Spring Festival couplets suitable for kindergartens

The first part is that gardeners cultivate trees into pines and cypresses;

The bottom line is that the spring rain moistens the seedlings like columns.

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Couplets, also known as antithesis, antithesis, spring stickers, Spring Festival couplets, couplets, Taofu and couplets (named after the pillars hanging in halls and houses in ancient times), are a kind of dual literature, which originated from Taofu. It is a antithetical sentence written on paper, cloth or engraved on bamboo, wood and columns. It is a unique art form of Chinese, concise and profound, neat and even, with the same number of words and the same structure.

Couplets are the treasures of China traditional culture.

The couplets hung during the Spring Festival are called Spring Festival couplets, and the couplets for happy events are called Qinglian couplets.

Couplets are a national style written by using the characteristics of Chinese characters, and generally do not need to rhyme (only the antitheses in the rhyme need to rhyme).

Spring Festival couplets have a long history. It is said that they originated from Meng Chang, the master of Shu after the Five Dynasties. He inscribed on the peach symbol on the door of the dormitory: "New Year's Eve, Qing Yu, the number of festivals, Changchun", which means the word "inscribed peach symbol" (see "Shu Lang"). This is the earliest couplet in China and the first Spring Festival couplet. The basis of this theory is that Liang Zhangju, a couplets scholar in Qing Dynasty, quoted Lang from Couplets Conghua. However, according to the textual research of the General Theory of Couplets, Liang Zhangju changed "Ci" into "Fei Ci" and "Shu Lang Lang" when quoting. Different historical materials in the Song Dynasty have different opinions on this, and some people classify the author as the son of Meng Yun. So who is the author of this pair of Spring Festival couplets is still an unsolved case.

Parallel prose and rhyme are two direct sources of couplets. In the process of its own development, couplets have absorbed the characteristics of ancient poems, essays, lyrics and songs. Therefore, the sentence patterns used in couplets include ancient poems, prose sentences and parody sentences in addition to regular poems and parallel prose sentences. Different sentence patterns have different metrical patterns and different leniency. Among them, the sentence pattern of rhythmic poetry is the most strict, while the sentence pattern of ancient verse has no restrictions except at the end of the sentence.

Requirements of couplets

Couplets vary in length, only one or two words are short; It can be hundreds of words long. There are various forms of couplets, including right, wrong/right, flowing, antithetical couplets and set sentences. But no matter what kind of couplets are used, they must have the following characteristics:

1. Words should be equivalent and sentence breaks should be consistent. In addition to deliberately leaving a place for a word to achieve a certain effect, the number of words in the upper and lower couplets must be the same, neither more nor less.

2. Yes/Ping/Harmony, with a harmonious tone. The traditional habit is to "roll up/flat down", that is, the last sentence of the first couplet ends with roll up and the last sentence of the second couplet ends with/flat/sound.

3. Parts of speech should be relative and in the same position. It is generally called "virtual to virtual, real to real", which means that nouns to nouns, verbs to verbs, adjectives to adjectives, quantifiers to quantifiers, adverbs to adverbs and related words must be in the same position.

4. Be content-related, from top to bottom. The meaning of up and down links must be interrelated, but they cannot be repeated.

First, word equivalence.

A couplet consists of upper couplet and lower couplet. The number of upper and lower sentences is equal, and the number of words in the corresponding sentences is also equal.

Second, the part-of-speech counterpart.

Words with the same position in the syntactic structure of upper and lower conjunctions have the same part-of-speech attributes or conform to the traditional dual types.

Third, structural correspondence.

The formation of conjunctions, the coordination of meanings, the arrangement of word order, the use of function words and the use of rhetoric conform to laws or habits and correspond to each other.

Fourth, the rhythm is opposite.

The flow rhythm of the upper and lower conjunctions is the same. The rhythm can be determined by "two words and one section" according to the rhythm, and the rhythm point is in the even number of words used in the sentence, and a single word accounts for one section; You can also follow the semantic rhythm, that is, there are similarities and differences with the rhythmic rhythm. There are three or more words that are not suitable for splitting, and their rhythm points are all in the last word.

5./ flat/opposite.

According to the rhythm, the sentences are arranged alternately, and the top and bottom correspond to/flat/flat/right/right at the rhythm point. Two or more sentences are connected on one side, and each foot is connected in sequence. The /Ping/Bi specification generally needs to form a step-by-step conversion, which is traditionally called "/Ping/Top/Ping/Bi". If the taboo in Article 10 of these General Rules is violated, or the coordination of/Ping/Xie in the sentence is affected, it will be treated leniently. The upper part closes at the sound, and the lower part closes at the sound.

Sixth, form is related to meaning.

Form contrast, meaning relevance. The content and theme expressed by the upper and lower couplets are unified.