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Baidu Knows > Art/Literature > Questions related to Chinese literature What is poetry? How to appreciate poetry (modern poetry)? How to write poetry? Who can teach me how to write a poem? After the fall of the Song Dynasty, some people wrote poems. There seems to be a line like "How to pay tribute to Naiwen at family sacrifices"... How to write a modern poem? Anyone who can write poems, please write one for me

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How to write poetry. ．

Reward points: 10 - Solution time: 2006-8-31 12:45

Everyone. ． I only have a primary school education. ． But recently we have also fallen in love with this poem. ． Arty. ． ． Please help me. About the format of poetry. Or send it to the website. ． Thank you all. ． ! ~

Additional question: It’s been useful for so long! ! ! Thanks. ． ． Give it to you.

Asked by: ╃风 sweep setting sun o - Probation level one

Best answer

Modern style, ancient style

Metrical poetry , including verses and quatrains, is called modern poetry or modern poetry. The ancients called it this, and we still call it that, although it is actually very ancient and originated in the Qi and Liang Dynasties of the Southern and Northern Dynasties. , matured in the early Tang Dynasty. Poems before the Tang Dynasty, in addition to the so-called "Qiliang style", are called ancient styles. Poems that do not conform to the modern style after the Tang Dynasty are also called ancient style.

There are differences in syntax, rhyme, and rhythm between ancient and modern styles:

Syntax: The number of words in each sentence in ancient style is variable, ranging from four, five, six, seven, and even There are miscellaneous poems (sentences of various types), and the number of sentences in each poem is also variable, ranging from two sentences to dozens or hundreds of sentences. There are only two types of modern style: five-character and seven-character. Rhymed poetry is defined as eight sentences, and quatrains are defined as four sentences. Those with more than eight sentences are arranged rhymes, also called long rhymes.

Use of rhyme: each poem in the ancient style can use one rhyme, or two or more rhymes, and rhymes are allowed to be changed; each poem in the modern style can only use one rhyme. Even if the arrangement is dozens of sentences long, the rhyme cannot be changed. Archaic style can rhyme in even-numbered sentences

or in odd-numbered sentences and even-numbered sentences. The modern style only rhymes in even-numbered sentences, except for the first sentence which may or may not rhyme (it rhymes if it ends in a flat tone, and does not rhyme if it ends in a oblique tone. If there are more five-character sentences, they will not rhyme, and if there are more than seven-character sentences, they will rhyme).

The odd-numbered sentences cannot rhyme; the ancient style can use flat tone rhyme or oblique tone rhyme; the modern style generally only uses flat tone rhyme.

Levels: The biggest difference between the ancient and modern styles is that the ancient styles do not pay attention to the levels, while the modern styles pay attention to the levels. After the Tang Dynasty,

the ancient style also paid attention to flatness and obliqueness, but it was not a rule and could be ignored.

Archaic poetry basically has no meter, so only modern poetry will be discussed below.

Using rhyme

The rhyme book used by the Tang people was "Qie Yun" written by Fayan in the Sui Dynasty. This was also the originator of all rhyme books in the future.

The Song Dynasty people expanded "Qie Yun" and compiled it into "Guang Yun", which has more than 200 rhymes. In fact, the rhyme used by poets in the Tang and Song Dynasties is not complete

According to these two rhyme books, the one that better reflects the rhyme used by the poets in the Tang and Song Dynasties is "Pingshui Yun" compiled by Wang Wenyu of Jin Dynasty.

The rhyme used by later poets will generally be based on "Pingshui Rhyme".

"Pingshui Yun" has one hundred and six rhymes, of which there are thirty rhymes in Pingsheng, which are divided into upper and lower halves, called Shangpingsheng and Xiapingsheng.

Pingsheng and Xiapingsheng , this is just a convenience in arrangement, there is no difference in tone between the two.

Modern poetry only rhymes with

Ping tone, so let’s just take a look at the rhymes of each part of these Ping tone rhymes (the first character of each rhyme):

Shang Ping tone: Yidong, Er Winter, Three Rivers, Four Branches, Five Micros, Six Fishes, Seven Yus, Eight Qi, Jiujia, Ten Grays,

Eleven Zhen, Twelve Wen, Thirteen Yuan, Fourteen Cold, Fifteen Delete

Xia Ping tones: Yi Xian, Er Xiao, San Yao, Si Hao, Wu Ge, Liu Ma, Qi Yang, Ba Geng, Jiu Qing, Shi Zheng,

Eleven You, Twelve Invasions, Thirteen Tan, Fourteen Salts, and Fifteen Salts

Just from these rhymes, we can see that the ancient pronunciation is very different from the modern pronunciation. There are some rhymes with different rhymes

in ancient times, but no difference can be seen now, such as Dong and Dong, Jiang and Yang, Yu and Yu, Zhen and Wen, Xiao and Yaohe

Hao, Xian, Yan and Xian, Geng and Qing, Han and Delete, etc.

If we look specifically at the words in each rhyme part, we will find the opposite situation: the words that the ancients thought

belong to the same rhyme do not rhyme at all today. . For example, the first poem of Du Fu's "Three Quatrains" (the following quotations

all use Du's poems as examples and will not be specified again):

The fragrance of the catalpa tree leans against Diaoji,

The new stamens should not fly.

It is better to be drunk and the wind blows away.

You can endure the thin rain when you wake up.

"Fei" and "Xi" both belong to Wuwei in Pingshui rhyme, but they do not rhyme in Mandarin.

Another example is the second song:

The cormorants outside the door will not come,

Suddenly they saw each other in the sand.

From now on, I know people’s opinions.

I have to come back a hundred times a day.

"Guess" and "Hui" both belong to Shihui in "Pingshui Yun", but they do not rhyme in current Mandarin.

In the rhyme of ancient poetry, rhymes from adjacent rhymes, such as Yidong and Erdong, Sizhi and Wuwei, can be mixed

together for common use, which is called Tong rhyme. However, the rhyme of modern poetry must strictly only use words in the same rhyme part. Even if the number of words in this rhyme part is very small (called narrow rhyme), it cannot be mixed with words from other rhyme parts, otherwise It's called rhyme,

It's a taboo in modern poetry. But if the first sentence rhymes, you can borrow the adjacent rhyme. Because the first sentence can be

edited or not, it can be adjusted a little. For example, "Drunken Soldiers Sent to Liu Sou":

I am thirsty for wine and love Jiang Qing,

I rinse my evening tea with emblica glycerin.

Sit firmly on the soft sand,

Wake up from sleep on the cold stone.

The picnic is accompanied by a tent,

The Chinese pronunciation is from Ling.

After several cups, you have not seen me.

I have sent Shen Ming away.

The "Ting, Xing, Ling, Ming" in this stanza refers to Ping Sheng Jiu Qing, but the first sentence borrows the word "Qing" from Ba Geng.

This is called the origin of borrowing neighbor rhyme, which became popular in the late Tang Dynasty. By the Song Dynasty, it even formed a trend.

When modern people write modern poetry, they can certainly use modern rhyme. If you want to use "Pingshui Yun" according to tradition, you have to pay attention to the difference between ancient and modern pronunciation, especially when reading ancient poetry. These differences can sometimes be distinguished with the help of dialects

but it is not necessarily reliable. The only way is to read more and memorize more.

Four tones

There are four tones in Chinese, which were discovered by literati in the Qi and Liang dynasties. Emperor Wu of the Liang Dynasty once asked Zhu Yi: "You guys are talking four times all day long. What does that mean?" Zhu took the opportunity to flatter him: "It's 'Tian Zi Wan'" p>The meaning of '福'. "天 is the flat tone, Zi is the ascending tone, Wan is the descending tone, and Fu is the entering tone. The four tones in ancient Chinese are composed of going up and entering." Get up and scream.

Among these four tones, the most problematic is the entry tone. Emperor Wu of Liang then asked: "Why doesn't 'Tianzi Shou Kao' have four tones?" Tian, ??Zi, and Shou are in the flat, up, and go tones, but kao is not in the enter tone. It can be seen that ordinary people at that time also I don’t understand

what is the entrance tone.

So what is the sound? The pronunciation was short and the throat was blocked. One type ends with the stop consonant t,

p, k, and the other type ends with the glottal stop? ending.

In Hokkien and Cantonese, these four types of entry tones are still intact, but in Wu dialect, they have all degenerated into less obvious ones? The end. The entering sound ending in t, p, or k does not actually produce the t, p, or k sounds. When pronouncing the stop consonant, the throat must be blocked for a while, and then the air bursts out. In the incoming sound, there is only obstruction and no aspirated explosion, which is called incomplete explosion. For example, when pronouncing the word stop in English, American English does not actually pronounce the p sound, but just closes the mouth. This is an incomplete explosion. It can also be said to be a kind of entering voice.

In Mandarin, the entering tone has disappeared. The original pronunciation of the characters that belong to different rhymes is different, but some of them are pronounced exactly the same today. For example, "Yi, Yi, Yi", in Pingshui rhyme, belong to the four qualities of Rusing,

Shisanzhi and Shishiji have different rhymes, but there is no difference in Mandarin reading (reading in Hokkien) , then they are clearly distinguished

and are pronounced as ik, it, ip respectively).

The disappearance of the entering tone also leads to the difference in tone between ancient and modern sounds. Some of the ancient Ru Ting characters have become the current Shang,

Customized characters, which still belong to oblique tones, so we can ignore them; however, some of the Ru Ting characters have become in Mandarin

The word Ping tone (Yin Ping or Yang Ping) is worthy of our attention. This is the case with the word "blessing" in the previous sentence "May the Emperor be blessed".

This is the case. Common characters that change the entering tone to a flat tone are:

One stroke: 一

Two strokes: seventy or eighty

Three strokes: Wu Jie Shao Xi Xi

Four Paintings: The Servant Said Shenji

Five Paintings: Pounce and Lose Stone Festival White Sauce

Six Paintings: Bamboo Fault, Defensive, Attack, Mixed-up Killing and Seizing The Jue of Tongue Jue makes an appointment with Shaoze to live together in the house and eat at Xi

Seven paintings: Bald Foot Soldiers' Corner Barge, Farewell, Burning Bo Di, and Sucking the Robbery Box

Eight Paintings: Shu Zhu Zhuo's Silk The truth of traditional Chinese culture is to directly accuse the Buddha, Quba, Gua, La, Xia, escort, threaten and threaten Jeddie. Weeping on the candle mat, the enemy is sick, the spine is accumulated, the peeler is caught, the wise man is pinched, the thief duck is pinched and weighed

The eleventh painting: Who is the clan slanderer? p>

Twelve paintings: Chrysanthemums and calves redeeming porridge, cutting and uncovering, Bo cutting, kudzu rafts, slippery and slippery, falling and chiseling, thorns and thorns, gathering wetness and black cheeks.

Thirteen paintings: Blessings The fourteenth painting: the lacquer is exhausted and the ultimatum is cut off and the lizard is picked out

The fifteenth painting: cooked bat The knees are barren, the bones are virtuous, the butterfly is blind, and the forehead is blind

Sixteenth painting: Orange rut and Xue Bojiaoji

Seventeenth painting: Lifting the crickets

Nineteenth painting: Treading

Twenty Paintings: Ji Han Che

People who speak dialects that retain the entry tone will naturally have no difficulty in identifying these entry tone characters, as long as they use the dialect

Just read it. For those who speak northern dialects, they can be summarized based on the phonetic sounds to help identify them, such as "福舺啄bat"

"凯楄浪", but most of them can only memorize it by rote. Modern people can write old-style poems according to the modern

four tones. But writing old-style poems is originally because of the love of antiquity. It is understandable that some people would like to write based on the four ancient tones.

We must pay special attention to the characters whose entering tone changes into a flat tone. When reading ancient poems in Mandarin, what should you do if you encounter this kind of word

? I think that in order to maintain the harmony of tones, it might as well be pronounced as falling tone. If the tone is lower and the tone is shorter, it will sound a bit like entering the tone. In fact, some people are accustomed to pronounce these characters with the falling tone, such as "一, 血, radi", which many people pronounce as the falling tone.

A large number of characters with the upper tone in ancient times are pronounced as the lower tone in Mandarin. Both the rising tone and the falling tone belong to the oblique tone,

We can ignore these types of words. But there is another tone change that we must pay attention to: some ancient flat tone characters are now pronounced as oblique tone characters. For example, "Sufu":

The shogunate well in the Qing Dynasty was cold,

I stayed alone in the river city with the remaining wax torches.

The horn sounds sadly to itself in the eternal night,

Who can see the beautiful moonlight in the sky?

The wind and dust are passing by, and the music and writings are gone.

The road is difficult to travel due to the depression of the pass.

I have endured ten years of solitude,

I have been forced to move and rest on a branch.

The rhyme "kan" in the fourth sentence is the word "ping". When we read it, it is best to pronounce it as "yinping" (the "kan" in modern "guard" is still pronounced as "yinping") .

Another example is "Night Banquet at Zuo's Manor":

The wind and forest are slender and the moon is setting,

The clothes are dew and the piano is clean.

The undercurrent flows along the flower path,

The spring stars lead to the thatched cottage.

Looking at the book will burn the candle short,

Looking at the sword will lead to the long cup.

I heard Wu Yong after the poem,

I will never forget the meaning of the boat.

The rhyme "forget" in the last sentence is also in flat tone, so we should pronounce it in flat tone when reading it so as not to feel awkward.

As for "kan" at the beginning of the sixth sentence, although it also has a flat tone, it doesn't matter if it is pronounced as a falling tone according to the current pronunciation.

In addition to "look, forget", others similar to this are generally pronounced in oblique tones nowadays, but in ancient times they were pronounced in flat tones (or flat,

obscure and oblique tones):

p>

Tunzongzongchongzhi (verb) reputation (verb) Junminyan Benyunmanhan sighed and jumped to teach (envoy) Wangxingsheng (accepted

accepted) sold the old man (to bear) ) pregnancy

If these words are in rhyme or at key points in the sentence, they should be pronounced in flat tones.

There are also a few digits, which today have flat tones, but in ancient times they had oblique tones. For example, "Si" and "Qi" are pronounced as falling tones when used as nouns

. Like "One Hundred and Fifteen Days and Nights Against the Moon":

Without a home and cold food,

There are tears like golden waves.

Cut out the laurel in the moon,

There should be more clear light.

The red stamens are released from divorce,

Imagine the green moth.

The cow girl is full of sorrow and thoughts,

It is still crossing the river in autumn.

The last word of the seventh sentence, "思", should be pronounced with the falling tone.

Rhythmic Sentences

Although Chinese has four tones, in modern poetry, it is not necessary to distinguish the four tones like words and music. It only needs to be roughly divided into four tones

Just two flat tones. To create an ups and downs in tone, flat tones and oblique tones must be used alternately, so as not to have a single tone. Chinese basically uses two syllables as a rhythm unit, and the stress falls on the following syllables. The basic sentence pattern of modern poetry is formed by interlacing two syllables in units of flat and oblique, which are called rhythmic sentences. For Wuyan

, its basic sentence pattern is:

平平仄仄平

or

任仄平平仄

For these two sentence patterns, the beginning and end of the sentences are the same, that is, the so-called Ping Qi Ping Fa, Lei Qi Qi Fa. If we want to make

a little change, so that the first and last words are different, we can move the last word to the front and it becomes:

平平平廄仄

廄仄仄平平

Except for the special cases that will be mentioned later, no matter how the five-character modern poetry changes, it will never fall out of these four basic sentence patterns.

The seven-character poem just adds a rhythm unit in front of the five-character poem. Its basic sentence pattern is:

仄仄平平仄仄平

平平仄仄平 平仄

仄仄平平仄仄

平平任任仄平平

No matter how the seven-character modern poetry changes, it will never fall out of these four basic sentence patterns.

There is a rule in these sentence patterns, that is, every pair must be reversed: the fourth character is opposite to the second character, and the sixth character is opposite to the fourth character, and so on. It creates a sense of rhythm. But it can be reversed or not in odd cases, because

The stress falls on the even syllables, and the singular syllables are unimportant in comparison.

When we write poetry, it is difficult to make every sentence completely conform to the basic sentence pattern. We may be able to do it when writing quatrains.

We can write eight sentences or even longer verse rules. Almost impossible. How to work around it? Then you have to sacrifice the less important odd numbers and keep the more important double numbers and the most important last word.

Therefore, there is such a mantra: "One, three, and five don't matter, two, four, and six are clear." That is to say, first, three, and five (only

Referring to seven characters), the equality of the characters can be handled flexibly, while the equality of the second, fourth, sixth and last characters must be strictly observed.

This formula is not completely accurate. In some cases, one, three, and five must be discussed. In specific sentence patterns

, two, four, and six may not be clear. We will talk about it later, but next we Let's first look at how to form a complete poem from these basic sentence patterns.

Adhesive pairs

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

The sentences of modern poetry are based on two sentences as a unit, and every two sentences (one and two, three and four, and so on)

It is called a couplet, and the upper and lower parts of the same couplet are The sentences are called couplets, and the lower sentence of the upper couplet and the upper sentence of the lower couplet are called adjacent sentences. Modern style

The composition rules of poetry are: couplets are relative to each other, and adjacent sentences are adhering to each other.

Relative couplets mean that the upper and lower sentences in a couplet are exactly the opposite. If the previous sentence is:

廄仄平仄

The next sentence is:

平平仄仄平

Similarly, if the above The sentence is:

平平平仄仄

The next sentence is:

任仄仄平平

Except for the first couplet, the other couplets The upper sentence cannot rhyme and must end in a oblique tone. The next sentence must rhyme and must end in a flat tone. Therefore, except for the first couplet, the couplets of five-character modern poetry only have these two forms. Seven-character

Similar to this.

If the upper sentence of the first couplet does not rhyme, it is no different from the other couplets. If the upper and lower sentences both rhyme,

both of them must end in a flat tone. This first couplet The couplets cannot be completely opposite, they can only be wrong from beginning to end, and there are two other forms:

Pingqi: flat, flat, flat, flat, flat

廄廄廄平平

廄qi:廄仄廄平平

平平廄廄平

Let’s look at the adhesion of adjacent sentences. The meaning of "stick together" originally is the same, but because odd-numbered sentences ending in a oblique tone are used to glue even-numbered sentences ending in a flat tone, it can only be achieved by sticking the beginning but not the end. For example, the previous couplet is:

任仄平平仄

平平仄仄平

The upper sentence of the next couplet should follow the lower sentence of the previous couplet. Sticking together must also start with a flat tone, but must end with a flat tone

, so it becomes:

平平平任仄

任仄仄平平

Why do adjacent sentences have to stick to each other? The reason is very simple, it is to change the sentence pattern and not be monotonous. If the couplets

are relative and the adjacent sentences are also relative, it becomes:

仄仄平仄

平平仄仄平

廄廄平平廄

平平廄廄平

The first and second couplets are exactly the same. Before the Tang Dynasty, the so-called Qi and Liang style verses only talked about the relative, not the mutual adhesion. From the beginning to the end, there were just two sentence patterns repeated continuously. After the Tang Dynasty, both the relative couplets and the adhesion of adjacent sentences were emphasized, so there would be no repeated sentence patterns in a quatrain.

According to the rules of sticking pairs, we can deduce four formats of five-character quatrains:

1. The first sentence of 仄 does not rhyme:

仄仄 Ping Ping Ze

Ping Ping Ze Ping Ze Ping (rhyme)

Ping Ping Ping Ze Ping Ze

Ping Ping Ping Ze Ping (rhyme)

2. Ze The first sentence rhymes with:

仄仄仄平平 (rhyme)

平平任仄平 (rhyme)

平平平仄仄

廄仄仄平平 (rhyme)

3. The first sentence of ping does not rhyme:

平平平廄仄

仄仄仄平平 (rhyme)

廄廄平平廄

平平廄廄平 (rhyme)

4. The first sentence of Pingqi rhymes with:

平平廄廄平 (rhyme) )

任仄仄平平 (rhyme)

任仄平平仄

平平仄仄平 (rhyme)

Five-character poem It's similar to this, except that four more sentences are added based on the principle of sticking to pairs. For example, the first sentence of 仄

The rhyming five-character poem is:

仄仄仄平平 (rhyme)

平平仄仄平 (rhyme)

平平平仄仄

仄仄仄平平 (rhyme)

仄仄平平仄

平平仄廄平 (rhyme)

平平平仄仄

仄仄仄平平 (rhyme)

According to the rules of sticky pairs, ten or twelve sentences can be added infinitely to form a row. law.

Glued pairs also have a certain degree of flexibility, and basically follow the formula of "one, three, and five, but two, four, and six."

In other words, you need to check a modern-style poem Whether to adhere to the sticky pairing generally depends on the even number and the last word

. If the couplet is wrong, it is called mismatch; if the adjacent sentence is not sticky, it is called loss of cohesion. Loss of right and cohesion are taboos in modern poetry

. In comparison, loss of alignment is more serious than loss of adhesion. The rules of stickiness were determined relatively late. In the poems of poets in the early Tang Dynasty, we can often see loose stickiness. Even Du Fu's poems occasionally have loose stickiness, such as the famous poem "Ode to < /p>

The second song of "Reminiscences of Ancient Ruins":

I know Song Yubei well when I shake off.

Elegance and elegance are also my teachers.

Looking forward to the future, I shed tears,

Depression is different in different generations.

The old house in Jiangshan is empty and empty,

It is impossible to dream about the clouds and rain in the deserted terrace.

In the end, all the palaces of Chu were destroyed,

I still doubt the boatman’s advice.

The third sentence failed to stick to the second sentence. This may be due to a moment of negligence due to the influence of Qi and Liang poets unknowingly.

The rules of rightness were established during the Qi and Liang Dynasties, so it is rare to see wrongness in Tang poetry. Among the existing modern-style poems of Du Fu

Only one of the poems "To Wang Shi General Chengjun" is wrong:

The general is brave and brave,

his arms are hanging Two-horned bow.

Tangled green horses,

entering and leaving Jincheng.

In times of crisis, the Yue is not given,

It is difficult to achieve success when the situation is reversed.

The hall is full of guests,

Who has the same high righteousness?

Except for the first character in the first and second sentences, the other characters are exactly the same, which is incorrect. This may be because

I didn’t have time to process the poem carefully and was an oversight.

There is another situation where rhythm is ignored for the sake of expression. For example, another famous poem by Du Fu, "White

Emperor":

The clouds in Baidi City come out,

The rain in Baidi City turns the basin over.

The rapids in the high river are thundering,

The sun and moon are dimming with ancient trees and green vines.

It is better to return to the army than to return to the horse.

Thousands of families now have hundreds of families.

The mourning widow begs for death,

Where is the village in Qiuyuan that mourns?

The second character of the second sentence should have been in flat tone, but now the oblique tone word "emperor" is used, which is not only inconsistent with the first sentence,

but also inconsistent with the third sentence. . But this was intentional to create parallelism by repeatedly using "Baidicheng", so we had to sacrifice the metrical rules.

Gu Ping and San Ping Tiao

The previous statement that “one, three, and five will not matter” is not completely correct. In some cases, one, three, and five must be discussed.

For example, the five-character Ping Qiping sentence ends with:

Ping Ping Zhi Zhi Ping

The third character of this sentence can be ignored, and it can also be used in Ping tone. Can. But if the first character is changed to the flat tone,

it becomes:

仄平廄仄平

Except for the rhyme, there is only one flat tone character in the whole sentence, which is called "Guping" is a taboo in modern poetry and is rarely seen in Tang poetry

. The previous quote from Du's poem "A bow hangs on two horns" is a violation of Guping. An irregular sentence like this is called an awkward sentence. Lao Du intentionally wrote many modern-style poems in different styles, but this kind of exploration is another matter.

What should I do if the first word must be in oblique tone? You can also change the third character to the flat tone:

廄平平廄平

This avoids loneliness. This approach is called Aobiao, which means avoiding awkward sentences. For example, the third part of "Twelve Songs of Resurrection

Sorrow":

All nations still have armies and horses,

What is my hometown like now?

In the past, we had few acquaintances, but

we had already seen many battlefields.

The second sentence should have been "平平廄廄平", but now the first word uses the oblique tone "gu", so the third word must be changed to use the flat tone "jin" .

Seven-character poems are similar to this, that is, the third character of the final sentence of "廄廄平平廄廄平" cannot be changed to

廄 sound. If a 廄 sound is used, it must Change the fifth character to a flat tone to avoid being lonely. For example, one of the "Nine Poems of Quatrains

Nine Poems":

Seeing the guest is worried and unable to wake up,

The rogue spring beauty comes to Jiangting.

As soon as the flower blooms, I will go to school again.

I will teach the orioles how to talk about Tai Ding Ning.

The first sentence should be "廄廄平平廄廄平", but now the third character uses the oblique tone "ke", and the fifth character uses the flat tone "chou" instead. To remedy the situation (note that "wake" is a flat tone).

The so-called "Guping" refers specifically to the plain ending sentence (that is, the rhyming sentence). If it is a rhyming sentence, even if the whole sentence has only one flat tone character,

, it’s not considered a crime, at most it’s an awkward sentence. For example, change "廄廄平廄"

to "廄仄仄平廄". This is not an offense and can be used.

There is another situation, which is the five-character ziqiping sentence:

廄仄仄平平

In this sentence pattern, the first character It can be flat or oblique, but the third character cannot use flat tones. If

flat tones are used, it becomes:

廄廄平平平

There are three flat tones in succession at the end of the sentence, which is called "three flat tones". This is a special form for ancient poetry. It must be avoided when writing modern poetry, and it cannot be remedied.

Similarly, the seven-character pingqiping sentence ends with "平平廄仄仄平平". The first and third characters can both be 平 or 仄, but

the fifth character cannot be used. Ping tone, otherwise it will become three level tone.

As long as the solitary and three-level adjustments can be avoided, it is completely correct to "ignore one, three, and five".

Aojiao

If you look carefully at the basic formats of modern poetry mentioned above, you will find a rule: in a couplet, flat tone The total number of characters and oblique characters are equal. If we use the flat tone character instead of the oblique tone character (or the flat tone character instead of the oblique tone character) in places where we can handle it flexibly such as "135", then we often have to

p>

In appropriate places in this sentence or couplet, change oblique tones to flat tones (or change flat tones to oblique tones) to maintain the number of flat and oblique tones in a couplet

balance. That is to say, first use Ao (not in compliance with the law), and then save it.

When combined, it is called Ao Jiao.

The remedy for Gu Ping mentioned earlier belongs to self-rescue in this sentence. Another situation is to remedy the situation in couplets.

For example, in the five-character sentence pattern "廄廄平平廄", the third character is changed to the oblique tone, often in the third character of the couplet.

The flat tone is used. Remedy, that is, "廄廄平廄, 平平仄廄平" has become "廄仄仄平廄,

平平平廄平".

For example, "Li Bai is pregnant with me at the end of the day":

The cool breeze rises at the end of the day,

What do you think of a gentleman?

When will the swan geese arrive?

There will be plenty of autumn water in the rivers and lakes.

The article hates fate,

The evil spirit is so gratifying.

In response to the words of the wronged soul,

I sent a poem to Miluo.

The third character in the third sentence "When will the swan geese arrive" should be flat and oblique. In the fourth sentence "There are many autumn waters in the rivers and lakes", change the third character

into a flat tone. The seven-character sentence is similar to this, in that the fifth character of "平平廄仄平平廄" uses the oblique tone, which is corrected by changing the fifth character of the couplet to the flat tone, that is, "平平廄仄平" "平廄,仄廄平平廄廄平" becomes "

平平仄任仄平廄, 任仄平平平廄平".

Poets like to save even the first word. For example, "Happy Rain on a Spring Night":

Good rain knows the season,

When spring happens.

Sneak into the night with the wind,

Moisturize things silently.

The wild paths are all dark with clouds,

The fire on the river boat is only bright.

Look at the red and wet places at dawn,

The flowers are heavy in the official city.

The first word of the seventh sentence should be flat and the oblique tone "xiao" is used. The first word of the eighth sentence is replaced with the flat tone "hua"

Save.

Another example is "Ge Night":

At the end of the year, the yin and yang rush to short scenes,

The sky is frosty and snowy, and the night is cold.

The sound of drums and horns at the fifth watch is solemn and solemn,

The shadow of the stars in the Three Gorges is shaken.

The families of Yekui heard about the war and were cut down,

Firemen and woodcutters started to appear in several places of Yige.

The crouching dragon and the leaping horse end up in the loess,

People and things are still lonely.

The first character of the third sentence should be flat and oblique ("五"), and the first character of the fourth sentence should be changed from oblique to flat ("三");

The seventh sentence The first character should be flat ("lying"), and the first character of the eighth sentence should be flat ("人").

Sometimes, self-rescue in this sentence and remedy in couplets are mixed. For example, one of the "Twelve Poems to Relieve Boredom":

Chai Feixing is scattered in Caoge,

The waves are rolling over the river and the black rain is beginning to fly.

Mountain birds feed the red fruits,

The river girl gets money to keep the white fish.

The strict rhythm should be:

仄仄平仄仄平

平平仄仄仄平平

平平仄仄平仄

廄廄平平廄廄平

And the 廄 of this poem is:

廄仄平平平廄平

廄平平仄仄 Ping Ping

Ping Ping Ping Ping Ping Ping Ping

Ping Ping Ping Ping Ping

Here is the sentence to save oneself (using "江" to save "fan", and "get" "As for "brook"), there are also couplets to remedy the situation ("remaining" to save "nurturing"), but there are also some that are stubborn but not saved ("star"). In fact, it is very common to be unable to save at the "135" position. Xiang "Climbing High":

The wind is strong, the sky is high and the ape is screaming in mourning,

The white bird is flying back from the clear sand of Zhug.

The endless falling trees are rustling,

The endless Yangtze River is rolling in.

The sad autumn of thousands of miles is often a guest,

A man who has been sick for a hundred years appears alone on the stage.

Hard and bitter, I hate the frost on my temples.

The new wine glass is filled with turbidity.

The "sha" in the second sentence saved "Zhu", and "Zhu" saved the "wind" in the first sentence, but the "ape" in the first sentence

Not saved.

Being unable to save like this destroys the balance of the even numbers in a couplet, but these all happen in the position of "one

three five", as long as there is no isolation. A flat or three-flat tune is tolerable, to be precise, it cannot be regarded as obsessive.

There is another kind of Ao, which appears in the position of "two, four, six". That is the real Ao, which will not be discussed here.

But there is a kind of oblique sentence that is used quite a lot in Tang poetry, so I cannot but mention it. Please read "Huai Li at the end of the day

Bai":

The cool breeze rises at the end of the day,

What does the gentleman think?

When will the swan geese arrive?

There will be plenty of autumn water in the rivers and lakes.

The article hates destiny,

The charm is so gratifying.

In response to the words of the wronged soul,

I sent a poem to Miluo.

The first sentence should have been "平平廄廄", but it was written as "平平廄平廄", and the second and fourth words are all in flat tone.

It violates our original policy. The mentioned rule that everything must be reversed. In the seven words, "廄廄平

平平廄廄" is written as "廄廄平平廄平廄", such as "Five Poems on the Ancient Monuments", almost every capital uses it

To this special sentence pattern. One:

Being separated from the wind and dust in the northeast,

Wandering among the heaven and earth in the southwest.

The towers of the Three Gorges are flooded with the sun and the moon,

The clothes of the Five Streams flood the clouds and mountains.

The owner of Jiehu eventually became a scoundrel,

When the poet declined, he did not return.

Yu Xin was the most desolate in his life.

In his later years, his poems moved Jiangguan.

The seventh sentence is this sentence pattern. Second:

I know Song Yubei well in Shakedown,

Elegance and elegance are also my teachers.

Looking forward to the future, I shed tears,

Depression is different in different generations.

The old house in Jiangshan is empty and empty.

It is impossible to dream about the clouds and rain in the deserted terrace.

In the end, all the palaces of Chu were destroyed,

I still doubt the boatman’s advice.

The word "泯" in the seventh sentence can be flat or flat. If it is read as flat, it will become this sentence pattern. Third:

Go to Jingmen with mountains and valleys,

There is still a village where Ming Fei grows.

As soon as we go to Zitai Lianshuo Desert,

The green tombs are left alone to face the dusk.

Draw a picture to understand the spring breeze,

Wear a ring in the sky to return to the soul of the moonlit night.

For thousands of years, the pipa has been playing nonsense,

It is clear that resentment is expressed in the music.

The seventh sentence still has this sentence pattern. Fourth:

The Lord of Shu peeked at Wu Xing's Three Gorges,

Beng Nian was also in Yong'an Palace.

Imagine the green flowers in the empty mountains,

The jade palace in the empty wild temple.

In the ancient temple, there are cedars, pine trees, and water cranes nesting in their nests.

At the age of 10, a village man walked around the village.

The ancestral hall of Marquis Wu is often close to each other,

The monarch and his ministers worship together as one body.

The first sentence is this sentence pattern. Fifth:

Zhuge’s fame spreads throughout the universe,

The portraits of Zong and his ministers are kept high.

Three divisions are planned,

A feather in the sky for eternity.

When brothers and sisters meet Yi Lu,

The commander is determined to lose Xiao Cao.

Fu moved to Han and Zuo will never be able to recover,

Determined to annihilate the military service.

The fifth sentence is this sentence pattern again. Since this sentence pattern is used so much (often used in the seventh sentence), it is almost as common as the regular sentence pattern, so we have to treat it not as a clumsy sentence, but as a special one. The verses. Poetry

The reason why people like to use this special sentence pattern may be because of the conventional sentence pattern "平平平廄廄" "