Lecturer/Bian Yi
Acrostic poems and miscellaneous poem titles. Take it apart word by word and combine it into a written text. It existed during the Han, Wei and Six Dynasties. For example, Kong Rong in the late Han Dynasty wrote a poem about the names of counties in Hehe County: "The fisherman bowed his knot, and the water hid the prescription. He kept pace with the times and made unexpected moves. (The upper couplet is separated from the word "fish", and the lower couplet is separated from the word "日". Combined with the word "Lu".) Lu Gong is hungry and close to the Wei River. There are saints in the nine regions, and there is no king without the land. ) It is good to be upright, and the girl returns to Kuang. There is a cut off overseas, and the eagle will rise. (The first couplet is separated from the character "Zi", and the second couplet is separated from the character "Yi". The ancient text is different from the modern text, and it is combined into the character "Kong".) Six. The feathers are not bright, and the stings of snakes and dragons can be forgotten. (The upper couplet is separated from the word "鬲", and the lower couplet is separated from the word "worm" and combined into the word "fusion".) The rose is shining brightly, and the beautiful jade is hidden. Light. (From the word "文".) No one has any reputation, and the words are hidden deep. Who is the road leader? ) The whole poem is composed of six characters: "Kong Rong Wenju of the State of Lu". See "Ancient Poems"
Palindrome poems are generally referred to as "hybrid poems". The poems read backwards can also be repeated to produce more poems. According to legend, this style originated from Fu Xian and Wen Qiao in the Jin Dynasty, and the poems in "Xuanji Tu" by Su Hui are the most famous. The name of the poem. The rhythm is eight lines and five rhymes. Those who write this style must write five five-character or seven-character rhyme poems. The first full sentence of the first rhyme is placed in the four rhymes of the other four. In the position, the second sentence is the second sentence, the third poem is the fourth sentence, the fourth poem is the sixth sentence, and the fifth poem is the last sentence, that is, the first sentence of the first poem is the same as the last sentence of the fifth poem. The rhymes in the first part are like winding wheels, hence the name.
The name of a theosophical hybrid poem. It is a kind of poem that does not write out the poem, but "writes the picture with the intention to make people realize themselves". It was named because it could enlighten people's minds. According to Song Sang Shichang's "Hui Wen Lei Ju": During the reign of Shenzong Xining, the Liao envoy came and boasted about his poetry. The emperor appointed Su Shi as his companion, and the Liao envoy criticized Shi with his poems. Shi said: "It is easy to write poetry, but it is difficult to read poetry. So he wrote a poem "Light View", which means: "There is no one painting the short view of the long pavilion. The old man is dragging his thin bamboo raft across the side. Looking back, the clouds are broken and the sun is setting. The Qujiang River dips into the side peaks." "But Su Shi did not write a poem, but only wrote twelve characters, some long, some short, some horizontal, some profile, some reverse, and some upside down. After reading it, the Liao envoy was confused and didn't know what he meant. It is said that "it is a poem that cannot be repeated".
The name of the pagoda poem is originally called a one-character to seven-character poem. One rhyme. There are six poems in this style in Zhang Nanshi of the Tang Dynasty, one of which is "Snow": "Snow. Flower pieces, jade chips. The wind is overcast, the twilight festival is condensed, the high mountains are empty and crystal clear, and the plains are vast and clean. It first floated out of the clouds, but still choked in the air. Thousands of houses are quiet, and the charcoal furs of animals are heating themselves. At this time, the people of Luoyang were dancing together, but who knew that Ying Zhongge was cut off. " Later generations increased it to an eight-character sentence or a nine-character sentence. Because the number of words in each sentence or two sentences increased in sequence, it was shaped like a pagoda, hence the name.
The title of a miscellaneous poem in the plate. Jin (one said Han Dynasty) ) written on behalf of Su Boyu's wife. The poem narrates that Su Boyu went on a mission to Shu and did not return for a long time. His wife wrote this poem in Chang'an to express his feelings of longing and the pain of separation. The whole poem has 168 words. Twenty-seven rhymes, forty-nine sentences, written on the plate, with a twist and a gentle and lingering meaning.
The whole poem is composed of five characters and sixteen sentences, starting from the first chapter. Starting from one sentence, every other sentence is preceded by the characters "gold", "stone", "silk", "bamboo", "earth", "leather", and "wood", which represent the eight types of musical instruments in ancient China, which are called "eight tones". This style of poetry is famous for its name. This style is found in the "Valley Poetry Collection" by Huang Tingjian of the Song Dynasty. Shi Rong's note from Li Shu's "Shiyuan Leige" says: "Chen Chenjiong has this style. ”
Xuanji Picture is a palindrome poem written by Su Huizi Ruolan, a female writer in the Sixteenth Kingdom of the Eastern Jin Dynasty and pre-Qin Dynasty. According to the "Book of Jin? Biography of Women": Dou Tao was moved to the quicksand for his crime, and his wife Su Hui Zhimian wrote a poem for the "Hilding Poems on Xuanji Pictures". Wu Zetian of the Tang Dynasty said in the "Preface to Xuanji Pictures": "The five colors are pronounced in eight inches vertically and horizontally, and the poems are composed of more than 200 poems with more than 800 words, which are repeated vertically and horizontally. Into chapters and sentences. "During the Song and Yuan Dynasties, monks started to search for and interpret the poems based on their meanings, and obtained 3,752 poems of three, four, five, six and seven characters, divided into seven pictures. In the Ming and Kang Dynasties, thousands of people created an additional picture and read more of his poems to four thousand. Two hundred and six poems, read by He Qizong, were compiled into 7,958 poems.
The title of Jianchu style poem is "Jianchu style" written by Bao Zhaoyou, a poet from the Song Dynasty in the Southern Dynasty. "Poetry", there are twelve couplets with twenty-four sentences. The first sentence of each couplet is preceded by the words Jian, Chu, Man, Ping, Ding, Zhi, Destruction, Danger, Cheng, Shuo, Kai, Shuo etc. ( In ancient times, superstitious divination people used twelve characters such as "Jian" and "Zhu" to match the twelve earthly branches. The "Zhu" meeting was used to determine the good and bad luck of the sun and the hour, so it was called "Jianchu Twelve Chen", or "Jianchu" for short. Later generations called it "Jianchu". This kind of poem is Jianchu style. Yan Yu's "Canglang Poetry" lists "Jianchu style".
The name of acrostic poem has three meanings. : 1. Volume 7 of "Glacier Poetry Style": "In the acrostic pattern, the six sentences in the first couplet and the second couplet in the middle all describe the scene and emotion contained in them, but do not state the meaning of the title. The meaning of the title is stated in the final couplet. This is It's called hidden head. "2. "Poetry Style Mingjing": an acrostic poem, the first word of each sentence is hidden in the last word of each sentence." 3. Hidden what is said in the first word of the poem, such as Wu Yong in "Water Margin" The poem titled "Lu Junyi's Residence" hides the four words "Lu Junyi rebels" in the first words of the four sentences.
Poems about immortality are poems that describe the "fairyland" to express the author's thoughts.
"Selected Works of Zhaoming" lists "Poems about Immortals" as a category and selects the works of Jin Dynasty poets He Shao and Guo Pu, from which "Poems about Immortals" got its name. There are many authors in later generations. As for using Youxian to write about the love between men and women, the original intention has been lost.
Untitled poem A poem with the title "Untitled". Because there is a special sustenance in the poem, it is inconvenient to indicate the title of the matter, so it is named "Untitled". The concentration of Li Shangyin in Tang Dynasty was especially common. Song Lu You's "Notes on Laoxue'an" Chapter 8: "There are words without titles in Tang poetry, such as drinking a cup of wine and having sex with evil spirits. Because they cannot be pointed out, they are called untitled, which is not true." Or use the beginning of the poem. There are two words for the title, but the title of the poem cannot summarize the content of the poem, so it also belongs to the "untitled" category.
Pastoral poetry is a poem that sings about rural natural scenery and pastoral life. In ancient times, people were dissatisfied with reality and retreated to the countryside. Through the description of natural scenery and pastoral life, they showed their unwillingness to join in the trend. Some fantasize about returning to the simple life of ancient times, showing their passive and escaping thoughts. Tao Yuanming of the Eastern Jin Dynasty is considered the earliest pastoral poet in ancient my country. He had a great influence on the formation and development of the landscape pastoral poetry school in later generations.
Landscape poetry is a style of poetry that emerged in the Southern Dynasties and the early Song Dynasty. Its content mainly describes landscapes, which truly reflects the natural beauty existing in landscapes, and expresses the author's thoughts and feelings through the description of natural scenery, creating a realm of blending of scenes. The earliest famous poet to write landscape poetry was Xie Lingyun, a poet from the Song Dynasty in the Southern Dynasty. In the Tang Dynasty, Meng Haoran, Wang Wei, Li Bai, Du Fu, etc. all wrote a large number of landscape poems. Later poets of all generations were also keen on creating landscape poetry. Landscape poetry occupies an important position in the history of Chinese literature.
Palace poems are poems based on palace life. Most of them are seven-character quatrains. Although the content reflects the sorrow and resentment of the imprisoned palace ladies, it mostly writes about trivial matters in the palace. Poet Wang Changling and other poets of the Tang Dynasty all had such works. By the time of the Tang Dynasty, Wang Jian had written hundreds of palace poems, and they began to use "gong poems" as their title. Many poets followed him in the past dynasties. Jigu Pavilion has "Shijia Gong Ci", which contains works by ten families from Wang Jian to Wang Gui of the Song Dynasty. Zhang Haipeng of the Qing Dynasty compiled the "Gong Ci Xiaozong" in three volumes, including nine types of Gong Ci written by people in the Ming and Qing Dynasties.
Zhuzhi Ci, also known as Zhuzhi, is the name of Yuefu's "Modern Songs". This folk song from the Bayu (now eastern Sichuan) area was adapted by Liu Yuxi of the Tang Dynasty and made new lyrics, which became popular in the world. Its form is a seven-character quatrain. Most of the works written by people in the Tang Dynasty were about travelers' thoughts and feelings about their separation or the tenderness of their children. Later generations wrote many songs praising local customs and customs.
Willow Branches is the name of Yuefu's "Modern Songs". This work is "Breaking Willows" or "Breaking Willow Branches". The title of Tang Jiaofang's song is "Willow Branches". Bai Juyi still translated the song into a new song, and wrote "Twenty Rhymes of Willow Branches", with a self-note in the title: ""Willow Branches" also has a new sound in Luoxia. There are people in Luozhi who are good at singing, and the rhymes of the lyrics and chapters are very moving to listen to." Liu Yuxi also composed twelve poems "Willow Branches". Its structure is seven characters and four sentences, and its content is mostly composed of poems about willow trees to express feelings. It is also used as a word card. In the Dunhuang lyrics and "Hua Jian Ji", there are cases where three or four or five character sentences are added after each seven-character sentence, and Tian Sheng is filled in as a real character, which is also called "Tian Sheng Yangliu Branch".
Post words are poems that ancient courtiers dedicated to the palace on festivals. During the Eighth Festival banquet in the Song Dynasty, Hanlin was ordered to compose lyrics and paste them on the wall of the middle door of the pavilion. They were called post-words and post-words. Most of them are quatrains of five or seven words, and most of them are works that whitewash peace and beautify emperors and concubines. For example, Ouyang Xiu, Sima Guang and others all have spring post poems in their collections.
Eight diseases Rhythm terminology. Refers to eight shortcomings in poetry rhythm. In the Liang Dynasty of the Southern Dynasty, Shen Yue and others paid great attention to rhythm, discussed the sound diseases of poetry and prose, and proposed the theory of eight diseases, namely flat head, upper tail, wasp waist, crane knee, big rhyme, small rhyme, side button, and straight button. Later generations have different explanations for the eight diseases. According to "Wenjing Mifu Lun": Flat head means that the first and second characters of a five-character poem must not be the same as the sixth and seventh characters (Tongping, Shang, Qu, Ru). The fifth character of the upper tail finger cannot have the same sound as the cross (if it rhymes, it can be ignored). Wasp's waist means that the second character of a five-character poem cannot have the same sound as the fifth character. The words are thick at the ends and thin in the middle, like a wasp's waist. Crane's knees refers to the fifth character which cannot be pronounced in the same tone as the fifteenth character. It is thin at both ends and thick in the center, resembling crane's knees. (More recently, Cai Kuanfu of the Song Dynasty said that among the five characters, those with voiced sounds at the beginning and end and a clear middle character are called bee waists. Those with both voiceless sounds at the beginning and end and a voiced character in the middle are called crane knees.) Dayun refers to the rhyme of five-character poems such as "new", In the upper nine characters, the words "ren", "jin", "neighbor", "body", "chen", etc. are not allowed (that is, they conflict with the rhyme). Xiaoyun refers to those that have repeated offenses in addition to rhyme (that is, the offense between the nine characters). The next word is "Da Niu", that is, there is the word "moon" in the five-character sentence, and "yu", "yuan", "ruan", "yuan", etc. are not allowed to have the same sound as the word "moon". Zheng Niu is a small Niu, that is, "Ren", "衽", "Ren", and "Ren" are used as one Niu. There is already the word "Ren" in the five-character sentence, so "衽" and "Ren" are not added. , the word "人" causes the disease of four tones. The theory of eight diseases was originally intended to study the harmonious changes in sound and rhyme, and played a certain role in the formation of rhythmic poetry. Its disadvantage is that it deliberately pursues form and is cumbersome, which in turn restricts the expression of poetry content.
Ao style. Rhymed poems and quatrains that are not changed according to the regular pattern are called Ao style. Two couplets that do not follow the regular pattern are called Ao Sentence pattern. Aolu is called Aolu. Aberrant style poems were mostly seen in the early Tang Dynasty.
Aojuge poetic terminology. For details, see the "Authentication" section.
Aojiu poetic terminology. In rhymed poetry, any character that does not conform to the flat and oblique format is called "拗". Whenever "拗" is used, "shu" must be used. For example, if the previous sentence should be flat, use 仄, and if the next sentence should be 仄, it should be flat. Ping, Ao, and Ze are saved, and Ping, Ao and Ping are saved. One is saved and one is saved. Coordinating Ping and Ze to make the syllables harmonious is called Aojiu.
Biaoshu can be roughly divided into two categories: one is self-rescue in this sentence, that is, Huping Biaoshu. When the sentence pattern of the five-character "平平廄廄平" in the five-character poem uses a oblique tone and the third character of the seven-character "任仄平平廄仄平" sentence pattern uses an oblique tone and "offends the fox level", it will be in the five-character sentence pattern. The fifth character of three characters and seven characters is remedied by using the flat character. The other type is couplets to save each other, there are two situations. First, a big problem must be solved. It is pointed out that when the fourth character of the five-character sentence pattern "廄仄平平廄" and the sixth character of the seven-character sentence pattern "平平仄仄平平廄" are confused, they must be in the third character of the five-character couplet. , the fifth character of Qiyan uses a flat character as a remedy. Secondly, small dilemmas can be saved or not. Point out that when the third character of the five-character sentence pattern "廄仄平平廄" and the fifth character of the seven-character sentence pattern "平平任仄平平仄" are confused, you can use the five-character couplet when the fifth character is awkward. The third character and the fifth character of Qiyan use a flat character as a remedy, or not. This sentence of self-rescue and the couplet of self-rescue are often used at the same time.
Sticky pairs of poetic terms. Modern poetry is balanced and oblique, with the rules of stickiness and rightness. Sticky, which means adhesion or adhesion, means that the level of the previous couplet and the sentence of the following couplet must be the same, that is, level sticks to level, level sticks to level. Pair, taking the meaning of relative, refers to the complete opposite opposition of Ping and Qi in the sentence and couplet in the same couplet, that is, Ping to Qi, Qi to Ping. The sign of correct sticking mainly depends on whether the second and fourth characters of five characters and the second, fourth and sixth characters of seven characters are wrong. The most critical position is the second character of five characters, the second character of seven characters, and the four characters must be clear.
Loss of adhesion is a term used in old-style poetry. It refers to errors in the obliqueness and obliqueness of composing verses and quatrains, which means that the obliqueness and obliqueness of the sentences in the following couplet and the couplets in the preceding couplets do not adhere to each other, resulting in the two couplets being the same. According to Chen Hu's "Qijiu Continuation News" of the Song Dynasty, if parallel prose such as Biaoqi is out of balance, it is sometimes called "loss of cohesion". See the "Stick to Right" bar.
Wrong use of old-style poetry terminology. It refers to mistakes in equivalence and obliqueness when composing verses and quatrains, that is, the equivalence and obliqueness of the upper and lower sentences in a couplet do not comply with the opposite and relative regulations. If it is wrong, the upper and lower sentences will be the same.
Poetic rhyme is to arrange words with the same rhyme together, and define one word for each rhyme as the rhyme, which serves as the basis for rhyming. "Qie Yun" written by Lu Fayan of the Sui Dynasty is divided into 206 rhyme parts. The divisions are too detailed and it is inconvenient to rhyme. In the early Tang Dynasty, it was stipulated that adjacent rhymes could be used together. In the Southern Song Dynasty, Liu Yuan, a native of Pingshui, compiled the "Rhymes of Renzi's New Issue of Rites" and merged the same rhymes into 107 rhymes. Later generations reduced it to 106 rhymes and called it Pingshui rhyme. It is a poetic rhyme that is still used today. The rhymes actually used by the Tang people are roughly the same as those compiled by Pingshui Yun.
Double-tone duplication is a phonological term. Double tone refers to two words whose syllables have the same initial consonant, such as pearl, jagged, etc. Overlapping rhyme refers to two words with the same syllable rhyme, such as yaoyao, absurdity, etc. Double-tone rhyme is an important word-formation device in ancient Chinese to form two-syllable words. When used in poetry, it increases the musical beauty of the language.
Rhyme (pressed rhyme) In order to make the rhyme harmonious in poetry and other rhymes, words with the same rhyme are used at the end of the sentence, which is called rhyme, also known as rhyme. Usually every other sentence rhymes, but sometimes the sentences rhyme with each other. Modern poetry all places rhymes on even sentences. The rhyme of words and music depends on the tone of different words and tunes.
Rhyme refers to the rhyming words at the end of sentences or couplets in poems and other rhymes.
Broad rhyme is a term for poetic rhyme. Rhyme books contain rhymes with a large number of words, as opposed to "narrow rhymes". For example, the rhymes of Dong, Zhi, Xian, Yang, and You in Ping tone are broad rhymes. When writing poems, it is easier to choose foot words in broad rhymes with more leeway.
Narrow rhyme is a term for poetic rhyme. The rhyme book contains rhyme parts with a small number of words, such as Wei, Wen, Xiao, Zheng, and Ji in Ping tones, which are narrow rhymes. When writing poems, choosing rhymes in narrow rhymes has little room and great restrictions.
Ye (xie) rhyme is also called associate sentence. Poetic terminology. Modern rhyme and ancient rhyme are different due to the different sound changes between ancient and modern times. Therefore, reading ancient rhymes in modern rhyme is often discordant. Some scholars in the Southern and Northern Dynasties read the Book of Songs in the language of that time, and temporarily changed the pronunciation of certain words in discordant sentences, which was called Ye Yun. In the Song Dynasty, people proposed that the ancient rhymes can be transferred without bothering to change the characters. Zhu Xi's "Collected Commentary on Chu Ci" has been widely used, but its disadvantage is that it can be read anywhere. Chen Di of the Ming Dynasty used the principle of phonetic evolution and believed that the so-called Ye Yun sound is the ancient original sound. Reading the ancient sound can make it harmonious and should not be changed at will. In the Qing Dynasty, the research on ancient pronunciation gradually stabilized and the factors were precise, and the theory of Ye Yun was subsequently abolished.
Tongyun is a term for poetic rhyme. It means that two or more rhyme parts can be connected, or part of them can be connected. Rhymes can rhyme with each other when writing poems. For example, "Yidong" and "Two Winters", "Four Branches" and "Five Signs", "Fourteen Colds" and "Fifteen Deletions" in Pingshui rhyme can be rhymed together. Ancient poetry has a wider rhyme scheme, while modern poetry is strictly restricted.
Rhyme change (rhyme change) refers to two or more rhymes in a poem. In classical poetry, ancient-style poetry can change from one rhyme to two rhymes or more after a few lines. Some ancient poems after the Tang Dynasty have one rhyme to the end, and some have different rhymes. Modern poetry must not change rhyme. The use of rhyme in new poetry is free and unrestricted.
Dangerous rhyme is a term for poetic rhyme. 1. The rhyme of poetry contains rhymes with very few words. For example, the rhymes "jiang", "jia", "yao" and "xian" in flat tones are rhymes such as "jiang", "jia", "yao", "xian", etc.). When writing poems, there is little room for choosing rhymes and rhymes, and there is even the risk of not being able to choose, hence the name. 2. It refers to poems that use difficult and unusual words to rhyme, which people think is dangerous, but it can turn the difficult words into smooth ones and create strange effects. Han Yu in the Tang Dynasty liked to use dangerous rhyme. Su Shi in the Song Dynasty once used the two characters "jian" and "cha" as rhymes, which were regarded as masterpieces in dangerous rhyme in the old days.
Tine fork refers to someone who is good at composing poems with dangerous rhymes.
Su Shi of the Song Dynasty wrote "Two Poems Written by the Queen of Snow" on the Beitai Wall. The first and last two sentences are: "Try to scan the Beitai to see the horse's ears. If they are not buried, there will be no double tips." The second and last two sentences are: "A poem about old and sick people. After the force retreated, Hanyin "Icicle" recalled Liu Cha. "The words "jian" and "cha" rhymed. Although the rhyme was dangerous, the words were natural, smooth and appropriate, making it a masterpiece of dangerous rhyme. Later, "Tiancha" was nicknamed for his good use of dangerous rhymes.
The first sentence uses rhyme as a term for old-style poetry. Modern poetry uses rhyme every other sentence, but the first sentence can rhyme (rhyme) or not. For example, Du Fu's "Spring View" of the Tang Dynasty: "The country is broken by mountains and rivers, and the spring vegetation in the city is deep." The first sentence does not fit into the rhyme, as is the case with many five-character poems. "Looking at Tianmen Mountain" by Li Bai of the Tang Dynasty: "The Tianmen interrupts the opening of the Chu River, and the clear water flows eastward and returns straight to the north." The first sentence is rhymed, and many seven-character poems are like this.
To lose the rhyme is to lose the rhyme. It means that the rhyme of poems violates the meter and uses words that do not rhyme with each other. Mostly in terms of modern poetry. Since the Tang and Song Dynasties, the upper and lower sentences of rhymes, parallel prose, edicts, and epilogues have not been in harmony, which is also called out of rhyme.
Advance and retreat rhymes are also called advance and retreat patterns. Rhymed poetry uses a pattern of rhyme. The rhyme of advance and retreat is the rhyme between two rhymes, that is, the second and sixth sentences use rhyme A, and the fourth and eighth sentences use rhyme B, which is connected with rhyme A. For example, the two rhymes of "Han" and "Delete", or the two rhymes of "Yu" and "Yu", one advancing and one retreating, have the same rhyme, hence the name.
The rhyme of the windlass is also called the style of the windlass. Rhymed poetry uses a pattern of rhyme. The rhyme of the windlass is double-exit and double-entry, that is, in the second and fourth lines of the rhyme poem, A rhyme is used, and in the sixth and eighth lines, B rhyme is used that is consistent with A rhyme. For example, "qiyu" is used first, and then "liuyu" is used. Two out and two in, like a windlass, hence the name.
Gourd rhyme is also called Gourd grid. A rhyme pattern used in poetry. The rhyme of gourd is first two and then four, such as "东" and "东" rhyme together, the first two rhymes with "东", and the last four rhymes with "winter", first small and then big, like a gourd, hence the name.
Harmony and rhyme is a method of harmonious poetry, that is, writing poems based on the rhyme of the original poem. It can be divided into three situations: (1) Using the original rhyme, but using words that are different from the original rhyme, is called Yiyun. ⑵Using the original rhyme and the original characters, and the order of the rhyme characters are the same, is called secondary rhyme, also called step rhyme. ⑶Use the original rhyme and the original words, but the rhyme characters are chosen in a different order, which is called using rhyme.
Secondary rhyme is also called step rhyme, a type of harmony rhyme. That is, the rhyme and rhyme of the original work are used with other people's poems, and the order of the rhyme words is the same. It began with the mutual singing between Yuan Zhen and Bai Juyi in the Tang Dynasty. "Old Tang Book." Biography of Yuan Zhen: "Bai Juyi is good at poetry, and his love drives the writing. The rhymes may be a thousand words or five hundred words, and he writes poems to each other. He can't pass them by self-examination. He often carefully arranges the old rhymes and distinguishes them." Innovative words, called "ci rhyme Xianghui, Gai Yuyin Xiangchao", became especially popular after the Song Dynasty.
Rhyme, also known as rhyme, is one of the methods of writing poetry in the old days. Several people met to compose poems, and selected numbers as rhymes. Each person divided them into verses, and composed verses according to the chosen rhymes. Ancient poets often used it when they combined sentences, but later generations divided rhymes and were not limited to couplets.
Rhyme is divided into rhymes, which is one of the methods of writing poetry in the old days. Fu means to give or distribute. (See the article "Dividing rhymes")
Limited rhyme means that when people write poems and lyrics together, they limit a rhyme and form a piece according to the rhyme. There are two cases of limited rhyme: (1) limited rhyme but no word limit. ⑵Limit rhyme and also limit words, that is, limit the use of certain words in a certain rhyme.
Harmony poetry refers to writing poems and singing in harmony with others. It is mostly used for reciprocity between poets. Harmony poetry can be used in two ways: unlimited harmonious rhyme or limited harmonious rhyme.
Sub-topic is one of the old ways of composing poetry. Poets gather together and find topics to compose poems, which is called sub-topics, also called exploration topics. Song Yanyu's "Canglang Poetry Talk? Poetry Style" said: "It has subtopics." Self-note: "The ancients divided topics, or each assigned an object, like a cloud sending someone to get something from the topic. Or exploring the topic." Sometimes the topics also have rhymes, but there is no limit.
Oral writing refers to a way of composing poetry, which is composed by mouth without drafting. If it is recited casually into a quatrain or a verse, it is called "Kou Zhan Yi Jue" or "Kou Zhan Yi Lu".
Slogan ⑴Title of ancient poetry. It means that the poem is not like a draft, but is recited casually, which is similar to "kouzhan". For example, Baozhao's "Slogan of Returning the Capital" of Song Dynasty in the Southern Dynasties. In the Tang Dynasty, Li Bai, Wang Wei, Du Fu, etc. all had slogan poems. ⑵A type of ode. In the Song Dynasty, the emperor held a banquet every Spring and Autumn Festival and the emperor's birthday. The musicians would give speeches and then offer a poem to praise his virtues. This kind of poetry is called a slogan. See "History of Song Dynasty".
Couplet is a way of writing poetry. When two or more people write a poem together, each person has one or more sentences, which are repeated one after another to form a chapter, which is called a couplet. It is said that the "Poem of Bailiangtai" written by Emperor Wu of the Han Dynasty and his ministers was the beginning of the couplet, which is not credible. This way of writing poetry began in the Southern Dynasties and became more popular in the Tang Dynasty.
Collected verses are a method of composing a poem using verses from one or more previous generations. The "Seven Classics Poems" written by Fu Xian of the Jin Dynasty is the earliest extant collection of poems. The style of collecting sentences became more popular in the Song Dynasty, and Wang Anshi also worked on it. Most of the ending poems in legends of the Ming Dynasty are collection poems.
Fu De For any designated or limited poem title, for example, add the word "Fu De" to the title. There were already works like this in the Southern Dynasties, such as Emperor Yuan of Liang's poem "Ode to the Orchid and the Fragrant Grasses". The word "Fu De" is often used at the beginning of the title of a poem for trial posting, a work to be produced, a poet's gathering to divide the topic, and a poem to be composed on the spot.
The first couplet refers to the first and second sentences of the rhymed poem. There are eight lines in the rhythmic poem, and every two lines form a couplet. A poem is divided into four couplets. The first and second lines are called the first couplet, the third and fourth lines are called the jaw couplets, the fifth and sixth lines are called the neck couplets, and the seventh and eighth lines are called the tail couplets. . The first alliance does not have to fight.
The jaw couplet refers to the second couplet (three and four sentences) of the rhymed poem, which must be opposed. See the "First Coupon" section.
The neck couplet refers to the third couplet (sentences five and six) of the rhymed poem, which must be opposed. See the "First Coupon" section.
The last couplet refers to the fourth couplet (seven and eight sentences) of the rhymed poem, without any need for confrontation. See the "First Coupon" section.
2018-02-28 Butterfly finishing