I remember when I first started writing poetry, I often found myself writing things that read awkwardly, and at that time I did not understand why, until later after coming into contact with poetic meter, I understood the reason why, and it turned out to be the taboo of breaking the meter.
The Mandarin pronunciation of Chinese characters has four kinds, one flat, two sound Yang, three sound inflection, four sound descending. These four readings are also known as: yinping, yangping, on the sound, the sound, referred to as "yin and yang up", yinping yangping collectively referred to as "flat", on the sound of the sound of the sound collectively referred to as "oblique", which is the meter of the "flat and oblique". This is the "leveling and narrowing" of the metrical system.
The ancient pronunciation was different from the current one. In ancient times, there was no distinction between yin and yang in "Ping", which was called "Ping going up to enter", and the "Entering Sound", which is already found in Mandarin pronunciation, is not found in many southern languages. There is no more, prevalent in many local dialects in the south, so, the south of the poem commonly used "ancient rhyme", the north of the people use "new rhyme", is because the use of their own idiomatic language to read up the staccato, feel very good to hear, so the new rhyme ancient rhyme which is good, which I don't think there should be any disagreement on this point, but I think it's a good idea to look for common ground and put aside the differences.
Because I'm from the north, this article is about "new rhyme".
The requirements of the meter is as fine as smoke and rain, as many as hairs, it is difficult to say, I myself on the poetry is only a hobby, the study is not deep, I do not dare to say how to write is right, let's talk about the focus of the problem.
First of all, as a poem, rhyme is the first requirement, because the earliest from the "Classic of Poetry", is rhyming, this is the "poem" is different from other genres of the most important feature, every period must rhyme, this is the basic requirements. Of course, modern poetry can not rhyme, I will not go into details here.
The basic requirement of the meter: the second and fourth words of a single sentence are relative to each other, and the second and fourth words of the upper and lower sentences are relative to each other, which is the first criterion. The second and fourth words are the focus of the tone of the verse, and these two words are opposite to each other in order to have a sense of staccato.
Example:
The grass on the plains of the river, withers and grows every year. --Bai Juyi, "Fugue Guyuan Grass Sends Farewell".
Here, "离離" is in level tone, "上" is in oblique tone, and the second and fourth words of the first sentence are opposite to each other; in the second sentence, "岁" is in oblique tone, "枯" is in level tone, and "枯" is in level tone. The next line "age" is oblique, " wither" is flat, the second and fourth words of the next line are also oblique, but the order is the opposite of the previous line, the whole poem read down, you will feel the staccato and staccato.
Looking at the seven lines again:
The poem "Morning departure from Baidi City" (朝辞白帝彩云间), "Thousands of miles of Jiangling" (江陵一日還). -- Li Bai, "Early Departure from Baidi City".
Here, "resignation" is in level tone, "emperor" is in oblique tone, and the second and fourth characters of the first sentence are opposite to each other in level and oblique tone; in the second sentence, "li" is in oblique tone, and "mausoleum" is in level tone, and "li" is in oblique tone. Lings" is flat, the second and fourth words of the next sentence are also flat and oblique, in the reverse order of the previous sentence, which is the reason for the rise and fall.
So are there any exceptions? Of course there are:
It is suspected that there is frost on the ground. -- Li Bai, "Silent Night Thoughts".
The night sends a clear stream toward the Three Gorges - Li Bai, "Emei Mountain Moon Song".
Li Bai was a forthright person, advocating freedom and defying power and nobility, and his works are fully characterized by this, not being bound by a framework.
We can see that these two lines of the famous poem, the second and fourth characters are the same, but we read, as long as we do not read too fast, with the "chanting" way to read out, does not affect the beauty of it at all, which should be the real standard of the ancient poetry, to the connotation of the importance of taking into account the meter, to the extent that it reads catchy.
There are two main taboos, namely the "even flat and even oblique over three" and the "lonely flat".
When we use more than three consecutive "flat" or "oblique" words in a poem, it will be very awkward to read, for example:
"The wind in the mountains is blowing my clothes. " (This and the following lines are all made up by me), we can see that in terms of semantic expression, there is no problem at all, but because of the five consecutive "ping" sounds, resulting in a monotonous and dull pronunciation, the reading is very awkward.
"Birds dance up and down in the forest" is also a sentence that has five consecutive "oblique" sounds, which makes it sound strange and messy to read, and in fact, consecutive "flat" or "oblique" sounds can be used. In fact, if there are more than three consecutive "flat" or "oblique" sounds, there will be an awkward feeling, which is the taboo of "three consecutive flat and oblique sounds".
As for "lone flat", it refers to a "flat" sound sandwiched between two "oblique" sounds, which is also awkward to read.
For example, in the phrase "the heart is in turmoil", the "eight" and "heart" are both "lone ping", so it reads like a "lone ping". ", so it reads as jagged and uncomfortable as an EKG.
Are there any famous poems that violate this taboo? There are also:
A grain of corn is planted in the spring, and ten thousand seeds are harvested in the fall. -- Li Shen, "Compassionate Farming".
Here, the second and fourth characters of the first line are "oblique", and the second and fourth characters of the second line are "flat", and "one" and "grain" are still "solitary". The second and fourth words of the next line are "flat", and "one" and "one" are still "lonely flat", so when we recite this poem, it is very difficult to achieve the majestic "subdued and staccato", but the connotation of this poem is not suitable for subdued and staccato, but rather to read it with a low and compassionate mood and tone, which, at this point, is the most important thing. To read, this point, its meter and connotation is again harmonized, but also qualified.
From this we can see that we need to understand both the knowledge of meter and the connotation of the poem, as long as the connotation we want to express fits with the meter, that is to say, we can read it without feeling the emotion and tone of the awkward, the meter should be successful.
The next step is the couplet, which is almost universally recognized as a requirement of the poem's format, at least for the jaw and neck couplets, on top of the level and narrowness.
Counterpoint, in form, is divided into "strict pair" and "wide pair", and in content, is divided into "positive pair", "against
The form is divided into "strict pair" and "wide pair", and the content is divided into "positive pair", "against" and "running water pair".
Format: Because my personal talent is limited and my foundation is not solid, I think that a wide pair is enough, and if I can do a strict pair, naturally it is better.
Content:
Positive pairing is to contrast the two sentences of the pair of similar meaning, complement each other, for example:
While the song must be indulged in the daytime, the youth as a companion to return home.
When the official army collects Henan and Hebei, Du Fu.
Opposition is the comparison of two different aspects, for example:
The vermilion door stinks of wine and meat, and the road is full of frozen bones. -- "From Beijing to Fengxian County, Five Hundred Characters of Winged Memories" Du Fu.
Running water pair, that is, before and after the sentence is a cause and effect relationship, a single sentence can not be taken out independently, for example:
Want to poor thousands of miles of eyes, a higher floor. --Wang Zhilu, "Ascending the Stork Tower".
In terms of difficulty, the general rule is strict pair > broad pair, running pair > opposition > positive pair.
But there are also famous pieces that do not pass the test, such as Roy Cui's "Yellow Crane Tower":
It is said that Li Bai passed by the Yellow Crane Tower, and seeing the beautiful scenery, he was about to compose a poem, but suddenly he saw this "Yellow Crane Tower" on the wall, and sighed after pondering for a long time: "There is a scene in front of me that I can't tell you about, and Roy Cui inscribed a poem on the top of it."
Later, Li Bai also imitated "Yellow Crane Tower" and wrote "Ascent to the Phoenix Terrace in Jinling" and "Parrot Island", so it is clear that the rumor that Li Bai was convinced by Roy Cui is not an empty rumor.
This "Yellow Crane Tower", only the third line of the battle, metrical basically unqualified, "lonely flat" there are several, but it is completely to the connotation of the victory, become a masterpiece of the ages.
See, as long as the content of the heart, can attract people **** Ming, the requirements of the law can be relaxed, that is to say, as far as possible in the rules of the law to show the connotation of the work, but when the connotation of the conflict with the law, the connotation should be the most important, which is the ancients said that the "broken", that is, to break the law.
Of course, the premise is that your connotation is deep enough, the realm is far-reaching enough, and in the case of the rules of the meter can not be perfectly expressed, you can "break the rules", if neither the connotation, but also do not emphasize the meter, which is the essence of the "poem" derailed, can not be considered a poem. The first is to make sure that you have a good understanding of what you are doing.
There is another point to note in terms of meter, which is that when two three-syllable characters (i.e., "up" in "yin and yang go up") are together, the first three-syllable character will be pronounced as a two-syllable character, which is also known as yangping.
For example, "turn your eyes". When we pronounce "转", we pronounce it in the second tone, yangping. Similarly, in "a few cents", the "few" is pronounced as "urgent"; in "eyes without pearls", the "have" is pronounced as "have".
When this situation leads to the emergence of a single flat or even flat and even oblique, how to choose? Personally, I take a tolerant attitude towards it.
For example: the rain and cold eyes through the curtain. Although the character for "cold" is flat and the two sides are oblique, which is a "lonely flat", the character for "turn" is pronounced in two tones and is perfectly fine, so it should be fine.
This is the content of the ancient poems, rhyming, leveling, contrast, and format (that is, the number of words).
As for the words, in fact, the very first Song lyrics, the first requirement of musicality, the Song Dynasty Zhou Bangyan know the music and rhythm, his works are harmonious and elegant work. Wang Guowei commented: "outside the text, must also taste its sound ...... today, although the sound is dead, read his words, still feel the wrath of the argument, since the and Euphemism, Man sound to promote the section ......"
Just because the Song lyrics of the score is lost (only Jiang Kui of the Southern Song Dynasty has a collection of words with the score of the works handed down), the musicality has no way to prove that the use of metre to supplement is not wrong, but too exhaustive metre, and even therefore ignore the connotation, the feeling is still a bit of a hubbub. As the Qing dynasty Liu Polaris in the "thesis even record" said: "not to its God and vainly abide by its law, then dead law only."
A poem to the readers:
Poetry study Li Du, Li Du to learn who?
The wide range of learning is unique, the road is the same.
(This article is intended to help newcomers to the poetry enthusiasts to create a better work, the article of the metrical requirements are only the most basic standards, to prevent newcomers to the poetry of the poetry of the daunting, as well as too much by the metrical constraints of the work of the impact of the connotation, so as to have a more in-depth understanding of the metrical and poetic after the use of the connotation and the metrical relatively strengthened and improved, after all, all the poetry call for submissions are more rigorous and more rigorous and more stringent.
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