The basic knowledge of the five laws of the five laws, how to create a five-word poem?

preface

In terms of the number of sentences, there are three kinds of rhythmic poems, four sentences are absolute sentences, eight sentences are five or seven laws, and more than eight sentences are row laws.

Judging from the number of words in each sentence (mainly five words and seven words, ignoring six words), it is divided into five absolutes and seven absolutes, five laws and seven laws, five words and seven laws, five words and seven words.

From the rules of the sentence, the law sentence is divided into 4 types, 仄起仄收, 平起平收, 平起仄收, 仄起平收. Take each kind of law sentence as the first sentence, and combine it into five laws of eight sentences according to the rules of adhesion and confrontation. Therefore, the five laws are also divided into four types: 仄起仄收, 平起平收, 平起仄收, 仄起平收.

To learn the five laws of the flat grid, you must also understand what is adhesion and what is a confrontation.

First, the four five laws of different sentence patterns

We use Du Fu's "Spring Hope" to explain the characteristics of the four kinds of rhythmic sentences.

The country breaks the mountains and rivers in, in the middle of the ping ping ping ping the first sentence form

The city spring grass is deep. Ping Ping Zhong Ping Ping The second sentence form

Feeling the flowers splashing tears, the middle flat ping 仄仄 the third sentence form

Hate other birds to be frightened. Zhongshu PingPing The 4th sentence form

For three months, Zhongshu Pingping ping ping repeated the first sentence

Family letters are worth ten thousand gold. Ping Ping Zhong Ping Repeat the second sentence

The white head scratches shorter, and the middle flat is flat and the third sentence is repeated

I can't help it. Repeat the fourth sentence

According to the sentence pattern of the first sentence: the country is broken by mountains and rivers, and the servants are flat and flat, and it can be known that this "Spring Hope" is the five laws of the style of the servants.

To illustrate: Medium, represents Pingke. In addition, the words "country", "other", "white" and so on, the ancient rhyme is 仄声, and now it is a flat sound.

The first link is the first link, the second link is the jaw link, the third link is the neck link, and the fourth link is the tail link.

The first sentence is the five laws of the collection, the four-fold flat sentence form is the opposite sentence (not referring to the battle), and the second half is a repetition of the first half.

The first sentence is a flat sentence pattern, only the last triad sentence is relative (not referring to the battle), except that the first sentence and the fifth sentence are different, and the second half is also a repetition of the first half.

If the first sentence is a sentence of flat harvest, this poem "Spring Hope" is the five laws of flat rise and flat harvest. In the same way, whoever makes the first of the four sentence forms is called which one of the verses.

Second, rhyme

Then it goes on to say that if the first sentence is a sentence of flat harvest, this poem "Spring Hope" is the five laws of flat rise and flat harvest. But the first sentence is flat, and there is a problem, that is, the first sentence should rhyme.

By the way, the little knowledge of rhyme books.

The Sui Dynasty used to rhyme in colloquial language, and like people today do modern poetry, they can just read rhymes. The Sui Dynasty compiled a rhyme book called "Cut Rhymes", so they put shackles on the poets.

The Tang dynasty used the Sui Dynasty "Cut Rhyme" and its adapted version of "Tang Rhyme" for poetry, and the Song also had Guang rhyme, collection rhyme, Pingshui rhyme, etc. The ancient rhyme we use for poetry today refers to Pingshui rhyme. These rhyme books are all adaptations of the Sui Dynasty's "Cut Rhymes", so the rhymes of Tang poems are also in line with the Pingshui rhymes written by the Song people.

Rhythmic rhymes, requiring a rhyme to the end, the first sentence of the flat rhyme can use adjacent rhymes, but the rhyme foot of the double sentence must be a rhyming word (one rhyme to the end), otherwise it is a rhyme. The Tang Dynasty people made the creation of legal poetry an examination subject for the Imperial Examination, and the rhyme was basically out of play.

So rhyming is one of the key considerations.

For example, Du Fu's "Spring Hope" is the "invasion" part, which is the twelve parts of Xiaping in pingshui rhyme. It is not a rhyme with the eleven truths and twelve texts of Shangping. Therefore, today's reading is quite rhyming, and the real words cannot be used together.

Moreover, the "invasion" department generally believes that there is no neighbor rhyme, so the first sentence of rhyme can only find rhymes from the "invasion" part.

Regarding the neighbor rhyme, you can search for this article in Lao Jie: "Learning poetry creation must not know the neighbor rhyme to bet on those things.""

For example:

The country is broken by mountains and rivers, and the city is deep in spring grass and trees. 【Shimohei 12 Invasion】

When I feel the flowers splash tears, I hate the birds and be frightened. 【Shimohei 12 Invasion】

The flames lasted for three months, and the family letter arrived at ten thousand gold. 【Shimohei 12 Invasion】

The white head scratches are shorter and more overwhelming. 【Shimohei 12 Invasion】

In Mr. Wang Li's "Chinese Poetics", according to the number of words in each rhyme, each rhyme part is divided into 4 categories: wide rhyme, middle rhyme, narrow rhyme, and dangerous rhyme. [Invasion] There are not many common words in this rhyme part, which belong to the middle rhyme:

Invasion of Xun Lin Lin Lin Needle Zhen Zhen Shen Xin Qin Qin Yin Jin Xiang [衿] Jin Yin Yin Cen Hairpin [Qin Yun Tong] 壬任 [Load] Xin Sen Forbidden [Li Suo Competent] 祲喑深琛涔骎參 [Jagged] Chen Lin Mixed Ginseng 妊 Mixed Ginseng 椹 芩檎琳愔愔喑黔嵚 Shen 《平水韵·下平12 Invasion》

Back to the first sentence of this paragraph: If the first sentence is a sentence of 仄起平收......., that is, the middle servant is flat, the poet must find a word in "invasion" as a rhyme.

For example: the country breaks the mountains and rivers, and the servants are flat, and they are changed to the 仄仄仄平平: the country is broken from sorrow.

The country was broken from the mournful groan [Xiaping Twelve Invasions], and the city was deep in spring grass and trees. 【Shimohei 12 Invasion】

When I feel the flowers splash tears, I hate the birds and be frightened. 【Shimohei 12 Invasion】

The flames lasted for three months, and the family letter arrived at ten thousand gold. 【Shimohei 12 Invasion】

The white head scratches are shorter and more overwhelming. 【Shimohei 12 Invasion】

It should be noted that the five laws of flat closing, the last three sentences repeat the second, 3rd, and 4th sentences, and the fifth sentence and the first sentence are not the same sentence form, but the opposite of the sixth sentence.

It is generally believed that the rhythmic poem (near-body poem) only rhymes with a flat voice. Rhyme poems are classified as ancient poems.

3. Adhesion

Although the Five Laws matured in the Tang Dynasty, in the Qi Liang Chen era of the Southern and Northern Dynasties, many works similar to the Five Laws can be seen. It's just that most of their "five laws" have a problem, loss of stickiness.

Debonding, that is, there is no adhesion. For example, the lower 2nd word of the first link should be consistent with the 2nd word of the upper link of the jaw link. For example:

The city spring grass is deep. When I feel the flowers splashing tears, the spring and the time are all flat.

In the same way, the lower 2nd word of the jaw joint should be consistent with the 2nd word of the upper link of the neck link, such as:

Hate other birds to be frightened. Beacon fire for Three months. Don't, fire, it's all slang.

In the same way, the lower 2nd word of the neck link should be consistent with the 2nd word of the upper link of the tail link, such as:

Family letters are worth ten thousand gold. Whitehead scratches are shorter. Books, heads, are flat sounds.

Adhering to this rule, most of the southern dynasty poets did not know how to abide by it, for example, Yu Xin's "Yonghua Screen Poem Nine", that is, the five laws of debondity, the first jaw joint is unbondy, and the jaw joint neck is unbondy:

Wandering out of the Guiyuan Garden, migrating [leaning] on the flower forest.

Under the [bridge] first persuade the wine, and the bar {stone} begins to tune the piano.

Pu {low} Juhu knot, bamboo [short] not hollow.

Absolutely [love] The ape's voice is near, but the pity flower path is deep.

There are also poets who inadvertently conform, such as Liang Jianwen Emperor Xiao Gang's "Poem of the Solo Crane in Yongzhou in Dengbanqiao":

The fog is far away, and the solo flight can be divided.

Lonely and frightened, Yupu, under the river.

Confused by the water of the east and the west, the heart is fascinated by the clouds on all sides.

Who knows that it is hard to be alone, and the river is a detachment.

The adhesion really became the law of the law of poetry, or in the early Tang Dynasty. In the early Tang Dynasty poet Yuan Jing, in the "Poetic Brain Marrow", the double head change and single head change mentioned are basically the description of adhesion. In the examination of the imperial examination, most of the five words are examined, and the glue has become a law of poetry that cannot be neglected.

Fourth, the battle

Confrontations already exist in the Book of Verses, for example:

Once upon a time, Willow Yiyi. Now I come to think, rain and snow.

The ancients wrote a poem, and it was full of battle sentences. In the poems of Xie Lingyun of the Southern Dynasty, a distinctive feature of the early confrontation can be seen:

The submerged and feminine posture, the feihong sounded far away. Bo Xiao was ashamed of the clouds, and the Qichuan river was sinking. Entering the morality and wisdom is clumsy, and the ability to return farmland is not responsible. Yulu anti-poor sea, lying on the empty forest. The pillow is not waiting, and the opening is temporarily peeping. Listen to the waves, look up at the rugged mountains. The first scene is changed to the wind, and the new yang changes the old yin. Ponds grow spring grass, and garden willows turn into songbirds. Qi Qi sang sadly, and Qi Qi felt Chu Yin. Soju is easy to be permanent, and it is difficult to be isolated. Holding the exercise is the only thing in the past, and there is no sign of boredom in the present. "Climbing the Pool Upstairs"

What needs attention in this poem is not that every sentence is correct, but that during the Xie Lingyun period, there was no concept of flat four voices. Therefore, in their poems, the content is relative, but the plain is not relative.

The rise of the four voices was during the Qi Yongming period of the Southern Dynasty, when the Yongming poets began to pay attention to the four voices (flat up and in), and later the four voices were divided into two parts, with the concept of the relative of the flat and the relative.

In addition to the relative meaning of the rhythmic poems, the flat sentence form should also be relative. For example, 仄起仄收 vs平起平收, 平起仄收 vs 仄起平收. The first sentence, if it is a flat collection, the opposite sentence should be flat and flat, and vice versa.

Like The early five laws of Liang Jianwen Emperor Xiao Gang's "Poems of the Duhe in Dengbanqiao Yongzhou", pingshu are also completely relative, which is a relatively rare phenomenon.

Let's take another example of the first poem in the Southern Dynasty poet Bao Zhao's "Cai Ling Song":

Guipu, Chi Chi Gui Pu, Xi Yan Pepper Pond.　Ping Ping Ping Ping

Xiang Xiang north, Ling Ge Qing Han south.　Ping Ping Ping

Although the absolute sentence does not require a confrontation, bao Zhao's four sentences are all against the battle, and the ping is relatively in line with the requirements of the rhythmic poem.

The confrontation of the five or seven words and verses requires that the middle two couplets must be right, and the first and last couplets can be right or wrong. Some special spring stealing bodies and bee waist bodies are not square, and can be ignored.

In the face of the battle, we must pay attention to avoid similarities, and the sentence structure should avoid similarities (such as the disease of long waist, the disease of long stirrups, etc.), and the sense should also avoid similarities (clap), and the first 2 words should avoid the same part-of-speech structure (such as four flat heads). The jaw joint and the neck joint should pay attention to the combination of scenes, and try to avoid writing scenes or writing love.

We should also pay attention to the battle, do not fall into the shackles of the work pair, good pairs, mostly wide pairs.

Conclusion

The four aspects mentioned above are actually the four elements of the rhythm poem often said in the old street: flatness, confrontation, rhyme, and adhesion. This is the most basic knowledge for the creation of rhythmic poems.

The origin of the Five Laws is relatively early, as mentioned earlier, the earliest Five Laws appeared in the Qi Liang period. This is a poetic style developed on the basis of the Qi Liang Yongming style, and the perfection of the laws of the Tang Dynasty has reached its peak.

When the poets of the early Tang Dynasty wrote poems, there was often a phenomenon of loss of stickiness and misalignment. For example, Li Bai's "Dengjinling Phoenix Terrace", Wei Yingwu's "Chuzhou Xijian", Cui Hao's "Yellow Crane Tower" and so on. Such phenomena are rare after the Gregorian calendar.

The rules of creation of the Vinaya are not difficult to remember, as simple as the nine-nine multiplication table, but there are some difficulties in the creation. But this is the basis for learning ancient poetry.

A lover of ancient poetry can dislike and not create Vinaya, but he cannot fail to understand these basic rules of Vinaya. Otherwise, it is impossible to appreciate the magic of the syntax, chapters, and calligraphy of the ancients.

@Old Street Taste

Near-body poetry grammar 04: Three metaphors, the drunkard drifts down the wind before the swallow, the poetry society withers the frost after the tong