Eight-character couplets are of standard standard, and most of them are divided into four or four segments, or three or five segments, such as:
The flowers in the plum core are blooming, and the fragrance is on the seats;
< p>○●○○ ○○●●The orchid buds are growing day by day, in front of Xiuyu steps.
○○●○ ●●○○
Back to heaven and earth, Qiongtian is a thousand hectares of green;
○○● ○○○●●
The east wind blows, and the small garden is filled with red flowers.
●○○ ●●●○○
Eight-character couplets:
Wine can make things happen, wine can ruin things;
< p>●○○● ●○●●Water can carry a boat, and water can capsize a boat.
●●●○ ●●●○
Nine-character couplets:
There are no difficult situations in the world;
< p>○●●○●●○●●There is no free time in this world.
○○○●○○●○○
The sentence pattern of the nine-character couplet is:
A blessing in disguise;
●○●● ●○○○●
Zheng people cover up deer, only their desires are true.
●○●● ●○●●○
The ten-character couplet roughly adopts the four- and six-parallel style format:
The door opens up to the sky, and you step up for three days. Scenic sites;
○●●○ ●●○○●●
Thousands of steps, overlooking thousands of wonders.
○○●● ○○○●○○
For long couplets of more than ten words, in addition to the requirements of the level and the level, the level and level of the last word of each sentence must also be coordinated. For example, in the couplet below, in addition to the coordination of each sentence segment, every word in the upper and lower couplets is very stable.
You can stay here, cut candles by the west window, and talk about the scenery of your hometown. The sword pavilion is majestic; Emei is beautiful, Bashan is beautiful,
○ ○ ● ○ ● ●
The clear water and clear ripples, countless famous mountains and rivers, are all visible;
○ ○ ●
He came to the capital to offer suggestions and set the example of the North Road, and he will never forget the example of the sage. Xiangru Fu, Taibai poems, Dongpo essays,
● ● ○ ● ○ ○
Sheng'an Kedi, went to see beautiful and talented people, and then went to Chang'an.
● ● ○
Taboos
1. Avoid ending at the same time
This is in terms of the relationship between the clauses and sentences in the first or second line. For a couplet composed of multiple clauses, the arrangement of the footings of each clause can, strictly speaking, be governed by horse hoof rhyme. The so-called horse hoof rhyme refers to the flat and oblique arrangement of the feet of a sentence like the walking of a horse, with the back foot following the front foot prints. The flat format is: flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat. However, the author believes that starting from the current situation and development trend of couplets, taking into account the characteristics of the couplets that "the couplets have no final sentences and the sentences have no final characters", as well as the complexity of the couplet sentence pattern and other factors, the metrical requirements for the arrangement of the sentence feet are also "Don't settle with the same voice" can be the rule. To be more precise, this rule has two requirements: (1) If there are two to three clauses on each side, it is required that all clauses cannot end at the same time. (2) If there are more than four clauses on each side, it is required that each clause cannot be three consecutive sentences (exceptions can be made when connecting sentences and middle clauses) or three or more sentences can end at the same time. This kind of rule is concise and clear in theory and flexible in application. It not only embodies the combination of principle and theory, but also accommodates several major different opinions on the issue of equivalence of sentences and footings. Taking the top couplet of five sentences on each side as an example, according to the rules of "horse hoof rhyme", there are only two formal patterns: 仄仄平平仄 and 仄平平平仄 (when divided into paragraphs in the middle), and there is another type of 仄平平仄仄 Variations, ***three formats. According to the rule of "avoid ending with the same sound", then, 仄仄平仄, 仄平平仄 (when divided into paragraphs in the middle), 仄平平任仄, 任仄平任仄, 仄仄平仄, 任仄仄仄, 平平仄仄 Eleven formats such as , 平平廄平廄, 平仄仄平廄, 平仄平平廄, 平仄平仄仄 are all qualified, and there is no need to distinguish between the regular case and the deformed case.
2． Avoid ending with the same sound
This is in terms of the relationship between the first couplet and the second couplet. To be more precise, this rule also has two requirements: (1) Regardless of the length of a couplet and the number of clauses, it is required that the first line of the couplet ends with a oblique tone, that is, the last word of the first couplet should be with an oblique tone; the second couplet is required to end with a level tone. Generally, the first line cannot end with a flat tone, and the second line cannot end with a flat tone. (2) The upper and lower couplets cannot end in the same tone, that is, the last character of the upper and lower couplets cannot both be in the oblique tone or the same tone.
3. Avoid three flat or three oblique tails
Refers to the last three characters of a sentence, which should be avoided as much as possible. For example, "sitting on the lotus platform due to deep connections", if "sitting" is changed to "climbing", it becomes three flat tails. Another example is "One can enter the Tao by cultivating according to the law." If "can" is changed to "can", it will become a triple ending. There is no difference between three flat tails or three square tails in terms of flat and flat tails. To reflect the theoretical consistency, both should be regarded as taboos. You cannot only avoid three flat tails but not three square tails.
4. Avoid Guping or Guku
It means that in a five-character or six-character sentence, you should try to avoid having only one flat character or only one oblique character in the whole sentence.
For example: "Everything goes as expected", if it is changed to "Everything goes as expected", it is Guping; another example: "Bodhi is ready at this moment", if it is changed to "Bodhi is perfected at this moment", it is Guqing. Here, the author will briefly discuss the Guping issue. The author believes that couplets do not have to completely follow traditional poetic rules. From the perspective of couplets, "in a five-character or six-character sentence, if there is only one flat tone, it is a solitary tone." This definition is more concise and reasonable. Because: First, this definition’s requirements for level and toe are generally looser, which is in line with the development trend of couplet rhythm. Secondly, according to the traditional poetry rhythm, the so-called Guping also requires the addition of sentence footings. However, there is a big difference between couplets and modern poetry, that is, the leveling requirements for the last characters (sentence footings) are different, and rhyme is not required, so in In the couplet, the last word (sentence foot) does not have to be marked out separately. Thirdly, from a literal perspective, Gu is one. If the literal meaning and actual meaning of Gu Ping are completely consistent, it will be helpful for understanding and operation. The solitary tone of traditional poetic rhythm is: in the sentence pattern of five-character flat rise and seven-character straight rise, in addition to the flat-tone characters in rhyme, if only one word in the sentence is a flat-tone character, it is a "lone flat". This kind of definition, in fact, has fixed Gu Ping in one or two sentence patterns (specifically, the five-character "平平廄廄平" has become "廄平仄廄平", and the seven-character "廻仄平廄廄平" ” becomes “廄仄廄平廄廄平”, which is Guping). Therefore, the word Guping must be supplemented with additional explanations so that people can actually understand and operate it. Fourth, in terms of five-character couplets, if only "廄平廄廄平" is Guping, then let's take a look at "廄仄仄平廄" and compare the two formats. From the perspective of the rigidity and monotony of Pingchui, Which one is more rigid and monotonous? Fifth, modern poetry is mainly composed of five or seven words. Therefore, in six-character couplets, the concept of traditional poetic rhythm cannot be explained, and in six-character couplets, the phenomenon of solitary poetry may also exist.
In addition, there is no difference between Gu Ping and Gu Ze in terms of monotony. Authors of ancient and modern poetry couplets, whether they are concerned with Gu Ping or Gu Ze, actually avoid it if they can. Therefore, taking both as taboos at the same time not only reflects theoretical consistency, but also stems from the actual situation. Incidentally, it should be pointed out that according to the author's above definition, the phenomenon of Gu Ping or Kuai actually only exists in five-character and six-character sentences, because in sentences of more than seven characters, if the basic requirements for the alternation of flat and oblique are observed, there will be no Appear solitary or flat.
5. Avoid repeating words in the same position and repeating words in different places.
Duplicate words or repeated words are allowed in couplets. This is a commonly used rhetorical technique in couplets. However, when overlapping, pay attention to the consistency of the upper and lower couplets. For example, "the world is busy" versus "the world of mortals is rolling". Among them, "busy" is opposite to "rolling", which is a overlap of words; another example:
Cultivation is to cultivate the mind, and an empty heart is the shore of Nirvana; < /p>
Seeing the cause is like seeing the effect, and the fruits are as painful as those in hell.
Among them, "xiu" versus "view", "yes" versus "ru", and "heart" versus "fruit" are the opposites of each other. However, repeated words in the same position and different positions should be avoided as much as possible in the couplets. Words with the same position are repeated, which means that the same word appears in the same position in the upper and lower conjunctions, such as "Dharma Realm" versus "World", "Enlightenment" versus "Become a Demon". However, some function words (such as huye, ererzai, etc.) with the same position are allowed, such as:
The fish that slips through the net, there are always fish in the world;
The fish that escapes from the sky There are no birds in the universe yet.
The same word appears in different positions in the upper and lower lines. For example:
Don’t be greedy if your karma cannot flow;
Don’t hate others who have the same destiny.
If the word "mo" in the second line is changed to "no", it will be in the same position as the word "no" in the first line.
Duplicate words in the same position and different positions are taboos in couplets. However, there is a special ectopic mutual overlap format that is allowed, such as:
There is no moon and the moon is full, it will follow you;
Although there are flowers blooming and falling, you will by it.
The "it" in the couplet is opposite to the "you", which means they are in different positions and emphasize each other.
6． Avoid synonymous relative.
Synonymous relative is also known as gassho. The so-called avoidance of synonymous relative terms refers to sentences in the upper and lower couplets that are relative, and their meanings should be avoided as much as possible. For example, "Rising Sun" versus "Rising Sun", "Historical Records" versus "History", "China's Eternal Show" versus "Chixian Ten Thousand Years of Spring", etc., belong to the combination of palms. Of course, it does not matter if some non-central words (especially function words) appear in the gasshang, or if the gassho part plays a very small role in the couplet. It is not a bad idea to compare sentences with similar meanings.
The rules of level and obliqueness of couplets are basically the same as those of poetry. Yiyin applies the basic rule of poetry that one, three, five, and two, four, 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 ending 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 away with clear mourning. 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.
Generally speaking, Ping tone characters have a gentle sound and a long ending sound. The oblique characters have a short final sound or no final sound. Mr. Liu Bannong, a modern linguist, first confirmed that Shi Vacuum's analysis of the four tones of ancient Chinese was correct. Mr. Bannong added based on his own research. He said: "The flat tone has the least twists and turns, which is commonly known as the balanced tone. The two tones that go up have the most twists, either rising, falling, falling, or rising. It should be an unbalanced tone. The entry tone is the shortest, which is called promoting tone." Mr. Bannong's discussion is simple and clear. Mr. Zhang Shilu more briefly divided the flat tones into two categories. The flat tones are where the long steps are, and the oblique tones are where the short steps are. The main difference between the long and short tones is the flat tones. The author also believes that the four tones of ancient Chinese, in addition to being divided into long steps and short steps, also have very different pronunciation levels. For example, take "Dongdong Liangdu" as an example. Starting from the flat tone, the scale gradually increases to The falling tone reaches its peak, that is, the third tone has the highest pronunciation. The entrance sound plummets, the volume is low, short and concise. In short: the flat voice is sad and peaceful, the rising voice is sharp and raised, the falling voice is clear and distant, and the entering voice is straight and quick. The above discussion is just a general method, and readers can verify it in their study and practice.
In order to practice the ability to distinguish the four tones, the ancients listed the following thirty-two characters as characters to train the basic knowledge of ping and lei. As long as you can master the ping and lei of these characters skillfully, then the ping and lei of other characters will be You can draw parallels and understand it immediately after reading it.
1. One, two, three, four, five, six, seven, eight, ninety. These ten numbers are in order: enter, go, level, go up, enter, enter, go up.
2． A, B, B, D, Wu, Ji, Geng, Xin, Rengui. The levels of this cross are: enter, go up, go up, go up, go up, go up, go up, go up.
3. Zichou Yin Mao Chen Siwu did not apply for You Xuhai. These twelve characters are: Shang Shang Ping Shang Ping Shang Shang Ping Shang Enter Shang.
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. People are still used to judging couplets tones. The four tones of ancient Chinese are used as the 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.
4. You must know: some Chinese characters have always been used interchangeably, and can be used in flat or oblique sounds, such as kan, jiao, wei, si, pang... A few examples are as follows:
(1)" "Look" is used as a flat tone: the daily incense burner produces purple smoke, and you can see the waterfall hanging in front of the river in the distance; the water flows down three thousand feet, which is suspected to be the Milky Way falling from the sky.
(2) "Look" is made in a flat sound: the plums drip with sourness and splash on the teeth, the bananas are green and covered with window screens; the day is long and I fall asleep with no thoughts, and I watch the children catching willow flowers.
(3) "Jiao" is pronounced in a flat tone: the cherries, apricots, peach and durians are blooming one after another, so Jiao is planted one by one by the window; the bamboo shadows are leaning against the willows, and the clear shade enters the house.
(4) "Teach" is made in oblique tone: Chalk life is also happy, and good talents are educated according to their aptitude; the garden is full of peaches and plums, full of vitality, turning into rain and spring breeze in succession.
(5) "Wei" is a flat tone: One is to move to Changsha, looking west to Chang'an but not seeing home; the jade flute is played in the Yellow Crane Tower, and the plum blossoms fall in May in Jiangcheng.
(6) "Wei" is pronounced in a oblique tone: It was originally for the King of Han to accomplish great feats, but he did not take himself into consideration. I had known that the rabbit would end up cooking the dog, but I regretted that I would end up fishing in Huaiyin.
Reference materials: /view/2925.htm