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春耀古典诗词讲座
1.梅芳竹青 第一讲 格律诗赏析 2.心中的太阳 第二讲 谈谈格律诗
3.远方 第三讲 律诗的结构
4.远方 第四讲 格律诗的对仗
5.刘亦大吉 第五讲 古诗词写作技巧
6.刘亦大吉 第六讲 谈谈绝句的写作
7.飞翔 第七讲 谈谈七律的写作
8.冯志伟 第八讲 谈谈排律
第九讲 简说唐诗
9.青青草 第十讲 格律诗写作基本要求
第十一讲 律诗的炼意法
10.翼挥 第十二讲 律诗的并列法
第十三讲 律诗的连贯法
11.惠子 第十四讲 说说律诗的拗救
12..腾 第十五讲 律诗的转折法
第十六讲 说说诗韵
13.燕儿飞 第十七讲 谈谈修辞
第十八讲 虚词的巧用
14.天意 第十九讲 关于叠词的妙用
15.腾 第二十讲 律诗的发展与创新
春耀古典诗词讲座
第一讲
格律诗赏析
爱诗、写诗、赏诗 。三境界。三者互为作用，循环提高。
（一）、格律诗的基本要素
篇有定句、句有定字、字有定声、韵有定位、律有定对。
汉字是世界上独一无二的单音、四声、方块的文字，它把字形、字义、图画、语言、音乐绝妙地结合在一起。
（二）、格律诗的种类
格律诗分五言和七言两大类。五言是七言的截取。就是把七言的前两个字截掉就是五言诗。
形式分绝句、律诗、排律。
绝句为四句，律诗为八句，排律为八句以上，长度不限。
绝句为分五言和七言。五言绝句和五言律诗，也是七言绝句和律诗的截取。
绝句从句式来说又是律诗的截取和组合。律诗的一二句和七八句组合叫首尾绝，没有对仗要求。是绝句的基本形式。律诗的前四句组合为前绝，三四句对仗。律诗的三四句与五六句的组合为中绝，两联对仗。律诗的后四句组合为后绝五六句对仗。
（三）、格律诗赏识标准
1、立意：主题，表达意向。
2、环境：物、景、事的环境。
3、形象：物、景、事的状态。
4、情势：柔细与夸张。
5、哲理：道理，人哲警句。
6、格律：韵脚、平仄、粘对、对仗。
7、韵脚：首句入韵和不入韵。二四六八句最后一字为韵脚。
8、平仄：二四六字分明，一三五字在没有孤平、三仄尾、三平调时可不论。
新韵平为汉语四声字的一二声，仄为字的三四声。不分入声字。
平水韵有入声字要求。
9、孤平：每句的后五字中要有连平。
l0、粘：二三句，四五句，六七句平仄相同。
11、对：一二句，三四句，五六句，七八句平仄相反。
12、对仗：律诗的三四句，五六句句式相同词性相同，反差要大，平仄相反，为两幅对联。
此论改变了人们常用的一三五不论，二四六分明之说。只要遵此格律，就把几十种格律诗的样式变为简单的一式，也不用再有拗救之苦。便于学习和写作。
这些只是格律诗的基本要求。要想把诗写好，还要在起承转合、语法结构、对仗工整上下些工夫。
（四）、格律诗五美
1、均齐美。在五言和七言的格律诗中，每一个单体的方块字就像一位士兵，排列在诗篇的行列中，从視觉上给人以均齐而不散乱的感觉。
2、节奏美。在诗句中有字词之间的停顿，有四声和平仄的变化，给人以强烈的节奏感变化之美。
3、音乐美。格律诗讲究声调和押韵，它借助有规律的韵脚，使全篇各联、各句之间相互照应，使看似参差错落的音节却贯穿着一个完整的曲调，使韵脚有规律的循环出現，产生出一种和谐、朗朗上口的音乐美。
4、对称美。对称是格律诗里的高级美感，是诗人自觉追求的境界，也是诗人给读者的高值美感的享受。例如‘两个黄鹂鸣翠柳，一行白鹭上青天。窗含西岭千秋雪，门泊东吴万里船。’它的美感就连刚学会讲话的孩童都喜欢。
5、简洁美。一首好的格律诗词，以最少的文字，蕴含了很大的诗意的信息量，表现出丰富的情感，激发读者的想象、品味的兴趣。
（五）、范诗赏析
毛泽东七绝
暮色苍茫看劲松，
乱云飞渡仍从容。
天生一个仙人洞，
无限风光在险峰。
4句说出了4个哲理：
1、在暮色苍茫中才显劲松;
2、告诉人要从容面对乱云 飞渡;
3、仙人洞是天生的，不能任人改变;
4、只有攀险峰，才能享受无限风光。
多么绝妙的人生哲理诗。
七律.长征
红军不怕远征难，
万水千山只等闲。
五岭逶迤腾细浪，
乌蒙磅礴走泥丸。
金沙水拍云崖暖，
大渡桥横铁索寒。
更喜岷山千里雪，
三军过后尽开颜。
立意高远，气势宏伟，
格律严谨，手法精纯。
春夜喜雨
唐 · 杜甫
好雨知时节，
当春乃发生。
随风潜入夜，
润物细无声。
野径云俱黑，
江船火独明。
晓看红湿处，
花重锦官城。
柔细入微，情景交融。
下面说一说我写的七律〈乡梦〉。
七律.乡梦
我家住在小屯东，
绿树敲窗唤老翁。
长巷声声闻犬吠，
池塘阵阵鼓蛙声。
渔歌梆响传佳韵，
稻浪风推叙苦情。
娘起掀帘惊短梦，
粉蝶戏闹望霞红。
起：回忆家乡的环境，承：用对仗联写了长巷闻犬吠，池塘鼓蛙声，转：也用对仗联写渔歌梆响传佳韵，稻浪风推叙苦情，由景入情。合：写梦及想象，扣题。
第二讲
谈谈格律诗
古典格律诗包括五言和七言的绝句、律诗和排律。
一、绝和律的关系
绝句，有五 言和七言两种。律诗也有五言和七言两种。
而不合格律的五言和七言绝句，我们称为古绝。李白的《床前明月光，疑是地上霜。举头望明月，低头思故乡。》就是千古绝唱的五言古绝。
七言绝句和七言律诗从格式和写法两方面来看区别。
二、格式区别
七绝四句，四七二十八字。七律八句，七八五十六字。这是最根本的区别：在格律诗中，四句称绝句，八句称律诗，八句以上就是排律了。
绝律句平仄关系，押韵，句子之间的平仄“对”、“黏”规则，因为同属格律体，这些都是一样的。
比较大的区别就是对仗了。绝句，是不要求对仗的。而律诗的颔联、颈联（中二联）是必须对仗的。
如李白（七绝）
杨花落尽子规啼，
闻道龙标过五溪。
我寄愁心与明月，
随风直到夜郎西。
杜甫（七律）
丞相祠堂何处寻，
锦官城外柏森森。
映阶碧草自春色，
隔叶黄鹂空好音。
三顾频烦天下计，
两朝开济老臣心。
出师未捷身先死，
长使英雄泪满襟。
颔联“映阶碧草自春色，隔叶黄鹂空好音”、颈联“三顾频烦天下计，两朝开济老臣心”两联是对仗的。这是规则，所有七律都必须遵守的。
这是七绝和七律在格式上的最大区别。
三、写法区别
七绝和七律从内容上来说普遍遵守“起承转合”的写法，但是又略有不同。仍然以上面两首诗做例子。
七律的句子是七绝的一倍，所以“起承转合”四个字的对应是以一联两句为单位。
杜甫七律
首联“起”，一般写景，交代时间地点环境事由相关。“丞相祠堂何处寻，锦官城外柏森森”，去哪里寻找武侯诸葛亮的祠堂？在成都城外那柏树茂密的地方。
颔联“承”，承接首联，深化写景或写事，描述、铺陈，丰富作品层次。“映阶碧草自春色，隔叶黄鹂空好音”，这就是详细写景色。碧草照映台阶自当显露春色，树上的黄鹂隔枝空对婉转鸣唱。颈联一“转”，“三顾频烦天下计，两朝开济老臣心”，转入写诸葛亮这个人。三顾茅庐频繁的商论天下大计，辅佐两代君主的老臣忠心耿耿。尾联“合”，一般承接颈联继续，但是要照应首联，称之为“合”。“出师未捷身先死，长使英雄泪满襟”。可惜出师伐魏未捷而病亡军中，常使历代英雄感慨泪湿衣襟！既承接颈联发出感慨，又合回首联游丞相祠堂泪满襟。
七绝字数少，所以是首句“起”，第二句“承”，第三句“转”，最后一句作情感的爆发，以第三句的“转”作为基础，把感情抒发出去，不再“合”，留下空白给人遐想。这是绝句和律诗不同的地方。
李白七绝
起：“杨花落尽子规啼”，交代时间。花落完子规啼鸣之时。
承：“闻道龙标过五溪”，交代事由。我听说您被贬为龙标尉，要经过五溪。
转：“我寄愁心与明月”，转换抒情。把我忧愁的心思寄托给明月。结：“随风直到夜郎西”，深化感情。希望能随着风一直陪着你到夜郎以西。
我写的七律〈家乡小湖〉就是按照这个起承转合形式而写的。
七律.家乡小湖
携友出门百步行，
小湖倒影映长亭。
碧空万里白云舞，
芳草千姿翠鸟鸣。
丝发髫髫游少女，
须眉奕奕斗棋翁。
谁说怎比苏杭美，
装点山乡我梦中。
第三讲
律诗的结构
起承转合，也有人叫起承转结。起，指的是首联，它是起始，要求平直。承，是指颔联，承接上文，承上启下，要求有重量，有分量。转，指颈联，要求有转折感，有变化。合或者叫“结”，是指尾联，要体现结尾性，要求含蓄而意味深长。
其实这种起承转合，只是律诗的一种结构。
每首诗的内容都不一样，还是应当坚持内容与形式的统一，结构既要合理，也需要多样化。
律诗结构的另一要求，就是中间要有两副对子。也就是说，颔联和颈联要用对仗。
所谓对仗，就是每一联的出句和对句之间，除了按照平仄格式使之平仄相对之外，对应词的词性还必须相同，即：名词对名词，动词对动词，形容词对形容词（在对仗中，形容词常与动词作一类而对用），副词对副词，虚词对虚词。
举例：李白的〈送友人入蜀〉
见说蚕丛路，
崎岖不易行。
山从人面起，
云傍马头生。
芳树笼秦栈，
春流绕蜀城。
升沉应已定，
不必问君平。
这首诗的中间两联，都是对仗。颔联中：“山”和“云”是名词对名词。“从”和“傍”是副词对副词。“人面”和“马头”，是名词性词组对名词性词组。“起”和“生”是动词对动词。颈联中：“芳树”和“春流”，是名词性词组相对。“笼”和“绕”，是动词相对。“秦栈”和“蜀城”也是名词性词组相对，而且“秦”和“蜀”都是古国名，是地域标志，对得很好。
对仗要求反差要大，比如“天”对“地”，“雨”对“风”。词意相同或类同属合掌。
五律和七律，都要用对仗。对仗的位置，正例是在中间两联即颔联和颈联。一般的律诗，都是这样。也有一些例外。
在一首诗中，两联对仗是基本的，多则不限。
有的诗，有三联对仗，也有的四联全用对仗，这都是允许的。一首诗中，除了中间两联之外，首联也用对仗的，颇不少。举例：
杜甫的〈咏怀古迹〉
支离东北风尘际，
飘泊西南天地间。
三峡楼台淹日月，
五溪衣服共云山。
羯胡事主终无赖，
词客哀时且未还。
庾信平生最萧瑟，
暮年诗赋动江关。
四联全用对仗的律诗。请看我写的七律.再唱东方红
蕾花朵朵逢露起，
芳草萋萋迎日升。
碧水滔滔推浪涌，
青山丽丽绣繁星。
蓝图巧绘初心志，
丝路妙开环宇行。
冷眼向洋三海变，
热风吹雨五洲彤。
前面讲的都是适用于五律和七律的规矩，至于绝句，是可以完全不用对仗。当然，要用对仗也可以，用一联或两联都行。例如杜甫在成都浣花溪畔居住时写的《绝句》：
两个黄鹂鸣翠柳，
一行白鹭上青天。
窗含西岭千秋雪，
门泊东吴万里船。
就是全用对仗，称为绝对，流传千古。
第四讲
格律诗的对仗
诗词中的对偶，叫做对仗。对偶就是把同类的概念或对立的概念并列起来。例如：“耕云”与“播雨”两词形成对偶，词构都是动宾。一般讲对偶，指的是两句相对。上句叫出句，下句叫对句.
律诗的第一二两句叫做首联，第三四两句叫做颔联，第五六两句叫做颈联，第七八两句叫做尾联。
对仗一般用在颔联和颈联，即第三四句和第五六句。
律诗的对仗，有许多讲究，现在拣重要的谈一谈。
（1） 工对
凡同类的词相对，叫做工对。
名词既然分为若干小类，同一小类的词相对，更是工对。
有些名词虽不同小类，但是在语言中 经常平列，如天地、诗酒、花鸟等，也算工对。
反义词也算工对，而且更好。
例如李白《塞下曲》的“晓战随金鼓，宵眠抱玉鞍”，就是工对。
句中自对而又两句相对，算是工对。像杜甫诗中的“国破山河在， 城春草木深”，山与河是地理，草与木是植物，对得工整，地理对植物也算工整。
在一个对联中，只要多数字对得工整，就是工对。
例如毛主席 《送瘟神》
红雨随心翻作浪，
青山着意化为桥。
天连五岭银锄落，
地动三河铁臂摇。
"红"对"青"，"着意"对"随心"，"翻作"对"化为"，"天连"对"地动"，"五岭"对"三河"，
"银"对"铁"，"落"对"摇"，都非常工整；而"雨"对"山"，"浪"对"桥"，"锄"对"臂"，名词对名词，也还是工整的。
超过了这个限度，那不是工整，而是纤巧。
出句与对句 完全同义（或基本上同义），叫做“合掌”，更是诗家的大忌。
我写的〈七律.咏牵牛花〉中间两联对仗就是比较工整的。
七律.牵牛花
故居老院绕牵牛，
血雨腥风昂笑头。
两手殷殷迎客至，
一生淡淡顺潮流。
繁花秀蕊人多爱，
远水高山各所求。
岂怨星河清且浅，
雀桥座座筑缘楼。
颔联的‘两手’对‘一生’‘殷殷’对‘淡淡’，至和流是动词相对。颈联的繁花对远水，爱和求也是动词相对仗。
(2 ）宽对
形式服从于内容，诗人不应该为了追求工对而损害了思想内容。宽对和工对之间有邻对，即邻近的事类相对。例如天文对时令，地理对宫室，颜色对方位，同义词对连绵字。
王维《使至塞上》"征蓬出汉塞，归雁入胡天"以"天"对"塞"是天文对地理；
陈子昂《春夜别友人》"离堂思琴瑟，别路绕山川"，以"路"对 "堂"是地理对宫室。这类情况是很多的。
（3 ）借对
一个词有两个意义，诗人在诗中用的是甲义，但是同时借用它的乙义来与另一词相为对仗，这叫借对。
例如杜甫《巫峡敝庐奉赠侍御四舅》"行李淹吾舅，诛茅问老翁"。"行李"的"李"并不是桃李的"李"，但是诗人借用桃李的"李"的意义来与"茅"字作对仗。
又如杜甫《曲江》"酒债寻常行处有，人生七十古来稀"。
古代八尺为寻，两寻为常，所以借来对数目字"七十"。有时候，不是借意义，而是借声音。
（4 ）流水对.
对仗，一般是平行的两句话，它们各有独立性。但是，也有一种对仗是一句话分成两句话，其实十个字或十四个字只是 一个整体，出句独立起来没有意义，至少是意义不全。这叫流水对。
像杜甫的“即从巴峡穿巫峡，便下襄阳向洛阳。就是流水对。
人怜巧语情虽重，
鸟忆高飞意不同。 （白居易）
总之，律诗的对仗不像平仄那样严格，诗人在运用对仗时有更大的自由。艺术修养高的诗人常常能够成功地运用工整的对仗，来做到 更好地表现思想内容，而不是损害思想内容。遇必要时，也能够摆脱对仗的束缚来充分表现自己的意境。
第五讲
古诗词写作技巧
古体诗写作，不仅仅是平仄、用韵方面有比较严格要求，在语言的运用上也有技巧可言。
最显著的特点就是对诗歌的语言做变形处理的较多，就是诗语。
古典诗歌之所以这样做是为了充分地表情达意，更为重要的是诗歌格律的需要。打造诗家语，大致包括以下几种写作技巧:
一，是改变词
性。古代诗人为了炼字炼意的需要，常常改变诗歌中某些词语的词性，通过绘景状物，化抽象为具体，化腐朽为神奇，以此来增强了诗歌表现力，强化诗歌的感染力。如王安石:“春风又绿江南岸”中的"绿"本为形容词，活用为使动词。让“春风”具有了灵性。如果用"吹”就没有这样的神韵。我们写作近体诗时，尽可能使用一些生动形象的字眼，活用那些词性，都是近体诗写作中允许的。
二，调整语序。古代诗人为了强调某种意蕴，达到某种特效，或者出于格律的需要，故意改变某些词语的顺序。如雀颢《黄鹤楼》"芳草萋萋鹦鹉洲"，此句为宾语前置。正常的语序应该是“鹦鹉洲芳草萋萋”。如果这样写就与上句“晴川历历汉阳树"对不上了。高明的诗人是不会犯这种低级错误的，他把语序一调就什么都有了。
我们在写作近体诗的时候，如果发现某个句子不合格律或者没有特色时，调整一下语序，也许会出现意想不到的效果。这也是近体诗写作中诗人们经常用到的一种写作技巧。
省略压缩词语。诗人为了使诗歌具有更大的想象空间，往往省略或者压缩词语，在诗句与诗句之间留下空白，这样增加了诗句之间的跳跃性，让诗歌更具张力。诗从来不遵从散文的语法，而是避免散文语法。
三，巧用蕴含答话。如贾岛的《访隐者不遇》:“松下问童子，言师采药去。只在此山中，云深不知处。"作者用这种方法，将一个故事压缩为20个字，但读者仍能一目了然，短而有趣。在近体诗的写作中，使用这种方法的也不少见。如果能恰当运用这种技巧，可能会收到言简意赅、以一当十的效果。
四，意象组合，即名词叠加，中间没有连接词。如马致远的《天净沙·秋思》:“枯藤老树昏鸦，小桥流水人家，古道西风瘦马”，把多个意象直接拼合，表达了作者的羁旅之苦和悲秋之恨。读者不但不觉得牵强，读来反觉饶有情致。可见如果能恰当运用这一种技巧，也能让我们写作的近体诗具有简约的美学价值。
五、古诗对仗的多样化
写古典诗词把对仗句处理好是诗人的基本工。按规则的要求，把律诗颔联和颈联的两个对联的多种对仗法用得妙是诗人的艺术技巧。但不能千篇一律，要有变化，而且每首诗要有自已的特点。比如：我写的七律.忆家乡
北疆遍撒千堆雪，
凛冽风吹百树鸣。
一草一花含厚意，
一山一水涌浓情。
乡亲互助求温锦，
朋友相帮赠素羹。
细雨绵绵天地暖，
艳阳丽丽万家红。
这首诗用4个一字把草山花水对仗起来，4个一字处理既不违规，又不赚重复。
一首好诗语意丶语式要有变化。在同一首诗里不要有没有关联的重字。但有意的技巧重字，可提升诗意品味。
比如：我写的七律.耄耋颂
树绿花红八十旋，
推开晓梦望晴天，
能吃能睡穷欢乐，
能走能聊享美篇。
思路思潮观雨变，
思人思事看风缘。
老翁爱作黄昏颂，
流水山高奔百年。
这首诗中把4个能字和4个思字分开重用，也妙到好处。
第六讲
谈谈绝句的写作
一首绝句虽然只有四句，但要写出诗情并非易事。诗要注入真情。没有饱醮深情的投入，诗句就显得干瘪，无生气，无灵性。即使语言再华丽，也难以引起读者共鸣。不能感动自己，何以感动读者？而情的表达，需要借助具象与意象，缺少“诗家语”的说教，很难触及到读者的灵魂，给读者留下深刻的印象，更难让读者感受到诗的美感。
有一首写建筑民工的七绝就很好。
工棚低矮入霜寒，
夜数繁星怕影单。
还是锄禾那双手，
种成大厦到云端。
作者通过首联“工棚低矮入霜寒，夜数寒星怕影单”。即用“工棚”、“霜寒”、“繁星”、“影单”这些具象的画面造境，让读者真实地感受到农民工的工作艰辛，生活不易，寄托了作者对这些普通劳动者的同情。且语言通俗、简练，生动、灵性。其中动词“数”与“怕”字的运用，准确表现了农民工的生活环境与精神的贫乏。作者在炼句与炼字上是下了一番功夫的，并投入了真实情感。
饱满的造境与烘托，为尾联主题的展开与提升，打下了坚实的基础联的对比。即：即使在那种简陋的工作环境里，生活在那么贫乏的精神世界里的这些人，为新时代的城市建设做出了重要贡献。凸显了农民工的质朴与高尚情操，唱出了时代主旋律。二是尾联本身的对比，“锄禾的手”，盖起了“入云端”的大厦。粗糙的手与精美的大厦形成了鲜明的对比。特别需要指出的是，这里作者运用了“通感”这个诗词表现手法。一个“种”字，把“种庄稼”与“种大厦”无缝连接起来，我们不禁为作者“种”字的妙用拍案叫绝！
绝句分为五言和七言。五言绝句和七言绝句都可是律诗的截取。
绝句从句式来说又是律诗的截取和组合。律诗的一二句和七八句组合叫首尾绝，没有对仗要求。是绝句的基本形式。律诗的前四句组合为前绝，三四句对仗。律诗的三四句与五六句的组合为中绝，两联对仗。律诗的后四句组合为后绝五六句对仗。
还以《慕鹏飞》为例说明一下:
阴雨绵绵迎晚秋，
烟云滚滚锁孤舟。
悠悠碧水飞白鹭，
静静兰亭绕赤鸥。
燕剪青波追幻影，
风吹霜发信难休。
凭栏远眺观苍宇，
仰慕鹄鹏万里游。
截一二句和七八句组成绝句:
阴雨绵绵迎晚秋，
烟云滾滚锁孤舟。
凭栏远眺观苍宇，
仰慕鹄鹏万里游。
此为首尾绝句，不用对仗。
截前四句为首绝，后两句对仗。
阴雨绵绵迎晚秋，
烟云滾滚锁孤舟。
悠悠碧水飞白鹭，
静静兰亭绕赤鸥。
截取中间四句为中绝，两联都对仗:
悠悠碧水飞白鹭，
静静兰亭绕赤鸥。
燕剪青波追幻影，
风吹霜发信难休。
截取后四句为尾绝，一二句对仗:
燕剪青波追幻影，
风吹霜发信难休。
凭栏远眺观苍宇，
仰慕鹄鹏万里游。
绝句规则上不要求对仗，但写出对仗为佳。
诗贵用情，情需意象表达。
七绝.观永刚画蝦
活灵活现纸川游，
短爪长须舞不休。
近看真蝦推墨动，
远听群戏笑声稠。
这是我在书画社看一位画家画一幅群蝦戏逗画时的感受。用纸穿透表达画的工力，用水里游表达形象，用推墨动表达情志，用笑声稠来表达效果。
第七讲
谈谈七律的写作
作为格律诗，必须遵守的格式三大规则就是：平仄，押韵，对仗。而律诗的普遍章法是“起承转合”。这就是写七律要注意的两个方面，格式与章法。
格式
汉字的声调为四声，唐人将四声简化为平、仄，从沈约的四声标注诗歌法进入到平仄标注法，并创造出近体诗格式，指导后来者迅速躲开诗歌创作中的诗病。也就是说，按照格律写诗，肯定不会拗口。因为诗是韵文，是内容与音律的完美结合。
平仄格式是保证近体诗音律优美的一种工具。
平仄
七律也是四种基本格式。
仄起仄收，仄起平收，平起仄收，平起平收。
我们来看看白居易的七律《钱塘湖春行》：
孤山寺北贾亭西，水面初平云脚低。
几处早莺争暖树，谁家新燕啄春泥。
乱花渐欲迷人眼，浅草才能没马蹄。
最爱湖东行不足，绿杨阴里白沙堤。
判断平仄关系属于那种格式看首联首句第二个字，“山”字为平，这就是平起，再看首句尾字“西”为平声，所以这首七律就是“平起平收”格式。
而平起平收格式首句的平仄是“平平仄仄仄平平”，“孤山寺北贾亭西”，字字合律。再根据“对”、“黏”的平仄推导原则，得出整首诗的平仄关系。
平仄合律是写律诗的基本要求，大家可以对应看这首诗的字的平仄有没有问题。但是在非关键位置（一、三、五）是允许平仄变通的，所以有“一三五不论，二四六分明”的说法，但是在关键位置（二、四、六）上的字平仄是交替进行的，要么是“平仄平”，要么是“仄平仄”，否则的话就是失替出律了。
四种七律的平仄格式：
仄起仄收，起句：仄仄平平平仄仄。
仄起平收，起句：仄仄平平仄仄平。
平起仄收，起句：平平仄仄平平仄。
平起平收，起句：平平仄仄仄平平。
创作七言律诗逃不出这四种起句格式，后面的整首诗关系都可以通过首句来推导得出，并不需要死记硬背。掌握这四种基本格式，在创作就有了规矩，在通过大量阅读赏析掌握一些变格、拗救以及对不造成出律的可平可仄位置的了解，就能写出合平仄的七律。
我写的七律《慕鹏飞》就是仄起平收。
阴雨绵绵迎晚秋，
烟云滚滚锁孤舟。
悠悠碧水飞白鹭，
静静兰亭绕赤鸥。
燕剪青波追梦影，
风吹霜发洒光头。
凭栏远眺千层彩，
慕鹏高翔万里游。
押韵
七律的押韵遵从格律诗的原则，即仄收格式，偶数句押韵，平收格式，则一、二、四、六、八句押韵。要求押平声韵，一韵到底，不允许邻韵通押。唯一一点变通就是平收格式下首句可以押邻韵，叫做“孤雁出群格”。然后有些尾句押邻韵，叫做“孤雁入群格”。其他情况下和绝句一样严格。
我的这首七律的韵脚是“秋、舟丶鸥、头、游”同属新韵Ou韵部。
至于押平水韵还是新韵，看写诗人自己爱好吧，这个各有所爱，无需强求。毕竟写诗以诵读为主，平水韵虽然古意盎然，但有些字发音变化，在如今读起来并不押韵。而新韵在避免了这个问题。
这个是个人爱好，只是在写完之后，如果标注一下，更利于读者理解就更好。
对仗
七律的对仗主要是针对颌联（三、四句）和颈联（五、六句）而言。标准的律诗是必须中二联对仗的，不过由于过于严格，所以到后来逐渐放宽了写，颈联对仗就可以了，颌联硬是不对也没关系。但是颈联对仗是底线，如果颈联不对仗，就不是律诗了。
同时还有一些变化的对仗，比如说起笔首联就对仗，第二联不对仗，颈联对仗，这种格式的叫做“偷春对”，也就是说对仗像春天一样偷偷地早来了。只有颈联对仗的叫做“蜂腰对”，就是前面提到的放宽的格式。
我的《慕鹏飞》，八句就是4个对仗联：
阴雨绵绵迎晚秋，
烟云滚滚锁孤舟。
悠悠碧水飞白鹭，
静静兰亭绕赤鸥。
燕剪青波追梦影，
风吹霜发洒光头。
凭栏远眺千层彩，
慕鹏高翔万里游。
如果你一定要写得全诗都对仗，也可以，不过那只是证明你的文采好，与七律格式要求无关。
章法
七律在格律诗中算是篇幅比较适中，比七绝字多一倍，能够更好地完成“起承转合”的脉络。而对应这四个字是以律诗的联为基础的，我们还是结合我的<慕鹏飞>诗来看。
首联“起”：“阴雨绵绵迎晚秋，烟云滚滚锁孤舟”这就是从时间丶景色、环境起笔。
颌联“承”：“悠悠碧水飞白鹭，静静兰亭绕赤鸥”承接首联，继续深入、细化写景。
颈联“转”：“燕剪青波追梦影，风吹霜发洒光头”转入另外的视角，写人在风景中的状态。
尾联“合”：“凭栏远眺千层彩，慕鹏高翔万里游”合回首联景色位置，并承接颈联，表达诗人羡慕的鹏程万里的情志。
基本上所有的七律都是遵从这种文法，只是在“转”上面各有不同，当然也有一些别出心裁的写法，但是那都是诗人们熟习文法、格式之后带入自己形成的风格，大家需要区别赏析对待。
我们在说如何写七律这个问题，就先不要去看变格和拗救。先打好了这些基础，再看变化和出神入化。
第八讲
谈谈排律
排律是律诗的一种，由于按照一般律诗的格式加以铺排延长而成，故称排律，又叫长律。
排律和一般律诗一样，要严格遵守平仄、对仗、 押韵等规则。
每首最短五韵十句，多的长达五十韵（一百句）甚至一百韵（二百句）以上。除首尾两联外，中间各联都用对仗；各句间也都要遵守平仄粘对的格式。排律，是超过八句以上的律诗，除了首联、尾联可以不用对仗外，中间不论有多少联，都要用对仗。首联，尾联当然也可以用对仗，特别是首联用对仗的十分普遍。
精卫衔石填海 [唐]韩愈
鸟有偿冤者，
终年抱寸诚.
口衔山石细，
心望海波平。
渺渺功难见，
区区命已轻.
人皆讥造次，
我独赏专精。
岂计休无日，
惟应尽此生.
何惭刺客传，
不着报雠名！
我写排律不多，现选一首排律.〈忆家乡〉，全诗六韵，是按照规则写的。
排律.忆家乡
我家住在小屯东，
绿树窗前池影中。
窄巷时时闻犬吠，
荷塘阵阵响蛙鸣。
渔歌梆响传佳运，
稻浪风推送暖情。
一草一花含厚意，
一山一水吻香浓。
亲亲互助求温饱，
友友相帮踏笑声。
细雨绵绵天地润，
艳阳丽丽万乡红。
排律是律诗的延长，也就是说用律诗容纳不下了，需要增加与补充，因此多加了几行。比如我写的七律〈赠爱妻〉，觉得有些事没说完，于是又增加了几句，变成排律。
七律.赠老伴
春风化雨落龙江，
桃李催花酿蜜芳。
扫尽残尘营室净，
擦洁饰玉贯堂香。
任劳琢制三餐饭，
竭力教扶两幼郎，
锐意写诗诗锐韵，
精心绘画画精煌。
写成排律.赠老伴
春风化雨落龙江，
桃李催花酿蜜芳。
扫尽残尘营室净，
擦洁饰玉贯堂香。
待人笃信和诚义，
处事权衡吉福祥。
任劳琢制三餐饭，
竭力教扶两幼郎，
锐意曲歌歌锐韵，
精心诗赋赋精煌。
两鬓如霜情未了，
期颐携手醉夕阳。
第九讲
简说唐诗
唐诗是中华文化韵文的瑰宝。
诗是韵文，其实就是用押韵句来写文章。唐诗是指五言诗和七言诗。唐诗是中国诗的里程碑！是世界文学艺术的瑰宝！
五言诗和七言诗适合汉字传情达意和汉语的吟诵，在唐朝涌现出一大批创作五言诗、七言诗的优秀诗人，创作出大量脍炙人口的名诗佳作，创造出中国诗前所没有的辉煌！从此人们就把五言诗和七言诗称作唐诗。唐朝就把唐诗纳入科举考试，命名为格律诗，编写《平仄格律规则》来规范格律诗的创作和考评，《平仄格律规则》就成为了评价格律诗创作优劣的准则，这样就束缚了格律诗的创作空间，千篇一律！但也有些著名诗人不按照《平仄格律规则》创作唐诗的，如杜甫的《望岳》、崔颢的《黄鹤楼》等。唐诗是文学的其中一种，五言句和七言句是唐诗的载体！传情达意是唐诗的灵魂！朗朗上口的句子就是押韵句！像杜甫的绝句
两个黄鹂鸣翠柳，
一行白鹭上青天。
窗含西岭千秋雪，
门泊东吴万里船。
这样双对仗，朗朗上口的千古佳作。
我也写了一首七律。
七律.虎年乐
鞭炮声声追笑语，
腊梅朵朵撒幽香。
虎来牛去家家乐，
谷舞粮歌户户忙。
靓女频频含媚色，
壮男款款换新装。
谁说岁月催人老，
春意融融喜满堂。
虎年的到来，我按着唐诗的风格写了一首七律。首联写环境，承联写物程，转联人情，尾联状势扣题。
第十讲
格律诗写作基本要求
1丶韵脚：首句入韵和不入韵。二四六八句最后一字为韵脚。
2丶平仄：每句的二四六字平仄要分明，一三五字在没有孤平、三仄尾、三平调时平仄可以不论。
新韵平为汉语四声字中的一二声，仄为字中的三四声。新韵不分入声字。
平水韵有入声字要求。
3丶孤平：每句的后五字中要有连平，隔字平声也为孤平。
4丶粘：二三句，四五句，六七句平仄相同，为粘。
5、对：一二句，三四句，五六句，七八句平仄相反为对。
6、对仗：律诗的三四句，五六句句式相同词性相同，反差要大，平仄相反，对仗要工整。为两幅对联。
此论改变了人们过去常用的一三五不论，二四六分明之说。只要遵此格律规则，就把过去写诗常用的几十种平仄格律的样式变为简单的一式，便于初学者学习和掌握，也不用再有拗救之苦。
比如我写的七律<丰收乐>
七律.丰收乐
灿灿秋阳映地黄，
枫红艳艳染山庄。
风推草浪湧花海，
果凉丘油飘酒香。
大豆摇铃金马舞，
高粱吐米铁牛狂。
小河静静群鱼戏，
笑看家家忙晒粮。
这些只是格律诗写作的基本要求。要想把诗写好，还要在提情炼意丶起承转合、语法结构、对仗工整等方面多下些工夫。
我写的七律咏菊就此做了些尝试。
七律.咏菊
霜使百花皆退群，
秋菊骄色唤回春。
风吹蕊紫飘香气，
雨打艳黄燃火馨。
旷野多情千里玉，
庭堂满眼万颗金。
一从陶令夸君秀，
代代高洁说到今。
第十一讲
律诗的炼意法
写诗首先是立意。人常说：“炼字不如炼句，炼句不如炼意。”所谓炼意就是创造诗的意境。意是诗的主体，境是立题的丰满与深化。
创造诗的立意是一个艰苦的过程。
王国维在《人间词话》中关于论境界时说：“古今之成大事业，大学问者，必经过三种境界。
“昨夜西风凋碧树，独上高楼，望尽天涯路。”此为第一境界。
“衣带渐宽终不悔，为伊消得人憔悴。”此为第二境界。
“众里寻他千百度，蓦然回首，那人却在，灯火阑珊处。”此为第三境界。
我们可以理解为第一境界是登高远望，去博采众长；第二境界为孤灯夜读，苦思冥想；第三境界乃幡然有悟，恰自然成妙。王国维对境界的这段比喻正是写诗过程的绝好诠释，即登高望远，苦思炼意，有所感悟的三个阶段。
诗有即兴而为和应制命题之作。即兴之作绝少事先立意，而是兴到句来，浑然成篇，形虽无立意但意境柔入篇中。而应制命题之作依题立意，意求真实新颖，大凡是因情造境。力求达到“人人心中皆有，人人笔下曾无”的独创之作。
诗贵在意、象、形的完美统一。我写七律诗也经过从意到象的艰苦过程。也是一种炼意法。
七律.化蝶
数载同窗情脉脉，
十八相送意绵绵。
枝头朵朵繁花闹，
心上双双连理坚。
地老荒荒终有尽，
山盟切切始无端。
化蝶故事传佳话，
千古奇缘天下传。
诗更贵于想象与夸张，给读者留有思索的余地。
我写的七律.中秋圆月
中秋明玉当空照，
天上人间共此霄。
玉兔烹羹迎远客，
吴刚捧酒敬英豪。
牛郎织女家专晏，
新友刘洋成故交。
岁岁年年圆月日，
飞船来往驾金桥。
第十二讲
律诗的并列法
谋篇也是布局，也叫章法。在格律诗的创作中，除了要遵守“韵、声、粘、对”这基本四要素外，还要注重章法，要想写成一首好诗，是不能不讲究章法的。
先说并列式。
如杜甫
迟日江山丽，
春风花草香。
泥融飞燕子，
沙暖睡鸳鸯。
两个黄鹂鸣翠柳，
一行白鹭上青天。
窗含西岭千秋雪，
门泊东吴万里船。
杨慎谓的<四时咏>
春水满四泽，
夏云多奇峰。
秋月扬明辉，
冬咏秀孤松。
此类诗布局适用描景，特点多用对仗。但应用不好则易散乱无章。以上形式一章四景皆列，称并列布局。
我写的七律<八俊秋态>就是用的并列法。
七律.八俊秋态
菊花洒泪躲秋霜，
枫叶染红思故乡。
雁避躲寒飞万里，
鹏承求暖换千装。
牛藏枯草抚孺子，
马备精食御饥肠。
唯有苍松青永驻，
傲梅迎雪笑夕阳。
八俊並列，秋天来了，各有所思，各有所长。
第十三讲
律诗的连贯法
诗要上承下接，连贯如串珠、行云流水，通畅自然。
比如刘禹锡的《竹枝词》
山桃红花满枝头，
蜀江春水拍山流。
花红易衰似郎意，
水流无限似侬愁。
此诗开头两句各述一景，前说山花后述水，而第三句承首句，由“山桃红花”引出“似郎意”，第四句承第二句，系由“蜀江春水”，引来“似浓愁”。
全诗两两并列，承接对应，结构严谨，具有民歌特色。此类写法大都类似素描，信手拈来，不加雕饰，浑然一体，妙趣横生。
我写的七律<牵牛花﹥就是用的连贯法。
七律.牵牛花
故居老院绕牵牛，
血雨腥风昂傲头。
两手殷殷迎客笑，
一生淡淡顺潮流。
繁花秀蕊人多爱，
远水高山各所求。
岂怨星河清且浅，
雀桥座座筑缘楼。
我写的七律.牛郎怨就是正话反说，揭示现实。
七律.牛郎怨
昨夜七夕醉梦凉，
牛郎对我叙衷肠。
如今织女嫌贫苦，
弃子抛夫做富娘。
海誓山盟床上纸，
贤妻良母挂南墙。
劝君看破红尘事，
天上人间一个样。
第十四讲
说说律诗的拗救
拗句是和律句相对的概念，不合律便是拗。拗句可分为两类：小拗和大拗。凡在律诗中可以正常使用的拗句，皆归为小拗；不能在常规律诗中使用的拗句，皆归为大拗。
拗救皆是针对小拗而言。拗而能救，便不为病。拗救的方法是：前面在该用平声的地方用了仄声，后面便在该用仄声的地方用平声作为补偿，反之亦然。
例如我写的七律.古刹春潮
深山古刹雾中桥，
几盏孤灯风劲摇。
静静僧尼敲电脑，
滔滔游客笑声悄。
轻愁一抹眉间舞，
尘事三翻脑里消。
雪映梅花增乐趣，
桃红柳绿带春潮。
这首七律是按新韵规则要求写的。按照二四六平仄是分明的，一三五字如“游”丶“一”丶“尘”等处都是小拗，但根据新规，在没有孤平（每句后5个字有连平）丶三仄尾（每句最后3个字都仄声）丶三平调（每句最后3个字都是平声）的情况下，此处皆为小拗，可以不拗救。
七八两句是律诗的起丶承丶转丶合的合联。我原来写成
雪映梅花有乐趣，
桃红柳绿迎春潮。
在二四六字处，平仄不分明，则为大拗，需要拗救。办法例如此诗第7句是‘有乐趣‘三仄尾，因此下面第8句用‘迎春潮’（三平调）来拗救。这叫隔句拗救。
考虑到写诗最好不拗救，就改成
雪映梅花增乐趣，
桃红柳绿带春潮。
还有一种情况。例如我写的七律.垂钓中的第6句
往事条条念全休。
其中的‘全’字就出律了，而且是大拗，但此句的第3个字‘条’为平声，属同句拗救，视为正格。
附:七律.垂钓
和风缕缕荡轻舟，
独坐塘边挥钓勾。
鸟语声声云淡淡，
繁花朵朵水悠悠。
游鱼闪闪推标动，
往事条条念全休。
莫道凡尘争战乱，
养心健体更无愁。
第十五讲
律诗的转折法
如李白的《早发白帝城》
朝辞白帝彩云间，
千里江陵一日还。
两岸猿声啼不住，
轻舟已过万重山。
前两句一起一承，如行云流水，第三句突转，如奇峰突起，结句顺流而下，似水到渠成。
此类写法重点在第三句，起承转合分明，章法严谨。
对于格律诗的章法结构，元代就有人明确提出“起、承、转、合”这四字。其“起、承、转、合”法是格律诗创作的重要手法之一。其“起”即开始，“承”即承上，“转”即转折，“合”即收尾。而在元代之前，甚至在格律诗创作繁荣的唐代，人们也是不约而同地遵循这一规则进行创作。只不过是没有总结形成规则而已。
起联或起句应对景物或兴起或比起，或由事起，或就题起。要突兀高远，如狂风卷浪，势欲滔天。要善于造成一种先声夺人，笼罩全篇之势，尽量避免平庸。
承即颔联或次句，或写意，或写景，或写事，或引证。要紧承首联或首句中意思继续铺叙，抒发，不可松泛。
转即颈联或叫转联是绝句的第三句或律诗的第三联。或写意，或写景，或言事，或引证。此句为转折句，要笔锋陡转，别开天地，突起波澜，兼顾前后，应意转而脉不断。
合即尾联或结句。或就题结，或用事，或宕开一步。要呼应开篇，点明题意，收束全篇，努力做到弦外有音，生发新意，引人遐想，即言已尽而意无穷。有余音绕梁，回味悠长之感。
我写的七律<赞梅花>就是用的布局转折法。
七律.赞梅花
绵绵雨细润枝条，
叶茂根深任地摇。
阵阵风疾姿色俏，
层层雪厚品犹高。
朝朝暑去传心意，
岁岁寒来送暖潮。
待到百花争宠日，
翘头点点赞青豪。
起承转合顺序自然。
我写的七律.醉酒，道理如此。
七律.醉酒
我偷夸父一杯酒，
醉了晚霞方不休。
八戒错揹农少妇，
悟空误捣杏花楼。
牛郎河上寻新吻，
织女桥边拋彩球。
还想举樽邀月伴，
清风掠过己白头。
第十六讲
说说诗韵
关关雎鸠，
在河之洲。
窈窕淑女，
君子好求。
这是中国诗歌始祖<诗经>的开篇诗作，音韵和谐，朗朗上口。
诗是韵文，必须押韵，便于歌唱才能流传。从诗经到楚辞、汉赋、唐诗、宋词、元曲无不有这个特点。
古人押韵是依照韵书的。古人所谓“官韵”，就是朝廷颁布的韵书。
今天我们如果写旧诗，自然不一定要依照韵书来押韵。不过，当我们读古人的诗的时候。
却又应该知道古人的诗韵。 四声，这里指的是古代汉语的四种声调。
我们要知道四声，必须先知道声调是怎样构成的。所以这里先从声调谈起。
声调，这是汉语的特点。语音的高低、升降、长短构成了汉语的声调，而高低、升降则是主要的因素。
古代的四声是：
（1）平声。这个声调到后代分化为阴平和阳平。
（2）上声。这个声调到后代有一部分变为去声。
（3）去声。这个声调到后代仍是去声。
（4）入声。这个声调是一个短促的调子。
字典里的《分四声法》
平声平道莫低昂，
上声高呼猛烈强，
去声分明哀远道，
入声短促急收藏。
到了宋朝刘渊创造了平水韵。之后，诗人们大多是遵守平水韵进行诗词创作。毛泽东就是按平水韵创作的大家。
由于平水韵束缚太多，初学者不易掌握。
近30年来又创造了新韵。新韵的最主要特点是把现代汉语里的四声字分为一声、二声为平声，三声、四声为仄声，取消了入声字。
我近十年来写的几百首七律、七绝古典诗都是用的新韵。
七律.农家乐
高云淡淡日融融，
低雾薄薄绕矮峰。
细雨霏霏情切切，
微风阵阵意浓浓。
黄羊滚滚声声号，
白马群群簇簇拥。
户户晒粮哄鸟远，
村村整地乐秋耕。
平水韵有入声字的要求，比较难于掌握，容易混用。
用新韵，只要把现代汉语的四声弄准确，写起律诗来就得心应手了。
对现代汉语里的多声字，用的原则是音随意走。比如这首诗里的‘哄’这里是动词，‘哄鸟’就读平声，而不要读仄声。
第十七讲
谈谈修辞
修辞即炼字、炼句。一首诗好的字句子让人过目成诵，终生难忘。
诗有“诗眼”，诗眼就是诗的精华之处。
诗句中响亮之处即是“诗眼”。炼字炼眼就会使诗更加形象生动。
王昌龄的《青松述香积寺》
泉声(咽)危石，
日色(冷)青松。
杜甫的《旅夜书怀》
星(垂)平野(阔)，
月(涌)大江(流)。
王安石的《泊船瓜州》
景口瓜洲一水间，
钟山只隔数重山。
春风又(绿)江南岸，
明月何时照我还。
宋子京的《玉楼春.春景》
东城渐觉风光好，
縠皱波纹迎客棹。
绿扬烟外晓寒轻，
红杏枝头春意(闹)。
贾岛的“鸟宿池边树，僧(敲)月下门。”
我写的古典诗词
七律.秋歌
枫摇秋雨夜朦胧，
月隐孤灯醉影从。
长巷时时闻犬吠，
池塘阵阵鼓蛙声。
渔歌梆响传佳运，
稻浪风推送暖情。
晨起掀帘惊鳥语，
粉蝶戏闹望霞红。
其中醉、闻、鼓、传、望等几个动词的运用都给诗增加了色彩。
第十八讲
虚词的巧用
虚词在诗词中巧用可以使其传神生辉，从而能达到诗脉流畅，文气回旋，情致委婉，荡人心魄的艺术效果。
李商隐是虚词巧用的高手。如《风雨》
黄叶(仍)风雨，
青楼(自)管弦。
诗中“仍”字加重了黄叶本已凋零之气氛，其景象有让人更凄凉伤神之感，“自”字其一转，与“仍”相对应，描绘出青楼管弦高奏，无视天下平民之疾苦，诗人借助此景含蓄地表述了那种愤愤不平的心态。
还有大家皆晓的名句
春蚕到死丝(方)尽，
蜡炬成灰泪(始)干。
上句的“方”与下句的“始”使该联表达更巧妙，韵味有余音绕梁之感。还有如下联句
(何)当共剪西窗烛，
(却)话巴山夜雨时。
诗句中遥想何时重逢再西窗剪烛并联想到巴山夜雨的凄凉之境，在凄婉的感怀中有种温馨的希望在闪耀。而这美妙的诗句中“何当”“却话”发挥了意味深长的作用。
我写的七律.<荷花>中的方、始、有、无，这些虚词的运用就有这个艺术效果。
七律.荷花
故里池塘几亩莲，
风吹雨过笼芳烟。
春生根韵方心启，
夏育花鲜始梦圆。
纵有狂言施暴虐，
更无细语慰安然。
秋高气爽颜如玉，
留给人间做美谈。
第十九讲
关于叠词的妙用
将两个或两个以上相同的字重叠而构成的词，古人叫“叠字”，现在称之为“叠词”。叠字是汉语特有的固定形式，毫无疑问，叠字也是一种人们喜闻乐见的修辞手法，与其它各种语文表现手法相比，叠字具有许多优点，主要的是：普及性、简便性、明显性、民族性、口语性等。
用叠字在摹声状物的同时，还可以调节节拍、增强音乐性，并能通过叠字表达特定的情感，透露出浓郁的生活气息，加强口语化，更容易引起人们的共鸣。
杜甫《登高》中的“无边落木萧萧下，不尽长江滚滚来”，欧阳修《蝶恋花》中的“庭院深深深几许？杨柳堆烟,帘幕无重数” 等等。
中国古诗词用叠字，表情达意或强烈、或委婉、或深沉；状物描景绘声绘色，可见可闻；并且读起来掷地有声，显示其音律美。一般情况下，诗词中运用叠字可起到很多意想不到的作用与效果。
王维的山水田园诗在某种程度上继承了陶渊明的风格，《积雨辋川庄作》中有“漠漠水田飞白鹭，阴阴夏木啭黄鹂”的诗句。“漠漠”有广阔无边的意思，仿佛使人看到广阔无垠的水田上，白鹭在自由自在地飞翔；“阴阴”是幽深之意，表明树木郁郁葱葱，黄鹂深藏在树叶里婉转地啼鸣。诗人描绘的夏日风景图，正是诗人欢畅的心情所在。
杜甫也是用叠字的高手，《曲江》一诗中有“穿花蛱蝶深深见，点水蜻蜓款款飞”的句子，“深深”和“款款”表达了作者的感动，传达了蛱蝶采花酿蜜、蜻蜓点水飞舞的生命以及它们给予诗人的感动。
古诗词中的叠字还能把绘形和摹声结合起来，显得更加妙不可言。唐代诗僧寒山的《杳杳寒山道》就是这样的作品：“杳杳寒山道，落落冷涧滨。啾啾常有鸟，寂寂更无人。淅淅风吹面，纷纷雪积身。朝朝不见日，岁岁不知春。”这首诗通篇句首用叠字， “杳杳”具有幽暗的色彩感，“落落”具有空旷的空间感，“啾啾”言有声，“寂寂”言无声，“淅淅”写风的动态感，“纷纷”写雪的飞舞状，“朝朝”“岁岁”同指时间，又有长短之分。八组叠词，接连使用，绘声绘色，各具情状又富于变化，不仅活现出高山深壑中一位孤寂而闲静的僧人形象，更让读者沉浸于美妙的韵律之中。
我在写七律《秋色》时就用了多个叠词，觉得意切词达。
七律.秋色
北风吹雨冷飕飕，
碧水荡波瓜果熟。
枫叶红红千景秀，
菊花紫紫万温柔。
晴空丽丽争阳火，
甘露珠珠夺眼球。
送走燃光得爽意，
迎来秋色满枝头。
几个叠字的运用增加了诗作的含蓄和感染力。
第二十讲
律诗的发展与创新
律诗是中国传统诗歌的一种体裁，属于近体诗范畴，因格律要求非常严格而得名。律诗起源于南朝齐永明时沈约等讲究声律、对仗的新体诗，至初唐沈佺期、宋之问等进一步发展定型，而盛行于唐宋时期。律诗在字句、押韵、平仄、对仗各方面都有严格规定。
律诗也分五言和七言两种，每一种都限定一首诗为八句，超过八句的称为“排律”。
在南朝齐梁时就有这种形式出现，只是格律还不完备。直到唐朝武则天时期，七律方才形成。律诗常见的都是用平声韵脚。律诗用韵的地方是一、二、四、六、八句。第一句既可用韵，也可以用邻韵或不用韵；如果不用韵，句末一字一般都用仄声。律诗字句间的平仄安排，要求一句之中，节拍字平仄交错；第一、二句之间，第三、四句之间，第五、六句之间和第七、八句之间，平仄对立；第三句和第二句之间，第五句和第四句之间，第七句和第六句之间，平仄相粘。律诗还必须讲对仗，每两句称为一联：第一二句称为“首联”或“起联”，第三、四句称为“颔联”，第五、六句称为“颈联”，第七、八句称为“尾联”。其中颔联和颈联，就规定必须要用对仗，就是两句中的词组结构和词性要相同，互相成对。律诗的颔联和颈联，也就是两副对联。也有的四联都对仗，是作者的手法更高明一些。
比如我写的七律<乐丰收>就是用了四个对仗联，读起来也感到自然亲切。
七律.乐丰收
风风雨雨任飘流，
草草花花各所求。
滚滚江河东海水，
环环朗月北窗钩。
年年岁岁拉车马，
默默勤勤耕地牛。
户户村村迎日作，
家家镇镇乐丰收。
律诗是祖国传统文化的瑰宝。经过了从无序到有严格规律要求的千年发展，内容和题材上要与时俱进。
比如我写的七律<朝霞>
七律.朝霞
孤灯残月影西滑，
夜半难眠狂饮茶。
幽路雨声催我醉，
高阳风昊绘章华。
远山观景观山远，
花海听潮听海花。
漫道桥台悬朗月，
险峰吞水吐朝霞。
诗中对于‘远山’和＇花海＇的运用也是按照格律的创新。
Chun Yao's Classical Poetry Lecture
1. Mei Fang Zhu Qing Lecture 1: Appreciation of Metrical Verse
2. The Sun in the Heart Lecture 2: Talk about Metrical Verse
3. Yuan Fang Lecture 3: The Structure of Metrical Verse
4. Yuan Fang Lecture 4: Antithesis of Metrical Verse
5. Liu Yi Da Ji Lecture 5: Writing Skills of Ancient Poetry
6. Liu Yi Da Ji Lecture 6: Talk about the Writing of Quatrains
7. Fei Xiang Lecture 7: Talk about the Writing of Seven-Character Regulated Verse
8. Feng Zhi Wei Lecture 8: Talk about Pailü
9. Qing Qing Cao Lecture 9: Basic Requirements for Writing Metrical Verse
10. Yi Hui Lecture 10: The Method of Refining the Meaning in Metrical Verse
11. Hui Zi Lecture 11: The Method of Parallelism in Metrical Verse
12. Teng Lecture 12: The Method of Continuity in Metrical Verse
13. Teng Lecture 13: The Method of Turning in Metrical Verse
14. Hui Zi Lecture 14: Talk about the Rescue of Discrepancies in Metrical Verse
15. Teng Lecture 15: The Method of Transition in Metrical Verse
16. Teng Lecture 16: Talk about the Rhyming of Poetry
13. Yan'er Flies The Seventeenth Lecture On Rhetoric
The Eighteenth Lecture Skillful Use of Function Words
14. Providence The Nineteenth Lecture On the Wonderful Use of Reduplicated Words
15. Soar The Twentieth Lecture The Development and Innovation of Regulated Verse
Chun Yao's Classical Poetry Lecture
Lecture One
Appreciation of Metrical Poetry
Loving poetry, writing poetry and appreciating poetry. Three realms. The three interact with each other and improve cyclically.
(1) Basic Elements of Metrical Poetry
The poem has a fixed number of lines, each line has a fixed number of characters, each character has a fixed tone, rhymes have a fixed position, and the rhythm has a fixed pattern.
Chinese characters are unique in the world as monosyllabic, having four tones and square-shaped. They ingeniously combine the shape of the character, the meaning, the picture, the language and the music.
(2) Types of Metrical Poetry
Metrical poetry is divided into two major types: five-character and seven-character. Five-character is an abbreviation of seven-character. That is, cutting off the first two characters of seven-character is a five-character poem.
The forms are divided into quatrains, regulated verses and long regulated verses.
A quatrain has four lines, a regulated verse has eight lines, and a long regulated verse has more than eight lines with no limit on the length.
Quatrains are divided into five-character and seven-character. Five-character quatrains and five-character regulated verses, as well as seven-character quatrains and regulated verses, are abbreviations.
Quatrains are also abbreviations and combinations of regulated verses in terms of sentence patterns. The combination of the first two lines and the last two lines of a regulated verse is called the beginning-and-ending quatrain, with no requirement for antithesis. It is the basic form of a quatrain. The combination of the first four lines of a regulated verse is the front quatrain, with the third and fourth lines in antithesis. The combination of the third and fourth lines and the fifth and sixth lines of a regulated verse is the middle quatrain, with both pairs in antithesis. The combination of the last four lines of a regulated verse is the rear quatrain, with the fifth and sixth lines in antithesis.
(III), Appreciation Criteria for Regulated Verse
1. Conception: Theme, expressed intention.
2. Environment: The environment of objects, scenes, and events.
3. Image: The state of objects, scenes, and events.
4. Sentiment: Soft and delicate or exaggeration.
5. Philosophy: Principles, philosophical aphorisms.
6. Metrical Pattern: Rhymes, tones (level and oblique), adhesion and opposition, and antithesis.
7. Rhymes: The first line may or may not rhyme. The last character of the second, fourth, sixth, and eighth lines are rhymes.
8. Tones (level and oblique): The tones of the second, fourth, and sixth characters are distinct. The first, third, and fifth characters can be disregarded as long as there is no isolated level tone, three consecutive oblique tones, or three consecutive level tones.
In the new rhyme system, level tones are the first and second tones of the four tones of Chinese characters, and oblique tones are the third and fourth tones. Entering tone characters are not distinguished.
In the Ping Shui Rhyme system, there are requirements for entering tone characters.
9. Isolated level tone: There should be consecutive level tones in the last five characters of each line.
10. Adhesion: The tones of the second and third lines, the fourth and fifth lines, and the sixth and seventh lines are the same.
11. Opposition: The tones of the first and second lines, the third and fourth lines, the fifth and sixth lines, and the seventh and eighth lines are opposite.
12. Antithesis: The third and fourth lines and the fifth and sixth lines of a regulated verse have the same sentence structure and part of speech, with significant contrast and opposite tones, forming two couplets.
This theory changes the common saying that the tones of the first, third, and fifth characters can be disregarded, while those of the second, fourth, and sixth characters are distinct. As long as this metrical pattern is followed, dozens of styles of regulated verse can be simplified into one form, and there is no need for correction. It is convenient for learning and writing.
These are only the basic requirements of regulated verse. To write good poems, efforts should also be made in the aspects of introduction, continuation, transition, and conclusion, grammatical structure, and neat antithesis.
(4). The Five Beauties of Metrical Poetry
1. The beauty of uniformity. In metrical poetry of five-character and seven-character lines, each individual square-shaped Chinese character is like a soldier, arranged in the lines of the poem, visually giving people a sense of uniformity and not being scattered.
2. The beauty of rhythm. In the lines of the poem, there are pauses between words and changes in the four tones and the level and oblique tones, giving people a strong beauty of rhythmic changes.
3. The beauty of music. Metrical poetry pays attention to tones and rhymes. It uses regular rhymes to make each couplet and each line of the whole poem correspond to each other. The seemingly irregular syllables run through a complete melody, and the regular recurrence of rhymes produces a harmonious and catchy musical beauty.
4. The beauty of symmetry. Symmetry is the advanced aesthetic feeling in metrical poetry, the realm that poets consciously pursue, and also the high-value aesthetic enjoyment that poets give to readers. For example, "Two orioles sing amid the willows green; A flock of white egrets fly up to the blue sky. My window frames the snow-crowned western mountain scene; My door oft says to eastward-going ships 'Goodbye!'" Even children who have just learned to speak like its aesthetic feeling.
5. The beauty of simplicity. A good metrical poem contains a large amount of poetic information with the least words, expressing rich emotions and stimulating the imagination and interest in savoring of readers.
(Five), Appreciation of Fan Shi's Poems
Seven-character Quatrain by Mao Zedong
In the dusk, the sturdy pine is seen,
Amid the flurry of clouds, it remains calm.
A fairy cave is naturally formed,
The boundless scenery lies on the perilous peak.
The four lines convey four philosophies:
1. The sturdy pine shows its strength in the dusk.
2. It tells people to face the flurry of clouds calmly.
3. The fairy cave is naturally formed and cannot be changed by anyone.
4. Only by climbing the perilous peak can one enjoy the boundless scenery.
What a wonderful poem of life philosophy.
Seven-character Octave. The Long March
The Red Army fears not the trials of the Long March,
Countless rivers and mountains are treated as nothing.
The Five Ridges wind like gentle ripples,
The Wumeng Mountains roll like tiny mud balls.
The Jinsha River's waves pound the cliffs, warm and inviting,
The Dadu River's iron chains on the bridge are cold and stern.
Even more joyous is the thousand miles of snow on Minshan Mountain,
After the three armies pass, all smiles are broad.
It has a lofty conception, a magnificent momentum,
Strict metrical patterns and refined techniques.
Happy Rain on a Spring Night
Tang Dynasty · Du Fu
Good rain knows its time when spring comes.
It falls secretly at night with the wind.
It moistens all things softly and soundlessly.
The paths in the wild are all dark with clouds,
Only a solitary lantern shines on a boat in the river.
Come dawn, we'll see the moistened red flowers,
In the City of Brocade, the flowers are heavy with dew.
It is gentle and meticulous, with a blend of scene and sentiment.
Let me talk about my seven-character octave "Hometown Dream".
Seven-character Octave. Hometown Dream
My home is located east of the small village,
Green trees tap the window, calling the old man.
In the long alley, the barking of dogs is heard repeatedly,
In the pond, the croaking of frogs resounds in waves.
The fisherman's songs and the beating of the wooden clappers convey beautiful rhymes,
The rice waves pushed b
Start: Recall the environment of one's hometown. Continue: Wrote couplets in antithesis like "In the long alley, dogs bark could be heard; in the pond, frogs' croaks resounded". Transition: Also wrote couplets in antithesis like "Fishing songs and the sound of wooden clappers spread the fine rhymes; the waves of rice and the wind convey the hard feelings", shifting from the scenery to emotions. Conclusion: Wrote about dreams and imagination, adhering to the topic.
Lecture Two
On Metrical Poetry
Classical metrical poetry includes quatrains, regulated verses and long regulated verses in five-character and seven-character lines.
I. The Relationship between Quatrains and Regulated Verses
Quatrains come in two forms: five-character and seven-character. Regulated verses also come in two forms: five-character and seven-character.
Those five-character and seven-character quatrains that do not follow the metrical rules are called ancient quatrains. Li Bai's "Before my bed lies a pool of moonlight, I could imagine it's frost on the ground. Looking up, I see the bright moon shining, bowing my head, thoughts of home fill my mind." is a five-character ancient quatrain that has been renowned throughout the ages.
There are differences between seven-character quatrains and seven-character regulated verses in terms of format and writing methods.
II. Format Differences
A seven-character quatrain has four lines, totaling twenty-eight characters. A seven-character regulated verse has eight lines, totaling fifty-six characters. This is the most fundamental difference: In metrical poetry, four lines are called quatrains, eight lines are called regulated verses, and more than eight lines are called long regulated verses.
The tonal patterns, rhymes, and the "opposition" and "adhesion" rules of tonal patterns between lines in quatrains and regulated verses are the same as they both belong to the metrical form.
The relatively big difference is the antithesis. Quatrains do not require antithesis. However, the second and third couplets (the middle two couplets) of a regulated verse must be antithetical.
For example, Li Bai (Seven-Character Quatrain)
The poplar catkins have all fallen and the cuckoos are crying.
I heard that you were passing through the Five Streams.
I entrust my sorrowful heart to the bright moon.
It will follow the wind to the land of the Yelang.
Du Fu (Seven-Character Regulated Verse)
Where can the Prime Minister's Shrine be found?
Outside the Brocade City, there
The second couplet, "The green grass on the steps reflects its own spring color, and the orioles behind the leaves sing fine songs in vain," and the third couplet, "Repeatedly visited for the strategies to save the world, the veteran minister devoted his heart to two dynasties," are antithetical. This is a rule that all seven-character regulated verses must follow.
This is the greatest difference in format between the seven-character quatrain and the seven-character regulated verse.
III. Differences in Writing Styles
The seven-character quatrain and the seven-character regulated verse generally follow the writing style of "introduction, elaboration, transition and conclusion" in terms of content, but there are some slight differences. Let's still take the above two poems as examples.
The number of sentences in a seven-character regulated verse is twice that of a seven-character quatrain. Therefore, the correspondence of the four words "introduction, elaboration, transition and conclusion" is based on two lines as a unit.
Du Fu's Seven-Character Regulated Verse
The first couplet is the "introduction", usually describing the scenery and explaining the time, place, environment and events related. "Where can the Prime Minister's Temple be found? Outside the Brocade City, cypresses stand thick and dark." Where to find the temple of Prime Minister Zhuge Liang? It's in the place outside the Brocade City where cypresses are thick and dark.
The second couplet is the "elaboration", continuing the first couplet, deepening the description of the scenery or events, describing and elaborating to enrich the layers of the work. "The green grass by the steps enjoys its own spring, while orioles among the leaves sing in vain." This is a detailed description of the scenery. The green grass by the steps naturally reveals the spring scenery, and orioles on the branches sing melodiously in vain. The third couplet is the "transition", "He was visited thrice for his strategies to save the land, and served two reigns with a loyal heart of an old minister." It turns to write about Zhuge Liang. He was visited thrice for his strategies to save the country, and the old minister was loyal and devoted during the two reigns. The last couplet is the "conclusion". Generally, it continues from the third couplet but should correspond to the first couplet, which is called the "conclusion". "Before victory in battle was achieved, he died, and heroes through the ages have shed tears of grief." Unfortunately, he d
The seven-syllable quatrain has a limited number of words. Therefore, the first line "initiates", the second line "continues", the third line "shifts", and the last line serves as an emotional outburst. Based on the "shift" in the third line, the emotions are expressed without a "conclusion", leaving a blank for people's imagination. This is the difference between the quatrain and the regulated verse.
Li Bai's Seven-syllable Quatrain
Initiation: "The poplars' catkins have all fallen and the cuckoos are crying", stating the time. It's when the catkins have fallen and the cuckoos are crying.
Continuation: "I hear that you have been demoted to Longbiao and have to pass through the Five Streams", stating the matter. I heard that you have been demoted to the position of Longbiao and have to pass through the Five Streams.
Shift: "I send my sorrowful heart with the bright moon", shifting to express emotions. I entrust my sorrowful thoughts to the bright moon. Conclusion: "It will follow the wind to Yelang in the west", deepening the emotions. I hope it can accompany you all the way to Yelang in the west with the wind.
The seven-syllable regulated verse I wrote, "The Small Lake in My Hometown", is written in this form of initiation, continuation, shift, and conclusion.
Seven-Syllable Regulated Verse. The Small Lake in My Hometown
Accompanied by friends, we walk a hundred steps,
The reflection of the small lake mirrors the long pavilion.
The blue sky is for miles and white clouds are dancing,
The fragrant grass in various poses and the green birds are singing.
The young girls with hair tied in silk ribbons are swimming,
The bearded and energetic old men are playing chess.
Who says it's not as beautiful as Suzhou and Hangzhou?
It decorates the mountain village in my dream.
The Third Lecture
The Structure of Regulated Verse
The structure of regulated verse is described as "introduction, continuation, transition and conclusion", or sometimes it is called "introduction, continuation, transition and ending". The "introduction" refers to the first couplet, which is the beginning and is required to be straightforward. The "continuation" refers to the second couplet,承接 the previous content and connecting the preceding and the following, and is required to be weighty and substantial. The "transition" refers to the third couplet and is required to have a sense of turning and change. The "conclusion" or "ending" refers to the last couplet and is required to reflect the ending nature and be implicit and meaningful.
In fact, this kind of "introduction, continuation, transition and conclusion" is only one structure of regulated verse.
The content of each poem is different. We should still adhere to the unity of content and form. The structure should not only be reasonable but also diversified.
Another requirement for the structure of regulated verse is that there should be two pairs of couplets in the middle. That is to say, the second and the third couplets should use antithesis.
The so-called antithesis means that, in addition to making the tones of the first and the second lines of each couplet opposite according to the tonal pattern, the parts of speech of the corresponding words must also be the same, that is: nouns versus nouns, verbs versus verbs, adjectives versus adjectives (in antithesis, adjectives are often used in the same category as verbs), adverbs versus adverbs, and function words versus function words.
For example: Li Bai's "Seeing Off a Friend on His Way to Shu"
It is said that the road to Can Cong,
Is rough and hard to travel.
The mountains rise right before people's faces,
The clouds rise beside the horse's head.
Fragrant trees enshroud the Qin Plank Road,
The spring current encircles the City of Shu.
Rise and fall should already be determined,
There is no need to ask Junping.
The middle two couplets of this poem are all antithetical. In the second couplet: "Mountain" and "Cloud" are noun-to-noun pairs. "From" and "Beside" are adverb-to-adverb pairs. "Human face" and "Horse head" are noun phrase-to-noun phrase pairs. "Rise" and "Arise" are verb-to-verb pairs. In the third couplet: "Fragrant tree" and "Spring stream" are noun phrase pairs. "Enclose" and "Surround" are verb pairs. "Qin stack" and "Shu city" are also noun phrase pairs. Moreover, "Qin" and "Shu" are both names of ancient countries and regional marks, and the pairing is very good.
Antithesis requires a large contrast, such as "Heaven" to "Earth", "Rain" to "Wind". The same or similar meanings of words belong to duplication.
Five-character regulated verse and seven-character regulated verse both require antithesis. The position of antithesis, the normal example is in the middle two couplets, namely the second and third couplets. Generally, for regulated verse, it is like this. There are also some exceptions.
In a poem, two couplets of antithesis are basic, and more are not limited.
Some poems have three couplets of antithesis, and some use antithesis in all four couplets, which are all allowed. In a poem, in addition to the middle two couplets, the first couplet also uses antithesis, and there are quite a few. For example:
Du Fu's "Ode to Historical Sites"
Scattered in the northeastern wind and dust,
Wandering in the southwest between heaven and earth.
The towers and terraces in the Three Gorges detain the sun and the moon,
The clothes of the Five Streams share the clouds and mountains.
The Jiehu serving the master is ultimately unreliable,
The poet laments the times and has not yet returned.
Yu Xin's life was the most desolate,
In his old age, his poetry and prose moved the Jiangguan.
A regulated verse with all four couplets using antithesis. Please look at the seven-character regulated verse I wrote. "Sing 'The East Is Red
The blueprint ingeniously depicts the aspiration of the original heart,
The Silk Road splendidly opens the journey around the world.
Coldly eyeing the ocean, the three seas change,
Warm wind blowing and rain falling, the five continents are rosy.
The foregoing all apply to the rules of five-character regulated verse and seven-character regulated verse. As for quatrains, it is completely fine not to use antithesis. Of course, it's also okay to use antithesis, either one couplet or two couplets. For example, the "Quatrain" written by Du Fu when he lived by the Huanhua Brook in Chengdu:
Two orioles sing amid the green willows;
A flock of white egrets fly up to the blue sky.
The window frames the snow-capped Western Mountains for thousands of years;
The door moors boats from the East Wu that have traveled ten thousand li.
It uses full antithesis, known as the absolute, and has been passed down through the ages.
The Fourth Lecture
Antithesis in Regulated Verse
The antithesis in poetry is called "antithesis". Antithesis is to juxtapose the concepts of the same kind or the opposite concepts. For example, the two words "ploughing the clouds" and "sowing the rain" form an antithesis, and the word structure is both verb-object. Generally speaking, when referring to antithesis, it means two lines are opposite. The upper line is called the presenting line, and the lower line is called the responding line.
The first and second lines of a regulated verse are called the "first couplet", the third and fourth lines are called the "second couplet", the fifth and sixth lines are called the "third couplet", and the seventh and eighth lines are called the "last couplet".
Antithesis is generally used in the second and third couplets, that is, the third and fourth lines and the fifth and sixth lines.
There are many rules for the antithesis in regulated verse. Now let's talk about the important ones.
(1) Exact Antithesis
When words of the same kind are opposite to each other, it is called exact antithesis.
Since nouns are divided into several subcategories, the words of the same subcategory being opposite to each other are even more exact antithesis.
Although some nouns are not of the same subcategory, but they are often juxtaposed in language, such as heaven and earth, poetry and wine, flowers and birds, etc., they can also be regarded as exact antithesis.
Antonyms can also be regarded as exact antithesis, and they are even better.
For example, in Li Bai's "Song of the Frontier" "In the dawn they fight with golden drums, at night they sleep hugging jade saddles", it is exact antithesis.
When there is self-antithesis within a line and the two lines are opposite to each other, it is regarded as exact antithesis. Like in Du Fu's poem "Spring in Capital" "The state is broken but the mountains and rivers remain; the city is overgrown in spring but the grass and trees are deep." Mountains and rivers are geography, grass and trees are plants. The antithesis is neat, and the antithesis of geography and plants is also neat.
In a couplet, as long as most of the words are neatly antithetical, it is exact antithesis.
For example, Chairman Mao's "Sending Away the Plague God"
The red rain follows our will and turns into waves,
The green mountains set their minds and turn into bridges.
The sky links the five mountain ranges and the silver hoes fall,
The earth stirs the three rivers and the iron arms shake.
"Red" corresponds to "blue", "intentionally" to "randomly", "translate into" to "turn into", "sky connecting" to "earth moving", "five ranges" to "three rivers",
"Silver" to "iron", "fall" to "shake", are all very neat; while "rain" to "mountain", "wave" to "bridge", "hoe" to "arm", noun to noun, are still neat.
Beyond this limit, it is not neatness but delicacy.
If the presenting line and the responding line are completely synonymous (or basically synonymous), it is called "clasped palms", which is even more a great taboo for poets.
The middle two couplets of my "Seven-character Verse. Ode to Morning Glories" are relatively neat in antithesis.
Seven-character Verse. Morning Glories
The old residence and courtyard are surrounded by morning glories,
With smiles on their heads despite bloody rain and stormy wind.
Two hands warmly welcome guests' arrival,
A lifetime simply follows the trend.
The numerous and splendid flowers and beautiful pistils are loved by many,
Distant waters and lofty mountains have their own desires.
Why complain that the Milky Way is clear and shallow,
Magpie bridges are built one after another for the fate-building building.
In the second couplet, "two hands" correspond to "a lifetime", "warmly" to "simply", and "arrival" and "trend" are verbs in opposition. In the third couplet, "numerous flowers" correspond to "distant waters", and "love" and "desire" are also verbs in opposition.
(2) Loose Antithesis
Form is subordinate to content. Poets should not compromise the ideological content in pursuit of neat antithesis. Between neat antithesis and loose antithesis, there is adjacent antithesis, that is, adjacent types of matters are in opposition. For example, astronomy to seasons, geography to palaces, color to direction, synonyms to continuous words.
In Wang Wei's "Sent to the Frontier" - "The drifting catkins leave the Han frontier, the returning wild geese enter the Hu sky", using "sky" to correspond to "frontier" is astronomy to geography;
Chen Zi'ang's "Parting with a Friend on a Spring Night": "In the parting hall, thoughts of zithers and lutes; on the parting road, winding through mountains and rivers." Here, using "road" against "hall" is a geographical term against a building term. Such cases are numerous.
(3) Borrowed Antithesis
A word has two meanings. The poet uses the meaning A in the poem, but at the same time borrows the meaning B of it to form an antithesis with another word. This is called borrowed antithesis.
For example, in Du Fu's "My Hut in the Wu Gorge Presented to My Fourth Uncle, the Imperial Censor": "My uncle is detained by my luggage; I ask the old man about building a thatched hut." The "Li" in "luggage" is not the "Li" in "peach and plum", but the poet borrows the meaning of the "Li" in "peach and plum" to form an antithesis with the word "thatched".
Another example is Du Fu's "Qujiang River": "Debts for wine are common wherever I go; few live to be seventy since ancient times." In ancient times, eight chi was a "xun", and two "xun" was a "chang", so they were borrowed to form an antithesis with the number "seventy". Sometimes, it is not the meaning that is borrowed, but the sound.
(4) Flowing Couplet
Antithesis generally consists of two parallel sentences, each of which has its independence. However, there is also a kind of antithesis where one sentence is divided into two. In fact, ten or fourteen characters are just one whole. The first line has no meaning when standing alone, or at least the meaning is incomplete. This is called the flowing couplet.
For instance, Du Fu's lines "Immediately passing through Ba Gorge and Wu Gorge, then heading down to Xiangyang and towards Luoyang" is a flowing couplet.
People pity the charming words though the affection is deep,
Birds remember flying high though the intentions are different. (Bai Juyi)
In conclusion, the antithesis in regulated verse is not as strict as the tonal patterns. Poets have greater freedom when using antithesis. Poets with high artistic accomplishments can often successfully employ neat antithesis to better express the ideological content rather than damage it. When necessary, they can also break free from the shackles of antithesis to fully express their artistic conception.
Lecture Five
Techniques for Writing Ancient Poetry
The writing of ancient poetry not only has relatively strict requirements in terms of tonal patterns and rhyming, but also has techniques in the use of language.
The most notable feature is that there are more deformations of the language of poetry, that is, poetic language.
The reason why classical poetry does this is to fully express emotions and ideas, and more importantly, it is the need of poetry rhythm. To create poetic language generally includes the following writing techniques:
First, it is to change the part of speech. Ancient poets often changed the part of speech of certain words in poetry for the need of refining words and meanings. By depicting scenes and describing things, they transformed the abstract into the concrete and turned the decayed into the magical, thereby enhancing the expressiveness of poetry and strengthening its appeal. For example, in Wang Anshi's "The spring wind has greened the southern banks again", the word "green" was originally an adjective but was used as a causative verb. It gave the "spring wind" spirituality. If "blow" was used, it would not have such charm. When we write modern-style poetry, we should use some vivid and vivid words as much as possible and make flexible use of those parts of speech, which are all allowed in the writing of modern-style poetry.
Two. Adjust the word order. Ancient poets deliberately changed the order of certain words in order to emphasize a certain meaning, achieve a certain special effect, or meet the needs of metrical rules. For example, in Cui Hao's "Yellow Crane Tower", "The fragrant grass is luxuriant on Parrot Island", this sentence is an object-fronting. The normal word order should be "On Parrot Island, the fragrant grass is luxuriant". If it were written like this, it would not match the previous sentence "The trees on Hanyang Plain are clearly visible". A brilliant poet would not make such a low-level mistake. By adjusting the word order, everything was in place.
When we are writing modern-style poems, if we find that a certain sentence does not meet the metrical rules or has no characteristics, adjusting the word order may have unexpected effects. This is also a writing technique often used by poets in the writing of modern-style poems.
Omit and compress words. In order to make poetry have a greater imaginative space, poets often omit or compress words, leaving blanks between lines, which increases the leaps between lines and makes poetry more tense. Poetry never follows the grammar of prose but avoids it.
Three. Skillfully use implied answers. For example, Jia Dao's "Visiting a Hermit but Not Meeting Him": "Under the pine tree, I asked the boy. He said the master had gone to gather herbs. Just in this mountain, but the clouds are so deep that I don't know where." The author compressed a story into 20 words using this method, but readers can still understand it clearly. It is short and interesting. In the writing of modern-style poems, this method is also not uncommon. If this skill can be properly used, it may achieve the effect of being concise and having a great impact with few words.
Four, Image combination, that is, noun superimposition, without conjunctions in the middle. For example, in Ma Zhiyuan's "Tianjingsha · Autumn Thoughts": "Withered vines, old trees, and crows at dusk; small bridges, flowing water, and households; ancient roads, west wind, and lean horses", multiple images are directly combined to express the author's hardship of traveling and hatred of autumn. Readers not only do not feel far-fetched, but instead feel charming when reading it. It can be seen that if this technique can be properly used, it can also give the modern-style poems we write a simple aesthetic value.
Five. Diversification of Antithesis in Ancient Poems
When writing classical poetry, handling antithesis sentences well is the basic skill of poets. According to the requirements of the rules, it is the artistic skill of poets to use the various antithesis methods of the two couplets in the second and third couplets of regulated verse skillfully. But it cannot be stereotyped, there must be changes, and each poem must have its own characteristics. For example: My regulated verse. Remembering Hometown
The northern frontier is scattered with thousands of piles of snow,
The bitter wind blows and hundreds of trees sing.
Each grass, each flower contains profound meaning,
Each mountain, each river surges with deep affection.
Fellow villagers help each other in pursuit of warmth and comfort,
Friends help each other and offer simple soup.
The drizzle is continuous and the world is warm,
The bright sun is shining and ten thousand families are red.
In this poem, the grass, flower, mountain and water are antithesized with four "each" words. The handling of the four "each" words is neither against the rules nor repetitive.
A good poem should have changes in meaning and language style. In the same poem, there should be no irrelevant repeated characters. However, intentional and skillful repeated characters can enhance the poetic taste.
For example: My regulated verse. Ode to the Elderly
The trees are green an
Thinking of People and Affairs and Observing the Fate of Wind.
The old man loves to compose odes to dusk,
The flowing water and lofty mountains rush for a hundred years.
In this poem, the four characters "能" and the four characters "思" are reused separately, which is also wonderful and appropriate.
Lecture 6
On the Writing of Quatrains
Although a quatrain has only four lines, it is not easy to express poetic sentiments. Poetry should be infused with true feelings. Without full and deep investment of emotions, the lines of the poem will appear dry, lifeless and soulless. Even if the language is more magnificent, it is difficult to resonate with readers. If you cannot move yourself, how can you move readers? And the expression of emotions needs to rely on concrete images and imagery. The preaching lacking the "language of poets" is difficult to touch the souls of readers, leave a deep impression on them, and even more difficult for them to feel the beauty of poetry.
There is a very good seven-syllable quatrain written about construction workers.
The workers' shed is low and exposed to frost and cold,
At night, they count the numerous stars, afraid of being alone.
Those are still the hands that hoed the crops,
Planted buildings reaching to the clouds.
The author creates the scene through the first couplet "The workers' shed is low and exposed to frost and cold, At night, they count the numerous stars, afraid of being alone". That is, by using concrete images such as "workers' shed", "frost and cold", "numerous stars" and "alone shadow" to create the setting, allowing readers to truly feel the hardships of the work and the difficult life of migrant workers, and expressing the author's sympathy for these ordinary laborers. Moreover, the language is popular, concise, vivid and soulful. The use of the verbs "count" and "fear" accurately shows the living environment and spiritual poverty of migrant workers. The author has made efforts in polishing the lines and words and has invested true emotions.
Full scene creation and highlighting laid a solid foundation for the expansion and elevation of the theme in the last couplet. That is: Even in such a crude working environment and living in such a barren spiritual world, these people have made important contributions to the urban construction of the new era. It highlights the simplicity and noble sentiment of migrant workers and sings the main theme of the times. The second is the contrast in the last couplet itself. The "hands that hoe crops" built the buildings "reaching the clouds". The rough hands and the exquisite buildings form a sharp contrast. It is particularly worth noting that here the author uses the poetic expression technique of "synesthesia". A word "plant" seamlessly connects "planting crops" and "planting buildings", and we can't help but applaud the wonderful use of the word "plant" by the author!
Quatrains are divided into five-character and seven-character. Both five-character quatrains and seven-character quatrains can be truncated from regulated verses.
Quatrains are also truncated and combined from regulated verses in terms of sentence patterns. The combination of the first two sentences and the last two sentences of a regulated verse is called the beginning-and-end quatrain, which has no requirement for antithesis. It is the basic form of quatrains. The combination of the first four sentences of a regulated verse is called the front quatrain, with the third and fourth sentences in antithesis. The combination of the third and fourth sentences and the fifth and sixth sentences of a regulated verse is called the middle quatrain, with both pairs in antithesis. The combination of the last four sentences of a regulated verse is called the rear quatrain, with the fifth and sixth sentences in antithesis.
Let's take "Mu Pengfei" as an example to explain:
The continuous drizzle welcomes the late autumn,
The billowing clouds and mist lock the solitary boat.
The leisurely green water sees white egrets fly,
The quiet Lanting Pavilion is surrounded by red gulls.
The swallows cut the green waves chasing phantoms,
The wind blows the frost-white hair and the letter is hard to stop.
Leaning against the railing and looking afar to observe the vast universe,
Admiring the wild geese and rocs traveling thousands of miles.
Extract the first two lines and the seventh and eighth lines to form a quatrain:
The continuous drizzle welcomes the late autumn,
The billowing clouds and mist lock the solitary boat.
Leaning against the railing and looking afar to observe the vast universe,
Admiring the wild geese and rocs traveling thousands of miles.
This is a quatrain with the beginning and ending, and there is no requirement for antithesis.
Extract the first four lines as the first quatrain, and the last two lines are in antithesis.
The continuous drizzle welcomes the late autumn,
The billowing clouds and mist lock the solitary boat.
The leisurely green water sees white egrets fly,
The quiet Lanting Pavilion is surrounded by red gulls.
Extract the middle four lines as the middle quatrain, and both couplets are in antithesis:
The leisurely green water sees white egrets fly,
The quiet Lanting Pavilion is surrounded by red gulls.
The swallows cut the green waves chasing phantoms,
The wind blows the frost-white hair and the letter is hard to stop.
Extract the last four lines as the tail quatrain, and the first two lines are in antithesis:
The swallows cut the green waves chasing phantoms,
The wind blows the frost-white hair and the letter is hard to stop.
Leaning against the railing and looking afar to observe the vast universe,
Admiring the wild geese and rocs traveling thousands of miles.
The rules of the quatrain do not require antithesis, but it is better to write it in antithesis.
Poetry is precious for expressing emotions, and emotions need to be expressed through imagery.
Seven-character Quatrain. Observing Yonggang's Painting of Shrimps
The vivid shrimps swim on the paper,
The short claws and long whiskers dance non-stop.
Looking closely, the real shrimps seem to move in the ink,
Listening from afar, the group's play and laughter are thick.
This is my feeling when I watched a painter draw a picture of a group of shrimps playing and teasing in the Calligraphy and Painting Club. Use the paper penetration to express the painter's workmanship, the swimming in the water to express the image, the ink pushing and moving to express the sentiment and aspiration, and the denseness of laughter to express the effect.
Lecture 7
On the Writing of Seven-Character Regulated Verse
As regulated verse, the three major rules of format that must be followed are: tonal patterns, rhyming, and antithesis. The common organization of regulated verse is "introduction, continuation, transition, and conclusion". These are the two aspects to pay attention to when writing a seven-character regulated verse, namely format and organization.
Format
The tones of Chinese characters are divided into four, and the people of the Tang Dynasty simplified the four tones into level and oblique tones. They moved from Shen Yue's method of marking poetry with the four tones to marking with level and oblique tones, and created the format of modern-style poetry to guide later poets to quickly avoid poetic flaws in poetry creation. That is to say, writing poetry according to the rules of meter will definitely not be awkward. Because poetry is rhymed prose, it is the perfect combination of content and rhythm.
The tonal pattern format is a tool to ensure the beautiful rhythm of modern-style poetry.
Tonal Patterns
There are also four basic formats for seven-character regulated verse.
Oblique start and oblique ending, oblique start and level ending, level start and oblique ending, level start and level ending.
Let's take a look at Bai Juyi's seven-character regulated verse "Spring Excursion by Qiantang Lake":
North of Gushan Temple and west of Jia Pavilion, the water surface is just level and the clouds are low.
Several early orioles contend for the warm trees, whose new swallows peck the spring mud.
The riotous flowers gradually captivate the eyes, the shallow grass can just cover the horse hooves.
Most loving the east of the lake where I can't get enough, in the green willow shade lies the Baisha Dike.
To determine which format the tonal pattern relationship belongs to, look at the second character of the first line of the first couplet. The character "mountain" is level, so this is a level start. Then look at the last character of the first line, "west" is a level tone, so this seven-character regulated verse is of the "level start and level ending" format.
And the tonal pattern of the first line of the level start and level ending format is "pingping zèzè zèpingping", "North of Gushan Temple and west of Jia Pavilion", each character conforms to the rule. Then based on the principles of tonal pattern derivation of "antithesis" and "adhesion", the tonal pattern relationship of the entire poem can be derived.
The harmony of tones is the basic requirement for writing regulated verse. Everyone can check whether the tones of the characters in this poem are correct. However, in non-critical positions (the first, third, and fifth characters), variations in tones are allowed. Thus, there is the saying, "The tones of the first, third, and fifth characters can be ignored, while those of the second, fourth, and sixth characters must be distinct." But in critical positions (the second, fourth, and sixth characters), the tones alternate, either being "level-tone-oblique-tone-level-tone" or "oblique-tone-level-tone-oblique-tone". Otherwise, it would be considered a violation of the tonal rules.
The four tonal patterns of seven-character regulated verse:
Start with an oblique tone and end with an oblique tone. The opening line:仄仄平平平仄仄.
Start with an oblique tone and end with a level tone. The opening line: 仄仄平平仄仄平.
Start with a level tone and end with an oblique tone. The opening line: 平平仄仄平平仄.
Start with a level tone and end with a level tone. The opening line: 平平仄仄仄平平.
The creation of seven-character regulated verse cannot escape these four opening line patterns. The relationship of the entire poem behind can be deduced from the first line and does not require rote memorization. Mastering these four basic patterns provides rules for creation. Through extensive reading and appreciation, mastering some variations, corrections, and understanding of the positions where the tones can be either level or oblique without causing a violation of the tonal rules, one can write a regulated verse with correct tones.
The seven-character regulated verse I wrote, "Admiring Peng Fei", starts with an oblique tone and ends with a level tone.
The continuous rainy days welcome the late autumn,
The billowing clouds lock the solitary boat.
The leisurely clear water has white herons flying,
The quiet Orchid Pavilion is surrounded by red gulls.
Swallows cut through the green waves chasing the dream shadows,
The wind blows the frosty hair scattering on the bare head.
Leaning against the railing and looking far into the distance, there are thousands of colors,
Admiring Peng Fei soaring high for thousands of miles.
Rhyme
The rhyming of the seven-character regulated verse follows the principles of regulated poetry. That is, for the仄收 format, the even-numbered lines rhyme; for the 平收 format, the first, second, fourth, sixth, and eighth lines rhyme. It requires rhyming with level tones and maintaining the same rhyme throughout the poem. No rhyming with adjacent rhymes is allowed. The only exception is that in the 平收 format, the first line can rhyme with an adjacent rhyme, which is called the "Solitary Wild Goose Leaving the Flock Style". Then, sometimes the last line rhymes with an adjacent rhyme, which is called the "Solitary Wild Goose Entering the Flock Style". In other cases, it is as strict as the quatrain.
The rhyme words of my seven-character regulated verse are "秋, 舟, 鸥, 头, 游", all belonging to the new rhyme category Ou.
As for whether to rhyme with Ping Shui Rhymes or the new rhymes, it depends on the poet's own preference. Everyone has their own likes and there is no need to force it. After all, poetry is mainly for recitation. Although Ping Shui Rhymes have an ancient charm, some character pronunciations have changed and do not rhyme when read nowadays. The new rhymes avoid this problem.
This is a personal preference. However, after writing, if it is marked, it would be better for readers to understand.
Antithesis
The antithesis of the seven-character regulated verse mainly refers to the 颌联 (the third and fourth lines) and the 颈联 (the fifth and sixth lines). The standard regulated verse requires antithesis in both the middle two couplets. However, due to being overly strict, the requirements gradually relaxed over time. It is acceptable to have only the 颈联 in antithesis, and it is fine if the 颌联 is not in antithesis. But the 颈联 in antithesis is the bottom line. If the 颈联 is not in antithesis, it is not a regulated verse.
At the same time, there are some variable forms of antithesis. For instance, in the opening lines of the poem, the first couplet is antithetical, the second couplet is not, and the third couplet is antithetical. This format is called "Stealing Spring Antithesis", meaning that the antithesis comes early like spring secretly. When only the third couplet is antithetical, it is called "Bee Waist Antithesis", which is the relaxed format mentioned earlier.
My poem "Mu Pengfei" consists of eight lines and four antithetical couplets:
The continuous drizzle greets the late autumn,
The billowing clouds lock the solitary boat.
The leisurely blue water sees white egrets fly,
The quiet Orchid Pavilion is surrounded by red gulls.
Swallows cut the green waves chasing dream shadows,
The wind blows frost-white hair on the bare head.
Leaning against the railing and looking afar, there are thousands of colors,
Mu Peng soars high and travels thousands of miles.
If you insist on making the entire poem antithetical, it's okay. However, it only proves your literary talent and has nothing to do with the format requirements of the seven-character regulated verse.
The seven-character regulated verse is considered to have a relatively moderate length among regulated verses. It has twice as many characters as the seven-character quatrain and can better complete the context of "beginning, continuation, transition and conclusion". And corresponding to these four words is based on the couplets of the regulated verse. Let's still take my poem "
The first couplet for "beginning": "The continuous overcast rain welcomes the late autumn, and the billowing clouds lock the solitary boat". This begins with the time, scenery and environment.
The second couplet for "continuation": "The long and clear water has white egrets flying, and the quiet Orchid Pavilion is surrounded by red gulls". It continues and deepens the description of the scenery from the first couplet.
The third couplet for "transition": "Swallows cut through the green waves chasing dream shadows, and the wind blows frost hair and scatters on the bald head". It shifts to another perspective and writes about the state of people in the scenery.
The fourth couplet for "conclusion": "Leaning against the railing and looking afar at the thousands of layers of colors, Mu Peng soars high and travels ten thousand miles". It returns to the scenery and position of the first couplet and continues from the third couplet, expressing the poet's longing for a broad future.
Basically, all seven-character regulated verses follow this literary pattern, but they differ in the "transition". Of course, there are also some unconventional writing methods, but those are all the styles formed by the poets after they are familiar with the literary rules and formats. We need to appreciate and treat them differently.
When we talk about how to write a seven-character regulated verse, let's not look at the variations and corrections for now. Lay a good foundation first, and then look at the variations and masterpieces.
第八讲
Lecture Eight
On Pailv (Extended Regulated Verse)
Pailv is a type of regulated verse that is formed by extending the format of a regular regulated verse. Therefore, it is called pailv, or long regulated verse.
Like regular regulated verses, pailv must strictly follow the rules of tonal patterns, antithesis, and rhyming.
Each poem has a minimum of five rhymes and ten lines. Some can be as long as fifty rhymes (one hundred lines) or even one hundred rhymes (two hundred lines) or more. Except for the first and the last couplets, all the intermediate couplets use antithesis. Also, the format of tonal adhesion and correspondence must be followed among all lines. Pailv is a regulated verse with more than eight lines. Apart from the first and the last couplets, which may not use antithesis, all the intermediate couplets, no matter how many, must use antithesis. Of course, the first and the last couplets can also use antithesis. In particular, it is very common for the first couplet to use antithesis.
The Jingwei Bird Fills the Sea with Stones [Tang Dynasty] Han Yu
There's a bird that seeks redress,
Who holds sincerity all year long.
Its mouth holds fine stones,
Its heart desires the sea to be calm.
Vain is its hard-to-see merit,
Trivial is its life already slight.
All mock its rashness,
I alone appreciate its concentration.
Why care if there's no day of rest?
Only to fulfill this life should it strive.
Why feel ashamed of not being in the Assassin's Tale?
It doesn't bear the name of vengeance!
I haven't written many regulated verses. Now I select one regulated verse, "Remembering My Hometown". The whole poem has six rhymes and is written in accordance with the rules.
Regulated Verse. Remembering My Hometown
My home is located east of the small village,
Among green trees, with the pond's reflection before the window.
The narrow lanes often hear dogs' barking,
The lotus ponds frequently resound with frogs' croaking.
Fishing songs and the sound of wooden clappers convey good fortune,
Rice waves pushed by the wind bring warm affection.
Each grass and each flower contain profound meanings,
Each mountain and each river embrace rich fragrance.
Relatives help each other to seek a decent life,
Friends assist one another with laughter.
The gentle rain moistens the heaven and earth continuously,
The bright sun makes all villages glow red.
A regulated verse is an extension of a regulated poem. That is to say, when a regulated poem can't accommodate all the content, it needs to be added and supplemented, so several more lines are added. For example, for my seven-character regulated poem "To My Beloved Wife", I felt that some things were not finished, so I added a few more lines and turned it into a regulated verse.
Seven-Character Regulated Poem. To My Wife
The spring breeze and drizzling rain fall on the Longjiang River,
Peach and plum blossoms urge bees to make honey fragrant.
Sweeping away the remaining dust makes the room clean,
Cleaning and polishing jade-like ornaments fill the hall with fragrance.
Willingly undertaking the task of cooking three meals a day,
Exerting all efforts to teach and raise the two young sons,
Determined to write poems with sharp rhymes,
Carefully painting with exquisite brilliance.
Written as Regulated Verse. To My Wife
The spring breeze and drizzling rain fall on the Longjiang River,
Peach and plum blossoms urge bees to make honey fragrant.
Sweeping away the remaining dust makes the room clean,
Cleaning and polishing jade-like ornaments fill the hall with fragrance.
Being sincere, honest and righteous in treating oth
第九
Lecture Nine
Brief Introduction to Tang Poetry
Tang poetry is a treasure of rhymed prose in Chinese culture.
Poetry is rhymed prose, which is actually writing articles with rhyming sentences. Tang poetry refers to five-character and seven-character poems. Tang poetry is a milestone in Chinese poetry! It is a treasure of world literature and art!
Five-character and seven-character poems are suitable for expressing emotions and chanting in Chinese characters and the Chinese language. In the Tang Dynasty, a large number of outstanding poets emerged who created five-character and seven-character poems, produced a large number of popular and excellent poems, and created an unprecedented brilliance in Chinese poetry! Since then, people have called five-character and seven-character poems Tang poetry. In the Tang Dynasty, Tang poetry was included in the imperial examination and named regulated verse. The "Rules of Level and Oblique Tones and Rhythmic Patterns" were compiled to regulate the creation and evaluation of regulated verse. The "Rules of Level and Oblique Tones and Rhythmic Patterns" became the criterion for evaluating the quality of regulated verse creation, which restricted the creative space of regulated verse and made them uniform! However, some famous poets did not create Tang poetry in accordance with the "Rules of Level and Oblique Tones and Rhythmic Patterns", such as Du Fu's "View of Mount Tai" and Cui Hao's "Yellow Crane Tower". Tang poetry is one of the forms of literature. Five-character and seven-character lines are the carriers of Tang poetry! Expressing emotions is the soul of Tang poetry! Sentences that are catchy are rhyming sentences! Like Du Fu's quatrain
Two orioles sing amid the willows green;
A flock of white egrets fly into the blue.
My window frames the snow-crowned western mountain scene;
My door oft says to eastward-going ships “Goodbye!”
Such a double antithetical and catchy masterpiece through the ages.
I also wrote a seven-character regulated verse.
Seven-Character Regulated Verse. Happiness in the Year of the Tiger
The sounds of firecrackers chase the laughing voices,
The plum blossoms scatter their delicate fragrance in clusters.
The tiger comes and the ox leaves, every family is happy,
The grains dance and the food songs, every household is busy.
The beautiful women frequently have charming looks,
The strong men gracefully change into new clothes.
Who says that time makes people grow old?
The spring atmosphere is harmonious and joy fills the hall.
The arrival of the Year of the Tiger, I wrote a seven-character regulated verse in the style of Tang poetry. The first couplet describes the environment, the second couplet describes the natural process, the third couplet describes human feelings, and the last couplet shows the situation and ties to the theme.
The Tenth Lecture
Basic Requirements for Writing Metrical Verse
1. Rhyme feet: The first line may or may not rhyme. The last character of the second, fourth, sixth, and eighth lines is the rhyme foot.
2. Level and oblique tones: The level and oblique tones of the second, fourth, and sixth characters of each line should be distinct. The level and oblique tones of the first, third, and fifth characters can be disregarded as long as there is no solitary level tone, triple oblique ending, or triple level tone.
In the new rhyme scheme, the level tones are the first and second tones of the four tones of Chinese characters, and the oblique tones are the third and fourth tones. The new rhyme scheme does not distinguish entering tone characters.
The Ping Shui Rhyme Scheme has requirements for entering tone characters.
3. Solitary level tone: There should be consecutive level tones in the last five characters of each line. Even if there is a level tone separated by a character, it is also considered a solitary level tone.
4. Adhesion: The level and oblique tones of the second and third lines, the fourth and fifth lines, and the sixth and seventh lines are the same, which is called adhesion.
5. Antithesis: The level and oblique tones of the first and second lines, the third and fourth lines, the fifth and sixth lines, and the seventh and eighth lines are opposite, which is called antithesis.
6. Antithetical parallelism: The third and fourth lines and the fifth and sixth lines of a metrical verse should have the same sentence pattern and parts of speech, with a large contrast and opposite level and oblique tones. The antithetical parallelism should be neat. They are two couplets.
This theory has changed the commonly used saying in the past that the tones of the first, third, and fifth characters can be disregarded while those of the second, fourth, and sixth characters should be distinct. As long as one follows these metrical rules, the dozens of patterns of level and oblique tones commonly used in writing poetry in the past can be simplified into one simple pattern, which is convenient for beginners to learn and master, and there is no need to worry about the difficulty of correcting tones.
For instance, the poem I wrote "Joy of Harvest"
Seven-character Verse. Joy of Harvest
The bright autumn sun reflects the yellow ground,
The red maples color the mountain village bright.
The wind pushes the grass waves surging like a sea of flowers,
The fruits ripen on the hills and the fragrance of wine wafts.
The soybeans rattle as golden horses dance,
The sorghum grains bulge as iron cattle rage.
The small river flows quietly with groups of fish playing,
Laughing to see every household busy drying grains.
These are only the basic requirements for writing metrical poetry. To write good poems, more efforts should be made in expressing emotions and refining meanings, transitions and connections, grammar structures, and neat antithesis.
The seven-character verse I wrote about chrysanthemums made some attempts in this regard.
Seven-character Verse. Ode to Chrysanthemums
Frost makes all the flowers retreat,
The autumn chrysanthemums' charming color recalls spring.
The wind blows the purple stamens, sending out fragrance,
The rain beats the bright yellow ones, igniting a warm scent.
The wild fields are full of tender feelings and thousands of jades,
The halls are filled with countless gold.
Since Tao Yuanming praised your beauty,
Generations have spoken of your purity till now.
Lecture Eleven
The Method of Refining the Theme in Regulated Verse
Writing poetry begins with setting the theme. It is often said that "Refining words is not as good as refining sentences, and refining sentences is not as good as refining the theme." The so-called refining the theme means creating the artistic conception of the poem. The theme is the main body of the poem, and the artistic conception is the enrichment and deepening of the topic.
Creating the theme of a poem is a painstaking process.
In "Remarks on Ci Poetry in the Human World", Wang Guowei said when discussing the realm: "Those who have achieved great undertakings and become great scholars in ancient and modern times must go through three realms.
'Last night the west wind withered the green trees. Alone, I climbed the tall building and looked as far as the end of the sky.' This is the first realm.
'Although my clothes are getting looser and looser, I have no regrets. For her, I am willing to become haggard.' This is the second realm.
'Searching for her among the crowd a thousand times and a hundred times. Suddenly, looking back, I find her there, in the dimly lit place.' This is the third realm.
We can understand that the first realm is climbing high and looking far to learn from others; the second realm is reading by the solitary lamp and thinking hard; the third realm is suddenly having an enlightenment and achieving a wonderful state naturally. This metaphor of Wang Guowei about the realm is an excellent interpretation of the process of writing poetry, namely the three stages of climbing high and looking far, thinking hard and refining the theme, and having some insights.
Poems can be either written on the spur of the moment or composed according to given topics. Poems written on the spur of the moment rarely have the theme set in advance. Instead, the sentences come as inspiration arises and form a coherent piece. Although there seems to be no set theme, the artistic conception is naturally incorporated into the poem. Compositions based on given topics set the theme according to the topic, and the theme is expected to be true and novel. Generally, the artistic conception is created based on emotions. The aim is to achieve an original work that "exists in everyone's heart but has never been written by anyone."
Poetry values the perfect unity of theme, image and form. When I write regulated verse in seven-syllable lines, I also go through the painstaking process from theme to image. This is also a method of refining the theme.
Seven-Character Verse. Ode to the Chrysanthemum
Frost makes all the flowers retreat in groups,
The proud color of autumn chrysanthemums recalls spring.
The wind blows purple stamens, sending off fragrance.
The rain beats the bright yellow ones, igniting a sweet scent.
The wild land is affectionate with miles of jade.
The courtyard is filled with eyes full of thousands of gold.
Since Tao Yuanming praised your beauty,
Generations have spoken of your noble purity until now.
Lecture 11
The Method of Refining the Theme in Regulated Verse
Writing poetry begins with setting the theme. It is often said that "Refining words is not as good as refining sentences, and refining sentences is not as good as refining the theme." The so-called refinement of the theme is to create the artistic conception of the poem. The theme is the main body of the poem, and the artistic conception is the enrichment and deepening of the topic.
Creating the theme of a poem is a difficult process.
Wang Guowei said in "Remarks on Ci Poetry" when discussing the realm: "Those who have achieved great undertakings and great learning in ancient and modern times must pass through three realms.
'Last night the west wind withered the green trees. Alone, I climbed the tall building and looked as far as the end of the sky.' This is the first realm.
'I have no regrets even though I am becoming thinner and thinner. For her, I am willing to become haggard.' This is the second realm.
'Searching for her among the crowds for hundreds and thousands of times. Suddenly, turning around, I find her there, in the dimly lit place.' This is the third realm.
We can understand that the first realm is to ascend high and look far to learn from others widely; the second realm is to study alone by the lamp and think hard; the third realm is to suddenly have an epiphany and naturally achieve excellence. This metaphor of Wang Guowei about the realms is precisely an excellent interpretation of the process of writing poetry, namely the three stages of ascending high and looking far, thinking hard and refining the theme, and having some insights.
Poems can be written on the spur of the moment or according to a given topic. Works written on the spur of the moment rarely have a pre-determined theme but rather the lines come when the inspiration arrives, forming a complete piece. Although there seems to be no pre-determined theme in form, the artistic conception is subtly incorporated into the piece. Works written according to a given topic have a theme based on the topic, seeking to be true and novel. Generally, it is creating an artistic conception based on emotions. Striving to achieve an original work that 'everyone has in their heart but no one has ever written before.'
Poetry values the perfect unity of theme, image, and form. When I write a seven-character regulated verse, I also go through the difficult process from theme to image. This is also a method of refining the theme.
Seven-character Verse. Turning into Butterflies
For several years, the friendship among classmates was tender and deep.
When escorting for eighteen miles, the affection was continuous and unbroken.
The numerous and colorful flowers on the branches were blooming merrily.
In the hearts, pairs of lovers were as firm as joined trees.
Even when the earth grows old and desolate, there will be an end.
The passionate vows were made sincerely but without a beginning.
The story of turning into butterflies spreads as a fine tale.
This strange romance of all ages spreads throughout the world.
Poems are more valuable in imagination and exaggeration, leaving room for readers to think.
The Seven-character Verse I Wrote: The Full Moon on Mid-Autumn Festival
The bright jade-like moon shines in the sky on Mid-Autumn Festival.
Both heaven and earth share this wonderful night.
The Jade Rabbit cooks soup to welcome distant guests.
Wu Gang holds wine to toast heroic figures.
The Cowherd and the Weaving Maid have a family feast.
The new friend Liu Yang becomes an old acquaintance.
On this full moon day year after year.
Spaceships come and go, building a golden bridge.
The Twelfth Lecture
The Parallel Method of Regulated Verse
Planning is also layout, also called composition. In the creation of regulated verse, in addition to complying with the four basic elements of "rhyme, tone, adhesion, and antithesis", we should also pay attention to composition. If you want to write a good poem, you must pay attention to composition.
Let's talk about the parallel style first.
Such as Du Fu
The land is beautiful in the late spring,
The spring wind brings the fragrance of flowers and grass.
The mud has thawed and swallows are flying,
The sand is warm and mandarin ducks are sleeping.
Two orioles are singing among the green willows,
A row of white egrets is flying up to the blue sky.
The window frames the thousand-year-old snow on the Western Mountains,
The door moors ships from a thousand miles away in Eastern Wu.
Yang Shen's
Spring water fills all the lakes,
Summer clouds have many strange peaks.
The autumn moon shines brightly,
Winter praises the solitary pine.
This kind of poem layout is suitable for describing scenery, and it is characterized by frequent antithesis. But if not applied well, it is easy to be scattered and disorderly. The above form lists all four scenes in one chapter, which is called the parallel layout.
The seven-character regulated verse
Seven-Character Regulated Verse. The Autumn States of the Eight Fine Horses
Chrysanthemums shed tears to avoid the autumn frost,
Maple leaves are dyed red, thinking of hometown.
Wild geese fly thousands of miles to avoid the cold,
The roc changes its plumage seeking warmth.
The ox hides dry grass to comfort the children,
The horse prepares fine food to satisfy its hungry stomach.
Only the green pine remains evergreen,
The proud plum blossoms welcome the snow and smile at the setting sun.
The eight fine horses are listed in parallel. Autumn has come, each has its own thoughts and each has its own strengths.
Lecture Thirteen
The Coherence Method of Regulated Verse
A poem should be coherent from the beginning to the end, like a string of pearls, flowing smoothly and naturally.
For example, Liu Yuxi's "Bamboo Branch Song"
The red flowers of mountain peach are full on the branches.
The spring water of Shu River is beating against the mountains and flowing.
The red flowers fade easily like your love.
The flowing water is endless like my sorrow.
The first two lines of this poem describe one scene each. The former describes mountain flowers and the latter describes water. The third line follows the first line, and leads to "like your love" from "the red flowers of mountain peach". The fourth line follows the second line, and brings in "like my sorrow" from "the spring water of Shu River".
The whole poem is composed of two pairs of lines that correspond and connect with each other. The structure is strict and has the characteristics of folk songs. Most of such writing methods are similar to sketches. They are written at will, without adornment, forming a coherent whole and full of wit and charm.
The regulated verse
Regulated Verse. Morning Glory
The old residence courtyard is surrounded by morning glories.
They hold their heads high in the stormy days.
Their two hands welcome guests with smiles.
Their whole life follows the trend simply.
The flourishing flowers and beautiful stamens are loved by many.
Each has his own pursuit far and near.
Why complain that the Milky Way is clear and shallow?
The magpie bridges are built one after another for fate.
The regulated verse I wrote, "The Complaint of the Cowherd" is to express the opposite of what is expected and reveal the reality.
Regulated Verse. The Complaint of the Cowherd
Last night on the Seventh Night Festival, the drunken dream was cool.
The cowherd told me his heartfelt feelings.
Now the Weaver Girl dislikes poverty.
She abandons her children and husband to be a rich woman.
The vows of love are like paper on the bed.
The virtuous wife and good mother are hung on the south wall.
I advise you to see through the mundane affairs.
It's the same in heaven and on earth.
Lecture 14
On the Rectification of Deviant Lines in Regulated Verse
A deviant line is a concept opposite to a regulated line. If it doesn't conform to the rules of rhythm, it is considered deviant. Deviant lines can be divided into two types: minor deviations and major deviations. All deviant lines that can be normally used in regulated verse are classified as minor deviations; those that cannot be used in regular regulated verse are classified as major deviations.
The rectification of deviations is all about minor deviations. If a deviant line can be rectified, it is not considered a defect. The method of rectification is: if a level tone is supposed to be used in a certain position but a oblique tone is used instead, then a level tone should be used in the position where an oblique tone is supposed to be used later as compensation, and vice versa.
For example, the regulated verse I wrote, "Spring Tide in an Ancient Temple"
In the deep mountains, an ancient temple and a bridge in the fog,
A few solitary lamps are shaken vigorously by the wind.
Quietly, monks and nuns are typing on computers,
The tourists are talking loudly but their voices are quiet.
A touch of melancholy is dancing between the eyebrows,
The mundane affairs are vanishing in the mind thrice.
Snow reflects plum blossoms and adds pleasure,
Peach blossoms and willows are green, bringing the spring tide.
This regulated verse is written according to the rules of the new rhyme. According to the rule that the tones of the second, fourth, and sixth characters should be distinct, the first, third, and fifth characters such as "tourist", "a touch", and "mundane" are minor deviations. But according to the new rule, in the absence of isolated level tones (there are consecutive level tones in the last five characters of each line), three consecutive oblique tones at the end of each line (the last three characters of each line are all oblique tones), and three consecutive level tones (the last three characters of each line are all level tones), these are all minor deviations and do not require rectification.
The seventh and eighth lines are the combining couplet of the beginning, continuation, transition, and combination of the regulated verse. I originally wrote
Snow reflects plum blossoms and has pleasure,
Peach blossoms and willows are green and welcome the spring tide.
At the positions of the second, fourth, and sixth characters, the tones are not distinct, so it is a major deviation and requires rectification. The method is, for example, the seventh line of this poem has "has pleasure" with three consecutive oblique tones at the end. Therefore, the eighth line uses "welcome the spring tide" (three consecutive level tones) for rectification. This is called rectification across lines.
Considering that it is best not to make corrections when writing poetry, it was changed to:
Snow reflects plum blossoms, enhancing pleasure,
Peach blossoms and willow greens bring the spring tide.
There is another situation. For example, in the sixth line of my "Seven-Character Regulated Verse - Fishing"
All the past events are completely forgotten.
Among them, the character '全' is out of meter and it is a major violation. However, the third character '条' in this line is a level tone, belonging to the correction within the same line and is regarded as the correct form.
Attached: Seven-Character Regulated Verse - Fishing
The gentle breeze is blowing, rippling the small boat,
Sitting alone by the pond, swinging the fishing hook.
The chirping of birds is heard, and the clouds are faint,
The numerous flowers are blooming, and the water is flowing.
The shiny fish are pushing the float to move,
All the past events are completely forgotten.
Don't mention the battles and chaos in the mundane world,
Cultivating the heart and keeping fit brings no more worries.
The Fifteenth Lecture
The Method of Transition in Regulated Verse
Take Li Bai's "Leaving the White Emperor Town at Dawn" for example
Leaving at dawn the White Emperor crowned with cloud,
I've sailed a thousand li through canyons in a day.
The monkeys' wails along the banks still echo in my ears,
While my skiff has crossed ten thousand mountains away.
The first two lines start and follow smoothly like flowing clouds and water. The third line makes a sudden transition like a sudden rise of a strange peak. The concluding line flows down smoothly as if water has found its natural course.
This kind of writing focuses on the third line. The start, follow, transition, and conclusion are clear, and the composition is precise.
Regarding the composition structure of regulated verse, someone clearly proposed the four characters "start, follow, transition, and conclusion" in the Yuan Dynasty. The method of "start, follow, transition, and conclusion" is one of the important techniques in the creation of regulated verse. The "start" means the beginning, the "follow" means to continue what is above, the "transition" means a turn, and the "conclusion" means the ending. Before the Yuan Dynasty, even in the Tang Dynasty when the creation of regulated verse was prosperous, people followed this rule spontaneously for creation. It's just that it wasn't summarized into a rule.
The starting couplet or the starting line should describe the scenery or start with an allusion or a comparison, or start with an event, or start with the topic. It should be sudden and lofty, like a wild wind rolling waves, with the potential to reach the sky. It should be good at creating a situation that seizes the initiative and covers the whole poem, and try to avoid being mediocre.
The follow-up, that is, the second couplet or the second line, either expresses the mood, describes the scenery, describes the event, or quotes. It should closely follow and continue to elaborate and express the meaning in the first couplet or the first line, and should not be loose.
The transition, that is, the neck couplet or the transition couplet, is the third line of a quatrain or the third couplet of a regulated verse. It either expresses the mood, describes the scenery, describes the event, or quotes. This line is the transition line. The writing brush should turn sharply, open up a new world, create waves, and take into account both the front and the back. The meaning should turn but the vein should not be broken.
Seven-character Verse. Praise the Plum Blossom
The continuous fine rain moistens the branches,
With lush leaves and deep roots, it sways freely.
The gusts of wind make it charming,
Despite the thick layers of snow, its quality remains noble.
Day after day, as the summer heat leaves, it conveys its feelings,
Year after year, when the cold comes, it brings the warm tide.
When the time comes for all the flowers to compete for favor,
It raises its head and praises the heroic ones.
The sequence of beginning, continuation, transition, and conclusion is natural.
I wrote the Seven-character Verse. Drunkenness, and the principle is the same.
Seven-character Verse. Drunkenness
I stole a cup of wine from Kuafu,
And was drunk until the sunset wouldn't stop.
Bajie wrongly carried a young peasant woman on his back,
Wukong mistakenly smashed the Apricot Blossom Tower.
The Cowherd sought a new kiss on the river,
The Weaver Girl threw the colorful ball by the bridge.
I still wanted to raise the goblet and invite the moon to be my companion,
But the refreshing breeze passed by and I had already turned white-haired.
Lecture 16
On Rhyme in Poetry
Guan! Guan! Cry the ospreys,
On the islet in the river.
The modest, retiring, virtuous, young lady:
For our prince a good mate she.
This is the opening poem of The Book of Songs, the earliest collection of Chinese poetry, which is harmonious in rhyme and pleasant to recite.
Poetry is rhymed prose and must rhyme to facilitate singing and thus be passed down. This feature can be found in The Songs of Chu, Han Fu, Tang poetry, Song Ci, and Yuan Qu.
In ancient times, people rhymed according to rhyme books. The so-called "official rhyme" in ancient times was the rhyme book promulgated by the imperial court.
Today, if we write old-style poetry, we do not necessarily have to rhyme according to rhyme books. However, when we read ancient people's poetry,
We should know the rhymes they used. The four tones here refer to the four tones of ancient Chinese.
To understand the four tones, we must first know how tones are formed. So let's start with tones.
Tone is a feature of the Chinese language. The pitch, rise and fall, and length of the pronunciation constitute the tones of the Chinese language, and the pitch and rise and fall are the main factors.
The four tones in ancient times were:
(1) The level tone. This tone was later differentiated into the level tone of the first type and the level tone of the second type.
(2) The rising tone. Some of this tone later changed to the departing tone.
(3) The departing tone. This tone remained the departing tone in later generations.
(4) The entering tone. This tone was a short and quick one.
The "Four Tones Method" in the Dictionary
The level tone is smooth and not low or high.
The rising tone is shouted loudly and vigorously.
The departing tone is distinct and sorrowful for the distant way.
The entering tone is short and urgent for collection.
In the Song Dynasty, Liu Yuan created the Ping Shui Rhymes. After that, most poets composed poetry following the Ping Shui Rhymes. Mao Zedong was a master of creation following the Ping Shui Rhymes.
Because the Ping Shui Rhymes have too many restrictions, beginners find it difficult to master.
In the past 30 years, new rhymes have been created. The main feature of the new rhymes is to divide the four-tone characters in modern Chinese into the first and second tones as the level tones, and the third and fourth tones as the oblique tones, eliminating the entering tone characters.
The hundreds of classical poems of seven-character regulated verse and seven-character quatrain that I have written in the past ten years all use the new rhymes.
Seven-Character Regulated Verse. Rural Happiness
High clouds are lightly and the sun is warmly.
Low fogs are thinly around the short peaks.
Fine rains are continuously with deep affection.
Gentle breezes are frequently with thick intention.
Yellow goats are rolling with sounds of calls.
White horses are in groups and clustering.
Every household dries grains to scare birds away.
Every village prepares the land and enjoys autumn plowing.
The Ping Shui Yun rhyme scheme has requirements for entering tone characters, which is rather difficult to master and prone to confusion.
Using the new rhyme scheme, as long as one accurately distinguishes the four tones of modern Chinese, writing regulated verse will become handy.
For multi-tone characters in modern Chinese, the principle of usage is that the pronunciation follows the meaning. For example, in this poem, the character '哄' is a verb. When it means 'to coax birds', it is pronounced in the level tone instead of the oblique tone.
Lecture 17
Talk about Rhetoric
Rhetoric refers to polishing words and sentences. Good words and sentences in a poem can be engraved in one's mind and unforgettable for a lifetime.
A poem has "poetic eyes", which are the essence of the poem.
The resounding parts in the poem lines are the "poetic eyes". Polishing words and eyes will make the poem more vivid and lively.
Wang Changling's "Green Pines at Xiangji Temple"
The sound of the spring (chokes) around the perilous rocks,
The sunlight (chills) the green pines.
Du Fu's "Thoughts on a Journey at Night"
The stars (hang) low over the vast plain,
The moon (surges) in the great river's flow.
Wang Anshi's "Mooring at Guazhou"
Guazhou lies just across the river from Jingkou,
Zhongshan is only separated by several mountains.
The spring wind has once again (turned green) the banks of the Yangtze River,
When will the bright moon shine upon my return?
Song Zujing's "Spring Scenery in the Jade Tower"
In the east of the city, the scenery is getting better and better,
The ripples on the water welcome the boats.
Beyond the green willows, there is a light chill in the early dawn,
On the branches of the apricot trees, spring is bustling.
Jia Dao's "Birds sleep by the poolside trees, a monk (knocks) at the moonlit door."
My classical poetry
Seven-character Verse. Autumn Song
Maple trees shake in the autumn rain, the night is hazy,
The moon hides, the lone lamp and the drunk shadow follow.
From time to time, dogs bark in the long lane,
In the pond, frogs croak in waves.
Fishing songs and the sound of wooden clappers convey good luck,
The rice waves, pushed by the wind, bring warmth.
In the morning, when I lift the curtain, I'm startled by the chirping of birds,
Pink butterflies play and look at the rosy glow.
The use of several verbs such as "drunk", "hear", "beat", "convey", and "look" has added color to the poem.
The Eighteenth Lecture
Skillful Use of Function Words
The skillful use of function words in poetry can make it vivid and brilliant, thus achieving the artistic effects of smooth poetic veins, swirling literary style, gentle emotions, and soul-stirring charm.
Li Shangyin was a master at the skillful use of function words. Take "Storm" for example:
Yellow leaves (still) in the wind and rain,
Green mansions (alone) with music and string.
The word "still" in the poem intensifies the already withered atmosphere of the yellow leaves, and the scene makes people feel even more desolate and heartbroken. The word "alone" makes a contrast with "still", depicting the high-playing music and string in the green mansions, ignoring the hardships of the common people in the world. The poet implicitly expressed that indignant and unfair mentality with this scene.
There is also the well-known famous line:
Spring silkworms spin silk till death (before) they stop,
Candles burn to ashes (before) their tears dry.
The words "before" in the first line and "before" in the second line make the couplet more ingenious in expression and have a lingering charm. There is also the following couplet:
(When) shall we trim the candles by the west window together,
(But) talk about the rainy night in Bashan.
In the poem, one imagines when to reunite and trim the candles by the west window again and associates it with the desolate scene of the rainy night in Bashan. In the poignant sentiment, there is a kind of warm hope shining. And in these wonderful lines, "When" and "But" play a profound role.
The use of such function words as "before", "before", "have", and "none" in my poem "Lotus" of the seven-character regulated verse has this artistic effect.
Seven-Character Regulated Verse. Lotus
Hometown ponds with several mu of lotus,
Enshrouded in fragrant smoke when wind blows and rain passes.
Roots take hold in spring and hearts start to open.
Flowers thrive in summer and dreams come true at last.
Even if there are wild words of tyranny,
There are no gentle words to comfort and ease.
In the clear and crisp autumn, as fair as jade,
Left for the world to be a fine tale.
Lecture 19
On the Wonderful Use of Reduplicated Words
Words formed by overlapping two or more identical characters were called "reduplicated characters" by the ancients and are now called "reduplicated words". Reduplicated words are a unique and fixed form in the Chinese language. Undoubtedly, reduplicated words are also a rhetorical device that people love. Compared with other language expression techniques, reduplicated words have many advantages, mainly: popularity, simplicity, obviousness, nationality, and colloquiality.
While using reduplicated words to describe sounds and things, they can also regulate the rhythm, enhance the musicality, express specific emotions through reduplicated words, reveal a rich flavor of life, strengthen the colloquiality, and more easily resonate with people.
Such as in Du Fu's "Ascending the Heights": "The boundless forest sheds its leaves shower by shower; The endless river rolls its waves hour after hour." And in Ouyang Xiu's "Butterfly Loves Flower": "How deep is the deep courtyard? The willows pile up smoke, and the curtains are countless." etc.
In Chinese ancient poetry, the use of reduplicated words expresses emotions strongly, gently or deeply; describes things and scenes vividly, making them visible and audible; and when read aloud, they have a powerful rhythm, showing their musical beauty. Generally speaking, the use of reduplicated words in poetry can have many unexpected functions and effects.
Wang Wei's landscape and pastoral poems inherited Tao Yuanming's style to some extent. In "Written at Wangchuan Villa on a Rainy Day", there is the verse "White egrets fly freely over the vast paddy fields, and orioles sing merrily among the shady summer trees." "Vast" means wide and boundless, as if making people see on the expansive and boundless paddy fields, white egrets flying freely; "Shady" means deep and secluded, indicating that the trees are lush and green, and orioles sing melodiously hidden among the leaves. The summer landscape depicted by the poet is precisely where the poet's cheerful mood lies.
Du Fu was also a master of using reduplicated words. In the poem "Qujiang", there is the sentence "Deeply seen are the butterflies flitting among the flowers, and gracefully flying are the dragonflies skimming the water." "Deeply" and "Gracefully" express the author's emotions and convey the lives of butterflies gathering nectar from flowers and dragonflies skimming the water and the emotions they gave to the poet.
The reduplicated words in ancient Chinese poems can combine the description of shapes and the imitation of sounds, making them even more wonderful. The poem "The Dark and Cold Mountain Road" by the Tang Dynasty poet-monk Han Shan is such a work: "The dark and cold mountain road, the desolate and cold stream bank. Chirping birds are often heard, but silence reigns with no human. The chilly wind blows on the face, the swirling snow piles on the body. Day after day the sun is unseen, year after year spring is unknown." This poem uses reduplicated words at the beginning of each line throughout. "Dark and distant" has a sense of dim color, "desolate" has a sense of spacious space, "chirping" indicates sound, "silent" indicates no sound, "chilly" describes the dynamic feeling of the wind, "swirling" describes the flying state of the snow, "day after day" and "year after year" both refer to time, but there are differences in length. Eight groups of reduplicated words, used continuously, are vivid and colorful, each with its own situation and rich in changes. They not only vividly present the image of a lonely and serene monk in the high mountains and deep valleys, but also immerse readers in the wonderful rhythm.
When I wrote the seven-character regulated poem "Autumn Scenery", I used several reduplicated words and felt that the meaning was precise and the words were appropriate.
Seven-Character Regulated Poem. Autumn Scenery
The north wind blows and the rain is chilly,
The clear water ripples and the fruits are ripe.
The red maple leaves make thousands of scenes beautiful,
The purple chrysanthemums are gentle in tens of thousands.
The clear sky is bright and competes for the sunlight,
The dewdrops are like pearls and catch the eyes.
Sending off the burning light and getting a refreshing feeling,
Welcoming the autumn scenery that fills the branches.
The use of several reduplicated words has increased the implicitness and appeal of the poem.
Lecture 20
The Development and Innovation of Regulated Verse
Regulated verse is a genre of traditional Chinese poetry and belongs to the category of modern-style poetry. It gets its name because of the extremely strict metrical requirements. Regulated verse originated from the new-style poetry in the Southern Qi Dynasty during the Yongming period, when Shen Yue and others emphasized prosody and antithesis. It was further developed and standardized by Shen Quanqi and Song Zhiwen in the early Tang Dynasty and was prevalent during the Tang and Song Dynasties. Regulated verse has strict regulations in terms of characters, rhyming, tonal patterns, and antithesis.
Regulated verse is also divided into five-character and seven-character types. Each type limits a poem to eight lines. Poems with more than eight lines are called "extended regulated verse".
This form emerged during the Qi and Liang dynasties of the Southern Dynasties, but the metrical rules were not yet complete. It was not until the period of Empress Wu Zetian in the Tang Dynasty that the seven-character regulated verse was formed. The common regulated verse uses level rhymes. The places where rhymes are used in regulated verse are the first, second, fourth, sixth, and eighth lines. The first line can either use a rhyme, a neighboring rhyme, or no rhyme at all; if no rhyme is used, the last character of the line is usually a falling tone. The arrangement of the level and oblique tones between the characters and lines of a regulated verse requires that within one line, the level and oblique tones of the metrical characters alternate; between the first and second lines, the third and fourth lines, the fifth and sixth lines, and the seventh and eighth lines, the level and oblique tones are opposed; between the third and second lines, the fifth and fourth lines, and the seventh and sixth lines, the level and oblique tones are coherent. A regulated verse also requires antithesis. Every two lines are called a couplet: the first and second lines are called the "opening couplet" or "initiating couplet", the third and fourth lines are called the "jaw couplet", the fifth and sixth lines are called the "neck couplet", and the seventh and eighth lines are called the "tail couplet". Among them, the jaw couplet and the neck couplet are stipulated to use antithesis, that is, the phrase structures and parts of speech in the two lines should be the same and form pairs with each other. The jaw couplet and the neck couplet of a regulated verse are also two pairs of couplets. Sometimes all four couplets are antithetical, which indicates that the author's technique is more brilliant.
For example, the seven-character regulated verse
Seven-character Verse. Rejoicing in Harvest
Let the wind and rain drift as they may,
The grass and flowers each have their own way.
The rolling rivers flow east to the sea,
The round bright moon hangs by the northern window.
Year after year the carriages and horses toil,
Silently and diligently the oxen plough the soil.
Every household and village works with the sun,
Every family and town rejoices in the harvest.
The regulated verse is a treasure of the traditional culture of our motherland. After thousands of years of development from disorder to strict regularity requirements, its content and themes should keep pace with the times.
For example, the seven-character verse I wrote, "Morning Glow"
Seven-character Verse. Morning Glow
The lonely lamp and the remnant moon shadow slide westward,
I drink tea wildly unable to sleep at midnight.
The sound of rain on the secluded road urges me to get drunk,
The high sun and the vast wind depict a glorious chapter.
The distant mountains for viewing the scenery, the mountains are distant for viewing,
The sea of flowers for listening to the tide, the flowers by the sea for listening.
The long road and the bridge platform suspend the bright moon,
The perilous peak swallows water and spits out the morning glow.
The use of "distant mountains" and "sea of flowers" in the poem is also an innovation in accordance with the metrical rules.
总策划:腾团长
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