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Although Chinese has four tones, in modern poetry, it is not necessary to distinguish the four tones like words and music. It only needs to be roughly divided into two tones: equal and oblique. Can. To create fluctuations in tone, flat tones and oblique tones must be used alternately to avoid monotony. Chinese basically uses two syllables as a rhythm unit, and the stress falls on the following syllables. Taking two syllables as a unit and interlacing oblique and oblique to form the basic sentence pattern of modern poetry, which is called a rhythmic sentence. For Wuyan, its basic sentence pattern is: Ping Ping Ze Ping Ping or Ping Ping Ping Ze. In these two sentence patterns, the beginning and end of Ping Ping Ze are the same, which is the so-called Ping Qi Ping Fa and Ze Qi Ping Fa. If we want to make changes in the production point, change to the first and tail flat, we can move the last word to the front, and turn it into: Pingping Ping Ping 囧 ＋ Pingping Ping Ping Ping Ping Ping Ping Ping Ping Ping Ping Ping in the future. These four basic sentence patterns cannot be found. The seven-character poem just adds a rhythm unit in front of the five-character poem, and its basic sentence pattern is: 仄仄平平仄仄平平任仄平任仄仄平仄仄平仄任仄平平 No matter how you change it, the seven-character modern poem will not change. These four basic sentence patterns. There is a rule in these sentence patterns, that is, every pair must be reversed: the fourth character's flat and oblique is opposite to the second character, and the sixth character is opposite to the fourth character. Repeating this way creates a sense of rhythm. However, it can be reversed or not in odd cases. This is because the stress falls on the even syllables, and the singular syllables are unimportant in comparison. When we write poetry, it is difficult to make every sentence completely conform to the basic sentence pattern. We may be able to do it when writing quatrains, but it is almost impossible to write eight lines or even longer rhyme poems. How to work around it? Then you have to sacrifice the less important odd numbers and keep the more important even numbers and the most important last word. Therefore, there is such a formula, called "One, three, and five don't matter, two, four, and six are clear", which means that the first, third, and fifth (only refers to seven words) can be flexibly handled, and the second one can be handled flexibly. , four, six and the last word must be strictly observed. This formula is not completely accurate. In some cases, one, three, and five must be discussed, and in specific sentence patterns, two, four, and six may not be clear. We will talk about it later, but let’s first take a look at how to use these Basic sentence patterns make up a complete poem.
Adhesive pairs
We already know the basic sentence patterns of modern poetry. How do we form a poem from these sentences? The sentences of modern poetry are based on two sentences as a unit. Every two sentences (one and two, three and four, and so on) are called a couplet. The upper and lower sentences of the same couplet are called couplets. The second sentence of the first couplet and the second sentence of the second couplet are called couplets. The previous sentence is called the adjacent sentence. The composition rules of modern poetry are: couplets are relative to each other and adjacent sentences are adhering to each other. Relative couplets refer to the fact that the upper and lower sentences in a couplet are exactly the opposite. If the previous sentence is: 仄仄平仄平平, the next sentence is: 平仄仄平. Similarly, if the previous sentence is: 平平平仄仄the next sentence is: 任仄仄平平 Except for the first couplet, the upper sentences of the other couplets cannot rhyme. It must end in a oblique tone, the next sentence must rhyme, and it must end in a flat tone. Therefore, except for the first couplet, the couplets of five-character modern poetry only have these two forms. Qiyan's is similar to this. If the upper sentence of the first couplet does not rhyme, there is no difference from the other couplets. If the upper and lower sentences both rhyme and end with a flat tone, the first couplet cannot be completely opposite, and it can only be wrong from beginning to end. , there are only two forms: pingqi: 平平仄仄平仄仄仄平仄千: 任仄仄平平仄仄仄平 Let’s take a look at the adhesion of adjacent sentences. The meaning of "stick together" originally is the same, but because odd-numbered sentences ending in a oblique tone are used to stick together even-numbered sentences ending in a flat tone, it can only be achieved by sticking the beginning but not the end. For example, the previous couplet is: 廄仄平平仄平平仄仄平. The upper sentence of the next couplet must be adhered to the lower sentence of the previous couplet. It must also start with a flat tone, but must end with a flat tone, so it becomes: 平平 Why do adjacent sentences have to stick to each other? The reason is very simple, it is to change the sentence pattern and not be monotonous. If the couplets are relative and the adjacent sentences are also relative, it becomes: 仄仄平仄 平仄仄平 任仄平仄 平平仄仄平 The first and second couplets are exactly the same.
Before the Tang Dynasty, the so-called Qi and Liang style poems only talked about the relative, not the adhesion. From the beginning to the end, they just kept repeating two sentence patterns. After the Tang Dynasty, both couplets were relative and adjacent sentences were adhering to each other, so there would be no repeated sentence patterns in a quatrain. According to the rules of sticking pairs, we can deduce four formats of five-character quatrains: 1. The first sentence of the first sentence does not rhyme: 仄仄平仄平平仄仄平 (rhyme) 平平任仄任仄仄平平 (rhyme) 2. The first sentence of "Ping" rhymes with: "Ping Ping Ping" Ping Ping Ping Ping Ping Ping Ping Ping Ping (rhyme) 4. The first sentence of Ping rhymes with: Ping Ping Ping Ping (rhyme) Ping Ping Ping Ping (rhyme) Ping Ping Ping Ping Ping Ping Ping (rhyme) Ping Ping Ping Ping Ping Ping Ping (rhyme) Five character poems are similar to this, Just add four more sentences based on the principle of sticking to pairs. For example, the five-character rhyme poem that rhymes with the first sentence of 仄仄仄仄平平 (rhyme) 平平任仄平 (rhyme) 平平平任仄任任仄平平 (rhyme) 任仄平仄平仄仄平 (rhyme) 平平仄廄 廄仄仄平平 (rhyme) According to the rules of sticking pairs, ten or twelve sentences can be added infinitely to form a rhythm. Sticky pairs also have a certain degree of flexibility, and basically follow the formula of "no matter what is one, three, and five, but distinguish two, four, and six." That is to say, to check whether a modern-style poem follows sticky pairs, generally look at its even number and the last word That’s it. If the couplet is wrong, it is called mismatch; if the adjacent sentence is not sticky, it is called loss of cohesion. Loss of right and cohesion are taboos in modern poetry. In comparison, loss of alignment is more serious than loss of adhesion. The rules of stickiness were determined relatively late. In the poems of poets in the early Tang Dynasty, we can often see stickiness loss. Even in Du Fu's poems, there are occasional stickiness loss, such as the second poem of the famous poem "Ode to Ancient Ruins": Shake Luo knows Song Yubei well, and he is also my teacher in being elegant and elegant. I shed tears when I look forward to the future, depression is different from generation to generation. The old house in the mountains and rivers is empty of text, and the deserted terrace with clouds and rain cannot be dreamed of. In the end, all the Chu palaces were destroyed, and the boatman’s advice is still doubtful. The third sentence failed to stick to the second sentence. This may be due to a temporary negligence due to the influence of Qi and Liang poets unknowingly. The rules of rightness were established in the Qi and Liang Dynasties, so it is rare to see wrongness in Tang poetry. Among the extant modern-style poems by Du Fu, only one of them, "Send a Gift to the Ten Generals Cheng Jun", is incorrect: The general is brave and brave, with a two-horned bow hanging from his arm. Tangled green horses, going in and out of Jincheng. When the time is critical, the Yue is not given, and the situation is difficult to achieve success. In the hall full of guests, no one has the same righteousness. Except for the first character in the first and second sentences, the other characters are exactly the same, which is incorrect. This may be due to an oversight due to lack of time to carefully process the poem as a gift. There is also a situation where rhythm is ignored for the sake of expression. For example, another famous poem by Du Fu, "White Emperor": The clouds in Baidi City come out, and the rain in Baidi City turns the basin. The high river is thundering in the rapid gorge, and the sun and moon are dimming among the ancient trees and green vines. It is better to return to the army than to fight with horses. Now there are hundreds of thousands of families. The mourning widow begs for death, where is the village in Qiuyuan that mourns? The second character of the second sentence should originally be in flat tone, but now the oblique tone character "di" is used, which is not only inconsistent with the first sentence, but also inconsistent with the third sentence. But this was intentional to create parallelism by repeatedly using "Baidicheng", so the meter had to be sacrificed.
Gu Ping and San Ping Diao
The previous statement that “one, three, and five will not matter” is not completely correct. In some cases, one, three, and five must be discussed. For example, the five-character Ping Qiping sentence ends with: Ping Ping 廄廄平. The third character of this sentence can be ignored, and it can also be used in Ping tone. But if the first character is changed to a flat tone, it becomes: 仄平仄仄平. In addition to the rhyme, there is only one flat tone character in the whole sentence. This is called "Guping", which is a taboo in modern poetry and is rarely seen in Tang poetry. The previous quotation from Du's poem "A bow hangs on two horns" is a violation of Guping. An irregular sentence like this is called an awkward sentence. Lao Du intentionally wrote many modern-style poems in different styles, but this kind of exploration is another matter. What should I do if the first word must be in oblique tone? You can also change the third character to the flat tone: 廄平平廄平. This avoids loneliness. This approach is called Aobiao, which means avoiding awkward sentences.
For example, the third part of "Twelve Songs of Resurrection": All nations still have armies and horses, how is my hometown now? There were few acquaintances in the past, but there were already many battlefields. The second sentence should have been "平平廄廄平", but now the first word uses the oblique tone "gu", and the third word must use the flat tone "jin" instead. The seven-character poem is similar to this, that is, the third character of the "廄廄平平廄廄平" sentence cannot be changed to the oblique tone. If the oblique tone is used, the fifth character must be changed to the flat tone to avoid the oblique tone. For example, one of the "Nine Quatrains": Seeing the guest is worried and unable to wake up, and the rogue spring beauty comes to Jiangting. That is to say, I sent the flowers to bloom for further study, and then taught the orioles to talk about Tai Ding Ning. The first sentence should have been "廄廄平平廄廄平", but now the third word uses the oblique tone "ke", and the fifth word uses the flat tone "chou" to compensate (note that "awake" is a flat tone). The so-called "Guping" refers specifically to the plain ending sentence (that is, the rhyming sentence). If it is a oblique ending sentence, even if the whole sentence has only one flat character, it is not considered to be guilty of Guping, but at most it is an awkward sentence. For example, changing "廄廄平廄" to "廄仄廄平廄" does not constitute an offense and can be used. There is another situation, which is the ending of the five-character 组qiping sentence: 廄仄仄平平. In this sentence pattern, the first character can be ping or zhi, but the third character cannot use the flat tone character. If the flat tone character is used , became: 廄廄平平平. Three flat tones appear in succession at the end of the sentence, which is called "three flat tunes". This is a special form for ancient poetry. It must be avoided when doing modern poetry, and it cannot be remedied. Similarly, the seven-character Ping Qiping sentence ends with "平平廄仄仄平平". The first and third characters can be either flat or oblique, but the fifth character cannot be in flat tone, otherwise it will become a three-ping tune. As long as the solitary and three-level adjustments can be avoided, "ignoring one, three, and five" is completely correct.
Aojiao
If you look carefully at the basic formats of modern poetry mentioned above, you will find a rule: in a couplet, the total number of flat-tone characters and oblique-tone characters is equal . If we use a flat tone character instead of a flat tone character (or a flat tone character instead of a flat tone character when we should use a flat tone character in "135"), then we often have to use the appropriate place in the sentence or couplet. Change the oblique-tone characters to flat-tone characters (or change the flat-tone characters to oblique-tone characters) to maintain a balance in the number of flat and oblique characters in a couplet. That is to say, first use Ao (unconformity), and then save, the combination is called Ao Jiao. The remedy for Gu Ping mentioned earlier belongs to self-rescue in this sentence. Another situation is to remedy the situation in couplets. For example, in the five-character sentence pattern "廄廄平平廄", the third character is changed to the oblique tone. This is often compensated by using the flat tone in the third character of the couplet, that is, "任仄平平廄, 平平仄廄平" ” became “廄廄廄廄廄,平平平廄平”. For example, "Li Bai is pregnant with me at the end of the day": The cool breeze rises at the end of the day, what do you think of the gentleman? When will the swan geese arrive? There will be plenty of autumn water in the rivers and lakes. The article hates life and is full of charm, and the evil spirits are too joyful. In response to the words of the wronged soul, I sent a poem to Miluo. The third character of the third sentence "When will the swan geese arrive" should be flat and oblique, and the fourth sentence "There are many autumn waters in the rivers and lakes" should be changed to a flat tone. The seven-character pronunciation is similar to this. The fifth character of "平平廄仄平平廄" uses the oblique tone. The fifth character of the couplet is replaced by the flat tone to remedy the situation, that is, "平平廄仄平平廄, 任仄平仄廄" "Ping" becomes "Ping Ping Ze Ping Ping Ping Ping, Ping Ping Ping Ping Ping". Even the first word, the poet likes to save it. For example, "Lovely Rain on a Spring Night": Good rain knows the season, and spring will happen. Sneaking into the night with the wind, moistening things silently. The wild paths are all dark with clouds, but the fire on the river boats is only bright. Look at the red and wet place at dawn, the flowers are heavy on the official city. The first word of the seventh sentence should be flat and the flat tone "xiao" is used. The first word of the eighth sentence is replaced by the flat tone "hua". Another example is "Ge Night": At the end of the year, the yin and yang rush to the scene, and the sky is frosty and snowy, and the night is cold. The sound of drums and horns at the fifth watch is solemn and solemn, and the shadows of the stars in the Three Gorges waver. The families in Yewei heard about the war and were cut down, and the fishermen and woodcutters started in many places in Yige. The crouching dragon and the leaping horse end in the loess, and people and things are still lonely. The first character of the third sentence should be flat and oblique ("五"), and the first character of the fourth sentence should be changed from oblique to flat ("三"); the first character of the seventh sentence should be flat and oblique ("Lie"), The first word of the eight sentences is changed to Pingsheng ("人"). Sometimes, self-rescue in this sentence and remedy in couplets are mixed. For example, one of the "Twelve Poems to Relieve Boredom": Chai Feixing is scattered in the Caoge, and the waves are rolling over the river and the black rain is beginning to fly. The mountain birds feed the red fruits, and the stream girls get money to keep the white fish.
The strict meter should be: 任仄平仄仄平仄仄仄平平仄仄平仄仄仄平仄仄平 and the rhythm of this poem is: 任仄平仄仄仄平仄仄平仄仄仄平仄平仄flat Ping Ping Ping Ping There are self-rescues in this sentence (use "jiang" to save "fan", use "get" to save "xi"), and there are also couplets to save (use "liu" to save "nurturing"), but there are also some that are stubborn but not saved. ("star"). In fact, it is very common to be in the "135" position and fail to save. Like "Climbing High": The wind is strong and the apes high in the sky are screaming in mourning, and the white birds are flying back from the clear sands of Zhugistan. The endless falling trees rustle, and the endless Yangtze River rolls by. Wanli is always a guest in the sad autumn, and he who has been sick for a hundred years appears alone on the stage. Difficulty and bitterness hate the frost on the temples, and the new wine glass becomes muddy. The "sha" in the second sentence saved "Zhu", and "Zhu" saved the "wind" in the first sentence, but the "ape" in the first sentence was not saved. Being stubborn like this without any help destroys the balance of the numbers in a line, but these all occur at the position of "one, three, five". As long as there is no solitary or three-level adjustment, it is tolerable. To be precise, it cannot be tolerated. Calmly stubborn. There is another kind of Ao, which appears in the position of "two four six". That is the real Ao and will not be discussed here. But there is a kind of oblique sentence that is used quite a lot in Tang poetry, so I cannot but mention it. Please take a look at "The End of the World and Li Bai's Pregnancy": The cool breeze rises at the end of the day, what do you think of a gentleman? When will the swan geese arrive? There will be plenty of autumn water in the rivers and lakes. The article hates life and is full of charm, and the evil spirits are too joyful. In response to the words of the wronged soul, I sent a poem to Miluo. The first sentence should have been "平平廄廄", but it was written as "平平廄平廄". The second and fourth words are all in the flat tone, which violates the rule we mentioned at the beginning that every situation must be reversed. In the seven-character poem, "廄廄平平廄廄" is written as "廄廄平平廄平廄". For example, in "Five Poems about Ancient Relics", almost every sentence pattern is used. One: separated from the wind and dust in the northeast, drifting between the heaven and earth in the southwest. The towers of the Three Gorges are flooded with the sun and the moon, and the clothes of the Five Streams are flooded with clouds and mountains. The master of Jiehu is a rogue in the end, and the poet has not returned when he is in decline. Yu Xin was the most desolate in his life. In his later years, his poems moved Jiangguan. The seventh sentence is this sentence pattern. Second: Shake off and know Song Yubei well, and he is also my teacher in being elegant and elegant. I shed tears when I look forward to the eternity, depression is different from generation to generation. The old house in Jiangshan is empty of text and algae, and the deserted terrace with clouds and rain cannot be dreamed of. In the end, all the Chu palaces were destroyed, and the boatman’s advice is still doubtful. In the seventh sentence, "泯" can be flat or oblique. If it is read as flat, it will become this sentence pattern. Third: The mountains and valleys go to Jingmen, and there is a village of Mingfei. Once we go to Zitai and even Shuo Desert, we will only leave the green tomb facing the dusk. Draw a picture to understand the spring breeze, and wear a ring in the sky to return to the soul of the moonlit night. For thousands of years, the pipa has been playing nonsense, and there is clear resentment in the music. The seventh sentence still has this sentence pattern. Fourth: The Lord of Shu peeked at Wu Xing's Three Gorges, and Beng Nian was also in Yong'an Palace. Cuihua is imagined in the empty mountain, and the jade palace is in the empty wild temple. In the ancient temple, water cranes and fir trees nest in pine trees, and when old, villagers wander around the village. The ancestral hall of Marquis Wu is often close to each other, and the monarch and his ministers worship together. The first sentence is this sentence pattern. Fifth: Zhuge's fame is immortalized in the universe, and the portraits of Zong and his ministers are kept high. The three-part division is based on Yu's planning, and it is like a feather in the sky for eternity. When brothers meet Yi Lu, they will definitely lose Xiao Cao if they command him. Fu moved to Han and Zuo was unable to recover, and he was determined to annihilate the military service. The fifth sentence has this sentence pattern again. Since this sentence pattern is used so much (often used in the seventh sentence) and is almost as common as the regular sentence pattern, we have no choice but to treat it not as an awkward sentence but as a special rhythmic sentence. The reason why poets like to use this special sentence pattern may be because there are three flat tones in the regular sentence pattern "平平平廄仄" and "任仄平平平廄仄". Although it is not considered a three-level tone if it is not at the end of the sentence, it still reads a bit awkward. So just change it. It is worth noting that when using this sentence pattern, the first character of five characters and the third character of seven characters must be in flat tone and cannot be ignored.
Opposition
Each of the four couplets of the verse has a specific name. The first couplet is called the first couplet, the second couplet is called the chin couplet, the third couplet is called the neck couplet, and the fourth couplet is called the chin couplet. Tail couplet. According to the regulations, the chin couplet and the neck couplet must be opposite, and the first couplet and the last couplet may or may not be opposite. The two couplets of the quatrain can be right or wrong. The first couplet of the platoon can be right or wrong, the middle couplets must be opposite, and the last couplet must be wrong in order to end.
The first characteristic of confrontation is that the syntax must be the same. For example, "Walking in the Night": There is a gentle breeze on the shore with fine grass, and a lonely boat with dangerous rafts. The stars hang down on the plains and the fields are vast, and the moon surges across the river. It is not famous for writing articles. Officials should retire due to old age and illness. What does Piaopiao look like? The sky and the earth are like sand gulls. This is where the head, chin, and neck all face each other. The first sentence of the first couplet has no predicate, and the second sentence also uses a predicate relative to it. The sentence pattern of the first sentence of the chin couplet is "subject, predicate, object, and object", and the next sentence also uses the same sentence pattern. The same sentence pattern is used in the neck couplet. Another example is "Remembering My Brother on a Moonlit Night": The garrison drum interrupts the pedestrian movement, and the sound of wild geese on the edge of autumn. The dew is white tonight, and the moon is bright in my hometown. All my brothers are scattered, and I have no family to ask about life and death. The person who sent the letter did not avoid it, but the situation was that the army did not stop. The first sentence of the couplet is written by breaking up the word "Bailu", and the second sentence is written in the same way, by breaking up the word "明月". The second characteristic of confrontation is that you cannot use the same words to oppose each other. Contradictions such as "people have joys and sorrows, and the moon waxes and wanes" are allowed in lyrics and music, but never allowed in modern poetry. In fact, unless it is necessary for rhetoric, the same words must be avoided in modern poetry. The third characteristic of antithesis is that the parts of speech should be relative, that is, nouns versus nouns, verbs versus verbs, adjectives versus adjectives, adverbs versus adverbs, pronouns versus pronouns, and function words versus function words. If you want to make a neat comparison, you must also use words (mainly nouns) that belong to the same type of meaning, such as astronomy versus astronomy, geography versus geography, number versus number, orientation versus orientation, color versus color, season versus season, utensils To objects, people to people, creatures to creatures, etc., but they cannot be synonymous. As mentioned above, "stars hang down on the plains and the fields are vast, and the moon surges over the rivers." "Star" is opposite to the "moon", which is an astronomical pair, "wild" is to the "river", which is a geographical pair, and "chui" is opposite to "gushing", "ping" For "big" and "kuo" for "liu", they are also relative to verbs and adjectives that belong to the same type of meaning. A confrontation like this is called a work pair. Some antitheses are made by borrowing words with homophones to form working pairs, which are called borrowed pairs. Like "Ambition": Three cities are garrisoned with white snow on the west mountain, and there are thousands of miles of bridges on the Qingjiang River in Nanpu. The wind and dust in the sea separate the brothers, and the tears are far away at the end of the world. Only in his old age, he was often sick, and there was no chance to answer the holy pilgrimage. When I walked out of the suburbs on horseback, my eyes were wide open, and I couldn't bear the depression of personnel. "West" to "South" in the first couplet is a direction pair, "Mountain" to "Pu" is a geographical pair, "Three" to "Wan" is a number pair, and "White" to "Qing" borrows from "Qing" The homophone of "青" is a pair of colors. Such a borrowing pair is also a work pair. This kind of homophonic borrowing pair is mostly seen in color pairs. For example, Part 3 of "Miscellaneous Poems of Qinzhou": The map of the state leads to the same valley, and the post road emerges from the quicksand. The captives were surrendered and thousands of tents were captured, and the people living there were tens of thousands of families. The proud horse is dripping with sweat, and its white hooves are slanting as it dances. When I was young, I came to Taozi. When I came to the west, I also boasted about myself. The neck couplet uses "zhu", which is homophonic to "zhu", which is opposite to "white". Another example is "Sitting Alone": My head turns white with sadness, I lean on my stick and carry the lonely city. Jiang Lianzhou Zhu comes out, the sky is empty, the wind and things are clear. Cangming hates the decline, and Zhu Fu loses his life. I admire the dusk bird and throw myself into Lin Yuhe's light. The neck couplet uses "Cang" which is homophonic to "Cang" and is opposite to "Zhu". In a couplet, if most of the words are matched very neatly, other words can be matched more sloppily. For example, "Spring Hope": The country is broken by mountains and rivers, and the city is full of spring vegetation. The flowers splash with tears when I feel grateful, and the birds are frightened by the hate. The war rages on for three months, and a letter from home is worth ten thousand gold. The white-headed scratches are shorter, and the jade hairpins are numerous. The couplet on the chin reads "I feel the flowers splashing with tears when I feel the time, and I hate the birds when they say goodbye." The words "time" and "farewell" are not necessarily relative, but the other words are very neatly matched, and together they are considered a good pair. For Qiyan, the fifth character can be arbitrary. For example, Du's poem "The Prime Minister of Shu": Where can I find the ancestral hall of the Prime Minister? There is a lot of people outside Jinguan City. The green grass reflects the spring color on the steps, and the oriole's voice is heard in the sky through the leaves. Three visits frequently made plans for the world, and two dynasties opened the hearts of veterans. He died before leaving the army, which made the hero burst into tears. In the neck couplet, "Three visits frequently make plans for the world, and two dynasties open the hearts of old ministers." The fifth word "天" and "老" are not correct. There are some antitheses that may seem wrong on the surface, but they are actually using different meanings. For example, in this couplet, "Chao" is opposite to "Gu", and "Xia" is opposite to "Chen". , using the other meanings of "下" to compare, rather than using their meanings in the sentence.
In addition, there are some contrasts, and you have to understand their origin to know that they are relative. For example, the second poem of "Two Songs on Qujiang": I wear spring clothes every day when I return to the court, and I return home drunk every day from the head of the river. Drinking debts are commonplace, but they are rare in seventy years of life. Butterflies can be seen deeply through the flowers, and dragonflies are flying on the water. Rumor has it that the scenery is constantly changing. For the time being, we should appreciate each other and do not contradict each other. It seems wrong to use "common" in the chin couplet to "seventy". In fact, "eight feet means xun, double xun means regular". The word "common" can also be regarded as a number, and it matches "seventy" quite neatly. The use of different meanings and allusions like this requires a twist to get the right answer. It is unexpected and is also a borrowed right. It is often considered to be a good and good match, which is similar to the "Qiuhuang pattern" in lantern riddles. The upper and lower sentences in a couplet generally have different or opposite contents. If two sentences are completely synonymous or basically synonymous, it is called "joining the palms", which is a taboo in poetry. But sometimes the upper and lower sentences are related and talk about the same thing. The next sentence inherits the previous sentence, and the two sentences are actually one sentence. This is called "liu shui pair". For example, "I heard that the government troops were taking over Henan and Hebei": Suddenly it was heard outside the sword that they were taking over Jibei. When I first heard about it, my clothes were filled with tears. But seeing where his wife is worried, she is filled with poems and books filled with joy and joy. To sing during the day, one must indulge in alcohol, to keep one's youth company for returning home. That is to say, it passes through Wu Gorge from Ba Gorge and then goes down to Xiangyang towards Luoyang. The second sentence of the last couplet describes the journey immediately following the previous sentence, which is a first-rate pair. Another example is the second part of "Qiu Xing": The sun sets in the isolated city of Kui Mansion, and every time I turn to the Big Dipper to look at Beijing. Hearing the ape shed three tears, he sent Xu to investigate in August. The incense burner in the painting is hidden on the pillow, and the pink battlements of the mountain tower are hidden in sadness. Please look at the wisteria moon on the stone, and the reed flowers in front of the island are already reflected. The tail couplet is also a top-notch pair. The flowing water pair is generally considered to be a good couple. If you need to use antithesis in the last couplet, the flowing water pair is often used to wrap up the whole poem. Sometimes there is a contrast in a sentence. For example, "Ascend the High": The wind is strong and the apes high in the sky are screaming in mourning. The white birds are flying back from the clear sand in Zhugistan. The endless falling trees rustle, and the endless Yangtze River rolls by. Wanli is always a guest in the sad autumn, and he who has been sick for a hundred years appears alone on the stage. Difficulty and bitterness hate the frost on the temples, and the wine glass is stained by the new stop. All four couplets of this poem use antithesis, and there are antitheses in the sentences. The first sentence "wind is urgent" is opposite "the sky is high", and the second sentence "Zhu Qing" ("Qing" is homophonic to "Qing") is opposite "Qing". "Shabai", "difficulty" versus "bitter hatred" in the seventh sentence, "downfall" versus "new stop" in the eighth sentence, are all self-contrasted in the main sentence first, and then opposite to the couplet. What’s interesting is that because the first sentence rhymes with the second sentence, they are not completely opposite to each other in terms of equality, but they match perfectly in terms of meaning. This poem is known as the first of the seven rhymes in ancient and modern times. Even if it is only based on its form, it deserves this reputation.
Edit this paragraph's verse type example
Five Rhythms Type 1
Send a Friend
Li Bai Green mountains stretch across Beiguo, and white water surrounds the lonely city. This place is a different place, and I can march thousands of miles alone. The wandering clouds convey the love of an old friend. I waved my hand and went away, the horses roared. Type 2 of the Five Rhythms
Wanqing
Li Shangyin lives deep in Fujia City, and the spring is gone and the summer is still clear. God's will is pity on the quiet grass, and the world is clear at night. And add a high pavilion to the back, and pay attention to the small windows. After the bird's nest is dry, its body becomes lighter when it returns. Wulu type three
Format example
⊙仄⊙平仄平平⊙仄平 (rhyme) ⊙平⊙仄仄⊙仄仄平平 (rhyme) ⊙仄⊙平仄平平⊙仄平 (rhyme) ⊙平⊙仄仄⊙仄仄平平 (rhyme)
Spring Hope
Du Fu's country is broken by mountains and rivers, and the city is full of spring vegetation. The flowers splash with tears when I am grateful, and the birds are frightened by the hate. The war rages on for three months, and a letter from home is worth ten thousand gold. The white-headed scratches are shorter, and the hairpin is full of lust.
Zhongnan Mountain
Wang Wei Taiyi is close to the capital of heaven, with mountains and seas connected. The white clouds look back and merge, and the green mist comes in to see nothing. The peaks in the dividing line change, and the clouds and clear skies are full of beading. If you want to stay somewhere, ask the woodcutter across the water.
Seven rhythm type one format example
⊙平⊙仄⊙平仄⊙仄平平⊙仄平 (rhyme) ⊙仄⊙平⊙仄仄⊙平⊙仄仄平平 (rhyme) ⊙平⊙仄⊙平仄⊙仄平平⊙仄平 (rhyme) ⊙仄⊙平⊙仄仄⊙平⊙仄仄平平 (rhyme)
Guest arrival
Du Fu Shenan There is spring water in the north of the house, but I can see a flock of gulls coming every day. The flower path has never been swept by visitors, and now the gate is opened for you. Panxiang City is far from the best of both worlds, and the bottle and wine shops are poor and only have old fermented grains. I am willing to drink with my neighbor, calling across the fence to finish the rest of the cup.
Seven rhythm type two format example
⊙平⊙仄仄平平 (rhyme) ⊙仄平平⊙仄平 (rhyme) ⊙仄⊙平⊙仄仄⊙平⊙仄仄平平 (rhyme) ⊙平⊙仄⊙平仄⊙仄平平⊙仄平 (rhyme) ⊙仄⊙平⊙仄仄⊙平⊙仄仄平平 (rhyme)
Zuo moved to Languan to show his nephew Sun Xiang
Han Yu wrote a letter to the Nine Heavens in the morning, and was demoted to eight thousand people on Chaozhou Road in the evening. If you want to eliminate bad things for the saint, you are willing to cherish your remaining years. Where is Yun Heng's Qinling family? The snow embraces the blue and the horse stops moving forward. I know you came from afar and had a purpose, so that you could take me back to the riverside where my bones are miasmatic.
Example of the three formats of the seven-rhythm type
⊙仄⊙平⊙仄仄⊙平⊙仄仄平平 (rhyme) ⊙平⊙仄⊙平仄⊙仄平平⊙廄平 (rhyme) ⊙仄⊙平⊙仄仄⊙平⊙仄仄平平 (rhyme) ⊙平⊙仄⊙平仄⊙仄平平⊙仄平 (rhyme)
Ode to historical sites
Du Fu and Zhuge Mingming Hanging down to the universe, the portraits of Zong and his ministers are kept high. The three divisions are based on Yu's planning, and a feather in the sky is like a feather in the sky. When brothers and sisters meet Yi Lu, the commander will definitely lose Xiao Cao. It is difficult to move Han Zuo back, and he is determined to annihilate the military service.
Example of four formats of seven rhythm types
⊙仄平平⊙仄平 (rhyme) ⊙平⊙仄仄平平 (rhyme) ⊙平⊙仄⊙平仄⊙仄平平⊙仄( Rhyme) ⊙仄⊙平⊙仄仄⊙平⊙仄仄平平 (rhyme) ⊙平⊙仄⊙平仄⊙仄平平⊙廄平 (rhyme)
Climb high
Du Fu Feng The ape high in the sky screams in sorrow, and the white bird flies back from the clear sand in Zhugong. The endless falling trees rustle, and the endless Yangtze River rolls by. Wanli is always a guest in the sad autumn, and he who has been sick for a hundred years appears alone on the stage. Difficulty and hardship hate the frost on the temples, and the wine glass is stained by the new stop.