Principles and methods of rhyme in poetry

Poetry has certain rules.

1. Metric poem

Metric poetry generally refers to a kind of poetry stereotyped in the Tang Dynasty, with five or seven sentences and specific structures such as antithesis and attachment, so as to balance the sound and rhyme.

Metrics should refer to format, regularity and rhythm. Broadly speaking, any poem has format, regularity and rhythm, so any poem has meter. The meter we usually say today only refers to the meter of the metrical poems shaped in the Tang Dynasty, which is a narrow meter.

(1) only bet on rhymes.

Metric poetry just lowers the rhyme.

The so-called flat voice is a kind of tone.

Tone is the rising and falling form of sound, which is mainly determined by pitch.

For example, the pronunciation and tone of the words "Ma, Ma, Ma and Scold" in Mandarin are different.

Putonghua has four tones, namely, rising tone, two tones, three tones and four tones, which are also called flat tone, rising tone, rising tone and falling tone. For example, "mom" is the first sound, also called flat tone; "Ma" is the second sound, also called rising tone, and other examples are no longer given. There are also whispers. Because there is no fixed tone value, light tone is generally not a tone. Light tone is usually outside the scope of discussing poetry, which is not discussed in this paper.

The ancients also had four tones. In order to simplify the four tones, the ancients divided them into two categories according to their smooth and tortuous characteristics. One is called a flat voice, and the other is called a purr. Uneven fingers.

The four tones of the ancients, like the current Mandarin, are also regional and cannot represent all the ancients.

The ancient people's appellation of flat tone continues to this day, and now the flat tone of Putonghua includes upper tone and lower tone. For example, "horse, horse" all belong to flat voice; At present, the intonation of Putonghua includes the third and fourth tones. For example, "horse" and "curse" are all slander.

The rhyme of metrical poetry is only a balanced rhyme.

For example, in Lusu (Wang Zhihuan)

The white sun sets behind the mountain.

The ocean drained the golden river.

In order to take in everything at a glance

Go up a flight of stairs (lóu)

According to the current pronunciation, "Liu (liú)" and "Lou (lóu)" are the second tones, but according to the Tang Dynasty, they are only flat tones.

Note that in the Tang and Song Dynasties, Pingsheng may not be completely divided into Yin Ping and Yang Ping, so Pingsheng is considered as a tone. At that time, the voice was different from now, with three sounds: up, down and inside. Rusheng is a short tone, which completely disappears in modern Mandarin.

China is divided into historical stages, and the official pronunciation can be roughly divided into three stages.

The first stage is the ancient sound, from the Zhou Dynasty to the end of the Han Dynasty. Now some people infer that there are four tones, while others infer that there is no tone.

The second stage is the Middle Ages. Sui dynasty to the end of song dynasty. There have been clear historical records, and the tones are divided into four tones: flat, up, far and forward.

The third stage is near ancient sound. Time from the early Yuan Dynasty to the late Qing Dynasty. The official language Pingsheng is divided into Yin Pingping and Yang Pingping, the rising tone and falling tone are still there, and the entering tone in the Middle Ages has disappeared. Words that were once read into sounds later became pronunciations of other tones. And many initials and finals have completely changed.

For example, at present, "zhe" reads "zhě", while "zhe" in Tang and Song Dynasties may generally read "(Jia)".

Because in the Tang Dynasty, the level tone may not be able to distinguish between level tone and flat tone, or it may only be roughly divided into yin and yang, so according to the regulation that only the level tone rhymes in the Tang and Song Dynasties, the level tone and flat tone can be recognized each other now. However, the metrical poems are extremely neat, and it is now clear that Yin Ping and Yang Ping are two tones, which do not belong to the same tone. Therefore, in view of the extremely neat characteristics of metrical poems, this paper holds that the rhyme of metrical poems should distinguish yin and yang as much as possible, and only rely on Yin Pingyun or Yang Pingyun, and do not mix them if there is a choice.

(2) There is no rhyme change

Metric poetry does not change rhyme.

Like the Seven Laws? The banks of the Yellow River were recovered by the imperial army (Du Fu)

The news of this distant western station! The north has been recovered! At first I couldn't stop tears pouring down my coat.

Where are my wife and son? There is not a trace of sadness on their faces. However, I frantically packed my books and poems (kuá ng);

On a green spring day, I began to go home (xi language);

Come back from this mountain, pass another mountain, go up from the south and then go north-to my own town! (yáng)。

The whole poem has eight sentences and four rhymes, all of which rhyme in "Ang".

Metric poems can't be changed even if they are as long as 100 sentences, which leads to a small range of available words and great difficulty in creating long poems. From ancient times to the present, there are basically dozens of extremely wonderful metrical poems that have never been born, and I am afraid they will not be born.

Note that according to modern pronunciation, "xiāng" in this poem is the first sound, and other rhymes are in the second sound, all of which belong to flat sound, flat sound and flat sound. In the Tang Dynasty, there was no level tone, but only one level tone, all of which belonged to the same tone. Of course, at that time, the whole phonetic symbol system was different from now, and basically did not read these sounds now. For the convenience of introduction, this paper tries to use modern speech analysis here and elsewhere.

2. Song Ci

Song Ci refers to a kind of poems that matured in the Song Dynasty and borrowed a lot from the internal forms of some metrical poems, but often had different lengths in structure and were completely born out of lyrics.

By the way, meter refers to the meter of five-character and seven-character meter poems in the early Tang Dynasty, and later it was generalized to Song Ci and Yuan Qu, but it still belongs to the narrow sense.

Because Song Ci is not an imperial examination poem, but a lyric poem with music, people will create different formats of Song Ci according to different music. The name of music is epigraph, and the format of words is later called epigraph. Each theme format has epigraph. For example, Bodhisattva-level people, Qin Yi E, etc. It's the name of a musical tune. Up to now, there are at least 1000 epigrams in Song Ci.

Because people write lyrics according to music tunes, writing lyrics is usually called lyrics. Later, the tune was lost, and people still wrote it in the old rhyming and flat pattern, or filled it in. The author thinks that the loss is caused by being eliminated, which is not good enough to put it bluntly.

The format of words is not immutable, otherwise, there would not be so many epigrams today. Moreover, even with the same epigraph, people can write many variants of new formats according to the tune. In fact, after the literary genre of singing has become the literary genre of recitation, the real tune is irrelevant. People can directly add and subtract words and create new formats, and there is still a lot of room for development. It is best to break away from the original inscription and create a brand-new format.

Compared with writing metrical poems, writing words (filling words, changing words and writing new forms of words (also called self-criticism) has the following three characteristics in rhyme:

(1) Various tones

Although Song Ci borrowed many forms of metrical poems, its tones were very diverse. Song ci can rhyme in both flat and even tones, and a word can have both flat and even tones. Some poems have the same effect as those before Tang metrical poems, but the difference is that flat tones should be considered together.

For example, "dream, swing, fight for a white wall" (Wu Wenying)

The swing fight of the powder wall (qiáng). Look around Hu Huang.

Crying in the shade, calling back the prodigal son (máng).

Spring (guāng), spring (guāng). It's to meet Cui Fang (fāng).

The rhyme "wall", "yellow", "busy", "light" and "qiáng" are all flat.

Note that ancient rhymes are generally homophones, so the modern pronunciations of some words are basically homophones in ancient times, even if they are not homophones. Such as "qiáng", "huáng á ng", "Busy", "Guang (guāng)" and "Fang (fāng)" are all the same tones in the Song Dynasty.

For example, "Like a dream, I always remember the sunset in the Xiting" (Li Qingzhao)

Always remember the sunset in Xiting (mù), and I don't know where to go when I am drunk (lù).

Go back to the boat at night when you are happy, and go into the depths of the lotus by mistake (chù).

Fight for crossing (dü), fight for crossing (dü), and open gull and heron pond (lü).

The rhyming "dusk", "road", "place", "crossing" and "heron" are all dull sounds.

For example, "the firewood is windy and the world is thin" (Tang Wan)

The world is thin (bǐ), human feelings are evil (fǐ), and flowers are easy to fall into the rain (fǐ).

Xiao Fenggan (gān) and Residual Tears (cán) wanted to write something on their mind, but one person said (lán).

Difficult (nán), difficult (nán), difficult (nán)!

People have become different (gè), today is not yesterday (zuó), and sick souls are often like autumn ropes (suǒ).

The sound of the horn is cold (hán), the night is hazy (shān), people dare not ask questions, and tears are pretending to be happy (huān).

Hide (mán), hide (mán), hide (mán)!

Rhymes such as Bo (bò), Evil (è), Lu (ê), Ge (gè), Yesterday (zuó), Suo (suǒ) and so on. It's all slurs, and the rhymes are all dry (?

(2) Cross-rhyme

Song ci often rhymes with each other. I still like "Hairpin Phoenix, the world is thin" (Tang Wan)

The world is thin (bǐ), human feelings are evil (fǐ), and flowers are easy to fall into the rain (fǐ).

Xiao Fenggan (gān) and Residual Tears (cán) wanted to write something on their mind, but one person said (lán).

Difficult (nán), difficult (nán), difficult (nán)!

People have become different (gè), today is not yesterday (zuó), and sick souls are often like autumn ropes (suǒ).

The sound of the horn is cold (hán), the night is hazy (shān), people dare not ask questions, and tears are pretending to be happy (huān).

Hide (mán), hide (mán), hide (mán)!

The first rhyme "Bo (bò)", "Evil" and "Lu (ii)" rhymes with the middle and back rhymes "Ge (gò)", "Zu" (Tang and Song intonation) and "Su (ǐ)", and the front and back rhymes of "Gan".

(3) A large number of conjunctions can rhyme.

Metric poetry rhymes with even sentences except for the first sentence, and does not rhyme with continuous sentences elsewhere. Words can have a large number of continuous rhymes.

Or like "Hairpin Phoenix"? "The world is thin" (Tang Wan), "The world is thin (bò), human feelings are evil (Ⅱ), and flowers are easy to fall at dusk when the rain is sent (Ⅱ)", "Difficult (nán), difficult (nán), difficult (nán)!" "Everyone is different (gè), today is not what it used to be (zuó), and the sick soul is often like an autumn rope (suǒ)", "keep (mán), keep (mán) and keep (mán)" are all continuous rhymes.

Although words rhyme continuously, they usually rhyme with changes, and not all sentences rhyme continuously, only a few words rhyme in every sentence.

For example, Sauvignon Blanc (Bai Juyi)

Bianshui flow (liú), Surabaya flow (liú),

Wu Shan was a little sad (chóu) when he flowed to Guazhou Gudutou.

Thinking (Y is not you) and hating (Y is not you),

I hate going home (xiū), and people in the moonlight lean on the building (lóu).

Every sentence has the same rhyme.

3. Yuan Sanqu

Yuan Sanqu is a northern lyric that matched the popular music of the Yuan Dynasty at that time, and was made from the vulgarization of Song Ci. "Later, with the normalization and de-citizenization of Sanqu, it lost the fresh civic culture blood with distinctive personality, became almost the same as Song Ci, and then declined" (from Baidu).

Yuan Sanqu is similar to Song Ci, and there are also many formats called Qupai. Different formats have different qupai, such as "Tianjingsha" and "Mountain Slope Sheep".

The main feature of rhyme in Yuan Sanqu is that regular sentences rhyme to avoid tone sandhi and homophone initials.

(1) Regular sentences rhyme.

Yuan Sanqu often rhymes with sentences.

For example, Tianjingsha Qiu Si (Ma Zhiyuan)

Dead vines and old trees faint (yā),

Small bridges and flowing water (jiā),

Ancient west wind thin horse (m 4)

The sun sets (xià),

A broken-hearted man is at the end of the world.

Every sentence rhymes with "a"

(2) Don't be afraid of different tones

Or for example, Tianjingsha Qiu Si (Ma Zhiyuan)

Dead vines and old trees faint (yā),

Small bridges and flowing water (jiā),

Ancient west wind thin horse (m 4)

The sun sets (xià),

Heartbroken people are at the end of the world (yá).

The first and second sentences of "crow (yā)" and "home (jiā)" are in the upper voice, the third sentence of "horse (m ǐ)" is in the upper voice, the fourth sentence of "Xia (xià)" is in the fourth voice, and the fifth sentence of "Ya (yà)" is in the second voice, so the tone of the whole article has obviously changed.

(3) There is no rhyme change

Yuan Sanqu has the same rhyme.

For example, Tianjin Sha Qiu Si (Ma Zhiyuan) rhymes with "A".

(4) The initials can be the same.

Yuan Sanqu rhymes with initials.

For example, "crow (yā)" in the first sentence and "ya (yá)" in the last sentence of Tianjingsha Qiu Si (Ma Zhiyuan) are different in tone, but the initials and finals are the same.

4. White body

"Bailiang Style" is also called "Bailiang Style" and "Bailiang Style", and every sentence rhymes. According to legend, Emperor Wudi of the Han Dynasty built a Bailiangtai and wrote poems with his ministers. Every sentence rhymes, so this kind of poem is called Bailiangti.

Such as Xing (excerpt) (Cao Pi)

The autumn wind is bleak, the weather is cool (liáng), and the vegetation is exposed to frost (shuāng).

Yan Ci and his party returned to Gunan Township (xiáng) and missed the visit of gentlemen and guests (cháng).

……

Every sentence rhymes with "āng"

Bailiang style mainly rhymes with sentences, and sometimes a word rhymes repeatedly. This kind of poems have too many rhymes and a weak sense of melody, and are basically not accepted by the public, so they are not widely circulated.

5. Modern poetry

Modern poetry, also known as new poetry, refers to the poetry since the May 4th Movement, which is usually written in modern vernacular, and most of the poems are uneven.

The rhyming forms of modern poetry are very diverse, usually including all the above forms, and sometimes they don't rhyme. No rhyme is not found in China's ancient poems (it is said that a small part of The Book of Songs does not rhyme), but it is very common in modern poems. Many examples of common rhyming forms have been listed above, so modern poetry will not be listed, but only a modern form that does not rhyme.

Such as pain (Tan Xiao)

It hurts, it really hurts (téng)

This tooth really hurts.

I am in great pain (k incarnation)

This tooth is still alive.

Pain, ah, bitterness and pain don't rhyme.

Modern poetry can also form blank poems, which often have tautology on the surface, but are caused by the poetic structure and semantics of sentences inside. For example, Pain uses two tautologies of "this tooth", followed by a state description.

I hope I can help you. Thank you. I hope it will be adopted.