What's the matter with rhyme, meter and level tone?

An important reason why people like old-style poetry is that it is short and pithy and easy to remember. Why is it easy to remember? The reason is simple: all old-style poems rhyme. Rhyme is naturally smooth, and it is easy to remember when it is smooth. So what is rhyme? The rhyme in the so-called poetic meter is simply the suffix, which is roughly equivalent to the vowel in modern Chinese. For example, at the end of "Chang" and "Fang", their vowels are "ang" in Mandarin, which is the rhyme of these two words and belongs to the same rhyme. Then what is rhyme? Words with the same or similar vowels are combined into a rhyme. Poets use rhyme in their poems, which is called rhyme. The so-called rhyme is to put two or more words in the same position. The repetition of words in the same position can form a sound cycle, which makes the phonology of the work harmonious and easy to remember. Rhymes are usually placed at the end of sentences, so they are also called rhymes. For example, when those red berries come in spring, they blush on your southern branches. People who want to miss them collect more, and Mix red beans have attracted people's attention. The rhymes "Zhi" and "Si" in the poem are homonyms, which are repeated in the same position every other sentence, thus forming a harmonious and cyclic phonological beauty and making the work catchy to read. There are many opinions about rhyme, but the main question is whether to use old rhyme or new rhyme. There are many versions of Yun Xin's rhyme books, but if you speak Mandarin well, you won't need them. Just prepare a Xinhua dictionary or something at most. Nowadays, when writing ancient poems, most people still use the old rhyme. There are also many rhyme books of ancient rhyme, but they are basically inherited from Qieyun. At present, it is recognized that ancient rhymes are written in a flat style, and the lyrics are correct. Personally, it is best for beginners not to covet convenience, but to start with the old rhyme. Because writing metrical poems has a problem of inheritance. Learning ancient rhyme is of great benefit to better understand and grasp the works of predecessors and their changes in rhythm and prosody. At the same time, it won't make a joke that "Chen Ziang Youzhou Tower doesn't rhyme". The earliest rhyme book "Ping Yun Shui" is hard to see now. After the Qing Dynasty, the rhymes used in people's poetry writing mainly include rhyme, poetic fusion and poetic combination. These rhymes are re-edited and promulgated on the basis of Pingshui Rhyme, which belongs to the category of Pingshui Rhyme, so people are used to calling them Pingshui Rhyme. Ping Yun Shui * * * has 106 rhyme, in which: Ping Sheng 30 rhyme, Shang Sheng 29 rhyme, De Sheng 30 rhyme, Ru Sheng 17 rhyme. The flat sound in rhyme books can be divided into upper flat sound and lower flat sound. This is only because there are many flat tiles, so it is divided into two volumes, which is equivalent to saying that flat tiles are rolled up and flat tiles are rolled down. It is not the same concept as Yin Ping and Yang Ping in modern Chinese, which deserves attention. Some words that seem to rhyme today may belong to different rhymes in ancient rhymes. For example, the words "Dong" and "Dong" belong to two rhymes in ancient rhymes, the former belongs to "Upper Ping Dong" and the latter belongs to "Upper Ping Er Dong". Another example is the words "cause" and "sound". The former belongs to the "upper eleven truths" and the latter belongs to the "lower twelve invasions". As for the pronunciation differences of these words in ancient rhyme, we don't need to investigate them too much now. As long as you know: they have different pronunciations at first, and then they become one with the change of language. Rhyme can be divided into wide rhyme and narrow rhyme, with more words called wide rhyme and fewer words called narrow rhyme. There are many rhymes, so it is easier to choose rhymes when writing poems. With fewer words with narrow rhyme, it is more difficult to choose words, and rhyming poems with narrow rhyme are less common than those with wide rhyme. The rhyming rule of modern poetry is: 1) Except for the first sentence, the rest are tied to each other, that is, the words at the end of even sentences rhyme, and the sentences at odd positions don't need to rhyme. 2) Generally, only rhyme is tied, and one rhyme is required to the end. No rhyme change or rhyme is allowed in the middle. Of course, rhyming is not allowed. 3) Rhyme cannot be repeated, that is, "rhyme" is not allowed. In other words, the same rhyme can only be used in different rhymes, and the same rhyme cannot be used repeatedly. In addition, when the end of the first sentence of each poem is flat, the first sentence should also rhyme. However, because the first sentence can't rhyme (at the end of rhyme), the rhyme of the first sentence is relatively looser than that of other positions, which can be used in both the original rhyme and the adjacent rhyme. It is common that the first sentence of the five laws does not rhyme, and the first sentence of the seven laws rhymes. As for what is a flat-voiced character and what is a flat-voiced character, we will talk about it tomorrow. Let's talk about neighboring rhymes first. The so-called adjacent rhyme does not mean that the adjacent rhyme in the rhyme book is adjacent rhyme, but refers to those rhymes with similar pronunciation. "Near" is not separated by the boundary between the upper layer and the lower layer. Adjacent rhymes, if divided by medieval sounds, are roughly as follows: a) East and winter rhymes belong to the same category; B) Jiang Yangyun belongs to the same category (note that Jiang Yang is not adjacent in the ancient sound, and Jiang Yang is closer to Dongdong, which is a special case); C) These three rhymes are grouped together; D) Fish and danger are homonyms; E) Good rhyme and grey rhyme belong to the same category; F) Rhyming Ma Jia belongs to a class (special case); G) True prose and Yuan (Pian) rhyme belong to the same category; H) Cold deleting the first three rhymes into one category; I) Delete "first" and "meta (partial) rhyme" as a category; J) Xiaoyao's three rhymes belong to the same category; K) Zheng Sanyun belongs to the same category; L) The two rhymes of steaming invasion belong to one kind (special case); M) The three rhymes of Qin, Yan and Xian belong to one category. As for the rhyme of modern poetry, there is a saying that rhyme is not allowed, but there are often exceptions. The ancients also used rhyme to write poems, and also found some reasons for using good names, such as "Lonely geese out of the flock", "Birds flying alone", "pulley body", "gourd body" and "advance and retreat". These are all things after the rough rhyme, so I won't talk about them here. The rhyme of ancient poetry is looser than that of modern poetry, which can be even or even, and can be changed in the middle, and sometimes rhyme and repetition are allowed, but there must be no less than two rhymes before each change. The rhyme of words is looser than that of poems. Not only the adjacent rhymes in Pingshui rhyme can be linked, but also the upper tones can be linked. Moreover, many ancient works rhyme in dialects, mainly because people in the Tang and Song Dynasties relied more on rhymes in lyrics. In Qing Dynasty, Ge compiled a poem "Ci of Linz" based on most works of Tang and Song Ci. Because this rhyme book is based on Ping Shui Yun, it only combines, dissembles or reorganizes some rhymes with similar pronunciation, which conforms to the poet's rhyming habits, so it is gradually accepted by poets, and their lyrics are gradually rhymed according to this rhyme book. Linz Zheng Yun is divided into nineteen rhyming poems. Except for fifteen to nineteen rhymes, the other fourteen rhymes are even and even. The rhyme of Chinese characters is complicated, and different tones have different rules in rhyme, such as flat, flat and flat. There is rhyme at the end and rhyme in the middle. In short, words are filled according to the score, where they need to rhyme, where they don't, whether they rhyme or level off, whether they rhyme at the end or in the middle. There are rules in the music score. Just rhyme according to the music score. Poetry has rhyme, just like a house with columns; If the pillar is unstable, the house will fall down. If the rhyme is unstable, the poem is not good. Therefore, there are some things that need to be guarded against in rhyming, especially for beginners: 1) rhyming: commonly known as rhyming, that is to say, the rhyming word is inconsistent with the meaning of the whole sentence, but it is barely a rhyming word. 2) Rhyme: also known as rhyme. 3) Rhyme: The same rhyme word appears repeatedly in a poem, even if it has two meanings, it rhymes. Modern poetry is not allowed to rhyme, but ancient poetry is allowed to rhyme. 4) Inverted rhyme: that is, the words are inverted to rhyme with the rhyme. This situation can also be carried out when some words are reversed, which does not have much influence on the understanding of words. 5) Dumb rhyme: Choose a loud rhyme when writing poetry, and the natural tone is superb. If you use dumb rhyme, it will not only make the poem awkward, but also weaken the whole poem. 6) Fuzzy rhyme: also known as dangerous rhyme, refers to those strange words or words with only meaning. 7) Synonymic rhyme: use synonyms to repeat rhymes, such as flowers, fragrance, sadness, etc. It's annoying to repeat a poem together. 8) the same word has different meanings: the same word often has multiple meanings, and it is impossible to make a contract by meaning. If it belongs to the "four rhymes", it should not be considered as an emotional thought, and beginners should be cautious in this respect. Whether writing poems or writing lyrics, "singing in harmony" is a common situation. Singing harmony doesn't have to rhyme, but some people like to show their talents. When singing harmony, they should not only have a sense of harmony, but also have "rhyme". Rhyme can be divided into the following types: 1) secondary rhyme: also known as prosody, that is, the same rhymes must be used in the original poem, and the order must be the same, which is the most common way. 2) Rhyme: Use the rhymes in the original poem, but not necessarily in the original order. 3) Rhyme: Use words that rhyme with the original poem, but the original words don't have to. In the third grade, Chinese pronunciation usually consists of initials, finals and tones. The ups and downs and the length of pronunciation constitute Chinese tones, among which the ups and downs are the main factors. Chinese has a tone, which is a remarkable feature. For example, homophony is clear. According to modern Mandarin, four tones of "clear, clear, please and clear" can be pronounced. Ancient Chinese has four tones, but it is different from modern Chinese. Metric poetry makes use of this four-tone feature of Chinese to match words with different tones, thus creating a musical aesthetic feeling. Four tones are four tones in Chinese. However, it should be pointed out that the four tones in classical poetry do not refer to the four tones in Mandarin we are talking about now, but to the four tones in ancient Chinese (whether it is appropriate to write metrical poems in modern Mandarin is still controversial and I don't want to say it here). In the historical development and evolution of Chinese, the sound and sound are constantly changing. Phoneticians divide the pronunciation of Chinese into four periods: ancient sound (covering the Zhou, Qin and Han Dynasties), middle sound (Wei, Jin, Southern and Northern Dynasties to Tang and Song Dynasties), near ancient sound (from Yuan and Ming Dynasties to the late Qing Dynasty and even the early Republic of China) and near sound (from the Republic of China to the present). What we are talking about now is to distinguish the four tones according to ancient Chinese, mainly referring to the four tones of the middle ancient phonology (except the northern song, the near ancient sound). The middle ancient phonology is represented by qieyun, and Pingshuiyun, which we use now, belongs to qieyun. This aspect was already mentioned in rhyming the next day. In the Middle Ages of the rhyming system, Chinese tones are divided into four parts, namely, (1) flat tones, and gradually divided into two tones: Yin Ping and Yang Ping. (2) Upper voice: Some of them became lower voice in later generations. (3) De-voiced: Offspring de-voiced. (4) Rusheng: This is a short tone, and modern Chinese has been developed into three tones: flat, upper and curved. Rusheng has disappeared in Putonghua at present, and it has become several other tones. In some places, such as Guangdong, Sichuan, Jiangsu and Zhejiang, some Rusheng still exists. It is impossible to know in detail what the ancient four-tone ups and downs were like. Traditionally, the flat tone should be the middle tone, the rising tone should be the rising tone, the falling tone should be the falling tone, and the entering tone should be the short tone. Regarding the four tones, the ancients had a Song formula, which can roughly explain their level. The formula of this song is called "Four Tones": "The sound level is not low, the sound is loud and strong, the sound is clear and sad, and the sound is short and urgent." Distinguishing four tones is the basis of distinguishing flat tones, and it is also the difficulty of learning poetic meter. If you can't distinguish the four tones well, it is unthinkable to write a poem that conforms to the rhythm. Nowadays, many people find it difficult to learn the meter of poetry, one of the reasons is related to the difficulty of mastering the tone. Hehe, since you want to study, you should work harder (there are certain rules to follow about entering tone, so I won't say much here because of space reasons). Knowing the four tones, it is easy to understand the flat tone. Flat tone is just a term of poetic style, and the poet divides the four tones into flat tone and flat tone. Flat means flat, which means to make progress three times. As for why it was so divided, the ancients decided it. Now we can write poems and lyrics without paying attention to it. It is enough to know which is flat and which is flat, and how to use flat. If we have to know why, according to Wang Li's poems and meter, it is because the flat tone does not rise and fall, and it is long, while the other three tones do rise and fall (the entering tone may also rise and fall slightly) and are short, thus forming two major types. In poetry, words with different flat tones (some words have to distinguish four tones) are arranged alternately, which can enrich and diversify the tone of sentences, avoid monotony, form a patchwork rhythm and harmony with flat tones, and form a musical beauty. The collocation of flat and flat lines in poetry can be summarized as the following two sentences: (1) Flat and flat lines are in this sentence; (2) Pingzhuan is opposite in the antithesis. This flat and scattered rule is particularly obvious in metrical poems. For example, there are two sentences in Yang Wanli's Yue: it is hard to be white when it is cold and rainy, and it is hard to be red when cold air invades people. Its patchwork collocation is: flat │ flat │ flat, flat │ flat │ flat. In this sentence, both tones are flat, and the flat in the sentence is opposite. Finally, we need to draw attention to the following points: for poetry, equality, going, going and progress are mutually exclusive; For words: the upper tone can be mixed with the entering tone, but generally it cannot be mixed with the entering tone (except for some special words). Some words stipulate that rhyme must be played, and some words should distinguish not only flat tones but also upper and lower tones when using words in some places. Therefore, to learn classical old-style poetry, we should not only be able to distinguish flat tones, but also be able to distinguish four tones. On the fourth day, I have learned four tones, and I have repeatedly coordinated and rhymed. Now I can begin to learn how to arrange the rhyme of modern poetry. "Insisting on the Right" is a basic principle of modern poetry meter. Classical poetry does not stick to the rules, and even some poets deliberately arrange to avoid sticking to the rules. Besides, there are no other rules that must be followed in the arrangement of flat and even words in classical poetry, except that the rhyme should be consistent, so it is relatively free. Even if there are some sayings, such as flat head, upper tail, bee waist, crane knee, etc., they are only for reference in the arrangement of melody, and they are not necessarily followed. Therefore, the metrical format discussed below is mainly aimed at modern poetry. Some people may say: a poem is flat here and flat there, and the format is too complicated. It is too difficult to understand and learn. In fact, it's because I haven't mastered the tricks and can't avoid complexity. After knowing what a flat tone is and how to rhyme, in fact, learning the metrical format of modern poetry and learning the collocation of flat tones, as long as you understand the two words-sticky, right, and a sentence pattern-flat tone and flat tone, everything becomes very simple. What? Don't believe it? If you don't believe me, let's try! Before trying, introduce two concepts-right and sticky. Say "yes" first. The so-called right is the opposite. "Dui" in poetry format means that the upper and lower sentences of a couplet (every two sentences of a metrical poem form a couplet) are flat and relative. Yes, in fact, it is also the principle of level and level crossing (level and level crossing is mainly reflected in the opposite collocation of level and level crossing in one sentence). Say "sticky" first. Paste, that is, paste it. In poetry, it is flat and sticky, and the flatness of the second word is the same as that of the second word. More specifically, it is to stick the third sentence to the second sentence, the fifth sentence to the fourth sentence, the seventh sentence to the sixth sentence, and so on. Understand what antithesis is, and then remember the sentence pattern of "flush", then the metrical format of modern poetry can be deduced. The first sentence is: ping occasionally, ping occasionally, we might as well code this sentence pattern as ① sentence pattern. According to the principle of "right", the next sentence is: even. We also gave it a name, called sentence pattern. What about the third sentence? Sticky! That is, stick to the second sentence, which starts with a flat, and I also start with a flat, but it can't violate the flat end of the single sentence, so the position of the penultimate word of glue is reversed with the flat end word, thus forming: flat and flat (③ sentence pattern). The fourth sentence is "right" again, and it is: flat and flat (4 sentences). So there are seven lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines, four lines. It is very simple, just take any one of the four sentences deduced above as the first sentence, and then paste it according to the principle of "paste". However, when posting, we should also grasp the following two points: 1) If it is not in the first sentence, the ending words of odd sentences will be gone. When you meet an odd sentence ending, switch the sentence ending with the penultimate one. 2) Because rhyme is needed, the ending words of even sentences must be flat. In the process of posting, when even the sentence is lost, replace the ending word with the penultimate word. Because of this, when two sentence patterns (② and ④) are used as the first sentence, the last word of the antithesis should be interchanged with the penultimate word, namely ④ and ②. In this way, the standard format of the seven laws is: seven laws: a) starting from the same position, the first sentence does not rhyme: 1234 flat, flat, flat. Flat and light, flat and light. B) Flat and even, the first sentence enters rhyme: 42344 (only the first sentence of format A is changed to sentence 4), flat and even, flat and even. Flat and light, flat and light. C) From beginning to end, the first sentence doesn't rhyme: 34 122 (equivalent to the first two sentences and the last two sentences of Format A are reversed) is flat and even. Plain, plain, plain. D) The first sentence at the beginning is rhymed: 24 12 (only the first sentence in C format is changed into a sentence pattern), flat and even. Plain, plain, plain. Seven laws: a) stand up, the first sentence does not rhyme: 1234 1234 (equivalent to the superposition of two A-format seven-sentence poems) b) stand up, the first sentence rhymes: 4234 1234 (only the first sentence in A format is changed to ④ sentence) c) stand up. The first sentence rhymes: 24 1234 12 (only the first sentence in C format is changed into a sentence pattern). The format of the seven-character rhyme is available, so it is very simple to know the format of the five-character rhyme. As long as the first two words of each sentence are removed from each format of the seven-character rhyme, it is the format of five sentences, five laws and five elements. The format of five-character poems is not included in this list. In addition to the four sentence patterns mentioned above, there is a special sentence pattern: five words are "Pingqi" and seven words are "Pingqi". This sentence pattern is actually a difficult sentence to be said later, but poets use it more and it has become a fixed form. This sentence pattern is mainly used as an occasional substitute for the sentence pattern. The above is the standard format of metrical poems. In fact, there are not many ancient works that fully meet these formats. Why? This involves the importance of phonological position (also related to the difficulty of rescue, which will be discussed separately later). Generally speaking, the back is more important than the front, the front is loose and tight, and the front is light and heavy, specifically: 1) The last sentence in the same couplet is more important than the previous one, and the latter sentence is stricter than the previous one. 2) If a sentence consists of two continuous tones and the suffix is a single paragraph, then the last byte in the same sentence is more important than the previous byte, and the last word of each sentence is the most important and demanding, and the hierarchy and level are irreplaceable. Then the penultimate syllable (the third and fourth words of five characters, and the fifth and sixth words of seven characters) can occasionally be tone-shifted, such as "flat even" and "flat even". And so on. 3) In a sentence, even numbers are more important and strict than odd numbers except that the last word of the sentence constitutes a scale alone. Besides suffixes, even words are the key to rhythm. 4) In syllables composed of the same two words, the latter word is more important than the previous one, and the requirements are strict. Because of the two-syllable byte, the stress mainly falls on the last word. In view of the above 3 and 4, predecessors summed up a formula of "135 is undifferentiated and 246 is distinct". This formula means that the words in the five-character sentence are in the first and third positions, and the words in the seven-character sentence are in the first, third and fifth positions (the words in the fifth position of the five-character sentence cannot be replaced), but the words in the second, fourth, second, fourth and sixth positions of the five-character sentence must be clear.