How to write couplets? Tips for writing couplets? Knowledge of couplets?

To be honest, in the current couplet community, there is still a lack of clear theoretical research on the classification of couplets. In many cases, the classification of couplets is quite arbitrary. There is often no uniform classification standard for couplet types, the conceptual connotations of different types of couplets are often vague, the denotations of different types of couplets often overlap with each other, etc. It should be said that these phenomena violate the basic requirements of scientific classification. In view of this, the author puts forward some rough ideas of his own in order to inspire others.

The author believes that the classification of couplets, like any other classification, mainly requires two clarifications: one is to clarify the criteria for classifying couplets; the other is that for classification under a certain standard, different types must be clarified The conceptual connotation and denotation of the couplets, and try to avoid or reduce the intersection and overlap of denotations.

There are many standards for classifying couplets. Here are some examples: First, according to the number of words in the couplets, they can be divided into long couplets and short couplets. The couplets in which both the upper and lower couplets are composed of a larger number of words are called long couplets; the couplets in which both the upper and lower couplets are composed of fewer words are called short couplets. Long couplet Xuntang? Mi quality? Xi⑽蘧? Yuanmumancao?Hao?獍源 Ship卍捍 invading Ye pound curse⑸ shape? DiA? pull? Yu? Xingyun filter Mudu too write?燇 margin tomb Zhang The second category advocates taking 30 or 40 characters as the lower limit for the number of characters in a long couplet (such as Mr. Yu Dequan). theory); the third category advocates taking 60 or 70 characters in the entire couplet as the lower limit for the number of long couplets (as Mr. Zhou Yuanlong said); the fourth category advocates using 90 or 100 characters in the entire couplet as the lower limit for the number of long couplets (as usual) Mr. Jiang’s words). Investigating the reasons, the above-mentioned views are all self-contained. Relatively speaking, the author personally prefers 30 or 40 words, because this range seems to be closer to people's usual vague feeling about long and short couplets. But it can be said that no matter how many words are used to delineate long couplets and short couplets, it seems reluctant, especially when the difference is only one or a few words, it becomes even more rigid. In fact, long couplets and short couplets belong to the category of vague concepts. It is unnecessary and difficult to draw a boundary between the two in terms of word count. The same is true for other literary genres, such as long poems and short poems. I am afraid that there is still no absolute limit on the number of lines. Therefore, when selecting and compiling long couplets and short couplets, as long as there is some relatively reasonable and unified standard, it may be appropriate to separately stipulate them and form a self-contained system.

Second, according to the number of sentences in the couplet and the relationship between the sentences, it can be divided into three types: single sentence couplet, compound sentence couplet and sentence group couplet. Both the upper and lower couplets are composed of a single sentence, which is called a single-sentence couplet; according to the length of the metrical literary sentence, a single-sentence couplet is generally a short couplet (according to the theory that the whole couplet has more than 30 or 40 words, it is a long couplet). The upper and lower couplets are composed of two or more clauses to form a complex sentence, which is called a complex sentence couplet; the complex sentence couplet is generally between the long and short couplets. The upper and lower couplets are all couplets composed of two or more complex sentences forming a sentence group (or segment), which is called a sentence group couplet (or segment couplet); the sentence group couplet is usually a long couplet. The significance of this division is that it is related to the issue of the oblique arrangement of sentence footings.

Third, according to the metrical requirements and rigor of the antithesis, the couplets can be divided into wide pairs, Gong pairs, clever pairs, absolute pairs, etc. The so-called wide pair refers to couplets or couplets that have looser or flexible metrical requirements and less neat counterpoints; the so-called Gongdui, also known as strict pairings, refers to couplets or couplets that have stricter metrical requirements and stable counterpoints; the so-called clever pairs, It is also called a wonderful pair, that is, a couplet or couplet that is quite ingenious and unique, or that highlights the use of certain special techniques (if it is relatively stable at the same time, it can also be called a skillful pair); the so-called absolute can also be called a wonderful pair, that is, a pair of pairs. It is a couplet or couplet that is very difficult or the antithesis is so natural that it is difficult for other couplets to match the original sentence or to be comparable to the existing couplets. Of course, there is no clear boundary between wide pairing, working pairing, skillful pairing and absolute pairing.

The fourth is based on the content correspondence between the upper and lower lines, which are divided into positive pairs, opposing pairs, and running pairs. The content correspondence between the upper and lower lines of most couplets is a mutually reinforcing relationship. This kind of foil either sets off and complements each other from the same angle (the so-called "direct opposition"), or it sets off and contrasts each other from the opposite angle (the so-called "opposition"). In layman's terms, the opposite is up and down. The joint intention is similar, and the opposition means that the upper and lower joints have opposite intentions.

There are also a few couplets where the content correspondence between the upper and lower couplets is in a cohesive relationship (the so-called "flowing pair", or "string pair"), that is, the two clauses of the upper and lower couplets together form a complex sentence. There is a composite relationship of coherence, progression, choice, turning, cause and effect, assumptions, conditions, purpose, etc.

Fifth, according to the writing skills or rhetorical techniques of the couplets, they can also be divided into embedded word couplets, palindrome couplets, riddle couplets, sentence couplets, hidden word couplets, rhyming couplets, etc. But strictly speaking, they should be called inlay pattern, palindrome pattern, riddle pattern, collection pattern, hidden word pattern, rhyme pattern, etc.

Sixth is divided according to the content and purpose of the couplets. From a theoretical point of view, this division is even more difficult to be strict and complete. But from a practical point of view, only this division is more meaningful, because it is closely related to the arrangement of couplets. Couplet division mainly refers to this kind. Therefore, the author intends to provide a little discussion on this classification. Generally speaking, couplets have the nature of title or inscription, so writing couplets is often called title couplet. The author believes that according to the content and objects of the couplets, they can be roughly divided into festival couplets, festive couplets, mournful couplets, scenic spots couplets, industry couplets, title-gift couplets, miscellaneous feelings couplets, academic couplets, and interesting and clever couplets. Category. Among them, each category can be divided into several subcategories. The nine categories of couplets are briefly introduced as follows:

1. Seasonal couplets: refer to couplets that are of specific seasonal or commemorative nature and mostly contain general chants, lyrics, discussions, and wishes. Strictly speaking, they can be divided into festival couplets and seasonal couplets, but since the two are often combined into one, this distinction has no practical significance. Generally, seasonal couplets can be directly divided into several subcategories such as Spring Festival couplets, New Year's couplets, and National Day couplets. Among the seasonal couplets, the most important one is the Spring Festival couplets. The so-called Spring Festival couplets are seasonal couplets used for the Spring Festival. Most Spring Festival couplets can be used universally.

2． Festive couplets: Also known as congratulatory couplets, they refer to couplets with a specific congratulatory content other than festival celebrations. According to its content and objects, it can be divided into several subcategories such as marriage couplets, longevity couplets, and new residence couplets (housewarming couplets). The outstanding feature of the festive couplet is that it has a specific festive and congratulatory nature, and its content must express good wishes, joy and auspiciousness. There are general and special celebration couplets. Whether it is universal or not depends on each couplet. Do not simply copy it to avoid making a fool of yourself.

3. Elegiac couplets: Also referred to as elegiac couplets, they refer to couplets used to mourn the deceased. Its content is limited to condolences, remembrances, evaluations, and wishes for the deceased, and its style is generally sad, solemn, deep, and solemn. There are also elegiac couplets written for the deceased or for the widow himself, which is a different matter. The elegiac couplets can be divided from many perspectives, such as elegiac couplets for the elderly, middle-aged people, young people, etc., or elegiac couplets for the elders, peers, younger generations, etc. In addition, elegiac couplets can also be divided into elegiac couplets, self-elegiac couplets, etc., and sacrificial couplets can also be regarded as a subcategory of elegiac couplets. The content of elegiac couplets generally refers to more specific objects. Although there are also general and special ones, more attention should be paid to the distinction in practice.

4． Couplets of famous places: refer to couplets posted, hung, or carved in scenic spots. Most of its contents are inscriptions on the scenic spots (such as landscapes, towers, cultural relics, etc.), or are closely related to it (relevant people, things, etc.). Such couplets often become an important part of scenic spots and even historical culture. Couplets of famous places can be divided into several sub-categories such as landscapes and gardens, temples, monasteries, pavilions, courtyards, halls, monuments, pagodas, tombs, etc., to name but a few.

5. Industry couplets: refer to couplets whose content is specific to a certain industry, department or field. Due to the changes of the times, although the use of couplets in the industry is not as good as before, it is still considerable. Judging from its scope of application and content characteristics, it is still a major type of couplet. Industry associations can be divided into subcategories by industry and department.

6． Couplet inscribed as a gift: refers to a couplet inscribed as a gift to others. Although many couplets have a certain nature of inscription and gift, the inscription and gift couplets mentioned here are limited to the inscriptions and gifts for interpersonal communication (or yearning), and do not include elegiac couplets and congratulatory couplets. Its content generally contains some kind of praise, blessing, or exhortation. Judging from the use of couplets, inscription and gift couplets can be regarded as a major category. According to the different objects of the gift, the couplet can generally be divided into several sub-categories, such as couplets for elders, couplets for peers, and couplets for juniors.

7. Miscellaneous couplets: refer to couplets that have no specific object and cover a wide range of contents. This kind of couplets often have relatively simple characteristics of literary creation, such as philosophical couplets, lyrical couplets, persuasive and satirical couplets, etc.

8. Academic couplets: refer to couplets with some academic nature. This academic nature refers to a certain professional nature that does not fall into the above categories in terms of content and purpose. The content is often relatively specialized and has certain subject or religious characteristics, such as Popular Science Federation, Buddhism Federation, Taoism Federation, etc. From the perspective of the application scope and development space of couplets, it is necessary to treat academic couplets as a separate category. For example, the author's book "Collection of Touchings - 1,200 Buddhist Couplets" uses the form of couplets to systematically write down many Buddhist figures and Buddhist doctrines into an academic monograph. By extension, a lot of scientific knowledge or other cultural principles can also be written in the form of couplets, and their academic or professional nature can be highlighted in content.

9． Interesting and clever couplets: refer to couplets that highlight interest or skill but pay little attention to content. Such as various humorous couplets, skill couplets, etc. The content of this type of couplet 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 separate category.

Of course, there are no absolute boundaries between the above nine categories of couplets. But in general, these nine categories of couplets are concisely and clearly divided in type, relatively clear in connotation, and basically cover all couplets in denotation, and they basically do not overlap with each other. In the above-mentioned classification of couplets, the author has a relatively rigorous definition of each type, explaining the intersection of different types and trying to exclude them as much as possible. Therefore, they "basically do not overlap with each other."

If the above is a simple opinion, if it is inappropriate, please contact Fang’s tutor to correct it!

Judging from the content reflected and the occasion of use, couplets can be divided into:

Spring Festival Couplets:

To remove the old and welcome the new, to express aspirations and full of pride, The main content is looking forward to the future, and the couplets are specially pasted on New Year's Day and Spring Festival. Because of their strong timeliness, people call them Spring Festival Couplets.

For example: One Yuan and all things are renewed

Couplets:

In order to express certain wishes or meet decorative needs, they used to be often used in official courts, mansions and temples. , couplets on the pillars in the garden, or carved on wooden boards, or carved on wall stones, are collectively called couplets.

For example: In 1979, the "Yue Temple" in Hangzhou was renovated. Zhao Puchu, a famous contemporary poet and calligrapher, used the meaning of Yue Fei's "Man Jiang Hong" to reshape the giant statue of Yue Fei. On the big pillars on both sides, a grand and grand new couplet is carefully written to serve the present purpose: Observing the weather dazzles the souls of the people, rejoices in the present temple, reopens the old cypress, Qianxun looks up// Cleans up the mountains and rivers to pay tribute, look at this day China, start a new journey and drive thousands of miles.

Wedding couplets:

Specially selected or written couplets that can express the warm atmosphere on the day of the wedding ceremony.

For example: cleverly borrowing flowers to add moonlight to enjoy the spring night on an autumn night

Elegiac couplet:

In order to evaluate the life achievements of the ancestors and express the sincerity of the descendants Couplets used at memorial or memorial services to express feelings of remembrance.

For example: An elegiac couplet in memory of the beloved Premier Zhou: The hard work of the revolutionary cause is like towering Mount Tai, shaking the world, and the Prime Minister's kindness is like drops of rain and dew, moistening people's hearts.

Life couplet:

When an old man celebrates his birthday, in order to express their blessings to their elders, their children often write some auspicious words carefully, with the main content of prolonging life and bringing happiness to the family, and stick them on the door or hang them. In the hall, such couplets are called longevity couplets.

For example: Good fortune is as great as the east sea and the longevity is higher than the south mountain

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The six elements and six elements of the basic rhythm of couplets Taboo (Part 1)

Author: Da Zhi Article source: Internet

Couplets are a literary form that pays attention to meter. To appreciate and write couplets, one must understand its basic metrical requirements. The so-called couplet rhythm (referred to as couplet rhythm) refers to some basic rules and formats for couplet writing, and its core requirement is antithesis. The basic rhythm of couplets can be summarized into six elements and six taboos.

The six basic metrical elements of couplets are generally considered to be: equal number of words, related content, equal parts of speech, proportional structure, corresponding rhythm, and harmony between oblique and oblique.

The author believes that these six elements can be understood from three aspects: basics, grammar, and rhythm:

1. The number of words is equal and the content is relevant

These are the two foundations of couplet rhythm. elements. The equal number of words means that if the upper line is composed of several clauses, the second line should also be composed of several clauses with the same number of words. In short, if the number of words cannot be equal, then it cannot be called a veritable couplet in any case.

From the content point of view, the content between the upper and lower lines should be related to achieve opposite or complementary effects. This relationship either reflects and complements each other from the same perspective, which is the so-called "opposition"; or it contrasts and contrasts with each other from the opposite perspective, which is the so-called "opposition". Such as:

The awakening and conduct are perfect; the merits are solemn. (Opposite)

A calm mind accumulates blessings; a desire to bring disaster again. (Objection)

There are also a few couplets where the upper and lower couplets are connected to each other, which are the so-called "string pairs" or "running pairs". For example:

In addition to sweet, bitter, spicy, salty and sour;

It is nothing more than firewood, rice, oil, salt, sauce, vinegar and tea.

If the contents of the upper and lower couplets are irrelevant and make people feel very awkward and stiff, they will not achieve the literary effect that the couplet should have and cannot be called a qualified couplet. Of course, there is a special form of couplets, the so-called "merciless pairs". It refers to the fact that the upper and lower couplets are neatly contrasted in form (literally), but intentionally unrelated in content (meaning), thus creating a special effect. The ruthless pair mainly uses the formal characteristics of couplets (antagonism) to embody a kind of literary taste and technique, and its content is secondary. For example:

The flowers are blooming in front of the court;

Your Excellency, Mr. Li. (commonly used for ruthless pairs)

The tree is half dead and the ax is hanging;

As expected, it has nothing to do with it. (commonly used in ruthless pairs)

In short, equal number of words and relevant content are the minimum requirements for the form and content of couplets, which reflect the most basic correspondence and correlation, so the two are called the basis elements.

2. Equivalent parts of speech and proportional structure

These are the two grammatical elements of couplet rhythm, and they are also the two most critical elements. Equivalent parts of speech means that the properties of words in the upper and lower couplets should be as identical or similar as possible. Such as noun to noun, verb to verb, etc. For example:

The five aggregates are all empty and the view is at ease;

See the Tathagata without any confusion.

In this couplet, "五" and "一" are both numbers, "Yun" and "心" are both nouns, "Ji" and "不" are both adverbs, "empty" and " "Chaos" are both adjectives, "Guan" and "See" are both verbs, and "Zizi" and "Tathagata" are both nominalized adjectives or verbs. Generally speaking, the requirements for function words are relatively loose, while the requirements for content words are stricter. In specific antithesis, in addition to the part of speech, the role of words in the sentence can also be appropriately considered. The requirements for modifying words are looser and the requirements for central words are stricter.

Structural compatibility means that the grammatical structure of the corresponding sentences in the upper and lower lines should be as similar as possible. For example:

Always endure humiliation with one heart;

Let everything happen as it happens.

The upper and lower couplets of this couplet both have subject-predicate-object structures. Among them, "one heart" and "all things" are both partial structures, and "endure" and "according to fate" are both verb-object structures.

3. The rhythms are corresponding, and the levels and obliques are in harmony.

These are the two rhythmic elements of the couplet rhythm. Rhythm is originally a musical term, which refers to the regular alternating intensity, length and other phenomena in music. In couplet law, it refers to the regular pause phenomenon in couplet sentences. Rhythm correspondence means that the rhythm pauses of the upper and lower couplets should be as consistent as possible. For example:

When the leakage is gone, fly away;

My heart is empty and I return home.

Use magical power to protect the Dharma;

Set up the Menglan basin to save the relatives.

However, the author believes that rhythm can be divided into broad and narrow senses. Rhythm in a broad sense includes semantic rhythm and vocal rhythm. Rhythm in the narrow sense refers specifically to semantic rhythm. Semantic rhythm is mainly divided according to sentence structure, which refers to the pauses or breaks in syllables based on semantic meaning. Rhythm is viewed from the perspective of the tone requirements, which refers to the tone requirements at a certain position in the sentence (the tone arrangements). The author believes that in order to make the concept clear, it is best to express semantic rhythm and vocal rhythm as "rhythm" and "meter" respectively. Examples are as follows:

At the same time - hear - prophecy; sequentially - obtain - Bodhi.

(Rhythm)

At the same time - hearing and teaching - recording; sequentially - achieving Bodhi. (Meeting)

Of course, rhythm and meter are closely related, and the two are often consistent.

The harmony of levels and obliques, also known as the coordination of levels and obliques, refers to the two major requirements of the tones of couplets: the opposite and the alternation of oblique and oblique. Broadly speaking, it also includes other equivocal issues such as the arrangement of sentences and footings (see six taboos). The relative tone of flat and oblique means that between the steps of the upper and lower couplets and the foot of each clause, the flat tones should be opposite to the oblique tones, and the oblique tones should be to the flat tones. That is, if the upper line has a flat tones, the second line must have a oblique tones, and vice versa. There is a saying about the arrangement of the steps that "one, three, and five are irrelevant, but two, four, and six are clear." This is because, in fact, it is not necessarily required that the entire steps are evenly relative to each other, as long as the steps can be evenly relative to each other. The so-called foot position refers to the last character of each foot, which is the key sound that determines the nature of the entire foot. Since most of the phonetic steps of Chinese characters are two-character steps, the phonetic steps generally refer to the second, fourth, and sixth characters of each sentence. Therefore, there is a saying that "one, three, and five are irrelevant, but two, four, and six are clear." For example:

Xinchi - there is something outside - reality is lost - there is; in the body - in the air - not seen - empty.

○○ △△ △○ △ ○△ ○○ △△ ○(○ means flat tone, △ means oblique tone.)

In this couplet, the first three and five characters are not necessarily flat. Relatively speaking, characters 246 and 246 are all relatively flat. However, not all foot positions are in the 246 position, mainly due to the sentence pattern of couplets. In addition to the antithetical sentence patterns in rhymed poetry, there are also sentence patterns such as words, music, fu, parallel prose and even prose, as well as The use of collar words, proper nouns, etc. For example:

Build a mandala altar and practice Dharma;

Practice meditation at Alan Ruo.

A straight mind is the foundation of all actions;

Greed is the source of all suffering.

Practice deeply and diligently the teachings of Shingon;

Promote the Mahamudra method with all your strength.

The foot steps of the above couplets are not necessarily in the 246 position.

Alternation of oblique and oblique, which is actually two aspects of the same problem as opposed to oblique and oblique. It refers to the correspondence between oblique and oblique steps in the sentences of the upper or lower couplets. Use alternately. Only between the foot of each clause and the previous step, the issue of alternation does not need to be considered. For example:

The real body has passed the mortal world; the wonderful method is too small for Xiaozhi to listen to.

○ △ ○△ △ ○ △○ (the sound steps alternate, and the foot of the sentence also alternates with the previous sound step)

There is a true Buddha when you start with righteous faith; there is no devil if you go deep into your heart. .

△ ○ △△ ○ △ ○○ (the steps alternate, the foot of the sentence does not alternate with the previous step)

The requirements for coordination of level and oblique are not absolute. Sometimes, in order not to The law harms the meaning, and it can also be accommodated if there are certain places where Ping and Ze are wrong or Ping and C are not replaced. When using special rhetorical techniques such as parallelism, rhyme, and quotation, and using fixed sentence patterns such as idioms and allusions, the metrical requirements on level and obliqueness can be appropriately relaxed.

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