Who knows the characteristics and types of couplets

Couplets, commonly known as pairs, elegantly known as couplets (because they are mostly used for posting, hanging, carved on the hall doorposts). Contemporary couplings Lu Weilian defined it as: "Couplet is a union of two groups of literary related couplets". The first set is called the first couplet and the second set is called the second couplet. Like parallel texts and metrical poems, couplets are a unique literary form in Chinese literature. As Dr. Wen Shiotani, a renowned sinologist, said, "Couplets are a specialty of Chinese literature". Chinese characters are ideographs, commonly known as square characters, and have the independent language characteristics of one character with one sound and one meaning (the fact that there are a few variant characters, polyphonic characters, and polysemantic characters does not negate the fact that in specific linguistic situations, Chinese characters can only have one character with one sound and one meaning), and so Chinese literature, which is made up of Chinese characters, is characterized by a unique symmetry and uniformity of beauty. From the point of view of the use of words, the couplet is a wonderful flower that blossoms on the tree of Chinese literature. It is an important part of the culture of Chinese characters, and it reflects the characteristics of Chinese characters in a more concentrated way. As a literary form and a cultural phenomenon, couplet basically exists only in the cultural circle of the Han nationality, with strong national characteristics.

Couplets are a very practical form of literature, no matter they are elegant, commonplace or elegant and commonplace **** appreciation of the couplets, will be posted, hung, carved in the door column hall, can create a peaceful, festive, or elegant, solemn atmosphere and style. Therefore, since the creation of couplets, it has been closely related to people's daily life, and gradually integrated into Chinese folk customs, becoming an indispensable part of traditional Chinese culture. It is generally believed that the earliest couplets were spring couplets, which originated from peach charms. From the Jin Dynasty to the Tang Dynasty, this literary form of couplets had already sprouted and gradually developed. However, people usually refer to the spring couplet of Meng Chang, the lord of Shu in the Five Dynasties, which was inscribed on the board of the peach-shaped talisman on the day of the New Year's Day of 963 AD:

New Year's Day of Celebration

Good Festival No. Everlasting Spring

as the genesis of the spring couplet. Until the Ming and Qing Dynasties, couplets gradually became popular and continue to this day. In short, the strong tradition and practicality is the soil on which the couplet survives and develops.

As a unique form of literature, couplets are not only very practical, but also very demanding. Its literary and artistic style can be summarized as "short and concise". The length of the couplet is often not long, the number of words on one side of a few words to a dozen words, hundreds of words, thousands of words of long couplets, and not often seen. Because of this, on the one hand, it is very strict in terms of meter, not just two sets of words equal to the number of words can be put together. If there is no strict meter, then, as a unique literary form of couplets, its uniqueness, artistry will be gone, and its artistic vitality is difficult to sustain. Because the most essential artistic characteristic of the couplet is its symmetry, and only rigorous meter, in order to ensure its symmetry. On the other hand, as a form of small literary genres, its content should be tough, should contain as rich as possible thought meaning. In this sense, a couplet if only the form and the lack of connotation, then, inevitably reduced to a "word game", "carving small skills". On the contrary, a good couplet has the reputation of "poetry in poetry". In short, the form and content of the refined nature of the couplet is another important artistic characteristic.

In addition, couplets are also a form of literature with strong enlightenment. Learning to write couplets is of great help to our study of Chinese language and literature, especially the basics of character sounds, rhymes, lexical properties, grammar and rhetoric, etc. Appreciating and writing couplets is an important part of learning. Appreciating and writing couplets is a good form of learning Chinese.

In short, the cultural and artistic characteristics of couplets can be roughly summarized as: ethnicity, tradition, practicality, symmetry, refinement, enlightenment, and so on.

(ii)

Couplets are a form of literature that emphasizes the meter, to appreciate and write couplets, you must understand the most basic requirements of the meter. The so-called couplets of the law (referred to as the law), refers to the couplets of the relevant level, lexical, grammatical rhetoric, as well as writing and posting of the format and laws, the core is the battle. The basic rules of couplets can be summarized as follows:

1. Equal number of words, content related.

From the word count point of view, in principle, as long as the number of words in the upper and lower couplets is equal, regardless of how many words can be. Such as the upper and lower lines of four words, then called quadrille, and so on. But in practice, more than four words, because the Chinese characters generally need more than four words to form a sentence. From the content point of view, a couplet between the upper and lower couplets, the content should be related, that is, the meaning of each other to set off or connect with each other, in order to play the opposite of each other or complement each other's effect. Most of the couplets between the contents of the couplet

belong to the relationship between each other set off. This is either from the same point of view of each other, complement each other (that is, the so-called "right"), or from the opposite point of view of each other, contrast each other (that is, the so-called "against"), "right", such as:

Heart lotus pure

Sex and the sea of harmony (Note: the quoted couplets do not indicate the author or the source of the book are from the book, the same below).

"Against" such as:

The heart of peace and accumulation of blessings

Want to heavy incurring disasters

There are a small number of couplets between the upper and lower couples of the content of the relationship between each other (that is, the so-called "string of pairs", or "running water"), that is, the upper and lower couples of the two clauses **** with the same composition of a sentence, the upper and lower couples of the existence of a coherent, progressive, selective, transitive, cause and effect, assumptions, conditions, purposes, and other complex relationships. The purpose of the sentence is to make a composite relationship between the two clauses. Of course, this mutual articulation at the same time is also mutually supportive. For example:

If there is no poison in the heart of the past life

where there is an accident in this life

Another example:

In addition to sweet, bitter, spicy, salty, sour and astringent

nothing more than wood, rice, oil, salt, vinegar, and tea

If the content of the couplet is unrelated to each other, it will be felt very hard and funny, and will not be able to achieve the literary effect of the couplet.

Unless it is a special form of couplet, the so-called "ruthless pair". It refers to the top and bottom of the form (literally) on the battle neat, but the content (meaning) is not related, thus creating a special effect. For example:

Three-star Brandy

May Yellow Plum Day(Commonly used)

Flowers are beginning to bloom in front of the court

Your Excellency Mr. Li(Commonly used)

The day of the public's peach and plum competing for honor

France, Holland and Belgium(Commonly used)

The tree is already half withered, don't let go of the axe

As expected, it is irrelevant(Commonly used)

2. Lexical equivalence, conceptual equivalence, structural proportionality, rhythmic proportionality.

The so-called lexical equivalence, meaning that the nature of the words relative to the couplet (in the strict sense, is the lexical nature of each word) should be the same or similar as possible. Such as noun to noun, verb to verb, adjective to adjective, and conjunction to conjunction, adverb to adverb, and so on. For example:

Great line and common forgetting honor and shame

To the road, no emotion and empty right and wrong

If we look at each word, "great" and "to", "honor" and "yes", "shame" and "wrong" is an adjective, "line" and "road", "common" and "emotion" is a noun, "absolute" and "no", "forget" and "empty" is a verb. In practice, however, the requirements for imaginary words are more lenient, and it is generally possible to use an imaginary word for an imaginary word. The requirements for real words are stricter, and different words are generally not relative. But those words that are close to each other, or can be used in both real words, are still allowed to be relative, such as nouns and pronouns, some verbs and adjectives. Of course, the same lexical nature is a working pair, and the lexical nature is similar or common is a wide pair.

More strictly, not only should the words be equivalent, but also the concepts represented by the words should be equivalent, i.e., they should be as similar or relative as possible. This also involves the wide work of the couplet. If the two words *** with the concept of the category of the smaller, the more work on the battle, and vice versa, the wider. For example: "China" to "rooster", its *** with the category of things; "dawn" to "rooster", it is narrowed to natural objects; "grass" to "rooster", it is narrowed to living things; "horse" to "rooster", it is narrowed to animals; "duck" to "rooster", it is narrowed to birds and even poultry. Moreover, if the upper and lower two words, the concept of the relationship between the more contradictory (that is, the so-called "contradictory concepts"), the more work, "there" to "no", "true" to "false", "life" to "death", "material" to "spiritual", "nature" to "society" and so on, belongs to the work of the pair.

The so-called structural proportionality refers to the grammatical structure of the context statement should be the same or similar, that is, the subject-predicate structure of the subject-predicate structure, the verb-object structure of the verb-object structure, the bias-positive structure of the bias-positive structure, the juxtaposition structure of the juxtaposition structure, and so on. For example:

Sheng Xing Yan Buddha Land

Zheng Fa Benefits the World

Both the above and below lines are subject-verb-object structures. In this case, the words "Sheng Xing" and "Zheng Dharma", and "Buddha's Land" and "the world", are all in a positive-positive structure.

The soft head of the wonderful light, renowned

The lion and the sword, the solemnity of the treasure

"soft head of the wonderful light" to "the lion and the sword", are parallel structure; "renowned" to "solemnity of the treasure", are the subject-predicate structure; "soft head" to "lion", "wonderful light" and "sword", "renowned" to "treasure", and all are bias-positive structure.

In addition, the rhythm between the upper and lower couplets should be proportional. Couplet line more than two words (sometimes one word or three words) for a rhythm. Rhythm is proportional, that is, should be synchronized as far as possible. For example:

Leakage - Flying - Going

Emptiness of mind - and return

Another example:

With - power of the gods - to protect - the right Dharma

The Dharma is the only thing that can be done in the world.

Setting up the -Menglangbun- superdevotion-compassionate relatives

In short, the use of words and phrases in the upper and lower couplets, in terms of lexical properties, grammatical structure and rhythm, should try to be comparable or proportional to each other, in order to maintain the formal coordination and neatness. But these requirements in practice or allow appropriate relaxation. In individual cases, there can be some variation. For example:

Fifty-three senators, visited the masters to seek the correct wisdom

Hundred cities of smoke and water, widely practiced in the practice of the initial heart

Which, "fifty-three senators" to "hundred cities of smoke and water", is the same allusion to the two commonly used words relative to each other. From the lexical and structural point of view, strictly speaking, it is not the law, but from the content point of view, it belongs to the "right", is allowed.

3. Harmonization.

Coordination of the level and oblique, in a narrow sense, refers to the two major requirements in the tone of the couplet: the level and oblique relative to the level and oblique alternation. Broadly speaking, it also includes some other issues such as the arrangement of the foot of the sentence. In order to clarify these issues, we must first distinguish between what is a flat tone and what is an oblique tone. There are two criteria for this. In the creation of couplets, the general use of the "ancient four tones", that is, the ancient Chinese language will be divided into four tones of flat, up, to go, into the four tones, in addition to the flat tone, up, to go, into the tone are oblique. Nowadays, there are also a few people who use the "new four tones", i.e., modern Chinese divides the tones into four tones: yinping, yangping, Shangsheng, and Daosheng. Among them, yinping and yangping are flat tones, and Shangsheng and Daosheng are oblique tones. The key to the difference between the two tones lies in the incoming characters. The mastery and recognition of the word into the sound, generally still have a rule to follow, I do not want to repeat here. For beginners,

The easiest way is to use a toolkit first. According to the author's personal experience, it is easier to familiarize oneself with the incoming characters in the application. However, it is important to note that although the two uses can be used in parallel, they cannot be used together in the same couplet.

Now, let's go back to the issue of the coordination of the oblique. The so-called level and oblique relative, that is, the upper and lower couplets of the sound step to flat sound to oblique, oblique sound to flat sound. On the other hand, if the flat to flat, oblique to oblique, it is called flat and oblique wrong, also called the same sound relative. Steps and rhythms are generally the same concept, generally speaking, a rhythm is a step. Since the couplet is born from the metrical poem, therefore, in terms of level and oblique, the couplet is basically the same as the metrical poem. Moreover, there is a saying that "one, three, five, no matter, two, four, six, clear" for the arrangement of tone steps. Because in reality, it is not necessarily required that the whole tone step is relative to each other, but only in the tone step position. The so-called tone step position is the last character of each tone step, which is the key sound that determines the nature of the whole tone step. Since most of the tone steps in Chinese characters are two-character tone steps, the tone steps generally refer to the second, fourth and sixth characters of each sentence. That's why we have "one, three, five, no matter, two, four, six, clear". For example:

Grief and happiness

The matter of two lines (Note: the flat tone with " " said, oblique tone with " " said, the same below.)

Another example:

The fire moves the salary to the end of the industry is still there

The body is bad, God is lost in the line does not die

Among them, one, three, five are not necessarily level and oblique relative, two, four, six are level and oblique relative, that is, the work of the pair. However, not all of the sound step position in the position of two, four or six, mainly because, in addition to the format of the couplet line in the poem in the battle of the main sentence, there are also lyrics, music, literature and fugue and other formats, as well as the existence of the leading word. For example:

Tired of the suffering of the Sahara

Promoting the Pure Land Dharma

Viewing a beautiful woman's vase of dung

Sighing at the mortal's willingness to throw himself into the mud

Straightforwardness is the foundation of all actions

Craving is the source of all sufferings

Deeply and diligently practicing the true words of the Buddha

Promoting the Dharma of Mahamudra with all his might

Speaking of the relative level of the couplet, it is important to mention the foot of the couplet. It is important to mention the foot of a couplet. Regardless of the length of a pair of couplets, and regardless of whether the penultimate word is in the flat tone or in the oblique tone, it is required that the first line end in the oblique tone, i.e., the last word (the foot of the sentence) should be in the oblique tone; and the second line is required to end in the flat tone. Generally can not be on the first line of the end of the flat sound, the next line of the end of the oblique tone; more can not be the same sound to the end. In addition, by more than one phrase composed of long couplets, but also pay attention to the foot of each phrase can not be all oblique or all flat, but should be staggered,

As for the specific arrangement of this staggering, there is no conclusive answer. However, the use of "horseshoe rhyme" to write long couplets is a better way of arranging the foot of the lines.

The so-called alternation of level and oblique, which is actually two aspects of the same problem with the relative level and oblique, refers to a sentence itself between the sound steps, the level and oblique should be used alternately, otherwise it is the alternation of level and oblique. Only the last word of each sentence (the foot of the sentence), can not consider the alternation problem. For example:

The body of Buddha is far more than the world can see

The wonderful method is not suitable for small minds to listen to

Another example:

Nothing comes from the phase

The achievement of patience does not give birth to the heart

There are also some taboos on the issue of the level and oblique, such as avoiding the "three flat ends" or "three oblique ends", avoiding the "lonely flat" or "lonely oblique", etc., which are left to be discussed below.

In general, the couplet in the coordination of the level and oblique is concerned, writing couplets can not not speak of level and oblique. If it is said that the equal number of words, lexical and conceptual equivalence, grammatical structure and rhythmic proportionality give the couplet neat beauty, rigorous beauty, contrast beauty, structural beauty, rhythmic beauty and other aesthetic features, then, the coordination of the level and oblique gives the couplet phonological beauty of this important aesthetic features. Of course, sometimes, in order not to harm the meaning of the words, individual places where there is a loss of pairs or pairs of oblique, can also be accommodated.

4. A few taboos.

In addition to the above three basic requirements, there are several taboos in the couplets, that is, several situations that should be avoided:

"three flat end" or "three oblique end"; "lonely flat" or "lonely oblique"; "the same heavy word" and "different heavy word"; "the same relative"; etc.

"The same word" and "different heavy word"; "the same relative"; etc.

The same word is used in the couplets, but it is also used in the couplets.

"Three flat endings" or "three oblique endings" refers to the last three words of a sentence, all flat or all oblique. For example, if the word "can" is replaced by "can" in the phrase "can enter the Way", it will become a triple-negative ending. Another example is "Sitting on the Lotus Terrace", if "sitting" is changed to "boarding", it will become a triple-negative ending.

"Lonely flat" or "lonely oblique" means that in a sentence of more than five characters, there is only one flat character, or only one oblique character. For example, if the phrase "without words, the door is opened" is changed to "without words, the door is opened", then it is "lonely and oblique"; and if the phrase "the light of the heart of the great sun shines all over the world" is changed to "the light of the wisdom of the great sun shines all over the world", then it is "lonely and flat" (with the exception of the all-flat or all-oblique forms).

The couplet allows the appearance of superimposed words or heavy words, such as "world affairs" to "red dust rolling", "only the aware can hear and can be" to "sigh drunken people do not wake up do not know". But the couplet should try to avoid "the same place heavy words" and "different place heavy words". The so-called "the same place heavy word", is to the same word in the same position relative, such as "Dharma world" to "world", "into the road" to "into the devil". However, some false words ("the classics" and so on) are allowed to be the same position, such as:

The fish that misses the net, the world sometimes

The bird that escapes from the sky, the universe is not yet

The Buddhas see the reality and do not live

All beings play the game of the empty space and do not know

The so-called "different position" is that the same word in the upper and lower coupling in different positions. For example:

Seeing the emptiness of all dharmas, this body goes straight to the other shore

Mindful of the equality of all living beings, there must be a teacher for all of us

If you change the word "straight to the other shore" to "there is nothing after that", then it will be the same as the word "there" in the next line "there must be a teacher for all of us". Another example:

...... If a potter rolls clay, he can see the fruit in the palm of his hand

...... If you change the phrase "see the fruits in the palm of your hand" to "see the fruits in the palm of your hand" in the first couplet, you will be using the same character as the one in the second couplet, "see the fruits in the palm of your hand". Of course, there is a more special format of "isotropic overlap" is allowed, such as:

One heart with one mind, emptiness is not different from color

One heart with one mind, color is emptiness

In the couplet, "one" and "ten thousand", "heart" and "law", "emptiness" and "color", this is the "isotropic overlap" format.

The so-called "synonymous relative", usually also known as the "palm", refers to the upper and lower relative phrases mean exactly the same, such as "red county" on the "State of God", "rising sun" on the "sunrise", "history" on the "blue".

5. Other.

The writing and appreciation of the couplet, there are some relatively minor metrical and relatively unique rhetorical methods, such as borrowing, self-pairing, embedded words, back to the text, the set of sentences, as well as the couplet of the banner, the format of the couplet writing and posting, and so on. The following is a brief introduction to each of these issues.

Borrowed pair, also known as false pair, which is a method of lexical transformation of wide work, refers to the sentence of the word and the meaning of the word is not a work, but with the help of its other words and meanings, it becomes a work. For example:

Sprinkles are common everywhere

Life is seventy years old and rare (Du Fu's seven rhythms <<Qujiang>> in the third line)

The word "common" in this context is an adjective, but the ancient system of "seek" and "often" are units of measure, which are quantifiers, and by borrowing this meaning, it is the opposite of the counting word "seventy" for the work. Another example is, "to speak out" against "those who aspire to the Way", in which, "speech" and "the Way" in the meaning of the link is as a verb and a noun respectively, but "speech" also has the meaning as a noun, the Way also has the meaning as a verb, the two are still relative to the work of the whole. However, the loan pair in the couplet is not used much, only in the need to adapt to the last resort.

Self-pairing, also known as "sentence in the self-pairing", or "when the sentence", refers to the words and phrases in the couplet, not only the upper and lower lines of the relative battle, but also the upper and lower lines of their own in the (sentence) also exists in the battle. This makes the couplet more stable, and adds to the beauty of the contrast. For example, "truth and delusion" and "end", "truth" and "delusion", "beginning" and "end", is the sentence in the self-pairing. For example, "wisdom and foolishness" versus "behavior", "honor and disgrace" versus "right and wrong", "the smallest words" versus "the right and wonderful mind", "the highest" versus "subtle and profound", "the sound of the mountains and streams" versus "morning bells and twilight drums", "the trouble of Bodhi" versus "the smallest dust containing the ksatsura", and "such as weighing the weights of the hammer falling into the well and toning the stone pools" versus "even the immortal arts hidden in the air, and the magical powers into the sea", etc., not only are they opposite to one another but also have their own pairs in the sentences. The use of the sentence from the pair, in the couplet (especially long couplets), the use of a wider range.

Embedded words, also known as embedded name, refers to the specific name (mostly people's names, places, things, and other specialized names) embedded in a certain position in the couplet. This is a more widely used method. There are many specific ways, no less than 50 kinds. Embedded words can be divided into the whole embedded and embedded. The whole embedding, that is, a name is not split and embedded completely, such as << title embedded in the four heavenly kings>>

A link:

Hear more about the right to broaden the eyes of the

Growth of the good roots and hold the land

The East will be the King of the Kingdom of the King of Heaven, the South of the King of the King of Heaven, the West of the King of the King of Wide Eyes, the North of the King of the King of Heaven of the Hearers of the United Kingdom embedded in the link.

<< title embedded in the Vajrapani Secret Lord>> a line:

Vajrapani hand holds the secret

courageous heart to break the ignorance

Huiwen, also known as the curtain, refers to the use of the appropriate words to form a pair of sentences, so that it can be read smoothly, but also can be read backwards. Due to the difficulty of the palindrome, it is not widely used, but it is a format that reflects the independent language characteristics of Chinese characters. There are many different ways to use the palindrome. Some of the more common ones are the backronym, the inverted backronym, and the inverted chapter backronym, and so on. When the sentence back to the text, that is, read along with the inverted read exactly the same, such as:

Fog locks the head of the mountain mountain locks the fog

Tianlianshuiwei water even the sky (anonymous inscription Xiamen Gulangyu Island, the fish belly of the Pu Lian)

and such as:

Net heart real true true heart net

Yuanjue Myo Ming Myo Jue Yuan

Inverted sentence back to the text, that is, the same sentence inverted reading, and the upper and lower links remain unchanged, such as:

Knot with the heart, and the heart of the same, the heart of the same, the heart of the same.

The fruit of the same fruit with the knot

The flower is blooming in parallel (common wedding couplets), which is read backwards as: the flower is blooming in parallel

The inverse chapter of the refrain, that is, read backwards through the couplet, the lower couplet becomes the upper couplet, and the upper couplet becomes the lower couplet, such as:

A long way from the river green trees in the sky, the sunny day of the sea haze red haze

A long time from the green trees in the sky, clear day, the sunny day haze ? Red haze ? Red haze ? Clear day in the sea (anonymous inscription on the Wuhan Turtle Mountain couplets), which is read backwards as: a long way from the sky river trees in the green A long way

The collection of sentences, refers to the existing scattered sentences, combined into a pair of sentences. If the whole pair of couplets (mostly short couplets) is composed entirely of existing sentences, it is called a complete set of sentences. For example:

Deer Returning to the Wild

Color is Empty

If the first couplet is from <<Daiyao Sutra>> and the second couplet is from <<Heart Sutra>>, then it is a complete set of sentences. For example:

To persuade you to drink a glass of wine

With you to eliminate all the sorrows of the past (anonymous collection of Tang poems, the first line from Wang Wei << Wei Cheng Qu>>, the second line from Li Bai << will be into the wine >>)

On the other hand, it is called incomplete or unilateral collection of sentences. For example:

Sima didn't come, why should we have known each other before

A good woman is still alive, no sound is better than sound (Luo Yuanzhen's poem "Pipa Pavilion in Jiujiang")

Only the last half of the first and second lines are existing (from Bai Juyi's poem "Pipa Xing")

and so they are incomplete sentences. Another example:

In the dust of the world

In the big dream of life

Only one side is an existing sentence (the above line is quoted from Li Shangyin's poem <<Beiqingluo>>), and therefore it is a unilateral set of sentences. Strictly speaking, only a complete set of sentences can be called a set of sentences.

( three )

After highlighting some of the requirements of the couplets in terms of meter, we will talk about the classification of couplets. There are many criteria for categorizing couplets, and in practice there are two main ones. First, according to the number of words and sentence structure of the couplet, divided into short and long couplets. Couplets that consist of more than two phrases and more words are called long couplets, while couplets that consist of one phrase are called short couplets. Generally speaking, there is no absolute boundary between long and short couplets in terms of the number of words. Second, according to the content and use of the couplet division. Theoretically, this division is even more difficult to strict and complete. In my opinion, it can be roughly divided into four categories: spring couplets, congratulatory couplets, elegiac couplets, and specialized couplets.

Spring Festival couplets, refers to the use of the Spring Festival, the content of the general chanting, lyricism, wishes. Most spring couplets can be generalized.

He Lian, refers to the wedding, birthday, new home (housewarming), festivals, and other content with a particular congratulatory nature of the couplets. The prominent feature of the congratulatory couplets is that they have a specific congratulatory nature, and their contents must express good wishes, joy and good fortune. Congratulatory couplets have a general, there are also specialized. Whether generic, to be different, not simply copy and copy, so as to avoid the joke of Zhang Guan Li Dai.

Tropic of Cancer, refers to the couplets used to condole with the deceased. Its content is limited to condolences, remembrance, evaluation, wishes for the deceased. Its style is generally mournful, solemn, solemn. Of course, there are also for the survivor of the couplets or the survivor of the couplets made from the couplets, it is a different story. Tropical couplets have the same general and specialized, in the practical more attention to the distinction.

The above three kinds of couplets are the most widely used, the most mass, national, traditional, seasonal and practical. In addition, the content and use of the more specialized couplets, generalized into a specialized couplets this category.

For example, industry couplets, famous places couplets, with a particular gift of the nature of the gift couplets, as well as with the nature of academic or literary nature of the academic couplets and so on. Of course, there is no clear-cut boundary between industry association, scenic spot association, gift association and academic association.

For example, Buddhist couplets can be regarded as a kind of academic couplets, and if they are posted, hung and carved in scenic spots, they can also be regarded as scenic couplets.

In addition, according to the writing skills or rhetorical techniques, couplets can also be divided into inlaid word couplets, back to the text couplets, riddles couplets, collection of sentences couplets, funny couplets, etc. But strictly speaking, they should be separate. However, strictly speaking, they should be called inlaid character frame, palindrome frame, riddle frame, set of sentences, set of sentences frame, and so on.