【Yunfan Viewpoint】
Luan Rui: Xinghan poetry creation finger flaw
About the Author
Luan Rui, female, from Sanyuan County, Shaanxi Province. He graduated from the Department of Chinese of Beijing Normal University in 1994. Professor of the College of Literature of Xinjiang Normal University, Vice President of the Xinjiang Poetry Society.
The creation of Xinghan poetry is flawed
Executive Summary
The poetry creation mentioned in this article mainly refers to the rhythmic poems and sentences of Xinghan. Shortcomings in poetry creation are inevitable. In view of the current lack of criticism in the poetry world and the blind praise, this article is of benefit to Xinghan himself or today's poetry.
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Xinghan poetry; ideological content; poetry rhymes; writing skills.
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The poetry creation mentioned in this article mainly refers to the rhythmic poems and sentences of Xinghan. The Wenxin Carved Dragon Finger Flaw believes that writing is "difficult to move and rarely flawless", and says that "Si Yan is a defilement, a thousand years of Buddha". It is inevitable to say that there are shortcomings in writing, and once it is circulated, a small shortcoming cannot be changed after a thousand years. Many writers in today's poetry world dare not face their own works, are unwilling to self-criticize, and are afraid of criticism from others. Critics also only say good things and blindly praise, which is harmful to today's poetry world and has no benefit. Former sages refer to flaws that are mostly used as ancient people, and when studying someone's work, they often pass by the whole text about its faults. The author wrote the article before his death, and the person who wrote the special article to "point out the flaw" has not yet been seen. I have worked with Xinghan For more than 30 years, and I have always been a sneak peek at his poetry creation. The author prides himself on having this courage, and I also hope that professor Xinghan, who is being accused, will have the courage to accept it. What is said is not necessarily appropriate, and the accused is also asked to "change it if there is one, and encourage it if there is none." The work of this article is of benefit to Xinghan himself or to today's poetry. As far as he can see, it is intended to be discussed in three aspects: the content of thought, the rhyme of poetry, and the writing technique.
As for the content of the ideas, the author and other teachers and friends have already criticized the articles of Xinghan in their comments, and it is only quoted here to understand the problem. The Journal of Xinjiang Normal University, No. 2, 2006, contained the article "Yuantuo Poetry Xinjiang With The Pastoral Whip - A Treatise on the Poetry of Xinghan", which mainly commented on the book "Rhymes of Tianshan Mountains" of Xinghan, believing that "Xinjiang has emerged from different armies and formed the 'Tianshan Poetry School'. The leader of this faction, everyone is pushing the star man. However, the sixth part of the article devotes a section to criticism of the problems in the poetry of the Star Han. Among them is something like this:
There are three defects: First, some of the poetic meanings are exposed, and the effort of deliberation and cutting is slightly insufficient. For example, "The military has been lost, go up the stairs but see the grass." If the right to live at the right time, Tsarist Russia will not cut the west of the river" ("Denghuiyuan Bell and Drum Tower Commentary on Zhirui"); this poem is overturned by the Ili general Zhirui, who was shot and killed by the revolutionaries, and whether the argument is correct or not, it does not matter, but "with discussion as a poem", the Song people of Buwu are always literate; the third sentence is twisted at the meaning of the pulse, I am afraid that it is a disease. Look again, "Swallow Mountain in front of the nine eyes blue, long teaching spring color stationed in the side court." But the willow branches are dipped in the water of the pool and sprinkled on the tourists like rain zero" ("The Spring of the Nine Eyes of Ush"),this poem is hard and laborious, as if it is not alive to find words, when it is to accommodate the rhyme foot. Second, some of the middle two of the verses are placed on the same level, and there is a lack of changes in the beginning and end of the four. The jaw and neck of Mao Zedong Ling are as follows: "The stars weave the desert in the air, and the clouds and xia cover the Kunlun." Looking at the red sun Kyushu Xiao, hands sprinkled green mountains and ten thousand horses running. The words "Star Dou", "Yunxia", "Red Sun", and "Qingshan" were stacked together, repetitive and cumbersome, and quite laborious. The third is in the "Tianshan Rhyme", in addition to the asanas, the poems are only two bodies of absolute law, and there is no ancient style and song line. Some titles, such as the use of ancient scripts and song lines, are more unrestrained and may be more effective.
The third point mentioned above, Xinghan has corrected it in his subsequent writing, and there have been several high-quality song works, such as "Cheshi Gudao Xing" and "Moving Mo Ancient Road Xing", which have won the first prize of the Huaxia Poetry Award organized by the Chinese Poetry Society. The second point, the problem of the two couplets in the middle of the poem on the same level, is quite a lot in Xinghan's works. For example, "June 27th Turning over the Heavenly Mountain": "The scenery here is absolute, and there is no match in Kyushu." The clouds often hit the feet, and the loose waves want to tilt their heads. The snow is stable on the green cliffs, and the wind blows red and the sun flows. Ascend to the heavens and the earth, and look away from a thousand sorrows. "The middle two pairs are not very good at battle, but the lack of change is a serious disease. In the later creations of Xinghan, there are still similar rhythmic poems. Please see "Xin Di Midsummer and Immortals in the Same Boat Poetry Society Poetry Friends Qinglong Temple to cool off": "Chang'an residence is not easy, to avoid the heat like steaming." The red face of the young sun is reduced, and the breeze is green and condensed. Poetry soothes the water, photography falls on the clouds. The big stone rests and moves, and this evening the moon is used as a lamp. The scenes in the middle four sentences are "day", "wind", "water", and "clouds". "First rain and then sunny on Arshan Road": "Driving a light car to the road, whistling and falling rain Xiaoxiao." The grass in the sky still covers the eyes, and the wind sends the remnants of the sun to the waist. Smoke trees and thousands of mountains surged wildly, and chaotic clouds drifted in color. After experiencing it like a dream, I boasted of my wealth in front of others. The scenes in the middle four sentences are "heaven", "grass", "trees", "mountains", and "clouds". Ever-changing is always monotonous. If you only look at one such poem, it is enough, and if it is superimposed, it is annoying. The first point of the "defects" mentioned above, in the article "Poetry of Jiangshan Unification aiding the Unification of Jiangshan- A Poetic Strategy on the Theme of Ethnic Minorities in Xinghan" in the Journal of the Central University for Nationalities, No. 4, 2007, the criticism of the poem "Denghuiyuan Bell and Drum Tower Commentary Zhirui" was even more severe:
It is not easy to grasp the right and wrong of history; the evaluation of historical figures cannot rely only on the intuition of poetry, but what is needed is to think twice about poetry, and the fusion of sensibility and reason in emotion. This poem says that the Zhirui of the Manchurian Red Banner people fulfilled his duty to guard the land in Ili, and there is nothing wrong with it. However, this person was the last Ili general of Youqing, who served only 54 days before he was captured by the Ili revolutionaries Feng Temin and others, and shot and killed in front of the Bell and Drum Tower. Singing the praises of such historical figures who moved against the tide of revolution finally felt inappropriate.
In addition to being "wooden and unwritten" in art, this seven-piece song is "praising this historical figure who moved against the revolutionary trend, and finally feels inappropriate." I agree with this view. In the future, Xinghan should "think twice and then write poetry" in grasping the measure of historical figures.
Professor Zhao Yishan of China West Normal University is a researcher of sanqu theory and an expert in sanqu creation. His article "A Brief Discussion of The Poetry of Xinghan Family Affection" was published in the Journal of Chinese Rhyme Literature, No. 4, 2009. This article has many Beautiful words for the "family love poems" of Xinghan. In the "Abstract" of the article, it is said: "Among the poems officially published by Xinghan, there are more than 60 works involving family affection, writing about parents, wives, daughters and other relatives. Whether it is the deep gratitude for the parenting of parents, or the expression of deep affection for the daughter's licking, and the expression of deep love and pity for his wife, they all present a kind of sincerity and deepness that is difficult for ordinary people to reach, a kind of persistence and entanglement, and occasionally indignation in the desolation, and humor and humor in sourness. Its general characteristics may be deeply natural, solemn and harmonious. However, when the article talks about the style of Xinghan poetry, he said: "The humor of its meaning is not rare in poetry, and even if it is placed in music, it is not inferior." Of course, the difference between the strict style of poetry and song may not be commendable, but it can be integrated into poetry and achieve a unique effect of zhuang and harmony, but it is not a commendable creation. "The Seven Laws of the Star Han Dynasty have "Sending little girl sword songs to the United States to study for a doctorate", and the whole poem is:
Resist the green lamp thin bone grinding, wait for the body examination paper?
But through the blue sky in Europe and the United States, Hugh asked his father and mother how much gray hair.
A mouthful of foreign cavity can mix rice, and the land of the five continents can be nestled.
Recently, I gained weight and talked to my grandmother on the phone.
Professor Zhao Yishan cites the neck link of This poem to illustrate the problem. Maybe it's because of the affection, and the words are tactful. The author believes that this poem is even "a commendable creation", but with this kind of tone as a rhythmic poem, it is not the true color, if it is a loose song, it may be more charming. Professor Zhao Yishan spoke peacefully, in fact, talking about the relationship between theme and genre.
Because the verses have strict restrictions on the grammaticality, they are not very suitable for narrative. In the Song Dynasty, the narrative was enhanced, such as Yang Yi's "Han Wu" and Liu Yun's "Southern Dynasty". Although there are many allusions, the readers are singing to each other and the pavilion is a courtier, so it will not form an obstacle. The audience of Xinghan poetry should be the broad masses, and it is the highest realm to achieve elegant and common appreciation. Xinghan has seven laws "Climbing Fule Mountain, Lamenting Liu Zhangye", and the narrative component is quite large. The full poem is:
South to the Fujiang River to send a distant view, a few old things rolled into the waves.
Three years of fighting is not weak, and once surrendered the crime can escape.
If big ears didn't have a strategy, Ah Qi had already prepared a military sword.
After all, Xichuan came to the British lord, and did not belong to the Liu family, but belonged to Cao.
Fule Mountain is located in downtown Mianyang. According to the Song "Fang Yu Sheng", in the winter of the sixteenth year (211) of Han Jian'an, Liu Bei entered Shu, and Liu Zhang extended to this mountain, looking forward to the full victory of Shu, drinking and enjoying it, hence the name. To read the Seven Laws of Xinghan, you don't have to read the "Romance of the Three Kingdoms and The Biography of Liu Zhang" today, but you have to check it on the Internet:
Liu Zhang, succeeding his father Liu Yan as the pastor of Yizhou, Liu Zhang was cowardly and suspicious, and Zhang Lu in Hanzhong was arrogant and did not listen to Liu Zhang's orders, so Liu Zhang killed Zhang Lu's mother and brother, and the two sides became enemies, liu Zhang sent Pang Xi to attack Zhang Lu and was defeated. After the civil unrest in Yizhou was settled, there was news that Cao Cao would come to attack. Under internal and external pressure, Liu Zhang listened to the words of his subordinates Zhang Song and Fazheng and welcomed Liu Bei into Yizhou, hoping to borrow Liu Bei's strength to resist Cao Cao. Unexpectedly, this move was to lure the wolf into the house, Liu Bei attacked Liu Zhang with his backhand, and Fazheng responded to Liu Bei's internal response, Liu Zhang had no choice but to surrender, was moved to Jingzhou Public Security, and later died of illness here.
In addition, it should also be known that the "big ear" in the poem refers to Liu Bei, and "Ah Qi" is a small character of Cao Cao. Too much trouble! Ancient poetry is less restrictive, which is convenient for laying out descriptions, and the narrative uses more ancient styles. Therefore, the author thinks that this poem is a failure to use the seven laws to narrate, and if you use ancient poetry instead, the effect will be better. It can be seen that the relationship between the theme and genre that Professor Zhao Yishan talked about cannot be ignored.
Professor Xinghan is the chief expert of the national major project "Compilation, Collation and Research of All Western Regions Poetry", and the author is the chief expert of the national major project "A Century of Western Buddhism Research History". Both projects are in progress. In order to cultivate the scientific research and investigation ability of graduate students, from May 21 to May 28, 2013, in the name of two major topics in social sciences in two countries, we led 11 graduate students from Xinjiang Normal University, majoring in ancient Chinese literature, classical philology and religious culture, to form a team of "Cultural Investigation around the East Tianshan Mountains" to conduct an in-depth investigation of historical sites, cultural relics, ancient and modern religious phenomena in the East Tianshan area east of Urumqi. After returning to school, Professor Xinghan received 38 poems, called "East Tianshan Poetry Manuscript". To this end, I wrote a text of "Xinghan 'Dongtianshan Poetry Manuscript' Review", which was published in the "Heart Tide Commentary on Poetry" No. 5, 2014. There is a passage like this:
Regardless of content or form, the "Eastern Tianshan Poetry Manuscript" is the masterpiece of Xinghan, but there are still many unsatisfactory points. Xinghan prides himself on "poetry cannot repeat the ancients, cannot repeat others, and cannot repeat oneself" ("How to be a good poem", in Dongpo Chibi Poetry, No. 3, 2007), but in this group of poems, there are both repetitions of the ancients and their own poems. His seven masterpieces, "The Tomb of the Returning King": "Helpless sorrow and joy change frequently, the Koran is buried with a golden body." The partition wall was newly built back to the palace, and the traffic was not the old master. This kind of poetry that laments the impermanence of wealth and the unfathomable rise and fall of the ancients was many in the ancients. Li Bai's "Sutai Langu" and Ouyang Xiu's "Picking Mulberries" (pingsheng is good for Ai Xihu) belong to this category. Look up the "Four Libraries of the Whole Book", such poems, abound. To give an example, in emperor Fu Of the Ming Dynasty's "Emperor Fu Sixun Collection", the "Five Songs of Yujing Sense" has five clouds: "Jia Di Xi Qu Yao Ri Xin, Sha Di East Lane has been dusted." The carriage and horse in front of the door are still there, asking the surname of the old owner. Also, in Xinghan's "Tianshan Dongwang Collection", "Hubei Provincial Museum Listens to the Chimes of Zeng Houyi": "Half into the river wind and half into the clouds, the millennium immortal music has been renovated." Look around the audience in the middle of the field, and don't see the old owner. "Compared with the works of the ancients and my predecessors, how similar is 'The Tomb of the King' Nair!
Xinghan wrote "Flame Mountain" in 1983: "The naked heart is Danyan, and the ground is burning in the sky." It is like my youth is full of fire, melting the snow and changing the south of the river. (Xinghan and Huang Yukui co-authored "The Scenery of the North and The South of Heaven", Xinjiang University Press, October 1997 edition) His "Poetry Manuscript of the East Tianshan Mountain" has seven masterpieces of "Crossing the Flame Mountain to See the Journey to the West Statue": "The old age is not exhausted in this life, and there is no need for a demon fan to borrow the East Wind." The mountain was as hot as my heart, sending blood red straight to the green sky. After 30 years, his thinking has not changed, and he is still "repeating himself."
This is the author's own opinion, and there is no need to explain it in the appendix here.
Xinghan advocated poetic reform. His earliest articles on poetic rhyme were "Mao Zedong's Breakthrough in Poetic Grammar" (Journal of Xinjiang Normal University, No. 3, 1997), followed by "Discussion on the Rhyming of the Mother Rhinosa before and after" (Yin Du Xue Journal, No. 1, 1999), "The Saying of Present Rhymes" ("Chinese Poetry", No. 1, 2002), ("The Reform of Poetry Rhymes Again" ("Contemporary Poetry", No. 3, 2006), "The Peaceful Discussion of the ThirteenTh Yuan" ("Chinese Poetry", No. 4, 2009), "The Leader Body" An Analysis of The Rhinophonic Rhymes Before and After Poetry (Chinese Poetry, No. 11, 2012) and other articles. At the same time as the publication of "Present Rhymes" in the first issue of "Chinese Poetry" in 2002, the "Brief List of Chinese Modern Rhymes" divided into 15 rhymes was also published by Xinghan based on the "Hanyu Pinyin Scheme Rhyme Matrix". It is said that this was a special approval when the elder sun Yiqing was alive. These articles have been reprinted in relevant poetry publications and blogs, which shows that they are quite influential. It should be said that Xinghan made due contributions to the reform of poetry.
The article "Damn Thirteen Yuan" Ping discussion, through the analysis of the story record of the Qing Dynasty scholar Gao Xinkui, believes that:
The "thirteen yuan" brings unnecessary trouble to the imperial examination and the usual poetry, and the poets of course hate the "thirteen yuan". This kind of flat water rhyme that is divorced from the actual pronunciation makes the candidates of the imperial examination suffer a lot, and they certainly want to abolish this rhyme, but the times do not allow it. Today, when we are spoken mandarin in the country, we are going to create traditional poems, why do we still use Pingshui rhyme and "Zilin Zhengyun" transformed by Pingshui rhyme? "Thirteen yuan" damn, shouldn't the whole flat water rhyme system be damned?
Speaking sonorously and vowing, from the perspective of attitude, Xinghan should be a person who advocates the reform of poetry and rhyme, and the creation also uses new sounds and new rhymes; but in actual creation, he does not have such a sharp trend of reforming the old and the new, so Xinghan retains the normative identification with Pingshui rhyme and is a "two-faced faction". Before and after Xinghan published the reform of poetry rhyme, he always used Pingshui rhyme in his poems and filled in words with "Zilin Zhengyun". Xinghan boasted that "when composing poems and filling in words, in order to make the rhyme harmonious, try to use some of the rhymes in the Pingshui rhymes separately in Mandarin to read two or more rhymes." This, of course, increases the difficulty of writing poems and filling in the words, so that the experts in the poetry world who do not like new rhymes will also look at them with pleasing eyes" ("Tianshan Rhymes: Afterword").
Xinghan's compromise with Ping ShuiYun was agreed with by some people, but at the same time it was severely criticized by xinyun poets, of which Mr. Yin Xian of Lanzhou was the most fierce. As early as 2006, the first issue of "Chinese Poetry" published Mr. Yin Xian's "To Xinghan" in the open letter said: "I believe that you will not doubt the correctness and necessity of poetry reform, you have long said 'I advocate poetry reform', but what about your actual actions? Over the years, you have written many poems and published more than one collection of poems, but how many of them are new rhyming poems? You frankly say that you are a 'two-faced school', although you have also proposed the "Brief List of Chinese Modern Rhymes", but in fact, you still use Pingshui rhymes and "Cilin Zhengyun" to write poems, and have always retained their voices. "I think the crux of the problem is that the poetry reform has had little effect: there is more than one such 'two-faced faction,' and such a 'two-faced faction' comes from the top, and the impact is not insignificant."
In the 8th issue of guizhou poetry association in 2010, Yin Xian's article "How poets are not embarrassed - discussing with Mr. Chen Zhengfei". Yin Wen was published in response to Mr. Chen Zhengfei's article "The Embarrassment of the Poet" published in the 3rd issue of guizhou poetry association in 2010, and called it the "star and Han strange circle". Chen Wen believes that Xinghan is "straightforward", "wise", and "round", and Yin Wen refutes it. It says:
If you are a person who has just entered the poetry world, an unfamounted author, it is understandable to look at the faces of famous artists and to figure out the likes and dislikes of "mother-in-law". And Xinghan's fame has risen, he has become well-known throughout the country, and the poetry experts also respect him for three points, he has become the vice president of the Chinese Poetry Society, and he has also become a "mother-in-law", how can he still have this little daughter-in-law mentality? Why didn't Mr. Chen want to think about it, did he still have any hidden feelings that he hadn't said?
As soon as Yin Wen came out, he quickly reprinted it in poetry journals such as "Longsha Poetry", "Heming Poetry Journal", and "Shaanxi Poetry", which can be seen in the creative circles' recognition of this article. At the same time as publishing and reprinting Yin Wen, he also published and reproduced Mr. Yin Xian's open letter to Xinghan on April 30, 2010. It said: "You claim that you will not use it until the new rhyme is officially promulgated, that is not a reason, that is a pretext, in essence, it is not a new rhyme." Because the 'new rhyme is officially promulgated' has no timetable and is far away, you can not use the new rhyme for a long time. There is a "note" at the end of the open letter: "The letter to The Star Han mailed Mr. Star Han on the same day to ask for his opinion on the article "How poets should not be embarrassed.". He called back on May 8, saying that it was entirely possible to publish it, for academic discussion, and offered to publish it along with the letter. I admire his boldness. The author agrees with Mr. Yin Xian's views and attitudes. Perhaps because of this "note", I feel that Xinghan has the grace to accept criticism, so I wrote this article.
Due to Xinghan's conservative approach to poetry, it led to his "embarrassment" in creation. For example, in 2014's new work "Rhino Pond Listening to Anglers Gossip":
The story of Jintian used to be known, and the rebel sword was hidden.
Once the pole is unveiled, ten years of blood will be spilled to suppress the fierceness and greed.
Laugh at him for being cruel to thousands of officials in the world, and deceive the people in my fields.
If there is an uneven situation in this day, the aura will rise in the middle of the night.
The poem rhymes with a narrow rhyme of "Xiaping Thirteen Qin". The words in this rhyme have a low word grouping ability and are not easy to control. This poem not only does not use the rhymes of "yuan", "cold", "delete" and "first" in the flat sound, but even the "salt" and "salt" of the lower flat sound are not mixed in, which can be described as "clean and neat". But the problem is that it has homophone rhyming drawbacks, that is, "Han", "憨" homophony, "greed" and "tan" homophony. The ancients tried their best to avoid using homophones as rhymes, and du Fu's "Will Go to Jingnan to Bid Farewell to Li Jianzhou" rhymes with "zhou", "hou", "zhou", "lou", of which "zhou" and "zhou" are homophonous, which is relatively rare. The ills of this poem of Xinghan are especially worse than Du Laodu, and when he recites it, he feels quite embarrassed. Another example is the new work "Siping Battle Memorial Hall see Lin Biao's wax statue" in 2014:
The old face of that year reappeared, and the shadow of the horse lamp was facing the cold window.
The mountains and rivers are frequently and shocking, and the hatred between the Kuomintang and the Communist Party is full of suspicions.
Four battles, four peaces, four wildernesses, three armies and three loads control of the three rivers.
Vindul Khan blew the grass and said that the merits were buried in a foreign country.
This poem uses the dangerous rhyme of Pingshui rhyme "Shangping Sanjiang", without mixing in with "Xiaping Qiyang". Mr. Wang Li believes: "Jiang Yun, in the chen sui era, the actual pronunciation was mixed with yang rhyme, so Chen Sui's poets were all with Jiang Yang. Mao Zedong's "The People's Liberation Army Occupies Nanjing" and "Mr. He Liu Yazi" are Jiang and Yang Tongbao, harmonious and beautiful, why not! The stars and Han are ingenious, and the difficulties are difficult, but the "four battles, four peaces, four wildernesses, three armies and three loads control of the three rivers" is always far-fetched and blunt. Probably in order to accommodate the rhyme foot "Jiang" character and the historical facts of "four wars and four peaces". The term "Four Wilds" can be understood as "the wilderness of the four sides", and it can also be understood as the abbreviation of the Fourth Field Army of the Chinese People's Liberation Army, which was later reorganized by the Northeast Democratic United Army led by Lin Biao. That barely makes sense. However, the "three rivers" refer to the Yalu River, the Songhua River, and the Heilongjiang River, which refer to the whole territory of northeast China, which is obviously remote. Who is the reader to look up the Hanyu Da Dictionary and then read the poems? Therefore, this is not the style of The Star Man. The reason why Xinghan uses narrow rhymes and dangerous rhymes to compose poems is that the conservative operation of poetry rhymes is at work, and the second is to make the qi go unnoticed. This kind of poetry is "difficult", but not necessarily "precious".
In terms of writing skills, Xinghan's poetry also has many flaws. Now let us only look at this problem by citing "four words and one method" and "upper tail disease". Ming Hu Zhenheng's "Tang Yin Decoy Signature" Volume 4 says: "Cen Jiazhou 'cloud with horses', 'rain washing soldiers', 'flower ying gai', 'willow breeze', four words and one law." If you follow the example here, the four phrases here are all the structure of the subject-predicate object, and it is indeed "four words and one law". The whole poem of "Fenghe Du Xianggong Fa Yichang" by Cha Cen Said: "Xiang Guo lin rong farewell to the imperial capital, supporting the festival and running rampant." Chao Dengjian Ge Yun followed the horse, and crossed the Bajiang River at night to wash the soldiers. Ten thousand mountain flowers greet the cover, and a thousand willows whisk away. Temporarily to Shucheng accrual day, it should be known that the Lord is to be balanced. The "Flowers Welcoming The Cover" and "Liu Fujing" in the back are hu Zhenheng's condensed Cen poems. In any case, it reminds us to avoid this "four words and one method" in poetry. What's more, Sikong Shu's "Thief Ping After Sending People to the North": "The chaos of the world goes to the south, and when the Qing Dynasty is alone, the north is still there." He grew white hair in other places, and the old country saw green mountains. Xiao Yue passed through the remnants of the fortress, and the stars were passed. Cold birds and fading grass, everywhere with sad faces. "The middle two couplets are two partial orthogonal phrases plus a verb, which is repetitive and dull to read, and it cannot but be said that this is a lesson. Xinghan also has this kind of syntax in his poems, such as "Dongxing Visits the Border Trade Mutual Market Trade Zone":
After all, good neighbors are good, and tourists are proud.
The basket is loaded hot and cold, and the ship port unloads the hard work.
Sweat pours fire, warmth fills the trenches.
The border people ask for food, who manages the boundary monument high.
How similar are the middle two and Sikong Shu! The Five Laws of the Xinghan Dynasty "Visiting the Collection of the Eight Pearls Revolution Memorial Hall" in the middle of the two couplets: "The red flag beckons the sun and the moon, and the loess soil raises the army and the people." The stirrup peeked into the Western Xia, and the steel knife fell to the North Star. "The ills are the same.
The seven laws are like "The 60th Anniversary of the Founding of the People's Republic of China National Day Military Parade TV After-Viewing": "The silver screen quietly raises my eyebrows, and the frank heart flies with the red flag." The pillar of human history, the siege of the global village. Boundless righteousness promotes vitality, and does not exhaust the military's prestige to protect the country. But hate poetry has a small capacity, and it is difficult to write all day long. Among them, "Tim Pillar", "Gucheng Siege", "Urging Vitality", and "Protecting the National Wei" are all verbs followed by a partial correct phrase, which is the same as Hu Zhenheng's Cen Shan "Cloud With Horses", "Rain Washes Soldiers", "Flower Ying Gai", and "Liu Fu Jing". The above example sentence, the lack of change in sentence form makes the whole poem slightly stiff. The last three characters of the middle two of the Seven Laws of the Stars and Han Dynasties also include "Looking for the Old Me", "Catching the New Wave", "Urging Silver Hair", "Hanging Bixiao" ("Late Autumn Heavy to Wuzhou"), "Chasing the Red Sun", "Dyeing the White Head", "Lack of Iron Fist", "Nian Jin Ou" ("Nongchen Spring Heavy Gurudwara King Mountain") and so on. The frequency of occurrence is quite high, which cannot but arouse the vigilance of the star man.
The Vinaya is prone to tail disease. The sound rhythm and sick prisoner of the poem are said to be the first to be studied by Shen Yue and others during the Southern Dynasty Qi Dynasty. "Nanshi Lu Jie Biography" Yun: "About and other texts use palace merchants, and the flat is entered into four voices." In this way, there are flat heads, upper tails, bee waists, and crane knees. Japanese monks interpreted the "upper tail" according to King Kong's "Treatise on the Secret House of the Mirror", believing that "in the five-character poem, the fifth word must not be the same as the cross.". An example is the "Nineteen Ancient Poems" of "There are high-rise buildings in the northwest, and the upper part is in line with the white clouds". Say "This is a huge disease". Because this is a principle of conformity, it must not be violated. Qi Liang poets generally do not rhyme in the first sentence, that is, they are afraid of committing tail disease. Reading through the words of Vajrapani about the upper tail, the disease focuses on the odd and even numbers of sentences. In the later laws of the Tang Dynasty, except for the rhyme of the first sentence, the last words of the odd sentences are all 仄 sounds, and the last words of the even sentences are flat sounds, and there is no possibility of committing tail diseases at all.
Check the "upper tail" article of the "Hanyu Da Dictionary" and say: "Where the last word of the upper sentence and the end of the next sentence, or the last word of the first sentence and the last word of the third sentence are double sounds, they are called 'upper tail'." This also includes the end of an odd-numbered sentence. If "double sound" refers to the same vowel of two Chinese characters, it can be said that the probability of this situation occurring in the verse is extremely small. If "double sound" means homophony, there is still a certain number in Tang and Song poetry. For example, Zhao Gao's "Drunken After Passing Through Wuxi County": "Guests have no name and surname, and the flat boat is willow shade." Poor autumn southern tears, cruel hometown heart. Jingluo clothes are dusty, and the jianghu wine is deeply ill. Why should he seek Tao Ling and get drunk from Hengqin. "Every word at the end of a sentence is a de-spoken word. In addition, the sentences of chu Guangxi's "Stone Urn Temple", Dai Shulun's "Except for Staying at Shiyi overnight", Chen Shidao's "You Heshan Courtyard", and Zhang Yu's "Inscription Fuyan" are all homophonic upper or desocient sounds. The Seven Laws are like Ouyang Xiu's "Huai Song Lou Xinkai Nanxuan and the County's Staff Drink": "Around Guo Yun's smoke turns several times, the past people once felt this nostalgic song." The frost forest is fighting for the mountains behind, and the wine is thick when the wild chrysanthemums bloom. Untie the west wind fluttering corners, leaning on the railing oblique sunshine green pine. Will have to take the drunken guests and step on the snow to see the jade peaks. In addition to the rhyme of the first sentence of this poem, the last words of the sentence are all inaccessible words, which also belongs to this situation.
Examining Xinghan's poems in recent years, there are many people with the same tone at the end of the sentence, and they have been criticized by poetry writers. For example, "Gengyin Spring Night, come to Feng Square to watch the hand-waving dance": "Today's Tujia dance, famous in western Hubei." Traced back to thousands of years, the drums are heard by thousands of people. The heart is far away from the mountains and rivers, and the hands are low. The spring breeze blows me frequently, urging me into the poem. The last words of the sentence are all on the sound. Another example is "Jiangda Township Deji Yangzong Family As a Guest": "Huajian Mountain Down Road, invite me into the new building." The pink wall is overhanging the metal phase, and the clear window is ringing and blue. The fruit plate is full of potatoes and the tea bowl is full of ghee. In addition to the idyllic career, the breeze reports early autumn. The last words of the sentence are all devotion. The Seven Laws of Wuzhangyuan: "If you want to learn from the former sage Li Li Dan, the temple of the bent waist is like I am speechless." Scattered Guan xiong solid wind and clouds, Weishui long stream grass and trees. Father Liang's first poem rewarded Shu Xiang, and the second cousin recommended Xuanyuan. The heroic spirit under the mountain of the Dingjun is there, and the moon and night are still patrolling the five Zhangyuan. Except for the first sentence into the rhyme, the last word of the sentence is all devotion. It is not too much to say that the poetry of Xinghan is "too numerous".
The upper end of the sentence is indeed not very harmonious in the rhyme, which affects the melodious and natural and smooth beauty of the poem. Wang Li said in the "Chinese Poetics": "It is the ideal form to go up and down to the foot of the sentence. At a minimum, it should also avoid the same tone of voice in the adjacent two-part sentence, otherwise it is the upper end. Two adjacent outgoing sentences with the same foot tone are minor diseases; three are the same are major diseases; if four are the same, or if the first sentence rhymes and the other three outgoing sentences have the same foot tone, it is the most serious upper end. He added: "The use of the four voices and the avoidance of the upper tail should not be regarded as a kind of poetic law." The use of the four voices can only be considered the style of some poets, the avoidance of the upper tail, and at most it can only be a point of technical attention. It seems that Wang Li also feels that the upper tail disease can be avoided, and it can be avoided if it is not avoided. If we must follow the requirements of some poetic commentators, at the end of the sentence, "flat up and in" four sounds are complete, it is too harsh, and it is inevitable to cause harmful intentions. So much so that "wenduo is restrained and hurts its true beauty" (Zhong Rong).
Xinghan "Chaozhou Gurudwara Han Wen Gong Ancestral Hall, step by its left migration rhyme": "The silver eagle roared down the blue sky, and the cloud road Kunlun exceeded eight thousand." The bold man is not a prosperous world, and I do not recognize the decline of the year. Under the eaves of a mountain, the sound of the Hundred Mile River came to the front of the temple. Since then, Chen Yan has been purged, and Yin Huai has gone far up to the bixia side. In this poem, I have seen the seventh sentence of the seventh sentence, "Since chen yan cleansed", "since Chen Yan purged", "since Chen Yan purged", "since Chen Yan purged" three published versions. It is conceivable that "since then the statement has been purged" is the final draft. Use the word "up" instead of the words "net" and "back.". The reason for this is to avoid the devotion of the last words of the first two sentences, "world" and "next". It is said that the star man still noticed this situation of the same tone at the end of the sentence.
My own poetry creation, in both quantity and quality, cannot be compared with Xinghan. Maybe I'm just a "foodie" who can taste and not cook in terms of poetry creation. The so-called "tasting" is only based on their own tastes, and others may not like or dislike them. If it is inappropriate, please also ask the Fang family to correct it. Professor Xinghan and Mr. Yin Xian, who responded to all requests and selflessly provided relevant information, thank you here.
Main bibliography:
Xinghan, "Tianshan Dongwang Collection", China Federation of Literary and Literary Publishing House, July 2009, 1st edition;
Xinghan authored "New Wind Collection, Xinghan Scroll", Line-bound Book Company, September 2009, 1st edition;
Zhang Maifeng, Editor-in-Chief, Friends of Poetry, No. 5, 2014;
Mei Li edited the Selected Chinese Poetry Journal, 2013 to 2014.
This article was originally published in The Review of Heart Tide Poetry, No. 3, 2015
Introduction to Professor Xinghan
Xing Han, surname Wang, character Haozhi, born in May 1947, from Dong'a County, Shandong Province. Professor of the College of Literature of Xinjiang Normal University. One of the founders of the Chinese Poetry Society, the second and third vice presidents, is now an advisor, and one of the founders of the Xinjiang Poetry Society, and is now the president. There are more than 20 kinds of public publications, such as "Research on Western Poetry in the Qing Dynasty" and "Tianshan Dongwang Collection".
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