Do you need to avoid writing poems and rhymes?
A few days ago, a netizen who composed poetry asked me on the Internet whether Lian Yun is a big problem in the creation of Gelu poetry? His "teacher" in his explanation of Du Fu's "Tangcheng" believes that there is a situation of "continuous rhyme" in the latter two couplets, and believes that there is still room for improvement in the angle of rhyme of the poem. Of course, the teacher's starting point from the education of beginners is good, but this understanding, while surprising me, also analyzes the "teacher's" forced tower rushing behavior of Lao Du, first, the grasp of poetry history and phonological evolution does not stand in a historical perspective, resulting in inaccurate understanding of the phenomenon of continuous rhyme. Second, the number of poems read is not much, and it is easy to make a fuss and follow the crowd. Today, I will focus on the phenomenon of "continuous rhyme" from the perspective of phonology and poetic history.
A brief explanation of the rhyme
First of all, to clarify the concept of rhyme, in the old poem two adjacent rhyming foot words are not the same, the case of the same pronunciation is called continuous rhyme, if the homophone is the same word is re-rhyme. For example, in our modern Chinese pronunciation, the neck link and the tail joint rhyme foot in the rhythm poem are homophonous, just like the netizens just mentioned "Tang Cheng" "Temporarily stop the number of flying Wu, frequently come to Yanding new nest." The bystanders are mistakenly compared to Yang Xiongzhai, lazy and unintentional to make mockery. "In modern Chinese, I pronounce "nest" and "ridicule" in homophonic rhymes. The second and fourth sentences of the absolute sentence are homophonous. Li Deyu's "Climbing the Cliff State City Tower" "Alone on the high-rise building to look at the imperial capital, the bird flies is half a year." Qingshan seemed to want to stay, and hundreds of people were surrounded by the county town. It is generally believed that "city" and "cheng" are even rhymes. Also, if the first sentence of the Gelug poem rhymes, then the two rhymes of the first line are also called consecutive rhymes, such as lu Lun's "Late Ezhou" in the rhythm poem, "Yunkai foresights Hanyang City, just like a lone sail schedule." There is a sentence of Wang Jian's "Jiangguan", "The water surface is thin and the wind is fresh, and the Ling song is slowly sounding." The phenomenon of even rhyme is not only found in grammatical poems, but also in ancient poetry, especially in the change of rhymes, such as "Pipa Xing", "Don't have a gloomy and dark hatred, at this time silence is better than sound", Li He's "Heavenly Ballad" "Qin Concubine Rolling Curtain North Window Xiao, North Window Planting Tong Qingfeng Small".
Nowadays, the rhymes that people think of appear more than just in the Grammatical poems
But the above verses, which we usually think of as having the phenomenon of "continuous rhyme", have a logical problem. It can be complicated to say: what we think of as "rhymes" verses, but when the poet created them, did he think of them as "rhymes"? That is to say, we use the pronunciation of modern Chinese to read ancient poems, to set the middle Chinese and the pronunciation of the ancient Chinese, is this not to take the sword of the Tang Dynasty to behead the officials of the Han Dynasty? Therefore, in reading ancient poems, it is believed that the ancients created the phenomenon of "continuous rhyme", and it is necessary to look at the Chinese characters in the rhyme book and the reverse cut phonetic method. So let's take a look at the phenomenon of "lian rhyme" that occurs in the modern Chinese pronunciation mentioned earlier, how many real lian rhymes there are?
To see if an ancient poem rhymes, it needs to be distinguished by the notes in the ancient rhyme book
First of all, let's look at "Yunkai's vision of Hanyang City, it is like a lonely sail schedule." The reverse cut Zhuyin of the word "Cheng" in "Tang Yun" is "is Zheng Tang", while the reverse cut Zhuyin of the "Cheng" character is "Chi Zhen Che", and the pronunciation of the reverse cut Zhuyin method is similar to the sound vowel of the front word and the vowel of the latter word. Then from the perspective of Tang Yun, the pronunciation of Cheng and Cheng characters in the Middle Chinese period is very different, the vowel vowels may be different, and the obvious difference in the pronunciation of the two words cannot be regarded as a continuous rhyme phenomenon.
Looking at Du Fu's "Tang Cheng" mentioned above, "Temporarily stop the number of feiwu generals, and frequently say that Yan Dingxin has a new nest." The bystanders are mistakenly compared to Yang Xiongzhai, lazy and unintentional to make mockery. The characters "Nest" and "Mockery" belong to the three dishes of the Pingshui Rhyme, which is pronounced homophonous in modern Chinese. In Medieval Chinese poetry, the reverse cut zhuyin of the nest is "hoe cross cut", and the zhuyin of the word is 鄛, which is still pronounced chao (yangping). The mocking and anti-cut Zhuyin is "陟交切", and the character Zhuyin is 䞴, although 䞴字 is no longer found in modern Chinese. However, it can be seen from the difference between the anti-tangent zhuyin method that the nest and the mocking vowel are obviously different, and the vowel of the nest is similar to the ch of Hanyu Pinyin, and the vowel of the mocking is similar to the zh of Hanyu Pinyin. Lao Du's "Tang Cheng" also does not have the phenomenon of continuous rhyme, so Xi Jun wants to say to the "teachers" who advise Lao Du to improve in rhyme, "I don't feel that the former sages are afraid of the future generations".
The nest and ridicule in the tangcheng are different from the anti-cut zhuyin and single-word zhuyin in ancient rhyme books, and cannot be regarded as consecutive rhymes
So since the above is not a continuous rhyme, is there no continuous rhyme phenomenon in ancient poetry, and then it can be concluded that "continuous rhyme" is a taboo in the creation of ancient poetry? Nor is it, the reason why "Lian Yun" is called a phenomenon rather than a problem throughout the text is precisely to show that the ancient people's creative practice did not regard the phenomenon of Lian Yun as a taboo, but was very inclusive. If it comes to the degree of study of the structural sentence rhyme of gelug poetry, the Qing Dynasty poetry that experienced the development of the middle and late Ming Dynasty and the middle of the Qing Dynasty is undoubtedly the most rigorous. Let's see how Lian Yun was viewed in the creative practice of Huang Jingren Huang Zhongze, the best poet of the Qing Dynasty, in his poem "Sixteen Songs of Qi Huai". In the twelfth part of the "Qi Huai", there is "A gentleman can transform a crane, and a beautiful person will become a rainbow in a day." Wang Sun vanilla is green every year, and Amu peach blossom is red. The rhyming character "hong" and the rhyming character "red" of the neck link are both "hugong cut" in the reverse cut zhuyin of "Guangyun", and the zhuyin of the word is "hong", which is a typical homophonic situation of different words, which can be regarded as a continuous rhyme in creative practice.
Qi Huaiqi's practice of Sanlian Rhymes shows that the ancients did not consider Lian Yun to be taboo
And the eleventh song of "Qi Huai" "Lazy comb is often a mane, and the back is not called." I learned to mix beads and make three liters of beans. I was afraid that the song group would be difficult to finalize, but I took off my green clothes and went up. He once served as an internal servant in Ronghua Palace, and the snipers in the human world are afraid that it is difficult to win. Here "sheng", "sheng" and "sheng" they are completely consistent with the anti-cutting zhuyin, and the single-word zhuyin of the "sheng" character in the flat voice part is "sheng", although this phenomenon of three consecutive rhymes is not common, but in the creation of the "QiHuai" group of poems has been 28 years old penmanship has matured, and huang Zhongze, who is known as the first poet of the Qing Dynasty, appears in the works, which is enough to show that Lian Yun in the creation of poetry is by no means a taboo claimed by some self-retained poets.
For some self-righteous "celebrities"
Finally, insert another sentence, some poems in the ancient rhyme, modern reading is not rhyme. For example, in a Song Ren's "Appeal to heartfelt orders" double tone of the next que there is "smoke wave warm, Jin Fan back." Mo lingered. Under the Jade Pavilion, the peony medicine is looking forward to returning. The "hui" and "wandering" here, and the "coming" behind are the three rhyming feet of the rhyme foot, hui and hui are pronounced hui and huai respectively, and in the rhyme book they are completely consistent, which can be regarded as the phenomenon of continuous rhyme in the word.