Joke Collection Website - Joke collection - Ask a professional question: when writing poetry, how are the levels of rhyme and quatrains defined?

Ask a professional question: when writing poetry, how are the levels of rhyme and quatrains defined?

On poetic method

Near body and ancient body

Metric poems, including metrical poems and quatrains, are called modern poems or modern poems. The ancients called them that, and so do we now. Although they are actually very old, they originated from Qi Liang in the Southern and Northern Dynasties and matured in the early Tang Dynasty. Poems before the Tang Dynasty, except the so-called "Qi Liang Style", are all called ancient styles. Poetry that does not conform to the modern style after the Tang Dynasty is also called ancient style.

There are differences between ancient style and modern style in syntax, rhyme and level tone;

Syntax: The number of words in each sentence in ancient style is uncertain, including four words, five words, six words, seven words and even miscellaneous words (uneven sentences), and the number of sentences in each song is also uncertain, ranging from two to dozens and hundreds. There are only five words and seven sentences in modern poetry, eight in metrical poetry, four in quatrains and more than eight in quatrains, which is also called long-style poetry.

Rhyme: each song in ancient style can use one rhyme, or two or more rhymes, and it is allowed to change rhymes; Each song can only use one rhyme, and even the arrangement of dozens of sentences cannot be changed. Antique can rhyme in even sentences, or even sentences can rhyme in odd sentences. The near aspect rhymes only in even sentences, except for the first sentence, which rhymes with a flat voice and does not rhyme. Five words don't gamble more, seven words gamble more), and the rest of the odd sentences don't rhyme; Antique can rhyme smoothly; Generally, only flat rhyme is used in the near body.

Smoothness: The biggest difference between ancient and modern styles is that ancient styles don't talk about flatness, while modern styles pay attention to flatness. After the Tang dynasty, the ancient style also pays attention to flatness, but it is irregular and can be ignored. Classical poetry is basically metrical, so the following is only about modern poetry.

Regular sentence

Although there are four tones in Chinese, in modern poetry, there is no need to distinguish four tones like words and songs, as long as they are roughly divided into two tones. To cause cadence in tone, it is necessary to use flat voice and flat voice alternately so as not to be monotonous. Chinese basically takes two syllables as a rhythm unit, and the stress falls on the next syllable. The basic sentence pattern of modern poetry consists of two syllables, which are called regular sentences. For Wuyan, its basic sentence pattern is:

be plain and simple

or

Very flat, very flat.

These two sentence patterns have the same level at the beginning and end, that is, the so-called upper level and lower level, upper level and lower level. If we want to make some changes and change to a different level, we can move the last word to the front and become:

Flat and light.

It is flat.

Except for the special cases mentioned later, no matter how the five-character modern poetry changes, these four basic sentence patterns can't be found.

Seven-character poem just adds a rhythm unit in front of five-character poem, and its basic sentence pattern is:

Ordinary, ordinary, ordinary.

Flat and light, flat and light.

Very flat, very flat.

Flat and light.

No matter how you change the seven-character modern poetry, you can't recognize these four basic sentence patterns.

There is a rule in these sentence patterns, that is, each pair will be reversed: the level of the fourth word is opposite to the second word, and the sixth word is opposite to the fourth word, thus forming a sense of rhythm. However, every word can be reversed, because the stress falls on even syllables and the singular syllables are relatively unimportant.

When we write poetry, it is difficult to make every sentence completely conform to the basic sentence patterns. It may be possible to write quatrains, but it is almost impossible to write eight or even longer metrical poems. How to be flexible? Then it is necessary to sacrifice unimportant single digits and keep more important two digits and the most important last word. Therefore, there is a formula called "No matter whether one, three, five, two, four and six are distinct", that is to say, the levels of the first, three and five words (only seven words) can be handled flexibly, while the levels of the second, four, six and last words must be strictly observed. This formula is not completely accurate. In some cases, one, three and five must be discussed, and two, four and six may be ambiguous in some sentence patterns. We'll talk about it later, but let's first look at how to form a complete poem from these basic sentence patterns.

Viscous pair

We already know the basic sentence patterns of modern poetry. How do we form a poem from these sentences?

The sentences in modern poetry are two sentences, and every two sentences (one and two, three and four, and so on) are a couplet. The upper and lower sentences of the same couplet are called antithesis, and the upper and lower sentences of the couplet are called adjacent sentences. The composition rule of modern poetry is: antithesis and adjacent sentences stick together.

Contradiction means that the upper and lower sentences in a couplet are just the opposite. If the last sentence is:

Very flat, very flat.

The next sentence is:

be plain and simple

Similarly, if the last sentence is:

Flat and light.

The next sentence is:

It is flat.

Except for the first couplet, the last sentence of other couplets can't rhyme, and it must end with a sigh, and the next sentence must rhyme and end with a flat voice. Therefore, in addition to the first couplet, there are only two forms of antithesis in five-character modern poetry. Seven words are similar to this.

If the sentence on the first couplet doesn't rhyme, it's no different from other couplets. If both the upper and lower sentences rhyme and the ending is flat, then the first couplet can't be completely opposite, only the beginning and the end are wrong, and its forms are nothing more than two:

Flat: Flat and uniform.

It is flat.

From the beginning: from the beginning to the end.

be plain and simple

Let's look at the adhesion of adjacent sentences. Sticking means the same thing, but because the odd-numbered sentences ending in a flat tone are used to stick the even-numbered sentences ending in a flat tone, the head can only stick to the tail, not the tail. For example, the last couplet is:

Very flat, very flat.

be plain and simple

The last sentence of the next couplet must be posted on the next sentence of the previous couplet, and it must start with a flat voice, but it must end with a squeak, which becomes:

Flat and light.

It is flat.

Why do adjacent sentences have to stick together? The reason is very simple, that is, changing sentence patterns is not monotonous. If duality is relative and adjacent sentences are relative, it becomes:

Very flat, very flat.

be plain and simple

Very flat, very flat.

be plain and simple

The first and second links are exactly the same. Before the Tang Dynasty, the so-called Qi Liang-style rhythmic poems only talked about relativity, but did not know how to stick together. From beginning to end, they just repeated two sentence patterns. After the Tang Dynasty, there was no repetition of sentence patterns in quatrains, because both antithesis and the adhesion of adjacent sentences were emphasized.

According to the law of adhesion, we can deduce four formats of five-character quatrains:

First, the first sentence doesn't rhyme:

Very flat, very flat.

Flat (rhyming)

Flat and light.

Fairness and flatness (rhyme)

Second, the first sentence rhymes:

Fairness and flatness (rhyme)

Flat (rhyming)

Flat and light.

Fairness and flatness (rhyme)

Third, the first sentence doesn't rhyme:

Flat and light.

Fairness and flatness (rhyme)

Very flat, very flat.

Flat (rhyming)

Fourth, the first sentence rhymes:

Flat (rhyming)

Fairness and flatness (rhyme)

Very flat, very flat.

Flat (rhyming)

The five-character rhyme is similar to this one, except that four sentences are added according to the principle of sticking to the right. For example, the first rhyming five-character poem is:

Fairness and flatness (rhyme)

Flat (rhyming)

Flat and light.

Fairness and flatness (rhyme)

Very flat, very flat.

Flat (rhyming)

Flat and light.

Fairness and flatness (rhyme)

According to the law of fit, ten sentences and twelve sentences can be added infinitely, which becomes the law of exclusion. Sticking to the right also has some flexibility, basically following the formula of "135 regardless, 246 distinct", that is to say, whether a modern poem follows sticking to the right is generally based on its even number and the last word. If the sentence is wrong, it is called wrong; If adjacent sentences are not sticky, they are called sticky. Dislocation and stickiness are taboos in modern poetry. Comparatively speaking, dislocation is more serious than sticking. The rules of pasting were later determined and often found in the poems of poets in the early Tang Dynasty. Even Du Fu's poems are occasionally stuck, such as the second poem of the famous sentence "Yong Huai Bei":

I know Song Yu's sadness,

Romantic and elegant, he is also my teacher.

Looking sadly at a thousand autumn days, a tear,

Melancholy in different times, not at the same time.

Between mountains and rivers, his old home-emptying his works,

Abandoned sex platform-certainly not imagined in the dream, right? .

All the palaces of Chu were destroyed,

The fishermen who pointed out them today are uncertain.

The third sentence didn't stick to the second sentence. This may have been unconsciously influenced by Qi Liang poets and neglected for some time. The correct rules were established in Qi and Liang Dynasties, so mistakes are rarely seen in Tang poetry. Among Du Fu's modern poems, only one poem "To General Wang Shicheng Jun" is out of tune:

The general is brave,

Double-angle bow is hung on the arm.

The tangled green horse,

In and out of Jincheng.

In times of crisis, lottery tickets are not awarded,

It's hard to work when you are depressed.

The guests are full,

Who's Gao Yitong?

The first sentence and the second sentence, except the first word, are exactly the same, which is mismatched. This may be a temporary negligence when giving a poem without time to process it carefully.

In another case, it is the expression demand regardless of the rules. For example, another famous poem by Du Fu, Bai Di:

The clouds in Bai Di City have dispersed,

It's raining in Baidicheng.

Gao Jiang gorge thunder fight,

The sun and the moon are dim.

Why don't you return a military horse to Ma Yi,

There are hundreds of thousands today.

Mourn for the widow,

Where are the villages in Yuan Qiu?

The second word in the second sentence should have been flat, but now the word "emperor" is used, which is not right with the first sentence and is also sticky with the third sentence. However, this is an intentional reuse of "Baidicheng", resulting in parallelism, so we have to sacrifice the rules.

Monotones and tristones

The aforementioned "135" is not completely correct. In some cases, 135 must be discussed.

For example, five words and other sentences:

be plain and simple

The third word of this sentence can be ignored, or you can use a flat voice. But if the first word becomes slur, it becomes:

Even, even, even.

In addition to rhyme, the whole sentence has only one flat tone, which is called "loneliness", which is a taboo in modern poetry and rare in Tang poetry. In Du Fu's poem "Hanging Two Bows on the Arm", it is such a lonely and irregular sentence, which is called an embarrassing sentence. Lao Du intentionally wrote many awkward modern poems, and this exploration is another matter.

What if the first word must be slurred? You can change the third word into a flat voice at the same time:

Just plain, just plain.

This avoids loneliness. This practice is called difficult to save, which means to avoid difficult sentences. For example, the third part of Twelve Sorrow:

All countries are brave,

What's your hometown like today?

I didn't know each other very well,

There are already many battlefields.

The second sentence should have been "plain", but now the first word is "so" and the third word must be changed to "today".

The seven-character poem is similar to this, that is, the third word of the flat and even sentence is "flat and even, flat and even, flat and even, flat and even, flat and even."

Seeing the guests worried,

Hooligans come to Jiangting in spring.

Is to send flowers for further study,

He taught Yingying to speak too Ding Ning.

The first sentence was originally "even, even, even", now the third word is "guest", and the fifth word is replaced by "worry" in a flat voice (note that "wake up" is a flat voice).

The so-called "loneliness" refers to the flat and even sentences (that is, rhyming sentences). If it is a flat sentence, even if there is only one flat word in the whole sentence, it is not lonely, but at most it is an awkward sentence. For example, changing the word "even" to "even" is not a crime and can be used.

There is also a situation, that is, a five-character flat sentence:

It is flat.

In this sentence pattern, the first word is even, and the third word cannot be flat and muddy. If you use a flat voiced word, it becomes:

It is flat.

There are three tones at the end of the sentence, which are called "three tones". This is a special form of classical poetry, which must be avoided as far as possible when writing modern poetry, and it cannot be remedied.

Similarly, the first and third words of the "flat" sentence can be flat, but the fifth word can't be flat, otherwise it will become a three-level tone. As long as isolation and leveling can be avoided, "135 regardless" is completely correct.

Difficult to preserve

If we carefully look at the basic forms of modern poetry mentioned above, we will find a rule: in a couplet, the total number of flat and oblique characters is equal. If we want to use the word "135" instead of the word "flat", we often need to change the word "flat" into the word "flat" in an appropriate place in this sentence or antithesis (or change the word "flat" into the word "flat") to keep the couplet neutral and flat. In other words, using a parameter for the first time (illegal) and then saving it together are called difficult to save.