How to answer the next line of "only love and good food can not live up to"?

The first sentence is, the only thing you can't live up to is love and good food,

The next sentence is, it's love and good dreams that you can only cherish.

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Couplets, also known as couplets, door pairs, spring stickers, spring couplets, pairs, peach charms, couplets (because of the ancient times more hanging in the building halls and mansion halls of the pillars and named), etc., is a kind of couplet literature, originated in the peach charms. It is a pair of statements written on paper, cloth or carved on bamboo, wood or pillars. Simple words with deep meaning, neat pairs of words, coordinated pairs of words, the same number of words and the same structure, it is a unique art form of the Chinese language.

Couplets are a treasure of traditional Chinese culture,

The couplets hung in the Spring Festival are called Spring Couplets, and the couplets for happy events are called Celebration Couplets.

Couplets are a national literary style written in Chinese characters, and generally do not need to rhyme (only the couplets in poems need to rhyme).

Couplets have a long history and are said to have begun with Meng Chang, the lord of Shu in the Five Dynasties. His inscription on the peach-shaped symbol on the door panel of his bedchamber: "New Year's Day of Celebration, Jiaojie No. Eternal Spring", which is called "Peach-shaped Symbol" (see "Shu Legend"), is considered the earliest Chinese couplet, and also the first Spring Festival couplet. The basis of this statement is the Qing Dynasty couplings scholar Liang Zhangjui "Couplets Series" cited "Shu Legend", but according to the "Couplets Overview" test, Liang Zhangjui in the citation of the "to its word work" to "to the word is not work", "Shu Legend" the original text of the couplings is Xin Yin Xun rather than Meng Chang made. Different historical sources in the Song Dynasty have different opinions on this, and there are also those who attribute the author to Meng Chang's son. Thus, the author of this spring couplet in the end who is still an open question.

The two direct sources of the couplet are ekphrasis and metrical poetry. In the process of their own development, the couplets absorbed the characteristics of ancient poems, prose, lyrics and songs. As a result, the sentence pattern used in couplets, in addition to the sentence pattern of poetic verses and parallelism, there are also the sentence pattern of ancient poems, prose, and imitation lyrics and songs. Different sentence styles are applied with different laws and different degrees of strictness. Among them, the most stringent requirements are for the level and narrowness of poetic sentences, while the level and narrowness of ancient poetic sentences, except for the end of the sentence, are not bound by the level and narrowness of other positions.

Requirements for couplets

The length of couplets varies from one or two words to several hundred words. The form of couplets is varied, there are positive, negative/pair, running water pair, joint ball pair, set sentence pair and so on. But no matter what kind of couplets, using what form, must have the following characteristics:

1. To equalize the number of words, the same sentence. In addition to intentionally empty the position of a word to achieve a certain effect, the number of words must be the same, no more, no less.

2. To / level / oblique fit, tone and harmony. The traditional custom is "oblique / flat / fall", that is, the last word of the last sentence of the first line with oblique tone, the last word of the last sentence of the second line with / flat / sound.

3. The words should be relative and in the same position. It is generally called "virtual to virtual, real to real", that is, noun to noun, verb to verb, adjective to adjective, quantity word to quantity word, adverb to adverb, and the relative words must be in the same position.

4. To be content-related, the upper and lower connection. The meanings of the upper and lower couplets must be connected to each other, but not repeated.

I. Words and phrases are equivalent.

A pair of couplets, composed of the first line, the second line of the two parts. The number of sentences in the upper and lower couplets is equal, and the number of words in the corresponding statements is also equal.

Second, the lexical counterparts.

Words in the same position in the syntactic structure of the upper and lower couplets have the same lexical attributes or conform to the traditional kinds of counterparts.

Third, structural correspondence.

The composition of the words in the couplet, the coordination of word meanings, the arrangement of word order, the use of false words, and the use of rhetoric, are in accordance with the law or custom, and correspond to each other/equalize/balance.

Fourth, rhythmic counterpoint.

The rhythm of the flow of speech in the upper and lower sentences is the same. Rhythm can be determined according to the rhythm of the sound rhythm "two words and section", the rhythm point in the statement of the even number of words, the appearance of a single word accounted for a section; also according to the semantic rhythm, that is, with the rhythm of the sound rhythm is the same as the difference, the appearance of the three words should not be split up or longer words, the rhythm of the point are in the last word.

Fifth, /ping/oblique opposition.

Sentences are arranged rhythmically with /ping/non-level alternation, and the words used in the corresponding rhythmic points of the upper and lower lines are /ping/non-level opposite/reversed. In the case of multiple-sentence couplets with two or more sentences on a single side, the feet of each sentence are connected sequentially, and the /ping/nonoblique specifications are generally required to form a step-by-step transition, which is traditionally referred to as the "/ping/top/ping/, oblique-top-negative". If the violation of Article 10 of the General Principles is avoided, or if it affects the harmony of the /ping/nonoblique in the sentence, then it will be lenient. The upper line is closed to the oblique tone, and the lower line is closed to the /ping/ tone.

Sixth, the form of the meaning of the joint.

The form of the counterparts, meaning associated. The content expressed in the upper and lower couplets is unified in the theme.