Poetry writing style

Close style, ancient style

Metrical poetry, including metered poems and stanzas, is known as close style or modern style poetry, which is what the ancients called it, and what we call it now

although it is in fact very ancient, having started in the Qi and Liang periods of the Northern and Southern Dynasties, and matured in the early Tang Dynasty.

Poems written before Tang were called ancient style, except for the so-called "Qi and Liang style". The poems before the Tang Dynasty, except for the so-called "Qi Liang Style", are called ancient style. After the Tang Dynasty, the poems that do not fit into the modern style

are also called ancient style.

There is a difference between the ancient style and the modern style in syntax, rhyme and leveling:

Syntax: The ancient style has a variable number of words in each sentence, including four, five, six, seven and even a variety of words (the sentences are not

all in unison), and the number of sentences in each poem is variable, from as few as two, to as many as dozens or hundreds. There are only two kinds of proximity styles: pentameter and

seven lines; eight lines for metered poems, four lines for stanzas, and more than eight lines for platitudes, also called long rhythms.

Rhyme:

The ancient style can use one rhyme for each poem, or two or more rhymes, and it is allowed to change the rhymes; the near

style can only use one rhyme for each poem, and it is not allowed to change the rhymes even in the long tens of lines of the rhymes. The ancient style can rhyme in even-numbered lines

or in odd-numbered lines and even-numbered lines. In the recent style, only the even-numbered lines rhyme, except for the first line, which may or may not

rhyme (if it ends in a flat tone, it rhymes; if it ends in an oblique tone, it doesn't.). In addition to the first line, which may or may not rhyme (if it ends in a flat tone, it rhymes; if it ends in an oblique tone, it doesn't), the rest of the odd-numbered lines of the poem

can't rhyme; the ancient style can rhyme with either a flat tone or an oblique tone; the recent style generally uses only a flat tone.

Ping and oblique:

The biggest difference between ancient and modern styles is that ancient styles do not talk about the level and oblique, while modern styles pay attention to the level and oblique.

After the Tang Dynasty,

The ancient style is also concerned about the level and oblique, but not regular, can not care.

The ancient style of poetry is basically free of meter, so the following is only about the recent style of poetry.

Rhyme

The Tang dynasty's rhyming book was the Cheyun (切韵), written by Lu Fayan (陆法言) of the Sui dynasty, which was the originator of all subsequent rhyming books.

The Song dynasty added to the Cheyun and compiled the Guangyun, which has more than 200 rhymes. In fact, the poets of the Tang and Song dynasties did not rhyme according to these two rhyming books,

The more reflective of the poets of the Tang and Song dynasties rhymed with the Jin dynasty Wang Wenyu compiled the "Ping Shui Yun,"

Later poets rhymed with the "Ping Shui Yun," according to the poets in the majority of the rhymes.

The Ping Shui Yun*** has one hundred and six rhymes, of which thirty are in ping sheng, which are organized into two halves, known as upper and lower ping sheng and lower ping sheng, which are only arranged for convenience, and there is no difference in tones between the two. Since recent poems only rhyme with

PingSheng, let's just take a look at the rhyme scheme (the first word of each rhyme) for each of these pingSheng parts:

Upper pingSheng:1Dong, 2Dong, 3Jiang, 4Branch, 5Wei, 6Yu, 7Yu, 8Qi, 9Jia, 10Ash,

11True, 12Wen, 13Yuan, 14Han, 15Delete

Lower pingSheng:1Shian, 2Shao, 3S肴, four ho, five song, six hemp, seven yang, eight geng, nine green, ten steam,

eleven you, twelve invasion, thirteen Qin, fourteen salt, fifteen salt

From these rhymes alone, we can see that the ancient sounds are very different from the modern ones. There are some which belonged to different

rhymes in ancient times, but the difference is no longer visible now, such as Dong and Dong, Jiang and Yang, Yu and Yu, Zhen and Wen, Xiao, Cuisine and

Hao, Xian, Salt and Salt, Geng and Qing, Cold and Censored, and so on.

If we look specifically at the words inside each rhyme scheme, we find the opposite: what the ancients recognized as belonging to the same rhyme scheme

does not rhyme at all in today's reading. For example, in the first of Du Fu's "Three Extraordinary Verse" (the following quotes are all based on Du's poems and will not be noted again):

The rowan tree is fragrant and leaning on the fishing island,

Chopping the new pistils of the flowers is not yet due to fly.

It would be better if the wind blew all the way out in the drunkenness,

and I could bear to wake up with the rain beating down on me.

The words "fly" and "thin" are both in the same five-micron rhyme scheme, but they do not rhyme in Mandarin.

Another example is the second song:

The cormorant outside the door does not come,

The sand head suddenly sees the eye to guess.

From now on, if you know what you want to know,

you will have to come here a hundred times a day.

The words "guess" and "return" belong to the same category in Ping Shui Rhyme, but they don't rhyme in Mandarin nowadays.

The rhymes of ancient poems can be mixed

with those of neighboring rhyming parts, such as Yidong and Erdong, and Sizhi and Wuwei, and are called common rhymes. However, the rhymes of close poems must strictly use only the words of the same rhyming part, even if

the number of words of this rhyming part is very small (known as narrow rhyme), and must not be mixed with the words of other rhyming parts, or else it is called out of rhyme,

a major taboo in close poems. But if the first line rhymes, you can borrow a neighboring rhyme. Because the first line of the poem could have been a rhyme or not

, so it can be accommodated. For example, "Drunken Drinking in the Army":

Thirsty for wine, I love the clear river,

and the remaining sweetness rinses the evening water.

Soft sand to sit on,

Cold stone to sleep and wake up drunk.

The wild food comes with the tent,

and the sound of Chinese music is sent from Lingling.

It's been a long time since I've seen you, and

I've been sent to the darkness.

The "ting, waking up, 伶, and meditating" in this song belongs to the lower plain tone of the ninth green, but the first line borrows the "qing" of the eight geng.

This is called borrowing neighboring rhymes, which became popular in the late Tang Dynasty, and even formed a trend in the Song Dynasty.

Modern people who write proximity poems can, of course, use the present rhyme. If you want to use the Ping Shui Rhyme according to tradition, you cannot

not be aware of the differences between ancient and modern sounds, and this is especially true when reading ancient poems. These differences can sometimes be distinguished with the help of dialects, but they are not always reliable, so you have to read and memorize more.

Four tones

The discovery that there are four tones in the Chinese language was made by the literati of the Qi and Liang dynasties. Emperor Wu of Liang once asked Zhu Yi: "You

group of literati talk about four tones all the time, what does that mean?" Zhu took the opportunity to pat on the back: "It means 'Ten Thousand

Fortunes for the Son of Heaven'." Tian is the flat tone, Zi is the upper tone, Wan is the declining tone, and Fu is the incoming tone; the flat going up to the incoming constitutes the four tones of the Middle

Ancient Chinese language, and going up to the incoming and combining them together is called the oblique tone.

Of these four tones, the most problematic is the incoming tone. Emperor Wu of Liang then asked, "Why is 'Tian Zi Shou Kao' not

a four-tone sound?" Tian, Zi and Shou are flat, up and down, but Kao is not an incoming tone, so it is clear that even the average person at that time could not

clearly understand what an incoming tone was.

So what is an incoming sound? It's a short pronunciation, where the throat is blocked. One type ends in a t,

p, k, and the other type ends in a glottal stop? The other ends in a glottal stop? In Southern Min and Cantonese, these

four voiced entries remain intact, while in Wu they have all degenerated into the less distinct ? endings. Input sounds

that end in t, p, and k do not really produce the t, p, and k sounds. Plosives are pronounced by blocking the throat for a bit before sending the

air blasting out. In the entry sound, there is only a blockage, not an air blast, which is called an incomplete burst. For example, in English

stop, American English does not really make a p sound when it sends out the word, but just closes the mouth a little bit and then finishes

this is an incomplete burst, which can also be said to be a kind of sound.

In Mandarin, the p sound has disappeared. Some of the characters that were originally pronounced differently and belonged to different rhyme groups

are pronounced exactly the same today. For example, "乙、亿、邑", which belongs to the four qualities,

thirteen positions, and fourteen different rhymes in Ping Shui Rhyme, is pronounced in Mandarin without any difference (in Minnan, it is clearly

divided into ik, it, and ip, respectively).

The disappearance of the initial consonant also led to differences in the tones of ancient and modern sounds. Some of the ancient incoming tone characters have become the present Shang and

De-voiced characters, which are still oblique, and we can ignore them; but some other incoming tone characters have become

Ping tone characters (yinping or yangping) in Mandarin, which is worthy of our attention. This is the case with the character "福" in the previous article "天子万福"

. Commonly, the incoming sound changes to a flat sound character:

One painting: one

Two paintings: seven, eight, ten

Three paintings: Wooden spoon Xi Xi

Four paintings: Servant said that Shi and

Five paintings: Puff departed from the Zha lost stone section of the White Juice turn

Six paintings: Zhu Vu Shuo Favoda miscellaneous folder kill capture tongue Zhi Zhi decided to about the peonage is the joint home executive to eat Shi

Seven paintings: Bald foot pawns Bureau corner

Eight paintings: Shuzhu Zhuo Palu Guo Xue Shi real straight responsibility for cross-examination of the Buddha Qu Biao scraping La Man Ap Ap Wou Jie Di Zai Zai Padi analysis of the extreme brush

Nine paintings: JUE (awareness) emergency punishment

Ten paintings: read by the weeping candles seat enemy disease accumulation ridge catch peeling Zhe pinch discretionary Ge nuclear thief duck

Eleven paintings: the clan of the blundering who dubu Shuji pecked to take off the pick of the Kuo pigeon Hublot professional flute attacked to know that receive spying on the Jie Ruo pinch digging

Twelve paintings: Ju Ju Cu Fu Fazha Da mixed kill kill the tongue to decide to join the spying on the Jie Ruo pinch digging

Twelve paintings: Ju calf redemption porridge cuts the Bo cuts Ge raft trekking slippery fall chiseled Bo clear spines planted set forced wet black answer inserted cheeks

Thirteen paintings: Fuzzy documents spokes Governor hail Jue Jue breaks the fight cave tin Yi oar eyelashes isolated relegation superposition collapse

Nineteen paintings: paint exhaustion cut ultimatum Jie picks the jurisdiction of the first lizard

Fifteen paintings: ripe bats knee barren skeleton de butterfly blind amount of

Sixteen paintings: orange rut Xue Thin payment of the excitement

Seventeen paintings Mew Cricket Diatribe

19 Paintings:蹶

二十画:籍黩嚼

Those who speak dialects that retain the incipient sounds will have no difficulty in recognizing these incipient characters, as long as they are read in the dialect

. For speakers of the northern dialects, it is possible to generalize the sounds to help them recognize them, such as "福幅辐蝠"

"缴激檄", but most of them can only be learned by rote. Modern people can write old-style poems based on modern

four tones. However, writing old-style poems is originally because of the good old days, some people would like to write according to the ancient tetrameter, there is nothing

non, then we should pay special attention to this kind of words into the sound of the sound to the flat sound of the word. When reading ancient poems in Putonghua, what should we do when we come across such words

? I think, in order to maintain the harmony of the tones, it may be better to read it in the declining tone. The sound is lower, and then read shorter

somewhat, it sounds a little bit like an incoming sound. In fact, some people are accustomed to pronouncing this type of character as a declination,

such as "一、幅、辐", which many people pronounce as a declination.

A large portion of the ancient up-sounding characters are pronounced as down-sounding in Mandarin. Both up-sounding and down-sounding are oblique tones,

and we can leave this category alone. But there is another kind of tonal change that must be noted: some ancient flat-sounding

characters are now read as oblique.

In the early fall, when the wells of Shufu were cold,

the wax torch of Jiangcheng was left standing.

The eternal night horn sound sad self-talking,

Mid-sky moon color is good who see.

The wind and the dust have left us with no news,

The road is difficult to travel.

It's been ten years since I've been able to bear the pain,

and I've been forced to move one branch to rest in peace.

The fourth line's rhyming character "看" is a pinyin character, so it's best to read it as a yinping character to make it sound good (the "watch" in the modern "

watchman" is still pronounced as a yinping).

The word "watch" is still pronounced yin-flat.)

Another example is "The Night Banquet at Zuo's Village":

The wind and the moon fall in the forest, and

The clothes are dewy and the qin is open.

Dark water flows along the flower path,

Spring stars bring the grass hall.

It is short to check the book and burn the candle,

it is long to look at the sword and draw the cup.

When I finished the poem, I heard Wu singing,

and the flat boat was not forgotten.

The rhyme of the last line, "forget", is also a flat sound, so we should read it as a flat sound in order not to feel awkward.

The word "see" at the beginning of the sixth line is also in the flat tone, but according to today's pronunciation, it should be read as a declining tone.

In addition to "see, forget", similar to this in the present generally read oblique tone, and in ancient times read into the flat tone (or flat,

oblique two readings) are:

The tube vertical collision treatment (verb) reputation (verb) completed Min sewing run Yun Man Han sigh jumping bubble teaching (so that) look at the wake up win (bear

receive) 售叟任(承担)妊

These words, if they are at the foot of a rhyme or at a key point in a line, should be read as flat.

There are also a few words that are now in the flat tone, but in ancient times they were in the oblique tone, such as "think" and "ride" when the noun

were pronounced in the declined tone. Like "The Night of the Fifteenth Day and the Night of the Moon":

No home to the cold food,

Tears like golden waves.

Hacking the laurel in the moon,

The clear light should be more.

Breaking up the textbook and releasing the red stamens,

Imagine knitting the green moths.

The oxen and the daughters of the oxen are full of sadness,

and they are still crossing the river in the fall.

The last word of the seventh line, "Si," should be read as a declension.

Line

Though there are four tones in the Chinese language, it is not necessary to distinguish between the four tones as in lyrics and songs, as long as they are coarsely divided

into two tones, one for each tone and the other for each tone. In order to cause the tone of the tone on the rise and fall, we must alternate the use of flat and oblique tone, not a single

tone. The Chinese language is basically a two-syllable rhythmic unit, with the stress falling on the following syllable. Using two

syllables as a unit to allow for the interplay of flat and oblique tones constitutes the basic sentence pattern of proximal poems, known as ryuji (律句). If we want to make

a change to a different level of narrowness at the beginning and end, we can move the last word to the front, and it becomes:

Pingpingpingpingningningningning

Nonlevelingpingpingpingping

Except for the special cases that will be talked about later, the quintuplets, regardless of how they are varied, do not come out of the four basic types of sentences.

The seven-character poem is just a rhythmic unit added in front of the five-character poem, and its basic sentence pattern is:

Non-nonleveling and leveling

Pingping and leveling

Nonleveling and leveling

Ping and leveling

Ping and leveling

Non leveling

The seven-character poem, no matter how much it is varied, does not have any of these four basic sentence patterns.

These sentence patterns have a pattern, that is, they are always reversed: the level of the fourth character is opposite to that of the second character, and the sixth character

is opposite to that of the fourth character, and so on and so forth, forming a sense of rhythm. But the singles may or may not be reversed, because

the stress is on the even-numbered syllables, and the odd-numbered syllables are relatively unimportant.

When we write a poem, it's hard for us to fit every line exactly into the basic stanza pattern, which may be possible when writing a stanza, but almost impossible when writing an eight-stanza poem or even longer. How do you get around this? Well, you have to sacrifice the less important single digits in favor of the more important double digits and the most important last word. Therefore, there is a mnemonic called "one, three, five, no matter, two, four, six clear", which means that the level of the first, three, five (only

referring to the seven words) can be dealt with in a flexible way, while the level of the second, fourth, sixth and the last word must be strictly

complied with. This recipe is not entirely accurate; in some cases the first, third, and fifth must be theorized, and the second, fourth, and sixth may not be distinct in a given stanza form

, as we will see later, but let's look at how a complete poem can be constructed from these

basic stanzas.

Sticky pairs

We already know the basic sentence patterns of proximal poems, so how do we form a poem from these sentences?

The sentences of proximal poems are made up of two lines, and every two lines (one and two, three and four, and so on)

are called a couplet; the upper and lower lines of the same couplet are called pairs, and the lower line of the upper couplet and the upper line of the lower couplet are called neighboring lines. The rules of the poem are: the opposite of each other, and the neighboring lines sticking to each other.

The opposite of each other means that the levels of the two lines in a couplet are exactly the opposite of each other. must rhyme,

must end in a flat tone, so the couplets of pentameter poems, except for the first couplet, have only these two forms. The seven-character

is similar.

If the first line does not rhyme, there is no difference with the other lines. If both lines have to rhyme,

and both lines have to end in a flat tone, then the first line cannot be completely relative, and it can only be a head-to-tail pair, and there are no

except for the following two forms:

Flat: flat and narrow

Non narrow flat

Non narrow flat

Non narrow: narrow flat

Non narrow. 仄仄仄平平

平平仄仄平

再看看邻句相粘. The meaning of sticking to each other is the same, but since the odd-numbered sentences ending in oblique tones are used to stick to the even-numbered sentences ending in flat tones, they can only stick to each other at the beginning and not at the end. For example, the previous line is:

Nonobviously, it's flat

Nonobviously, it's flat

Nonobviously, it's flat

Nonobviously, it's flat

Nonobviously, it's flat

Why is it necessary to glue neighboring lines together? The reason is simple, it is to change the sentence pattern, not monotonous. If the opposing sentences

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

NON-NON-NON-PING-NON

PING-NON-NON-PING

NON-NON-PING-NON

PING-NON-PING-NON-PING

The first and the second couplings are exactly the same. Before the Tang Dynasty, the so-called Qiliang style poems only talked about relative, not knowing

phase adhesion, from beginning to end, just two types of sentences are constantly repeated. After the Tang Dynasty, it is about both relative sentences and neighboring

sentences, so that there will be no repetition of sentence types in a stanza. The first line of the first line does not rhyme:

The first line of the first line does not rhyme:

The first line of the first line does not rhyme:

The first line of the first line does not rhyme:

The first line of the first line does not rhyme:

The first line of the first line does not rhyme

The first line of the first line does not rhyme

The first line of the first line does not rhyme

The first line of the first line does not rhyme

The first line of the first line of the second line does not rhyme:

rhymes with the following:

NON-NON-NIMBERED PING PING (rhymes)

PING PING NON-NIMBERED

NON-NIMBERED PING PING (rhymes)

NON-NIMBERED PING NIMBERED

PING NON-NIMBERED PING (rhymes)

PING NON-NIMBERED

NON-NIMBERED PING PING (rhymes)

NON-NIMBERED PING PING (rhymes)

NON-NIMBERED PING PING (rhymes) (Rhyme)

Based on the law of sticky pairs, ten or twelve lines ...... can be added infinitely, and become a row of rhymes.

Sticky pairs also have a certain degree of flexibility, basically also follow the "one, three, five regardless of, two, four, six clear"

mantra, that is to say, to check whether a poem follows the sticky pairs, generally look at the number of even and the last word

can be. If the pair of lines is not right, it is called a lost pair; if the neighboring lines do not stick, it is called a lost stick. Loss of pair and loss of sticking are both the major taboos of proximity poetry

. In comparison, the loss of pairs is more serious than the loss of stick. The rule of sticking was established later, and you can still often see sticking in the poems of the early Tang poets. Even Du Fu's poems occasionally have sticking, for example, the second poem of the famous poem Wing

Wai Monuments:

Shaking down the sorrows of Song Yu,

Fengliu Ruyi is also my teacher.

Despairing for a thousand years and shedding a single tear,

Slow and different generations are different at the same time.

The old house is empty of literature,

and the cloud and rain is not a dream.

Most of all, the Chu Palace has been obliterated,

and the boatman has pointed it out to the present day.

The third sentence fails to follow the second sentence. This may be unknowingly influenced by the Qi and Liang poets and

sometimes neglected.

The rule of pairing was established during the Qi and Liang dynasties, so it is rare to see a lost pair in Tang poetry. Among the extant poems of Du Fu, only one,

Sending a Gift to General Wang Chengjun

General's courage is strong,

Arms hang two horns of bow.

The general's courage is strong,

and his arm is overhanging a two-horned bow.

When the time is dangerous, I have not yet authorized the battle-axe.

It is difficult for me to accomplish anything.

The hall was full of guests,

who was the same as him?

The first and second sentences, except for the first word, have exactly the same level of the other words, which is a lost pair. This may be

a momentary oversight before the poem was given.

There is another case in which meter is disregarded for the sake of expression. For example, another famous poem of Du Fu,

Bai

Di:

Clouds go out in the city of the White Emperor,

It rains and overturns the basin in the city of the White Emperor.

Thunder fights in the high river and rapid gorge,

Sun and moon are dim in the ancient trees and pale vines.

The military horse is not as good as the returning horse,

There are hundreds of families now.

The widow's death is a sad thing,

Where are the villages in the Autumn Plains?

The second character of the second sentence should have been in plain tones, but now the oblique character "帝" has been used, which is not only out of sync with the first sentence,

but also out of sync with the third sentence.

But this is an intentional repetition of the use of "Baidi City" to create a prose, so I had to sacrifice the style

of the poem.

Lone and three flat tone

The previous statement that "one, three, five regardless of" is not entirely correct, in some cases one, three, five must be discussed.

For example, in a five-word sentence:

Pingpingping仄仄ping

The third character of this sentence can be used regardless of the tone, but if the first character is changed to oblique tone, then the first character can be used as an oblique tone. However, if the first character is changed to an oblique tone,

it will become:

Nanping仄平仄仄仄平

除了韵脚，整句只有一个平声字，这叫 "孤平"，是近体诗的大忌，在唐诗

中很少看到。 This is a major taboo in Tang poetry

and is rarely seen. The quoted poem of Du, "The Arm Suspends Two Horned Bows," is an example of a sentence that is not in line with the law, and is called

a "quangjie" (a sentence that is not in line with the law). The old Du intentionally wrote a lot of argumentative near-poetry, this kind of exploration is another story.

What can be done if the first character has to be oblique? You can change the third character to a flat tone at the same time:

Nonleveling and leveling

This avoids the need for a single level. This practice is called "argot rescue", which means avoiding an argosy sentence. For example, in the third of the Twelve Sorrowful Songs:

What is the status of the old garden?

We used to know each other very little,

and the battlefields have been full of them for a long time.

The second sentence should have been "平平仄仄平", but now the first word is in the oblique tone "故", and the third word must be changed

to "今".

Seven-character poems are similar in that the third word of the oblique closing line "仄仄平平仄仄平仄平", cannot be changed to the oblique tone, and if the oblique tone is used, the fifth word must be changed to the flat tone in order to avoid a single flat. For example, in one of the nine "Jie Sheng Man Xing"

:

When I see the sadness of the guests, I can't wake up,

It's a pity that the color of spring has come to the pavilion of the river.

It is a great honor to have the flowers bloom, and to have the warblers speak in such a peaceful manner.

The first line should have been "仄仄平平仄仄平", but now the third word is in oblique tone "客", and the fifth word will be

referred to the flat tone "愁", to remedy the situation ("wake up"). Note that the word "awake" is a flat sound.)

The so-called "lone-ping" refers specifically to flat sentences (i.e., rhyming sentences), but if it is an oblique sentence, that is

even if there is only one flat character in the whole sentence, it is not considered lone-ping, but is considered to be an argumentative sentence at the most. For example, if you change "仄仄平平仄"

to "仄仄仄平仄"

, it's not a violation of the "仄仄平仄"

, but it's possible to use it.

There is another case, which is the five-character oblique sentence:

Non Oblique Ping Ping

In this kind of sentence, the first character can be either flat or oblique, but the third character can not be used in the flat tone, if the

flat tone character is used, it becomes:

Non Oblique Ping Ping Ping

Three consecutive flat tones at the end of the sentence are called "three flat tones," a form reserved for ancient poems, which must be avoided as much as possible when doing

near-poetry, and which cannot be remedied.

Similarly, in the seven-character line "平平仄仄仄仄平平", the first and third characters can be either flat or oblique, but

it is the fifth character that cannot be used in a flat tone, or else it will also become a triple flat tone.

As long as we can avoid the lonely flat and the three flat tones, "one, three, five, no matter" is completely correct.

Argumentation

If you take a closer look at the basic forms of the poems cited above, you will find a pattern: in a

coupletion, the total number of characters with flat tones is equal to the total number of characters with oblique tones. If we have used an oblique character (or a flat character) in one or more of these flexible places, we often have to change the oblique character to a flat character (or a flat character to an oblique character) in the appropriate place in the sentence or in the couplet, in order to keep

the flat characters in the couplet.

To maintain the balance of the number of flat and oblique characters in a line. That is to say, if you use the words "拗"(不律), and then save them,

it is called "拗救" (save by the words "拗").

The remedies for the isolated flatness mentioned earlier belong to the self-help in the sentence. There is also a case where the remedy is in the opposite sentence.

For example, in a sentence like "仄仄平平仄", the third character is changed to the oblique tone, and often the third

character in the opposite sentence is changed to the flat tone to remedy the situation, that is, "仄仄平平仄,平平仄仄平", which is changed to "仄仄平仄，

平平平仄平". For example, "At the end of the day, I remember Li Bai":

The cool wind rises at the end of the day,

How does the gentleman intend it to be.

When will the geese arrive?

There is a lot of autumn water in the rivers and lakes.

Writings hate life,

Spirits and demons are happy to pass by.

It should be **** the words of the wronged souls,

Throwing a poem to Miluo.

In the third line, "When will the geese arrive?", the third character should be flat, but it is not, and in the fourth line, "There is a lot of autumn water in the rivers and lakes," the third character has been changed to a flat tone. Similarly, the fifth word of "平平仄仄平平仄" is in oblique tones, so the fifth word of the

opposite sentence is changed to flat tones to remedy the situation, i.e., "平平仄仄平仄，仄仄平仄平仄平仄" becomes

Even the first word, poets like to save. For example, "Joyful Rain on a Spring Night":

Good rain knows the season,

when spring is happening.

With the wind, it dives into the night,

Wetting things silently.

The path is dark with clouds,

and the fire on the riverboat is bright.

When I look at the red wet place,

Flower heavy Jin Guan Cheng.

The first word of the seventh line should be flat, but the oblique tone "dawn" was used, and the first word of the eighth line was changed to the flat tone "flower" to make up for the

salvation.

Another example is "The Night of the Pavilion":

The twilight of the year is a short period of time,

The frost and snow at the end of the sky clear up the cold night.

The drums and horns of the fifth night are sad and strong,

and the stars and rivers of the three gorges are shaking.

Weeping in the wild, a few families heard the war,

The songs of the rabbis and the woodsmen were heard in several places.

Crouching dragons and horses are all in the yellow earth,

and the people are all in the same place.

The first word of the third line should be flat but oblique ("five"), and the first word of the fourth line is changed to flat ("three");

The first word of the seventh line should be flat but oblique ("lying"), and the first word of the eighth line is changed to flat. "), the first word of the eighth sentence is changed to flat ("man").

Sometimes, it is a mix of self-help in this sentence and remedy in the opposite sentence. For example, one of the Twelve Songs for Boredom Relief:

The grass pavilion and the firewood and the stars are scattered,

The waves turn the river black and the rain flies at the beginning.

The mountain bird leads the son to feed the red fruit,

The stream girl gets the money to keep the white fish.

The strict meter should be:

Neighly leveled

Neighly flat

Flat

Flat

Neighly flat

Neighly leveled

Neighly flat

Neighly flat

Neighly flat

Flat

Flat

Flat

There are self-help lines here (with "river" to save "flip", and "get" on "stream"), as well as counterpoints.

There is a self-help in the present sentence (to save "river" from "turn", and "get" from "stream"), and there is a remedy in the opposite sentence

(to save "feed" by "stay"), but there is also an argument that is not saved ("星")。 In fact, it is also very common to find the "one, three, five"

position in the "one, three, five"

position in the "one, three, five"

position in the argument but not saved. For example, in "Ascending to the Heights":

The winds are fast, the sky is high and the apes are whistling;

The islets are clear and the sand is white and the birds are flying back.

The fallen trees are falling under the Xiaoxiao Xiao,

The Yangtze River is rolling in.

We are often guests in the fall,

and we have been alone for a hundred years,

and we are sick.

The hard times are hard, and I hate the frosty temples,

and the scribbling is new, and I'm not sure if I'm going to be able to drink.

The second sentence of the "sand" saved "islet", "islet" and saved the first sentence of the "wind", but the first sentence of the "wind", the first sentence of the "wind", the first sentence of the "wind", the first sentence of the "wind", the first sentence of the "wind", the first sentence of the "wind". But the

"ape" in the first sentence was not saved.

Like this argument and not saved, destroying the balance of the number of flat and oblique in a line, but these occur in the "one

three five" position, as long as there is not a lonely flat or three flat tone, it is tolerated, can not be counted

Argumentation. There is also another kind of argument, which appears in the position of "two, four, six", and that is the real argument, which is not

discussed here. However, there is a kind of argument that is used quite a lot in Tang poems and cannot be left out. Consider the poem

Wai Li

Bai at the End of the Sky:

The cool wind rises at the end of the sky,

How does the gentleman intend it to be.

When will the geese arrive?

There is a lot of autumn water in the rivers and lakes.

Writings hate life,

Spirits and demons are happy to pass by.

It should be **** the words of the wronged souls,

Throwing a poem to Miluo.

The first line should be "平平平仄仄", but it is written as "平平仄平仄", and the second and fourth characters are in

flat tones, which violates the rule of "whenever there is a double, there is a reversal" that we have mentioned at the beginning. In seven-character, it is to write "仄仄平

平平平仄仄" as "仄仄平平平仄平仄仄" (仄仄平平平仄平仄仄仄). For example, in "Five Songs on Singing Memorials" (咏怀古迹五首), almost every one of the songs uses

this particular sentence pattern.

The first is:

Being separated from the wind and dust in the northeast,

drifting between heaven and earth in the southwest.

Three gorges of buildings and platforms drowning the sun and moon,

Wuxi clothes*** Yunshan.

Capricorn and Hu have no choice,

Wordsmiths have not returned yet.

Yu Xin's life is the most boring,

The twilight years of poetry moved Jiang Guan.

The seventh line is of this type. The second line:

Shaking down knows Song Yu's sorrow,

Style and elegance are also my teachers.

Disappointed in a thousand autumns and a sprinkling of tears,

Slumping in different generations is not the same time.

The old house is empty of literature,

and the cloud and rain is not a dream.

Most of all, the Chu Palace has been obliterated,

and the boatman has pointed it out to the present day.

The seventh sentence "泯" can be flat or oblique, if read as flat, it will become this type of sentence. The third line:

The mountains and ravines go to the Jingmen Gate,

Growing up, Mingfei still has a village.

Once the purple platform is gone, it is connected to the desert,

Leaving the green mound alone to the dusk.

Painting the face of the spring breeze,

Ring Pei empty return to the moonlit night soul.

The lute has been used for a thousand years to speak in Chinese, and

It is clear that there is a song of resentment in the song.

The seventh line is still of this type. The fourth line:

The lord of Shu spied on Wu and honored the Three Gorges,

and the year of his collapse was also in the Yongan Palace.

Cuihua imagined the empty mountains,

and the jade hall was in a wild temple.

Ancient temples of cedar pines and water cranes,

Annual ambulance rides in the village.

The Wuhou Shrine is always close to the temple,

and it is the same as the one where the ruler and the ministers are worshipped.

The first sentence is of this type. The fifth sentence:

Zhuge name of Zhuge is in the universe,

The remains of the ministers are clean and high.

Three points of division and condescension,

A feather in the sky of the ancient clouds.

Between the two, I see Yilu,

Commanding the lost Xiao Cao.

It is difficult to recover the fortune of the Han Dynasty,

and the will to destroy the army is laborious.

The fifth sentence is again of this type. Because this type of sentence is used too much (often in the seventh sentence), almost

as common as the regular sentence type, we have to not count it as an argumentative sentence, but as a special kind of legal sentence.

The reason why people like to use this special type of sentence is probably because there are three flat tones in the regular sentence type "平平平仄仄"""仄仄平平"

平平仄仄", which are not counted as three flat tones at the end of the sentence, and are still a little bit awkward to read. It's a bit awkward to read, so

It's better to just change it. It is worth noting that when using this type of sentence, the first word of the fifth and the third word of the seventh must be

leveled, and cannot be un

referred to as the first word of the fifth and the third word of the seventh.