This is about the relationship between the feet of the clauses in the first and second lines of a couplet. In the case of a couplet consisting of several clauses, the arrangement of the feet of the clauses is strictly based on the rule of horseshoe rhyme. The so-called horseshoe rhyme, refers to the foot of the sentence level and oblique arrangements such as the horse's walk, after the foot in front of the footprints go. The format of its flat and oblique: flat oblique flat oblique (oblique flat ......), or oblique flat oblique flat (oblique ......). However, the author believes that, from the current situation and development trend of the couplet, taking into account the characteristics of the couplet, such as "no fixed sentence, no fixed word", as well as the complexity of the couplet's sentence pattern, the metrical requirement of the arrangement of the flat and narrow foot of the sentence can also be "avoiding the same sound to drop the foot" as a rule. To be more precise, there are two requirements for this rule: (1) Each side of two to three clauses should not have all clauses in the same tone. (2), each side of four or more clauses, the requirements of the clauses can not be three consecutive sentences (exceptions can be made for the beginning of the couplet and the middle of the subparagraphs) or more than three sentences of the same sound foot. This rule is theoretically simple and clear, but flexible in its application, reflecting a combination of principle and theory, and accommodating several major differences of opinion on the issue of foot leveling. Taking each side of the five-sentence long couplet as an example, according to the rule of "Horseshoe Rhyme", there are only two types of positive format, namely, oblique flat flat oblique, oblique flat flat oblique (in the middle of the sub-section), and a variation of oblique flat flat oblique, **** three types of format. According to the rule of "avoiding the same sound", then the eleven forms of "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", "oblique", and other eleven forms are qualified, and there is no need to distinguish between the regular and the variant forms. The
2. Avoid the same sound ending
This is in terms of the relationship between the foot of the first line and the foot of the second line. To be precise, this rule also has two requirements: (1) a couplet regardless of the length of how, how many sentences, are required to the upper line of the oblique tone, that is, the last word of the upper line should be oblique tone; the lower line of the requirements of the flat tone to the end. Generally can not be on the first line of the end of the flat sound, the second line of the end of the oblique sound. (2) the upper and lower couplets can not be the same sound ending, that is, the last word of the upper and lower couplets can not be the same oblique tone or the same flat tone.
3. Avoid three flat endings or three oblique endings
The last three words of a sentence should be avoided as much as possible. For example, in the phrase, "The deepest cause is to sit on the lotus platform", if the word "sit" is changed to "ascend", it will become a three-lettered ending. Another example is "practicing according to the law can enter the Way", if "can" is changed to "can", it becomes three oblique endings. There is no difference between the three flat tails and the three oblique tails in terms of the monotony of the flat and oblique tones. In order to reflect the consistency of the theory, both of them should be made taboo, and it is not possible to avoid the three flat tails but not the three oblique tails.
4. Avoiding a single flat or a single oblique tone
This refers to the fact that in a sentence of five or six words, one should avoid, as far as possible, having only one flat or one oblique tone in the whole sentence. For example, if the phrase "everything is as it should be" is changed to "everything is as it should be", then it is a single flat character; and if the phrase "Bodhi is now realized" is changed to "Bodhi is now If it is changed to "菩提当下现成", then it is an oblique character. Here, the author would like to discuss a little about the problem. According to the author, it is not necessary to follow the traditional poetic law completely, but in terms of the joint law, "if there is only one level tone in a sentence of five or six words, it is a lonely level", which is a more concise and reasonable definition. This definition is more concise and reasonable because, firstly, the requirements of this definition on the level and oblique tones are, in general, more relaxed, which is in line with the development trend of the couplet meter. Secondly, according to the traditional poetic law, the so-called lonely flat, but also in addition to the foot of the sentence, but the couplet and the poem has a big difference, that is, the end of the word (the foot of the sentence) of the level of the requirements of the different, and does not require rhyme, so in the joint, the end of the word (the foot of the sentence) does not have to be a separate line out. Thirdly, literally, lone, that is, one, lone flat literal meaning and actual meaning if completely consistent, conducive to understanding and operation. The traditional definition of "lone level" is: in the pentameter flat lines and seven-line narrow lines, if there is only one word in the sentence that is in level tone, in addition to the rhyming foot, then it is "lone level". This definition, in fact, has already fixed the lonely flat in one or two lines (specifically, the five-character "平平仄仄平" becomes "仄平仄仄平", and the seven-character "仄平仄平仄平" becomes "仄平仄平仄平", and the seven-character "仄平仄平仄平" becomes "仄平仄平仄平"). "to "仄仄平仄平仄仄平仄平仄平仄平", which is "孤平") in seven languages. Therefore, the word "孤平" must be supplemented with additional explanations so that people can actually understand and operate it. Fourth, in terms of the five-character couplet, if only "仄平仄平" is a lonely flat, then, again, look at "仄仄平仄" and compare the two formats, from the point of view of the rigidity and monotony of the flat and oblique, which one is more rigid and monotonous? Fifthly, in recent poems, mainly five or seven words, therefore, the concept of the traditional poetic meter of a single level cannot be explained in a six-character couplet, which is also likely to have a single level.
Additionally, there is no difference between a lone flat or a lone oblique, in terms of the monotony of the flat and the oblique. Ancient and modern authors of poetic couplets, whether for the lonely flat, or for the lonely oblique, in fact, are avoided when they can. Therefore, making the two taboo at the same time not only reflects the theoretical consistency, but also originates from the real situation. Incidentally, it should be noted that according to the author's definition above, the phenomenon of lone flat or lone oblique is actually found only in five- and six-character sentences, because in sentences of seven or more characters, lone flat or lone oblique does not occur if the basic requirement of alternation of flat and oblique is observed.
5. Avoid the same heavy words and different heavy words
Couplets are allowed to overlap or heavy words, which is a common rhetorical device in couplets, but in the overlap, we should pay attention to the consistency of the upper and lower couplets. Such as "world affairs have" to "red dust rolling", which, "have" to "rolling", is the stacking of the relative word
Cultivation is the cultivation of the heart, the heart is empty is the shore of Nirvana;
Seeing the cause is like seeing the effect, the fruit of suffering is not like the people in hell.
In this context, "cultivation" is the opposite of "seeing" and "is" is the opposite of "as", The word "mind" is opposite to "fruit". However, the couplet should try to avoid the same place and the same place heavy characters. The same word in the same place is the same word in the same position in the upper and lower couplet, such as "Dharma" versus "world", "to become a Taoist" versus "to become a demon". ".
There are some imaginary words (之乎也者而矣哉,等等)的同位重字是允许，如:
漏网之鱼，世间時有；
脱天之鸟，宇内尚无。
The same word appears in different places in the upper and lower lines. For example:
Don't be greedy for the realm where karma flows;
Don't hate the people whose fate is the same.
If the word "mo" in the next line is changed to "no", then the word "no" in the first line is in a different position.
The use of the same word and the same word in the same place is a taboo in couplets.
There is a special form of anagrams that is allowed, such as:
There is no such thing as a full moon, it goes with you;
Though there are flowers blooming and falling, you are at its mercy.
The "it" and "you" in the couplet is an anagram.
6. Jealousy of synonymous relative
Synonymous relative, also known as palms. The so-called taboo synonymous relative, refers to the upper and lower relative statements, the meaning of which should try to avoid similarities. Such as the "rising sun" on the "sunrise", "history" on the "history", "the ancient show of China". The ancient show of China" to "Chixian ten thousand years of spring", etc., it is a palm. Of course, there are individual non-center words (especially false words), or the proportion of the joint part of the joint is very small, it does not hurt. Some of the phrases with similar meanings are relative to each other, which is also not bad.
The law of leveling and leveling of couplets is basically the same as that of poems, and Yiyin applies the basic rule of one, three, five, and two, four, six, of poems.
How to determine the couplet's context? In addition to the content of the text to identify, more importantly, from the end of the text of the coupling to determine the level of sound. The couplet strictly stipulates that the last word of the first line with oblique tone, the last word of the second line with flat tone. The later people call this rule as the oblique sound. It is important to note that the "four tones" of ancient Chinese and modern Chinese are somewhat different. Since the promotion of the pinyinization of Chinese, and the Beijing dialect as the national common language, the same Chinese characters have changed. For example, according to the Peiwen Yunfu, the four tones are Ping (平), Shang (上), Go (去), and Jin (入). Ping is categorized as "flat", while Shang, Zhai, and Jin are all categorized as "oblique". According to the Beijing tone, it is divided into yinping, yangping, Shangsheng, and Daosheng. In this way, there are more words in Pingsheng, and there is no sound "into", which puts some of the words in Daosheng into Pingsheng, which is worth noting by comrades who learn to write couplets. In ancient times, there are many language scholars on the four sounds of the ancient Chinese language, made a more detailed elaboration, such as the vacuum in the book "jade key song", made the following analysis:
1. Ping - Ping sound Ping Dao Mo low ang. When reading, the pronunciation is calm and the ending sound is long, and there is a residual rhyme.
2. Up - the upper sound of the high call fierce and strong. The sound is loud and short, with no final sound.
3. Going - the going sound is clear and mournful. Go - the sound of the reading of the sound of the sound, short, high, high tail.
4. In - into the sound of short and sharp collection. The sound is simple and urgent, the collection is short, low, no tail tone.
Generally speaking, the flat-sounding characters sound calm and have long endings. The oblique characters have short or no endings. The modern linguist Mr. Liu Bannong, firstly affirmed that the analysis of the four tones of the ancient Chinese language by Shih Vacuum was correct. According to his own research, Mr. Liu added, "The flat tone is the least twisted, and is known as a balanced tone. The upper two tones have the most twists and turns, either ascending, descending, descending, or ascending and descending. They should be non-equilibrium tones. The incoming tone is the shortest, and is called the urging tone." Mr. Hannong's exposition is simple and clear. Mr. Zhang Shilu even more briefly will go up to the four tones, divided into two categories, the flat tone is where the long tone step, the oblique tone is where the short tone step, the flat and oblique is mainly the difference between the long and the short. The author also believes that the four tones of the ancient Chinese language, in addition to the division of long and short tone steps, the reading of the sound is also very different, such as: "Dong Dong Freeze Duk" as an example, from the flat tones, the scale gradually rises to go to the sound of the peak, that is, the third tone of the highest reading. The incoming tones are low in volume, short and concise. In short: the flat tones are mournful and peaceful, the upper tones are harsh and lifting, the falling tones are clear and far away, and the entering tones are straight and short. The above discussion is just a general method, which can be verified by the readers in their study and practice.
In order to practice the ability to identify the four sounds, the ancients listed the following thirty-two words, as the basic knowledge of the level of the exercise of the text, as long as you can skillfully master the level of these words, then the other words of the level of the words, can be touched on, a read that is known.
1. One, two, three, four, five, six, seven, eight, nine, ten. These ten numbers are, in order: in to go flat to go up to go up to go up to go up to go up to go up to go up to go up to go up to go up to go up to go up to go.
2. A, B, C, D, E, H, G, S, N, D. The flatness of these crosses are: into into the upper flat go up to the upper flat flat flat up.
3. The 12 characters are: up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up. These twelve characters are: on the upper flat on the upper flat on the upper flat on the upper flat into the upper.
The four tones of the Chinese language, labeled with the Beijing tone, are Yinping, Yangping, Shangsheng, and Daosheng, all of which have evolved from the four tones of the ancient Chinese language, and it is still customary to use the four tones of the ancient Chinese language as a standard for determining the level of the couplet. Nowadays, except for correcting pronunciation, the four tones of modern Chinese are seldom used to make couplets, write poems and fill in words. But with the promotion of Putonghua, and the passage of time, the four tones of modern Chinese, eventually accepted by the people.
4. It must be known: some Chinese characters, historically, is the use of level and oblique, can be used as level tone, can also be used as oblique tone, such as see, teach, for, think, evening ...... slightly cited a number of examples are as follows:
(1) "look" as level tone: the day to use the stove to produce purple smoke, the waterfall hanging in front of the river; distant look at the waterfall. The waterfall is hanging in front of the river; the water is flowing straight down three thousand feet, the Milky Way is suspected to be falling into the sky.
(2) "Look" as oblique tone: Plums flow sour splash teeth, bananas share green on the window screen; day long sleep up no love, idle look at the children to catch willow flowers.
(3) "Teach" as a flat tone: cherry, apricot, peach and pomegranate bloomed one after another, so I taught one to plant it by the window; shaggy bamboo shadows depend on the willow, and the yin has been divided into clear shade to enter the house.
(4) "Teach" as oblique tone: chalk career is also fast, according to the material to teach and educate the good material; full of peaches and plums vital apparition, the rain and spring winds next to open.
(5) The word "for" is used as a plain tone: "I went to Changsha as a migrating guest, and I could not see my home when I looked at Chang'an from the west;" "I blew a jade flute in the Yellow Crane Tower, and plum blossoms fell in the month of May in the city of Jiangcheng" (江城五月落梅花).
(6) "for" as oblique tone: I was to build a great success for the King of Han, but I did not put my self in my chest; I knew that the rabbit would end up cooking the dog, and I regretted that I did not sit in Huaiyin to catch the end.
The ten-character couplet roughly adopts the four- or six-syllable parallelism style:
The door opens up to the sky, and you can walk up to the three days of victory;
○●●○ ●●○○●●
The steps are ten thousand in height, and you can look down to the thousand hanging scrolls of spectacle.
○○●● ○○●●○○
For long couplets of more than ten words, in addition to the requirement of level and oblique levels, the level and oblique levels of the last word of each broken sentence should also be harmonized. In this couplet, as shown in the example below, in addition to the harmonization of the level and oblique of each broken sentence, every word in the upper and lower couplet is very stable in terms of level and oblique.
This place can stay, cut the candles west window, occasionally talk about the scenery of his hometown.
On the other hand, it is not easy to find a way to get the best out of the world, but it is possible to find a way to get the best out of the world, and it is possible to find a way to get the best out of the world.
● ● ○ ○
Sheng'an is the first to have a good time in the world.