On "From Inheritance to Integration" of Couplets

On "From Inheritance to Integration" of Couplet Poems

The ancients paid attention to the rules in writing poems, and divided the layout of regular poems and quatrains into four parts: beginning, inheritance, change and combination. Liu Xizai, a scholar in the Qing Dynasty, summed it up in "An Outline of Art": "From beginning to end" means "from the beginning, from the bottom, even from the end"; The intermediate use of combination, combination, combination, combination and rotation is all considered. " In his view, inheritance and transformation are dialectical relations. "Inheritance" includes "combination" and "beginning" in "combination", which is an echo from beginning to end, while "inheritance" and "transformation" take both "beginning" and "combination" into consideration, running through from top to bottom and coming down in one continuous line. Therefore, these four factors are interdependent and influence each other.

For example, Wang Wei's five-character quatrain "Acacia": When those red berries come in spring, they flush on your southern branches. People who want to miss them collect more, and Mix red beans have attracted people's attention. The first sentence of the poem says that red beans grow in the south, the second sentence asks how many branches will grow in spring, the third sentence hopes that friends will pick them, and finally says that red beans can arouse people's acacia. Four poems, beginning, inheritance, turning and combination, are very clear.

Lenovo's clue

Since poetry has a connection, some people ask whether couplets have the same connection with poetry. I want to say that the transition from the beginning to the end actually refers to the "context". Poetry has a poetic vein and a connected vein. However, due to the different overall structure, the contexts of couplets and poems are quite different in some aspects.

Poetry, quatrains or metrical poems, whether four or eight sentences, are a whole. Just like writing an article, the context is clear from the beginning to the middle to the end. Couplets may be two or more sentences, but no matter how many, the structure of couplets is actually two parts: upper couplet and lower couplet. The upper and lower couplets should be opposite and hung or displayed in two parts. Because of this unique structure, the context of couplets is different from that of poetry.

In my personal experience, the connection arrangement can be roughly divided into the following modes:

First, the up and down links are expressed in parallel and serve the purpose in a unified way.

This arrangement is very common in couplets. Usually the upper part expresses one thing and the lower part expresses one thing. These two things are either antagonistic or mutually antagonistic, but they both serve the purpose of unification in essence. Let's look at a few examples.

Su Zhen Xuezhai (Li Xiangyu)

The tree is full of courts, such as new wine;

Green vines cover tiles, and they are happy when they fall.

The title of this couplet is to write about the house, so the overall idea of the couplet must be written around the characteristics of the house. Then the author takes two images as the starting point of connection: one is a tree and the other is a vine, both of which are seen by the author. The first part is about the trees in the courtyard, and the green is like newly brewed wine, which makes people intoxicated; The next part says that ivy grows very tall and covers the tiles on the roof, and flowers fall from time to time. Gu Huan used to refer to an old friend, but the expression here can be understood as a feeling similar to synaesthesia. Ivy flowers fall one after another, and there is indeed an ancient beauty. This couplet is a typical parallel structure of upper couplet and lower couplet. The first part and the second part each write a scene, which jointly expresses the author's sincere admiration for this quiet, quaint and vibrant house. Of course, although the upper and lower couplets are parallel, they are not separate. The author organically combines the upper and lower couplets with the words "new" and "ancient", highlighting the formal beauty of couplets as a antithetical style.

Wang Zhaojun (Lu)

Why should there be more coquettish feelings? Compared with the Central Plains in the desert, little women know that they are warm and cold.

The eulogy should be straight and short, so it will be high and far. The general won't let the pipa.

This couplet was written by Wang Zhaojun, and the upper and lower couplets are also parallel prose structures, which are shown in Sao Qing and Ode to Lun respectively. The first part means that we don't have to be too melodramatic when she marries the Western Regions. She naturally knows what is good and what is not. The bottom line is that you don't have to feel how great Wang Zhaojun is. In fact, it is necessary for the army to do this to defend the country. They are much better than a little girl. This connection is contrary to the usual view and writes a new view. In the context, the upper part and the lower part are also juxtaposed, while in the form, the author uses words such as "more", "less", "little girl" and "upper general" to arrange them one by one, which makes the expressions of the upper part and the lower part virtually unified and creates tension.

It can be said that the juxtaposition of upper and lower couplets is the most common arrangement of writing couplets. It is precisely because of the unique antithetical structure of couplets that this arrangement is very convenient for us to arrange the expression of our thoughts. The upper and lower couplet are independent of each other and have internal relations, thus forming the expression of the whole idea.

When using this contextual arrangement, it should be remembered that the upper and lower links cannot be separated, and the upper and lower links cannot be completely separated and mutually exclusive. We must regard the up-and-down connection as two aspects of the whole idea. These two aspects are shoulder to shoulder, complement each other or serve the concept of one mistake.

Second, the up and down links are in the same stream, in one go.

This vein structure is basically similar to what we call "flowing water pair". The expression of upper and lower couplets is not juxtaposed, but goes with the trend. I once talked about this method in the Twelve Methods of Couplet Conception, which is basically the same. This technique tests the author's mastery of the language, because it is easy to make the pulse of couplets very smooth because of poor arrangement. In order to become a flowing couplet, the context must be consistent. If you can't persist, it will easily become weak and ugly. Give a few examples.

Zhenjiang Kanluoji (Dongrongan)

It's already a thousand miles away;

Who knows? It's just by going up one flight of stairs.

This couplet is the most typical flowing pair, which completely inherits the flowing of the couplet and makes people realize it after reading it.

Hometown (light snow)

The scenery is completely different. I don't know where the old swallow between the beams and the lonely sail on the river can live.

There is no place to live, and every time I suspect that there is a cliff across the water, and there are trees in the village, which is the home mountain.

This couplet is basically a flowing trend. On the first couplet, I wrote that all the scenery I saw in my hometown was wrong, so I wanted to know where Liang Yan and Gu Fan could live. In fact, this question is also for myself, and I have no place to live in my heart. Connect and write "I". There is no place to live in my hometown and other places. Now I seem to often see scenery similar to my hometown, just like seeing my hometown. Express a spiritual sustenance for your hometown. The meaning of upper and lower couplet is basically sequential, and there is no separation in the middle.

As can be seen from the above couplets, flowing water pairs can be very "swift" water, which is generally found in relatively short couplets. It can also be a relatively "far" water, which is easy to get up and down, and it is a natural transition of joint meaning, indicating that it comes down in one continuous line. This is suitable for some long joint planting.

At the same time, we can also see that this arrangement of context is somewhat similar to that of poetry. For example, the first link, the first link can be regarded as the beginning, and the second link is a turning point. Second couplet, the first sentence of the first couplet is from, the second three sentences are from, the second couplet is from, and the second three sentences are from. In other words, although the upper and lower couplets are antithetical in form, they are not divorced in content, but complete the expression of the whole idea in one continuous line.

Third, the upper and lower couplets have their own emphasis, but some places have echoes.

This arrangement of context is different from the first form of complete juxtaposition of upper and lower couplets. In this arrangement, the expressions of the upper and lower couplet are different, basically in the form of juxtaposition, but in a sense, the end of the lower couplet often echoes the beginning of the upper couplet, or the beginning of the lower couplet echoes the end of the upper couplet, thus making the upper and lower couplet have you. Give a few examples.

Mochou Lake (Jin Rui)

Make-up is fragrant in six dynasties, vaguely flying swallows and weeping willows, and the skirts relive the drunken guests;

In today's game, Yanlang said that the hero still didn't throw away the chess.

When writing Mochou Lake couplets, it is generally impossible to put aside two factors: heroes and children. So is the author of this couplet. The first couplet writes "generations" and the second couplet writes "heroes". The couplet is basically a feeling of juxtaposition. However, the author did not completely separate the upper and lower conjunctions when dealing with them. The first sentence is nostalgia for the past, and the last two sentences are about my own travel, "I revisited a slightly drunk guest in my clothes", which means that I came to visit this lake when I was slightly drunk, and I thought of "powder six dynasties incense" from feiyan and weeping Yang. The second couplet begins with the last sentence of the first couplet. I visited here and saw the smoke waves in front of me. This smoke wave is as unpredictable as today's situation, and the last two sentences will continue and go back to nostalgia. It can be said that the context of the whole couplet is very clear, with some twists and turns.

Jiaxiulou (Yi Mai Hua Xiang)

The building is an eternal beauty, and the quiet * * * is accompanied by leaders as bosom friends;

I used to be a passer-by in Kyushu, looking at the mountains far and near, calling or coming out, trying to cross the clouds with the hidden fairy.

I wrote this couplet about Jia Xiulou. The overall context of couplets is how to write "Lou" in the first couplet and "I" in the second couplet. But in the process of expression, the upper and lower links complement each other. First of all, the two or three sentences in the first couplet, whether written from the architectural point of view or from my point of view, are actually describing the "beautiful" environment in which Jiaxiu Building is located. The closing sentence of the second couplet echoes the opening sentence and the closing sentence of the last couplet, because Lou is as beautiful as a beauty, waiting for her bosom friend, and I think it is her bosom friend, and I want to take her to live in seclusion between beautiful Shan Ye. Generally speaking, it expresses the beauty of this building and my love for it.

From the above two couplets, we can generally see that this kind of contextual arrangement, the upper and lower couplets are still mutually infiltrated in their respective relatively juxtaposed expressions. Whether it is undertaking or taking care of it, it is an arrangement that makes the overall expression fuller and more three-dimensional. Remember that this arrangement should not be too confusing and tangled. In this case, the context is not clear.

Fourth, long couplets are arranged in mutual context.

The above aspects are about how to arrange the overall context of couplets. Then we will talk about how to arrange the context of the upper and lower couplet, especially the long couplet. Short words, one sentence or two or three sentences, are easier to handle and not easy to entangle. And if there are more than four sentences in the up-down link, we should pay attention to its context at this time.

The arrangement of upper and lower couplets can refer to the transition of poetry. Of course, because in many cases, a single uplink or a single downlink is not enough to form a complete expression of intention, the distinction between inheritance and transformation is often not so clear when arranging contexts, and sometimes inheritance or transformation is completed in one or two sentences. But in any case, this kind of thinking is necessary because it represents the logic and tension between sentences. If you ignore the turning point, either the sentence logic is unclear, or the sentence is dull, lacking ups and downs and echoes, it will make the expression insufficient. Give a few examples.

Yangzhou Building (Breaking Cocoons into Butterflies)

What is the ownership of the building? There are rows of clouds, roofs and purlins, which are perfect for evoking 180 bells and long-lasting lights.

A torch is so boring that the ashes are not burning. If you improvise, you can learn from it later. You might as well decorate Gankun with two or three rotten walls.

This list is longer than itself. But let's look at the author's arrangement for single comparison. The first sentence of the first part is "Get up, ask questions and ask what's special about the fourth floor". Two or three sentences describe its momentum, and the last three sentences are basically "combination". It is said that this place is so beautiful that it should be the place where immortals live, but I think there should be 108 bells to wake up some people's "immortal" dreams. The background is clear. The same is true of the second couplet. Start with the first sentence, then two or three sentences, and the last three sentences are also transformed. This arrangement, although there are many sentences, will not feel uncomfortable or slippery, but there is tension in it.

Yueyang Tower (Dougeng)

He Qi on the first floor? Du Shaoling's five-character swan song, Fan's two words care about love, Teng's everything is in full swing, and Lv Chunyang is drunk after three customs. Poetry? Ruye? Official? Ye Xian? Where were those lost times before me? , made me cry;

Gentlemen, try it. Xiaoxiang in the south pole of Dongting Lake, Wuxia in the north of the Yangtze River, refreshing in Baling Mountain, and precipice in the east of Yuezhou City. Those who hoard, flow, master and live in the town have true meaning. Ask who can understand.

This couplet is the famous Yueyang Tower couplet. Although it is long, it reads heartily because the author's context is clearly arranged. Let's look at the first couplet, the first sentence is the beginning, asking where the architecture is strange, and the next three, four, five, six and four sentences are self-dialogues to explain its strangeness. The next four question marks are a round. The poets, Confucian scholars, officials or immortals mentioned above have all been here. What about them? Say two words and close. All these people are dead, and now I'm the only one crying. It gives people a feeling of vastness. So is the context of the next link.

So we say that no matter what context you use to connect up and down, it is very logical to ensure that the expression in the sentence is carried forward and integrated. Only in this way can the so-called "pulse" of the whole association be unblocked. If you haven't sorted out the context of a single comparison, let alone the handling of up and down links. Of course, when arranging the context between sentences, we should also pay attention to the fact that it is not a jingle, nor does it slip to the end. These four words represent nervousness. However, this tension often requires the unified interweaving of words, structure, thinking power and other factors to produce the greatest effect. This kind of processing ability naturally tests the comprehensive strength of screenwriters.

The metrical poem and the combination in the middle are two couplets. As for the combination of metrical poems, the so-called combination is a term of "poetic structure". The beginning is the beginning; Undertaking' means undertaking the above and making a statement; Turn' is a turning point, which is demonstrated from another aspect; "He" is the end of the full text. "As far as development is concerned, the transition from inheritance to integration is the basic composition of poetry creation. The so-called "start" means "start", which can also be called "start" or "start". The hardest part is actually in the beginning The ancients attached great importance to the beginning of poetry creation, and they attached great importance to the beginning, including the so-called starting from the Ming Dynasty, starting from the dark, accompanying, starting from the right, starting from the single, starting from the right, or starting from the scene, or engaging in it, or expressing their thoughts directly, or placing their hopes on it, or writing scenes, or expressing feelings, or narrating, and so on. Poetry and prose creation, if started well, can receive the sound effect; The so-called' inheritance' means connecting the preceding with the following, from top to bottom, from top to bottom, and closely linking the context according to the road of love, scenery and logic. The so-called' transformation' means transformation and transformation. Whether a poem is well written depends largely on' turning'. If the turn is good, wonderful, wonderful, unexpected and wonderful, it will make the work ups and downs. The so-called' combination' is the end, ending the full text. The ending is often the essence of poetry and an important link for the author to express his feelings and ambitions. Generally speaking, there are two kinds of knots at the end, one is an open knot and the other is a dark knot. Clearing the knot is to express your feelings, make things clear, and express your feelings and lofty sentiments to the end; Dark knot is to reason with things, to express feelings with scenes, to convey, refract and imply the author's feelings, sustenance and ambitions with events and scenes, and to give people room for free play and imagination. The ending is often the * * * of a poem. If the combination is good, it will make the work magnificent, impassioned, far-reaching and thought-provoking. Metric poetry is a new form of poetry created by Tang people on the basis of classical poetry. Compared with classical poetry, metrical poetry has many additional restrictions. It has strict rules not only in rhythm, but also in format. You can't cross the line. If you cross the line, it is not a metrical poem. Therefore, the creation of metrical poetry is much more complicated than other forms of poetry creation. Metric poems can be divided into two categories: metrical poems and quatrains. Rhyme can be divided into five laws, seven laws and arrangement (this article will not discuss arrangement). The format of the five laws and seven laws is eight sentences and four sentences, and one sentence is two. The first couplet is called the first couplet, and the composition is called a sentence. The second couplet is called parallelism couplet, and the composition is called bearing sentence. The third joint is called the neck joint, which is called a turning sentence in composition. The fourth part is called tail couplet, which is called complex sentence in composition. The upper sentence in the couplet is called a sentence (also called a sentence) and the lower sentence is called a sentence. The two couplets in the middle pay attention to antithesis. Quatrains are divided into five quatrains and seven quatrains. The format of the five elements and seven verses is four sentences and two couplets. The first and second sentences are called the first couplet, and the third and fourth sentences are called the last couplet. According to the interpretation of The Origin of Poetry, quatrains are "truncated sentences", that is, four sentences of metrical poems are extracted, or the first two sentences, or the first two sentences, or the last two sentences, or the middle two sentences. Judging from the composition, the first sentence of the first couplet is an opening sentence, and the second sentence is a bearing sentence. The first sentence of suffix is a turning sentence, and the second sentence is a combination sentence.

Inherit the transferred pronunciation, the transferred pronunciation inherits the transferred pronunciation.

Qi cheng zhuan he

Third sound, second sound, third sound, second sound.

"Inheritance and Integration" of Poetry? Commitment (sequential connection)

Transfer (rotation)

abstract

In fact, it is the qualitative routine of soap operas. Say the cause first, then make a logical paragraph, and then make a very important one, but once it's over, it's already outside the cloud nine, but it's also the foothold of my own thoughts. The last big summary is like a happy ending ~ either to express what you don't have this talent or to miss your hometown. The most boring thing about this kind of thing is that it is disease-free.

What songs are connected? About six songs!

Song: The best is yet to come.

Singer: Lin Yifeng album: Lin Yifeng's bedside song

Who made you afraid to listen to love songs?

The transition is too tiring

Song: Everything.

Singer: Wang Li album: Heart. jump

There is some forgetfulness in the story.

How many wrong choices have you made?

Song: I once loved someone.

Singer: Peng Jiahui album: Because women say

Modesty, arrogance, etc.

But there is no conclusion.

Song: Start underground.

Singer: Egg Castle Album: Water of Convergence

They want to do math. There is one and two eights per minute.

Metaphor of reading chinese's Understanding Transformation Learning

Song: Pen and ink debut

Singer: Tiger Hu

I don't know what's so special about writing it.

Connections between connections are horizontal and vertical.

Song: Both of them were moved.

Singer: hotcha album: Shall we dance? Stellar hour angle

The process is like a novel.

Gradual transition

What do you mean by "transition" Interlanguage

Release; Emissions; issue

(1) Terminology of poetry writing structure. "Start" is the beginning; "Cheng" is a representative of the above; "Turn" is a turning point, which is demonstrated from front to back; "He" is the end of the full text.

(2) Metaphorical transition when speaking.

(3) metaphor fixed dull, affectation.

Chu Yuan Vander's poetic style: "There are four ways to write a poem: straight up, spring, change and harmony."

Comprehensive application of law; As predicate and object; Generally refers to the practice of the article.

Take Lao She's Camel Xiangzi as an example: "Everyone is talking in it, but there is not a trace ~"

Synonyms connect the front with the back.

Synonym idiom: from inheritance to transformation.

Synonym: Connect the preceding and the following.

Pinyin: q qǐchéng Zhuán hé

Explanation: from: start; Commitment: undertake the above statement; Turn: turning point; Approaching: the end. Generally refers to the practice of the article. It is also a metaphor for a fixed and rigid form.

Source: Qing Jin Shengtan's Reading the West Chamber: "There are so many connections, and the topic reveals the text."

For example, making sentences: However, I have to go on stage to say a few words. Lu Xun's "Yi Ding Communication"

Make a sentence with the transition from beginning to end 1. I used to write articles, paying special attention to the transition from the beginning to the end.

2. To analyze this article, it is best to start with a clear understanding of its connection.

3. Although it belongs to the structure of old poems, it is still necessary to draw lessons from writing argumentative essays now.

The pronunciation of the turning point is from the beginning to the turning point. The pronunciation of Q Q qǐ chéng zhuǎn hé, a Chinese idiom, is one of the common structural skills in artistic creation, and it is also a common writing method in old compositions. Later, it gradually refers to the writing method of articles. From the Yuan zaju "Fan Degan's Poetic Style": "A poem has four methods: straightness, tolerance, change and profundity." .