Rhythmic poetry is one of the basic forms of modern poetry (Tang people used to take it as the general name of modern poetry, including modern quatrains, which were later divided).It sprouted fromSouthern DynastiesIn Qi Yongming's time, Shen Yue and others paid attention torules governing the rhythm of words、dualThe new style poetry of the Tang Dynasty was shaped in the early Tang Dynasty and matured in the middle and late Tang Dynasty.
The metrical poetry of Qi Liang style consists of three types: antithetical law (referring to the metrical form that is not sticky between the couplets of the whole poem), sticky law (referring to the metrical form that is sticky between the couplets of the whole poem), and sticky mixed law (referring to the metrical form that is both sticky and non sticky between the couplets of the whole poem).From the middle and late Liang Dynasty to the Chen Dynasty,Yin Keng、Zhang Zhengjian、Yu Xin、XulingSome of his works are very close to Tang's regular poems.In the Sui DynastyYang Su、Lusido、Xue DaohengAnd others, combined with the beautiful words of the Southern Dynasty and the fresh and vigorous spirit of the North, created some clean and beautiful poems, pointing out the way forward for the development of poetry in the transition period.
In the early Tang Dynasty, the first thing that played an important role in the chain of the formation of regular poetry wasFour heroes in early Tang Dynasty。Since the beginning of the Tang Dynasty, the phenomenon of semi ancient and semi rhythmic poetry in the process of poetry regularization has changed to the four outstanding poets, whose works of antithesis of five rhythms have decreased sharply, while some modern poems have failed to harmonize their rhythms, leaving more traces of the transition stage.And laterArticle Four Friendsas well asshen quanqi, Song Zhiwen, etcwithThe initial achievements and practical achievements of separation and standardization show the trend of further consolidation and promotion.It can be said that at the end of the early Tang Dynasty, the works of antithesis of the five laws disappeared, thus completely saying goodbye to the antithesis structure of the Yongming style;Sticking to the mixed rhythm works also showed a sharp decline, while sticking to the rhythm works increased significantly and occupied a leading position, which showed that the poets in the early Tang Dynasty had found the goal of pursuing the rhythm, and had made great achievements: the sticking to the rules of the five laws had been determined, and the construction of the art of the early Tang Dynasty's rhythm poems had been completed.In particular, Shen Quanqi, Song Zhiwen and other poets summarized the achievements of the new style poetry since the Southern Dynasty, affirmed the mature form, and finally completed the task of "avoiding voice sickness and maintaining sentence accuracy", which formalized the five laws in their creation.《Complete Poetry of the Tang》The collection includes 198 poems in three volumes of Song Zhiwen's poems and 156 poems in three volumes of Shen Quan's poems, most of which are regular poems.
In the heyday of the Tang Dynasty, the writers of regular poems became more and more numerous, which eliminated the red tape of the early Tang Dynasty, while the style tended to be simple and natural.However, most of the five laws before the whole Tang Dynasty were still in the stage of leisure and recreation, and they seldom touched the broad social life.As for the rise of the seven laws, it was later than the five laws.Shen Quanqi, Song Zhiwendu shenyan、Li QiaoIt began to become a piece in the heyday of the Tang Dynasty,Wang Wei、Li Qi、Censhen、Jia ZhiAll people have deliberately tempered it to make it mature in the systemCui HaoLi Bai still has works of parallel prose and mixed prose, half ancient and half legal.Although the seven laws of this period had a famous article of Gao Huaxiu Lang, most of the content belonged to offering and responding to the system and paying for coming, which was more narrow than the five laws.At the same time, Li Bai, Wang WeiGao ShiMost of the seven verses of other poets are wrong, wrong, and emphasize words.When Du Fu arrived, the seven character verse showed its poetic potential and opened up the art world.Du Fu has opened up the realm of regular poetry in an all-round way. Current affairs and politics, life experience, customs, cultural relics and historic sites are all integrated into the refined and strict rhythm, and the value of this poetic style has been raised to the level of standing side by side with ancient poetry and quatrains.
During the Middle Tang Dynasty,liu changingandTen Talented Scholars in DaliSpecializing in metrical poetry, he is especially good at five metrical verses, but he basically follows the path of various schools in the prosperous Tang Dynasty. His diction and voice are well trimmed, and his poise and serenity are slightly less than those of the image fusion, which has lost the "ancient flavor" in Du Fu's poems.The poetic world of Yuanhe laid out the ancient style, and the regular poetry was not vigorous.amongHan YuLearn from Du Fu's opening and closing turbulence, but see a little sluggish;zhen 、Bai JuyiInheriting Du Fu's poems, they are free and easy;JiadaoIn the deep and steep road, but limited to the five laws, it also focuses on refining words and phrases, lacking the sense of exclusion;Liu Yuxi、Liu ZongyuanHe is good at fine alertness and condensation. Although he is rich in charm, he eventually lacks of posture.They each got one aspect of Du Fu's regular poetry, but failed to change it to become a great master and bring forth new ideas.
The new situation of poetry creation was officially opened in the late Tang Dynasty.In the early and prosperous Tang Dynasty, only the metrical form was established, but the content was not yet enriched, and the aesthetic function of the poetic style was far from being developed.According to Du Fu's "transportation of the ancient in the law", the realm began to be large, the emotion began to be deep, the changes were extraordinary, and the law body was square and respected.To the late Tang Dynastywen tingyun、Li ShangyinThe various schools of thought are becoming more and more comprehensive, and can connect with the source and flow, and their poetic style tends to be more refined.The late Tang Dynasty's metrical poetry is the most developedYao He、Xu Hunso thatSi Kongtu、Han XuanAlmost all famous poets are famous for their Gonglv style, some even only Gonglv style.Especially Li ShangyinDu MuWen Tingyun and other seven law masters not only modified the form of the regular poetry, but also transformed the temperament of the regular poetry, pushing the art of the regular poetry to a new stage.
The poems of the Five Dynasties are weak.The creation of regular poems in the Song Dynasty continued the innovative efforts of Du Fu and poets in the middle and late Tang Dynasty, and“Jiangxi Poetic School”He gradually shaped it in his hands, and found a new way to be good at reason and interest, and to use discussion as poetry. His achievements in the seven laws are relatively high, and there are fewer excellent works in the five laws.There were some achievements in the Yuan Dynasty's metrical poems, and there were some excellent works in the Five Rhymes.From the Ming and Qing dynasties onwards, regular poetry gradually declined.[1-5]
Formal characteristics
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Broad sense metrical poetry has a great tolerance. It allows the existence of wrong patterns and three oblique ends.asCui HaoOf《Yellow Crane Tower》Is a typical representative.
The narrow sense of metrical poetry is very strict, with strict rules in terms of words, rhyme, tone and tone, and antithesis.
Fixed sentence number
Regular poems usually have eight sentences in each poem, and those with more than eight sentences are calledRhythmic rhythmorLong law。A metrical poem that ends with eight sentences is composed of two sentences in a couplet, which is called four couplets. The first couplet is customarily calledFirst pageThe second copy isSyntagmatic, the third copy isCervicollis, the fourth copy isCaudal couplet。The last sentence of each couplet is calledMake a sentence, the next sentence is calledAntithesis, two sentences form a couplet relationship;The relationship between the couplets in the front and the sentences in the back is called the adjacent sentence relationship.
The number of words in the sentence of a regular poem is neat and uniform. Each sentence has five or seven words, which are calledpentasyllabic regulated verse、eight-line poem with seven characters per line and rigorous prosodic rules。The five laws stipulate that each sentence has five words, and the first sentence has forty words in total;The seven laws stipulate that each sentence has seven characters, and the whole beginning has 56 characters.There are also six words in each sentence, the first forty-eight words, calledSix character RhythmThere are few works handed down from generation to generation.[4][6]
Rhyming strictly
Rhymes are usually writtenFlat rhymeAnd must rhyme according to the words in the rhyme book.In principle, only the original rhyme can be used, not the adjacent rhyme;Even if it is slightly looser, only the first sentence allowed to enter rhyme can use adjacent rhymes, called "borrowed rhyme".
Rhythm poetry also requires that all the poems should be rhymed with one rhyme, that is, one rhyme to the end, and no rhyme in the middleshift to another rhyme。The second, fourth, sixth and eighth sentences rhyme, and the first sentence can be pledged or not.The five rhymes take the first sentence without rhyme as the positive example, and rhyme as the variation;Seven RhymesRhyme the first sentenceIt is a positive example, and it is a variation without rhyme.[4][6]
Pay attention to level and oblique tones
The sentence pattern of every sentence and the level and oblique tone of every word in regular poetry have provisions: stick and right.The generalized metrical poetry is allowed to lose its stickiness, while the narrow metrical poetry is not allowed to lose its stickiness."Loss of stickiness" is a violation of the rule that the second word of the sentence in the back couplet and the second word of the couplet in the front couplet require the same tone.
Although Chinese hasFour tonesHowever, in metrical poetry, it is not necessary to distinguish four tones like words and songs, but to divide them roughly into flat and oblique tones.In order to create the cadence of tone, it is necessary to alternately use the flat tone and the oblique tone, which is not monotonous.Chinese basically takes two syllables as a rhythmic unit, and the stress falls on the following syllables.The basic sentence pattern of metrical poetry is composed of two syllables interlaced in tone and level, which is called metrical sentence.For five character regular poetry, it has four basic sentence patterns: (A) flat flat flat flat, (B) flat flat flat, (C) flat flat flat, (D) flat flat.Seven character regular poetry is just a rhythm unit added in front of the five character sentence pattern. Its basic sentence pattern is: (A) flat flat flat flat, (B) flat flat flat, (C) flat flat flat flat, (D) flat flat flat.
There is a rule in these sentence patterns, that is, every double word must be reversed: the level and oblique tone of the fourth word are opposite to the second word, and the sixth word is opposite to the fourth word, so that a sense of rhythm is formed by repeating.But every single syllable can be reversed, because the stress falls on the double syllable, and the single syllable is relatively unimportant.Therefore, the pithy formula of "one, three, five no matter, two, four, six distinct" has come into being, that is, the level and tone of the first, three, five (only seven words) words can be flexibly handled, while the level and tone of the second, four, six and the last word must be strictly observed.This pithy formula is not completely accurate. In some cases, the first, third and fifth must be discussed, and the second, fourth and sixth may not be clear in specific sentence patterns.
The formation rule of each sentence in a regular poem is: opposite sentences are relative and adjacent sentences are sticky.
The opposite sentence means that the upper and lower sentences in a couplet have opposite levels and oblique tones.If the last sentence is: the level of the oblique is equal to the level of the oblique, the next sentence is: the level of the oblique is equal to the level of the oblique.In the same way, if the previous sentence is "flat, flat, flat", the next sentence is "flat, flat, flat".Except for the first couplet, the upper sentence of other couplets cannot rhyme, and must end in a oblique tone. The next sentence must rhyme, and must end in a flat tone.Seven character ones are similar.
If the first couplet does not rhyme, it is no different from other couplets. If the first and the next two sentences should rhyme, they should both end in a flat tone. The first couplet cannot be completely opposite. It can only be done to the end. Its forms are no more than two: (1) flat start: flat and flat, flat and flat;（2） The rising form of the oblique: the oblique and the oblique are flat, flat and the oblique are flat.
Adjacent sentences stick together.The meaning of "sticky" is the same originally, but since it is used to stick odd sentences ending in a low tone to even sentences ending in a flat tone, it can only be done to stick the beginning and the end.For example, the last line is: the level of the oblique and the level of the oblique, the level of the oblique and the level of the oblique.The last sentence of the next couplet should be linked with the next sentence of the next couplet. It must also start with a flat tone, but it must end with a narrow tone. It is flat, flat, flat, and flat.
According to the rules of sticking pairs, four forms of five character poems can be deduced:
1、 The first oblique sentence does not rhyme:
The narrow and the narrow are flat and the narrow and the narrow are flat.
The level is flat, the level is flat, the level is flat.
The narrow and the narrow are flat and the narrow and the narrow are flat.
The level is flat, the level is flat, the level is flat.
2、 The first sentence rhymes:
The oblique and the oblique are flat, flat and the oblique are flat.
The level is flat, the level is flat, the level is flat.
The narrow and the narrow are flat and the narrow and the narrow are flat.
The level is flat, the level is flat, the level is flat.
3、 The first sentence at the beginning does not rhyme:
The level is flat, the level is flat, the level is flat.
The narrow and the narrow are flat and the narrow and the narrow are flat.
The level is flat, the level is flat, the level is flat.
The narrow and the narrow are flat and the narrow and the narrow are flat.
4、 The first sentence rhymes:
Level, level, level, level.
The narrow and the narrow are flat and the narrow and the narrow are flat.
The level is flat, the level is flat, the level is flat.
The narrow and the narrow are flat and the narrow and the narrow are flat.
Sticking pairs also has some flexibility, basically following the pithy formula of "one, three, five, no matter, two, four, six clear", that is, to check whether a regular poem follows sticking pairs, it is generally based on its even numbers and the last word.If the couplet is wrong, callMisfit；If the adjacent sentence is not sticky, it is calledDebonding。Loss of the rightness and stickiness are taboos of the modern style poetry.In contrast, the loss of alignment is more serious than the loss of adhesion.The rules of stickiness were determined relatively late, and the poetry of poets in the early Tang Dynasty often lost stickiness. Even Du Fu's poetry occasionally lost stickiness, such as《Five Poems on Remembering Historic Sites》The second song and the third sentence of the poem can't stick to the second sentence.
It is rare to see anything wrong in Tang poetry.Among the existing Du Fu's regular poems, only《Send to General Wang Shijun》One song is wrong.In the first and second sentences, except for the first word, all other words have the same level and tone, which is incorrect.
In another case, the need for expression is ignored.For example, another poem by Du Fu《White Emperor》The second word of the second sentence was supposed to be in a flat tone, but the oblique tone word "emperor" was used, which is not only wrong with the first sentence, but also inconsistent with the third sentence.However, it was intended to reuse the "White Emperor City" to create parallelism, so we had to sacrifice the rules.
There is another rule in regular poetry: in a couplet, the total number of flat tone words and oblique tone words is equal.If in the "13th Five Year Plan", which can be flexibly handled, the flat tone characters should be used instead of the oblique tone characters (or the oblique tone characters should be used instead of the flat tone characters), then it is often necessary to change the oblique tone characters to the flat tone characters (or the flat tone characters to the oblique tone characters) in the appropriate place of the sentence or couplet to maintain the balance of the number of flat and oblique tones in a line.That is to say, first you use a trap (not in accordance with the law), and then you save it. When you put it together, it's calledObstinate rescue。For example, the five character sentence from the beginning to the end of the sentence: flat, flat, oblique, flat.The third word of this sentence can be ignored, even in flat voice.But if the first word is changed to oblique tone, it becomes: oblique level, oblique level.Apart from the rhyme, there is only one flat word in the whole sentence, which is called "Gu Ping". It is a big taboo in modern style poetry and is rarely seen in Tang poetry.The preceding quotation of Du Fu's poem "hanging a bow with two horns" is a crime of solitary peace. Such an irregular sentence is called an awkward sentence.If the first word has to be used in a narrow tone, the third word can be changed into a flat tone at the same time: narrow flat narrow flat.This avoids isolation.This means saving, which means avoiding awkward sentences.
Seven character poetry is similar to this, that is, the third word of the sentence "The oblique tone is flat, the oblique tone is flat" cannot be replaced by the oblique tone. If the oblique tone is used, the fifth word must be replaced by the flat tone to avoid isolation.
The so-called "Gu Ping" refers specifically to the flat closing sentence (that is, rhyming sentence). If it is oblique closing sentence, even if the whole sentence has only one flat tone word, it is not a solitary sentence, but at most it is an awkward sentence.For example, changing the words "level and level, level and level" to "level and level, level and level, level and level, level and level" is not an act of isolation, but can be used.
Another kind of situation is that the five character sentence starts and ends at the same level: the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level of the level.In this sentence pattern, the first word can be flat or oblique, but the third word cannot be flat. If you use a flat word, it becomes: flat or oblique.At the end of the sentence, there are three flat voices called“Triple tone”, this isAncient style poetrySpecial forms must be avoided and can not be remedied when making modern style poems.
Similarly, the seven character flat start and close sentence "flat and flat, flat and flat", the first and third words can be flat and flat, but the fifth word cannot be flat tone, otherwise it will become a triple tone.
Therefore, the pithy formula "one three five no matter" is not completely correct. In some cases, one three five must be discussed."One, three, five, no matter what" is completely correct as long as it can avoid the solitary and three level tone.
Another way to prevent Gu Ping is to make up sentences.For example, in the five character sentence pattern of "oblique, oblique and even oblique", the third word has changed to oblique, and often the third word of the couplet has changed to the flat tone to remedy it, that is, "oblique, oblique and even oblique, even and even oblique" has changed into "oblique, oblique and even, even and even oblique".For example《Huai Li Bai at the end of the day》The third sentence "When will the wild geese arrive?" The third word should be flat and oblique. The fourth sentence "There are many rivers in the Jianghu" changed the third word into a flat voice.The similarity of seven words is that the fifth word of "level level level level level level level level level level level level level level" uses the level tone, and the fifth word of the couplet uses the level tone to remedy it, that is, "level level level level level level level level level level level level level level level level level level level level level" becomes "level level level level level level level level level level, level level level level level level level level level level level level level level level level level level level".
Rhythm poems sometimes have the phenomenon of being obstinate but not saved. This phenomenon undermines the balance of the number of flat and oblique tones in a couplet. However, if it occurs in the position of "one three five", as long as there is no solitary or three flat tone, it can be tolerated. To be exact, it cannot be regarded as obstinate.In addition, there is another kind of depression, which appears in the position of "246". That is the real depression.But there is a kind of obstinate sentence that is used quite a lot in Tang poetry.For example, the first sentence of "Cherishing Li Bai at the End of the Day" was supposed to be "flat, flat, and oblique", but it was written as "flat, flat, and oblique". The second and fourth words were in flat tones, which violated the law that every pair of words must be reversed.In the seven words, it is written as "level level level level level level level level level level level level level level level level level level level level level level level level level level level", for example, in "Five Poems on Remembering Historic Sites", almost every capital uses this special sentence pattern.The seventh sentence of the first sentence is this sentence pattern;Second, the seventh sentence "Min" can be flat or oblique. If it is read as flat, it becomes this sentence pattern;The seventh sentence of the third sentence is still this sentence pattern;The first sentence of the fourth sentence is also this sentence pattern;The fifth sentence of the fifth sentence is the same sentence pattern.Because this sentence pattern is used too much (often in the seventh sentence), it is almost as common as the regular sentence pattern, and it is not even regarded as an awkward sentence, but as a special legal sentence.The reason why poets like to use this special sentence pattern may be that there are three flat tones in the conventional sentence pattern "flat, flat, oblique, flat, oblique". Although not at the end of the sentence, it does not count as three flat tones, it is still a bit awkward to read, so it is simply changed.However, it should be noted that when using this sentence pattern, the first word of five characters and the third word of seven characters must be in a flat tone and cannot be ignored.[4][6]
Require confrontation
The four couplets of regular poetry have a specific name. The first couplet is called the first couplet, the second couplet is called the supporting couplet, the third couplet is called the neck couplet, and the fourth couplet is called the tail couplet.The upper and lower sentences of the second and third couplets (i.e. the supporting couplets and neck couplets) of every regular poem are antithetical sentences.
The first feature of antithesis is that the syntax should be the same.Such as《Traveling Night Book》There is no predicate in the first sentence of the first couplet, and the second sentence is also opposite with meaningless sentences.The sentence pattern of the upper sentence is "subject predicate definite object", and the next sentence is also opposite with the same sentence pattern.The neck couplet uses the same sentence pattern.
The second characteristic of antithesis is that we can't use the same word for antithesis.Such antithesis as "people have their joys and sorrows, and the moon has its ups and downs" is allowed in Ci and Qu, but not in modern poetry.In fact, except for the need of rhetoric, the same words must be avoided in modern poetry.
The third feature of the antithesis is the relative parts of speech, that is, nouns to nouns, verbs to verbs, adjectives to adjectives, adverbs to adverbs, pronouns to pronouns, and function words to function words.If you want to be neat, you must also use words (mainly nouns) that belong to the same type in meaning, such as astronomy to astronomy, geography to geography, number to number, location to location, color to color, season to season, utensils to utensils, personnel to personnel, and creatures to biology, but they cannot be synonyms.As mentioned above, "the stars hang flat and wide, and the moon surges into the river", "the stars" are astronomical pairs to the "moon", "the wild" is geographical pairs to the "river", and "the vertical" is relative to the "surge", "the flat" is relative to the "big", and "the wide" is relative to the "flow", which also belong to the same type of verbs and adjectives in lexical meaning.A match like this is called a work pair.
There are some antitheses, which are formed by borrowing homophones, called borrowing pairs.Like《ambition 》：
West Mountain is surrounded by three white snow cities, and Nanpu Qingjiang Wanli Bridge.
The world is far away with tears and tears.
But he was ill at dusk, and there was no pilgrimage to Egypt.
When you go out into the suburbs, you can't bear the depression of human life.
In the first couplet, "west" is opposite to "south" in orientation, "mountain" is opposite to "pu" in geography, "three" is opposite to "ten thousand" in number, and "white" is opposite to "qing" in color by borrowing the homophone "qing" in "qing".Such a borrowing pair is also a work pair.
The state map leads the same valley, and quicksand flows out of the post road.
There are thousands of families in the world.
Ma Jiao sweated and danced with white hooves.
Young Lintaozi also boasted when he came to the west.
The neck tie is homonymous to "Zhu" with "Zhu", which is opposite to "Bai".Another example《Sit alone》：
Sorrow returns to the white head, leaning on the staff to carry the lonely city.
The river converges on the island, the sky is empty and the scenery is clear.
Cang Ming hates declining, Zhu Fu loses his life.
Admire the birds at dusk, and cast the feather in the forest.
The neck couplet is opposite to "Zhu" with "Cang" homophonic to "Cang".
In a couplet, if most of the characters are perfectly aligned, other characters can be loosely aligned.For example《Spring Outlook》：
The country is broken by mountains and rivers, and the city is deep in vegetation in spring.
When I feel the flowers splashing with tears, I hate the birds.
A letter from home is worth ten thousand gold.
The white head scratch is shorter, and the muddy jade cannot match the hairpin.
In the couplet, the words "when feeling, the flowers are splashing with tears, and the birds are frightened." The words "when" and "don't" are not relative, but the other words are very neatly aligned, which is also a work pair when combined.
For seven characters, the fifth word is optional.For example, Du Shi《Shu Xiang》：
Where can I find the Prime Minister's Ancestral Hall?There are many cypresses outside the Jinguan City.
The green grass reflects the spring scenery, and the orioles across the leaves have a good sound.
Three times of attention frequently annoy the world's plan, and two dynasties help the old ministers.
He dies before he finishes his apprenticeship, which makes the hero full of tears.
The neck couplet "three times of attention frequently annoy the world, and two dynasties help the old officials", and the fifth word "heaven" and "old" are not correct.Some antitheses, seemingly wrong, actually use different meanings. For example, in this couplet, "Chao" is opposite to "Gu" with the different meanings of "Chao", and "Xia" is opposite to "Chen" with the different meanings of "Xia" instead of their meanings in the sentence.In addition, there are some antitheses. We should understand their origins before we know they are relative.For example《Qujiang II》Second:
When I return to the morning, I will wear spring clothes. Every day, I will return drunk at the head of the river.
Wine debts are common, and life has been rare for 70 years.
The flower wearing butterfly is deeply seen, and the dragonfly flies slowly.
The legend and scenery flow together, so don't go against each other for the time being.
It seems wrong to use "ordinary" to "seventy" in the couplet. In fact, "eight feet is called search, and double search is called regular". The word "ordinary" can also be used as a numeral, which is quite neat with "seventy".When using other meanings and allusions like this, we have to turn a corner to meet them. Surprisingly, they are also borrowed, and they are often considered to be excellent, which is similar to the "courtship" of lantern riddles.
The upper and lower sentences in a couplet are generally different or opposite.If two sentences are completely or basically synonymous, they are called“Palmation”Is a taboo in poetry writing.But sometimes the upper sentence and the lower sentence are related, saying the same thing. The lower sentence follows the previous sentence, and the two sentences are actually the same sentence. This is called“Flowing pair”。Such as《Wen Guanjun Receives Henan and Hebei》：
Suddenly, it was said that he was gathering thistles north of the sword. At first, he heard that tears were all over his clothes.
But I see where my wife is worried, and I am crazy about poetry and books.
Singing in the daytime must be indulged in alcohol, and youth can be a good companion to return home.
That is to say, you can cross the Wu Gorge from the Ba Gorge and then go down to Xiangyang and Luoyang.
The following sentence of the tail couplet describes the journey of the previous sentence, that is, a flowing pair.Another example《Eight autumn songs》Second:
The sun sets in the isolated city of Kui Prefecture, and every time you look at Beijing from the Big Dipper.
Listen to the three cries of the ape, and I will follow the August investigation.
Painted provincial incense burners are against the pillow, and the battlements on the mountain floor are hidden with sorrowful music.
Look at the crescent moon on the stone, which reflects the reeds in front of the island.
The tail couplet is also a perfect match.The running water pair is also generally considered to be a good pair. If the tail couplets need to use antithesis, the running water pair is often used to collect the whole poem.
Sometimes there is antithesis in a sentence.For example, Climbing High:
When the wind blows hard, the apes howl and mourn, and white birds fly back from the clear sand on the banks.
Boundless falling trees and endless rolling Yangtze River.
He often visited for thousands of miles in sorrow of autumn, and came to the stage alone after a hundred years of illness.
Difficult and bitter hatred of numerous frosted temples, dilapidated new stop turbid wine cup.
The four couplets of this poem all use antithesis, and there are antitheses in the sentences.Interestingly, because of the rhyme, the first sentence cannot be completely opposite to the second sentence in tone and tone, but the meaning is perfect.This poem is known as the first of the seven laws in ancient and modern times. Even from the perspective of form, it deserves the reputation.[4][6]
Metrical contrast
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pentasyllabic regulated verse
1、 The first sentence at the beginning is not rhymed
