Writing near-body poems is inseparable from reference rhyme books. What is a rhyme book? Rhyme book is a kind of book that arranges Chinese characters according to the sound of characters, and its main function is to distinguish and stipulate the correct pronunciation of Chinese characters, and phonology usually takes rhyme books as the main research material. Rhyming books often have the interpretation of the meaning of words and the record of fonts, so they also have the functions of dictionaries and dictionaries.
Below, I will take a look at the general trajectory of the development of Chinese rhyme books.
< h1 class="pgc-h-arrow-right" > used</h1>
Before the Han Dynasty, there were no rhyme books in China. The authors of the Book of Poetry, chu ci, and ancient poems of the Han Dynasty all wrote poems in their own familiar languages and sounds, based on feelings, and there were no reference books in terms of phonology.
During the Three Kingdoms period, Wei Zuoshu ordered Li Deng to write ten volumes of "Sound Class", which is the earliest recorded rhyme book in China. (Lost)
The Jin Dynasty AnFu ordered Lü Jing to write the five volumes of the YunJi. (Lost)
Between the Northern and Southern Dynasties qi liang, Shen Yue, Zhou Yuan, and others created four voices, saying that Shen had "four sound scores" and Zhou had "four sound cut rhymes". (Lost)
During this period, some poets, represented by Shen Yue and Zhou Yuan, consciously used the knowledge of sound rhyme to explore the problem of formal beauty in poetry writing, put forward the theory of "four voices and eight diseases", used the theory of sound disease to guide, and wrote poems that were different from the previous styles, becoming Qi Liang body, and Qi Liang body was the precursor of near body poetry.
After Qi Liang, a large number of rhyme books appeared, such as Zhou Ji's "Sound Rhyme", Xiahou Yong's "Rhyme Strategy", Li Ji's "Sound Spectrum", Yang Xiuzhi's "Rhyme Strategy" and so on. However, because the country is in a state of division between the north and the south, the local sounds are very different, and these rhyme books have many differences in distinguishing the rhymes, "each has its own local style, obedience to each other", and even "passing each other is not laughing". The rhyme books written by scribes in different places often disagree with each other in determining the pronunciation of words, and authors everywhere often laugh at each other for writing incorrectly, and they all feel that they are right.
Here are two points to note: 1 In terms of prosody, the literati laughed at each other, from the beginning, this problem is the fetal belt. 2 Their vocal rhymes are consistent with the actual phonology of the language they use, and they are in line with the reality of their dialect area, so they have the courage to laugh at each other. "Southern Barbarians and Northern Servants" has a long history.
Lu Fayan of the Sui Dynasty, who was eclectic and wrote five volumes of the "Qie Yun" (Sui Renshou First Year, 601 AD). The book is divided into five volumes, and the Chinese characters are classified and arranged according to the tone, that is, "shangping, lowerping, going, and entering" are each volume, with a total of 193 rhymes and 12158 words.
LuFa dialect
As soon as "Cut Rhyme" came out, "the times and customs are heavy, thinking that it is a classic rule", reflecting good authority. Why this can be so, it should be that it refines and summarizes the largest common divisor of voices around the world, so that everyone is more convinced. In this way, good money expelled bad money, and other messy rhyme books gradually disappeared. Widely acclaimed and respected, "Cut Rhyme" became the standard book for the imperial examination in the Tang Dynasty, and achieved the status of official rhyme. However, the original book was lost, leaving only a "Prologue to "Cut Rhymes". In a small episode, Emperor Zhongzong of Tang wrote "The Fallacy of the Tang Dynasty to Fill in the Missing Rhymes", but it has not been known to posterity. After more than a thousand years of loss, it was discovered in recent years that there are versions of "Wang I", "Wang II" and "Wang III", of which the "Wang III" edition is the full text. This book has 195 rhyme parts, collecting more than 20,000 words, and adds two rhyme parts of "GuangYun" and "Yan Rhyme" than "Cut Rhyme".
In the Tang Dynasty, Sun Mian revised the "Cut Rhyme" during the Tang Tianbao period and compiled it into "Tang Rhyme", and the rhyme part was increased to 204.
In the Northern Song Dynasty, Chen Pengnian and Qiu Yong were instructed to revise the "Tang Rhyme" and compile it as "Guangyun", the full name is "The Great Song Dynasty Re-repairs Guangyun", also known as "GuangqieYun".
"Guangyun" is the earliest and most complete rhyme book in China, and the first official rhyme book in ancient China. The number of volumes is divided on the basis of four sounds, two volumes of flat sound, one volume each of up, up, going, and entering, for a total of five volumes. 26194 words. It is divided into 206 rhymes, of which 57 rhymes are flat, 55 rhymes are upper, 60 rhymes are devotion, and 34 rhymes are entered.
"Guangyun" is a collection of "Cut Rhymes", its main role is to serve the use of rhymes in the selection of words when writing poetry and composition, at the same time, it is a very complete dictionary, with phonology, philology, Chinese historical value. It reflects the Han phonological system of the Sui and Tang dynasties and is a representative of the Middle Ages.
Thirty years after the guangyun was written, Ding Du and others were instructed to revise the guangyun to form the ten volumes of the collected rhymes.
"Collection of Rhymes" contains more words, reaching 53,525; the explanation is more detailed; the reverse cut of some words has been changed; and the rules for exclusive use and common use have been changed. The last two points show that this book is close to the pronunciation at that time and has the significance of keeping pace with the times.
Ding Du also compiled the "Rebbe Rhyme Strategy", which is a compendium of the "Collection rhymes" and is the standard book for the use of rhymes in selected poems for scientific expeditions.
During the Song and Jin dynasties, Liu Yuan compiled the "Rhyme Strategy of the New Carved Ceremony Department of Nongzi", which merged the rhyme department into 107 rhymes, which was known as "Pingshui Rhyme". (Lost) Wang Wenyu of the Jin Dynasty compiled the "Rhyme Strategy of Pingshui New Periodical", which is divided into 106 rhymes. Also known as "Flat Water Rhyme", also known as "Poetry Rhyme". (Lost)
"Pingshui Rhyme" had a great influence in the Three Dynasties of the Yuan, Ming, and Qing Dynasties, and became the basis for the selection of rhymes for writing poems, which reflected the phonological system of the Song and Yuan dynasties.
In the Qing Dynasty, "Pei Wen Yun Fu" and "Pei Wen Shi Rhyme" were official rhymes promulgated by the state and were the embodiment of "Ping shui rhymes".
<h1 class="pgc-h-arrow-right" > modern rhyme system</h1>
Zhou Deqing's "Zhongyuan Yin Rhyme" of the Yuan Dynasty is a representative of modern sound, that is, from the late Tang Dynasty to the end of the Qing Dynasty, which is an opera rhyme book. With the opera language that reflected the spoken pronunciation at that time as the norm, it was the first actual phonetic book in modern history to completely describe the northern tongyu, which truly reflected the phonetic appearance of the time. It has a total of nineteen rhyme departments, (forty-six rhyme mothers), namely the One Winter Seed Department, the Erjiangyang Department, the Three Branches of The SiBu, the Four Qi Micro Division, the Five Fish Model Department, the Six Julai Department, the Seven True Literature Department, the Eight HanShan Department, the Nine Huan Huan Department, the Ten Heavenly Heads, the Eleven Xiao Hao Department, the Twelve Ge Ge Department, the Thirteen Ma Departments, the Fourteen Che Shade Departments, the Fifteen Gengqing Departments, the Sixteen Youhou Departments, the Seventeen Invasion Departments, the Eighteen Prison Xian Departments, and the Nineteen Lian Fiber Departments. "Zhongyuan Yinyun" is a representative of modern sound, which is a closeness to the actual voice by opera personnel in order to ensure that the lyrics sung can be understood by the people at that time and ensure the attendance rate, and it is also an escape from the "Pingshui Rhyme".
At the beginning of the Ming Dynasty, Zhu Yuanzhang was dissatisfied with the rhyme book of the "Cut Rhyme" system, believing that "the study of rhymes originated in Jiangzuo and lost the right tone", and that it was necessary to "take the Central Plains Yayin as the fixation", and ordered Le Shaofeng, Song Lian, and others to write "Hongwu Zheng Rhyme", and to combine the old rhymes into 76 parts (twenty-two parts each of Ping, Shang, and Go, and ten parts of the sound), and the edict was promulgated in the world, but it was not followed by the literati, and did not have much practical impact. This situation shows at least three points: 1 Pingshui rhyme has not been consistent with the pronunciation of the Central Plains lingua franca of the Ming Dynasty, 2 perhaps "Hongwu Zhengyun" is too radical, the kung fu is not solid, the representation is poor, 3 The inertia of culture is very huge, and the literati group can resist administrative forces to a certain extent. This is a failed reform.
On the basis of the nineteen rhymes of the "Zhongyuan Yin rhyme", during the Republic of China period, the Peking Opera circle used a more popular and broader "thirteen ruts". Thirteen ruts refer to the Middle East rut, Jiangyang rut, renchen rut, pre-speech rut, yu qiu rut, shaking rut, ash pile rut, Huai Lai rut, hair rut, qi oblique rut, shuttle wave rut, Yi Qiru rut, Gu Su rut, mainly used for the rhyme of opera lyrics. This is another escape from the poetic phonology "Pingshui Rhyme" of the opera that is close to the voice of life.
In 1941, Wei Jiangong and others edited "Chinese New Rhymes", which is divided into eighteen rhymes. This is a rhyme book with a great influence based on the actual pronunciation of modern Chinese. Since then, many new rhyme books have appeared, ranging from thirteen and fourteen to seventeen, eighteen, nineteen, and twenty. None of these rhyme books are officially approved and promulgated, and are of a scholarly nature. Because, after all, the creation of old style poems and the use of rhyme books are only a niche demand, the demand for writing new rhyme books has not risen to the national level. This is the fundamental reason why to this day, the state has not introduced a national standard for new Chinese rhymes.
There is no uniform rule for writing old style poems, using "flat water rhyme" or new rhyme; pressing new rhyme, according to which new rhyme, there is no unified rule. This is the current situation of rhyme in the creation of old-style poetry.
<h1 class="pgc-h-arrow-right" > summary and conclusion</h1>
1. Sui Dynasty Lu Fa Dialect "Cut Rhyme", 193 rhymes, influenced the Sui Dynasty to the Yuan Dynasty.
2. Tang Dynasty Sun Mian "Tang Rhyme", 204 rhymes, influenced the Tang Dynasty poetry.
3. Northern Song Dynasty Chen Pengnian and Qiu Yong's "Guangyun", 206 rhymes, for the collection of masters.
4. Northern Song Dynasty Ding Du's "Collection Rhyme", 206 rhymes, revised and adjusted the "GuangYun" to keep pace with the times.
5. The Northern Song Dynasty Dingdu "Libu Rhyme Strategy" is the Song Dynasty official rhyme, 206 rhymes, is the ancestral text of the Pingshui rhyme.
6. During the Song and Jin Dynasties, Liu Yuan's 107 rhymes of "Nonzi New Periodical Ceremonial Rhymes" and Wang Wenyu's 106 rhymes of "Pingshui New Periodicals rhymes" established the "Pingshui Rhymes" system, which influenced the poetry creation practice of the Yuan, Ming, and Qing dynasties.
7. Yuan Zhou Deqing's "Zhongyuan Yin Rhyme" is a representative of the modern phonology, with 19 rhyme parts, which is the basis for the rhyme of miscellaneous songs, operas and lyrics.
8. Thirteen ruts, 13 rhyme classes, inheriting the "Zhongyuan Yin Rhyme", which is the basis for rhyming used in Peking Opera and other dramas.
9. Wei Jiangong's "Chinese New Rhyme" 18 rhymes are a relatively scientific modern phonological classification system, but they are also outdated.
At present, various new rhyme books continue to appear, but there is no national unified standard, all of which are folk behaviors and belong to the category of academic discussion.
The general trend of the phonological classes is decreasing, which shows that the Chinese phonological system has developed from complex and diverse to simple and unified. Simplification is a general trend, complicating individual phenomena and short-term phenomena.
conclusion:
Write old-style poems,
1 According to which rhyme system rhymes, "flat water rhyme" or "new rhyme", the poet has the freedom to choose;
2 According to the new rhyme, how to rhyme, the rhyme books are not uniform, and the poet does not have to stick to a new rhyme book;
3 The rhyme can be broader, which is also Chairman Mao's proposition. According to modern phonetics, remove the rhyme head, and the same rhyme abdomen and rhyme tail can be counted as the same rhyme. In fact, the essence of rhyme is to achieve the circular beauty of rhyme, as long as the rhyme of the rhyming foot word is about the same, it can be.
4 Rhymes should be observed; rhymes should be observed; rhymes, try not to rhyme.
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