Poetry knowledge

I copied a lot below, hoping to help you. However, I personally think that no matter what it is, writing touching sentences is poetry and good poetry.

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 one or two tones in standard pinyin) are called flat tones, and all tones with rising and falling tones (referring to three or four tones in 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.

How to distinguish grades? At present, there are two leveling systems. One is based on Putonghua, which is called Xinsheng for short. The second is based on "Pingyunshui", which is referred to as ancient sound for short. Now these two systems are used alternately, which is called dual-track system. However, they cannot be mixed. Is to write couplets, can only use a set of standards.

(1) New voice (modern Chinese is Mandarin).

Mandarin is divided into four tones, namely, flat tone and rising tone, rising tone and falling tone. In the use of metrical patterns in poems and couplets, flat tones and upper tones (the first and second tones) are called flat tones, while upper tones and falling tones (the third and fourth tones) are called lower tones. Friends under forty should understand. Not much to say here.

(B), the ancient (old) sound

Where has the society developed now? We must realize several modernizations. Besides, now that Mandarin is spoken, it is necessary for us to learn ancient rhymes. Is it unnecessary! Do you want to embarrass everyone? Are you driving history backwards? Is ancient rhyme useless at all? I think that a person who loves China's traditional culture-a couplets lover or a couplets worker-should know both the new sound and the old sound, even if all modern Chinese will be fluent in the future. It is necessary to understand the ancient rhyme, which is the need to appreciate, learn, absorb and inherit the couplet culture! ! ! Otherwise, it's hard to say In fact, the difference between the two systems is not very big, about 300 words. It is not difficult to remember by radicals, just remember dozens of words.

It's ok to write couplets with new or ancient sounds, but it's not good to use your own rhyming habits as a criterion to judge right or wrong. Since you are determined to learn the creation of couplets, it is very beneficial to spend some time learning and understanding the ancient rhyme. As the saying goes: skill (talent) does not weigh down. In life, this is a rare learning opportunity. This may be a different aspect from reading and studying by yourself at ordinary times. If we discuss it together, the effect will be different.

In ancient Chinese, Chinese characters were divided into four tones: flat, upward, downward and arbitrary. Ping refers to the flat-voiced characters in ancient Chinese (including most of the upper and lower sounds in modern Chinese); Xu refers to the tones of going up, going away and going forward in ancient Chinese (modern news is divided into four tones). This is the division of ancient rhyme (ancient sound).

In ancient Chinese, "strike, say, accumulate, extreme, learn" all belong to entering tone characters. Although it has now entered the world of Yin and Yang, when it comes to level tone, it should still belong to level tone according to the ancient rhyme. The characteristics of Rusheng characters are short, hurried, urgent, closed and hidden (now some places in the south, such as Hunan dialect and Minnan dialect, still maintain this pronunciation mode, so it is not difficult for them to identify Rusheng characters). Using the meaning of different tones, staggered into sentences, forming the law of leveling. Applying this leveling law to different literary genres will give literary works a musical sense of rhythm.

Kangxi Dictionary uploaded the formula of a song, explaining the pronunciation of the four tones. Its song is written like this:

"Don't be impulsive, loudly shout a fierce collection. When you go far away, you will obviously cry from a distance, and your voice is short and urgent. "

According to this principle, people divide all Chinese characters into two categories, one is flat and the other is flat. This forms the unity of opposites of Chinese characters. One level and one level, that is, the relationship between yin and yang, flat and restrained, flat and clear and turbid, flat and long, flat and short, flat and slow and sharp. The beauty of Chinese phonology is formed by the substitution of flatness, rhythm and rhythm.

In couplets, not only the same sentence should be alternated, but also the upper sentence and the lower sentence should be alternated, that is to say, the upper sentence should be flat-voiced. The corresponding position of the next sentence must be opposite to it with a hyphen, and vice versa. The next sentence must be flat. In this way, the unity of opposites between words and sounds is formed. The antithesis of word meaning and pronunciation forms the uneven beauty of couplet structure, making it catchy, cadence and sonorous. Li Rulun, a modern poetry theorist, said: "The balance of Yu Sheng accords with the configuration of music, which makes poetry independent." "You can sing or not, you can sing or not, and it also has the beauty of music. Even if your eyes don't move and the word appears in your eyes, you can show its loudness because synaesthesia is at work. "

There are many books about flat tones. If you want to further distinguish the level tone, especially the clever use of entering tone, you need to read special reference books. Here I recommend several books for you to choose from: The Method of Chinese Poetry by Mr. Wang Li, The Manual of Ancient Chinese Characters by Mr. Guo Xiliang, The Manual of Ancient Chinese Characters by Mr. Tang Zuofan and The Sound of Confucianism by Mr. Krone.

Duality and duality are two very similar language forms. The so-called "similarity" means that they are more similar and less different, so it is more difficult to distinguish them. Even some reference books have vague explanations of these two concepts. For example, under the "antithesis" chapter of Ci Hai, the annotation says: "It refers to the duality of poetry and words." China Self-study Dictionary of Ancient Literature by Shaanxi Education Publishing House interprets antithesis as "a rhetorical method, ... which is called antithesis in poetry." This explanation of "duality" with "antithesis" and "antithesis" with "antithesis" leads to the confusion of concepts, and as a result, people mistakenly think that "duality" and "antithesis" are the same thing and two titles of the same concept.

So, what is "duality"? What is "duality"? What's the difference between them?

Duality is a metaphor. The two sentences used in pairs are "the number of words is equal, the structure and part of speech are roughly the same, and the meaning is related". This symmetrical way of language has formed a neat and harmonious expression and set off each other in content, which has a unique artistic effect.

Duality refers to a special form of expression and means used in poetry creation and couplet writing. It requires poetry conjunctions to be based on duality, and words with the same structural position in the upper and lower sentences must be "of the same part of speech and flat", so as to avoid the repetition of words with the same structural position in the upper and lower sentences. The antithesis of metrical poems makes the language sound and rhyme harmonious, enhances the sense of rhythm and musical beauty, and achieves a high degree of perfection in expression. Therefore, metrical poetry is very strict with antithesis, and the couplet that conforms to the above principles is antithesis; Otherwise, it is not confrontation or unstable confrontation, which is not allowed in poetry creation.

Knowing the characteristics of duality and duality, we can generally distinguish what is duality and what is duality. take for example

Worry about the world first, and enjoy it later. (Fan Zhongyan's "Yueyang Tower")

These two sentences meet the requirements of duality in all aspects, but they are not suitable for antithesis because of their hierarchy and symmetry, lack of harmony in melody and repeated use of the words "Xia Tian", "Zhi" and "Er" in the same structural position. Look at the following example:

On one side of the boat, Qian Fan races; At the head of the sick tree, every year is a spring shower. (Liu Yuxi, "Return to Bai Letian")

This set of couplets is the neck couplet in the original poem, and it is the most typical antithetical couplet. No matter what, it completely conforms to the antithetical principle and is extremely stable.

Duality and duality are so different, mainly used in different styles. Because different styles have different requirements for their own expression, they also have different requirements for expression forms. As the antithesis of rhetorical methods, it is often widely used in various styles, especially in ancient Chinese prose and poems. It promotes the language, and the two even sentences complement each other and set off each other, making the language beautiful in form and expressive. Contradiction is a unique creative technique in metrical poetry. The metrical poems, which rose in Sui and Tang Dynasties, strictly require that couplets and necklaces in metrical poems must be opposed. At the same time, this method is also adopted by song creation. Later it was used to write couplets. Because the creation of rhymes and songs itself has high artistic requirements for the use of language, it pays attention to the choice of words and sentences, and confrontation can greatly improve the expression skills and aesthetic taste of poetry to a certain extent, with high artistry and expressiveness. These special functions of duality are obviously beyond the reach of duality. It can be said that "antithesis" is one of the important criteria for the creation and appreciation of metrical poetry, and naturally it has become a term exclusively for poetry. Because of this, although antithesis in metrical poems also meets the standard requirements of antithesis, in view of its own characteristics and in order to distinguish it from antithesis in general style, we usually call it antithesis instead of antithesis.

Monosyllables in all languages have tones objectively, not just Chinese, so ancient Indians will find three tones. But the four tones in Chinese is a very complicated problem, which can't be summarized in one sentence. It is not comprehensive to explain four tones only by pitch. These four tones are closely related to intensity, length, especially flat music. Sun's disproof can't actually disprove, so I can only briefly talk about the reasons here. Chinese is dominated by monosyllabic words, so there is an obvious four-tone rule, but there is another rule in Chinese, that is, two monosyllabic words are used together, which has been the case since the Middle Ages (the situation in ancient Chinese is quite special, perhaps disyllabic words or even polysyllabic words account for a large part). This requires internal consistency, otherwise it will be like two brothers fighting. The ancients found that the flat tone can be classified into one category, and the other three tones can be classified into another category. This division is not based on pitch, but on flat tones. It is impossible to make such a division by pitch. The so-called flat sound is the uneven sound. This is the basic structure of two floors or two rows. However, if two adjacent basic structures are not changed, such as Siping used together, it will be too smooth, while SiNuo used together is too awkward and has little change, thus forming a situation in which two basic units are flat. The following is very simple. According to this rule, a regular sentence is formed. The ideal situation of the next sentence is the antithesis of this one, which is a couplet. However, if the next sentence is also contrary to the last sentence, it will emphasize the first sentence, so it must be changed. The ancients found four basic sentence patterns according to the flat law, so they combined the four sentence patterns to solve this problem. Then the four tones complete a cycle in four sentences, which will be repeated when used again, thus forming a metrical poem. But it took nearly two hundred years to establish this law. When the four tones were discovered and used in the poems of the Southern and Northern Dynasties, that is, in the Yongming style, this rule was not fully understood. Because the four tones are distinguished too carefully there, they are not properly circulated in the text. It was not until Song Shen that this problem was completely solved. In the final analysis, it is still a matter of flat music. The ancients called it Pingqu. How can it have nothing to do with flat music? As for lyrics and songs, even the same distinction between yin and yang is closely related to the evaluation of songs. The difference between yin and yang is due to the division of flat voice. In fact, the flat sound has been uneven, although it is relatively flat. So why are there both regular sentences and embarrassing sentences? In fact, between harmonious beauty and unharmonious beauty, China people's aesthetic habits tend to be harmonious beauty, and Confucianism most respects the beauty of neutralization. It is precisely because of this that modern poetry has been formed. In addition to balance and homophonic, the recent phonological balance style is also a good proof. But discordant beauty has special value and cannot be completely replaced, so there are awkward sentences and rhymes. It is not a problem that awkward sentences are more harmonious than regular sentences. As for the relationship between phonology and music, it is more complicated.