The people who stay in the mountain are endless folk songs and short songs.
Guangdong has opened up the sky from the sky and the earth, and stands this majestic peak.
Fuji dominates the country of Suruga, and the high mountains cover the sky.
The white clouds are frozen in the passage, and the sun and moon are dim.
The heavy snow dances at all times, and there is no distinction between spring, summer, autumn and winter.
The great Fuji will last forever, and its legends will be endless from generation to generation.
Anti-song
Walking out of Tianerpu, silver light pours into the blue sky.
The auspicious snow is falling on the Kaoling Mountains of Fuji.
Two Anti-Songs
In the Yoshino Elephant Mountains, the giant trees are thousands of feet high.
A group of birds are singing on the branches, and the noise reaches the clouds.
The river beach is clear and clear, with catalpa trees growing on it.
In the deep silence of the night, I was startled to hear the chirping of thousands of birds.
Poverty question and answer songs and short songs
A stormy night, a cold rainy and snowy day.
It’s late in winter, but it’s cold this evening.
Coarse salt goes with wine, and fermented grains go with it to keep warm.
My nose is cold and I cough frequently.
It’s hard to resist the cold night with my mustache and empty eyes.
Cover me with linen quilt and wear my rags.
Although I try my best, I can’t bear the cold evening.
Those who are poorer than me, please listen to my questions.
My wife and children cried, and my parents complained of hunger and cold.
How can we spend our years in this miserable situation?
Although the sky and the earth are vast and cloudy, they can only tolerate my own difficulties.
Although the sun and moon are bright, they do not shine around me.
Is this true for everyone in the world, or am I unique?
God gave birth to me by chance, and I am not idle at work.
Wearing clothes without wadding, the strips hang down on the shoulders.
It is as ragged as seaweed, how can it keep out the cold.
The low house is tilted on four sides, and the rice is spread on the wet ground.
My wife and children lay at my feet, my parents cuddled beside me.
The whole family, no matter how big or small, wept and sighed.
There is no smoke on the stove, and spider webs hang on the pot.
I have endured hunger for many days and can no longer remember three meals.
The sound is as thin as silk, and as soft as cotton when exhausted.
Disasters never come alone, boiling oil pours into flames.
The man inside was very angry and shouted in front of the house.
He came with a cane in his hand to collect the land tax money.
The world is like this, how can we deal with it in this life?
Anti-song
Remembering the sufferings of this world, and the shame of this world.
Hate is not a bird in the sky, it wants to fly but lacks both wings.
Attachment
Song, the general name of Japanese classical metrical poetry. Since the Nara period (710-784), it has also been called "Japanese song", "Japanese poetry" or "Yamato song". The name Waka is because it is compared with the Chinese poetry that has been circulated in Japan since ancient times. The general meaning is the Song of Yamato, that is, Japanese poetry. Japanese songs include long songs, short songs, whirling songs, flat songs, Buddha's footprint songs, etc.
Waka has a certain rhythm in form. The long song is chanted repeatedly with five and seven notes as a couplet, and the last couplet ends with the seventh note. A long song usually has more than three couplets, and the whole song forms an odd number of couplets. Long songs are generally narrative poems. The song is followed by one or several "anti-songs". Japanese experts believe that it comes from the antithesis of Fu in the Spring and Autumn Period of China. The task of the anti-song is to summarize the main content of the long song, or to make up for the unfinished meaning of the song. This anti-song is also a separate tanka, and they have the same meter. Long songs are long, and in order to avoid monotony and enhance variety, they often use couplets, prefaces, and pillow words (generally preface words that are not directly related to the meaning of the song). At the same time, maintaining a cohesive and compact sense from beginning to end requires a unified and comprehensive conception, which is difficult to write. A long song often becomes tight at first and then loose at the same time, and its touching power gradually weakens, so it does not last very long. Works similar to this kind of long song first appeared in "Kojiki" (712) and "Nihon Shoki" (720), called "Kiji Ballads"; then, in Japan's earliest collection of Japanese songs, "Man'yoshu" It was finally completed in the middle period, and in its early and middle periods there appeared the famous singers Kakihimamaro (about 662 ~ 706), Shan Yiyang (about 660 ~ 733) and Takahashi Choumaro (the year of birth and death is unknown, 732 is His prime period), etc., and by the late stage of the famous singer Owaka Kachi (718? ~ 785), he had no outstanding works of long songs.
Among the 1,100 works published in the "Anthology of Ancient and Modern Japanese Songs" written in 905, there are only five long songs. In recent times, except for a few people who still chant, they are almost extinct. Other types of songs have also disappeared one after another, leaving only tankas and the later haiku. Later, especially after 1868 (Meiji Restoration), tanka became synonymous with waka.
Similar works of tanka were first seen in "Kiki Ballads" and were completed in "Wanyoshu". Its sentence pattern is five, seven, five, seven, seven, with five stanzas and thirty-one tones, and it is a short lyrical poem. It is the main song style of Waka and the basic form of Japanese classical poetry. Its rhythm is the most appropriate form of poetry for Japanese people in terms of shape. Since ancient times, the Japanese music circle has researched and discussed the style and formal characteristics of tanka. It is generally believed that the evolution of tanka style and formal characteristics can generally be divided into "Man'ye style", "Kokin style" and "New Kokin style", which are called the three major styles of tanka. "Man'yo" refers to the tanka style in "Man'yoshu", which is simple, sincere and emotional. It is highly realistic and intuitive and pays less attention to form and technique. Among the thirty-one sounds in the five stanzas of tanka, five, seven, five, seven, and seven, each sound may be a word, and each stanza may also have only one word or a phrase (phrase); in one stanza, a word is formed Sometimes, it takes more than two stanzas to form a phrase (phrase), up to a sentence. Therefore, there is a problem of broken sections (called sentence breaks for the convenience of narrative). "Man'yoshu" often breaks sentences into a phrase at the 2nd or 4th verse, that is to say, it is usually not at the first fifth or seventh verse, but at the second fifth or seventh verse. The sentence is broken, so Wanye Diao is called "Wuqi Diao". "Anthology of Ancient and Modern Japanese Songs" has gradually developed the subjective, delicate, graceful and smooth style of the aristocracy, focusing on expression techniques. Most of the sentences are broken in the third section, that is, at the fifth, seventh, and fifth places, so it is called "Seven Five Dialogues", that is, "Ancient and Modern Tune". "New Kokin Tune" mainly refers to the further application of the sentence segmentation techniques in the first or third stanza formed on the basis of "New Kokin Tune" (1205, containing 1,978 songs). The method of adding new ideas to ancient songs while still retaining the appearance of the original songs also occupies the largest number in the "New Kokin Japanese Song Collection". From the perspective of content and style, "New Ancient and Modern Tune" reflects the declining life interests of the aristocracy in a romantic way, with strong sensory (mainly painting and color), musical and symbolic tendencies.
The rhythm of the short song also has the flexibility of "multiple tones" and "fewer tones", that is, in each section, mainly in the 1st and 5th verses, you can have "multiple tones" or "fewer tones". "Sound" is usually the word "increase" or "decrease". These are commonly known as "broken songs".
The method of songwriting is mainly individual creation, but there are also collective creative activities. The main collective creative activity is called "Liange" (similar to Chinese couplets). Its method is to divide a short song into two sentences: long (five, seven, five) and short (seven, seven), and two or more writers take turns to join the sentences. During the Heian Dynasty (794-1192), the "short renge" in which two short and long lines were combined into one short song was common. Later, the "long renge" which was a couplet of multiple short songs became more common. The forms of long liange include Baiyun (one hundred poems), Gexian (36 poems), 44-rhyme, 50-rhyme, Qianyun (hundreds of poems and ten volumes), Wanyun (one thousand poems and ten volumes), etc. The first sentence of the Lien Ge is called the fa sentence (starting sentence), the second sentence is called the threatening sentence (matching sentence), followed by the third and fourth sentences, etc., and the last sentence is called the conclusion. In addition, there are also the methods of "chanting" and "singing sentences and singing", that is, composing songs based on propositions. There are two types of propositions: pre-exposed questions and on-the-spot questions.
Waka, mainly refers to short songs, which are the most widely circulated short poems in Japan from ancient times to the present. Since there are only thirty-one tones, great efforts must be made in the wording and calligraphy practice. Therefore, simplicity, implicitness, elegance, etc. have become its main characteristics. Lienge is mostly a word game that competes in poetry writing skills and rarely produces valuable works.
There are many collections of ancient songs in Japan. In addition to the ones listed above, there are also "Collection of Japanese Songs" (951), "Collection of Japanese Songs" (1005~1007), "Collection of Japanese Songs" (1075), "Collection of Japanese Songs" (1075), Collection of Gold Leaves Japanese Songs" (1127), "Collection of Cihua Japanese Songs" (1144), "Collection of Thousand Years of Japanese Songs" (1187), etc.
In addition to those listed in the "Man'yoshu", famous singers include Otsuda O (alive at the end of the 7th century), Takaichi Kuroto (date of birth and death unknown), Yamabe Akato (date of birth and death unknown), Otomo Traveler (665 ~ 731), Otomo Sakagami (lived around 721 ~ 750), etc. "Anthology of Ancient and Modern Japanese Songs" includes Ki Kanyuki (approximately 872-approximately 945), Hanokawachi Gongheng (date of birth and death unknown, alive in 921), Ono Komachi (date of birth and death unknown), etc. "New Ancient and Modern Japanese Song Collection" includes Gotobain (1180-1239), Fujiwara Sadake (1162-1241), Fujiwara Ietaka (1158-1237), Fujiwara Yoshikune (1169-1206), Prince Shikikouchi (1151- 1201), Junchengnu (?～1254), etc. Famous singers in modern times include Yosano Akiko (1878～1942), Ishikawa Takuboku (1886～1912), Kubota Kuho (1877～1967), Doki Zenmaro (1885～1980), Saito Shigeyoshi (1882～1953) wait.