Kneel for couplet knowledge

Also known as couplets, commonly known as pairs. It is a antithetical sentence written on paper, cloth or engraved on bamboo, wood and columns. It is a unique art form of Chinese, with simple words, profound meaning, neat antithesis and even words. According to legend, couplets originated from Meng Changjun, the master of Shu after the Five Dynasties, and are the cultural treasures of the Chinese nation. The couplets hung during the Spring Festival are called Spring Festival couplets.

Spring Festival couplets

Couplets, also known as couplets, dual plays, door pairs, spring stickers, spring couplets, couplets and peach symbols, are a kind of dual literature and originated from peach symbols. Couplets are a national style written by using the characteristics of Chinese characters. Generally, there is no need to rhyme (only couplets in regular poems need to rhyme). Couplets can be roughly divided into poetry couplets and prose couplets. The format of couplets is strict and the part of speech is relative. Traditional couplets are connected in form, with the same content, harmonious tone and rigorous antithesis.

With the rise of poetry in the Tang Dynasty, prose couplets were excluded. Prose couplets are generally informal, straightforward, and do not avoid repetition. They do not overemphasize the equivalence of parts of speech without losing duality.

Spring Festival couplets have a long history. It is said that they originated from Meng Chang, the master of Shu after the Five Dynasties. On the peach symbol board at the door of his bedroom, he wrote: "Come in the New Year, the first day is Changchun", which means "Write the peach symbol" (see Shu Lang). This is the earliest couplet in China and the earliest Spring Festival couplets. The second part is to confront foreign things, or to agree with their meaning and refute their meaning. You can't say no to meaningful antitheses and prose couplets.

Historical exploration

Couplets are antithetical literature. The parallel symmetry of this language is similar to the so-called "Tai Chi gives birth to two instruments" in philosophy. In other words, everything in the world is divided into two halves of yin and yang symmetry, and the essence of thinking is extremely similar. Therefore, we can say that the philosophical origin and deep-seated national cultural psychology of China's couplets are binary concepts of Yin and Yang. The dualism of yin and yang is the basis of China's ancient world outlook. It is the way of thinking of ancient people in China to grasp things with the binary concept of Yin and Yang. This idea of duality of yin and yang has a long history. The divination system in the custom of Spring Festival couplets in the Book of Changes consists of two divinations, Yin and Yang. The Book of Changes says, "One yin and one yang is the Tao." Laozi also said: "Everything is negative and holds Yang, and it is harmonious to rush." ("Lao Zi" Chapter 42. Xunzi thought: "Heaven and earth combine to create everything, and Yin and Yang combine to change." (Xunzi's Book of Rites) Huang Lao's silk book says: "The way of heaven and earth is left and right, yin and yang." This concept of Yin and Yang is not only an abstract concept, but also widely penetrated into the understanding and explanation of everything in nature and human society in ancient China. The preface to the Book of Changes says, "Where there is heaven and earth, everything is men and women, men and women, couples, fathers and sons, princes and ministers, ups and downs, and manners." In Yi Zhuan, various concrete things are used to symbolize Yin and Yang. Yin represents Kun, earth, female, woman, son, minister, abdomen, lower, north, wind, water, lustre, flowers, black and white, suppleness and so on. Correspondingly, Yang represents dryness, sky, male, husband, father, monarch, head, up, south, thunder, fire, mountain, fruit, red and yellow, vigor and so on. This ubiquitous concept of yin and yang has penetrated into the subconscious of the Han people, thus becoming the collective unconscious of the nation. The concept of yin and yang is manifested in national psychology, and one of its important characteristics is the persistence and infatuation with things in the form of "two" and "pair". The format of couplets is strict and the part of speech is relative. Traditional couplets are connected in form, with the same content, harmonious tone and rigorous antithesis.

Language root-seeking

The most essential feature of a standard couplet is "antithesis". When expressed orally, it is verbal confrontation, and when written, it is verbal confrontation. What is the meaning of language duality? Usually we talk about four items: equal number of words, relative parts of speech, flat and oblique contradictions, and the same syntax. The most important of the four items is that the number of words is equal and the contradiction is flat and oblique. The number of words here is equal, which is different from the "number of words" in English. Its essence is syllable equality. That is, one syllable corresponds to one syllable. In English, the words "cart" and "jeep" are equal in number, but not in syllable. However, in Chinese, "k?m?ch?" and "j?p?" are equal in number and syllable. The reason why Chinese can achieve "syllable" equality is because Chinese is a language with monosyllabic as the basic unit. Syllables, morphemes and characters are trinity. Every syllable in Chinese has a strong independence and has a certain length and tone. In ancient times, there were four tones: flat, rising, falling and entering. Now there are four tones: rising, falling, rising and falling, which are divided into flat and falling. Flat confrontation is a contradiction. In this way, between morphemes in Chinese (that is, between words), we can establish an antagonistic relationship with equal words or even equal words. In English, even if the name and concept of things can be relative, the number and part of speech of words can be relative, and the sentence patterns of two sentences can be relative, but their syllables are different in length, weak in independence, free to spell and have no tone, so they can't be relative. Couplets are mostly written in words, often written, hung or engraved on other buildings or objects. So the second level of antithesis of couplets is the so-called literal opposition. The relativity of words means that couplets are not only language art, but also decorative art. As decorative art couplets, it requires neatness and symmetry, giving people a harmonious and symmetrical aesthetic feeling. Chinese characters just have the conditions to achieve neat symmetry, which exists in the form of individual square, square and neat, occupying equal spatial position in writing. It is readable and visible. Its square configuration has both aesthetic principles and mechanical requirements. Whether writing horizontally or vertically, it can be dense, neat and beautiful. English, on the other hand, is a phonetic symbol, and each word has different lengths, and it is only phonetic but not ideographic, and it is even more invisible. It can only be arranged horizontally, not vertically, and it is impossible to achieve true symmetry in form. In the following interview, two Chinese and English antitheses with the same meaning are compared to further explain why only Chinese has a real antithesis, while English and other pinyin characters do not.

Other statements

Couplets originated in the Qin Dynasty and were called Fu Tao in ancient times. With regard to the earliest couplets in China, Mr. Tan Chan-xue wrote in the fourth issue of Knowledge of Literature and History 199 1 that the earliest couplets in China appeared in the Tang Dynasty. According to the Dunhuang suicide note with the volume number Stein 06 10 unearthed from the Tibetan Sutra Cave in Mogao Grottoes, she said: Year, month and day: Sanyang began to spread, and the fourth order began to open. Fuqing is new at the beginning, and Shouluyan. Also: Sanyang returns to the beginning, and the fourth order reaches Kyrgyzstan. Yan Fu's new day celebrates that life has no boundaries. Beginning of spring Day: When the copper turbidity begins to celebrate the banquet, the jade method begins to adjust the yang. In addition to three disasters, Five Blessingg has suffered countless disasters throughout the ages. Baoji can ward off evil spirits, and Yan Rui can ward off evil spirits. Beginning of spring □ (Home), Fukiko, Sun Chang. Also: Sanyang began to spread, and Simeng (Meng) began to open. Go back in time and come back one by one. Celebrate every year, and there is no disaster every month. Chickens return to evil, and Yan returns to wealth. Guardians guard, ghosts hide and bury. Around the door book, I am healthy! Zhao Zhixin, the author of Sound Spectrum, clearly pointed out: "Two sentences are connected, and four sentences are unique (sentences), which began in the Six Dynasties, and the Yuan (original) is not close." Wang Fuzhi said that couplets originated from the theory of metrical poetry, just like "decapitation and gouging out feet, making people physically disabled"-the couplets in Qing Shi Hua originated from the symmetry of China's words and sounds, and appeared before the Zhou Dynasty. The development of papermaking and calligraphy makes couplets an independent style.

However, from the perspective of literary history, couplets gradually evolved from antitheses in ancient poems. This development process has roughly gone through three stages.

Double stage

The time span is from the pre-Qin and Han Dynasties to the Southern and Northern Dynasties. In China's ancient poems, some neat antitheses appeared very early. Several ancient ballads that have been handed down to this day have already seen their origins. Such as "digging wells to drink water, ploughing fields to eat", "doing at sunrise and resting at sunset" and so on. In the pre-Qin and Han dynasties, antithetical sentences became more common. There have been some neat sentences in the hexagrams of the Book of Changes, such as: "Those who can see can be lame." ("Lu" hexagram "63"), "Go to heaven first, then go to the ground." (Ming Yi's "Shangliu" hexagram) The neat sentences in Yi Zhuan are more common, such as: "Look up at astronomy and look down at geography." ("Declining Cohesion"), "Correspondence with one voice, seeking with the same spirit, wet water and dry fire, cloud following dragon, wind following tiger ... are all according to their own categories." There are many antithetical sentences in The Book of Songs in the Spring and Autumn Period. Liu said in the History of Parallel Prose in China: "The law of opposing ancient and modern times is almost perfect in the Book of Songs." He listed examples of correct name pairs, similar pairs, renju pairs, disyllabic pairs, overlapping pairs and disyllabic pairs. Such as: "Qing Er, leisurely in my heart." ("Zheng Feng Ji Zi") "There are floating elements in the mountains and lotus in the hills." There are many antithetical sentences in the Tao Te Ching. Liu Zeng said: "The arbitration law in Tao Te Ching has undergone great changes, and there have been serial counterparties, uneven counterparties and sub-word counterparties. Some people repeat their words. Anyway, there is something right. " China's parallel prose history is an example: "What you believe is not beautiful, and what you say is not true. Good people don't argue, and debaters are not good. " (Chapter 8 1) "Independence and changelessness, freedom and danger." (Chapter 22) Look at the antitheses in hundred schools of thought's essays. Such as: "full loss, modest benefit." ("Shangshu Wucheng") "Take a fat horse and go into battle lightly." "The Analects of Confucius Yongye") "Honest people are magnanimous, and villains are often sad." (The Analects of Confucius) and so on. Cifu, which arose in the Han Dynasty, is a new style that pays attention to literary talent and rhythm. As a rhetorical device with the beauty of neatness, contrast and music, duality has been widely and consciously used in the creation of Fu. For example, in Sima Xiangru's "Zi Xu Fu", there are: "Drum, sound; The car follows the route and rides on the team. "

Parallel coupling stage

Parallel prose originated in the Eastern Han Dynasty, flourished in Wei and Jin Dynasties, and flourished in the Southern and Northern Dynasties. As can be seen from the name, parallel prose is a dual style, which is mostly composed of antitheses. The continuous use of such antithetical sentences is also called parallelism or parallelism. In Wen Xin Diao Long Shi Ming, Liu Xie commented that parallel prose is "a hundred words are right, and the price is strange". Take the preface to Wang Tengting by Wang Bo in the early Tang Dynasty as an example: September will return to Sanqiu. The water is cold and the pool is clear, and the smoke is purple. Yan Yan likes to walk on the road and watch the scenery to worship Afghanistan. Near the Emperor Changzhou, it is the old fairy temple. Mountains and clouds are heavy; Feige is full of blood, and there is no land under it. Heting ancient bamboo, the haunt of poor islands; Gui Dian Lan Gong is the posture of hills. Embroidered, Yamahara full of vision, Kawasawa full of vision. Yan Lu, the hometown of Zhong Mingding's delicious food; Ge boat maze, green finch Huanglong axis. Clouds selling rain Ji, colorful. Sunset and lonely Qi Fei, autumn waters and sky are the same color. Fishing boats sing late and resound all over the coast of Peng Li; Yan Zhen was stunned by the cold, and his voice broke Hengyang's pu. They are all composed of antithetical sentences, among which "the sunset and lonely Qi Fei, autumn water and sky are the same color" is an eternal antithetical sentence. This antithesis is the further development of antithesis in ancient poetry, which has the following three characteristics: First, antithesis is no longer purely a rhetorical device, but has become the main metrical requirement of style. Parallel prose has three characteristics, namely, four or six sentence patterns, antithesis and allusions. Second, the number of dual words has certain rules. Mainly "46" sentence pattern and its variant forms. Mainly include: four-character dual, six-character dual, eight-character dual, cross dual and twelve-character dual. Third, the antithesis is quite skillful, but there are many heavy words (such as "Zhi, Er"), and the tone and rhythm of the antithesis are not fully mature.

Legal coupling stage

Duality, the antithesis in metrical poems. This poetic style, also known as modern poetry, was formally formed in the Tang Dynasty. But its origin began in Wei and Jin Dynasties. During the Cao Wei period, he wrote ten volumes of the Sound and five volumes of the Rhyme, which separated the clear and turbid sound from the palace, the merchants, the horns, the zither and Yu. In addition, Sun Yan also wrote Er Ya Yi Yin, using the method of anti-tangent phonetic notation. He is the founder of arc tangent. Generally, five-character or seven-character metrical poems are all eight sentences, and there are two couplets in the middle, which are called parallel prose and necklaces. They must be opposite, and the sentence pattern, level and meaning are all required to be relative. This is a standard couple. Take Du Fu's "Climbing the Mountain" for example: the sky is high and the wind is urgent, the ape whimpers, the birds return to their nests, and the lake is blue and white. The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. Hardship, pain, hatred, heartache and fatigue are a thick layer of dust in my wine. The jaw joint and neck joint of this poem, "leaves fall like the waves of a waterfall, and I watch the long river always roll forward." "I came from three thousand miles away. Sad this autumn, with my sorrow for a hundred years, I climbed this high alone "is extremely stable." Far better than the parallel prose dialogues in parallel prose. In addition to five or seven-character poems, Tang poetry also has three rhymes, six rhymes and arranged rhymes, and the couplets in the middle are also antithetical. Couples also have three characteristics: first, antithesis is the metrical requirement of style; Second, the number of words changed from even sentences to odd sentences, and finally fixed at five or seven words; Third, the antithesis is accurate and stable, and the tone is mature.

Unity of parasitism and tolerance

The so-called parasitism refers to couplets developed from parallel prose in China's ancient ci and fu. In short, they are a pair of compound sentence, so they can be parasitic in various styles. Poetry, ci, qu, fu, parallel prose, even prose, drama, novel, all have no neat antithesis. On the other hand, couplets are extremely inclusive. It can combine the characteristics of other styles, absorb the expressive techniques of other styles, especially long couplet and super-long couplet, and simply combine the achievements of Chinese stylistic techniques. For example, the refined meaning of poetry, the exaggeration of fu, the long tone of words, the significance of songs, the free and easy prose, the short rhyme of scriptures, etc., are all eclectic and innovative.

Unity of practicality and artistry

As mentioned earlier, couplets are a classical literary form of China, which is naturally literary and artistic. It embodies the artistic style of Chinese characters in China with unprecedented flexibility and perfection in poems, words and songs. The beauty of couplets lies in symmetry, contrast and unity of opposites. In Song Dynasty, Hu Zai recorded it in Fu Zhai Man Lu, the last volume of Tiao Xi Yu Yin Cong Hua. Yan Shu once invited Wang Qi to dinner and said his last sentence: "I can't help spending it", but I hated it. Answer: "I have seen Yan before." Yan Shu was overjoyed and wrote this wonderful antithesis into the word Huanxisha. Yang Shen called this antithesis "a beautiful second language, a natural equivalent". This is the artistic charm of couplets. The artistry of couplets can be summarized by a couplet of contemporary scholar Mr. Bai: the couplet of Wuhou Temple.

For the non-trail, true and sincere, it can be satirized and sung, comparable to poetry and prose, like a pearl reflecting Baoyu; Combining this grand view has a long history and is also interesting. It adds luster to halls, mountains and rivers and people, just like old trees and new flowers.

The unity of fashion and elegance

People often say that * * * appreciates the elegant customs of couplets, which is true. Imagine that there is another literary form, like couplets, which is dominated by scholars and elegant people. The obedient son of a woman likes listening to music. It can not only enter the ivory tower, but also enter the people of Long Mu, which is both a Chun Xue and a beautiful chin. What is this wonderful unity? The reason is that couplets are a simple and complex, pure and rich art. As mentioned above, the rules of couplets are not complicated, especially the color and style of language, and there is no requirement for theme and content. They are generally short and pithy, and are widely used in social life. Unlike other literary forms, they have an elegant face, and they are easy to learn, understand, remember and write. As long as it is right, regardless of the vulgarity and elegance of the language, the size of the theme and the depth of thought, it will become a couplet. But other literature is not inevitable. Poetry is elegant and connotative, such as "mountains and rivers are blurred, wells are dark, yellow dogs are white, and white dogs are swollen", which can only be called "doggerel". Most people are afraid to ask poetry for fear of writing limerick. And couplets, if written by every family and posted on holidays, are the most popular in literature. However, couplets are both vulgar and elegant. The rules of couplets are simple and the form is pure, but they are profound and infinite in terms of Tao and art, short and meaningful, and the word is natural, which is beyond the reach of vulgar hands; The long giant is embroidered, just like an epic. Unless it is big, it can't be done. Those excellent places of interest reflect the mountains and rivers and shine forever; Those famous philosophical aphorisms are handed down to the world and will last forever; Isn't it elegant that those people with lofty ideals are generous and aboveboard?

Unity of seriousness and playfulness

Generally speaking, literature and art are serious, and people oppose the casual creative attitude of game literature and game language. But for couplets, the situation is different. Couplets have always been regarded as a pen and ink game by many people. Although it is biased, it also shows the characteristics of couplets as games. Because couplets pursue antithesis, it is natural that the more stable the better. This is not only a literary creation, but also contains elements of thinking the game and language games. If you simply develop the right job and skills, it will become a Chinese-style, ideological struggle. In fact, many game couplets are purely for recreation and wits. They are often written by various rhetorical devices and ingenious ideas with the help of the special situation of sound, form and meaning of Chinese characters. Game couplets were very common in the Song Dynasty. Su Shi once wrote many game couplets, leaving many anecdotes. Since then, antithesis has become a major way for scholars and even ordinary people to work hard and a part of China's traditional culture. The couplets of Zhu Yuanzhang, Liu Ji and Jie Jin in Ming and Qing Dynasties: Be lenient with others and live a long life.

Gan Long and Ji Yun are both masters who are keen on game couplets. At the end of Qing Dynasty, a man named Zhao Fan wrote a couplet in Wuhou Temple in Chengdu. Li Anyun: If you can attack the heart, you will be self-defeating. Since ancient times, you know that soldiers are not good at fighting; It is wrong to combine leniency with severity without judging the situation. You should think hard about governing Shu in the future. This pair of couplets not only summarizes the characteristics of Zhuge Liang's use of troops in Sichuan, but also summarizes Zhuge Liang's general plan of governing Sichuan, thus putting forward his own political views of pros and cons, combining leniency with severity, peace with war, and being both civil and military. It is very philosophical and contains profound dialectics, which is thought-provoking. Compared with any excellent philosophical poem in history, it shows no weakness. Since its publication, the association has received rave reviews. What people "value" is the profundity and seriousness of this connection. When Mao Zedong visited Wuhou Temple on 1958, he read this couplet carefully and spoke highly of it.

Edit this paragraph classification criteria

Classification by purpose

1. General couplets-Spring Festival couplets 2. Special couplets-tea couplets, birthday couplets, wedding couplets, elegiac couplets, industry couplets, motto couplets, gift couplets and thank-you couplets.

Classified by word number

1. Short link (within the cross) 2. Zhonglian (within 100 words) 3. Long couplet (/kloc-more than 0/00 words) and so on.

Classified by rhetorical skills

1. Duality: word right, object right, right right, opposition, work right, width right, flow right, palindrome right, top right. 2. Rhetoric couplets: metaphor, exaggeration, backchat, pun, rhetorical question and homophonic. 3. Skill association: embedded words, hidden words, compound words, overlapping words, radicals, word analysis, word splitting and numbers.

According to the source of conjunctions

1. Sentence couplet: a couplet composed entirely of ready-made sentences in ancient poetry. 2. Couplets composed of ancient Copybook for calligraphy articles and characters. 3. Sentence-picking couplets: Couplets made by picking antithetical sentences directly from other people's poems. 4. Create couplets: couplets independently created by the author. Types of couplets 1. Festival couplets: refers to couplets with specific timeliness or commemoration, and the contents are mostly general chanting, lyricism, discussion and wishes. Strictly speaking, it can be divided into festival couplets and season couplets, but since they are often integrated, this distinction has no practical significance. Generally speaking, couplets can be directly divided into Spring Festival couplets, New Year's Day couplets and National Day couplets. In the Spring Festival couplets, the most important thing is the Spring Festival couplets. The so-called Spring Festival couplets are seasonal couplets used in the Spring Festival. Most Spring Festival couplets can be used universally. 2. Festive couplets: also known as greeting couplets, refer to couplets with a certain congratulatory nature in addition to holiday celebrations. According to its content and object, it can be divided into several subcategories, such as wedding couplets, birthday couplets, new house couplets (housewarming couplets) and so on. The outstanding feature of festive couplets is that they have certain festive and congratulatory nature, and their contents must be good wishes, celebrations and auspiciousness. There are universal and special holiday couplets. Whether it is universal depends on the alliance, and it is not easy to copy, so as not to make jokes. 3. elegiac couplet: also known as elegiac couplet, it refers to the couplet used to mourn the dead. Its content is limited to mourning, remembering, evaluating and wishing the deceased, and its style is generally sad, solemn, deep and solemn. Others write elegiac couplets for the dead, or write elegiac couplets for themselves, which is another matter. The elegiac couplets can be divided from many angles, including old couplets, middle-aged couplets and youth couplets, as well as elder couplets, peer couplets and younger couplets. In addition, it can be divided into famous couplets and self-mourning couplets, and sacrificial couplets can also be regarded as a subclass of mourning couplets. The content of elegiac couplet generally refers to more specific objects, although there are also general objects and special objects, but in practice, we should pay more attention to the distinction. 4. Scenic couplets: refers to couplets posted, hung and carved at scenic spots. Most of its contents are engraved with scenic spots (such as landscapes and cultural relics). ) or closely related to it (related people, things, etc. Such couplets often become an important part of scenic spots and even history and culture. The combination of scenic spots and historical sites can be divided into several sub-categories, such as landscape gardens, temples and temples, pavilions, houses and halls, monuments and tombs, etc. 5. Industry couplets: refers to couplets whose contents are aimed at a certain industry, department or field. Due to the changes of the times, the application of couplets in the industry is not as good as before, but it is still considerable. Judging from its scope of application and content characteristics, it is still a major category of couplets. Trade associations can be subdivided according to industries and departments. 6. Inscription of couplets: refers to couplets inscribed to others. Although many couplets have been given a certain title, the title couplets mentioned here are limited to interpersonal (or yearning) works, excluding elegiac couplets and congratulatory couplets. Its content generally has a certain nature of praise, wishes and encouragement. From the perspective of the application of couplets, title couplets can be regarded as a big category. According to the different objects of the questions, the questions can generally be divided into several small categories, such as questions, questions, and questions. 7. Miscellaneous couplets: refers to couplets with a wide range of contents without specific objects. This kind of couplets often have simple literary creation characteristics, such as philosophical couplets, lyric couplets, persuasion couplets and so on. 8. Academic couplets: refers to couplets with certain academic nature. This academic nature refers to the specialty that does not belong to the above categories in content and use. Its content is often specialized, with certain disciplinary or religious characteristics, such as popular science association, Buddhist association, Taoist association and so on. From the application scope and development space of couplets, it is necessary to regard academic couplets as a separate category. For example, in the book "A Collection of Touching Smells-1200 Buddhist Couplets" written by the author, many Buddhist figures and Buddhist teachings are systematically written into an academic monograph in the form of couplets. By extension, many scientific knowledge or other learning principles can also be written as couplets, highlighting its academic or professional nature in content. 9. Funny couplets: refer to couplets that highlight interest or skills and pay relatively little attention to content. For example, various humorous associations and skill associations. The content of this kind of couplets either highlights the uniqueness of a certain style (humorous couplets) or is relatively unimportant (technical couplets), making it unique. In this sense, it can be regarded as a single category.

The literary features of editing this paragraph.

Couplets vary in length, only one or two words are short; It can be hundreds of words long. There are various forms of couplets, such as pairs, pairs, flowing pairs, couplets, set sentence pairs and so on. But no matter what kind of couplets and forms of couplets are used, they must have the following characteristics: first, the words should be equivalent and the sentences should be consistent. In addition to deliberately leaving a place for a word to achieve a certain effect, the number of words in the upper and lower couplets must be the same, neither more nor less. Second, it is necessary to be honest and have a harmonious tone. The traditional habit is to "pucker up and fall flat", that is, the end of the last sentence of the first couplet is puckered up and the end of the last sentence of the second couplet is flat. Third, the parts of speech should be relative and the position should be consistent. It is generally called "virtual to virtual, real to real", which means that nouns to nouns, verbs to verbs, adjectives to adjectives, quantifiers to quantifiers, adverbs to adverbs and related words must be in the same position. Fourth, the content should be related and run through from top to bottom. The meaning of up and down links must be interrelated, but they cannot be repeated. In addition, the traditional practice of hanging couplets must be written straight and pasted vertically, from right to left and from top to bottom, and cannot be reversed. The horizontal criticism closely related to couplets can be said to be the title and center of couplets. Good reviews can make the finishing point and complement each other in couplets.

As the name implies, couplets should be "paired", that is, they are composed of upper and lower couplets. The number of words in the upper and lower couplets must be equal and the content should be consistent, that is, the upper and lower couplets can be "linked" (parallel), and two unrelated sentences can not be combined together to form a couplet. Generally, couplets are written vertically, with the last word (tone) of the first couplet posted on the right (hand) and the last word (tone) of the second couplet posted on the left (hand). Although antithesis of couplets has something in common with poetry, it is more demanding than poetry. Couplets can be divided into wide pairs and narrow pairs. Wide pairs can only be formed if the contents of the upper and lower couplets are related, while narrow pairs should be written in strict accordance with the standards of Li Weng Dui Yun. However, in practical couplets, wide couplets are often used, while narrow couplets are rarely used, because the requirements for antithesis are too strict, which restricts people's thinking and is suspected of hurting meaning because of the text. The level and level of couplets are basically the same as poems. The basic law of distinguishing 135 and 246 is generally applicable. How to judge the couplets? Besides distinguishing from the content of couplets, it is more important to judge from the flat sound at the end of couplets. It is strictly stipulated in couplets that the last word of the first couplet should be in a flat voice and the last word of the second couplet should be in a flat voice. Later generations called this rule "flat rise and flat fall". It must be noted that the "four tones" in ancient Chinese and modern Chinese are somewhat different. Since the popularization of hanyu pinyin and the use of Beijing pronunciation as the national common language, the level of the same Chinese character has changed.

The official name of couplets is couplets, commonly known as couplets, which is a unique Chinese language, literature and art form in China and is deeply loved by people from all walks of life. To sum up, couplets are six elements, also called "six phases", which are divided into: 1. The number of words should be equal, and the number of words in the upper part and the lower part should be equal. The number of words in each clause of the long couplet is equal. There is a special case that the number of words in the upper and lower couplets is intentionally different. For example, during the Republic of China, some people ridiculed Yuan Shikai's couplets: "Yuan Shikai is eternal; Long live the people of China. " The first part of "Yuan Shikai" and the second part of "China people" are "sorry", which means that Yuan Shikai is sorry for the people of China.

Overlapping or overlapping words are allowed in sentences. Folding in half and overlapping words are commonly used rhetorical devices in couplets, but attention should be paid to the consistency of the upper and lower couplets when overlapping. For example, in the Ming Dynasty, Gu Xiancheng wrote "Wuxi Donglin Academy Union: the sound of reading in the wind and rain, and the sound and sound are heard"; Family affairs, state affairs and world affairs are all concerned. However, we should try our best to avoid "heterotopic words" and "appositive words" in couplets. The so-called ectopic reduplication means that the same word appears in different positions of the upper and lower links. The so-called homonym means that the same word is opposite in the same position of the upper and lower parts. However, some function words are allowed to have homonyms, such as the couplets of Ge Ling in West Lake, Hangzhou: The Song of Peach Blossoms and Flowing Water; Between the shade and the grass. The word "Zhi" in the upper and lower couplets is repeated in the same place, but it is OK because it is empty word. However, there is a special format of "ectopic mutual weight" (called "transposition case"), such as Lin Sen holding a couplet by Dr. Sun Yat-sen: one person is eternal; One person through the ages. Second, part-of-speech equivalence. There are two types of parts of speech in modern Chinese, namely, notional words and function words. The former includes nouns (including locative words), verbs, adjectives (including color words), numerals, quantifiers and pronouns. The latter includes adverbs, prepositions, conjunctions, auxiliary words, exclamations and onomatopoeias. Part of speech equivalence means that words or phrases with the same position in the upper and lower parts should have the same or similar parts of speech. The first is the rule of "real to real, virtual to virtual", which is the most basic rule and has the widest meaning. In some cases, just follow this. Secondly, the corresponding rules of parts of speech, that is, the words 12 above correspond to each other. This rule should be observed in most cases. Thirdly, the semantic correspondence rule refers to putting things of the same type represented by Chinese characters together for confrontation. The ancients noticed this rhetorical method long ago. In particular, nouns are divided into many subcategories, such as astronomy (sun, moon, wind, rain, etc. ), season (day and night, etc. ), geography (mountains and rivers, etc. ), government offices (towers, doors, etc. ), vegetation (trees, peaches, plums, etc. ), birds (chickens, birds, cranes, etc. ) and so on. Finally, the corresponding rules of adjacent categories, that is, words in adjacent categories can be paired with each other. For example, astronomy returns to the season, astronomy to geography, geography to the palace and so on. Third, the structural proportion The so-called structural proportion means that the grammatical structure of the upper and lower conjunctions (or the structure of their phrases and sentence patterns) should be as same as possible, that is, the subject-predicate structure is opposite to the subject-predicate structure, the verb-object structure is opposite to the verb-object structure, the partial structure is opposite to the partial structure, and the coordinate structure is opposite to the coordinate structure, and so on. For example, Li Bai's topic is Yueyang Tower in Hunan: Water and sky are the same color; The wind and the moon are boundless. This conjunction is both a subject-predicate structure. Among them, "water sky" and "romantic moon" are both parallel structures, and "one color" and "boundless" are all positive structures. However, in the case of equivalent parts of speech, the requirements for some similar or special sentence structures can be relaxed appropriately. Fourth, the rhythm corresponds, that is, the places where the upper and lower links stop must be consistent. Such as: don't let the spring and autumn pass; It's the hardest for an old friend to come once. This is a seven-character short couplet, and the rhythm of the upper and lower couplets is exactly the same, both of which are "223". Longer couplets must have corresponding rhythm. 5. What is leveling? The classification of flat tones in Putonghua is, in short, flat tones and upper tones, flat tones and flat tones. In the ancient four tones, the flat sound is flat, and the rising, going and entering sounds are silent. There are two aspects to the harmony between levels: (1) Levels and levels are opposite. Generally speaking, word alignment is not required, but attention should be paid to the alignment of the upper and lower tails (feet), the upper part is different and the lower part is flat; The words at the end of the sentence or at the rhythm point should be flat and opposite; The ending (foot) of each clause in a long couplet should be flat, right. (2) The upper and lower couplets alternate in the sentence. Yu Dequan, a contemporary couplet writer, summed up a set of "horseshoe rhyme" rules. Simply put, it is "flat, steady and steady", walking like the rhythm of a horseshoe. Sixth, the content is relevant. What are couplets? It is both "right" and "related". The words mentioned above are all "right", with the same number of words, equivalent parts of speech, the same structure, corresponding rhythm and even harmony, but they still lack a "couplet". "Lian" is about content relevance. Between the upper and lower couplets of a couplet, the content should be related. If the upper and lower couplets each write an irrelevant thing, and the two can't reflect, connect and echo, it can't be regarded as a qualified couplet, or even a couplet.