Based on my personal learning experience of Quzi Ci in Tang and Song Dynasties, and the analysis and comparison of the same type of epigraph, and even the works of different writers of the same epigraph, I deeply feel that this special form, although separated from the music of the original tune after the Song and Yuan Dynasties, has become a "poem that can't be read without repair", but its sentence pattern is uneven, which seems to be very free, but it is actually restricted by many aspects, and the relationship between expressing different emotions, such as emotions and sorrows, is very good.
Generally speaking, the sentence arrangement of each lyric can't be divided into two types: harmony and anger. And this kind of adjustment relationship is manifested in the middle of each sentence and in the foothold of each sentence. On the whole structure, first of all, it depends on how it is configured in terms of sentence parity and sentence length, and secondly, it depends on how it arranges the tone at the end of each sentence, from which it shows the urgency and smoothness of tone, the agitation and gentleness of voice and emotion. For example, "The Song of Six States" cited in the third lecture is suitable for expressing passionate and generous heroic feelings because it uses three short sentences one after another to form a complex sound to promote festivals. In the short melody, it is like "Hairpin Phoenix":
red crisp hands, yellow wine, and spring willows in the city. Dongfeng evil, love is thin. A sad mood, a few years away from the cable. Wrong! Wrong! Wrong!
Spring is as old as ever, people are thin and empty, and tears are red. Peach blossoms fall, idle pool pavilion. Although Shanmeng is here, it is difficult to trust the brocade book. Mo! Mo! Mo!
—— Lu You's
This tune is composed of four three-character short sentences, two four-character even sentences and a three-character overlapping sentence, and each sentence is ended with a sound. Although all rhymes are changed, it is not used to achieve harmony.
Another example is "Shake the Tingqiu":
Don't hear from me for thousands of miles. It's hard to send this feeling. She boarded the high building overlooking the sky, the sky is very broad, cloudy, no trace of the people, let people more sad and haggard.
the building is high and the sky is dark, only gaunt. The red candle burning in the hall, empty from the heart long flame short, there is a drop of acacia bitter tears.
-Yan Shu's "Zhu Yu Ci"
Almost all of this tune is composed of even sentences. After the opening of the first six-character even sentence, the upper half of the tune is followed by a four-sentence sentence that is reversed, and the impulsive feelings are barely held back, just like the calligrapher's so-called "no drooping, no shrinking" principle. The following three four-character even sentences are lost. In the middle of repeated use of this form in the lower half, only one syllable ("nian") is added, which makes the whole syllable present a stiff posture. Using this kind of tune to express feelings of separation will not be a mere flattery.
Deduce the rhythm sound volume of this kind of sentence pattern, thus forming a long tune suitable for expressing the sad and strong feelings of Yu Bo. For example, Shui Long Yin is the best example:
Chu Tian is thousands of miles away in the clear autumn, and the water goes with the day to the endless autumn. The sight of the mountains in the distance only caused my sorrow and resentment towards the end of the country, and the mountains, like the Hosta plantaginea and spiral coil on the head of a woman. The sun in the west slants toward this floor, and in the sky far away from the wild goose cries, and I am wandering the homesick wanderer in the south of the Yangtze river. I saw Wu Gou, and I shot it all over, but no one would attend.
don't say that the perch is terrible, and the west wind and the season eagle have not returned? Like the xusi who only bought land for themselves, should be afraid of ashamed to see the brilliant complete in both respects Liu Bei. Unfortunately, time like the flow of the past, I really worried about the wind and rain drift of the country, really like the Huan Wen said that the tree has grown so much! Who calls for it, red scarf and green sleeves, and tears of heroes?
—— Xin Qiji's "Deng Jiankang's Pleasant Pavilion", see Jia Xuan's Long and Short Sentences
The overall structure of this long tune is mainly composed of seventeen four-character even sentences, while the upper and lower parts are each composed of three even sentences. However, on the whole, there is something strange in the complex couple, just like the three sentences of "this Ninth-month night is blowing cold at Wheel Tower, and valleys, fill with the broken boulders like peck measures and that downward, headlong, follow the wind" in Cen Can's "A Journey to Sichuan", and the sentence configuration in "Shake Tingqiu" is exactly the same. Except for two flat tones in the first half of the sentence, and one flat tone in the second half, which makes the syllables slightly harmonious, the rest are closed with a flat voice. In the second half of the first half, the word "ba" was used, which led to two four-character even sentences and two three-character odd sentences; In the latter part of the second half, the word "Qian" was used to lead to three four-character even sentences, and the special sentence pattern of "Xia San" was used at the end, which was reversed and frustrated, just showing the sad and strong attitude of Yu Bo in sound volume.
As for the short-tone poem composed of three short sentences, at first glance, some of them are similar to the organizational form of Hairpin Phoenix, such as "More Leaky":
Jade furnace incense, red wax tears, partial to the painting hall Qiu Si. The eyebrows are thin and thin, the clouds are residual, and the night is long and the pillow is cold.
buttonwood, it's raining in the middle of the night, and it's bitter to leave your feelings. A leaf, a sound, empty steps drop to the light.
—— Wen Tingyun, see Huajianji
Although this short tune uses four strange three-character sentences in the same way, it is used in a flat and even way, and the rhyme is also flat and smooth, which is quite different from graceful syllables and emotional appeal.
most of the short-toned rhymes, which are composed of muffled voices and mixed with special sentence patterns, are often used to show a strong voice, which is suitable for expressing "solitary signs stand tall" and a violent and uneven mood. For example, "Good Things Close":
Rain on the spring road adds flowers, and flowers move a mountain in spring. Walking deep into the stream, there are hundreds of orioles.
feiyun turns into a dragon and a snake in person, and the sky turns blue. At this time, I was drunk lying under the overcast, hazy blurred, completely ignorant of the north and south.
—— Qin Guan's Dream, see Huaihai Jushi's Long and Short Sentences
Shake the first place in the world of mortals, and there is no time to wake up drunk. The work of green dress green hat, used to putting-on snow.
when the wind comes late, the fishing line will be idle, and there will be a new moon above and below. Thousands of water days mixed into a color, look at the The Lonely Teal flash.
-Zhu Dunru's "fisherman's ci", see "woodcutter's song"
Ningbi old pond head, a listen to the orchestral sad. How many of the tunes of the pear garden in that year, a sound, makes me this white-haired old man really difficult to recall the grief added to the past.
apricot flowers have nowhere to hide from the worries of spring, and they are also surrounded by wild smoke. Only when the imperial ditch is broken, it seems that people are sobbing.
—— Han Yuanji's "Thoughts on the Banquet in Bianjing and the Music in Jiaofang", see "Poems in Nanjian"
This short tune of sound volume is so abrupt and violent that the main key lies in the fact that the first sentence is flat, and the following words are used together; Moreover, the second sentence of the second half of the sentence must use "flat and flat" to form an angry syllable, and the two sentences must use the converse upper, lower and fourth sentence patterns; Only by choosing short entering rhyme parts can the "emotion and sound meeting" just set off the specific contents of the above examples.
There are also short tunes of the same genre as "Shake Tingqiu" but different from sound volume's attitude in "Hairpin Phoenix" and "Good Things Near", such as "Salt Corner":
It is like snow when it opens, like snow when it is thanked, and it is wonderful in flowers. The fragrance is not in the core, not in the calyx, but in the bone.
to occupy the stream wind and stay in the stream for the moon is shameful, and the peaches are like blood. Straight Rao is more sparse and faint, and there will always be general feelings.
—— Chao Buzhi's "Looking at Mei in Bo Society", see "Interesting Chapters of Chao's Piano"
Another example is "Remembering the Youth":
An infinite official willow, ruthlessly painting a Ge, and a rootless traveler. Nanshan is still seeing each other off, only high city people are separated.
painting the garden streams and gardens is a new beginning. Liu Lang's sideburns are like this. What a peach blossom color!
—— For Bielixia by Chao Buzhi, see Interesting Chapters of Chao's Qin
The sentence pattern and phonological organization of the first half of Yan Jiaoer are almost the same as those of the second half of Han Tingqiu. In the second half, although two three-character dialogues were used at the beginning, and the footings of the sentences were handed in a flat tone, it seemed to turn into harmony; But then two special sentence patterns of going up, down and down were used, and until the end, they all closed their feet with a squeak. The rhyme department also chooses short entering tone. This fully shows the intense emotional appeal, which is just called plum blossom standard. The first half of Yi Xiao uses three four-character even sentences, which is the same as Yan Jiao Er. Then, with an awkward sentence of "flat to flat" and a converse sentence of "up, down and four", its emotional appeal has been fully presented. In the second sentence of the second half, a special sentence pattern of "going up, down and down" is used, followed by an awkward sentence of "going flat and leveling" and a frustrated sentence of "going up and down and down", and the whole tone is closed, and all the rhymes are used, which constitutes its urgent and piercing sound volume, which just expresses the author's all kinds of feelings.
as for the interchange of even and even rhymes, it is slightly similar to the monotonous poem of "More Leaky", just like "Joking Order":
Hehan, Hehan, Xiao Guaqiu City is long. Worrying people look forward to lovesickness, and the south of the Yangtze River is separated from the north. Parting, parting, although the river and the Han are in the same road.
—— Wei Yingwu's Collection of Weijiang Prefecture
Willow, willow and Baisha Ferry at sunset. The bow of the river is boundless, and the businessman is heartbroken. Heartbroken, heartbroken, partridge flying out at night.
—— The tune
written by Wang Jian in Modern Quci, Volume 79 of Yuefu Poetry Collection, uses two two-character overlapping sentences at the beginning and the end, followed by a six-character even sentence, and two six-character even sentences at the middle, which violates the harmonious law of "parity and parity". Although the rhyme is slightly harmonious and achieves the corresponding effect of euphemism, on the whole, the mood is compelling.
when it comes to slow tunes and long tunes, people who express anger and agitation on syllables generally use four-character and six-character even sentences with closed feet, mixed with short sentences of two or three words, and put them into part rhyme. For example, "Warrior Lanling":
The willow shade is straight, and the smoke is beautiful. On the Sui Dyke, I have seen several times, waving water and floating cotton to see me off. Visit the old country. Who knows, jinghua tired guest? Changting Road, which came last year, should cross thousands of feet in a flexible way.
looking for old traces. And wine leaves the table while mourning strings and lights shine. Pear blossom and elm fire urge cold food. Worry about an arrow, the wind is fast, and half a wave is warm. When you turn around, you can count the posts and hope that people are in the north of the world.
sadness, hate accumulation. Gradually parting pu haunts, and Tianjin is silent. Setting sun, Ran Ran, endless spring. Read the moon and join hands, and smell the flute on the bridge. Meditation on the past is like a dream with dark tears.
-Zhou Bangyan's Collection of Halals
According to Mao Kai's Record of Qiao Yin, "At the beginning of Shaoxing, Zhou Halal sang Liu's" Warrior Lanling Slow ",and all the west buildings and south tiles sang it, which was called" Three Stacks of Weicheng ". Zhou Ci changed his head three times, and at the end, the sound was particularly intense, and only the old flute master in Jiaofang could rely on it to celebrate the song. " The music score of Warrior Lanling is still kept in Japan, and it is filled with phonographs. Let's explore the reason of Zhou Ci's "especially intense sound at the end" only from the sentence arrangement and phonological organization. In sentence structure, the last paragraph uses a two-character and three-character short sentence, and a disyllabic word "gradually" leads to two four-character even sentences, and a disyllabic word "nian" also leads to two four-character even sentences; However, the arrangement of leveling in one sentence deliberately violates the usual tone, such as "silence", "going to the level", "going to the level", "going to the top", "like a dream" and "going to the entrance". At the end of each sentence, except for "Farewell to Pu, lingering", which is more gentle and gentle, the rest are collected: this constitutes its angry syllable, which shows the agitation and is suitable for expressing the desolate and agitation. Look at its overall structure. In the first paragraph, a two-character, three-character short sentence, three-character and one-character even sentence are used. Although a five-character and two-character odd sentences are mixed in the middle, it seems to conform to the adjustment law of "parity", but the arrangement of leveling in the sentence violates the tone conventions, like "waving water to send off the cotton" In the second paragraph, a four-character even sentence with the disyllabic word "You" and a four-character even sentence with the flat word "Worry" are used. Although two five-character odd sentences and two seven-character odd sentences are misspelled, there seems to be a harmonious syllable of "odd and even", but the arrangement of flat tones in the sentence violates the usual tone-tuning, just like "wandering around looking for old traces" Connecting the phonological organization of these three paragraphs, and carefully appreciating them, it is really getting tighter and tighter, which fully shows the agitation and emotion, which is completely different from a soft and charming decadent sound.
Although some slow tunes and long tunes show the beauty of "parity" in sentence degree, odd sentences mostly use the special syntax of reverse entry, and even sentences mostly use the six-character sentence structure, and there are many contradictions in the arrangement of flat lines in the sentences, which can also constitute a violent mood. For example, the slow waves wash the sand:
the dawn is heavy, the frost withers the grass on the shore, and the fog hides the city. Nanmo fat car is ready to go, and the east gate account is drinking. I am weeping on my face, and I am able to tie the knot, covering my red tears and folding my hands. What's the point of missing Hanpu and leaving Hong? When the time passes, the sound is lost.
I'm longing for love, and I can see that the land in the middle is far and the sky is wide. The cold wind is clear to the dew, and there is no place. Everything is unforgettable, but it is light. The green bottle is not exhausted, so it is necessary to break the clouds and keep the moon in the west building.
Ribbon smooth pin pattern is overlapped, and the old fragrance is broken. The songs of complaint are forever, and the pots of Joan are knocked out. Hate the spring, don't be with people, make the night, and spare the ground with pear blossoms and snow.
—— There are too many syntactic changes and awkward sentences in Zhou Bangyan's Halal Collection
. For example, "covering up the red tears and folding the jade hand" (going to the upper level and entering the upper level) is an awkward sentence; "Relieve the old incense in a series" (go flat and go in) and "hate the spring and go out" (go flat and go in) are flat sentences. Another example is "I'm looking down on my face" (I'm going to go to the West Wing to go to the flat), "What's the point of missing Hanpu from Hong" (I'm going to the flat to go to the flat) and "I'm exposed to the cold wind and clearing no place" (I'm going to the flat to go to the flat), and "I'm going to the west wing to stay with the broken clouds" (I'm going to the flat to go to the flat) is the flat to go to the top. These are all complicated and special sentence patterns. There are also some awkward phrases, such as "Go to the top and enter the city in the fog", "Go to the top and enter the city in the east gate", "Look at the middle of the land and the sky is wide", "Go to the top and enter the city in the flat", "Go to the top and enter the flat" and "only ignore the difference" Connect these many awkward sentences with special sentence patterns to achieve the unity of the contradiction between harmony and anger. This is what Wang Guowei said: "Those who read his ci are still angry, self-forgiving and graceful, promoting festivals with a man's voice, announcing each other with numerous meetings, being clear and restrained, and interacting with pulleys." All this is determined by the intricate rhythm of the original tune.
Looking back now, how to form a harmonious syllable and how to arrange long and short sentences is the most suitable for the eight-character rule of "even and odd, light and heavy"? First of all, we have to pay attention to which tones are the closest to the form of modern poetry, which are mixed with other different sentence patterns, and how to arrange the level of its footwork, so that we can infer the sum of each syllable