Couplets, also known as couplets, antithetical couplets, door pairs, spring posts, couplets, antithetical couplets, peach charms, etc., are a type of dual literature that originated from peach charms. Couplets are a national style written using the characteristics of Chinese characters. Rhyming is generally not required (only couplets in rhythmic poetry require rhyming). Couplets can be roughly divided into poetry couplets and prose couplets, which are strictly divided into large and small parts of speech. Traditional couplets have similar forms, connected contents, coordinated tones, and rigorous contrasts. With the rise of poetry in the Tang Dynasty, prose couplets were excluded. Prose couplets are generally informal, do not avoid heavy words, do not overemphasize the corresponding parts of speech, and do not lose the contrast. Couplets have a long history and are said to have originated from Meng Chang, the lord of Shu after the Five Dynasties. His inscription on the peach charm board on the door of his bedroom: "New Year's greetings, the festival is called Changchun", which is called "inscription on peach charms" (see "Shu"). This is the earliest couplet in my country and also the first Spring Festival couplet. The second couplet uses foreign objects to respond to it, either to reconcile its meaning or to refute its meaning. Couplets with profound meanings and prose couplets cannot be said to be impossible. Features: 1. The number of words is equal and the sentences are consistent. Unless the position of a certain word is intentionally left vacant to achieve a certain effect, the number of words in the upper and lower lines must be the same. Second, parts of speech are relative, verb to verb, adjective to adjective, quantifier to quantifier, adverb to adverb, and relative words must be in relative positions. Third, the levels must be consistent and the tones must be harmonious. Divided according to rhymes, if the rhyme foot of the first couplet is a flat tone, then the rhyme foot of the second couplet should be a flat tone, which is called "Lei Qi Ping Fa". On the contrary, if the rhyme foot of the first couplet is a flat tone, then the rhyme foot of the second couplet should be a flat tone, which is called "Ping Qi Ping Fa". ". Both are its basic requirements. Fourth, the content must be relevant and connected from top to bottom. In the Ming Dynasty, Ming Taizu Zhu Yuanzhang vigorously advocated couplets. After he established his capital in Jinling (now Nanjing), he ordered ministers, officials and ordinary people to write a couplet on their door before New Year's Eve. He personally wore casual clothes and went on tour, going door to door to watch and entertain himself. The literati at that time also regarded composing couplets as an elegant pleasure, and writing Spring Festival couplets became a temporary social fashion. Fifth, the rhythm should be consistent, that is, the pauses in the upper and lower lines must be consistent. Edit this paragraph Origin: Couplets originated in the Qin Dynasty and were called Taofu in ancient times. Regarding the earliest couplets in my country, Mr. Tan Chanxue wrote an article in the fourth issue of "Literary and Historical Knowledge" in 1991 and pointed out that the earliest couplets in my country appeared in the Tang Dynasty. She relied on the Dunhuang posthumous note No. 0610 of Stein unearthed from the Mogao Grottoes Sutra Cave as evidence: Years: The Three Yangs began to be laid out, and the Four Seasons began to unfold. New blessings and longevity will be extended. Also: Three Yangs return to the beginning, and Four Seasons bring good fortune. May blessings extend to new days and celebrate longevity without borders. Beginning of Spring: Bronze Hun begins to celebrate, and Yulu begins to regulate Yang. Five blessings eliminate three misfortunes, and there will be hundreds of disasters throughout the ages. Baoji can ward off evil, and Ruiyan can bring good fortune. At the beginning of spring, the descendants of rich people prosper. Also: Three Yangs begin to spread, and Four Meng (Meng) begin to bloom. □□The old one is here, and the new one is here for good luck. There will be many celebrations every year and no disasters every month. Chicken □ wards off evil, and Yan restores wealth. The door god guards, and the evil ghost hides. With the book on my side, I am in good health! Zhao Zhixin, the author of "Tone Spectrum", clearly pointed out: "Two sentences are couplets, and four sentences are jue (sentences). They began in the Six Dynasties, and the Yuan (original) style was not a modern style." Wang Euzhi said that the couplet originated from the verses of rhythm poetry, which is like "decapitation." Cutting off the feet can damage human physiology." ------ The couplets in "Qing Shi Hua" originated from the symmetry of Chinese characters and sounds. They should have appeared before the Zhou Dynasty. The development of papermaking and calligraphy made the couplets an independent style. Edit the development of this paragraph But from the perspective of literary history, the couplet connection gradually evolved and developed from the couplets in ancient poetry and prose. This development process has roughly gone through three stages: "Dual stage" The time span is from the pre-Qin Dynasty, the Han Dynasty to the Southern and Northern Dynasties. In ancient Chinese poetry, some relatively neat couplets appeared very early on. Several ancient ballads that have been passed down to this day have seen their origins. Such as "Dig a well to drink, plow the field to eat", "Work at sunrise, rest at sundown" and so on. By the pre-Qin and Han dynasties, couplets were even more common. There are some neat parallel sentences in the hexagrams and lines of the "Book of Changes", such as: "The faint can see, the lame can walk." (Hexagram "63" of "Lu"), "First ascend to the sky, and then enter the earth. "("Ming Yi" hexagram "Shang Liu") "Yi Zhuan" has more common sentences with neat parallels, such as: "Look up to observe the astronomy, and look down to observe the geography" ("Xici Xizhuan"), " The same sound corresponds to the same air, the water flows moistly, the fire becomes dry, the clouds follow the dragon, the wind follows the tiger..." (Qian·Wenyan Zhuan) was written in the "Book of Songs" in the Spring and Autumn Period, and its parallel lines. The style is very rich. Liu Linsheng said in "History of Chinese Parallel Prose": "The methods of making parallels between ancient and modern times are almost all found in the Book of Songs." He gave examples of various types of antithetical sentences such as right-name pairs, similar pairs, continuous pairs, double-tone pairs, overlapping rhyme pairs, and double-rhyme pairs. For example: "The green Zijin is soothing in my heart." ("Zheng Feng·Zijin"), "There are Fusu in the mountains, and there are lotus flowers in the mountains." ("Zheng Feng·Fusu in the mountains") Among the antitheses in "Tao Te Ching" There are also many sentences. Liu Linsheng once said: "The methods of judging pairs in the Tao Te Ching have changed in many ways. There are continuous pairs, staggered pairs, split-character pairs. There are compound pairs of words. There are reverse pairs." ("China") "History of Parallel Prose" such as: "Believe words are not beautiful, good words are not trustworthy. Good people do not argue, and debaters are not good." (Chapter 81), "Be independent without changing, walk without peril." (Chapter 22) ) Let’s look at the couplets in the prose of various scholars, such as: “Many will cause harm, modesty will benefit.” ("Shang Shu·Wucheng"), "Ride on a fat horse, wear light fur." ??"The Analects of Confucius·Yong Ye"), "A gentleman." To be magnanimous, a villain is always worried." ("The Analects of Confucius·Shuer") and so on. Ci Fu emerged in the Han Dynasty and is an emerging literary style that emphasizes literary grace and rhythm.
Antithesis, a rhetorical technique with neat beauty, contrasting beauty, and musical beauty, began to be widely and consciously used in the creation of Fu. For example, Sima Xiangru's "Zixu Fu" contains: "Beat the spiritual drum and set off the beacon; the chariots march and the cavalry forms a team." Parallel Illusion Stage Parallel style prose originated from the poetry of the Eastern Han Dynasty, flourished in the Wei and Jin Dynasties, and flourished in the Southern and Northern Dynasties. Parallel prose can be known from its name. It is a literary style that advocates duality and is mostly composed of dual sentences. This kind of couplet is used continuously, also known as parallel couplet or parallel couplet. Liu Xie commented in "Wen Xin Diao Long·Ming Poetry" that parallel prose is "a rare example of a hundred characters, and a sentence of competition." For example, a section of "Tengwang Pavilion Preface" written by Wang Bo of the early Tang Dynasty: the time is September, and the preface belongs to the third autumn. . When the water is gone, the cold pond is clear, and the smoke condenses and the mountains are purple at dusk. I'm on the road, looking at the scenery in Chong'a. Visit Changzhou, the emperor's son, and find the immortal's old pavilion. The mountains are towering with greenery, and the sky rises above them; the flying pavilions flow with elixirs, and there is no ground below. Heting and Fuzhu are the lingering memories of poor islands; Guidianlan Palace is the shape of hills and mountains. Wearing an embroidered gate, looking down at the carved beast, the mountains are wide and the mountains are open, and the river is full of surprises. Luyan rushes to the ground, the home of bells and cauldrons; the ships and boats are in the maze, the axis of green birds and yellow dragons. The clouds are gone and the rain is clear, and the color is bright. The setting clouds and the solitary owl fly together, and the autumn water and the long sky are the same color. The fishing boat sings late, and the sound is heard on the Pengli shore; the wild geese are frightened by the cold, and the sound is broken by the Hengyang Pu. They are all organized in couplets. Among them, "The falling clouds and solitary swans fly together, the autumn water and the long sky are the same color" is a famous couplet through the ages. This kind of couplet is a further development of the couplet in ancient poetry and poetry. It has the following three characteristics: First, the couplet is no longer purely a rhetorical device, but has become the main metrical requirement of the style. Parallel style writing has three characteristics, namely the four-six sentence pattern, parallel couplets, and allusions. This is one of them. Second, there are certain rules for the number of paired words. Mainly the "four-six" sentence pattern and its variations. Mainly include: four-character duality, six-character duality, eight-character duality, cross duality, and twelve-character duality. Third, the antiphons are quite skillful, but there are many heavy characters (such as "zhi" and "er"), and the antiphonal antiphons are not fully mature. Rhythm and couplet stage Rhythm and couplet, a couplet in metrical poetry. This style of poetry, also known as modern poetry, was formally formed in the Tang Dynasty, but its origins can be traced back to the Wei and Jin Dynasties. During the Cao Wei Dynasty, Li Deng wrote ten volumes of "Sheng Lei" and Lu Jing wrote five volumes of "Yun Ji", which distinguished clear and voiced sounds and Gong, Shang, Jiao, Zheng and Yu sounds. In addition, Sun Yan wrote "Erya Sound and Meaning" and used Fanqie notation. He was the founder of Fanqie. Generally, five or seven-character rhymed poems are composed of eight sentences, with two middle couplets, commonly known as chin couplets and neck couplets. They must be in opposition, and the sentence structure, rhythm, and meaning must be opposite. This is the standard legal couple. This can be seen from Du Fu's "Deng Gao": The wind is strong and the apes high in the sky howl in mourning, and the white birds fly back from the clear sand in Zhugistan. The endless falling trees rustled, and the endless Yangtze River rolled in. Wanli is always a guest in the sad autumn, but he has been sick for a hundred years and only appears on the stage. Difficulties and hardships make your hair more complex, and your wine glass becomes muddy when you are depressed. The jaw and neck couplets of this poem, "The endless falling trees are rustling, and the endless Yangtze River is rolling in." "Thousands of miles away, sad autumn is often a guest, and a hundred years of illness makes the stage alone." The contrast is extremely stable. Far better than the parallel couplets in parallel prose. In addition to five- and seven-character rhymed poems, Tang poetry also has three rhymes, six rhymes, and arranged rhymes, and the couplets in the middle are also in opposition. Rhymed couplets also have three characteristics: first, the use of antithesis as a metrical requirement of the style; secondly, the number of words changes from even numbers to odd numbers in parallel couplets, and finally settled into five or seven words; thirdly, the antithesis is precise and stable, and the pronunciation The legal battle is ripe. The two words are opposite to the spring flowers, to the autumn moon, and the Chinese poem is to the Chu dictionary, the mountain is to the sea of ??learning, the red jade is to Danyao, the three sons are to the moon under the water, to the flowers in the mirror, the sun traveler is to the pig, Bajie, the water curtain cave, to the flower and fruit mountain, the birds are absolutely good, the bow is hidden, the four characters are to the green mountains. Immortality, green water, ever-flowing mountains, clear waters, outstanding places, people, southeast, northwest, spring, summer, autumn, and winter, a hundred flowers blooming, a hundred schools of thought contending. Features of this section. Fu Xiaosong's "A Brief Discussion on the Characteristics of Chinese Couplets" summarizes the characteristics of couplets into five opposites: uniqueness and unity. Universal unity It is generally believed that couplets are the most unique literary form in China. Where does its uniqueness lie? Mainly in structure and language. Couplets can be called "dual structure" style. A standard couplet is always composed of two parts that oppose each other. The former part is called the "upper couplet", also called "chuju", "opponent" and "duigong"; the latter part is called the "lower couplet". Also called "couples", "duiwei" and "duimu". Two parts come in pairs. Only the upper couplet or only the lower couplet can only be regarded as half a couplet. Of course, many couplets, especially those written and hung, have horizontal scrolls in addition to the upper and lower couplets. Horizontal comment is an organic part of this kind of couplet. It is often a summarizing and finishing touch to the entire couplet or a text that is consistent with the couplet. It is usually four characters, but there are also two, three, and five characters. word or seven words. From a linguistic point of view, the language of couplets is neither a verse language nor a prose language, but a special language that pursues confrontation and is rich in music. This special "language-structure" method of couplets completely depends on the special properties of the Chinese language and its characters. The uniqueness of this "language-structure" makes the creation of couplets very different from other literary forms in terms of conception, conception, layout and planning. With the same objective objects and content, Ying Yiang always tries to observe and describe things from two aspects and two angles, and strives to "shape" the language into a binary symmetrical structure. The unity of parasitism and inclusiveness. The so-called parasitism means that the couplet is derived from the parallel words and idioms of ancient Chinese poetry. To put it simply, it is a pair of parallel couplets. Therefore, it can be parasitic in various literary styles. middle. Poetry, lyrics, music, fu, parallel prose, even prose, drama, novels, which one does not have neat couplets? But in turn, couplets are extremely inclusive.
It can combine the characteristics of other literary styles and absorb the expression techniques of other literary styles, especially long couplets and super-long couplets. It can simply integrate the culmination of Chinese stylistic techniques. Such as the refinement and connotation of poetry, the exaggeration of the fu, the long and long melody in the words, the refreshing meaning of the music, the free and unrestrained prose, the short stanzas and long rhymes of the verses, etc., they are all eclectic and innovative. The unity of practicality and artistry. As mentioned above, couplets are a form of Chinese classical literature. They are naturally literary and artistic. They embody the language and art of Chinese writing with unprecedented flexibility and perfection in poetry, lyrics, and music. . The beauty of couplets lies in symmetry, contrast and unity of opposites. The second volume of "Tiaoxi Yuyincong Hua" by Hu Zai of the Song Dynasty quoted "Fu Zhai Man Lu" in the 20th volume. It is recorded that Yan Shu once invited Wang Qi to dinner and talked about him with the first sentence: "There is no choice but the flowers fell away", and he hated the next sentence. Wang Qi responded: "It seems like déjà vu, Yan is coming back." Yan Shu was so happy that he wrote this wonderful couplet into the word "Huanxisha". Yang Shen called this couplet "a beautiful second language, a natural oddity". This is the artistic charm of couplets. The artistry of couplets can be summarized in a couplet by contemporary scholar Mr. Bai Qihuan: The couplets in Wuhou Temple are not trivial, they are sincere, can be satirical and sung, comparable to poems, poems and articles, just like pearls reflecting precious jade; the couplets are grand and have a long history. It is both villa and interesting, adding splendor to the halls, mountains, rivers and people, just like the old trees blooming with new flowers. The unity of popularity and elegance. This couplet not only summarizes the characteristics of Zhuge Liang's military use in Sichuan, but also provides an overview of Zhuge Liang's strategy in governing Sichuan. It uses it to put forward his own political opinions on positive and negative, lenient and strict, peace and war, civil and military aspects. It is very philosophical and contains profound dialectics. Thought provoking. Compared with any outstanding philosophical poem in history, it shows no weakness. Since this couplet came out, it has received rave reviews. What people "fancy" is the depth and seriousness of this couplet. When Mao Zedong visited Wuhou Temple in 1958, he looked at this couplet very carefully and spoke highly of it. In 1997, Chaozhou poet Guo Ruilin wrote a couplet: "One water circulates, three mountains embrace it, the famous city is spring in all seasons; thousands of sails compete, hundreds of industries strive for glory, Chaozhou County is praised from all directions." This couplet won the Chaozhou City Spiritual Civilization Construction Committee in one fell swoop The first prize in the "Huasheng Cup" Spring Festival couplet competition jointly held by the office, Chaozhou Daily and other units (the prize was 200 yuan at the time). On April 12, 1996, the "Cultural Corridor" on the third page of "Chaozhou Daily" carried a special report with the title "Tears with Smiles - Remembering Chaozhou Young Poet Guo Ruilin". On July 24, 1998, the second edition of the fifth issue of "Xiangqiao Youth" edited by the Chaozhou Xiangqiao District Committee of the *** Youth League included "Lighting Red Candles - Remembering the Enthusiastic "Hope Project" in the "Love Chapter" "Guo Ruilin" was reported as the title. On January 6, 1999, Guo Ruilin's couplet for participating in the "Tianma Welcomes the Spring" campaign was published in the "Party" section of the 13th edition of "Yangcheng Evening News". (The fee for this joint article was 80 yuan at that time). On February 13, 2001, the fifth page of "Local News" of "Shantou Special Zone Evening News" carried a special report with the title "Chaozhou Youth Guo Ruilin Sells Poems and Couplets at West Lake". Edit this paragraph Classification by purpose 1. General couplets - Spring couplets 2. Special couplets - tea couplets, longevity couplets, wedding couplets, happy couplets, elegiac couplets, industry couplets, motto couplets, gift couplets, question and answer couplets Classified by word count 1 , short couplet (within a cross) 2, medium couplet (within a hundred words) 3, long couplet (more than a hundred words), etc. Classification by rhetorical skills 1. Coupling couplets: speech pair, matter pair, positive pair, opposition, work pair, wide pair, flowing pair, palindrome pair, and top pair. 2. Rhetorical couplets: metaphor, hyperbole, rhetoric, pun, question, homophony. 3. Skilled couplets: embedded words, hidden words, compound words, repeated words, radicals, analyzed words, split words, numbers. Classification according to the source of couplets 1. Collection of sentence couplets: couplets composed entirely of ready-made sentences in ancient poems. 2. Collection of word couplets: couplets composed of words from ancient articles and calligraphy copybooks. 3. Excerpted couplets: couplets formed by directly excerpting couplets from other people’s poems. 4. Creative couplets: couplets created independently by the author himself. Types of couplets 1. Seasonal couplets: refer to couplets that are of specific seasonal or commemorative nature and mostly contain general chants, lyrics, discussions, and wishes. Strictly speaking, they can be divided into festival couplets and seasonal couplets, but since the two are often combined into one, this distinction has no practical significance. Generally, seasonal couplets can be directly divided into several subcategories such as Spring Festival couplets, New Year's couplets, and National Day couplets. Among the seasonal couplets, the most important one is the Spring Festival couplets. The so-called Spring Festival couplets are seasonal couplets used during the Spring Festival. Most Spring Festival couplets can be used universally. 2. Happy couplets: Also known as congratulatory couplets, they refer to couplets other than festival celebrations that have a specific congratulatory content. According to its content and objects, it can be divided into several subcategories such as marriage couplets, longevity couplets, and new residence couplets (housewarming couplets). The outstanding feature of the festive couplet is that it has a specific festive and congratulatory nature, and its content must express good wishes, joy and auspiciousness. There are general and special celebration couplets. Whether it is universal or not depends on each couplet. Do not simply copy it to avoid making a fool of yourself. 3. Elegiac couplets: Also referred to as elegiac couplets, they refer to couplets used to mourn the deceased. Its content is limited to condolences, remembrances, evaluations and wishes for the deceased, and its style is generally sad, solemn, deep and solemn. There are also elegiac couplets written for the deceased or for the widow himself, which is a different matter. The elegiac couplets can be divided from many angles, such as elegiac couplets for the elderly, middle-aged people, young people, etc., or elegiac couplets for the elders, peers, younger generations, etc. In addition, elegiac couplets can also be divided into elegiac couplets, self-elegiac couplets, etc., and sacrificial couplets can also be regarded as a subcategory of elegiac couplets.
The content of elegiac couplets generally refers to more specific objects. Although there are also general and special ones, more attention should be paid to the distinction in practice. 4. Couplets of famous places: refer to couplets posted, hung, or carved in scenic spots. Most of its contents are inscriptions on the scenic spots (such as landscapes, towers, cultural relics, etc.), or are closely related to it (relevant people, things, etc.). Such couplets often become an important part of scenic spots and even historical culture. Couplets of famous places can be divided into several sub-categories such as landscapes and gardens, temples, monasteries, pavilions, courtyards, halls, monuments, pagodas, tombs, etc., to name but a few. 5. Industry couplets: refer to couplets whose content is specific to a certain industry, department or field. Due to the changes of the times, although the use of couplets in the industry is not as good as before, it is still considerable. Judging from its scope of application and content characteristics, it is still a major type of couplet. Industry associations can be divided into subcategories by industry and department. 6. Couplet inscribed as a gift: refers to a couplet inscribed as a gift to others. Although many couplets have a certain nature of inscription and gift, the inscription and gift couplets mentioned here are limited to the inscriptions and gifts for interpersonal communication (or yearning), and do not include elegiac couplets and congratulatory couplets. Its content generally contains some kind of praise, blessing, or exhortation. Judging from the use of couplets, inscription and gift couplets can be regarded as a major category. According to the different objects of the gift, the couplet can generally be divided into several sub-categories, such as couplets for elders, couplets for peers, and couplets for juniors. 7. Miscellaneous couplets: refer to couplets that have no specific object and cover a wide range of contents. This kind of couplets often have relatively simple characteristics of literary creation, such as philosophical couplets, lyrical couplets, persuasive and satirical couplets, etc. 8． Academic couplets: refer to couplets with some academic nature. This academic nature refers to a certain professional nature that does not fall into the above categories in terms of content and purpose. The content is often relatively specialized, with certain subject or religious characteristics, such as Popular Science Federation, Buddhism Federation, Taoism Federation, etc. From the perspective of the application scope and development space of couplets, it is necessary to treat academic couplets as a separate category. For example, the author's book "Collection of Touchings - 1,200 Buddhist Couplets" uses the form of couplets to systematically write down many Buddhist figures and Buddhist doctrines into an academic monograph. By extension, a lot of scientific knowledge or other cultural principles can also be written in the form of couplets, and their academic or professional nature can be highlighted in content. 9． Interesting and clever couplets: refer to couplets that highlight interest or skill but pay little attention to content. Such as various humorous couplets, skill couplets, etc. The content of this type of couplet either highlights the uniqueness of a certain style (humorous couplets), or is relatively unimportant (technical couplets), making it unique. In this sense, it can be regarded as a separate category. Edit the creation method of this paragraph As the name suggests, couplets should be in "pairs", that is, they consist of an upper couplet and a lower couplet. The number of words in the upper and lower couplets must be equal, and the content must be consistent, that is, the upper and lower couplets must be "connected" together. Two unrelated sentences cannot be randomly combined to form a couplet. Couplets are generally written vertically, with the last character of the first couplet (oblique tone) affixed to the right (upper hand), and the last character (flat tone) of the second couplet affixed to the left (lower hand). Although the antithesis of couplets has similarities with poetry, it is more demanding than poetry. There are broad and narrow couplets. A wide pair only requires that the contents of the upper and lower couplets are connected to form a couplet, while a narrow pair must be written strictly according to the standards of "Li Weng Duiyun". However, in practical couplets, wide pairs are more often used, while narrow pairs are often used because the requirements for antithesis are too strict, which restricts people's thinking and is suspected of being harmful to the text, so it is rarely used. The rules of level and obliqueness of couplets are basically the same as those of poetry. Yi Yin applies the basic rule of poetry that one, three, five, and two, forty and six are clear. How to determine the upper and lower lines of a couplet? In addition to distinguishing from the content of the couplet, it is more important to judge from the equivocal tone at the end of the couplet. The couplets strictly stipulate that the last word of the first couplet should be in oblique tone, and the last word of the second couplet should be in flat tone. Later generations called this rule the ups and downs. It must be noted that the "four tones" of ancient Chinese and modern Chinese are somewhat different. Since the promotion of Hanyu Pinyin and the adoption of Beijing pronunciation as the national common language, the same Chinese characters have changed. For example, according to the phonological standard of "Peiwen Yunfu", the four tones are Ping, Shang, Qu and Ru. Ping tone is classified as "ping", and Shang, Lai and Ru are all summarized into "廄". According to the Beijing intonation, it is divided into Yinping, Yangping, Shangsheng and Qusheng. As a result, there are more characters for Pingsheng and there is no "ru" sound. Some of the characters for Qushengsheng are classified into Pingsheng. This is worthwhile for comrades who are learning to compose couplets. Attention. Since ancient times, many language scholars have made a relatively detailed explanation of the four tones of ancient Chinese. Ru Shivacu made the following analysis in his book "Jade Key Song Jue": 1. Ping - Ping Sing and Ping Dao, don't be too low. When read, the pronunciation is gentle, the final sound is long, and there is a lingering rhyme. 2. Go up - shout loudly and violently. The pronunciation is loud, the sound is short, and there is no ending. 3. Go - go and express my sorrow for the long journey. The pronunciation of the falling tone is round and round, and the ending sound is short and high-pitched. 4. Enter - the entry sound is short and urgent. The pronunciation of the entering tone is simple and urgent, and the closing tone is short, low, and has no ending. The four tones of Chinese are marked with Beijing intonation, which are Yinping, Yangping, rising tone and falling tone. They all evolved from the four tones of ancient Chinese. When people judge the level and obliqueness of couplets, they also habitually use the four tones of ancient Chinese as the tone. standard. Nowadays, apart from correcting pronunciation, the four tones of modern Chinese are rarely used to compose dialogues, write poems, and fill in lyrics. But with the promotion of Mandarin and the passage of time, the four tones of modern Chinese have finally been accepted by people. Some Chinese characters have always been used interchangeably, and can be used in both flat and oblique sounds, such as Kan, Xue, Wei, Si, Pang... A few examples are as follows: (In addition to requiring rhyme and contrast, couplets also have phrases and structures. Certain rules. For example: (single group, four-character structure) contentment and peace of mind.
(Complex group, seven-character structure) The peach-leaf warbler cries wetness on the spring river; the plum blossoms and butterflies dream of coldness when it rains at night. (Complex group, eight-character structure) The sea accepts hundreds of rivers, and tolerance is great; standing on a wall of thousands of feet, without desire is strong. (Compound group, nine-character structure) Retell the past and present; retell the joys and sorrows from the beginning. (Compound group, twelve-character structure) The heaven and earth are benevolent, and the innocent and gray-headed people feel the same sympathy; the past and the present are sacred, and the nine states and all nations are blessed. (Complex group, thirteen-character structure) The phrases and structures of the upper and lower couplets of the couplets should be consistent and unified. The upper couplet has a verb-object structure, and the second couplet must also have a verb-object structure, such as "shake red; clean green." The first line is a positive phrase, and the second line must also be a positive phrase, such as "Tongxinknot" and "Bingdihua", which have the same phrase structure. When planning the layout of couplet phrases, it is important to note that the phrase structures of the upper and lower couplets must be the same. This is also an important rule that couplet authors must follow. Red paper method: Recipe: 50 grams of white paper, 808 red powder, polyethylene glue, edible alkali (50 grams of paper refers to grams per square meter) Ingredients: 1. Take 1 catty of 808 red powder and add about 1 thermos bottle of boiling water. After stirring, grind with electric grinder or stone grinder. To increase fineness and brightness, it is best to grind 3 times. 2. Take about 2 tea bowls of polyethylene glue, add about 8 tea bowls of water and boil it. 3. Pour the boiled polyethylene glue into the ground slurry, and finally add a little edible alkali and stir. After stirring evenly, it will be the pigment for year-round red paper. Brush paper: Lay the white paper flat on the brush table, dip it in paint with a special brush, and brush it from left to right in the middle of the paper. Then brush from top to bottom until the red powder and 107 glue are evenly mixed. Stir the red powder and 107 glue evenly. After dissolving for 10 minutes, add all the boiling water and stir thoroughly. Because the red pink is not pink enough, the solution should be poured into the small steel pipe at this time. Grind it 4-5 times to make a year-round red and vermilion paste. Edit the metrical requirements of this paragraph. The formal name of the couplet is called couplets, commonly known as pairs. It is a unique form of Chinese language, literature and art in our country, and is used by all walks of life. People like to hear and see. Couplet rhythm, in summary, consists of six major elements, also called "six phases", which are summarized as follows: First, the number of words in the first couplet should be equal to the number of words in the second couplet. In the long couplet, the number of words in each clause of the upper and lower couplets is equal. There is a special case where the number of words in the upper and lower couplets is intentionally different. For example, during the Republic of China, someone satirized Yuan Shikai in a couplet: "Yuan Shikai is eternal; long live the Chinese people." The three words "Yuan Shikai" in the upper couplet and the four words "Chinese people" in the second couplet are "I'm sorry" means that Yuan Shikai was sorry for the Chinese people. Duplicate words or repeated words are allowed in couplets. Duplicated words and repeated words are commonly used rhetorical techniques in couplets. However, when overlapping, pay attention to the consistency of the upper and lower couplets. For example, Gu Xiancheng in the Ming Dynasty wrote a couplet of Wuxi Donglin Academy: the sound of wind and rain and the sound of reading can be heard; family affairs, state affairs, and world affairs, everything is concerned about. However, "heavy words in different positions" and "heavy words in the same position" should be avoided as much as possible in the couplets. The so-called overlapping words in different places means that the same word appears in different positions in the upper and lower couplets. The so-called word repetition in the same position means that the same word is used in the same position above and below. However, some function words with the same position and same position are allowed, such as Hangzhou West Lake Ge Ling couplet: the song of peach blossoms and flowing water; among the green shade and fragrant grass. The word "Zhi" in the upper and lower couplets is repeated in the same position, but because it is a fictitious character, it is okay. However, there is a special "heterotopic and mutual emphasis" format that is allowed (called "transposition format"), such as Lin Sen's couplet to Mr. Sun Yat-sen: One person will last forever; Second, the parts of speech are equivalent. In modern Chinese, there are two major categories of speech, namely content words and function words. The former includes six categories: nouns (including locative words), verbs, adjectives (including color words), numerals, quantifiers, and pronouns. The latter includes six categories: adverbs, prepositions, conjunctions, particles, interjections, and onomatopoeia. Equivalent parts of speech means that words or phrases in the same position in the upper and lower conjunctions should have the same or similar parts of speech. The first is the rule of "real versus real, virtual versus virtual", which is the most basic rule with the broadest meaning. Just follow this in some cases. Secondly, there are corresponding rules for parts of speech, that is, the above-mentioned 12 types of words correspond to each other. This rule should be followed in most cases. The third is the meaning-category correspondence rule. Meaning-category correspondence refers to putting the same type of things expressed in Chinese characters together and contrasting them. The ancients noticed this rhetorical method very early. In particular, the noun part is divided into many subcategories, such as: astronomy (sun, moon, wind, rain, etc.), seasons (years, festivals, mornings and evenings, etc.), geography (mountains, winds, rivers, etc.), official offices (buildings, portals, etc.), vegetation (plants, trees, peaches, plums, etc.) ), birds (chickens, phoenixes, cranes, etc.) and so on. Finally, there is the adjacent category correspondence rule, that is, words in adjacent categories can communicate with each other. Such as astronomy versus seasons, astronomy versus geography, geography versus palaces, etc. The third is structural compatibility. The so-called structural compatibility means that the grammatical structure (or the structure of its phrases and sentence patterns) of the upper and lower couplets should be as similar as possible, that is, the subject-predicate structure versus the subject-predicate structure, the verb-object structure versus the verb-object structure, and the partial structure. Positive structure versus partial structure, parallel structure versus parallel structure, and so on. For example, Li Bai wrote a couplet on a tower in Yueyang, Hunan: the water and the sky are the same color; the wind and the moon are boundless. Both the upper and lower couplets of this couplet have a subject-predicate structure. Among them, "water and sky" and "wind and moon" are both parallel structures, and "one color" and "boundless" are both positive structures. However, in the case of equivalent parts of speech, the requirements for some more similar or special sentence structures can be relaxed appropriately. Fourth, the rhythm should be consistent, that is, the pauses in the upper and lower lines must be consistent. For example: Don’t let the good days of Spring and Autumn pass by; the worst is the storm when old friends come. This is a seven-character short couplet, and the rhythm of the upper and lower couplets is exactly the same, both "two-two-three". For longer couplets, the rhythm must also be corresponding. Fifth, Ping and Ze are in harmony with each other. What is Ping and Chou? The classification of Mandarin's tone and tones, in short, is that Yin Ping and Yang Ping are Ping, and the rising and falling tones are Ting. Among the four ancient tones, the flat tone is flat, and the rising, coming, and entering tones are flat.
The harmony of levels and obliques includes two aspects: (1) The upper and lower lines are opposite to oblique and oblique. Generally speaking, it is not required that the words should be opposite, but it should be noted that: the last characters (joints) of the upper and lower couplets should be opposite, and the upper and lower lines should be flat and the upper and lower lines should be flat; the words at the end of the phrase or the rhythm point should be the opposite; the upper and lower characters in the long couplet should be opposite. The last word (sentence foot) of each clause in the couplet should be opposite. (2) The upper and lower couplets alternate between oblique and oblique sentences. Contemporary Lianjia Yu Dequan and others summarized a set of rules of "horse hoof rhyme". To put it simply, it means "level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level, level," and keep going, just like the rhythm of a horse's hooves. Sixth, the content is related to what is a couplet? It means both "right" and "connected". The above-mentioned words with the same number of words, the same part of speech, the same structure, the corresponding rhythm and the harmony of oblique and oblique are all "right", but there is still one "link" missing. "Connection" means that the content must be relevant. The content between the upper and lower couplets of a couplet should be related. If the upper and lower couplets each write about an unrelated thing, and the two cannot reflect, connect, and echo, then it cannot be regarded as a qualified couplet, or even a couplet.
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