A rare six-word sentence: Because it is difficult to see coincidence, it is unique

One

Absolute sentence is the shortest genre of classical poetry in mainland China, it can be divided into five absolute, six absolute and seven absolute three formats, of which the five absolute and seven absolute developed in the Tang Dynasty, and the preserved works account for about 27% of the total number of "Tang poems" (see Shen Zudi's "Introduction to the Seven Absolute Poems of the Tang Dynasty"), while the six absolute sentences are few, and the vast majority of Tang poetry anthologies are not selected. The Southern Song Dynasty Hongmai compiled the "Ten Thousand Tang Absolute Sentences" originally had a hundred volumes, collecting 7500 seven absolutes, 2500 five absolutes, and only 37 six absolutes, attached to the last volume, which shows the small number of six absolutes.

Compared with the five and seven absolutes, the six absolutes are extremely disproportionate in terms of quantity, but the six absolutes also have a famous and good system, which has been appreciated by critics of all generations. For example, Wang Wei's "Pastoral Music" of the Tang Dynasty, "Peach Red Compound containing Su Yu", and Wang Anshi of the Northern Song Dynasty, "Titled West Taiyi Palace Wall", "Willow Leaves Singing And Green and Dark", were praised by the Song Dynasty Huang Sheng as "the most vigilant of the two poems, and the successors" ("Yulin Poetry"). Wang Anshi's "Waters Rising and Going North" ("Shiniu Cave Spring Cave of Shuzhou Valley Temple") was called "transcendent Xuanyi, alone above the Song body" by the Ming Dynasty Hu Yinglin ("Shi Xue"). People have a higher evaluation of Wang Anshi's two six poems inscribed on the wall of the Western Taiyi Palace, and the close friend Chen Yan praised it as "the soul of the absolute generation, and the Jinggong poems should be pressed with these two volumes" ("The Essence of Song Poetry"). Zhu Dongrun's "Selected Works of Chinese Literature in Past Dynasties" selects one of the six masterpieces of Gu Quan of the Tang Dynasty and An Shi of the Northern Song Dynasty, which shows that the masterpieces of the six masterpieces are also unique artistic charm.

Two

The small number of works of the Six Gems indicates that the style itself has a fatal weakness that hinders its development; the Six Gems have been circulated in the world, marking that it can still occupy a place in the poetry garden. What are the characteristics of this poetic style in terms of grammar? The following is a discussion of specific works as an example.

Pastoral fun three

Wang wei

Cai Ling Du head wind is fast, and the staff Lin Xi Ri oblique.

The fisherman by the altar of the apricot tree, the family in the peach blossom garden.

The form of this poem is representative of the Tang Dynasty's Six Absolutes, one of the two is a legal union, and the other is a non-conforming connection. According to the requirements of the near-body poetic rhythm, it is obviously not mature enough. Why was it that in the Tang Dynasty, when the Vinaya was at its peak, the five and seven laws of speech were perfected in a good state, but the six absolute laws were immature? This is not because the poet lacks the ability to control the grammar, but because of the weakness of the six-sentence pattern itself. The six-sentence pattern can only constitute two kinds of laws - "Ping Ping Ping The Tang people's breakthrough in the law of near-body poetry for the previous generation, or a major progress, lies in "stickiness". Poets before the Tang Dynasty (such as the "Yongming Style" poet Shen Yuezhuren) only focused on the "right" of the ping, that is, the interspersed ping in a sentence is the opposite of the corresponding word between the two sentences (a couplet), and did not take into account the "stickiness" between the two couplets. Tang Personality Law considers the overall situation throughout the text, not only not paying attention to the "right" between one and two sentences, but also paying great attention to the "stickiness" between the links and the links, so that the grammar of the near-body poetry will mature and be perfected. However, in the poetic style of the Six Absolutes, the "stickiness" between the two couplets could not be achieved at all, and the author at that time could only unite the law in order to pursue the "stickiness" between the two couplets, and the other became a difficult union. This is the reason why the Tang Dynasty Six Absolutes are not as good as the Five Absolutes and the Seven Absolutes.

The rhythmic rhythm of each sentence of the near-body poem is crucial to the co-rhythm of the whole poem. There are only four sentences in the whole sentence, and if two of them are awkward sentences, then the musical sense of the whole poem must be greatly reduced. The Tang people noticed "stickiness" in their creative practice, which is a major progress in the history of poetry, but in the creation of the Six Absolutes, in order to pursue "stickiness" and sacrifice the rhythm of the verse itself, it is to give up the end. In order to correct this drawback, starting from the Middle Tang Dynasty, there were six absolutes that were all legal sentences, such as:

Three in the palace

Wang Jian

The grass in the north of the pond and the green in the south of the pond are red, and the flowers in the front and back of the hall are red.

Long live the Son of Heaven, the bright moon breeze.

This poem reuses the pair of legal associations "仄仄平仄仄仄, 平平仄仄平平" twice (in practice, the second, fourth, and sixth characters are relatively opposite), so that the two pairs are completely "paired" (that is, the even number corresponding to the word is the opposite of the flat), and the "stickiness" is sacrificed to ensure the regularization of the four sentences of the whole poem. We believe that in the process of the creation of the six absolutes, in the case of "right" and "sticky" can not be both, this practice of "giving up the fish and taking the bear's paw" is correct, and it can also be said that the six absolutes are a progress in the grammar. This format was widely adopted in the Song Dynasty and was relatively fixed, such as:

Six words of gratitude

Lu

Old age turned out to be full, drunk to temporarily worry.

His sideburns have been snowing for many years, and his heart is like a dan.

During the Tang and Song dynasties, in addition to the six absolutes of legalization, there were also works of the six absolutes of the riot body, such as:

Title Shuzhou Valley Temple Stone Cow Cave Spring Cave

Wang Anshi

The water is flowing out of the north, and the mountains are beautiful and surrounded.

Wanting to be poor and unable to do so, he hopes to return empty.

This kind of poetry is even more rare, because the sullen style sentence style is suitable for laying out and rendering in long words and texts, and it is difficult to express an independent and complete mood in short sentences. In the hands of a famous artist, it may be able to win, but others are difficult to follow.

Three

There are not many six masterpieces handed down in the Tang and Song dynasties, but there are not few famous poets involved in the six masterpieces, such as Wang Wei, Meng Haoran, Liu Changqing, Wei Yingwu, Gu Guan, Wang Jian of the Tang Dynasty, and Wang Anshi, Ouyang Xiu, Su Shi, Huang Tingjian, Yang Wanli, Lu You and other poetry circles in the Song Dynasty. Through the above analysis, it can be seen that the creation of the six absolutes is laborious and difficult to work, although many famous artists participate in the creation, but there are very few fine products. The following are three works that have historically been highly evaluated for analysis.

Pastoral fun six

Wang wei

The peach red compound contains the rain, and the willow green has more smoke.

The flowers have not been swept away, and the warblers are still sleeping.

The poem depicts the twilight morning scene of the Lantian River pastoral garden, expressing the poet's leisurely feelings. The first couplet depicts a beautiful and idyllic pastoral landscape; the second writes the falling flowers, the warblers cry a hundred times, in order to move and quiet, setting off a warm and quiet atmosphere. "The family child has not been swept away" and "the mountain guest is still sleeping" depicts the comfortable and leisurely life of the recluse, which is a typical portrayal of Wang Wei's "only good and quiet in his old age, and not caring about everything" ("Reward Zhang Shaofu").

Over the hill farmhouse

Consideration

The sound of Banqiao people crossing the spring, the sound of chickens chirping in the afternoon of the day.

Mo qi roasted tea smoke dark, but like to sunshine valley sky.

The poem describes what the author saw and thought when he traveled through a mountain farmhouse when he traveled through the mountains and rivers, and wrote it in a simple and natural way, with a mellow taste. At noon in the first joint writing pavilion, on the mountain road, the poet You Xingzhengnong walked across the Banqiao in the sound of the mountain spring, and suddenly a chicken chirping attracted attention, and a hut of thatched eaves appeared in front of the eyes, which turned out to be the residence of the mountain farmer; the second joint "roasted tea" and "sunshine valley" not only wrote about the diligence and refinement of the mountain farmers, but also pointed out the characteristics of the season and climate - the sunny day after the continuous autumn rains. Every word in the poem contains a situation, with sound and color, and both movement and static. The second couplet has a strong emotional color, and "Mo Qi" and "But Xi" express the poet's joyful mood through contrast. The language is simple and natural, the image is vivid and vivid, the feelings are real and strong, and it is worthy of being a masterpiece among the six best.

Titled Nishi Taiyi Palace Wall

Wang Anshi

The willow leaves are green and dark, and the lotus flowers are red at sunset.

Thirty-six Pi Chunshui, Bai Tou wanted to see Jiangnan.

Xitaiyi Temple is a Taoist temple located in Xisu Village, the capital of the Northern Song Dynasty, and Thirty-Six Pi is a pond in the western suburbs of Beijing. The first couplet writes that the sunset is shining, the willow branches on the shore are green, the spring breeze is blowing, the cicadas are singing, and the lotuses and lotuses in the pool are leaning on each other like drunkenness. The third sentence, "Thirty-six Pi Chunshui", closes the first two sentences and points out the location. The "white head" in the last sentence "Bai Tou wants to see Jiangnan" refers to the poet himself, and "want to see Jiangnan" not only expresses appreciation for the spring light of Zhongzhou, but also reveals the poet's delicate feelings of missing Jiangnan's hometown. The language is clear and clear, and the poetry style is clear and natural. Wang Anshi's six poems were widely recited at that time, and poets such as Ouyang Xiu, Su Shi, and Huang Tingjian all had harmony rhymes. Su and Huang rhymed three times, both feeling left and right, laborious and difficult to work.

Through the analysis of the above three six masterpieces, it can be seen that the six masterpieces have the following characteristics in artistic expression: first, the subject matter is relatively narrow, mostly depicting the quiet landscape idyllic scenery and leisurely and idyllic state of mind; second, more use of even sentences; third, not with algae decoration to win, but with a strong charm and lofty artistic conception to touch people; fourth, the style is fresh and natural. The Qing Dynasty Song Jie's "Mantang Saying Poems": "There are few authors of the six words, and Ma Jie (Wang Wei) and Wenfang (Liu Changqing) occasionally do it, but the poet's spare skills are ear- "The above-mentioned good products are all successful works that are sent by famous artists and "occasionally".

In summary, the six-word sentence form is not suitable for use in poetry creation, especially in the strict and orderly law, so six-word poetry is rare, and the number of special research articles on six-word poetry in the academic circles is also very small. However, after all, the six words and sentences are one of the poems, and there are still a few fine works that have been handed down, so they still have a place in the Chinese poetry garden of Zi Yanhong.

(The author is a professor at Tianjin Normal University)

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