Chapter 6 Chapter 4 Rhythm and Grammatical Features of Poems

Chapter 4 Rhythm and Grammatical Features of Poems Rhythm of the first stanza The rhythm of poetry and the structure of sentences are closely related.In other words, it is closely related to grammar.Therefore, we put the rhythm issue here. (1) The general rhythm of poetry The general rhythm of poetry mentioned here is the rhythm of regulated sentences.The rhythm of a regulated sentence is based on every two syllables (that is, two characters) as a rhythm unit.In the case of three-character sentences, five-character sentences and seven-character sentences, the last word alone becomes a rhythmic unit.Specifically, the following table:

Three-character sentence: flat - flat - flat flat - flat - flat Four-character sentence: Flat - flat, flat - flat Five-character sentence: Zeze - flat - flat - flat - flat Flat - flat - flat - flat - flat Six-character sentence: Zeze - flat - flat - flat - flat - flat Seven-character sentence: Flat - flat - flat - flat - flat - flat - flat Zeze - flat - flat - flat - flat - flat - flat - flat From this point of view, the two mantras "don't care about one, three, five, two, four, six are clear" are basically correct: the first, third, and fifth words are not on the rhythm point, so they can be ignored; The fourth and sixth characters are at the rhythm point, so they need to be distinguished [1].

Meaning units are often combined well with phonetic units.The so-called meaning unit is generally a word (including polysyllabic words), a phrase, a prepositional structure (preposition and its object), or a sentence form, and the so-called rhythmic unit is rhythm.For the most part, the two agree in the verse.Therefore, we try to separate the verses by rhythm, and each two-syllable rhythm is often equivalent to a two-syllable word, a phrase, or a sentence. For example: West wind - strong, sky - geese - frost morning - moon. (Mao Zedong) Pointing—Jiangshan, stimulating—writing, dung—the year—ten thousand households—Hou. (Mao Zedong)

Ninghua - Qingliu - Guihua, Passage - Lin Shen - Moss slippery. (Mao Zedong) Tianlian-Wuling-Silver Hoe-falling, Earthquake-Three Rivers-Iron Arm-Shaking. (Mao Zedong) Qingchuan—Lili—Hanyang—trees, grasses—luxuriant—parrots—islands. (Cui Hao) Don't come - the sea - things, let's talk - Mu Tian - Zhong. (Li Yi) It should be pointed out that in three-character sentences, especially those with five-character and seven-character endings, the combination of three syllables is relatively close, and at the same time, the rhythm point can also be moved.After moving, it becomes another situation as follows:

Three-character sentence: Ping - Ping Zhe - Ping Ping flat - flat - flat Five-character sentence: Zeze - flat - flat - flat - flat - flat Flat - flat - flat Seven-character sentence: Flat - flat - flat - flat - flat - flat - flat - flat Zeze - flat - flat - flat - flat - flat - flat - flat Let's see, another kind of verse is suitable for the rhythm mentioned above: Must - sunny day. (Mao Zedong) Start - the grand picture. (Mao Zedong) After the rain—return—the setting sun. (Mao Zedong) 600 million—Shenzhou—all—Shunyao. (Mao Zedong) Haiyue—low—Yunyi, Jiangxia—enter—Jinche. (from money)

Scattered flowers—gradual desire—fascination—human eyes, Asakusa—talent—no—horseshoe. (Bai Juyi) In fact, both five-character sentences and seven-character sentences can be divided into two larger rhythmic units: five-character sentences are divided into two and three, and seven-character sentences are divided into four and three, which is in line with most cases.However, the consistency of rhythmic units and grammatical structures cannot be absolute, and some special cases cannot be generalized in this way.For example, there is a so-called folded waist sentence, which is three one three according to the grammatical structure.Lu You's "Climbing the North Gate of the City in the Autumn Evening": "One point of beacon spreads the news of passing the customs, and two lines of geese lead Du Lingqiu." If it is divided into two halves, it can only be divided into three or four, not four or three.Another example is Chairman Mao’s "Qinyuanchun·Changsha": "Dung soil was ten thousand households in those days", if this seven-character sentence is to be divided into two or five ("Dung soil - ten thousand households in those days"), it cannot be divided into four or three; Another example is Chairman Mao's "Seven Laws: A Gift to Mr. Liu Yazi", "Long objects should be measured in a long-term view", this seven-character sentence can only be divided into two or five ("Feng Objects-Changing objects should be measured in an eye-catching amount"), not four or three.There are more special cases.For example, Wang Wei's "Send Yan Xiucai to Shu" "The mountain is facing the green fortress, and the river is facing the Baiyun flat"; Following the end of the plains, the river flows into the wilderness." "Linqingsai", "Linwanhu", "Suipingye", "Xiangbaiyun", "Pongjiuxiao", and "Entering the Great Wilderness" are all verb-object structures as adverbial, and their function is equal to a prepositional structure, according to The separation of two and three is not in line with the grammatical structure.Another example is Du Fu's "Lv Ye Shu Huai", "The name is written by the article, and the official should be old and sick." According to the rhythm unit, it should be divided into two, three, or two, two, and one, but according to the grammatical structure, it should be divided into one or four ("Name - Qi Article author, official——Ying old sick leave"), there is a contradiction between the two.

Du Fu's "Sufu" "The sound of the horn in the eternal night is sad to himself, who will see the moonlight in the sky", according to the grammatical structure, it should be divided into five or two ("The horn in the night is sad - talking to himself, the moonlight in the sky is good - who will see it?" Look?").Wang Wei's "Mountain Dwelling" "crane's nest pine trees are everywhere, people visit the perilla door rare", according to the grammatical structure, it should be divided into four ones ("crane's nest pine trees - all over, people visit the perilla gate - rare").Yuan Zhen's "Exiting" "Looking for the poems, thinking about the years and being shocked", should also be divided into four ones according to the grammatical structure ("Looking for the poems-in, thinking about the years-surprise").This structure violates the three-suffix condition of the rhythm of poetry.

When there is a contradiction between the rhythm unit and the grammatical structure, the main aspect of the contradiction is the grammatical structure.In fact, poets resolved contradictions in this way. When the poets chanted oh, they still chanted according to the rhythm of the three-suffix, but did not change the grammatical structure to accommodate the three-suffix. The consistency of rhythmic units and grammatical structures is the rule, and the inconsistency is the variation.We distinguish the routine from the variation, and the problem of rhythm can be seen clearly. (2) The special rhythm of words

There are a large number of regulated sentences in the word score, and the rhythm of these regulated sentences is naturally the same as the rhythm of poetry.However, words have their own characteristics in rhythm, that is, the rhythm of those non-regular sentences. In the word spectrum, some five-character sentences should be regarded as one-character bean plus four-character sentences, no matter in terms of grammatical structure or flatness (see Section 2 of Chapter 3 above).Especially followed by antithesis, the nature of the four-character sentence is more obvious.Take a look at Chairman Mao's "Qinyuanchun·Changsha": "Look at the red mountains all over the mountains, and the forests are all dyed; Reckless; the big river goes up and down, and suddenly loses its momentum." According to the four-character sentence, it should be one or three, the first and third characters can be flat or flat, so the word "wan" is flat, the word "long" is flat, and the word "red" is flat. And the word "nei" is flat.Here we cannot analyze according to the five-character sentences of regulated poems, because this is the rhythmic feature of the words.Therefore, when we analyze the rhythm, we should analyze this kind of sentence as "Zhe-Ping-Ping-Zhe", and analyze the specific words and sentences as "Look—Wanshan—Red all over", "Wang—— The Great Wall—inside and outside.” In this way, the rhythmic units and grammatical structures are still completely consistent.

Chairman Mao's "Qinyuanchun·Changsha" postscript: "Qia's classmate is a young man, and he is in full bloom; he is full of scholarly spirit, and scolds Fang Qiu." There are similar situations.According to the word spectrum, "classmate boy" should be mediocre, but now I use mediocrity as an alternative.From the five-character sentence "Qia classmate boy", it does not violate Guping, because it is a one-character bean, and the four-character sentence is added, so it cannot be regarded as a five-character rhythmic sentence. This kind of five-character sentence can also exist where there is no need for confrontation.Still take "Qinyuanchun" as an example.The front of Chairman Mao's "Qinyuanchun·Changsha": "Ask the vast land, who is in charge of ups and downs?" It is extraordinarily enchanting." Hou Wei: "Counting the romantic figures, but also looking at the present." The five-character sentences in it, no matter in terms of grammatical structure or flatness, are all one-character sentences plus four-character sentences. "Da", "Zhi", "Su", and "Ren" all fall on the third character of the four-character sentence, so it is not restricted to the ordinary.

A five-character sentence can also be a three-character sentence and a two-character sentence.For example, in Zhang Yuanqian's "Shizhou Man", the last sentence of the front line is "Yi Wei mao is clear", and the last sentence of the back line is "Weeping lonely minister Wu Yue". A four-character sentence can also be a one-character bean plus three-character sentence, such as Zhang Xiaoxiang's "Liuzhou Getou": "Reading the arrow in the waist, the sword in the box, and the beetle in the sky, how can it be successful!" Among them, "reading the arrow in the waist" is This situation. Seven-character sentences can also be up and down. For example, Xin Qiji's "Touching Fish": "How much more can the wind and rain be eliminated?" Another example is Xin Qiji's "Taichang Yin": "Humanity is clear and light [2]." Eight-character sentences are often up three down five, nine-character sentences are often up three down six, or up four down five, eleven-character sentences are often up five down six, or up four down seven, all of which have been discussed above.Of note is the consistency of grammatical structure and rhythmic units. In this type of situation, the word spectrum has sentence patterns first, and then there are level and oblique rules.For example, in the last two sentences of "Qinyuanchun", in Lu You's Ci, it is "the fishermen are drunk together, and the friends of the stream are neighbors". ——Ping Ping Zhe Zhe, Zhe Zhe Ping Ping”.Another example is the second sentence in the back of "Qinyuanchun", in Lu You's Ci, it is "unexpectedly, I am here now". flat".Here, the grammatical structure plays a decisive role in the rhythm of the word. The grammatical features of the second section of the poem Due to the difference in style, the grammar of poetry is not exactly the same as that of prose.Regulated poetry is restricted by the number of words and the rules of level and oblique, and requires a relatively free grammar; the words are mainly composed of regulated sentences, and its grammar is similar to that of regulated poetry.This kind of grammatical freedom not only does not hinder the reader's understanding, but also sometimes increases the artistic effect to a certain extent. Regarding the grammatical features of poetry, there is no need to discuss them in detail here, but only some important points to talk about. (1) Incomplete sentences Originally, there were some incomplete sentences in the prose, but that was an individual case.In poetry, incomplete sentences often appear.Poetry is the most refined language, and it is necessary to express a picture of a thousand miles in just a few dozen words, so the structure of many sentences must be compressed.The so-called incomplete sentence generally refers to a sentence without a predicate or with an incomplete predicate.The most obvious incomplete sentence is the so-called noun sentence.A noun phrase is a sentence.For example, there are two couplets in Du Fu's "Recalling Li Bai in Spring": Fresh Yu Kaifu, Junyi Bao joined the army. Spring trees in Weibei, sunset clouds in Jiangdong. According to the grammar of prose, these four sentences are incomplete, but the meaning of the poet has been fully expressed.Li Bai's poems are as fresh as Yu Xin's and as elegant as Bao Zhao's.At that time, Du Fu was in Weibei (Chang'an), and Li Bai was in Jiangdong. Du Fu saw the evening cloud and spring tree, touched the scene and fell in love with it, which aroused sweet memories of friendship. Isn't this meaning very clear?If some words are added, it will make people feel redundant. Cui Hao's "Yellow Crane Tower": "Qingchuan Lili Hanyang trees, fragrant grass luxuriant Yingwuzhou." There are four meanings here: "Qingchuan Lili" is a sentence, "Fang Caoqiqi" is a sentence, "Hanyang Tree" and "Parrot Island" do not become sentences.However, the relationship between Hanyangshu and Qingchuan, and the relationship between Fangcao and Yingwuzhou has been expressed.Because of the clear rivers and rivers, Hanyang trees can be seen more clearly; because of the luxuriant grass, Yingwu Island is more beautiful. Du Fu's "Moon Night": "Fragrant mist and clouds are wet, and clear brilliance is cold." " is not a sentence form.However, the relationship between Xiangwu and Yunhuan, Qinghui and Yubi is very clear.Du Fu misses his wife and imagines her watching the moon in the Mid-Autumn Festival alone in Yanzhou. He misses her husband in the turmoil. It's getting colder and colder. Sometimes, it seems that there is a subject, a verb, and an object on the surface, but it is still an incomplete sentence.For example, in Su Shi's "Xincheng Road": "On the mountain, the clear clouds wear cotton hats, and the tree heads hang copper gongs at the first sun." These are not two meanings, but four meanings. "Cloud" is not the subject of "Pi", and "Sun" is not the subject of "Hang".Clear clouds have accumulated on the mountains, as if they were covered with cotton caps; the sun has just risen on the treetops, as if they have been hung with copper gongs.Chairman Mao wrote "Recalling Qin'e Loushanguan": "The west wind is strong, and the geese in the sky are called the frost morning moon." "Moon" is not the object of "call".West wind, wild goose, frost morning moon, these have three meanings, and these three things form a strong atmosphere.The wild geese cry in the sky, and they call under the frosty morning moon. Sometimes, adverbs don't necessarily modify verbs as they do in prose.For example, Chairman Mao said in "Qinyuanchun·Changsha": "Qia's classmate is a young man, and he is in full bloom; he is full of scholarly spirit, and scolds Fang Qiu." The word "Qia" is an adverb, and there is no verb behind it.Another example is "Bodhisattva Man" (Dabaidi), which says: "After the rain, the setting sun returns, and the Guanshan Mountain bursts with greenery." The word "recovery" is an adverb, and it does not modify a verb. It should be pointed out that the so-called incomplete sentences are only analyzed grammatically.We cannot think of poets as consciously creating incomplete sentences.The language of poetry is originally like pictures, it is difficult to understand it mechanically from the grammatical structure.I just want to emphasize one point here, that is, the language of poetry is much more refined than that of prose. (2) Change of word order In poetry, in order to meet the requirements of rhythm, poets can make appropriate changes to the word order without compromising the original meaning.Let us now discuss a few examples from Chairman Mao's poems. The second song of Qilu "Send the God of Plague": "There are thousands of willows in the spring breeze, and the 600 million Chinese people are all Shun Yao." The second sentence means that the 600 million people in China (Shenzhou) are all Yao and Shun.According to the rule of Pingze, it is "Zeze Pingping Pingping Pingping", so "Liuyi" is placed in the first two characters, "Shenzhou" is placed in the third and fourth characters, and "Yao Shun" is said to be "Shun Yao". The word "Yao" is placed at the end of the sentence, and there is also a reason for rhyming. "Huanxisha · 1950 National Day Drama Viewing", the first sentence of the posthumous line "Sing the rooster and the world is white" means "Sing the rooster and the world is white".According to the rule of Pingze, it is "Zeze Pingping Pingping Zeze", so "Yichang" is placed in the first two characters, and "rooster" is placed in the third and fourth characters. "Xijiangyue · Jinggangshan" after the first two or two sentences: "Already fortified barriers, even more united." "Ping Zhe Zhe", so "Strict" is placed in the third and fourth characters, and "Barrier" is placed in the fifth and sixth characters. The last two sentences of "Lang Taosha Beidaihe": "The bleak autumn wind is here again today, changing the world!" Cao Cao's original poem "Guan Canghai" is: "The autumn wind is bleak, and the flood waves surge." According to the rules of "Lang Taosha" , the level of these two sentences should be "Ze Zhe Ping Ping Zhe Zhe, Zhe Zhe Ping Ping", so "Xiao Se" is placed in the first two characters, and "Autumn Wind" is placed in the third and fourth characters. Sometimes the change of word order cannot be understood simply to meet the requirements of the rhythm.It also has a positive meaning, which is to increase the poetic flavor and make the sentence the language of poetry.Du Fu's "Qiu Xing" (the eighth song) "fragrant rice pecks the remaining parrot grains, and the green phoenix rests on the old Fenghuang branch".That's not right. Putting "Xiangdao" and "Biwu" in front means that the poet is singing about Xiangdao and Biwu. If "Parrot" and "Fenghuang" are moved to the front, the poet's chants will become parrots and phoenixes. Huang, it's not about Qiuxing's question anymore.Another example is Du Fu's "Qujiang" (the first song), "Let's look at the eye, don't get tired of hurting too much wine into the lips", the word "jingyan" in the previous sentence seems to be redundant, and the next sentence "injury" ( A lot of sentimentality) seems to be placed in front of "Mo Yan". If you really modify it in this way, even if it is flat and not out of balance, it will still be poetic.In these places, if you follow the grammar of prose, you don't understand the art of poetry. (3) Grammatical problems in antithesis In the antithesis of poetry, the sentence and the antithesis are often of the same sentence type.For example: Wang Wei's "Envoy to the Fortress": "The Peng Peng came out of Hansai, and the geese returned to Hutian." The subject is a noun plus a verb attributive, the verb is a monosyllable word, and the object is a noun plus a proper noun attributive. Chairman Mao's "Send the Plague God": "The red rain turns into waves according to one's heart, and the green hills turn into bridges with one's heart." The verbs "turn" and "hua" are followed by the complements "zuolang" and "weiqiao". Sentences with the same grammatical structure (that is, sentences with the same sentence pattern) are opposites, which is the positive form.But we should notice at the same time: There is another situation in the antithesis of poetry, that is, only the literal relative is required, and the sentence pattern is not required to be the same.For example: Du Fu's "Eight Arrays": "The merits cover three parts of the country, and the name is eight arrays." "Three parts of the country" is the direct object of "cover", but "eight arrays" is not the direct object of "cheng". Han Yu's "Jingwei Filling the Sea": "Hold the mountain and stone in your mouth, and look at the sea in your heart." I hope that the waves of the sea will become calm." We can say "a rock with a thin mouth" in reverse, but we cannot say "a sea wave with a peaceful mind." Chairman Mao's Qilu "Gift to Mr. Liu Yazi": "Too much complaints are to prevent heartbreak, and the long-term scenery should be considered." Yes, it is an adverbial of "looking at the amount". The continuous reading of "heartbreak" is the object of "defense"; the continuous reading of "wide view" is an adverbial of "quantity", and the grammatical structure of the two is different. Judging from some of the above examples, it can be seen that the antithesis should not be too rigid about the same sentence pattern.All forms must be subordinate to the content of thought, and the sentence patterns of the antithesis are no exception. (4) Sentences Sentence refinement is a matter of rhetoric and often a matter of grammar as well.Poets are the most particular about refining sentences; once a sentence is completed, the whole poem will be much more colorful. Refining sentences is often refining words.Generally speaking, the most important word in a verse is the head word of the predicate (called the "predicate").Once the central word has been refined, this is the so-called one word is worth a thousand dollars, and the lines will become vivid and vivid.The famous "deliberation" story illustrates this truth.According to legend, Jia Dao wrote a sentence on the donkey's back: "The bird lives in a tree by the pond, and the monk knocks on the door under the moon." He wanted to use the word "push" and the word "knock". Unknowingly bumped into Jing Zhaoyin Han Yu's lead, Han Yu understood the question, and decided to use the word "knock" for him.The word "knock" is also the central word of the predicate. The predicate head word is generally acted as a verb.Therefore, refining characters is often refining verbs.Now try to give some examples to prove. The first song of Li Bai's "The Next Song": "Follow the golden drum at Xiaozhan, and hold the jade saddle at night." The two characters "sui" and "hug" are well refined.The drum is the signal to march, so only the word "sui" is most suitable. "Xianmian holding the jade saddle" is much better than "accompanying the jade saddle" and "near the jade saddle", because only the word "hug" can show the tense situation. The third and fourth sentences of Du Fu's "Spring Hope": "When I feel the time, the flowers splash tears, and I hate the frightened birds." "Splash" and "shock" are both refined characters.They are all verbs: flowers make tears splash, birds make hearts frightened.Spring is here, the birds are singing and the flowers are fragrant, and people should be laughing happily; now that the country is in chaos and the family is scattered, the fragrance of flowers and birds can only make the poet cry. The third and fourth sentences of Chairman Mao's "Bodhisattva Man·Yellow Crane Tower": "The mist and rain are vast, and the tortoise and snake lock the river." The word "lock" is a refinement.The word "lock" fully shows the important position of Guishe Ershan in the situation, and it is very vivid.If it is replaced by "Jia Dajiang" or the like, it will be like chewing wax. Chairman Mao's "Qing Ping Le Liupan Mountain" has the first two sentences: "Liupan Mountain is on the peak, and the red flag is rolling in the west wind." The word "juan" is a refinement.Using the word "volume" to describe the red flag fluttering in the wind shows that the red flag is a symbol of revolutionary fighting power. The eighth and ninth sentences of Chairman Mao's "Qinyuanchun·Snow": "The mountain dances with a silver snake, and the original galloping wax figure."Originally, silver snakes were used to describe the mountains after the snow, and wax figures to describe the plateau after the snow. Now it is said that "the mountain dances with silver snakes, and the original galloping wax figures". The static becomes dynamic, and it becomes the language of poetry. Putting "Dancing" and "Running" in front of snakes and elephants makes the vivid images more prominent. The third and fourth lines of Chairman Mao's Seven Rhythms "Long March": "Wuling meanders soaring fine waves, Wumeng majestic walking mud balls." "Teng" and "Zoo" are refined characters.From a grammatical point of view, these two sentences are also inverted sentences. They originally said that the fine waves are churning and the mud pills are rolling.The revolutionary spirit of the Red Army, which is not afraid of difficulties in expeditions, was vividly described by Chairman Mao with an appropriate metaphor. Adjectives and nouns, when used as verbs, also tend to be literal.The third and fourth sentences of Du Fu's "Hate Farewell": "The grass and trees decay and walk outside the sword, and the sword blocks the old river." The word "old" is used as an adjective as a verb.Starting from the emotion of patriotism, the poet laments that the country is still in chaos, his family members are scattered, and he is old and stranded on the edge of the Jinjiang River.Only one word "old" is used here to fully express this strong emotion. The seventh, eighth, and ninth sentences of Chairman Mao's "Qinyuanchun·Changsha" are: "Pointing to the country, stimulating the writing, the dung soil was once tens of thousands of households." The word "dung soil" is a noun used as a verb.Chairman Mao regarded the Wanhuhou of the year as worthless as dirt, which is the revolutionary spirit of contempt for class enemies. The word "dung soil" is not only used appropriately, but also used concisely. Even if adjectives are not used as verbs, sometimes they can refine words.The third and fourth sentences of Wang Wei's "Guan La": "The grass is withered, the eagle's eyes are sick, and the snow is exhausted, and the horse's hooves are light." is a predicate.However, "ku" and "exhaustion" are common predicates, while "ill" and "light" are refined characters.After the grass withered, the eagle's eyes could see more clearly. The poet didn't say he could see clearly, but said "fast" (illness), "fast" is more vivid than "clear".After the snow was gone, the horseshoe moved faster. The poet did not say fast, but "light", and "light" was more vivid than "fast". As mentioned above, anything involving omission (incomplete sentences), word order (including inverted sentences), changes in part of speech, comparison of sentence patterns, etc., are also related to grammatical issues.Although the discipline of grammar was not clearly stipulated in ancient times, poets often encountered many grammatical problems in their creative practice, and actually handled them very well.We should also understand the old-style poetry from the perspective of grammar today, and then our understanding will be comprehensive. -------------------------------------------------- ------------------------------ [1] The reason why these two formulas are not completely correct is due to other rhythmic reasons, which have been seen above. [2] This is an awkward sentence and will not be discussed in detail here