Chapter 19 17. Archaic poetry

Ancient poetry, or ancient poetry, refers to modern poetry, there is no modern style, and the miscellaneous things before it are all poems (some of them have a patented name, Yuefu Poems), and they don't need to be called ancient.After the formation of modern styles in the Tang Dynasty, ancient poetry had broad and narrow meanings, broad reading and narrow writing.Reading, from the beginning to the Southern and Northern Dynasties, the five-character poems mainly written for literati, as well as various titles and various forms of Yuefu poems (including imitations by literati), are all ancient poems.After the modern style was formed, literati wrote ancient poems, although there were occasional tricks in the name and form, generally speaking, they were nothing more than five-character and seven-character (including a few miscellaneous words).Five-character ancient poems are five-character ancient poems, referred to as Wugu for short; seven-character ancient poems are seven-character ancient poems, referred to as Qigu for short.Whether it is the complexity of reading or the simplification of writing, compared with modern poetry, ancient poetry has its own characteristics in terms of syntax and rhyme.The general nature of the characteristics is that there are no strict rules, or that the author has more freedom, so there are various forms on paper.

Let's talk syntax first.Since the Tang and Song dynasties, literati have imitated ancient poems, imitating the neat rhymes handed down since the Han Dynasty, so let’s talk about this kind of rhymes first.Since the Han Dynasty, because the previous ones are too ancient, and their status in the minds of literati is too high, no one is interested or has the courage to imitate them.The rhyme with neat sentences is because Fu also rhymes but the sentence is not neat, which belongs to the system of Wen (proverbs, Mings, etc. should be regarded as middle school).It is called rhyme, but not all of them are called poems, because, from the current point of view, some works are not suitable to be called poems.For example, Yuefu poems are divided into 12 categories, among which "Jiaomiao Geci", "Yanshe Geci", and "Miscellaneous Songs and Ballads", many of them have no poetic flavor.For example, Jin's "Songs for the Gods" in "Songs of the Suburb Temple":

Tian Zuo has Jin, and his life is restored.After the end of Wei, there are Zhaomin.Yan and Huangtian, Huairou Baishen.Don't (pi) show the legacy, the virtue is pure.Enjoy its Xuanmu, and use Zhaoyu as a style.The gods come to the grid, and Fulu is the best. Jin "Song of Salute to Zhengdan Assembly" from "Swallow Shege Ci": Tianjian has Jin, Shizuo Shenghuang.At that time, there were seven regimes in Qi Dynasty, facing the north and all directions.The bells and drums are shaking, and the nine guests are preparing for the ceremony.In the court, Mumuzizi.The three brilliant stars are as beautiful as the sky.The queen is an elephant, majestic and dignified.There is no fault in the rate of courtesy, and there is no bandit Mai De.Rituals and punishments for the holy emperor are the only rules for all nations.

Han "City Ballad" and "Jin Hui Emperor Yongxizhong Nursery Rhyme" in "Miscellaneous Songs and Ballads": There is a high bun in the city, and the square is one foot high.The city has wide eyebrows, square and half forehead.There are so many sleeves in the city, and there are all pieces of silk in all directions. At the end of February and the beginning of March, Jing Bi Yang Ban issued an edict, and the people and horses in the palace were used as donkeys. They all have rhyme but do not express the artistic conception of poetry. It can be called rhyme, but it seems to be exaggerated to call it poetry.But people in the past were used to seeing it from the outside, so Shen Deqian compiled "The Source of Ancient Poems" to include such works.

Even if this kind of works are cleared out, the ancient poems will still be veritable miscellaneous.First of all, there are many names, such as songs, words, lines, quotations, tunes, articles, chants, chants, sings, sighs, complaints, Nong, and exercises.Different names, some are due to different origins, some are due to different themes and sentiments, some are due to different occasions, or a combination of them, in short, they are mixed.Modern style poetry is different. The style is divided according to the number of words and sentences. There are very few, so there is no need to add a name to indicate the nature of the genre.

Let me talk about the length and length of the miscellaneous.There are only five-character and seven-character poems in modern style.The most common types of ancient poems are four-syllable sentences, five-syllable sentences and seven-syllable sentences.But there are other forms too.Let me talk about the few words first.The three words are common not only in the psalms, but also throughout the psalms, such as: I will do it if I present my hair for the new year.The mountains are luxuriant in spring, and the sun is bright in spring.Birds in the garden, Duo Jiasheng.Plums start to bloom, and peaches start to grow green.Going boating, Qi Zhao was startled.Play "Cai Ling" and sing "Deer Cry".The breeze rises, and the waves grow slightly.The strings are also sent out, and the wine is also poured.Enter the lotus pond and fold the osmanthus twigs.The fragrant sleeves are moved, and the fragrant leaves are covered.Two lovesick, two do not know. (Bao Zhao's "A Journey on behalf of Spring")

It is difficult to express the meaning of words below three words, so it is rare.But it is not without it. For example, "癫" in the Yuefu poem "Ibis" is a two-sentence sentence, and "噫" in Liang Hong's "Five Songs" is a one-sentence sentence. The six-character sentences sandwiched between five and seven-character sentences are also occasionally used in Yuefu poems, such as "Orphan's Journey": The orphan is born, the orphan is born, and the life is alone.When your parents are there, take a hard car and drive a sima; when your parents are gone, brother, sister-in-law, order, me, line, Jia.Going to Jiujiang in the south, Qi and Lu in the east, and returning home in the twelfth lunar month, I dare not say bitterness to myself.The head is full of lice, and the face is dusty.The eldest brother said to handle the meal, and the elder sister said to treat the horse.Go up to the high hall, take (tend) to go down to the hall, orphans, children, weeping, falling like rain.Let me draw water in the morning, and return in the evening when I get water. My hands are wrong, and my feet are worthless (straw sandals).Sorrowful and frosty, there are many Tribulus terrestris in the middle, and the intestines of Tribulus terrestris are pulled out, and the sorrowful desires to be sad.Weeping with tears, clear tears.There is no complex jacket in winter, and no unlined clothing in summer.Life is not happy, it is better to go early, down, from, ground, down, yellow, spring.The spring breeze moves, the grass sprouts, the silkworms mulch in March, and the melons are harvested in June.It will be a melon cart, come and return home.The melon carts are repeated, there are few people who help me, but many people eat melons.I would like to return my pedicle. My brother and sister-in-law are strictly alone, and they return in a hurry.Luan said: Li·Zhong·Yi·He·譊·譊.If you want to send a book with a ruler, you will be with your father and mother, your brother and your sister-in-law, and you will live with you for a long time.

A not very long poem shared 6 times. Although those with more than seven characters are rare, they are not uncommon. For example, in the Yuefu poem "Huainan Wang Pian", "Wish to turn the double yellow swan back to my hometown" is an eight-character sentence, and in Bao Zhao's "Difficult Road to Travel", "When you read this, death and life change very much. "Li" is a nine-syllable sentence, and the song "Peihui (wandering) between the two canals, the gentleman will live in peace" (not counting the modal particles) in the song of Mrs. Han Huarong is a ten-syllable sentence.

The free expansion of short and long sentences becomes a random use in an article.The above "Orphan's Journey" is like this.Take two more examples: In the south of the battle city, in the north of dead Guo, if you die in the wild, you can eat birds without burial.Call it a bird for me, and call it a guest. If you die in the wild, you will not be buried. The carrion can go and escape.The water is deep and exciting, the puwei is dark, the owl rides to death in battle, and the nanny horse wanders and screams.Liang Zhushi, why south, why north.If you don't get the king's food, you can get it for your loyal ministers.Thinking of sons and good ministers, good ministers are sincere and thoughtful, go out to attack in the morning, and never return at night. (Yuefu poem "War City South")

If you leave the east gate, you don't care about returning; when you come to the gate, you feel sad.There is no bucket of rice storage in the ounce, and there is no hanging clothes on the shelf.Draw your sword and go to the east gate, the children and mothers in the house hold their clothes and cry.His family hopes to be rich and honored, and the concubine will share food with the king.The top uses Canglang Tian, ​​and the bottom should use this yellow mouth.Not today.Duh!Okay, it's too late for me to go, it's hard to live for a long time with white hair nowadays. (Yuefu poem "A Journey to the East Gate")

The previous article uses three-character, four-character, five-character, and seven-character sentences, and the latter one uses one-character, two-character, three-character, four-character, five-character, six-character, and seven-character sentences. It cannot be done casually like this. If the freedom is further expanded, it becomes a matter of length or number of sentences.Can be short. Such as: Yanling Jizi does not forget his past, and he takes off the sword of a thousand pieces of gold to bring the tomb. (Xu Renge recorded in Liu Xiang's "New Preface") The wind is blowing, the water is cold, and the strong man will never return once he is gone. ("Historical Records: Biography of Assassins" records the song when Jing Ke was sent off) It is a sentence or two.Another example: When the strong wind blows, the clouds are flying, the Vega will return to the hometown, and the warriors will guard the four directions. (Han Gaozu's "Great Wind Song") The cool wind blows and the sky is frosty, and the gentleman is unforgettable, and the heart is full of generosity. (Zhao Feiyan's "Returning to the Wind to Send the Far Exercise") is a three-sentence article.another example The dew on the scallion, He Yixi!Lu Xi's Ming Dynasty will fall again, when will a person return after death? (Yuefu poem "Xielu Song") There are birds and there are birds, Ding Lingwei, who have gone home for a thousand years, and now come back, the city is the same as before, and the people are not.Why not learn from Xianzhong. (Ding Lingwei's song from Ganbao's "Sou Shen Ji") It is a 4 sentence. It can of course be long.The longest one is "Ancient Poems Written by Jiao Zhongqing's Wife" (also known as "The Peacock Flies Southeast"), which has five characters in total, 357 sentences and 1785 characters. times. Unlimited freedom of length between short and long.The principle is that if there are words, it will be long, and if there are no words, it will be short. 10 sentences, 8 sentences, dozens of sentences, hundreds of sentences, as long as the meaning is complete and complete, it is considered qualified. The above are samples of ancient style poems imitated by literati before Tang and Song Dynasties.Time-shifting makes things different, and imitation cannot remain unchanged.As far as the number of words in a sentence is concerned, the overall historical situation is to start with four words and then increase.In the Han Dynasty, it was increased to five characters and seven characters, and became the combination of four characters, five characters, and seven characters; but the status was different, and four characters and five characters prevailed.In the Wei and Jin Dynasties and after that, the four-character and five-character predominates, and the seven-character status declines; when the four-character and five-character specialize, the four-character status gradually declines, and the five-character status rises sharply. For example, Tao Yuanming at the end of the Eastern Jin Dynasty also wrote a small amount of For four-character poems, subsequent literati almost only wrote five-character poems.After the Sui Dynasty, with the clear and fixed rhythm of modern poetry, the status of four characters declined again, and the status of seven characters rose, so the situation became that five and seven characters divided the world equally.It is always difficult for people to resist the fashion of the times, so since the Tang Dynasty, when literati wrote ancient poems, they changed from the variety of real ancient poems to walking on two legs, or five ancient poems, or seven ancient poems; only a little real ancient poems remained in seven ancient poems Miscellaneous (with non-seven-sentence sentences).As for Yuefu poems, the titles (or style names, such as Xing and Yin) have not been completely abandoned, and some new ones have been created later, such as Bai Juyi, but as far as the writing is concerned, they are still five or seven ancient. Almost all the five ancients, and most of the seven ancients, followed the rules, that is, no miscellaneous words were used, and the unit was united.Such as: The towering Chiyun West, the sun is flat on the ground.The birds in Caimen are noisy, and the returning guests come thousands of miles away.My wife and children blamed me for being there, and they wiped their tears in shock.The chaos of the world is drifting, and the survival is accidental.The neighbors are all over the wall, sighing and sighing.Yelan is more candle-lit, relatively like a dream. (One of Du Fu's "Three Poems of Qiang Village") Climbing the mountain to watch the beacon fire during the day, drinking horses and crossing the river at dusk.Pedestrians fight against the wind and sand, and the princess's pipa is full of resentment.There is no city for thousands of miles in the wild clouds, and the rain and snow even connect the desert.Hu Yan wailed and flew every night, and Hu'er burst into tears.I heard that the Yumen Gate is still covered, so I should chase my life away.Every year, the bones of war are buried outside the wasteland, and it is empty to see rose apples entering the Han family. (Li Qi's "March of the Army in Ancient Times") From the perspective of syntax alone, it is quite far away from the complexity of Yuefu poems. Most of the Qigu mentioned above means that a few of the Qigu still retain some miscellaneous ancient poetry (probably because the number of five-character characters is small and it is not easy to gallop, so the freedom of miscellaneous is only seen in Qigu).Such as: How long will love be, and the high platform is empty.With tears reflecting the sleeves, I can't bear to look at Xiling.Zhangshui flows eastward without return, and the road of Baihua chariot is covered with moss.The moonlit night in the brothel is long and lonely, and the blue clouds linger in the sky at dusk.Don't you see that everything in Yezhong is not the same as it used to be, and the ancients are not here, and the present is sad.The spring breeze does not drive away the king, the grass looks like old palace roads every year.The singing and dancing in the palace has been clouded, and the sky refers to the places where pedestrians come and go. (Liu Changqing's "Tongque Terrace") The one who likes to gallop in syntax is the poet Li Bai, such as: Climb the high hill and look at the sea.The bones of Liuao have been frosted, where are the three mountains?The hibiscus is half broken, and the sun shines brightly.Yintai Jinque is like a dream, Qinhuang Han Wukong treats each other.Jingwei costs wood and stone, and turtles have nothing to rely on.Don't you see that the mausoleum of Lishan Mountain is completely destroyed, and the son of the shepherd comes to climb it.The thieves rob the precious jade, how can the elves do it.The militarism is like this today, and the flying dragon in Dinghu can take advantage of it. ("Climbing the Hill and Looking at the Sea") Far away, there was the second daughter of the emperor in ancient times.It is in the south of Dongting, the Pu of Xiaoxiang, and the sea water goes down thousands of miles.The day is miserable, the clouds are dark, the orangutans are crying, and the ghosts are screaming in the rain. I will say nothing.Huang Qiong was afraid that he would not show Yu's loyalty, Yun Pingxi wanted to roar.Yao and Shun are like Zen and Yu. When the king loses his ministers, the dragon becomes a fish, and when the power returns to his ministers, the mouse becomes a tiger.Or say that Yao is imprisoned in seclusion, Shun Ye is dead, nine doubts are continuous, they are all similar, what is the double-eyed solitary grave?The emperor weeps among the green clouds, and goes with the wind and waves without returning.Weeping and looking far away, I saw the deep mountain of Cangwu.The Cangwu Mountain collapses and the Xiang River dies, and the tears on the bamboo can be extinguished. ("Farewell") The miscellaneous use of sentence patterns with different numbers of words can be said to be far away from Tang Dynasty poetry and close to Yuefu poetry. Among the ancient poems of the Tang Dynasty, there are also those that are farther away from the style of the Tang Dynasty, such as: The ancients are not seen before, and those who come after are not seen.Thinking of the long distance between the world and the earth, I am sad and tearful alone. (Chen Ziang's "Taiwan Song of Dengyouzhou") With simple words and deep meaning, it can be called the swan song of ancient style poetry, but it is a pity that it will be difficult to find another one like this. As for the length, of course, it is also based on the sample, with great freedom.Short ones, if the quatrains in zhe rhyme are also counted, they can be as few as four sentences, 20 characters or 28 characters; six sentences are more common, 30 characters or 42 characters.The long ones, such as Du Fu's famous work "From Beijing to Fengxian Yonghuai Five Hundred Characters", are marked as five hundred characters, and "Northern Expedition" is longer, with 700 characters.For modern poetry, except that the rhythm that is not commonly used can be lengthened (there is also a restriction on rhyme characters), the longest seven-rhythm is only 56 characters.If you have too much affection to express, you have to combine multiple poems into one group, such as Du Fu's "Twelve Poems to Relieve Boredom" (Qijue) and "Eight Poems of Autumn Xing" (Qilu).In terms of this point, when ancient poems are transformed into modern styles, there are gains (pleasant) and losses (heart). ------------------ This article talks about the rhyming situation of ancient poetry. ——It should be said that the rhyming situation of ancient poems written by literati since Tang and Song Dynasties.There are two reasons for not talking about the original rhyme of ancient poetry.One is too complicated.In ancient times, it should include the five-character poems of the Southern and Northern Dynasties. With such a long time, the pronunciation will naturally change, and there is no official rhyme script that must be followed.The second and more important reason is that it is not very useful.The purpose of this book is very simple and humble, but it is just for some people who want to hum a mediocre song or two and give some pointers.Well, generally speaking, it is an imitation of the people of Tang and Song Dynasties. Before that, they used rhyme, how how, how about Sancao, how about Tao Yuanming, and even how about Xu Ling and Yu Xin. Of course, you can ignore it. But even since the Tang and Song Dynasties, the rhyming situation of ancient poetry is not easy to explain clearly.The reason is that the government did not intervene and stipulated how to rhyme ancient poems. Therefore, if future generations want to know the rhyme situation at that time, they can only make conclusions based on a large number of poems.And a large number of poems were written by a large number of literati, who are born in different places, are inevitably affected by dialect sounds, and have different temperaments. Some may be so-so, so the materials for induction are rare.Fortunately, the difficulty in this aspect can be avoided here, because some people have already put in a lot of effort, and our original intention is not to "study" the rhyme situation of ancient poems, so we might as well take the rough idea and enjoy the benefits. Compared with the rhyme situation of modern poetry, archaic poetry, like syntax, has more freedom, or in other words, it has a wider range of common use, so there are fewer divisions (parts that are not allowed to rhyme).The situation of the same use or division is as follows (copying Mr. Wang Li's "Poetry Metrics". Incidentally, for the sake of popularization and ease of use, Mr. Wang Li uses the simpler Pingshui rhyme instead of the more complicated "Ji Yun", so there is "Yuan "Half", "Ruan Ban" and other expressions, as for which characters are mainly included in "Half", you can check the "Poetry Rhyme Juyao" at the end of the book): The rhyme used in archaic poetry is slightly wider than that in regulated poetry; it is certainly possible to use one rhyme alone, but it is also okay to use two or more rhymes in common.However, the so-called common use is not random; it must be adjacent rhyme to be common.According to the general situation, the three tones can be divided into 15 categories, as shown in the following table: The first category: Ping Sheng Dongdong; Shang Sheng Dong Zhan; Qu Sheng Song Song. The second category: flat tones of Jiangyang; upper tones of Yang Yang; The third category: flat tones with slightly neat branches; upper tones with paper-tail shepherds; The fourth category: Ping Sheng Yu Yu; Shang Sheng Yu Mo; Qu Sheng Yu Yu. The fifth category: Ping Sheng Jia Hui; Shang Sheng Crab Bribe; Go Sheng Tai Gua Team. The sixth category: Ping Sheng Zhen Wen and Yuan Ban; Shang Sheng Zhen Kiss and Ruan Ban; Qu Sheng Zhen Wen and Yuan Ban ①. -------- ①The Yuan Ban, Ruan Ban, Yuan Ban mentioned here and the Moon Ban mentioned below can be found in the appendix "Poetry Rhyme Juyao" for specific characters. The seventh category ②: Ping Sheng Han and Yuan Ban; Shang Sheng Han Shan and Ruan Ban; Go to the sound of Han's remonstrance and wish half. -------- ② The sixth and seventh categories can also be used in common. The eighth category: flat tones Xiao Yaohao; upper tones Xiao Qiaohao; The ninth category: Ping Sheng Song; Shang Sheng Sheng; Qu Sheng Sheng. The tenth category: flat sound Ma; upper sound horse; The eleventh category: Ping Sheng Geng Qing; Shang Sheng Ji Jiong; Qu Sheng Jing Jing. The twelfth category: flat sound steaming ①. -------- ①The rhyme of steaming has few sounds and characters, and it is classified into two rhymes of jiu and jing. The thirteenth category: Ping Sheng You; Shang Sheng You; Qu Sheng You. The fourteenth category: Ping Sheng invades; Shang Sheng sleeps; Qu Sheng Qin. The fifteenth category: level tone Qin Yanxian; upper tone feeling frugal; Incoming sounds can be divided into eight categories: The first category: House Wo. The second category: sleep medicine. The third category: matter and moon and a half. The fourth category ②: Hexa crumbs and moon and a half. -------- ② The third and fourth categories can also be used in common. The fifth category: Moxi. The sixth category: job. The seventh category: arrest. The eighth category: Heyeqia. Note: After merging into several major categories, there are still seven rhymes that are unique use.The seven rhymes are: Song Ma steamed especially invading job arrest ③ -------- ③ The up-going rhyme is not used, because among the seven rhymes, except You Yun's Shang-sheng Youyun, the other up-going rhymes are rarely used. Such a combination, compared with the 106 rhymes used exclusively for flat water rhymes, although it has been reduced by almost half, ancient poems are also used to rhymes with oblique tones, so compared with the commonly used flat tones 30 rhymes in similar styles, it has more than doubled. The result of too much is complexity.There are also many complexities.The following examples illustrate the various forms of simplicity and change. First of all, let's not change the rhyme.In ancient poetry, five-character and seven-character have different styles: five-character and seven-character are bold and unrestrained.Therefore, most of the five ancients do not change their rhymes.There are also many modern poems that only use one rhyme, such as: The beauty of the world is heavy, and the beauty is long and subtle.In the morning, she was the daughter of Yuexi, and in the evening, she was the concubine of the Wu Palace.There are so many cheap days, only when you come to realize it.Invite people to Fu Zhifen, but don't wear Luo Yi.Your favor is more coquettish, and your pity has no right or wrong.At that time, Huansha was with me, so I had no choice but to return in the same car.Hold thanks to the neighbor's son, and imitate Anke Xi. (Wang Wei's "Ode to Xi Shi") The mountain light suddenly falls in the west, and the moon in the pool gradually rises to the east.Spread out to enjoy the coolness of the night, open the porch to lie idle and open.The lotus wind sends fragrance, and the bamboo dew drips clear and rings.If you want to play the qin, you hate having no bosom friend.I feel this nostalgia for the old man, and I dream about it in the middle of the night. (Meng Haoran's "Summer Nanting Huaixing") The first one rhymes with the fifth level rhyme, and the latter one has the upper tone twenty-two rhyme, and only one rhyme is used in the whole text (there is no freedom to use the same rhyme). Take advantage of the freedom of the same use, most of which are longer in length.Such as: Qi Le showed off later and stepped out of Hedong.In previous years, I went to Lishan Mountain and dedicated to the hot spring palace.The emperor didn't summon him, so he waved his whip and joined the army.I returned to Chang'an the month before last, and the money in my pocket was empty.Sometimes I take advantage of the excitement and draw the peak on the river.Cang Wuyun at the head of the bed, and pine trees on the roof under the curtain.Suddenly, like in the high hall, there is a breeze blowing through the rustling.In May, Huoyuntun, the air burns the sky and the earth. Red.Birds don't dare to fly, and their movements are like turning around.Shaohua and Shouyang are fighting for supremacy across the river.From the crescent river, the clear light fills the pass.Don't buy Jiuba Pavilion, sing loudly with heart and chest.When you arrive at the old mountain, please thank the old Weng for me (Cen Shen "Send Qi Le to the River East") In his later years, he was forced to steal a life, and returned to the family to have fun.Jiaoer stays on her knees, fearing that I will come back.Recalling the past, I like to chase after the cool, so I go around the pool and trees.Xiao Xiao, the north wind is strong, worrying about everything.Lai Zhihe harvested the millet, and felt that the bed was bad. Note.Now it's enough to think about it, and use it to comfort Chi Mu. (Du Fu's "Three Poems of Qiang Village" Part 2) The first song also uses level tones, one Dong and two Dong rhymes: Dong, Gong, Rong, Kong, Feng, Hong, Peng, Xiong, Zhong, and Weng are one Dong rhyme; Feng, Song, and chest are two Dong rhymes.The latter song also uses the rhymes of Qusheng Liuyu and Qiyu: Qu, Shu, Zhu, and Mu are the rhymes of Qiyu, and Going and Concerning are the rhymes of Liuyu. The freedom of common use is occasionally manifested as the partnership of upper voice and lower voice.Such as: Fifty pulsatillas, fleeing from the north and the south.Sparse cloth wraps around dry bones, running around is bitter but not warm.Only when the disease has declined, the world will be covered with charcoal.Within thousands of miles of heaven and earth, there is no room for shelter.My wife and children followed me again, looking back and sighing together.In the old country Mangqiu Ruins, the collars are scattered.From then on, the way back was lost, and I shed tears on the banks of the Xiangjiang River. (Du Fu's "Escape") The whole piece is rhymed with fifteen Han rhymes in the lower tone, and only "nuan" is the fourteenth dry rhyme in the upper tone. The freedom of using the same rhyme is more expanded, and it becomes rhyme changing, that is, a poem uses more than one rhyme (the one used alone is called one rhyme, and the one used together is called one rhyme).To change the rhyme, you can change flat for zhe, and flat for flat; you can change flat for another type, and z for another type; you can change a few sentences, you can change a few sentences; you can change regularly (for example, change every four sentences) ), you can change it irregularly; you can change it once, you can change it multiple times: in short, you can do whatever you want, so the performance on paper is ever-changing.This kind of ever-changing is the most common among the seven ancients.But the five ancients, as far as the length is not long, also change the rhyme. Such as: The torrential river · water, the beginning and end of heaven and earth.After reading several people in the world, I sigh again who is the son.Looking to the east at He Youyou, to the west to flow day and night.As the years are like this, don't worry about your heart. (Zhang Jiuling's "Climbing Jingzhou City and Looking at the River") The ovary is not roaring, and the bankruptcy is not a family.A strong man can be found in the sea, and Qin Bolangsha is the vertebrae.Even if the report to Korea fails, the heaven and the earth will vibrate and move, and you will be called unwise and brave if you hide in the lower Pi.I came to the bridge, nostalgic for the ancient Qin Ying Feng.Only seeing blue flowing water, there was no Huangshigong.Sigh this person to go, Xu Sikong is depressed. (Li Bai's "Jing Xia Pi Di Bridge Huai Zhang Ovary") The rhyme of the previous song is changed once: Shui, Shi, and Zi are the four paper rhymes of the upper tone, and Changyou, Liu, and sorrow are the eleven rhymes of the flat tone.The last song changes the rhyme twice: Jia and Sha are Liuma rhymes in the flat tone; Changdong and Yong are the rhymes of Dong (dynamic) and Erzhong (Yong) used in the same tone; Changfeng, Gong and Kong are the rhymes of Dong in the flat tone rhyme. The following is the seven ancients who are used to galloping.Qigu can also use miscellaneous words, as mentioned in the previous article, here we only talk about rhyming.Let me talk about not changing the rhyme first, there are two situations.One is two sentences (one couplet) and one rhyme.If you don't change the rhyme, it will appear that you don't gallop, change less and behave well, so it's rare.Such as: Mulan's Fongsha Tang boat, with jade flute and gold pipes sitting on two ends.There are thousands of dendrobium in the wine respect, and prostitutes go and stay with each other.Immortals are waiting to ride the yellow crane, but sea guests have no intention of following the white gull.Qu Ping's poems hang on the sun and the moon, and the Chu king's terrace is surrounded by empty mountains and hills.Excited to write and shake the Five Sacred Mountains, the poem becomes a proud Lingcang·zhou.If the fame and wealth are long, the Han River should also flow in the northwest. (Li Bai's "Song on the River") The fisherman leans against Xiyan at night and stays at night, and he burns bamboo in Chu in Qingxiang.The smoke disappears, the sun rises and no one is seen, and there is a sound of mountains and rivers. Green.Looking back at the middle of the sky, there are no clouds on the rocks chasing each other. (Liu Zongyuan "The Fisherman") The first one rhymes with flat tones and eleven rhymes.The rhyme of Yiwu (Su, Bamboo, Zhu) and Erwo (Green) are used together in the rhyme of the last song.The other is to use rhyme in every sentence, which is the so-called "Bailiang style".The legend of this poetic style began with the joint sentence between Emperor Wu of the Han Dynasty and his officials at Bailiangtai. The princess's "Song of Sorrow" and Zhang Heng's "Poem of Four Sorrows" are all like this.People in the Tang Dynasty also imitated this form of Qigu, such as: Zhizhang rode a horse like a boat, dazzled and fell to sleep at the bottom of the well.Ruyang's three battles began to rule the sky, and Dao was drooling at the mouth of the koji car, and he hated to be sealed to Jiuquan.Zuo Xiang is spending tens of thousands of dollars day by day, drinking like a long whale and sucking hundreds of rivers, and the sage of holding a cup of music is called avoiding the sage.Zongzhi is a handsome and beautiful young man, with his head up and his eyes looking at the blue sky, as bright as a jade tree before the wind.Su Jin Changzhai before embroidering Buddha, often likes to escape Zen when drunk.Li Bai fights a hundred poems, goes to a restaurant in Chang'an City to sleep, the emperor can't get on the boat, and claims to be a minister of wine.Zhang Xu's three-cup grass sage Biography, taking off his hat and uncovering his crown in front of the prince, swishing the paper like a cloud of smoke.Jiao Sui's five fights and Fang Zhuoran's eloquence and eloquence amazed four feasts. (Du Fu's "Song of the Eight Immortals in Drinking") the whole sentence rhymes with level tone and first rhyme.This form of rhyming sentences is occasionally seen in a certain part of a certain song, such as: The master has wine to celebrate this evening, please play the piano Guangling guests.The moon shines on the top of the city, and half of the crows fly, and the frost and the wind enter the clothes.The copper furnace and candles are brighter, and the concubine of Chu after the first play of Lushui.After a sound, all the animals are quiet, and the four silent stars are about to disappear.Qinghuai was envoys for more than a thousand miles, and dared to tell Yunshan that this was the beginning. (Li Qi "Qin Song Farewell") The middle four sentences rhyme with five slight rhymes. Let's talk about changing the rhyme.This is the vast majority of Qigu, because it comes from the arbitrary changes of Qigu, so there are various forms, and I will talk about it below. Short stories, some rhyme changes only once.Such as: Wang Lang is full of wine and draws his sword to chop the ground and sings Mo Ai, I can hold back the genius of the open and honest.In Yuzhang, the wind blows and the sun moves, and the whales waft through the waves and the Cangxi River opens.And take off your saber and stop wandering.The princes in the west dropped brocade water.Where do you want to go?The spring color is deep in Zhongxuanloutou.Look at my son with blue eyes.The person in my eyes is old. (Du Fu's Duan Ge Xing Presented to Wang Lang Sizhi) A young knight-errant on the Great Wall, went to the garrison building at night to watch Taibai.The bright moon in Longtou is still approaching the pass, and pedestrians in Longshang play flute at night.The veteran general in Kansai was so sad that he was in tears when he was stationed in the horse.There have been more than a hundred battles, big and small, and tens of thousands of households have been under his command.Su Wucai belonged to the country, and Jieyan fell to the west of the sea. (Wang Wei's "Longtou Yin") The first level tone ten gray rhyme (sorrow, talent, open, linger) is replaced by tone four paper rhyme (shui, shoe, son, yi) (level for flat).In the latter song, the eleven Mo (Ke, Bai) and Twelve Tin (flute) rhymes are used together for the level tone and the eleven You rhyme (sorrow, flow, Hou, and head) are used together (flat for flat). Most of the seven ancient rhymes are changed more than once. This is the change of rhyme (syntax is also the same) to show the elusiveness of galloping.Due to space limitations, only a few short ones are given.Such as: Don't you see that walking along the Machuan River and the edge of the snowy sea, the flat sand is vast and yellow into the sky.In Luntai, the night of the September wind roars, and the river of broken stones is as big as a bucket, and the stones are scattered all over the ground with the wind.The Xiongnu's grass is yellow and the horse is fat. Jinshan sees smoke and dust flying in the west, and the generals of the Han family leave their troops in the west.The general's golden armor never takes off at night, and in the middle of the night the army marches against each other, the limelight is like a knife, and the face is like a cut.The horse hair is steamed with snow and sweat, the five flowers and even coins are spun into ice, and the grass and inkstone in the curtain are condensed.The captive cavalry heard that they should be terrified, knowing that short soldiers would not dare to take over, and the army division Ximen stood up to offer victory. (Cen Shen's "Zou Ma Chuan Sends Doctor Feng to the West Expedition") Nanshan cuts bamboo to make 觱·篥, and this music comes from Kucha.It is said that the twists and turns of the Han land are strange, and the Hu people in Liangzhou played it for me.Those who heard it from neighbors sighed a lot, and those from afar were weeping when they were homesick.People in the world don't understand the appreciation, and they come and go in the wind.The withered mulberry and the old cypress are chilling, and the nine chicks are singing and the phoenix is ​​chaotically chirping.Dragons sing and tigers roar for a while, and thousands of springs and springs meet each other in autumn.All of a sudden, it became Yuyang mixed, Huangyun was depressed, the day was dark.The change of tone is like hearing willow spring, and the flowers in the forest are new.On the night of the new year, the high hall lists candles, a glass of fine wine and a song. (Li Qi's "Listening to An Wanshan's Blowing the Song of the Cockroach") The rhyme of the first song is changed five times: at the beginning, the edge and the sky are flat tones and the first rhyme is the first rhyme; (all flat tones five micro-rhymes), Shi (level tones four-branch rhymes) are branch and micro-used together; then changing off, pulling, and cutting are the seven rhymes of the entering tone; Changing, catching, and catching are the sixteen-leaf rhymes of entering the sound.The last song changes six rhymes: at the beginning, it is the four-quality rhyme of the entering tone; it is changed to the four rhymes of odd, blowing, and vertical tones; Autumn is the eleven rhymes of flat tones; re-changing (shangsheng 29 豏) and dark (qusheng 28 Kan) are both Shangsheng and Qusheng; rechanging spring and Xin are the flat tones of eleven true rhymes; In the end, the candle is changed, and the song is the rhyme of Erwo. Qigu has a long text, and the number of rhyme changes is more.For example, in Yuan Zhen's "Lianchang Palace Ci", there are 90 sentences in a poem, a total of 16 rhymes (the same rhyme is counted as one rhyme), and the rhyme is changed 15 times.Bai Juyi is longer, with 120 sentences in a poem, and the rhymes are changed more frequently, with 31 rhymes in total and 30 rhyme changes. The rhymes of the seven ancient poems are changed, and a few sentences are changed every time, and a few of them are the same throughout.Such as: The white horse chases Zhu and the chariot, entering the narrow slope at dusk.Willow crows contend for a place to stay, and the branches of the willows cannot fly to the house.The son-in-law of the east house joins the army, and every time he hears crows, he knows the night. (Wang Changling's "Wu Qi Song") The moss wall of Yunfeng winds around the creek and slopes, and the spring breeze on the river road sandwiches flowers on the shore.The trees are dense enough to pass through the bird's way, and the rooster crows to feel that there are people.People are even in the deep rock mouth, Jianshui Zhouliu house.Swimming fish glances at the two fishing boys, Ding Ding and the old woodcutter.He said that avoiding the noise is not avoiding the Qin Dynasty, and the people of Emperor Yao were plowing through the clothes.Stay with each other and wait for the chicken and millet to be cooked, and lie deep in the mountains at night, and the radish and moon will spring. (Shen Quanqi's "Into the Shaomi River") The first one is two sentences with one change of rhyme: the level tone Liuma rhyme (che, oblique) is replaced with the entry tone one house rhyme (su, house), and then the level tone twelve rhyme (jun, fen).The next four lines change the rhyme: The six ma rhymes in the level tone (Xie, Hua, Jia) are replaced with the twenty-five rhymes in the tone (kou, hou, old man), and then the eleven rhymes in the level tone (Qin, Ren, Chun).It is rare to rhyme in groups of two sentences throughout the text, which is not smooth enough.It is not uncommon to change the rhyme of the four sentences throughout the text, such as the famous Zhang Ruoxu's "Moonlight Night on the Spring River". To adapt to the changing nature of galloping, the seven ancient rhymes are changed, most of which are at the whim, come and go.Taking Bai Juyi's "Pipa Xing" as an example, the situation of changing the rhyme is: 2 (sentence) 奇 (rhyme) - 2 pings - 4 pings - 2 pings - 4 pings - 2 pings - 4 pings - 2 Flat - 2 flats - 4 flats - 2 flats - 4 flats - 4 flats - 2 flats - 18 flats - 4 flats - 4 flats - 16 flats - 6 flats.Change the rhyme casually, and sometimes add the casual syntax, then it really becomes a wild horse galloping without restraint.Many of Li Bai's works are like this, let's just take one as an example: Haike talks about Yingzhou, Yantao is faint and letter is hard to find.The more people speak Tian Grandma, the clouds can be seen or faded.Tianmu stretches toward the sky, and pulls out the five mountains to cover Chicheng.The rooftop is 48,000 feet long, and it is about to fall to the southeast.I want to fly across the mirror lake and moon overnight because of my dream Wu Yue.The lake moon shines on my shadow and sends me to Shanxi.Xie Gong's residence is still there today, and the Lushui is rippling and the apes are singing.Wear Xie Gong clogs and climb the Qingyun Ladder.Seeing the sun on the half wall, smelling chickens in the sky.Thousands of rocks and thousands of valleys are uncertain, and the lost flowers are leaning against the stones, and suddenly it is dark.Bears roar and tigers sing Yinyan Springs, chestnut deep forests startle the top of the layer.The clouds are green and green, like rain, and the water is light, and there is smoke.There is a lack of thunderbolt, and the collapse of hills and mountains.The stone door in the cave opened in a loud voice.The Qingming mighty bottomless, the sun and the moon shine on Jinyintai.Ni is the clothes, the wind is the horse, and the king of clouds is coming and going.The tiger drums and the luan come back to the car, and the immortals are lined up like hemp.Suddenly the soul palpitates with the soul, suddenly starts and sighs.I only feel the pillow mat of time, and lose the haze that came before.The same is true for worldly pleasures. Since ancient times, everything has flowed eastward.Don't you go, when will you return, and put the white deer among the green cliffs, and ride to visit famous mountains as soon as you have to go.An Neng smashes his eyebrows and bends his waist to serve the rich and powerful, which makes me unhappy. ("Sleepwalking Tianmu Yin Staying Farewell") In addition to the changeable syntax, the rhyme is also changeable. The situation is: 2 (sentence) flat (sound) eleven You (rhyme) - 2 Shang Qi Mo - 4 Ping Ba Geng - 2 Entering June - 8 Ping Ba Qi - 2 to twenty-five paths - 4 to level one first - 6 to level ten ashes - 2 to 21 horses - 6 to 6 hemp - 2 to four papers - 5 to 15 to delete. So far, we can roughly appreciate the taste of Qigu.The taste is different because of the different feelings expressed.It can also be said the other way around, it is often more appropriate to express a certain kind of generosity that should be expressed in Qigu.This kind of idea that each has its own use can also be explained from the human side. Take the characters in the novel as an example. It is not the Wujue of "Wait for the Moon and the West Chamber", but a "Bodhisattva Man" or "Recalling Qin'e", the mood will be more harmonious, right?This is a matter of how to choose a body after you have affection, and it will be discussed later, so I won’t say more here. ------------------ Since the Tang Dynasty, literati have composed poems in both ancient style and modern style; although due to their similarities or differences in skill, some people wrote more ancient poems, some wrote more modern style poems, some were better than ancient poems, and some Humans are longer than close bodies.It is a point to focus on something.But the two bodies coexist or run side by side, as the saying goes, those who are close to vermilion are red, and those who are close to ink are black, so the distinction may not be clear.That is to say, the ancient style may not be immune to the influence of the modern style in the hands of literati since the Tang Dynasty.The essence of the near style is "law"; the specific expression of the law is mainly the alternation of mediocrity and mediocrity, and the second is the use of dual sentences (pairs of sounds or pairs of meanings).From these two aspects of expression, is there any obvious difference between the ancient poems imitated by literati since the Tang Dynasty and the old-fashioned ancient poems from the Han Wei to the Southern and Northern Dynasties?Or to narrow down the scope, what is the relationship between this ancient poem and the "law"? This is also a long story.The story is long because of the long time.Over time, everything changes, even a lot.There are two sources of the alternation of level and oblique, duality: one is the characteristics of Chinese characters, monosyllabic, with tones, and can be divided into two types: level and oblique; second, people like the rhythmic and symmetrical music beauty.It is also because of this characteristic and requirement that the development history of "Law" is: from unintentional to intentional, from less to more, from untidy to neat, from knowing what is of course to knowing why. This is the narrow text.In the early days, there were sayings such as "poor without flattery, rich without arrogance", "depending on the reason and the reason".But this is unintentional and not very neat.In the Southern and Northern Dynasties and later, Xu Ling wrote "The Preface to the New Songs of the Yutai", and Wang Bo wrote the "Preface to the Pavilion of King Teng". So it is with poetry.Let me talk about five words first, the poems given by Su and Li in the Western Han Dynasty are forged by later generations, and the strong smell of the law is also a proof.The actual situation is that, when we read the Eastern Han Dynasty, we still don’t feel that there is any trace of conformity.Like the first song: ① Walk again and again, ② Say goodbye to the king. ③ They are separated by more than ten thousand miles, ④ Each is at the end of the world. ⑤The road is blocked and long, ⑥The meeting can be known. ⑦ Humayi North Wind, ⑧ Yue Nest South Branch. ⑨ The day of the relative is far away, and the day of the belt has slowed down. ⑾Floating clouds cover the day, ⑿Wanderers don't care about returning. ⒀Thinking of you makes you old, ⒁It's too late. ⒂Abandoning donations will not be rehabilitated, ⒃Work hard to add meals. -------- ① is the continuous use of Wuping, and ⒁ is the continuous use of Wuping. ⑤⑨⑩⑿ is to use four squares in succession. ⒀ is to use two flat sections in succession. ④⑥⑦ is to use two flat sections in succession.There are still six sentences left, ②Ping Qi and Ping Shu, "和" and "生" Ping are not in compliance with the law; ; ⑾ flat starting and narrowing, "covering" and zigzagging is not in compliance with the law;As a result of the inspection, only the ⒃ at the end is flat and flat, which is legal.If the sound is not in harmony with the law, the duality of sound is naturally out of the question.Meaning, ⑦ and ⑧ are symmetrical, but in terms of sound, except for "North" and "South", they are all wrong.It can be seen that in that period, the poets did not have rhythm in their minds, and the occasional sentences with rhythm were coincidental, not deliberately put together. 到晋、宋之际还是这样。举陶渊明和谢灵运为例： ①昔欲居南村，②非为卜其宅。③闻多素心人，④乐与数晨夕。⑤怀此颇有年，⑥今日从兹役。⑦敝庐何必广，⑧取足蔽床席。⑨邻曲时时来，⑩抗言谈在昔。⑾奇文共欣赏，⑿疑义相与析。 ①春秋多佳日，②登高赋新诗。③过门更相呼，④有酒斟酌之。⑤农务各自归，⑥闲暇辄相思。⑦相思则披衣，⑧言笑无厌对。⑨此理将不胜，⑩无为忽去兹。⑾衣食当须纪⑿力耕不吾欺。（陶《移居二首》） ①昔余游京华，②未尝废丘壑。③矧乃归山川，④心迹双寂漠。⑤虚馆绝诤讼，⑥空庭来鸟雀。⑦卧疾丰暇豫，⑧翰墨时间作。⑨怀抱观古今，⑩寝食畏戏谑。⑾既笑沮溺苦，⑿又哂子云阁。⒀执戟亦已疲，⒁耕稼岂云乐。⒂万事难并欢，⒃达生幸可托。（谢《斋中读书》）只由平节仄节交替方面考察，陶的前一首，①②④⑥⑦⑧⑨ -------- ⑩合律，即多一半合律，像是出于有意；可是看后一首就不然，因为由①到⑨，连续九句都不合律，其下⑿也不合律，如果出于有意就不会这样。谢的一首，③⑤⑥⑦⑿⒁⒃共七句合律，还不到十六句的一半，可见与陶渊明还是一路。 谢灵运是南朝初年人，其后齐、梁之际就来了大变化，沈约、谢朓等不只在理论方面提出四声、八病说，还身体力行，创造了讲声律的“永明体”。有理有体，于是合律就由无意发展为有意，由知其当然而发展为知其所以然。其结果表现在作品上，合律的句子就由少发展为多，由不工整发展为工整。 举沈约的一首为例： ①秋风吹广陌，②萧瑟入南闱。③愁人掩轩卧，④高窗时动扉。⑤虚馆清阴满，⑥神宇暖微微。⑦网虫垂户织，⑧夕鸟傍櫩（檐）飞。⑨缨珮空为忝，⑩江海事多违。⑾山中有桂树，⑿岁暮可言归。（《直学省愁卧》）仍由平节仄节交替方面考察，12句，只有③不合律，这是有意，不会是碰巧。还有，⑦⑧是相当工整的对偶，想来也是用力拼凑的。 同一切风气一样，至少是前期，必是随着时间的前行而变本加厉。所以到南北朝末期，诗作的律气就更为加重。举江总和庾信为例： ①三春别帝乡，②五月度羊肠。③本畏车轮折，④翻嗟马骨伤。⑤惊风起朔雁，⑥落照尽胡桑。⑦关山定何许？⑧徒御惨悲凉。（江《并州羊肠坂》） ①萧条亭障远，②凄惨风尘多。③关门临白狄，④城影入黄河。⑤秋风苏武别，⑥寒水送荆轲。⑦谁言气盖世，⑧晨起帐中歌。（庾《咏画屏风诗》之一） 由平节仄节交替方面考察，江的一首，除⑦以外，句句合律；可是⑦用的是近体惯用的平平仄平仄的格式，也可能仍须算作合律。又这首诗多用对偶（第一、二、三联都对），因而就更像唐朝早期的五律（⑦应仄起而平起，失粘，初唐不少见）。庾的一首，平节仄节交替方面句句合律。也是前三联都对偶（③④对得很工整；⑤⑥“苏武别”与“送荆轲”是意对）。失粘比江的一首多（都失粘），是因为那时候还不认为联与联间起的平仄也要变。这样，如果粘的规律可以放松，这一首也就与近体的五律相差无几了。 以上不避繁琐，翻腾历史情况，是想说明，近体之前的古诗，由律的成分多少方面考察，与近体的距离有远有近。这就引来两个问题：一，所谓古，应该指距离远的还是远近都算？二，仿作，应该以距离远的为师还是远近都可以？这两个问题，不知道唐朝人问过没有。但由作品里隐约可以看到“一些”解答。说一些，是因为不是千篇一律。原则上，或默默中，总当承认距离远的是正字号，货真价实。因而多数人仿作古诗，就是永明体以前的古，而不是以后的古，甚至用力躲律，以期比正字号的古显得更古。但求声音美的习惯，熟悉近体，力量也不小，于是有的人有时仿作古诗，就（大概是不知不觉地）混入律的成分。还有的人（后期更明显），一不做，二不休，索性扔掉旧绳索，以律句写古体，于是这变种的古体也就抑扬顿挫、铿铿锵锵了。以下举例说说这多种情况。 通常还是同古人拿笔时候一样，不想平仄的安排而随心所欲。Such as: ①胡天夜清迥，②孤云独飘扬。③摇曳出雁关，④逶迤含晶光。⑤阴陵久徘徊，⑥幽都无多阳。⑦初寒冻巨海，⑧杀气流大荒。⑨朔马饮寒冰，⑩行子展胡霜。⑾路有从役倦，⑿卧死黄沙场。⒀羁旅因相依，⒁恸之泪沾裳。⒂由来从军行，⒃赏存不赏亡。⒄亡者诚已矣，⒅徒令存者伤。（乔知之《苦寒行》） ①花间一壶酒，②独酌无相亲。③举杯邀明月，④对影成三人。⑤月既不解饮，⑥影徒随我身。⑦暂伴月将影，⑧行乐须及春。⑨我歌月徘徊，⑩我舞影零乱。⑾醒时同交欢，⑿醉后各分散。⒀永结无情游，⒁相期邈云汉。（李白《月下独酌四首》之一） 两首与近体的差别都不少。前一首：句数超过律诗；③④，⑤⑥，⑨⑩，⒀⒁，⒂H⒃，共5联，出句也平收（平脚对平脚）；平节仄节交替情况，①②③④⑤⑥⑧⑾⒁⒂⒄共11句不合律；只⑨⑩一联对偶，声音的情况是仄仄仄平平对平仄仄平平。后一首：句数也超过律诗；平声十一真韵换去声十五翰韵；平节仄节交替情况，①③⑤⑧⑨⑾⒁共7句不合律；⑨⑩，⑾⑿，两联对偶，音多不合之外，还有同字相对的情况（“我”对“我”）。总之，这是地道的古诗，几乎没有一点近体的味儿。 一向拘谨的五古如此，喜欢奔放的七古自然更容易远离近体。也举两首为例： ①沉吟对迁客，②惆怅西南天。③昔为一官未得意，④今向万里令人怜。⑤念兹斗酒成暌间，⑥停舟叹君日将·晏。⑦远树应连北地春，⑧行人却羡南归雁。⑨丈夫穷达未可·知，⑩看君不合长数奇。⑾江山到处堪乘兴，⑿杨柳青青那足悲。（高适《送田少府贬苍梧》） ①弃我去者昨日之日不可·留，②乱我心者今日之日多烦忧。③长风万里送秋雁，④对此可以酣高楼。⑤蓬莱文章建安·骨，⑥中间小谢又清发。⑦俱怀逸兴壮思飞，⑧欲上青天览日月。⑨抽刀断水水更·流，⑩举杯销愁愁更愁。⑾人生在世不称意，⑿明朝散发弄扁舟。（李白《宣州谢朓楼饯别校书叔云》） 两首与近体的差别更大。前一首：兼用五言句；换韵不只一次，平声一先韵换去声十六谏韵，再换平声四支韵；平节仄节交替情况，①③④⑥⑨⑩共6句，即一半不合律；只⑦⑧一联对偶。后一首：开头连用十一言句；换韵也是不只一次，而且换法特别，起收都是平声十一尤韵，中间插4句，押入声六月韵；平节仄节交替情况，①②④⑤⑨⑩⑾共7句，即多一半不合律；勉强说，⑨⑩对偶，可是对得很蹩脚。总之，都是没有律的味道，写古诗不愧为古诗。 作诗，近体盛行的时候没有近体的味儿，所谓出淤泥而不染，想来不容易。如以上所引，李白、高适等写古诗，是不是有意避时风，以求成为今之古人呢？不能起李白、高适等于九泉而问之，得确定的答复是不可能了。但可以推想，以“诗律细”自负的杜甫，那么喜欢并且长于作律诗，写古诗就古气盎然，是十之九费了相当多的力量以成全趋（古体）避（近体）的。可以举最著名的《自京赴奉先县咏怀五百字》为证。这首五古共100句，以平节仄节交替的律调衡之，合律的只有40句，还不到全诗的一半；全篇押入声韵，出句应该用平脚，可是有20句是仄脚。少用对偶，勉强说，“赐浴皆长缨，与宴非短褐”，“生常免租税，名不隶征伐”，“默思失业徒，因念远戍卒”，共3联可以算，可是都对得不工整；还有更远离近体的是同声字连用，计5平的5句，5仄的10句，4平的3句，4仄的7句，尤其有意思的是最后还显示一下，那是全诗的收尾，“忧端齐终南”连用了5平，“澒洞不可掇”连用了5仄。这些都是碰巧吗？至少我们可以怀疑，这是出于有意，正如“黄阁老”对“紫金丹”之出于有意。 避，要费力。这有如忌讳，要时时想着。如果不想，甚至不想避，律句就有可能连翩而来。推想如下面两首就是这样来的： ①向夕敛微雨，②晴开湖上天。③离人正惆怅，④新月愁婵娟。⑤伫立白沙曲，⑥相思沧海边。⑦浮云自来去，⑧此意谁能传。⑨一水不相见，⑩千峰随客船。⑾寒塘起孤雁，⑿夜色分蓝田。⒀时复一回首，⒁忆君如眼前。（刘长卿《宿怀仁县南湖寄东海荀处士》） ①郢客文章绝世稀，②常嗟时命与心违。③十年失路谁知己，④千里思亲独运归。⑤云帆春水将何适，⑥日爱东南暮山碧。⑦关中新月对离樽，⑧江上残花待归客。⑨名宦无媒自古迟，⑩穷途此别不堪悲。⑾荷衣垂钓且安命，⑿金马招贤会有时。（钱起《送邬三落第还乡》） 只由平节仄节交替方面考察，前一首，除③⑦⑾3句用近体常用的平平仄平仄格式以外，句句合律；后一首，除⑥⑧两句也是用近体常用的仄仄平平仄平仄格式以外，也是句句合律。 这样全篇格调近体化，齐、梁以前的人是写不出来的。 还有更甚的，是明显地表现为爱近体的抑扬顿挫、爽朗流利的格调，因而就用近体的形和神大写其古诗。较早期可以举王维为代表，如： ①渔舟逐水爱山春，②两岸桃花夹古津。③坐看红树不知远，④行尽青溪忽值人。⑤山口潜行始隈，⑥山开旷望旋平陆。⑦遥看一处攒云树，⑧近入千家散花竹。⑨樵客初传汉姓名，⑩居人未改秦衣服。⑾居人共住武陵源，⑿还从物外起田园。⒀月明松下房栊静，⒁日出云中鸡犬喧。⒂惊闻俗客争来集，⒃竟引还家问都邑。⒄平明闾巷扫花开，⒅薄暮渔樵乘水入。⒆初因避地去人间，(20)更问神仙遂不还。(21)峡里谁知有人事，(22)世中遥望空云山。(23)不疑灵境难闻见，(24)尘心未尽思乡县。(25)出洞无论隔山水，(26)辞家终拟长游衍。(27)自谓经过旧不迷，(28)安知峰壑今来变。(29)当时只记入山深，(30)青溪几度到云林。(31)春来遍是桃花水，(32)不辨仙源何处寻。（《桃源行》） 全篇32句，由平节仄节交替方面考察，除⑧⒃(21)(25)4句用近体常用的仄仄平平仄平仄格式以外，句句合律。6联对偶，⑨⑩，⒀⒁，⒄⒅，还对得相当工整。这显然是喜欢在古诗里也听到近体的腔调。这喜欢的心情自然不只少数人有，于是以律句入古诗的写法就下传，并渐渐由“可以”变为“也好”。如白居易，120句，如果不计仄仄平平仄平仄的格式，就只有18句不合平节仄节交替的规律。再后，如清初吴伟业《圆圆曲》，78句，用平节仄节交替的规律衡量，除6句用近体常用的仄仄平平仄平仄格式以外，都合律，这简直是在那里作拉长的近体诗了。 以上