If you have any questions about the inscription "Huanxisha", please give us your opinions.

1. The inscription "Huanxisha" evolved from a seven-character quatrain. Is there a certain basic format for translation? Because words are musical words, epigrams are equivalent to "music scores", and all epigrams have their own fixed formats. The rhythm of Huanxisha is like this: middle, middle, flat, middle and flat. The middle is flat, and the middle is flat. General, general, general. Among them, "China" is fair and just. Take the following word as an example, my understanding is as follows, right? Qin Guan-Huanxisha is lonely and cold, and goes up to the small building. "Little Silver Rogue" is like a poor autumn, and the light smoke and flowing water are quiet. Outside the window, the flowers are dancing freely, just like in a dream, the rain is falling and drifting aimlessly, like melancholy. Look again, the curtain of jewelry hangs on the silver hook at will. Flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat flat. Flat and light, flat and light. Flat and light, flat and light. Your understanding is correct. The flatness of this word also conforms to the meter. 3. The above is the basic format. Is it the same as the seven-character quatrains? There is a difference between word salvation and metrical poetry. Rhymes are often broken, but words are often broken. There is only one self-help in the word, which is the lonely self-help in rhyme. Where the word "Pingqi" should be used, the first word should be flat (that is, Pingqi), and the third word should be flat to become "Pingqi". Seven words changed from "(even) even" to "(even) even". This situation is not considered "illegal"

This question is actually difficult to answer. It is quite dangerous to understand the general rules of word hierarchy and hierarchy only through the hierarchy and hierarchical format of Huanxisha. "Huanxisha" is an early poem, and its combination of flat and flat lines is almost the same as that of the quatrains in the near-term style. Besides being basically a regular sentence or a quasi-regular sentence, the principle of regular poetry can also be used in the change of sentence patterns. However, this is not necessarily the case with other intonations. For example, in a normal poem, the sentence pattern of "flat and flat" can be written as "flat and flat" (an awkward sentence to avoid mistakes). But some words, which should be "plain" sentences, may not be transferred back to "plain" sentences casually. For example, in Li Bai's Bodhisattva Man, the sentence pattern of "someone is worried upstairs" cannot be changed to "someone is worried on the pavilion". Some people think that this word was not written by Li Bai. Let's look at another example. If the sentence of "occasionally flat" is composed of "occasionally flat" (the red letter means that it can be used in Pingdai), in many cases the third word can never be flat. Examples are Wu Wenying's Zhu Yingtai Near: "Flower is a female stock" and "Don't let go of the New Year's China", and Xin Qiji's Zhu Yingtai Near: "Smoke willow is dark in Nanpu", "Ten days of rain" and "choking in a dream". Therefore, we can't treat the level and level of words with the level and level arrangement standard of general regular poems. Simply put, writing is more fixed and less free than poetry. Basically, as long as the flat arrangement of metrical poems follows the principles of "even flat in the sentence", "one couplet is relative to the next sentence" and "two couplets are adhered to", then after choosing the opening sentence pattern, the subsequent sentence patterns will be fixed. But in the format of words, there is no such inevitable relationship between sentences. In other words, there is no certain rule between words and sentences, and everything should be planned according to music. And many words are not homogeneous sentences, ranging from one word to multiple crosses. The basic sentence pattern of five or seven words only accounts for part of the words. As for other sentence patterns, it is necessary to study them separately and understand the principles and practices of hierarchical arrangement. Generally speaking, we can't simply apply the concept of "difficult to save" to words. Literally speaking, since there is no necessary connection between sentences, it is impossible to save sentences, and self-help in sentences, as can be seen from the above examples, is not completely free to use. Therefore, the lyrics can only be constructed according to the sentence patterns of the word spectrum to avoid mistakes. Generally speaking, Tang and Wu pronouns are almost regular or quasi-regular sentences, while Song Ci is often related to rhythm and contradiction. However, the clumsy sentences in ci are different from those in ancient poetry, and their format is regulated, not arbitrary. Therefore, not only should it not be difficult, otherwise it should not be difficult. The levelness of words is usually based on the first one. Although some words are in tune, it is often unclear who is the first. Like thousands of trees, predecessors can only determine the horizontal spectrum by comparing homophones by induction. However, we can't study the sentence patterns of words without looking at the factors of the times. It is also common for some later works to change the sentence form and become popular versions. Therefore, it is common that the tone of a word appears in many different styles. In addition, in the Song Dynasty, it is customary to replace the flat and voiced characters with the entering tone characters (even the rising tone characters), so we should be more careful when studying the predecessors' ci works, and don't mistake it for flat and flat. The "basic format" marked in the title can of course be understood in this way. But this is not necessarily the case. The basic sentence patterns of words are often not standard sentences, but more "quasi-normal sentences". However, as Mr. kwongwu2003 said in 2003, Huanxisha has a spectrum to follow, so it is better to read the spectrum clearly. Its formal format belongs to: Ping-Bian couplet, 42-character, seven-character sentence pattern, upper and lower couplet three sentences, upper couplet three rhymes, lower couplet two rhymes, and upper couplet two sentences are mostly antithetical sentences, which are basically as follows: (according to Wang Lishi) Even even, even. Simple, simple, simple, simple, simple. (The red letter indicates that it can be replaced by flat, or it can be replaced by flat. The second sentence is exactly the same as the third sentence, and so are the upper and lower films. The basic format is "Ping, Ping, Ping". What you should pay attention to is the first sentence of the word. There are roughly three different versions of Ping. Apart from the above picture (the first word can be replaced by Ping), Cao Dehui's rhetorical interpretation of poetry rhythm is "Ping and Ping" (the first word can be changed to Ping, and the third word can be changed to Ping. One, three or five words are not limited). From these different versions, it can be understood that the original case of the first sentence is "Ping, Ping and Ping", and combined with the examples of Wei Zhuang, Yan Shu, Su Shi and Xin Qiji, it is further understood that the sentence pattern of the first sentence is the same as that of the seven-character quatrain, so the third word cannot be changed to Ping. Therefore, in order to cover this situation of "avoiding loneliness", the dragon version can mark the third and fifth words flush, while the Wang Li version is based on the original case. If the third word is not marked changeable, the change of the fifth word is unnecessary. Cao Shi's version is rather confusing, so let's ignore it. As for the second and third sentences, the basic sentence pattern is "average", and the first and third sentences can be changed freely. Finally, I want to briefly talk about the antithesis of words. The duality of words is generally free. Generally speaking, the number of words in the upper and lower sentences is the same, and the foot of the sentence happens to be flat and horizontal. In this case, the author often uses duality to enhance the artistic effect. But once the antithesis is adopted, successors will often follow suit and gradually become routines, which will reach a certain fixed form. But there is no need to be limited by this convention in lyrics. Convention is not a rule, nor can it be said that it violates the law. The duality of words is very diverse. In addition to the usual two sentences, there are three groups of short sentences to form a tripod pair, four groups of short sentences to form a fan face and so on. Moreover, they are not as strict as metrical poems, and it doesn't matter if they are flat, and they can also make flat sentences. It is also allowed to oppose the same word, and sometimes even use sentence groups with different numbers of words before and after (leading words and supporting words can be ignored, and equal numbers can be paired). If you want to try to write lyrics, you should know more about some basic concepts, structures, rhyming forms, flat patterns, sentence patterns, antithesis, how to organize the upper and lower films, common grammar of words and so on. Although "Huanxisha" is similar to the four wonders, it is actually a difficult epigraph to write well. Especially it is very difficult to summarize sentences. Using rhymes or quatrains to organize the ideological turning point with the capacity of a pair of couplets has more room to play in the conclusion. But each part of this "Huanxisha" has only three sentences. If antithesis is used in the next movie, the ending sentence will have the effect of combining poetry, which is quite a test of skill. Although Yan Shu's poems contain a beautiful sentence of "I can't help but feel deja vu", the ending of "wandering alone in a small garden" is a slightly disappointing "weak sentence" in Mr. Xia Chengxi's view. Mr. Xia Chengxi recommended the conclusion of another poem "Huanxisha" by Yan Shu: "I have always been young and limited, and it is easy to get carried away when I am idle. Don't speak frequently at banquets and songs. Mountains and rivers are far away, and falling flowers and wind and rain hurt spring even more. It is better to pity the people in front of you. " Of course, whether it is good or not is a matter of opinion, and other theorists also have different opinions, but we can also get a glimpse of the difficulty of this word. I'm sorry I didn't answer the question, because it seems more appropriate to discuss it with several other related questions, so I don't want to write another article to answer other questions. Please forgive me.

Reference: personal understanding