Judging from a five-character poem named Jueju written by Northern Zhou poet Yu Xin, the five-character Jueju was not created by the Tang Dynasty poet, but its stylistic form was at least formed at the end of the Northern and Southern Dynasties. "After years of travel, I have a lot of feelings. Recently, I learned Hengyang geese and crossed the river in the autumn equinox. " This is one of Yu Xin's "Three Masterpieces of He Kan". This poem is straightforward and completely in line with the rules of the Tang Dynasty. The second sentence rhymes with the fourth sentence, and the first sentence rhymes with the third sentence. The title of this poem is Jue. But before the Tang Dynasty, there were not many such neat five-character quatrains. It was not until the early Tang Dynasty that modern poetry was produced, and the five-character quatrains gradually improved and finalized. Previously, five-character poems were generally called "five-character ancient poems" or "five-character poems".
Due to the limitation of words, compared with other systems of poetry, five-character quatrains require more conciseness and generalization in language and expression, and are more difficult to create. Zhang Qianyi summed it up with the words "short and long, especially difficult to get into the wonderful". Therefore, the five-character quatrains have naturally become the most dazzling pearl in the poetry of the prosperous Tang Dynasty and the essence of Tang poetry.
The five-character quatrains before the prosperous Tang Dynasty were not only antithetical, but also did not pay attention to words. After the prosperous Tang Dynasty, five-character quatrains strictly followed the rules of metrical poems. Although a few "ancient poems" were written according to the way of ancient poems, they did not pay attention to the antithesis of even words, but the five-character quatrains in the prosperous Tang Dynasty are now perfect modern poems in terms of meter. This is mainly manifested in the following three aspects:
The number of (1) sentences is fixed. Only four sentences, five words each, a total of * * * twenty crosses.
(2) Rhyme is strict. Poetry rhymes, some of them rhyme with each other, and there is no essential difference between them and classical poetry. His rhyme is strictly manifested in the fact that it is generally flat and can't rhyme. That is to say, you can't rhyme, and you must use words with the same rhyme, not words with adjacent rhymes.
(3) Pay attention to leveling. On the basis of "Pingping-Zuoping, Zuoping-Pingping", a syllable is added to form "Pingping-Zuoping-Pingping, Zuoping-Pingping, Pingping". According to the requirements of metrical poems, the principle that the same layer is opposite and the same layer is attached (that is, the same) is that one or two sentences are flat, which is opposite to three or four sentences respectively, and two or three sentences are the same. So among the three rhyming sentences, the same as the third sentence is the second sentence. The other four sentences are the same.
(4) On the dual problem. Because quatrains can be regarded as the interception of metrical poems, the requirements for antithesis are not too strict. Because metrical poems generally require antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithesis of antithe If you want to regard it as the first and last couplet of a metrical poem, you don't have to go against it, such as Wang Wei's Acacia. If it is regarded as the first half of the poem, three or four sentences are opposite, and one or two sentences are not needed; If it is regarded as an interception of parallel couplets and necklaces, it will be confronted. The latter two cases are relatively rare.