1. Characteristics of Ci
Ci is a type of lyric poetry, a Yuefu poem that can be sung with music. Its strict rhythm and various formal characteristics are all determined by the requirements of music. The main differences in form between words and poems are as follows:
(1) Each word has a tune name. For example, "Bodhisattva Man", "Shui Diao Ge Tou", "Qin Yuan Chun", etc. are called Ci Diao. The tone of the lyrics indicates the tune and music score based on which the lyrics were written, not the title. The tone of each word is "the tune has a definite sentence, the sentence has a definite word, and the word has a definite tone", and they are all different.
(2) A word is mostly divided into several pieces, with two pieces being the most common. One piece means that the music has been sung once. Each word is divided into several pieces, which is composed of several pieces of music to form a complete song.
(3) Each rhyme position and tone has its own certain format. Poetry basically rhymes with even lines, and the rhyme of the words is determined based on the melody, that is, the musical pause. The musical rhythm of each word is different, and the rhyme is also different.
(4) Sentence patterns vary in length. Poems also have long and short sentences, but five or seven characters are the basic sentence structure, and modern poetry is not allowed to have long or short sentences. The lyrics use a lot of long and short sentences in order to better fit the rhythm of the music.
(5) The words and sounds are closely coordinated. The pronunciation structure of words changes a lot, and the tones of some words also need to distinguish between four tones and yin and yang. When writing lyrics, you need to carefully select the words and match the tone of the text to the tone of the score, so as to achieve harmony and good listening.
2. Choose the tone of the lyrics
The lyrics are written according to the music score, so the lyrics must be chosen first. The "Five Essentials of Lyric Writing" by Yang Shouzhai (Zuan) is attached to the second volume of "Etymology", which states that there are five essentials for composing lyrics: "The first thing is to choose the tune. If the tune is not rhymed, don't compose it, such as the decline of Sa in "Sai Weng Yin", and the "Di Tai" "Spring" is unfavorable, "Gepu Lian" is evil, and "Fighting Hundred Flowers" is tasteless. "Each tone expresses a certain emotion. Choosing the tone of lyrics is mainly to choose the tone that matches the emotion you want to express, so that the tone and words match each other, and the tone and emotion are consistent. Only words like this can be imitated with both sound and text. ——This is the first thing you must pay attention to when choosing lyrics and tone. Otherwise, if the text is misinterpreted, the form and content will be inconsistent, or even contradictory, making a joke. For example, "Congratulations to the Bridegroom" expresses impassioned thoughts and feelings. It has nothing to do with "Yan'er's newlywed". It would be wrong to misuse the word "groom" as a word to celebrate a wedding. Another example is "Shou Lou Chun". Just because there is a word "Shou" in it, we cannot think that the tone of the words is used to celebrate birthdays. In fact, on the contrary, its tone is sad. Shi Dazu, a poet in the Southern Song Dynasty, once used it to write mourning words.
How to achieve consistency between literary and emotional expressions?
Ci is a piece of music literature, and the singing method of Song Ci has been lost for a long time. All the lyrics cannot be sung according to the original score, which requires us to learn to distinguish the tone of the lyrics. We can analyze and understand whether the emotion expressed by the tone is sad or happy, lingering or lingering, based on the records of the time and existing works, preferably based on the works of the poets who knew music and music at that time and the original works of this tone. Passionate and generous; we can deduce the complex relationship between their vocal mood and word form from many aspects, such as the length of sentences in the works, the speed and gravity of the intonation, the density and symmetry of the rhymes of the leaves, etc. For example, "Liuzhou Getou", from the name of the tune, we know that it probably came from the northwest frontier of the Tang Dynasty (the six states are Yizhou, Liangzhou, Shizhou, Ganzhou, Weizhou, and Dizhou). It should be high-pitched and vigorous, suitable for Express generous and tragic sentiments. Song Dynasty records about this tune include Cheng Dachang's "Yan Fan Lu," Volume 16, which says: ""Liuzhou Songtou" is also an advocacy tune. In recent times, good people have passed down its sound as a tribute to ancient poems, such as "The Qin Dynasty is dead and the grass is unknown." "Liuchuan Getou" written by He Zhu is also an earlier work. There are thirty-nine sentences in the entire poem, twenty-two of which are three-character sentences, and the longest is no more than five-character sentences. Thirty-four lines rhyme, and the three sounds of Dong, Dong, and Dongping are the same. The sentences are short, the rhymes are dense, and the words are loud and clear. The author uses this kind of complex pronunciation to promote rhythm, high-pitched and passionate voice to describe his bold and unrestrained chivalrous spirit, and the literary sentiment and vocal sentiment are completely consistent. From the lyrics content, sentence length, intonation, rhyme, etc., we can be absolutely certain that it is a tune with a "tragic tone". Later, Zhang Xiaoxiang, Liu Guo, and Wang Yuanliang filled in this tune, either to commemorate the rise and fall of ancient times, or to express their own feelings of loyalty and anger. The tones are all generous and sad. Similar to "Liuzhou Getou", there are also tunes such as "Manjianghong" and "Nian Nujiao", which are suitable for writing bold and unrestrained emotions. So every word tone expresses a certain emotion. Many Song lyrics were chosen based on the thoughts and feelings they wanted to express. When we read their lyrics now, we should also understand the relationship between the tone and tone of their words and the literary sentiment of their works.
There are several ways to identify the tone, tone, and emotion of a word:
(1) Based on the analysis of previous records: all the words, tone, tone, and emotion in the books of the Tang and Song dynasties are generally credible. For example, Song Maokai's "Qiaoyin Notes" said: "In the early days of Shaoxing, it was popular in the capital to chant Liu's "Lanling Wangman" by Zhou Qingzhen, and everyone on the west tower and south tiles sang it, which was called the Weicheng Three Layers. Changing the head of Zhou's Ci Fan San, to In the last section, the sound is particularly exciting, and only the experienced flute masters can rely on it to sing." This can also be seen in the vocal emotion in the last section of "Lanling Wangman". It is a pity that such records are relatively rare in the hometown records of Tang and Song Dynasties.
(2) Differentiation based on Tang and Song Ci works: This can be based on "Shiyu of the Past Dynasties" (a collection of Ci poems compiled by Shen Chenyuan and others during the Kangxi period of the Qing Dynasty), dividing the Ci poems from the Tang and Song Dynasties according to their styles (ed.) In various books, among the many words under a tune, the content and emotion are summarized and analyzed. If seven or eight out of ten words are the same, it can be roughly concluded that the tune is a certain type of tone and emotion. For example, "Man Jiang Hong" and "Congratulations to the Bridegroom" can be classified as bold and exciting in this way. Although there are exceptions, they are generally similar.
(3) Based on the pronunciation and rhyme of the words and sentences: Some words are difficult to analyze, or the emotions of some works are complicated. You can make inferences based on the pronunciation and rhyme of the words and sentences: Generally speaking, the rhyme positions are evenly spaced. The voice is bound to be more peaceful and relaxed; if the rhyme is too sparse or too dense, the voice will be either slow or rapid; if the syntax of three, five, or seven characters is used more often, the voice will be more comfortable; if the sentences of six or six characters are used frequently, the voice will be smoother. The voice and emotion are more stable; if the tones of the words are evenly balanced, the emotions will be peaceful; if the sentences are often awkward, the emotions will be strong.
(4) According to the genre of writers and the era they live in: for example, poets of the Bold and Bold School write more elegant and bold lyrics; while those of the Graceful School are clear and graceful. -Xin Qiji, a representative of the Bold and Unconstrained School, is well-known in the world of poetry. Among the total 226 existing works, there are 35 "Shui Tiao Ge Tou", 32 "Man Jiang Hong", and two "Congratulations to the Bridegroom" Twelve poems and nineteen poems of "Niannujiao". These words suitable for expressing generous, tragic, bold and vigorous passion account for more than 52% of all his poems. The changes of the times and changes in the environment have also had a great impact on the poet's style of writing. For example, the poems of Li Qingzhao, who is known as the "Graceful Master", have two completely different moods before and after his journey to the south: in the early period, he mostly wrote about love and lovesickness, reflecting his love for nature and the pursuit of love, bright and beautiful In the later period, he described more about the chaotic life of the country and his family, and the sad emotions.
3. The structure of the lyrics
The structure of the lyrics is mostly based on poetry, but because it must closely match the music, it has its own characteristics. How to write the beginning, transition and ending can be said to be the core of the composition of the word. Here are several representative and distinctive writing methods.
How to start: The starting tone and beginning of the word should be "work". It should be like a door in a garden, so that when people push it open, they can catch a glimpse of a corner of the beautiful scenery, but they cannot see everything. Only in this way can they arouse strong interest in going in and looking at it. There are some common and distinctive beginnings in Song poetry:
(1) Building momentum: Get straight to the point, state your heart directly, and tell the main idea of ??the word or summarize the content of the word in one sentence. Judging from the words and sentences alone, they may seem unremarkable, but in fact they seem to be ready to go. Often, with a twist of the pen, they will cascade down like cliffs and waterfalls. Call it "building momentum." This method is often used not only by bold poets to describe current affairs and express their aspirations, but also in the lyrical works of the graceful school.
Liu Yong is very good at laying out narratives. His masterpiece "Looking at the Tide", which describes the magnificent scenery around Qiantang and the prosperous life in Hangzhou, has a seemingly straightforward beginning: "The southeast is beautiful, and the three Wu cities are beautiful. , Qiantang has been prosperous since ancient times. "It comes out directly like prose, and the thick strokes outline the outline of the object written in the word. Then the camera moves from far to near, describing panoramic views, rivers and lakes, shops, the West Lake, and tourists. There is a running thread that prevents readers from stopping. At the same time, the author first applied a thick brush, then dyed it with color, and painted with fine details, reciting such refined and beautiful famous sentences as "smoky willows paint bridges, wind curtains and green curtains", "three autumn osmanthus, ten miles of lotus flowers", and the thickness and fineness complement each other. The flavor is even richer.
Sometimes, although the beginning is all ordinary words and phrases, the organization looks strange and heroic. For example, Liu Guo's "Qinyuanchun" (a letter to Xin Chengzhi):
"Wouldn't it be fun to fight over wine and cross the river in the wind and rain!" As soon as I read it, I felt like I heard the poet's eloquent words. Laughing, I feel the poet's temperament. Then, the writing suddenly changed, and Bai Juyi and other three historical figures were invited out of thin air to convey their voices and figures. They borrowed the words of the ancients to express their own aspirations. They all used Fu method and had a strong romantic color. If there is no such a straightforward opening sentence at the beginning, the rest of the article will be dull.
(2) Create an environment: Start by describing the scene, first create an environment that fits the theme, and then create emotions based on the scene, narrate according to the scene, and bring out the main part of the poem. Call it "creating the environment."
In Zhang Zhihe's "Fisher Song", we first painted a quiet and peaceful landscape of the spring river - egrets flying in front of the mountains and mandarin fish swimming under the water. How free and peaceful! Such a scene The beginning creates a typical environment for the appearance of the author who is described as a fisherman; the author also uses this environment to express his thoughts and feelings that require transcending reality.
The purpose of describing a scene is to express emotions. Whether it is vast and vast or quiet and narrow is entirely determined by the needs of the theme. Both are about autumn scenery, and Fan Zhongyan's "Su Muzhe" is about traveling and missing relatives. It begins with "blue clouds in the sky and yellow leaves on the ground; autumn colors are rolling in waves, and the waves are cold and green", which very neatly depicts a lonely, sculptured scene. The zero late autumn scene makes people feel unbearable and depressed at the first sight. The theme of Xin Qiji's "Water Dragon Song" is much grander. He begins with "The Chu sky is thousands of miles away and the autumn is endless, and the water goes with the sky and the autumn is boundless." What a vast autumn scenery in the south of the Yangtze River. What we feel is vast and desolate rather than desolate and lonely, because only in this way Only when the realm is in line with the author's broad mind can he be able to tolerate the author's indignation that his ambitions are unfulfilled.
(3) Create thoughts: Set up a question first, or point out the meaning of the question, or create a suspense to induce deep thought and make people eager to read further. Then introduce the subject of the word in the form of an answer. This is a commonly used way of beginning by poets, and it is "creating thoughts". Sometimes, a rhetorical question is used first, retreating openly and advancing secretly, and then the right intention is pushed out, just like triggering a bow to fire a pill.
How deep is the courtyard? The willows are piled with smoke, and the curtains are countless. (Ouyang Xiu's "Butterfly Loves Flowers")
How deep is the courtyard? The cloud window and fog pavilion are often blocked. (Li Qingzhao's "Linjiang Immortal")
Both paragraphs begin with a specific reference sentence, saying "specific reference". In fact, the answer is already implicit (endless troubles, deep courtyard), Therefore, the following text does not give a direct answer, but uses broken heart and spring return to express lovesickness and regret, and uses willow smoke and fog pavilion to symbolize the deep sorrow in the courtyard. The artistic conception is much deeper than the direct statement.
This method of starting with a question is more suitable for expressing delicate feelings, but it can also be used by famous artists to express a bold spirit. For example:
Thirty-three years later, who is still alive today? Just count the king and the Yangtze River. (Su Shi's "Man Ting Fang")
The questions seemed ordinary, but the answers were unexpected. Each question and answer seemed particularly affectionate and heroic. Zheng Wenzhuo of the Qing Dynasty commented on his "sound sentences and eight words, with more outstanding peaks".
Who pushed the mountain in the middle of the night? The clouds floating around guessed it was you. (Xin Qiji's "Wang Lou Chun: Playing on Yunshan")
The words he speaks are very strange, and the answers are deliberately vague, which really makes people feel as if they are facing the cloud peaks, with a sense of magic, weirdness and unpredictability .
How to pass the film?
The passage of film is a unique structure of Ci. What is Guo Pian? Except for Xiao Ling, all words are divided into pieces, and most of them are divided into upper and lower pieces. They are two levels that express the theme of the same factory, and they must be closely related. The key lies in the connection between the upper and lower films, that is, the beginning of the next film, which is called passing film. In the past, people who wrote lyrics and reviewed lyrics attached great importance to the performance of the song, especially emphasizing that "the meaning of the song must not be lost during the performance of the song, but must continue from the previous to the next." (Zhang Yan) "Continuing on from the previous to the next" is a general requirement. The connection should be close and natural, and the top priority should be to create new ideas. Shen Yifu's "Yuefu Zhimi" said: "Only those with high talent can initiate new ideas, but they must not be too wild and stray from the original intention." It means that people should take into account these two aspects at the same time.
The specific methods of film passing are varied and there are no rules to follow. The commonly used methods are as follows:
(1) The writing is continuous and the upper and lower parts are closely connected. This is the most common approach. There are two situations. One is that although the meaning is consecutive, there is an obvious pause in the writing method, which makes people know that it is a new paragraph. Jiang Kui's "Qi Tian Le" "Yu Lang Xian Yin Chan Fu" by Zhang Yan is an example of this approach.
Yu Lang first chanted the poem "Chou Fu" by himself. Miserably, I heard whispers. The copper shop is wet with dew, and the moss has invaded the stone well. They are all places where I once listened to Yi. The sound of mourning sounds like complaining. The woman who was thinking about her was sleepless, so she started looking for opportunities. Ququ Pingshan, the cool night is so lonely and emotional!
Dark rain blows from the west window again. For whom are we intermittent and intermittent? The marquis's palace welcomes the autumn, leaving the palace to hang the moon, there are countless sorrows. Bin Shiman and. The laughter fell on the fence and called the lamp. The children of the world were written on the piano wire, and each sound became more painful.
This poem is about the melancholy caused by the chirping of crickets. The order of the words explains the origin of the lyrics: I was having a drink with Zhang Gongfu and heard the sound of crickets chirping on the wall, so we agreed to write the lyrics together. The meritorious father accomplished it first, and his words are very beautiful. Jiang Kui "wandered among the jasmine flowers, looked up at the autumn moon, and suddenly thought about it, and found this". The beginning of the word echoes the word order, highlighting the word "sorrow", which also sums up the mood of the whole word. Listening to my father's words made me feel sad, not to mention hearing the plaintive whisper-like chirping of crickets. In this way, the author closely combines sorrow and the sound of insects at the beginning of the poem. Then, the author explores the transition through sound-finding and turns to the depiction of the mournful crickets. He used the sounds of machines, rain, anvils and pestles, and the sounds of silk and bamboo to compare the sound of insects in every detail. He also associated the sound of insects with the thought of a sleepless woman, waiting in the pavilion to welcome autumn, and leaving the palace to hang the moon, highlighting a kind of loneliness and loneliness. The feeling of longing reminds me of my childhood days of using lanterns to fill acupuncture points and catching insects for fun. Comparing the two, I feel more and more mesmerizing. All of these are continuous and difficult to separate. However, the author very cleverly captured the sentence "Dark rain blows again at the west window" as the introduction. The last sentence of the previous film has already said, "It's a cold night and I'm very emotional!" It's already unbearable to listen to the mournful chirping of autumn insects alone in this cold night. Unexpectedly, there is a faint sound of cold rain knocking on the window outside the west window! The word "you" not only tightly connects the upper and lower pieces, but also clearly divides them into two sections. The method is indeed extraordinary.
Xin Qiji's "Bodhisattva Man" (Book on the Ostomy Wall of Jiangxi) is equally brilliant. The author first writes about looking down at the river under Yugu Terrace, which is filled with the blood and tears of thousands of refugees from the Song Dynasty. Then he writes about raising his head to look north at the old capital. The vast mountains block his concerned gaze. The last film ends with the word "mountain". ("Pity the countless mountains"). Then, the next film starts from "mountains": "The green mountains cannot cover it, and it will flow eastward after all." From the green mountains, there is a response to the river. The transition between these two "mountains" is so tight and the rhythm is so clear!
(2) Different peaks and protrusions, obvious contrast. The transition points are very distinct, and it seems as if the upper and lower films are talking about two different things. However, upon closer inspection, I realize that the entire artistic conception, emotion, and energy are completely connected. This kind of transition is steep and steep, which is in obvious contrast with the ending of the film. Xin Qiji's "Water Dragon Song" (Passing Nanjian Shuangxi Tower) is a good example.
Raise your head to see the floating clouds in the northwest, and you must have a long sword leaning against the sky thousands of miles away. People say that this place can be seen late at night, with the glory of bullfights. I feel that the mountains are high, the pond is empty and the water is cold, and the moon and stars are pale. The rhinoceros is about to burn and look down, but it is afraid when leaning on the railing. The wind and thunder are angry, and the fish and dragons are miserable.
The gorge is opposite to the Cangjiang River, and when you pass the dangerous building, you want to fly but still hold back. The senator is old, so he might as well lie down high and cool the mat in the curling pot. The rise and fall of the ages, the sorrow and laughter of a hundred years, can be seen in a moment. I asked who was unloading it again. I found a piece of sail on the beach and tied it with a cable to the sun.
The author of the first film looked down at the Jianxi River and fantasized about taking out the divine sword in order to realize his ambition of killing the enemy and saving the country, but was blocked by those in power. The ending of the film is "The wind and thunder are angry, the fish and dragons are miserable", the mood is very desolate. However, a very tall and majestic image appeared at the end of the film: "The gorge is facing the Cangjiang River", which immediately directed people's attention to the peak, and then uttered the infinite emotion that great ambitions are difficult to achieve. The first film begins with aspiration and ends with grief and indignation, while the second film begins with expressing indignation and ends with passion. The lines are clear and run through with a passion for the country that is extremely concerned but powerless.
(3) Coherence from top to bottom, juxtaposition of text and meaning. The textual meanings of the upper and lower pieces are juxtaposed, either positive and negative, or present and past, and the passing pieces are used as bridges. The beginning of the lower piece closely follows the end of the upper piece, so that the upper and lower pieces are connected. For example:
In the past forty years, our country and our country have spread over three thousand miles of mountains and rivers. The phoenix pavilion and the dragon tower reach the sky, and the jade trees and their branches are used as tobacco. How many times have we known war?
Once you become a captive, you will lose your waist and your hair. On the most hasty day of farewell to the temple, the temple still plays farewell songs. Weeping to Gong E. (Li Yu
"Breaking Time")
The first film recalls the life of the emperor in the past, and the second film laments the bleak situation of prisoners today. One past and present, one positive and one negative, contrasting It's very distinct. At the end of the film, the first film ends with the story of a person who did not even know what to fight with in the past, and the second film begins with the story of suddenly becoming a prisoner in the enemy's war. They echo each other, the connection is tight, the turn is rapid, and it is natural and friendly, which makes people feel comfortable. move. The situation is similar to Chen Yuyi's "Linjiang Shantou" "Recalling Drinking on the Bridge at Noon in the Past". The first film recalls the joyful years spent in Luoyang, Xijing before crossing to the south, and the second film expresses the melancholy of living in a corner of the south of the Yangtze River. The previous film was based on "More than Twenty Years of a Dream", which connects the past and the future, and sets the comparison of the whole poem. Depressing tone.
Lu Benzhong's "Picking Mulberries" is another type:
Hateful to you is not like Jiang Louyue, north, south, east and west. North, south, east and west. Only togetherness without separation.
Hateful to you, but like the moon in the river, it is full but still in loss. It’s still a loss if it’s full for the time being. When will we be reunited?
The upper and lower parts are positive and negative, and there is no obvious transition sentence. The repetition in the format of the upper and lower parts realizes the connection and distinction between the upper and lower parts.
(4) One total, one point, direct transition. The upper and lower parts are worth one point each, and there are often no transitional sentences between them. The format itself determines the relationship between the upper and lower parts as a whole and with distinction.
For example, Zhao Qi's poem "Thanks to the Emperor's Favor" writes about farewell. He writes it in the first part, one sentence at a time in the second part, and the reasons for separation and hatred in four layers. Thus, people's psychological state during separation is vividly described.
(5) There are questions and answers, connected up and down. In Li Xiaoguang's "Man Jiang Hong", the last sentence of the first film is "The boatman said: 'The official is driving and running according to the fate?'" The first sentence of the second film is "The official has something to say, and I listen." It is a rare question and answer directly. Li Qingzhao's "The Proud Fisherman" "The sky connects the clouds and the waves are connected with the dawn fog" can be classified into this category:
The sky connects the clouds with the waves and the dawn fog. The stars are turning and a thousand sails are dancing. It's like the dream soul returns to the emperor's home. Wen Tianwu. Ask me diligently where I am going?
I report that the sun is setting. There are amazing sentences in the poetry comics. Ninety Thousand Miles Wind Peng is doing his best. The wind rests. The boat blows to capture the three mountains.
Another way is that the last sentence of the first part ends with a question, and although the second part does not answer it directly, the content is actually about the question, echoing the above. This way of writing is more common. Such as:
The stars in the Hua Huan are shocking, and the ambition has become empty, and this body is like a ship. Depression disease. Go to the dark and let go of the heroic spirit of the past. The dream breaks through the mountains and rivers of my homeland, separated by layers of mist and water. Thousands of miles away. There are no sculptures in the old society. Who will remember the journey of Qingmen Jun?
As the road is prosperous, I sigh that the officials will be idle all day long, and the wood and bushes will add to their sleep. Clear sorrow and drunkenness. Thinking about who is paying attention at this time. Even if there are Chu and Wu Qiang, do you know when the east will pass away? Looking at the empty sky, the wild rice is delicious and fragrant, and the autumn wind rises again. (Lu You's "Double-Headed Lotus·Presenting Fan Zhi Neng to be Made")
The first film laments that "the ambition has become empty, and this body is like a gift". He is deeply in love with his motherland and has drifted thousands of miles away. The closing sentence asks with tears: the old days The comrades have been scattered. Does anyone remember the impassioned struggle life in the old capital when they were young? The following text does not give a direct answer, but turns back to the anguish of being unable to realize personal ideals and ambitions. It is written with the words "After all the prosperity in the road, I lament that the official is idle and the day is forever, and the wood and bushes add sleep". In fact, this is just another way to answer: In such an environment where everyone just wants to be safe but does nothing, who can possibly realize the embrace of that day?
Xin Qiji's "Water Dragon Song" (for Han Nanjian Shangshu Shou) ) is also close to this. In his last film, while criticizing the crimes of the powerful people in the Southern Song Dynasty who wanted to maintain peace and harm the country, he also asked, "Who is the person who can really turn the tide?" ("How many people are really good at economics?") "Completing the cause of civilian affairs is what scholars can be proud of. Do you understand important things?" ("Counting an army thousands of miles apart, fame is a matter of true Confucianism, do you know?") Two questions. There was no direct reply in the next film, but a series of praises were given to Han Nanjian, starting with "Kuang Youwen Wenshan Dou".
This is actually the answer to the question in the previous film: Han Nanjian is the "economic master" who can turn the tide, and he is the "true Confucian" who understands that Ping Rong is a great cause.
Write the ending well
The ending of a word is very important, it is often the finishing touch. The last sentence must be able to wrap up the entire text, be thought-provoking, and leave an aftertaste, so poets attach great importance to it and work hard on syntax and melody. Jiang Kui said: "The entire article is in the last sentence, just like stopping a galloping horse." The evil tail seems to be trying to rein in a galloping horse. Can it be done without the strength? He summarized several ending situations and methods:
(1) "The meaning of the words is exhausted" and the theme is pointed out. "The so-called word meaning is exhausted, the following words are cut off in the rapid stream, and the predicate is not exhausted."
The first eight sentences of Liu Kezhuang's "Spring in the Jade House" (Xi Lin Tui), if you only look at the first eight sentences Six sentences: "Every year, I am galloping in Chang'an City. The guest house is like a home, and there is no day to exchange green money for wine. I can't sleep at night because of the red candle. It is easy to pick a brocade woman's character, but it is rare for a beautiful woman to do something." It seems. It doesn't make much sense to just write about the life of a scholar who forgot about the national security and indulged in brothels and restaurants. However, at the end of the poem, the author suddenly introduced "There is China in the northwest of men, don't shed tears by the West Bridge." These two sentences are profound and sharp, making people wake up, and the previous six sentences also have their meaning. The author uses the last sentence to highlight the theme, telling people not to indulge in a decadent life and forget the great cause of reunifying the motherland!
(2) "The meaning is exhausted and the words are endless", and the aftertaste is endless. "If the meaning is not finished yet, the words may not be complete, and long words are not beneficial."
Some words also point out the main idea at the end, but they are not written in such an explicit way. . They speak with images, making their feelings appear deeper and more detailed. For example, Su Shi's "Shui Long Yin" (the second rhyme chapter "Zi Fu Yang Hua Ci") uses Yang flowers as a comparison to Li Ren. It is very delicate and lingering, with flowers everywhere, but the word "Li Ren" is never used until the end. , talking about the poplar flowers that were knocked down by the wind and rain and turned into dust, and after they melted into the running water, he changed his tone and said, "If you look closely, they are not poplar flowers, but the dots are tears of separation." This breaks the theme and makes people feel endless aftertaste. .
(3) "The words are full of meaning", which is thought-provoking. "It's not a legacy, it seems to be visible in the words."
Xin Qiji's "Bodhisattva Man" (written on the wall of Jiangxi stoma) is even more profound. The author first lamented the suffering of the people, then expressed his eager hope to reunify the motherland, and finally said, "The river is sad at night. Partridges can be heard deep in the mountains." Although the river shrouded in twilight is making me depressed, there are bursts of "" from deep in the mountains. It’s better to go back” the birds chirped. People who understand this poem say that the ending is negative and low, which is a revelation of the author's loneliness and depression. In fact, there is a positive side to it. Although he felt that the country was in danger as the sun was setting in the west (Jiang Wan), he could not help but feel depressed, but he never forgot to recover the old land and return to his hometown. The voice of "it is better to go back" coming from the deep mountains represents the author's relationship with the country and home. The sympathy of the people.
(4) "The meaning of the words is endless", and the remaining meaning is deeper. "In the midst of inexhaustibility, it has already been deeply exhausted."
He Zhu's "Hengtang Road" ends with a question and answer: "How many leisure and sorrows are there? A river of tobacco, the city is full of wind and rain. Plums are yellow and it rains. ". Comparing the sorrow of a frustrated person to tobacco, wind and rain, it deepens the theme very vividly and is very thought-provoking. The ending of Wei Yingwu's "Tiaoxiao Ling" (Hehan) is "Farewell. Farewell. Although Hehan and Hehan are on the same road," closely echoes the beginning of "Hehan. Hehan. The autumn city is long in the morning." Liu Yong's "Rain Lin Ling" (Han Cicada's Sadness) ends with the affectionate question "Even if there are thousands of styles, who can I tell them to?", which has far-reaching implications. These endings are all very unique.
The beginning, transition, and ending of a good song are a whole, and they must be tasted together to understand its beauty.
4. Rhyming pattern
The rhyming pattern of words is more complicated than that of poetry, and there are many changes. It can be roughly divided into the following eleven categories.
(1) One poem with one rhyme: The rhyme method is the same as that of modern poetry, with one rhyme to the end. This is the majority of the poems. For example, "The Proud Fisherman":
"The scenery is strange when autumn comes under the wall, and the geese from Hengyang leave without paying attention. Sounds are heard from all sides. Thousands of miles away, the long smoke sets and the sun sets, solitary city is closed. A glass of turbid wine can make your home thousands of miles away. Yan Ran has no plan to return. The Qiang pipes are covered with frost. The generals are white-haired and in tears." (Fan Zhongyan)
(2) A poem with multiple rhymes: "Bodhisattva Barbarian". :
"The plain forest is woven with smoke in the desert, and the cold mountain area is sad and green. The dusk enters the high-rise building, and there are people upstairs who are sad. The jade steps stand empty, and the birds return in a hurry. Where is the return journey? The long pavilion is even shorter. ." (Li Bai)
It is also common to use two oblique rhymes and two flat rhymes. The poem with the most rhymes is "It's Hard to Leave":
"It's hard to say goodbye to a BMW with its carved saddle, and it's hard to say goodbye with its curtains. That beautiful spring scene will send you thousands of miles away. Half of the pearls are falling green." , Lu Huacha. Red candles, green silk curls, can seduce tears. The fragrance is green, the soul is fascinated, and the sandalwood eyebrows are half closed and sad, and the words are hard to express. , the road goes east and west. Standing with waving sleeves, the spring breeze is strong, the cherry blossoms and willows are raining sadly.
"(Xue Zhaoyun)
"An", "Difficult", "Han" and "Qian" are one rhyme; "Mei" and "Li" are one rhyme; "Zhu" and "Qu" are one rhyme Rhyme, "promoting" and "green" are one rhyme; "mi", "low", "xi" and "qi" are one rhyme; "bie", "pharyngeal" and "shuo" are one rhyme; "li" , "Ji" is a rhyme, with seven rhymes, intertwined and complex, the most complex and rare
(3) One rhyme is the main one, with other rhymes occasionally: such as "Meeting Happily". :
"Speechless, I went up to the west tower alone, the moon was like a hook. The lonely Wutong deep courtyard locks Qingqiu. If you keep cutting, it will become messy. It's separation. Don't just have the ordinary taste in your heart. "(Li Yu)
This word is mainly based on the five rhymes of flat rhymes of "lou", "hoo", "autumn", "chou" and "tou", with occasional oblique rhymes of "break" and " The two rhymes of "chaos" are the guest. Another example is "Ding Feng Bo":
"Don't listen to the sound of beating leaves through the forest, why not scream and walk slowly." The bamboo stick and mango shoes are lighter than the horse, who is afraid? A raincoat raincoat can last a lifetime. The steep spring breeze blows away the drunkenness, it is slightly cold, but the mountain tops are shining slantingly. Looking back at the desolate place where I came from, there was neither wind, rain nor sunshine. "(Su Shi)
This word is mainly based on the five rhymes of "sheng", "xing", "sheng", "ying" and "qing", with occasional "horse" and "fear". Two oblique rhymes, "Xing" and "Leng" have two oblique rhymes, and the two oblique rhymes of "chu" and "来" are guest.
(4) The same rhyme part has flat rhymes and oblique rhymes: the same rhymes. The rhyme of "dong" is associated with "dong" and "send", "zhi" is associated with "zhi" and "zhi", and "ma" is associated with "horse" and "祃". "Ye" is the most common in the lyrics, including "Xijiang Moon", "Shao Ben", "Changing Nest Luanfeng" and other tunes. For example, "Xijiang Moon":
"The shallow waves in the field shine across the sky Hidden in the sky. The mud is here to relieve Jade Cong's arrogance, I want to get drunk and sleep on the fragrant grass. It's a pity that there is a wind and moon in a stream; don't teach me to crush Qiong Yao. Undressing the saddle and pillowing on the green poplar bridge, Du Yu heard the spring dawn. "(Su Shi)
The four flat rhymes of "Xiao", "Jiao", "Yao" and "Qiao", and the two oblique rhymes of "Cao" and "Xiao" are all in the eighth part.
This type of word tones with flat and oblique rhymes are mostly in harmony with Shang and Lai rhymes, while there are very few with flat rhymes and Ru rhymes. This is because in Song poems, Ru rhyme is often used alone.
(5) Several rhymes intersect with each other: such as "Chai Tou Feng":
"Red hands, yellow wine, the city is full of spring palaces." Wall willow. The east wind is evil and happiness is thin. With a heavy heart, how many years will it take to leave? wrong! wrong! wrong! Spring is as old as ever, people are thin and empty, and the tears are red and raw. Peach blossoms fall, leisure pool pavilion. Although the mountain alliance is there, it is difficult to trust the brocade book. Mo! Mo! Mo! "(Lu You)
This word combines the "hand", "wine" and "willow" in the upper piece with the "old", "thin" and "transparent" in the lower piece, and also combines the "hand", "wine" and "willow" in the lower piece. "Evil", "Bo", "Suo" and "Cuo" are in harmony with "Luo", "Ge", "Tuo" and "Mo" in the lower part.
(6) Overlapping rhymes: such as. "Sauvignon Blanc":
"Bian water, Si water, flowing to the ancient ferry of Guazhou, Wushan is a little sad. I miss you for a long time, I hate you for a long time, I hate it until I return home, and I lean on the building under the bright moon. "(Bai Juyi)
Use the word "liu" twice and the word "you" twice.
(7) Rhyme in the sentence: There are many examples of Song poetry rhyming in the sentence. For example, Liu Yong The sixth and seventh sentences of the first and second parts of "Magnolia Slow": "I saw new wild geese passing by in the clouds, and the Naijia people said goodbye to each other", "I stared at the place on the way home, but the setting sun and evening mist filled the plains"; "The first and second parts of the poem conclude with Mao Pang's "There are no more words and we look at each other in vain", "The soul is broken and the tide goes back"; Wang Yuanliang's "The tears are like wisps gathering on the eyebrows", "The heart-broken poem Jiangnan Sentence" and so on.
There are two or three rhyming characters in the sentence, such as Su Shi's "Drunkard Man Cao": "Whoever plays the sound is clear and round, and the sound is silent on the empty mountain." "Wu Wenying's "Three Shumei" has changed: "Spring dreams in the world must be interrupted, but it is strange that dreams can be short-lived in those days": and "High Balcony": "The lonely mountain has infinite spring cold".
(8 ) Four tones Tongxie: All examples of Shangzhi Tongxie are the same as those of Shangshang and Laixie. In addition, there are also examples of Shangxie and Laixie. Wang Guowei's "Human Words" said: "Jiaxuan's "Congratulations to the Bridegroom" Ci. : 'The willows are dark on the Lingbo Road, sending spring back, fierce storms and rain, and a new green. ’ Another line from “Ding Feng Bo”: “From now on, the wine is full of wine and the moonlight is bright, and the ears are hot. The words "green" and "hot" are both used for "up" and "down", and Han Yu's "Congratulations to the Bridegroom·Ode to Narcissus" uses "yu" and "qu" to annotate "" and "女", and "Bu Suanzi" uses "night". ', 'Xie', 'Xie', 'Jie', and 'Yue' are the ancestors of the four tones of the Northern Song. "The four tones in the poem rhyme together, which are already found in Dunhuang songs. There is a song called "Yu Ge Zi" ("The Wedding Room is Deep") in "Yun Yao Ji", the whole capital is in up and down rhyme, and only the third line has the word "lonely" There is also a poem called "Happy Autumn" ("Fragrant Forest and Jade Dew"), all of which are rhymed with the entering tone, except for the word "Tu" in the last sentence, which can be said to be the fourth in the poem.
The earliest examples of tongtong rhymes are those written by the Jin and Yuan Dynasty people.
A) Ping rhyme and Ru rhyme Ping and Ru rhymes are interlinked, so they can be modified each other. For example, Li Qingzhao's "Ci Lun" said: "The so-called "Sheng Sheng Manan" and "Rain in the Flower" in modern times both rhyme with Ping rhyme and rhyme. Pushing sound. "Jade House Spring" has a flat sound, a pressing sound, a going sound, and a pressing sound. "These are the rhymes from plain rhyme to rhyme. In addition, there are also rhymes from rhyme to flat rhyme. For example, "Manjianghong" originally rhymed into rhyme, but Jiang Kui changed it to rhyme from flat rhyme.
His preface to "Manjianghong" says: "Manjianghong used to use oblique rhymes, and many of them were inconsistent with the rhythm. For example, the last sentence says the word 'Wuxin flutter' (on Zhou Bangyan's "Manjianghong"): "The most painful thing is when butterflies fly all over the garden, "Wuxin flutters"), the singer blends the word "心" into the missing tone, which is a harmonious rhythm. He adds a plain rhyme to it, and the last sentence says "hearing Peihuan", which is a harmonious rhythm."
(B ) Ping rhyme and Shang, Qi rhyme are changed from Ping rhyme to Shang, Qi rhyme, for example, Mao Xizhen of the Five Dynasties had Ping rhyme "He Manzi", and Mao Pang of the Northern Song Dynasty changed it to Shang, Qi rhyme.
Another example is Xin Qiji's "Drunk Peace", Zhao Yanduan's "Sand Stopper", Yang Wujiu's "The Full Moon", Chao Buzhi's "Youth Travel", Song Qi and Du Anshi's "Lang Tao Sha", Cao Xun's "The Golden Cup Hangs Down" Lotus", Chen Yunping's "Zijintang", etc.