into two lines, which can't be regarded as couplets.

The content of the above introduction can be summed up as "four stresses", that is, "the number of words is equal, the pronunciation is flat, the words are opposite, and the syntax is symmetrical".

At the same time, the contents of the upper and lower couplets must be related, but they cannot be identical or repeated. The same antitheses are commonly called "crossing hands", such as "Welcome Five Blessingg in the New Year, and receive more than three in the Spring Festival", in which "New Year" and "Spring Festival", "Welcome" and "Receive" all agree. Traditionally, such couplets are made by criminals. In the article, the principle of' No matter one, three, five, two, four, and six are distinct' also applies to couplets ",which means that the first, third, and fifth words in each sentence of five-and seven-character poems are not flat, and the flat-voiced words are used when the flat-voiced words are used, or the flat-voiced words are used when the flat-voiced words are used. The second, fourth and sixth words of each sentence must be flat and clear, and cannot be replaced. Because the first, third and fifth characters are flat and easy to move, the pronunciation has little influence. If the second, fourth and sixth characters are flat and unbalanced, they will be difficult to read, which is the taboo of regular poetry, used in the creation of couplets, and also the taboo of traditional couplets.

how to tell the level off? At present, there are two systems for leveling. One is based on Putonghua, which is called Xinsheng for short. The second is based on "Ping Shui Yun", which is called ancient sound for short. Now these two systems are used interchangeably, which is called dual-track system. However, they cannot be mixed. Is to write a couplet, can only use a set of standards.

(1) New voice (modern Chinese is Mandarin).

Putonghua is divided into four tones, namely, Yin Ping and Yang Ping, rising tone and falling tone. In the application of metrical patterns in poems and couplets, Yin Ping and Yang Ping (the first and second tones) are called flat tones, while the rising tone and falling tone (the third and fourth tones) are called infratones. Friends under forty should understand. I won't say much here.

(2), ancient (old) sound

Where has the society developed now, it is necessary to realize several modernizations. Besides, now that all Putonghua is spoken, is it necessary for us to learn ancient rhymes? Is it unnecessary! Are you trying to embarrass everyone? Are you reversing history? Is the ancient rhyme useless at all? I think: a person who loves Chinese traditional culture-a lover of couplets, or a couplets worker, should know both new and old sounds, even if all of them are fluent in modern Chinese in the future. We should also understand the ancient rhyme, which is the need to appreciate, learn, absorb and inherit the couplet culture! ! ! Otherwise, it's hard to say. In fact, the difference between the two systems is not very big, there are about 3 words. It is not difficult to remember by radicals, just remember dozens of words.

It's okay to be used to writing couplets with new or ancient sounds, and it's not good to use your own rhyming habits as a standard to decide right and wrong. Since we are determined to learn the creation of couplets, we should spend some time to learn and understand the ancient rhyme, which is very beneficial. As the saying goes: skill (talent) does not weigh down. In life, this is a rare learning opportunity. This may be a different aspect from reading and studying by ourselves at ordinary times. With everyone discussing together, the effect will be different.

in ancient Chinese, Chinese characters were divided into four tones: flat, upward, downward and human. Ping, refers to the words of Pingsheng in ancient Chinese (including most of the first and second tones in Chinese now); Xu refers to the tones of going up, going away and entering in ancient Chinese (modern news is divided into four tones). This is the division of the old rhyme (ancient sound).

in ancient Chinese, "strike, say, accumulate, extreme, and learn" all belong to entering tone. Although they are now in the level tone and rising tone, when it comes to level tone, they should still belong to the level tone according to the old rhyme. Rusheng characters are characterized by short, hurried, urgent, collected and hidden sounds (now some places in the south of China, such as Hunan dialect and Minnan dialect, still maintain this pronunciation mode, and it is not difficult for them to identify Rusheng characters). Using the meaning of different tones, staggered into sentences, the law of leveling is formed. The application of this leveling law to different literary genres will give literary works a musical sense of cadence.

Kangxi Dictionary uploads a song formula, which explains the pronunciation of four tones. The song says:

"Don't be low and arrogant when the voice is flat and the road is flat. When you go up, you shout loudly for a collection. When you go away, you are clearly sad for a long time. When you enter, you are short and anxious to collect."

according to this principle, people divide all Chinese characters into two categories, namely, one is flat and the other is flat. This forms the opposition and unity of Chinese characters. One level and one level, that is, the relationship between yin and yang, is flat and restrained, flat and clear and turbid, flat and long, flat and short, flat and slow and sharp. The beauty of Chinese phonology is formed by the substitution of leveling and leveling, the rhythm coming out, and the rhythm coming out.

In couplet, not only the same sentence should be alternated, but also the upper sentence and the lower sentence should be alternated, that is to say, the upper sentence uses a flat voice. The corresponding position of the next sentence must be opposite to it with a slur, and vice versa, and the next sentence must be flat. In this way, the unity of opposites between words and sounds is formed. With the antithesis of words and meanings and the antithesis of words and sounds, the uneven beauty of couplet structure is formed, which makes it catchy, cadence, sonorous and harmonious. Li Rulun, a modern poetry theorist, said: "The balance of Yusheng accords with the configuration of music, which makes poetry independent." "You can sing without singing, you can sing without singing, and it also has the beauty of music. Even if you don't move your eyes and words appear in your eyes, you can show its sonority, because synaesthesia is at work."

(There are a lot of books about flat and parallel tones. If we want to further distinguish flat and parallel tones, especially the skillful use of entering tone characters, we need to read special reference books. Here I recommend several books for you to choose from: the Law of Chinese Poetry by Mr. Wang Li, the Manual of Ancient Chinese Characters by Mr. Guo Xiliang and the Manual of Ancient Chinese Characters by Mr. Tang Zuofan, followed by Mr. Krone. The so-called "similarity" means that they have more similarities and less differences, so it is more difficult to distinguish them. Even some reference books explain these two concepts vaguely. For example, under the "antithesis" article in Ci Hai, the annotation says: "It refers to the duality of poetry and words." The Self-study Dictionary of Ancient Chinese Literature by Shaanxi Education Publishing House explains "antithesis" as "a rhetorical method, … which is called antithesis in poetry." This explanation of "antithesis" with "antithesis" and "antithesis" with "antithesis" has caused confusion of concepts, and as a result, people mistakenly think that "antithesis" and "antithesis" are the same thing, and they are two titles of the same concept.

so, what exactly is "duality"? What is "antithesis"? What's the difference between them?

Duality is a figure of speech. The two sentences used in pairs are "equal in number of words, roughly the same in structure and part of speech, and related in meaning". This symmetrical way of language forms a neat and harmonious expression form and a mutual set-off in content, which has a unique artistic effect.

antithesis refers to a special form and means used in poetry creation and couplet writing. It requires that poetry conjunctions be based on duality, and words in the same structural position of the upper and lower sentences must be "consistent in parts of speech and flat and flat", and try to avoid repeating the same words in the same structural position of the upper and lower sentences. The antithesis of metrical poems makes the language sound and rhyme harmonious, enhances the sense of rhythm and the beauty of music, and achieves a high degree of perfection in expression. Therefore, the antithesis requirements of metrical poems are very strict, and the poetic couplets that meet the above principles are antithetical; Otherwise, it is not confrontation or unstable confrontation, which is not allowed in poetry creation.

by understanding the characteristics of duality and antithesis, we can generally distinguish between duality and antithesis. For example,

worry about the world first, and enjoy it later. (Fan Zhongyan's A Story of Yueyang Tower)

These two sentences meet the requirements of duality in all aspects, but they do not meet the requirements of antithesis because of their level and symmetry, inharmonious melody and repeated use of words such as "tianxia", "zhi" and "er" in the same structural position. Look at the following example again:

On the side of the sinking boat, Qian Fan passes, and in front of the sick tree, Wan Muchun. (Liu Yuxi's Reward Bai Letian)

This group of couplets is the neck couplet in the original poem, which completely conforms to the antithesis principle in any aspect, and is extremely stable, and is the most typical antithesis couplet.

Duality and antithesis are so different, mainly because they are used in different styles. Because different styles have different requirements for their own expression, they have different requirements for the form of expression. As the antithesis of rhetorical methods, it is often widely used in various styles, especially in ancient prose and ancient poetry. It enhances the language, and the two even sentences complement and set off each other, which makes the language beautiful in form and expressive. Contradiction is a unique and special creative technique in metrical poetry. The metrical poems, which rose in Sui and Tang Dynasties, strictly require that the couplets and necklaces in metrical poems must be opposed. At the same time, this method is also adopted by songwriting. Later, it was used to write couplets. Because the creation of rhymes and songs itself has high artistic requirements for the use of language, it pays attention to refining words and sentences, and antithesis can greatly improve the expression skills and aesthetic taste of poetry to a considerable extent, with high artistry and expressiveness. These special functions of antithesis are obviously beyond the reach of dual force. It can be said that "antithesis" is one of the important criteria for the creation and appreciation of metrical poetry, and naturally it has become a special term that belongs to poetry. Because of this, although antithesis in metrical poetry also meets the standard requirements of duality, in view of its own characteristics and in order to be different from duality in general style, we usually don't call it antithesis, but call it antithesis.

Monosyllables in all languages have tones objectively, not only in Chinese, so ancient Indians will find three tones. However, the four tones in Chinese is a very complicated problem, which can't be summarized in a word. It is not comprehensive to explain the four tones only by pitch. The four tones are really closely related to the severity, length and especially the flat music. Sun Zhuming's disproof can't actually disprove it, so I can only briefly talk about the reasons here. Chinese is dominated by monosyllabic words, so there is an obvious four-tone rule, but there is another rule in Chinese, that is, two monosyllabic words are used together, which has been the case since Middle Ages (the situation in ancient Chinese is special, and it may be that polysyllabic words or even polysyllabic words account for a large part). This requires internal consistency, otherwise it will be like two brothers fighting. The ancients found that the flat sound can be classified into a single category, while the other three tones can be classified into another category. This division depends not on pitch but on flat music. It is impossible to make this division by relying on pitch. The so-called flat sound means uneven sound. This is the basic structure of two levels or two rows. However, if the two adjacent basic structures do not change, for example, Siping is used together, it will be too smooth, while the four-Nuo is used together, which is too awkward and changes little, thus forming the situation that the two basic units are flat and flat. The following is simple. Combining according to this law, a sentence of the law is formed. The ideal situation of the next sentence is the opposite of this one, which is a couplet. But if the sentence in the next couplet is also contrary to the previous sentence, it will emphasize the first sentence, so it must be changed. The ancients found that there were four basic sentence patterns according to the law of leveling, so they combined the four sentences to solve this problem. Then, the four tones have completed a cycle in four sentences, and if they are used again, they must be repeated, which forms a metrical poem. But it took almost two hundred years to establish this law. When the four tones were discovered and used in poetry in the Northern and Southern Dynasties, that is, in Yongming style, this rule was not fully recognized. Because the four tones are distinguished too carefully there, but they have not been reasonably circulated in the chapter. It was not until Shen Song that this problem was completely solved. In the final analysis, it is still a problem of flat music. The ancients called it flat music. How can it have nothing to do with flat music? As for the lyrics and songs, even distinguishing yin and yang equally is closely related to Pingqu. The distinction between yin and yang is due to the division of flat voice. In fact, the flat voice is no longer flat, although it is relatively flat. So why are there both regular sentences and awkward sentences? In fact, between harmonious beauty and unharmonious beauty, China people's aesthetic habits tend to be harmonious beauty, and the most respected by Confucianism is the beauty of neutralization. It is precisely because of this that modern poetry is formed. In addition to the balance and harmony, the recent style of balancing the sound and rhyme is also a great proof. However, unharmonious beauty has special value and can't be completely replaced, so there are awkward sentences and rhymes. It is not a problem that awkward sentences are more harmonious than regular sentences. As for the relationship between phonology and music, it is more complicated.