Poetry is more demanding, and music is more casual. Here are the three elements of poetry from Baidu, for reference only...
Poetry refers to Chinese poetry. , that is, traditional Chinese poetry, including ancient style, Tang poetry, Song lyrics, and Yuan opera; here only traditional poetry is discussed as a representative.
Poetry has three major elements, which I think are "rhyme, rhythm and taste". This statement is not necessarily correct, nor may it be comprehensive. Let me discuss it with my colleagues in this humble article.
The first element - rhyme: rhyme refers to "rhyme". Rhyme is the first element of poetry and the most basic form of poetry. Classical poetry emphasizes rhyme, and poetry without rhyme is not Chinese poetry. It may be called "prose poetry", "free verse", "modern poetry" and other genres.
The purpose of rhyme is to make it catchy for readers, easy to remember, and in line with the traditional habits of the Chinese people. People usually say that a certain poem is very charming, which refers to the rhythm and flavor of the poem. What is rhyme? Simply put, the rhyme part of the last word of the previous sentence is the same as the rhyme part of the last word of the next sentence.
For example: "There is bright moonlight in front of the bed, which is suspected to be frost on the ground" (Li Bai). Both "light" and "shuang" belong to the rhyme "ang", even if they rhyme together; another example is: "I sleep in spring without realizing the dawn, and I hear birds singing everywhere" (Meng Haoran). "Xiao" and "bird" belong to the rhyme of "a concave", and they also rhyme. But poems usually have more than four sentences, so there are third, fourth, and fifth sentences. ． ． Do you want it to rhyme? This depends on the genre of the poem. If it is an ancient style, the rhyme is much freer. You can rhyme every other sentence, you can rhyme throughout the text, and you can also change the rhyme midway. In short, whether you rhyme throughout the poem (one rhyme to the end) or change rhymes, you must rhyme on the same rhyme part. If you rhyme on the wrong rhyme part, there will be problems in the poem, and you will feel awkward when reciting it.
(1) Rhyme Book Model: Writing poems, lyrics, and composing music must all be based on the rhyme book. Before the Qing Dynasty, the ancients mostly used "Pingshui rhyme" when writing poems. It was revised by Liu Yuan, a native of Pingshui, Jiangbei in the Southern Song Dynasty, based on the rhyme books of his predecessors, hence the name "Pingshui rhyme". Later, Wang Wenyu of Jin Dynasty published "Xinkan Pingshui Rhyme Rhyme". Liu Yuan's "Pingshui Rhyme" combined the 206 rhyme parts of his predecessors into 107, and there are many common rhymes. For example: (1) The four rhymes of "Ma, Hua, Ye, Xie" rhyme together; (2) The two rhymes of "Bo, Ge" rhyme together; (3) The three rhymes of "Zhi, Qi, Er" rhyme together; (4) The two rhymes of "Gu, Yu" rhyme together; (5) The two rhymes of "You, Qiu" rhyme together; (6) The four rhymes of "Hui, Fei, Huai, Lai" rhyme together; (7) The two rhymes of "天,山" The two rhymes of "geng and dong" rhyme together; (9) the two rhymes "jiang and yang" rhyme together. ． ． etc.
It has been more than seven hundred years since modern times. Due to great changes in pronunciation, some rhyming methods in Pingshui rhyme no longer meet the requirements of modern people. Despite this, a considerable number of people still use it, which makes beginners confused and even misleading. Therefore, there are many voices calling for phonetic reform. Now, new rhyme books have been published. The rhyme books based on Mandarin can be used as a reference tool for writing poems. Beginners should use this as a model.
(2) Rhyming form: Take quatrains as an example. Quatrains are limited to four sentences. Those exceeding four sentences are rare and rarely used. There is another kind of quatrain that is similar to the quatrain, but the oblique and oblique lines are not correct, which modern people call "ancient quatrain", and the rhyme form is the same. Some quatrains rhyme with flat tones, and some rhyme with oblique tones.
(1) Ping tone rhyme: When the first sentence has a flat tone rhyme, the second and fourth sentences will rhyme with a flat tone, and the third sentence will not have a rhyme (the last word must be a oblique tone). For example (the first sentence uses rhyme for flat feet):
The sun shines on the incense burner and produces purple smoke. Looking at the waterfall hanging in front of the river in the distance,
The water flows down three thousand feet, which is suspected to be the Milky Way falling from the sky.
When the first sentence has a square rhyme, it does not rhyme. The second sentence must use a flat rhyme. The third sentence does not need to rhyme (it must have a flat rhyme). The fourth sentence rhymes with a flat rhyme. Example:
Two orioles sing in the green willows, and a row of egrets ascends to the blue sky.
The window contains Qianqiu snow of Xiling, and the door is docked with a ship thousands of miles away from Dongwu.
(2) Oblique rhyme: When the first sentence has oblique rhyme with oblique feet, the second sentence rhymes with oblique rhyme, the third sentence has no rhyme (it must be flat feet), and the fourth sentence rhymes with oblique rhyme. Example (not glued):
Thousands of birds have disappeared, thousands of people have disappeared,
A man with a small boat and a coir raincoat fishing alone in the snow in the cold river.
When the first sentence does not rhyme with oblique feet, the second sentence uses oblique rhymes, the third sentence does not rhyme (it must be flat feet), and the fourth sentence rhymes with oblique rhymes.
Example:
Sitting alone in the secluded bamboo, playing the piano and whistling loudly,
People in the deep forest don’t know, but the bright moon comes to shine.
As for the rhymed poems, one verse is composed of eight lines, while the arranged rhymes are composed of ten or more lines, all in an even number, and all in plain rhyme. If the first sentence uses rhyme, the second, fourth, sixth, and eighth sentences rhyme in sequence. When the first sentence has a square foot, it does not rhyme. Then rhyme starts from the second sentence, and the fourth, sixth, and eighth sentences rhyme (that is, even numbers rhyme, odd numbers do not). bet). Only use flat rhymes, not oblique rhymes. The rhyme must be the same to the end, and you cannot change the rhyme. Example:
"Prime Minister of Shu" - Du Fu (the first sentence uses flat-footed rhyme):
Where can I find the ancestral hall of the Prime Minister? There is a lot of cypress outside Jinguan City.
The green grass reflects the spring color on the steps, and the oriole sounds good in the sky through the leaves.
Three times he has troubled the world, and two dynasties have helped the old ministers.
He died before leaving the army, which made the hero burst into tears.
"Moonlight Night" - Du Fu (the first sentence is oblique and does not use rhyme):
Tonight in Yanzhou, I can only watch the moon in my boudoir alone (look, Gu Pingsheng)
I pity my children from afar, but I still remember Chang'an.
The fragrant mist and clouds make the servant girl wet, and the Qinghui jade arm is cold (wet, ancient oblique sound)
When I lean on the empty canopy, my eyes will shine with dry tears.
Hanjiang Black Crane
The second element - Rhythm: Rhythm refers to the formal rules of poetry. Poetry has a poetic pattern, and words have a rhythm; here we only talk about the rhythm of quatrains and rhymed poetry. Jue and rhymed poems have their own special prescribed forms, which were gradually formed from the early Tang Dynasty and have a history of more than 2,000 years. To break this rule and create an alternative form, it must pass the test of time and become established by custom, that is, it must gain historical recognition. Metrical poetry has this kind of honor, which has been unbeatable for thousands of years. So what are the special requirements for quatrain
poetry?
(1) Limits on the number of sentences and words: (1) Quatrain category: Five-character quatrains - each is limited to four sentences with five characters each, referred to as five-character quatrains; seven-character quatrains - each is limited to four Sentences, each sentence has seven characters, referred to as seven characters. (2) Rhymed Sentences: Five-Character Rhymed Sentences - each sentence is limited to eight sentences, each sentence has five characters, referred to as Wu-Lv; Seven-Character Rhymed Sentences - each poem is limited to eight sentences, each sentence has seven characters, referred to as Qi-Lv. (3) Rhythm arrangement category: Five-character rhythm arrangement - each piece has ten or more than twelve sentences, odd numbers are not allowed, each sentence has five characters, referred to as five lines; seven-character rhythm - each piece has ten or more than twelve lines , odd numbers are not allowed, each sentence has seven characters, referred to as seven rows.
(2) Ping and oblique pairs: Ping and oblique are the inherent tones of words. Take the pronunciation of "Xinhua Dictionary" as an example: the first and second tones are flat tones, and the third and fourth tones are oblique tones. Sentences composed of words must conform to the "level spectrum" of the poem, so there is a "sticky pair" requirement. Take the balance of quatrains as an example: the first sentence should be relative to the second sentence, the second sentence should be consistent with the third sentence, and the third sentence should be relative to the fourth sentence. Before giving an example, we must first clarify the meaning of "sticky" and "right". "Pair" means the opposite (correspondence) between odd-numbered sentences and even-numbered sentences, that is, flat tones to oblique tones; "sticky" means to arrange adjacent sentences in the same oblique tones, that is, flat tones to flat tones, and oblique tones to oblique tones. The Ping and Ze notation of quatrains can be summarized into four styles, for example:
The first style, Ping Qi Ping Jie:
Ping Ping Ze Ping Ping Ping Ping, (first sentence)
廄廄平廄廄平. (Second sentence)
廄廄平平廄廄, (third sentence)
平平任仄仄平平. (Fourth sentence)
Second style, flat and flat legs:
Ping, flat, flat, flat, flat, (first sentence)
Zhi, flat Flat, flat, flat. (Second sentence)
廄廄平平廄廄, (third sentence)
平平任仄仄平平. (Fourth sentence)
The third form, the flat and flat foot pose:
Zhiqi leveling level leveling level, (first sentence)
Ping leveling leveling level. Flat and flat. (Second sentence)
Ping, level, level, level, (third sentence)
Ping, level, level, level.
(Fourth sentence)
Fourth pose, flat foot pose:
Zhizhipingpingzhizheping, (first sentence)
Pingpingzhi Flat and flat. (Second sentence)
Ping Ping Ping Ping Ping Ping Ping, (Third sentence)
Ping Ping Ping Ping Ping Ping. (Fourth sentence)
As can be seen from the above examples, the so-called adhesion between flat and oblique words mostly occurs in the first four words of the sentence. Since even-numbered sentences use rhyme and odd-numbered sentences do not, and the flat and oblique patterns of each sentence must avoid "lone flat" and "three flat tails" or "three oblique tails", the flat and oblique formats have changed, and the following words cannot be the same one by one. Sticky.
As for the rhythmic poems, they are eight sentences composed of two types of quatrains in the level spectrum. The rhythm is composed of three or more types of quatrains in the level spectrum. Just pay attention to the joints.
(3) Adaptation of oblique and oblique: after all, oblique and oblique is just a form. Being too demanding will hinder the poet's writing and prevent the poem from being fully expressed.
So the ancients had another alternative:
(1) Regardless of the first character: the first character of each sentence can be in flat tone or oblique tone, which is called "tong".
(2) Regardless of the first and third words: on the premise of not violating the principle of isolation, the first and third words are allowed to be "flat or square".
There are also cases where the fifth character is ignored, such as "The wind is strong and the sky is high, and the ape is screaming in sorrow". The fifth character should originally be a oblique character, and "ape" is a flat character, and the sixth character "xiao" is a solitary character.廄(allowed). In this case, it is better to be more flat than to use a flat sound. The ancients called it "prefer flat to flat". It can be seen that the so-called "one, three, five, regardless" is limited to seven words, and it also depends on which style it belongs to. For example: "Two orioles sing in the green willows, and a row of egrets ascend to the blue sky"; if the fifth word is ignored, it is bound to be a violation of " "Three-tailed flat" and "three-tailed flat" have become "two orioles called green willows, and a row of egrets flying in the sky".
(3) Guping: In a five-character or seven-character sentence, if there is only one flat tone in the remaining syllables except the first and last two ends, it is regarded as "Guping"; for example "The wild fire will never burn out", "The apricot blossoms are red in the rain", "I will not be drunk by the spring breeze", "When will the bright moon shine on me again" and so on. Lu Jue Shi does not allow loneliness, and when it cannot be avoided, it must be "rescued".
(4) Rescue: It is a remedial measure taken when the poetry may be out of balance. In a sense,
it is the same as "one, three or five". cause and effect. Because too much "flexibility" will inevitably lead to "out of body", so another "rescue" arises, and we will let it go for the time being. Aojiu can be divided into "couples to save" and "dangshu to save".
"Couplet rescue" means to remedy the situation in the next sentence (even-numbered sentence). If the previous sentence of the poem really has to be replaced with a plain character in the corresponding place of the next sentence. For example: "The wild fire cannot be burned out, but the spring breeze blows it again"; the word "burn" offends Guping, so use the word "blow" to remedy it. Another example is: "The green grass reflects the color of spring on the steps, and the oriole's sound is good in the sky across the leaves." The word "spring" is too lonely, so use the word "empty" to make up for it. This remedy is also called "Gupingbiaojiu".
"Dangjuzhu" is also called "Bensentence self-help", which is to deliberately change the position of a certain word in order to maintain the relative balance of the number of words. For example: "I pity my children from afar, but I still remember Chang'an." The original meaning of the previous sentence is "I pity my children from afar", but the author first considered the contrast between the parts of speech and changed the position of the two words. As for the ordinary convention, he did not care. There are many examples of this type. Later generations regarded it as "dangjusui". I think it is actually out of the norm and a "flexibility among variations" and should not be promoted. Although Ping and Qi can be modified, it is not a matter of chaos and chaos. No matter how you change it, you must avoid "three-tail flat" and "three-tailed flat".
(5) Sanweiping: refers to the three words at the end of a poem that all have a flat tone, such as "continuous autumn rain and cold weather", "thousand-year-old trees still cover the sky".
(6) Three tailed oblique sounds: refers to the last three characters of a poem that are all oblique sounds, such as "The country is as beautiful as a painting", "Mandarin ducks halfway through" and so on.
Not only are three-tail flat and three-tailed poems not allowed in quatrain poetry, but also couplets derived from regular verse are prohibited.
(7) Supplementary remarks about Gu Ping: There is another saying: "In addition to rhymes, in a sentence with a flat foot, if an isolated flat character appears in the sentence, it is Gu Ping; a flat foot In the sentence, even if there is only one word for "ping", it cannot be considered as "Gu Ping". This clarifies the concept of "Gu Ping", that is, Gu Ping can only occur in the "Qi Ping Jiao" sentence pattern. If this is used as a criterion, then the above-mentioned "apricot blossoms bathe in red" and "when will the bright moon shine on me again" are considered Guping sentences; but "the spring breeze makes me drunk because of wine" and "the wild fire cannot be burned" are not Guping sentences. . According to the point of view of "flexibility between flat and oblique", sentence patterns that do not belong to Guping are allowed to appear in regular sentences. Therefore, sentences of the form "Wildfire cannot burn out" are "compliant with regular rules". But I beg to differ, because this type of sentence pattern is too out-of-rhythm, and non-poetry masters would not dare to use it. In fact, rhythm is just a form. It can only restrain mechanical people and cannot be a tool to imprison thinking. It should be said that some verses in Tang poetry that violate the regular rhythm are actually exceptions and "unconventional" sentences. Because of their admiration for celebrities, later generations called them "flexions". Because of the flexibility, future generations have room to imitate and will not be criticized. The meter is stuck. My understanding of "Guping" is: any five-character rhyme sentence with less than two flat tone characters in a sentence is considered Guping; any seven-character rhyme sentence with less than two flat tone characters in a sentence Three, this sentence is considered Guping.
As for the trick, it is actually a last resort. It complicates the rhythm and leaves beginners at a loss. So it is better to be honest and follow the rules. You should follow the rules from the beginning and don't commit "isolation". Then you don't have to think about how to remedy it and save yourself trouble.
(4) Antithesis of Parts of Speech: Except for quatrains (opposition is allowed, but not required), the middle two couplets of the rhythmic poem must be dualistic; there are eight four-part-of-speech couplets in the rhythmic poem, and one or two sentences are called the "first couplet" ", three or four sentences are called "chin couplets", five or six sentences are called "neck couplets", and seven or eight sentences are called "tail couplets". Among them, the chin couplet and the neck couplet must be in the form of opposition; and the rules are more stringent. Except for the first and last couplets, the rest must be in opposition. Example:
"Quequatrains" - Du Fu (full antithesis)
Two orioles sing in the green willows, and a row of egrets ascends to the blue sky.
The window contains Qianqiu snow of Xiling, and the door is docked with a ship thousands of miles away from Dongwu.
"The Prime Minister of Shu" - Du Fu (the chin couplet and the neck couplet are both in opposition)
Where can I find the ancestral hall of the Prime Minister? There is a lot of cypress outside Jinguan City.
The green grass reflects the spring color on the steps, and the oriole sounds good in the sky through the leaves.
Three visits have troubled the world, and two dynasties have helped the hearts of old ministers.
He died before leaving the army, which made the hero burst into tears.
"Climbing High" - Du Fu (Full Confrontation)
The wind is strong, the ape high in the sky whistles in mourning, and the white bird flies back from the clear sand in Zhu.
Boundless falling trees rustle, and the endless Yangtze River rolls by.
Wanli is always a guest in the sad autumn, and he has been sick for hundreds of years and only appears on the stage.
Hard and bitter, I hate the frost on my temples, and my wine glass becomes muddy when I am depressed.
Hanjiang Black Crane
The third element - taste: Taste refers to the poetic taste. Poetic flavor is the quality expression of poetry and the connotation of poetry. The taste of poetry depends on the readers. If the content is bland and tasteless, then no matter how perfect the meter is, the poem will be just an empty frame, with no recitation value and no hope of spreading.
The poet may not necessarily know why he writes poetry, but he must know why he writes poetry. This means that poets must shoulder historical responsibilities, be responsible for history, be responsible for readers, and be responsible for themselves. Therefore, it is emphasized that poetry must be of high quality and have a poetic flavor. Some people compare the form of poetry to a wine bottle, and the wine in the bottle is the connotation of poetry. If the rhyme and rhythm of poetry are the body, then the taste and quality of poetry are the soul. So poetry is the most critical element.
Of course, good flowers depend on green leaves, and good wine depends on good bottles. The unity of content and form is the perfection of poetry. So what exactly is poetry? It can be summed up in six words: philosophy, taste, and truth.
(1) Philosophy: Poetry serves social life, so it must be endowed with life philosophy and social philosophy. It must be expressed using language arts, usually using metaphors and metaphors. For example, Yu Qian's "Ode to Limestone" says: "Thousands of hammers have carved out the deep mountains, and the fire has burned them as if it were nothing.
Don't be afraid of broken bones and powder, but keep innocence in the world." The essence of lime here is used to imply that life needs to achieve a brave and steadfast character.
Another example is Bai Juyi's "Farewell to the Ancient Grassland": "Farewell to Fude Ancient Grass": From the original grass, the grass dries up every year. Wildfires never burn out, but spring breezes blow them again. " shows the tenacious vitality of nature, and also metaphors the inevitability of the development of certain things in human society. These poems express philosophy, easily deepen people's impressions, and are regarded as mottos.
(2) Interesting: Poetry must be sentimental and interesting. Without interest, it is like a fool's game, which is boring. It only repeats a certain monotonous action or an old lyric, which makes people feel boring and boring. Poems must be true to one's feelings, touching people, and interesting, making people feel immersed in the situation. Of course, emotion and interest may not always coexist, but they can at least be one of them.
Poetry should draw materials from life, grasp certain characteristics, and use poetic language to sublimate and express it, making people read it mesmerizingly. For example: "The stone path on the cold mountain in the distance is sloping, and there is something deep in the white clouds." people. Stop and sit in the maple forest at night, the frost leaves are as red as the flowers in February" (Du Mu's "Mountain Travel"). This is a beautiful and moving picture, sentimental, scenic and interesting. Another example: "There are layers of peach blossoms on the mountain, among the clouds Fireworks are my home. Silver and gold hairpins are used to carry water, long knives and short hats are used to burn rice." "The willows are green and the river is level, I hear the sound of people walking on the bank, the sun rises in the east and rains in the west, the road is not clear but there is sunshine. "These are two "Bamboo Branch Poems" by Liu Yuxi. The former one describes the labor scenes of young men and women in rural areas, and the latter one describes the love process of young men and women. It is scenic, interesting and sentimental. (3) Truth: Poems must be real in order to be touching. , that is: true feelings and true intentions. The first is true feelings: For example, in Meng Jiao's "The Wandering Son's Song", "The thread in the hands of a loving mother is on the clothes of a wandering boy." Before leaving, I was afraid of returning late. Who said that the heart of an inch of grass will be rewarded with three rays of spring? "This is a swan song that comes from the heart. It has shocked the hearts of many wanderers for thousands of years, and it is still chanted to this day. The main reason is that the poet has deep feelings and rich poetic flavor, which touches people's hearts. Another example is Li Bai's "Gift to Wang Lun": " Li Bai was about to leave in a boat when he suddenly heard singing on the shore. The water in Peach Blossom Pond was a thousand feet deep and was not as deep as Wang Lun's send-off. "The poems are as clear as words, without politeness, but the emotions are very sincere.
The second is true meaning: freehand brushwork, no decoration, real and natural. For example, Li Bai's "Yellow Crane Tower Sends Meng Haoran to Guangling": "My old friend bid farewell to the Yellow Crane Tower in the west. Fireworks descended from Yangzhou in March. The shadow of the solitary sail was gone in the blue sky. Only the Yangtze River could be seen flowing in the sky." Another example is Meng Haoran's "Passing the Old Friend's Village": "The old friend brought chickens and millet and invited me to Tian's house. The green trees border the village, and the green mountains and hills slope outside. Open a pavilion to enjoy the scene, drink and talk about mulberry and hemp. When the Double Ninth Festival comes, there will be chrysanthemums. "Almost all of them are line drawings, depicting scenes and emotions, blending the scenes, which is quite fascinating.
Many people write poems, and the subject matter is not false, but when it comes out from the words, it seems like they are moaning for nothing, which makes them look unreasonable. Truth is mainly written without emotion, not true feelings, which gives people the feeling that "young people don't know the feeling of sorrow, and they write about sorrow just to compose new poems." Writing poems for the sake of writing poems will definitely not be a good poem. Observe phenomena, experience things, and think about life with enthusiasm. When you feel that you have something to say and you have feelings that you must express, your true feelings will come to mind in your writing. Coupled with your usual language and art skills, I believe that the poems you write will be Readers will naturally appreciate it greatly.
Of course, there is no need to overstate the truth. For example, when describing scenes, narratives, reasoning, and arguments, there is no need to exaggerate. Big. Once the words get too big, it’s hard to wrap them up, causing them to be top-heavy and mismatched.
Some people like to use the majestic poems of the ancients when describing scenery. For example, they like to use "Galaxy" to describe waterfalls and "love mountains". "Weiwei" is used to describe rivers, and "dragons and phoenixes" are used to describe auspicious atmosphere. In fact, they are all clichés, ethereal and nihilistic. Even if they are metaphors, they are just like metaphors. It is cliche and lacks freshness.
Some people like to wear high hats and listen to flattering words. Poets should keep their stance and write straightly. It is said that during the Five Dynasties and Ten Kingdoms period, Qian Liu, the king of Wuyue, was ambitious. exuberant.
Monk Guan Xiu once sent a poem to Qilu. The poem contains the line "Three thousand guests are drunk with flowers in the hall, and fourteen states are cold with one sword." King Qian appreciated it very much, but felt that it was too shabby to say that he only had fourteen states. He asked people to spread the word that changing "Fourteen Prefectures" to "Forty Prefectures" would be more elegant, and said that he could come to see him after the poem was changed.
After hearing this, Guan Xiu said: "King Qian obviously only has fourteen states, but he still wants to pretend to be a facade. If more states are added, the poems can only be changed; since it is difficult to add more states, the poems are also difficult to change, so it's okay not to see him. ." This story warns poets from another perspective that they must seek truth from facts and not be flattery.