Ask what is flat and what is rhyme?

1. The level tone law is the classification of tones of Chinese characters 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.

basic sentence pattern:

ping

(ping) ping

(ping) ping/ping

(ping)

(flat) flat/flat (flat) flat

(flat) flat (flat) flat/(flat)

2 writing methods of unified poetry □ Fuwa (1) Tone Traditional poetry pays attention to musicality, is easy to recite and sing, and is easy to remember. Therefore, its writing emphasizes understanding metrical poetry, and some people used to call it metrical poetry. To understand the rhythm of traditional poetry, we should start with the tone of words. The previous four tones were Ping, Shang, Qu and Jin; Today's four tones are level tone, rising tone, going up and going. The ancients called the three tones "Shang, Qu and Ru" as "even tones", so the problem of tone is to distinguish the word "even tones" in a nutshell. Some people have studied that Cantonese dialect (vernacular) is closer to the ancient language, so it is easier for people who know how to speak vernacular to distinguish flat tones. Flat means smooth, the sound is loud and pleasant, and it can be prolonged, that is, like a flat path, it can go smoothly. It means oblique, which belongs to the category of oblique sound. The sound is rather awkward and short, so it is impossible for people to prolong it. In order to correctly use this method of judging flat tones, it is best to compare two or three words with different tones of pinyin, such as Zhong Hezhong, Qi Hezhong, Hua and Hua, etc. The former and the latter have obvious differences when they read the vernacular sounds: the former is pleasant, flat and soft, and belongs to flat tones; The latter is biting and urgent, and it is a squeaking sound. Those who are used to distinguishing the modern new four tones, that is, level tone, rising tone, rising tone and falling tone, should know that the ancient entering tone characters have been dispersed into the new four tones. Then, the entering tone words scattered to the upper and lower tones are naturally muffled; What we should pay great attention to here is the original tone words that have been dispersed to Yinping and Yangping. For example, the word "cha" and the word "cha" are homophones in modern Mandarin, both of which belong to a level tone, but when they are read in the vernacular, they are quite different, and they are also like "Yi" and "Yi" in modern Mandarin. Homophonic, but in the old saying, "one" is the entering tone word and "clothes" is the flat tone word, which cannot be confused. Therefore, people who only know modern Mandarin but not vernacular must have a reference book such as Ci Lin Zheng Yun in their hands to correctly distinguish the traditional flat tones, especially to master the category of Rusheng characters. In addition to consulting reference books, dictionaries or dictionaries, memorizing some famous ancient articles can also correctly distinguish the tones of some difficult words. In the same sentence, Tang poetry is "135 regardless, 246 is distinct", that is to say, the second, fourth or sixth double numbers in a sentence must be in a fixed format and should not be confused. For example, if the word "painting" mentioned above can't be judged by other methods, the famous sentence "Silver candle Qiu Guang draws a cold screen, light Luo small fan flies at fireflies" immediately surges in our minds, so it is easy to judge that it belongs to the flat sound according to the sentence pattern of the same sentence. As for the rule that the same sentence is flat and flat, what should it be? This is the main content we will talk about next time. The writing method of traditional poetry □ Fuwa (2) The sentence patterns adopted in regular poems and quatrains are mostly the combination of phrases with double before and single after. For example, "before bed/bright moon/light" is a 2/2/1 sentence pattern; "The wind is rushing/the sky is high/the apes wail" is a 2/2/3 sentence pattern; "Phoenix stage/Phoenix tour" is a 4/3 sentence pattern; "In silence/listening to thunder" is another type of 4/3 sentence pattern. The difference between words is that a large number of phrase combinations are used, and this sentence pattern can not be confused with the sentence pattern of the former double and the latter single in different places. For example, there are two seven-character continuous sentences, namely, "The golden wind meets the dew" and "It is better than countless people in the world". The former is a three-quarters sentence, and the latter is a three-quarter sentence. The same is true of some five-character sentences in Ci, such as Xin Qiji's "Qi Jing Turbulent Down" in Qi Fu of Qinyuanchun Lingshan, which is a quarter sentence structure, which is completely different from the sentence structure of "so bright a gleam on the foot of my bed". In general, the flat tone of metrical poems and quatrains should be "135 regardless, 246 distinct", that is, in addition to the rhyme law of the ending words, words with even numbers must be flat and flat, so there are only two situations: flat and flat. For example, the 246-digit characters of "in a sharp gale from the wide sky apes are whimpering" are urgent, high and loud respectively, which are flat, flat and squeaky; The 135-digit characters are wind, sky and ape, all of which are flat, but they do not hinder the entry into the law. This is the meaning of "135 regardless". Listen to thunder in silence. The 246 numbers are nothing, nothing and shock respectively, and they are flat, flat and flat; The words of 135 numbers are "Yu, Sheng and Listening" respectively, which are flat and even. In general, single-digit words are flat or even-pitched, but we should try our best to avoid "three-level foot" or "three-level foot", that is, we should not make all the last three words flat or even-pitched. Therefore, we sometimes need to pay attention to the third word of five-character and the fifth word of seven-character poem. In addition, it is also a taboo for poets to commit "loneliness", that is, only one flat word appears in the same poem except rhyme, but this content is more complicated and there is a deeper "remedy" method. Poets can hold the creative viewpoint of "not hurting meaning with words" at the beginning. The level tone of words is more strict, and quite a few long tunes can't be written according to the poem writing format of "135, 246", so they must be filled in according to the inherent format of the word spectrum, so it is said that it is necessary for people who learn to write words to have a reference book like "Word Spectrum". For example, in the simplest Sixteen-character Order, its frames are "Yi (rhyme) 1 ┃-┃-(rhyme),-┃ (sentence)+┃-(rhyme)", and one of them is flat voice. From this point of view, writing words is more difficult than writing poems. Some beginners think that just the number of words that meet the requirements of the epigraph can be regarded as the word, and they don't talk about sentence patterns and the rules of leveling, but they fill in the epigraph at will, but it is ridiculous and generous. Traditional poetry writing method □ Fuwa (3) The "two-four-six-clear" of the metrical poem from the first sentence to the eighth sentence is simply the relationship of "antithesis": "antithesis" means that the second sentence is opposite to the first sentence. If the second, fourth and sixth digits of the first sentence are flat, "Sticking" means pasting, that is to say, the next sentence is the same as the previous sentence. If the second sentence is flat, then the third sentence is flat. Push it down again, and it will stick like this. The fourth sentence is right with the third sentence, and the fifth sentence is stuck with the fourth sentence ... Try Du Fu's poem: "in a sharp gale from the wide sky apes are whimpering, birds are flying homeward over the clear lake and white sand. The endless trees rustle the fallen leaves, the Yangtze river is not expected to roll in the Pentium. Sad to Li autumn scenery, the perennial wanderer, life in the disease ridden today alone on the high platform. Ill fortune has laid a bitter frost on my temples, heart-ache and weariness are a thick dust in my wine. " The word "246" in the first sentence is "urgent, high and low", which are flat and even, while the word "246" in the second sentence should be "right" according to the grid law, which is opposite to the first sentence and "flat and even" in the third sentence. You can cut the middle four sentences or the first four sentences. For example, "Li Bai was about to walk in a boat when he heard singing on the river." Peach Blossom Pond is deep in thousands of feet, not as good as Wang Lun. " Just like intercepting the first and last four metrical sentences of Du Fu's rhythmic poem "Ascending the Heights" mentioned above; And "the Yellow River is far above the white clouds, and there is a lonely city, Wan Ren Mountain. Why should the flute blame the willows, and the spring breeze will not pass Yumenguan. " It's like intercepting the middle four lines of metrical poems, but there is no antithesis. In the poem of words, some seven-character five-sentence patterns are transformed from quatrains, and there is a certain relationship between these words. Such as "Langtaosha", "Recalling the King's Sun", "Huanxisha" and "Partridge Sky". However, the difference between most words and laws is that they break the original relationship of sticking to each other, but are filled in according to the unique rules of leveling each epigraph. Even if the number of words is close to the law, most of them are. For example, Shengchazi looks like a five-character quatrain poem with a rhyme on the surface, but it contains three kinds of metrical patterns in the book "Rhyme of Ci in Tang and Song Dynasties": Geyi is all a flat sentence pattern; The second case is that the fifth sentence of the first sentence uses a flat and even sentence pattern, such as a famous song by Zhu Shuzhen, "Last year, at the Lantern Festival, the flower market lights were like day. The moon rose above the willow tree, At dusk he had a tryst with me. The lantern festival on the fifteenth day of the first month of this year, the moonlight and the lights are still the same as last year. I didn't see last year, and my tears wet my sleeves. " The third case is that the third sentence uses a flat sentence pattern, and there is a special format of the eighth sentence. Due to the limitation of space, this paper just wants to point out that the meter of each word is different. Since it is regarded as a word, it should not be confused with the quatrains of regular poems because some of them are also five or seven words. Traditional poetry writing methods □ Fuwa IV. Duality is an important form of rhetoric in ancient Chinese, which requires not only the same number of words and the same part of speech in the same position, but also the same word structure in a certain position in the sentence. Modern Chinese also stresses duality, which can produce the aesthetic feeling of neat sentence patterns and is easy to recite and remember. It is an indispensable basic knowledge for learning to write poetry. Many ancient books about this knowledge, such as "The Enlightenment of Rhythm", begin with: "Clouds are against rain, snow is against wind, the night shines against the clear sky, flowers come and birds go, birds stay and insects sing ..." Mastering the law of opposition can be said to be the basic technique for writing traditional poems. First of all, three or four sentences and five or six sentences of the law poem require pairs, which are called neck couplet and parallel couplet respectively. For example, "leaves are dropping down like the spray of a waterfall, while I watch the long river always rolling on" and "I have come three thousand miles away. Sad now with autumn, and with my hundred years of woe, I climb this height alone" in Du Fu's "Ascending the Mountain" are very neat antithetical sentences, that is, couplets; Bai Juyi's five-character poems also contain such masterpieces as "wildfire never quite consumes them, they are tall once more in the spring wind". Since quatrains are half of the sentence patterns of intercepted metrical poems, there is the possibility of antithetical sentences. For example, the last two sentences in the quatrains are "butterflies dancing from time to time and charming warblers chirping at ease"; "The water is bright and sunny, and the mountains are empty and rainy" are the first two sentences in the quatrains. There are even a few quatrains, and the whole article is composed of two couplets, such as Du Fu's "Two orioles singing green willows and a row of egrets flying into the sky. The window contains the autumn snow in Xiling, and the Dongwu Wan Li ship is parked at the door. " Many words use antithetical sentences in a fixed position, which is indicated in the dictionary. As people are familiar with "partridge sky", the word spectrum notes: "The third and fourth sentences in the previous film are often paired with the three words and two sentences in the previous film." Another example is "Huanxisha", and the words also have this note: "The sentence of Guo Pian is dual." When putting antithetical sentences into poetry, we should strive to get them right neatly, but at the same time, we should prevent the mistake of crossing our hands. What is "crossing your hands"? The meaning of the upper sentence and the lower sentence of the couplet overlap, which is commonly known as the big crossing; Individual words have two meanings, which is a small crossing. If the meaning of the last sentence and the next sentence of the couplet is coherent and appears in poetry, it is the best work, which can be called "flowing pair", such as "wildfire never quite consumes them and they are tall once more in the spring wind" mentioned above. In addition, "and yet, while China holds our friendship, and heaven remains our neighbourhood" is also a well-known masterpiece. Where there should be antithetical sentences in rhymes and words, if the meaning is difficult to turn into couplets, we should still give priority to the meaning, and never damage the artistic conception of the whole poem in pursuit of complete opposition. There are many examples of this ancient success, such as "the yellow crane never revisited earth, and white clouds are flying without him for ever", which has been praised for a long time, and it is not completely dual. Traditional poetry writing methods □ Fuwa (5) Why do rhyming poems rhyme? Is nothing more than to charge