1. Rhythm
Regular repetition forms rhythm. The generation sequence of four seasons, the alternation of morning and evening, the full moon, the blooming of flowers, the fluctuation of water, the ups and downs of mountains, the breathing of lungs, the beating of heart, the trembling of pole when carrying things, and the ups and downs of arms when doing business can all form rhythm.
Rhythm can give people pleasure and beauty, and meet people's physiological and psychological requirements. Whenever a new loop is repeated, it gives people a feeling of deja vu, as if seeing an old friend, making people feel cordial and happy. There is a pavilion in the promenade of the Summer Palace every other section, which can not only provide people with a rest, but also make people stop to enjoy the surrounding lakes and mountains. And in the alternating repetition of walking for a while and stopping for a while, you will also feel the pleasure and beauty brought by the rhythm. After a new rhythm is familiar. It will also produce the expected psychology, and you will feel satisfied if you expect to win. Rhythm can also make individuals unified, differences coordinated, and loose and concentrated. The chant that people shout when they are working together and the leopard password when the team is marching have this effect.
It can be seen that rhythm alone has a charm.
language can also form rhythm. The level, strength and length of everyone's voice. Each has a fixed habit and can form a sense of rhythm. This is the natural rhythm of language, unprocessed and not very distinct. In addition, there is another rhythm of language, that is, the rhythm of music, which is processed on the basis of the natural rhythm of language. It emphasizes some factors of natural rhythm, and makes it stereotyped, and the sense of rhythm is more distinct. The rhythm of poetry is based on this rhythm. However, poetry is too lax to accommodate the natural rhythm of language. Not catchy; Too much pursuit of music rhythm, and will become a mere artifact. Not natural. Only that poetic rhythm which is full of music and is superior to the natural rhythm can be widely accepted. Once this rhythm is found, it will gradually be fixed and become a common rhythm.
The rhythm of poetry must conform to the national characteristics of language. Greek and Latin please; The difference of vowel length is obvious, so both ancient Greek poetry and Latin poetry form rhythm with the regular alternation of vowel length. There are short squares, short squares, and long and short squares. Long and short spaces, etc. Homer's epics "Hiriart" and "Odyssey" are composed of five long and short bars and one long and short bar, which are called six-step verse. Ancient Sanskrit poems mainly rely on long and short cases to form rhythm, German, English and Russian, with obvious differences in pronunciation, so poetry forms rhythm with regular alternation of light and heavy cases, such as light and heavy cases.
The rhythm of China's grand ceremony poems is based on the characteristics of bilingualism, which is neither long nor short, but is determined by the following two factors.
first, syllables and combinations of syllables. In Chinese, a word is a syllable, a four-character poem is four syllables, a five-character poem is five syllables, and a seven-character poem is seven syllables. The syllables of each sentence are fixed. And several syllables in a poem are not isolated. Generally, two are combined together to form a meal. Pause, some people call it a sound group or a sound step. Four words and two meals, each with two syllables; Five words and three meals, each syllable is 221 or 2212; Seven words and four meals, each syllable is 2221 or 2212. It must be pointed out that the pause is not necessarily the place where the voice stops, and it usually takes a long time to recite the opposite. The division of intonation should not only consider the order of syllables. But also the integrity of meaning.
the combination of syllables not only forms a pause, but also forms luck. Funny, that is, the most significant meal in one sentence. The basic rule of establishing poems in China's ancient and modern poems is that a poem must have a Liao, which divides the poem into two halves, and its syllable distribution is: four words 22, five words 23 and seven words 43. Mr Lin Geng pointed out that this is a formal rule of China's poetry. And call it "semi-teasing law". He said: "The semi-teasing law is the basic law followed by China's poetic lines based on his own language characteristics, which is also the universal feature of China's poetry in national form."
only by revealing the "half-luck law" can we explain why some sentences make up four, five and seven words, but they still don't look like poems. The reason is that the syllables don't conform to this law today. Revealing the "semi-funny law" can also explain why the six-character poem has never become the main form, just because this syllable group of 222 can not form a semi-funny, which is not in line with the habit of China's poetry rhythm.
There is another interesting phenomenon. When reading four-character poems, the rhythm is dull, while five or seven characters are lively. The secret lies in the combination of syllables. Four-character poems have two syllables before and after teasing. Equal segmentation, no change. The five-seven-character poem, with a difference of one syllable before and after teasing, feels lively when it is changed in order.
Four words 22, five words 23 and seven words 43, these are the basic metrical forms of a poem. Conforms to this rule. It's like erecting a pillar for a building. As for other rules, such as civilians and antithesis, they are just decorations added to this column. The meter of China's poems seems very complicated, and it's as simple as that.
Secondly, betting is also an element that forms the rhythm of China's poetry.
Rhyme is the repetition of even vowels in a word sound. Repetition of the same vowel in a certain position according to the law will form a rhyme foot and produce rhythm. This kind of festival can combine the scattered voices into a whole, so that people can expect the last sentence when reading the previous sentence and recall the previous sentence when reading the latter sentence.
In some ethnic poems, rhyme is not so important. For example, ancient Greek poetry, ancient English poetry and ancient Sanskrit poetry. According to "On Teachers" written by British scholar Acham in the 16th century, the rhyme of Europeans and poetry began in Italy, but after the times, the Chinese literature was once popular. The German epic Song of Niblongen, as well as many narrative poems in medieval France, all rhyme. After the Renaissance. European poets learn from ancient Greece. Rhyme is not so popular again. After the 17th century, rhyming became popular again. By the rise of modern free verse, the number of rhyming poems had decreased. However, China's classical poems must rhyme, because there is no obvious difference between the length and severity of Chinese pronunciation, and rhythm cannot be formed by them, so rhyme becomes an element of rhythm formation.
The rhymes of China's classical poems were completely based on spoken language before the Tang Dynasty, and must be based on rhymes after the Tang Dynasty. According to the actual rhyme situation of pre-Qin poetry, we can see that the rhyme department was relatively wide at that time, it was easier to rhyme poetry, and the rhyme of Han poetry was also relatively wide. After Wei and Jin Dynasties, it gradually became strict, and some rhyming books appeared, such as Li Deng's Sound Category. Lv Jing's Rhyme Collection. Xiahou Yong's "Four Rhymes" and so on, but these private works can not play a unified role in rhyming standards. In the Tang Dynasty, Sun Hou published Tang Yun according to Qieyun, and this book became the official rhyme book. The phonetic system of Qieyun is a combination of ancient and modern pronunciations and the pronunciations in northern Sui Dynasty, which was decided by sorting out and didn't completely match the actual pronunciations in any region at that time. Since rhyming poetry should be based on it; Naturally, it leaves the actual situation of spoken English. This is a major change in the rhyme of classical poetry. In the Song Dynasty, Chen Pengnian and others wrote a novel "Guang Yun", and its phonetic system was basically based on "Tang Yun", which was divided into four tones and * * * 26 rhymes. It's complicated, but poetry is allowed to be used together, and similar rhymes can be used together, so there are actually only one hundred and twelve rhymes. In Song Chun, Liu Yuan, Pingshui, revised the Rhyme of the Rites of Renzi New Publication, and simply combined the rhymes that can be used together in Guang Yun to become 17 rhymes, which is called Pingshui Rhyme. At the end of Yuan Dynasty, Yin Shifu made a textual research on "Ping Shui Yun" and wrote "Yun Fu Qun Yu", which was also 16 rhymes. Since the Ming and Qing Dynasties, poets have basically written poems according to these 16 rhymes. However, "Ping Shui Yun" preserved the pronunciation of Sui and Tang Dynasties, which was far from the spoken language at that time, so there was another kind of "Song Book" in Yuan Dynasty, which was compiled completely according to the phonetic system of the North at that time to meet the needs of writing northern songs. Notable is Zhou Deqing's "Central Plains Rhyme", which has four tones and nineteen rhymes. The modern northern quyi rhymes according to the "Thirteen Strings", which is inherited from the Central Plains Rhyme. "Shisanzhe" conforms to the phonetic system of modern Mandarin and can be used as the basis of new poetic rhyme.
in a word; Rhyme is the regular repetition of the same vowel, just like a tonic that appears repeatedly in music, and the whole music can be run through it. The rhyme of China's poems is at the end of the sentence, which is always a pause in meaning and sound, and then it is accompanied by rhyme, so the sense of rhythm is stronger.