This is in terms of the relationship between the footing of the upper and lower clauses. Strictly speaking, horseshoe rhyme can be used as a rule for arranging horizontal lines at the end of a couplet composed of multiple clauses. The so-called horseshoe rhyme refers to the sentence that the feet are flat and arranged like a horse stance, and the hind feet follow the footprints in front. The sharing format is: sharing, sharing, sharing, sharing, sharing, sharing, sharing, sharing, sharing, sharing and sharing. However, the author thinks that starting from the present situation and development trend of couplets, considering the characteristics of "couplets have no definite sentences and sentences have no definite words" and the complexity of couplets' sentence patterns, the metrical requirement for the feet of sentences to be parallel can also be "no simultaneous stop" as a rule. To be precise, this rule has two requirements: (1), two or three terms on each side, and all terms cannot be settled at the same time. (2) If there are more than four clauses on each side, it is required that each clause cannot have three consecutive sentences (unless the upper and lower clauses are connected together and the middle clause can be used) or three or more sentences can be settled at the same time. This rule is concise in theory and flexible in application, which not only embodies the combination of principle and theory, but also accommodates several main different opinions on the issue of horizontal footing. Take one-fifth of the long couplets on each side as an example. According to the law of "horseshoe rhyme", there are only two orthography methods, namely, occasionally flat, occasionally flat (in the middle clause), and there is another variant, * *. According to the law of "not staying at the same time", then it is flush, flush (middle section), flush and flush.

Step 2 avoid ending at the same time

This is based on the relationship between the upper joint foot and the lower joint foot. Accurately speaking, this rule also has two requirements: (1) No matter how long a couplet is and how many clauses there are, the last word of the couplet is required to be silent; The bottom line requires a flat tail. Generally, it can't end with a dull voice, but with a squeaky voice. (2) The upper and lower couplet cannot end at the same time, that is, the last word of the upper and lower couplet cannot be homophone or homophone.

3. Avoid three flat tails or three narrow tails.

It means that the last three words of a sentence should be avoided as much as possible. For example, "sitting on the lotus platform because of the deep", if you change "sitting" to "boarding", it will become a three-level tail. For example, "Only by practicing according to law can you enter the Tao". If you change "can" to "can", it will be three tails. There is no difference between the monotony of three flat tails or three flat tails. In order to reflect the consistency in theory, both should be taboo, not just three flat tails without three flat tails.

4. Avoid loneliness or loneliness

It means that in a five-word or six-word sentence, try to avoid having only one flat or vague phonetic word in the whole sentence. For example, "everything goes well", if it is changed to "everything goes well", it is loneliness; Another example is: "Bodhi is ripe now". If it is changed to "Bodhi is round now", it will be lonely. Here, the author will briefly discuss the problem of loneliness. In the author's view, the couplet method does not have to completely follow the traditional poetic method. From the perspective of couplet law, it is more concise and reasonable to define "if a sentence of five or six words has only one flat sound". Because: First, this definition is generally a bit loose in terms of standards, which is in line with the development trend of couplet law. Secondly, according to the traditional poetic method, the so-called solitude should be outside the foot of the sentence, but there is a big difference between couplets and modern poems, that is, the requirements for the smoothness of the ending (the foot of the sentence) are different, and no rhyme is required, so in couplets, the ending (the foot of the sentence) does not need to be drawn separately. Third, literally, loneliness is a kind of. If the literal meaning of loneliness is completely consistent with the actual meaning, it will be beneficial to understanding and operation. The isolation of traditional poetry rhythm is: in a sentence pattern with five characters on the same level and seven characters on the same level, if only one word in the sentence is a flat word except rhyme, it is a crime of "isolation". This definition has actually killed loneliness in one or two sentences (specifically, the five words "Ping Ping" have been changed to "Ping Ping" and the seven words have been changed to "Ping Ping". Therefore, the word "Gu Ping" must be supplemented with explanations so that people can actually understand and operate it. Fourthly, in the five-character couplet, if only "even flat" is flat, then let's look at "even flat" and compare these two formats. Judging from the rigidity and monotony of ping and ping, what is it? Fifth, modern poetry is mainly composed of five or seven words. Therefore, in the six-character couplet, the concept of loneliness in the rhyme of traditional poetry cannot be explained, and there may be loneliness in the six-character couplet.

In addition, being dull or lonely is no different from being dull and monotonous. In fact, the authors of ancient and modern poetry couplets, whether lonely or lonely, can be avoided if they can. Therefore, taking both as taboo not only reflects the consistency in theory, but also stems from reality. Incidentally, according to the author's above definition, the phenomenon of being flat or lonely actually exists only in five-character and six-character sentences, because in sentences with more than seven words, if the basic requirements of alternating flat and lonely are observed, there will be no flat or lonely.

5. Avoid homophones and ectopic homophones.

Overlapping or overlapping words are allowed in couplets, which is a common rhetorical device in couplets, but attention should be paid to keeping the upper and lower couplets consistent when overlapping. For example, "many things" is the opposite of "rolling", in which "many things" is the antonym of overlapping words; Another example is:

Practice is to cultivate the mind, and the emptiness of the heart is the other side of nirvana;

Seeing the cause is like seeing the fruit, and the fruit is bitter like hell.

Among them, "repair" is relative to "seeing", "reality" is relative to "ru", and "faith" is relative to "passing". However, homophones should be avoided as much as possible in couplets. Homonym means that the same word appears in the same position in the upper and lower parts, such as "dharma boundary" to "world" and "enlightenment" to "magic". However, some function words (such as "More importantly, more importantly, more importantly") are allowed, such as:

Fish that slip through the net sometimes exist in the world;

There are no birds in the sky.

Heterotopic words refer to the same word appearing in different positions in the upper and lower parts. For example:

Don't be greedy if the industry can't flow;

Don't hate people because of the same fate.

If the word "Mo" in the bottom line is changed to "No", it will be different from the word "No" in the top line.

Homonyms with different meanings are taboo in couplets. However, a special heterotopic reciprocal format is allowed, such as:

Without a full moon, there is no moon, it follows you;

Although flowers bloom and fall, you let them develop.

The "it" in couplets is "you", that is, heterotopia and mutual emphasis.

6. Avoid synonymous opposition

Synonymous opposition, also known as cross hands. The so-called taboo synonymous relative refers to the relative statements of upper couplet and lower couplet, and their meanings should be avoided as much as possible. For example, The Rising Sun is good for The Rising Sun, History is good for History, and China's Eternal Show is good for The Picture of Changchun in Chixian County. Of course, there are also some non-central words (especially function words) with their hands crossed, or the proportion of their hands crossed in couplets is very small and harmless. Some sentences with similar meanings are relative and good.

The level and level of couplets are basically the same as poems. One yin applies the basic laws of poetry, with no distinction between 135 and 246.

How to judge the couplets? Besides distinguishing from the content of couplets, it is more important to judge from the flat sound at the end of couplets. It is strictly stipulated in couplets that the last word of the first couplet should be in a flat voice and the last word of the second couplet should be in a flat voice. Later generations called this rule "flat rise and flat fall". It must be noted that the "four tones" in ancient Chinese and modern Chinese are somewhat different. Since the popularization of hanyu pinyin and the use of Beijing pronunciation as the national common language, the level of the same Chinese character has changed. For example, according to the phonological standard of Pei Fu, the four tones are flat, up, down and inside. Pingsheng is listed as "Ping", and going up, going and entering are all listed as "Nuo". According to Beijing's intonation, it can be divided into flat tone, rising tone, rising tone and falling tone. In this way, there are more flat words, and some falling words are classified as flat words, which is worthy of attention of comrades who learn to write couplets. In ancient times, many linguists elaborated on the four tones of ancient Chinese in detail. For example, in the book Jade Key Song, Shi Vacuum made the following analysis:

1. Ping-Ping lived a low life. When reading, the pronunciation is peaceful, with a long ending and aftertaste.

2. Go up-go up and shout. Pronunciation is loud, voice is short and there is no ending.

3. It's a long way to go-to sound and mourn. The ending sound is short and high.

4. Input-Input a short and urgent set of sounds. The entrance is simple and urgent, the reception is short and deep, and there is no ending.

Generally speaking, flat words are relatively flat and have long endings. Short vowels or no vowels. Mr Liu Bannong, a modern linguist, first affirmed that the analysis of four tones in ancient Chinese by vacuum interpretation is correct. Mr. Bannon made a supplement according to his own research. He said: "The sound is smooth and smooth, with the least twists and turns, which is often called balanced sound. The two sounds are the most tortuous, rising or falling, falling or rising or falling. It should be unbalanced. The shortest tone is called promoting sound. " Mr. Bannon's argument is simple and clear. Mr. Zhang Shilu simply divided the four tones into two categories: the flat tone is where the long step is, the flat tone is where the short step is, and the flat tone is mainly the difference in length. The author also believes that apart from the long and short steps, the pronunciation of the four tones in ancient Chinese is also quite different. For example, from the flat tone, the scale rises gradually, and reaches its peak at the third tone, that is, the highest pronunciation. The entrance sound plummeted, and the volume was low, short and simple. In short: be quiet and sad, raise your voice greatly, stay away from the voice clearly, and raise your voice directly. The above essay is just a general method, which readers can verify in their study and practice.

In order to practice the ability to distinguish four tones, the ancients listed the following 32 words as the basic knowledge of leveling. As long as you can master these words, other words can also be learned by analogy.

1. one two three four five six seven eight nine X. These ten numbers are: in, out, in, in, in, in.

2. Party A, Party B, Party D, Party E, Party G, Party D, Party B ... The level of the cross is: going to the next level, going to the next level.

3. Ugly son Yin Mao Tatsumi didn't apply at noon. These twelve words are: up, up, up, up, up and down.

Using Beijing intonation to mark the four tones of Chinese, namely, flat tone, rising tone, falling tone, all evolved from the four tones of ancient Chinese. People used to judge the flat tone of couplets based on the four tones of ancient Chinese. Nowadays, four tones in modern Chinese are rarely used to correct, write poems and fill words except pronunciation. However, with the popularization of Putonghua and the passage of time, the four tones of modern Chinese have finally been accepted by people.

4. You should know that some Chinese characters are always used horizontally, either horizontally or horizontally, such as reading, teaching, doing, thinking, alongside ... For example:

(1) "Look" is a flat sound: the incense burner emits purple smoke, and the waterfall hangs in front of the river; On the high cliff, it seems to be thousands of feet high, which makes people think that the Milky Way has fallen from heaven to earth.

(2) "Look" and groan: plum acid splashes teeth, and banana leaves a green screen; Spring goes to summer, and the days are long and tired. After a nap, I feel depressed and watch the children play with catkins in the air.

(3) "Teach" to be quiet: cherries, apricots, peaches and pomegranates bloom first, so teach them to plant one by one by the window; The bamboo shadow is like a willow, and it clearly enters the house.

(4) "teaching" sounds: chalk has a fast career and teaches students in accordance with their aptitude; The peaches and plums in the garden are full of vitality, and the rain and spring breeze bloom for the second time.

(5) Speaking for Wei: First, moving to Changsha, looking to Chang 'an in the west, not seeing home; There was a flute sound of "Plum Blossom" from the Yellow Crane Tower, and another drop of plum blossom was seen on the river bank in May.

(6) Unjust for Wei: I have made great contributions to Hanwang, but I have not put myself in my heart; If I had known that rabbits don't eat dog meat, I would have regretted sitting in Huaiyin and fishing.

Cross couplets generally adopt four or six parallel prose formats:

Door nine, three wins;

○●●○ ●●○○●●

Step by step, look down on thousands of wonders.

○○●● ○○○●○○

For long couplets with more than ten words, in addition to the requirement of parallelism, the parallelism of the last word of each sentence should also be coordinated. This couplet, such as the following example, is smooth and balanced except for every broken sentence, and every word in the couplet is smooth and stable.

You can stay here, cut candles and talk about the scenery in your hometown. Jian gexiong; Emeixiu, Bashan Qu,

○ ○ ● ○ ● ●

Clear water, endless mountains and rivers, all to the fundus;

○ ○ ●

In Beijing, I offered my thoughts and lashed North Road, and the sages will never forget it. Keywords xiangru fu, Taibai poem, Dongpo prose,

● ● ○ ● ○ ○

I went to buddhist nun to meet a beautiful woman and a gifted scholar, and then I went to Chang 'an.

● ● ○