What does rhyme mean?

In "Rhyme", the same word "Rhyme" is put at the end of the sentence, so that it has a sense of harmony in the sound cycle, which is called "Rhyme". Because the rhyming word is placed at the end of the sentence, it is also called "rhyme foot" when rhyming. You can use every sentence (referring to a period, including an exclamation point and a question mark, which is a sentence), rhyme even clauses, or rhyme every other sentence or every few words. This is called rhyme, or "rhythm".

The harmony of rhyme is caused by different composing conditions. If the main vowel is exactly the same as the ending (referring to the word with the ending), it is the most harmonious and rigorous rhyme; If the main vowels are different but just close, it is a wider rhyme (such as "door" and "letter"); If there is a big difference, even the ending is different, it is "rhyme", that is, a wider rhyme (generally used in prose).

The level tone law is the classification of Chinese characters' tones from the perspective of literary temperament. In ancient Chinese, Chinese characters were divided into four tones: flat, upward, far and cheng * * *. Flat refers to flat voice, which means going up, going down and entering the voice. After the Yuan Dynasty, the entering tone in the north gradually disappeared, becoming the present double tone and four tone, while the flat tone gradually evolved into Yin Ping and Yang Ping. In modern Chinese, the four tones of flat tone, rising tone, falling tone are called new four tones. All tones with flat tones (referring to the first and second sounds of standard pinyin) are called flat tones, and all tones with rising and falling tones (referring to the third and fourth sounds of standard pinyin) are called Legato. Some words belonging to Rusheng in ancient Chinese are now classified as Yin Ping and Yang Ping, but when it comes to Pingping, they should still belong to Ru Ping.

According to this principle, people divide all Chinese characters into two categories: one is flat, the other is flat, and the relationship between them is yin and yang. Flat tones alternately produce rhythm, and rhythm also produces the beauty of Chinese phonology.

Couplets should not only alternate with the same sentence, but also with the upper and lower couplets, that is, the corresponding positions of the upper and lower couplets must be equal and opposite. The antithesis of pronunciation and the antithesis of meaning form the uneven beauty of the structure of conjunctions, which will be catchy, cadence and harmony when read.

As a couplet, it should meet the following rules:

(1) The number of words in the upper and lower parts must be equal, and repeated words cannot be used.

(2) The last sentence of the first couplet must be written silently, and the last word of the next couplet must be flat.

(3) The sentence patterns of the upper and lower couplets must be consistent (equivalent parts of speech and corresponding structures).

(4) The horizontal lines of the upper and lower couplets should be relative. Where the upper couplet uses flat sound, the lower couplet must use flat sound, and vice versa (flat: flat sound; Cue, Cue, including words with three tones of up, down and middle).

(5) The upper and lower couplets can have similar or opposite meanings, but only one thing can be said, or two things can be said separately.

The antithesis of couplets and metrical poems has a relationship of inheritance and evolution. The flat and even meter of metrical poems and the principle of "no matter whether 135 or 246 is clear" are also applicable to couplets. As for the number of words in each couplet, there is no limit, ranging from four words, five words, six words, seven words, eight words and nine words to tens or hundreds of words, as long as you have something to say.

Make couplets with harmonious rhymes. The language is concise, consistent with the law and has certain content. Words are not relative, levels and levels are not harmonious, or slogan-style sentences are divided into two lines, which can't be regarded as couplets.

The above contents can be summarized as "four stresses", that is, "word equivalence, flat pronunciation, word opposition and syntactic symmetry".

At the same time, the contents of the upper and lower couplets should be related, but they cannot be the same or repeated. The same antithesis is commonly known as "crossing your hands", such as "Welcome Five Blessingg in the New Year, and receive more than three times in the Spring Festival", in which "New Year" and "Spring Festival", "Welcome" and "Receive" are all agreed. Traditionally, this kind of couplets is considered as a taboo in making couplets. In this paper, the principle of "no matter whether it's 123546 or 123546" is also applicable to couplets, which means that the first, third and fifth words in each sentence of five-character poems and seven-character poems are not even, and the flat and turbid words are flat and turbid. The second, fourth and sixth words of each sentence must be plain and clear, and cannot be replaced. Because the first, third and fifth words are relatively flat and easy to move, the pronunciation has little influence. If the second, fourth and sixth words are flat and unbalanced, it will be difficult to read. This is a taboo for orthographic poetry, and it is also a taboo for traditional couplets when used in the creation of couplets.

Basic sentence patterns:

narrow

flat

Hey hey.

(Ping) Ping

Flat/flat

(Uniform/Average)

Ping (Ping) Ping (Ping)

(flat) flat

(Ping) Ping/(Ping) Ping

(Ping) Ping/(Ping) Ping (Ping)

Flat/flat (flat)

Flat/flat (flat)

Ping (Ping) Ping/(Ping) Ping.

(Ping) Ping/Ping (Ping) Ping (Ping)

(Ping) Ping, (Ping) Ping/(Ping) Ping, (Ping)

(Ping) Ping (Ping)/(Ping) Ping, (Ping) Ping.

…………

Couplets don't rhyme, and the last words of the first couplet and the second couplet are the same.

2 Unified writing method of poetry □ Fuwa (1) Tone Traditional poetry pays attention to musicality, easy to recite, easy to sing and easy to remember. Therefore, its writing emphasizes understanding metrical poems, which some people used to call metrical poems. To understand the rhythm of traditional poetry, we should first start with the tone of words. The previous four tones were Ping, Shang, Qu and Jin; Today's four tones are flat tone, upper tone, upper tone and lower tone. The ancients called the three tones of "Shang, Qu and Ru" "Lian Diao", so the problem of tones, in a word, is to distinguish the word "Lian Diao". It has been studied that Cantonese (vernacular) is closer to the old saying, so it is easier for people who know vernacular to distinguish flat tones. Flat means smooth, loud and pleasant, can be extended, just like a flat path, can walk smoothly. It means oblique and belongs to the category of oblique sound. The sound is awkward and short, which makes people unable to stretch. In order to use this method correctly, it is best to compare two or three words with different pinyin tones, such as Chinese, English, Chinese and Japanese. There are obvious differences between the former and the latter when reading the vernacular pronunciation: the former is pleasant to the ear, flat and soft, and belongs to the flat tone; The latter is biting and urgent, and it is a squeaking sound. People who are used to distinguishing the modern new four tones, that is, flat tone, rising tone, rising tone and falling tone, should know that the ancient entering tone characters have been dispersed into the new four tones. Then, the tone-entering words dispersed to the upper and lower tones are naturally muffled; Special attention should be paid here to the original tone words scattered to Yin Ping and Yang Ping. For example, the word "tea" and "tea" are homophones in modern Mandarin, both of which belong to a flat tone, but they are very different in vernacular Chinese, just like the word "one" and "one" in modern Mandarin. Homophonic, but in the old saying, "one" is an entering tone word and "clothes" is a flat tone word, which cannot be confused. Therefore, people who only know modern Mandarin but not vernacular must have a reference book such as Linz Zheng Yun in their hands, in order to correctly distinguish traditional level tones, especially to master the category of Rusheng characters. Besides consulting reference books, dictionaries or dictionaries, memorizing some famous ancient articles, you can also correctly distinguish the tones of some difficult words. In the same sentence, Tang poetry is "135 undifferentiated, 246 distinct", that is to say, the second, fourth or sixth even numbers in a sentence must be in a fixed format and cannot be confused. For example, if the word "painting" mentioned above can't be judged by other methods, the famous sentence of "painting a cold screen with a silver candle and flying a firefly lightly" will immediately come to our mind, so it is easy to judge that it belongs to a flat voice according to the sentence pattern of the same sentence. As for the law of the same sentence, what should it be? This is the main content we will talk about next time. The writing of traditional poetry □ Fuwa (2) The sentence patterns used in regular poems and quatrains are mostly the combination of phrases with the first double and the last single. For example, "before going to bed/bright moon/light" is a sentence pattern of 2/2/ 1; "The wind is urgent/the sky is high/the ape wails" is a 2/2/3 sentence pattern; "Fengtai/Fengyou" is a 4/3 sentence pattern; "In silence/listening to thunder" is another type of 4/3 sentence pattern. The difference between words lies in the extensive use of phrase combinations, and this sentence pattern cannot be confused with the sentence pattern with the first double and the last single in different places. For example, there are two seven-character sentences, namely "the golden wind is exposed" and "better than countless people in the world". The former is three-quarters sentence, and the latter is three-quarters sentence. The same is true of some five-character sentences in Ci, such as "Qi Jing is in shock" in Xin Qiji's "Qinyuanchun Lingshan", which is a 1/4 sentence pattern, which is completely different from the sentence pattern of "the foot of my bed is so bright". Generally speaking, the leveling of metrical poems and quatrains should be "the 135 is indistinguishable, and the 246 is distinct", that is, in addition to the rhyme law of ending words, even words must be leveled, so there are only two situations: leveling. For example, the 246 characters in "Guangtian Ape Sobs in the High Wind" are respectively urgent, high, loud, flat, flat and squeaky; 135 characters are wind, sky and ape, all of which are flat, but they do not hinder the entry into the dharma. This means "135 whatever". Listen to the thunder silently. The 246 numbers are none, none, earthquake, ping, ping, ping; 135 digital words are "jade, sound and hearing", flat and neat. Generally speaking, single-digit words are flat or even, but try to avoid "three-level foot" or "three-level foot", that is, don't make the last three words flat or even. So we sometimes need to pay attention to the third word of the five-character poem and the fifth word of the seven-character poem. In addition, the poet's "loneliness" is also a taboo, that is, the same poem only has a flat word except rhyme, but this content is more complicated and there are deeper "remedies". From the beginning, the poet can hold the creative viewpoint of "not hurting the meaning with words". The level of words is strict, and quite a few long tones can't be written according to the poetic writing format of "135, 246", so it is necessary for people who learn to write to have a reference book like "Zipu". For example, in the simplest 16-character sequence, its case is "Yi (rhyme)1(sentiment)+┃-(rhyme)", and one case is flat. From this perspective, writing words is more difficult than writing poems. Some beginners think that words can be counted as long as they meet the requirements of the epigraph, but it is ridiculous and generous to fill in the epigraph at will without paying attention to sentence patterns and leveling rules. Traditional poetry writing □ Fuwa (3) The "two four six clear" of metrical poems from the first sentence to the eighth sentence is simply the relationship of "duality": "duality" means that the second sentence is opposite to the first sentence. If the second, fourth and sixth positions of the first sentence are flat, "paste" means paste, which means the next sentence is the same as the previous one. If the second sentence is flat, so is the third sentence. Push it down again, and it will stick like this. The fourth sentence is right with the third sentence, and the fifth sentence is stuck with the fourth sentence ... You can try Du Fu's poem: "There is a high wind in the sky, apes crow and birds crow, blue lakes and white sands, and birds crow at home." . The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. Bad luck has formed a bitter frost on my temples, and heartache and fatigue are a thick layer of dust in my wine. The word "246" in the first sentence is "urgent, high and low", which is flat and flat, while the word "246" in the second sentence should be "right" according to the case method. Contrary to the first sentence, the third sentence is "flat and flat". You can delete the middle four sentences or the first four sentences. For example, "Li Bai was about to go by boat when he suddenly heard a song on the river." Peach Blossom Pond is deeper in thousands of feet than in Wang Lun. "Just like the interception of the first and last four metrical sentences of Du Fu's poem" Ascending the Heights "mentioned above; The Yellow River is far above the white clouds, and there is a lonely city, Wan Ren Mountain. Why blame the willow for the flute? The spring breeze is just like Yumen Pass. "It's like intercepting four lines in the middle of a metrical poem, but there is no antithesis. In the poetry of ci, some sentence patterns of seven words and five sentences are transformed from quatrains, and there is a certain relationship between these words. Such as Langtaosha, Remembering the King's Day, Huanxisha and Partridge Sky. However, the difference between most words and laws is that they break the original relationship of mutual attachment, but are filled according to the unique rules of flattening each epigraph. Even if the number of words is close to the law, most of them are. For example, Shengchazi seems to be a five-character quatrain, which rhymes on the surface, but in the book Rhyme of Tang and Song Dynasties, there are three kinds of metrical patterns: Geyiquan is a flat and even sentence pattern; The second situation is that the fifth sentence of the first sentence uses a flat and even sentence pattern, such as a famous song by Zhu, "Last year's Lantern Festival, the flower market was lit like a day. The moon rose to the willow tree, and he met me at dusk. On the Lantern Festival on the fifteenth day of the first month of this year, the moonlight and lights are still the same as last year. I haven't seen you last year, and my sleeves are wet with tears. "The third situation is that the third sentence uses a flat and even sentence pattern, and the eighth sentence has a special format. Limited by space, this paper only points out that the meter of each word is different. Since it is regarded as a word, it should not be confused with the quatrains of regular poems, because some of them are also five words and seven words. Traditional poetry writing methods □ Fuwa IV. Duality is an important rhetorical form in ancient Chinese, which requires not only the same number of words and the same part of speech in the same position, but also the same word structure in a certain position in the sentence. Modern Chinese also talks about duality, which can produce a neat sense of beauty and is easy to recite and remember. It is an indispensable basic knowledge for learning to write poetry. In ancient times, many books about this knowledge, such as the Enlightenment of Rhythm, began like this: "Clouds go against the rain, snow goes against the wind, the night shines clear, hundreds of birds come to swallow, and hundreds of birds stay at night to cry insects ..." Mastering the law of opposites can be said to be the basic skill of writing traditional poems. First of all, three or four sentences and five or six sentences of the rhyme require pairs, which are called neck couplet and parallel couplet respectively. For example, "leaves fall like the spray of a waterfall, while I watch the long river roll forward" and "I came from three thousand miles away". Sad this autumn, with my sorrow for a hundred years, I climb this high alone. "There is a very neat antithesis in Du Fu's Ascending the Mountain, that is, couplets; Bai Juyi's five-character poems also include famous works such as "wildfire never quite consumes them, the spring breeze blows high". Because quatrains are half the sentence patterns of intercepted metrical poems, there is the possibility of antithesis. For example, the last two sentences in the quatrain are "butterflies dance from time to time, charming warblers sing leisurely", and the water is bright and sunny, and the mountains and the sky are rainy. These are the first two sentences in the quatrain. There are even a few quatrains, and the whole article consists of two couplets, such as Du Fu's "Two orioles sing green willows, and a row of egrets fly to the sky. Outside the window is the autumn snow in Xiling, and the Wu Dong Wan Li boat is parked at the door. "Many words use antithesis in a fixed position, which is indicated in the dictionary. With people's familiarity with "Partridge Sky", the musical score notes: "The third and fourth sentences in the previous work often appear in pairs with the three words and two sentences in the previous work. "Another example is Huanxisha, and there is also this note in the word: the sentences in Guo Pian are dual. "When putting antithetical sentences into poems, we should strive to be neat, but at the same time, we should also prevent the mistakes of crossing hands. What is "hands crossed"? The meaning of the upper sentence and the lower sentence of the couplet overlap, commonly known as Dadu; Individual words have two meanings, which are small crosses. If the meaning of the last sentence and the next sentence of the couplet is coherent and appears in the poem, it is the best work, which can be called a "flowing pair", such as the above-mentioned "wildfire didn't completely burn them down, but they got tall again in the spring breeze". In addition, "However, China holds our friendship and heaven is still our neighbor" is also a famous masterpiece. Where there should be a antithesis in the rhyme, if the meaning is difficult to form a couplet, it should still be based on the meaning, and it is forbidden to destroy the artistic conception of the whole poem in pursuit of complete opposition. There are many examples of this ancient success, such as "the yellow crane no longer revisits the world, and the white clouds never fly", which has been praised for a long time and is not completely dual. Traditional poetry writing method □ Fuwa (5) Why do rhyming poems rhyme? It is nothing more than playing its characteristics of being easy to recite and remember. It has long been concluded that people make up rhyming songs to improve their memory. Therefore, traditional poems that have been welcomed by people since ancient times are inseparable from rhyme. Rhyme means that a word uses the same or similar vowels at the end of a sentence. The ancients made up these rhymes, such as one east and two winters, three rivers and seven suns, four branches and five micro. When writing words, the standards are relaxed, and the general trend is easy to remember. For example, Zheng Yun in Linz, written by Ge Zai in Qing Dynasty, only divides the level tone into 19 parts, which is more common for contemporary people. The rhyme of quatrains in regular poems is different from ancient sentences (also called Bailiang style) and indefinite sentences. Generally, two sentences must rhyme, and a single sentence does not rhyme except the first sentence. The first sentence may or may not rhyme. If the opening sentence doesn't rhyme, the third word of the five-sentence sentence or the fifth word of the seven-sentence sentence should pay attention to the correct use of the flat voice and avoid the third-level foot or the third-level foot. " An old friend said goodbye to the Yellow Crane Tower, and fireworks went down to Yangzhou in March. Lonely sails are far away from the blue sky, and only the Yangtze River flows in the sky. "An example of the rhyme of the first sentence;" There seems to be no one on the empty mountain, but I think I heard a voice. Go back to the forest and shine at me from the green moss. For example, the first sentence doesn't rhyme. The rhyme of a word, like its level tone, sentence pattern, meter and duality, can be said to be ever-changing, but each epigraph has its fixed format. It can be roughly divided into five categories: the first category is the flat case, and the second category is the rhyme case, which is common in the last section and accounts for more than 90% of the total number of aphorisms; The third category is the case of leveling and leveling, including Nanxiangzi, Bodhisattva Bend, Qingpingle and Yu Meiren. For example, "When are the spring flowers and the autumn moon? How much do you know about the past! " The rhyme of the two lines was changed to "The east wind in the small building last night, and the old country was unbearable to look back on the moon", changed to "Carving jade should still be there, and Zhu Yan should change it", and finally changed to "Ask you what you are worried about, just like a river flowing eastward", and changed it four times; The fourth category is even rhyme. There are several kinds of "Xijiang Moon", such as "The bright moon surprises the magpie, and the breeze knows at midnight. In the fragrance of rice flowers, say good years and listen to frogs. After betting two flat rhymes, the last sentence is truncated by flat tones, and the rhyme should be homonym. The fifth category is uneven rhymes, including Meet You Huan, Jiuquanzi and Ding Fengbo. For example, "the flowers in the forest bloom in spring, so careless!" Helpless, it's cold and rainy in the morning and windy at night! When do you still have a heavy drink when you are in tears? Naturally, people hate water growing in the East. This word is used in the wrong place, that is, the word "tears" and the word "drunk". In a word, don't treat the rhyming words in a flat tone as a simple rhyming word.