CAI Faxiang
Abstract: There is no unified theory about the tonal and oblique rules of modern poetry.In the formed theory, there are many contradictions and loopholes。In feudal society, the tone of Chinese characters could not be read uniformly throughout the country, and it changed with the changes of The Times and varied with different regions。Therefore, the writers of modern poetry always deviate from the "rules" in practice.。These are the reasons why we give up the tonal rules of modern poetry。 Subject word: Comment on the doubtful points of the tonal and oblique rules of modern poetry In traditional Chinese teaching, many scholars and experts compare the tonal and tonal rules of modern poetry with the rhyme and antithesis rules, which is called tonal and tonal rules, one of the three rules of modern poetry。This conclusion is inconsistent with the creation practice of modern poetry.The author is not chuai 谫陋, dare to teach Chen my opinions such as after, in order to give advice。
一 Modern poetry (this article refers to seven rules, seven unique, five rules, five unique, the same below) is also called metrical poetry。According to experts, as early as The Three Kingdoms period, poets began to explore the art of tonal interaction, but did not put forward a theory。The real formation and development is in the southern and northern Dynasties Qiliang and Chen three generations, because it was created in the Qiyong next year, it is also called Yongming body。In the Liang Dynasty of the Southern Dynasty, Shen Yo, 周颙 and others proposed the four-tone theory according to the division of Chinese tone types, and selected the characters "ping, up, going and entering" as the key names of various tones。Shen Yue also proposed the sound, rhyme and tone of the poem according to the four tones of Chinese characters。This is the origin of modern poetry, which is different from ancient poetry。Ping in modern poetry refers to the character of flat sound;Zeph refers to the words with three tones: up, out and in。Shen Yue advocated the reciprocal tonal and tonal characters in poetry, which was theorized by later generations, that is, the "tonal and tonal rules" of modern poetry today.。Many scholars call it law, because law is the essential connection between things。The law exists objectively and is not transferred by people's will, while the tonal collocation is controlled by people's subjective will, so it is called the rule to be appropriate。How to interact tines, Shen about no specific requirements。Many people try to explore and summarize a set of "tonal and oblique rules" from modern poetry.。Different people have different opinions, because of the different objects of research of the explorers - modern poetry, the summary of the "rules" are also varied, inconsistent。Now only two are selected as follows:
其一，The format of seven rules is: First couplet: Flat (flat) Zither (zither) Zither (flat) flat，Tsao (tsao) Tsao (tsao) Tsao: tsao (tsao) Tsao (tsao) Tsao，Flat (flat) zine (zine) Zine (flat) Flat neck: flat (flat) zine (zine) flat (flat) zine，Tzy (tzy) Tzy (tzy) Tzy (tzy) Tzy tail: tzy (tzy) tzy (tzy) tzy，There are three basic rules in the above format: (1) The level and tines in a sentence alternate。The seventh rhyme is flat, and the blank rhyme is tonal。In each sentence, the words "two, four, six" must be interlaced (that is, the level of the brackets are strict), and the other level can be relaxed。(2) The level and oblique tones of the preceding sentence and the following sentence (mainly see "two, four, six") must be relative。(3) The tines and tines between the two couplets are sticky, and the next sentence of the upper couplet is consistent with the upper sentence of the lower couplet。In addition, in a rhythmic poem, should be flat, should be flat, remedy each other, called "Jiao"。Aulacogen can also exist in or between a union。
The first two words are subtracted from the first seven words。The quatrains are similar to the first four sentences or the middle four sentences or the last four sentences or the first and last two couplets (see 300 Newly Selected Tang Poems, People's Literature Publishing House, July 1980).。 其二，There are four basic forms of five-character sentences: ① Tze (tze) flat tze，There are also four basic formats for ping-ping (tonal) tonal sentences: ① (tonal) tonal tonal sentences，② (tonal) Tonal (tonal) tonal (tonal) tonal (tonal) tonal tones，④ (flat) Flat (oblique) Oblique above eight basic formats (with parentheses can be flat or oblique)，That is the general rule of single sentence in modern poetry，Various types of quatrains and rhythmic poems，Are made up of these sentence patterns。Each sentence in the poem is arranged according to the principle of sticking to the cycle。By pairs, a sentence in an even position must have its tonal pattern opposite to the previous sentence。sticky，It means that the level of the second word of the third sentence in the quatsu sentence, the third, fifth and seventh sentences in the Liyu poem should be the same as the second word level of the previous sentence，And the tines of the whole sentence cannot be repeated with the previous sentence (see Higher education self-study Examination application College common course "College Language").，East China Normal University Press，1994年10月）。 As the viewpoint of People's Literature Publishing House and college Chinese textbooks, who has authority, I am afraid it is difficult for general readers to distinguish。These two arguments alone tell us，There are still differences in the tonal and oblique rules of contemporary poetry: First, the format of each poem is different in the order of combination，The former sentence combination is fixed，The latter sentence pattern combination has the option;Second, the requirements for "sticking" are different，The former is strict with the words "two, four and six" in the clingy sentence，The latter is only strict for the second word in the sticky sentence: third, the width and strictness of the level and oblique requirements in the poem are different;Four is the first rhyme using only flat words，The latter is not。 There are some different arguments with the above, in the books, the network can easily find a variety of different arguments, here will not be repeated。It is worth mentioning that no matter what kind of argument, can be found in modern poetry to the equivalent of the poem, even if the arguments are contradictory。I dare say that in modern poetry, Tang poetry as an example, no matter what "rules" are used to standardize。No author's work fully meets the requirements, that is, 100 per cent of the required interactive tonal patterns。However, if we use the "loose" theory and the "stubborn rescue" theory to regulate all the five - and seven-character poems, they all conform to the "rules".。Let us follow the "rules" of the People's Literature Publishing House to regulate any poem。If a verse is full of flat words for the first sentence, then the first, second, sixth, and seventh words meet the requirements, the third, fourth, and fifth words should be flat, the third and fifth words should be flat, but the fourth word should be flat, but can be saved by the next sentence or other words that should be flat。In this way, the theory of "saving" is in line with the rules。We also assume that all the words in this poem are oblique words, and the second and sixth words are oblique words, which do not meet the requirements, and can also be saved by the next sentence or other words that are oblique but flat, which is also in line with the rules。Professor Guo Qinna also acknowledged and listed many four -, five -, and even six-mode poems in his book "The Supplement of Poetic Rules" (The first issue of Ancient Chinese Studies, 2002), and also put forward the view that "not saving" conforms to the "rule"。It doesn't matter if you don't "save"。The seven levels and seven oblique tones used in other sentences can also be proved to conform to the rule in this way。It can be seen that no matter how many tonal words there are in each sentence, no matter what the order, it can be proved that it complies with the requirements of the "rule" by the theory of leniency, perseverance and perseverance。How can such tonal and tonal rules regulate the tonal and tonal patterns of modern poetry？On the other hand, the theory of "surfacing" and "surfacing without saving" contradicts the requirements of "the upper sentence and the next sentence of each couplet are relative", "the next sentence of the upper couplet and the upper sentence of the lower couplet are sticky", whether in the sentence, the couplet, or the countersaving between the couplet and the couplet, all of them really affect the requirements of "on" and "sticking"。Because the word of salvation is exactly the word that requires "right" and "sticking"。In the poem, whether it is to save or not to save, it will make "right" and "sticking" become empty words。I believe that such rules are inconsistent, unrigorous and unscientific in theory。 China has a vast territory and a large population. In addition to the common language of the Chinese people (Mandarin), there are many different languages。许多语法书认为，汉语由八大方言（北方、吴、湘、赣、客家、闽北、闽西<南>、粤）组合而成。Of course, this is only a rough classification, and there are differences in pronunciation and intonation within the speech。There are great differences between the major dialects, and some people with different dialects have difficulty understanding or not understanding each other when they speak their own dialects together。The writers of modern poetry are all over the east, west, north and south, and the authors of different regions are inevitably different in the pronunciation and tone of Chinese characters. Therefore, even if the poets around write modern poetry pay attention to the "tonal rules", it is inevitable that the tone standards are different。 In today's developed news media and convenient transportation, the Putonghua we promote is far from reaching the popularity level。In the backward feudal era, to promote the "flat, up, going, and entering" created by Shen Yue in the whole country, and continue to follow, is simply fantastic。The tones of Chinese characters vary not only from region to region, but also from time to time。Chen Di, a scholar of ancient music at the end of the Ming Dynasty, said in his book Reading Poems and Foolish Words: "Within a county, the sound is different, depending on the place;There is a transfer of language within a hundred years, depending on the time。In 1324 AD, Zhou Deqing of Yuan Dynasty wrote "Central Plains Yin Yun" based on Uttar Pradesh Dialect. There were three major differences between its tone and Shen Yo's "flat, up, going and entering"。In the Middle Ages, most of the entering sound words became upper sound words, and some became flat sound words。In other words, the oblique words in the past become oblique words。The second is that the flat word is divided into Yin Ping and Yang Ping。Third, the middle part of the upper sound word has become the sound word。In the Qing Dynasty, Li Yu, according to the "Central Plains rhyme", edited "Li Weng to rhyme", according to the requirements, the couplets should be connected with the words and tones, but in all the couplets, there are sentences that do not meet the requirements of the level and tones (with the intonation standard).。This fully shows that the tone of Chinese characters has changed from the Yuan Dynasty to the Qing Dynasty, and from the Qing Dynasty to modern times。It can be inferred that not all Chinese characters have these four tones, and the pronunciation of "flat, up, out and in" is not absolutely consistent across the country。Since the tones of Chinese characters differ in time and space, what is the significance of adhering to the "tonal rules" of modern poetry today？
Some scholars use contemporary Putonghua to standardize the modern style of poetry, and when they encounter words that are not in accordance with the rules of tonal pattern, they often indicate the ancient pronunciation tones in addition to the "down" solution。That doesn't make sense either。The reading of the ancient four tones (that is, the tone value) did not leave a specific description, and the method of setting the tone value of the fifth degree was not determined until 1934, and the tone value has changed greatly in ancient and modern times。We may ask: Now according to what study ancient pronunciation tone？ Practice is the only criterion for testing truth。Taking a look at the creation practice of modern style poetry, it is more helpful for us to understand the hypocrisy of "tonal and oblique rules"。Let us take the "Modern Chinese Dictionary (Revised Edition)" published by the Commercial Press as the standard。Use the "tonal and oblique rules" mentioned above to test the modern style poems in the Three Hundred Tang Poems to see if they are consistent with the rules。It is not difficult to see that no author's modern poetry fully conforms to the rules。The widely celebrated "Yellow Crane Tower" (Cui Hao) and "Climb the Phoenix Platform in Jinling" (Li Bai) are also outside the rules。Even 沈佺期 and Song Zhiwen, which claimed to pay attention to vocal rhythm and played an important role in the formation and development of Tang Dynasty modern style poetry, did not conform to the rules。For example, 沈佺期's Ancient Meaning (although it is Yuefu, in essence, it is a mature rhythmic poem) and Song Zhiwen's Du Dayu Ling (omitted to reduce the length), no matter which format is used to standardize, they do not meet the requirements。There is a glimpse of this, even among advocates, not to mention other poets？！ 有人认为：“在诗句中交替使用平仄字，可使音律抑扬顿挫，富于节奏感和音乐美，读来琅琅上口。"That's not right either。The sense of rhythm is not determined by the tonal pattern, but by the structure of the words in the verse。Besides, the feeling of reading poetry is relative to the reader。Even if a writer tries hard to write a poem in different levels, readers may not always feel the same way。Because the work of any dialect author has many readers in different dialects。It is self-deceiving to expect readers of different dialects to feel the same "beauty of rhythm" as the author？ Writing poetry is the same as writing, using words and sentences to form meaning, which is the consensus of ancient and modern times。"Rather the law is not harmonious, not to make the sentence weak, not to make the word vulgar.。(Huang Tingjian) "The meaning and the words from it,..."(Huang Kan)。Chen Ziang's "Dengyuzhou Tai Song", 22 words, not by no means law, and no rhyme, but fully expressed the author's frustration in serving the country with emotion, moving the sky and the earth, after reading people will never forget。The first four sentences of Cui Hao's Yellow Crane Tower are: "People used to go by the Yellow Crane Tower, but there was no Yellow Crane Tower here;Yellow crane will never return, white to a thousand years of empty leisurely。This poem does not excessively pursue the formal beauty of the opposite, level and oblique, and is also guilty of the taboo of "heavy words" (using three "yellow cranes", two "empty" and "go"), but people agree that it is a rare good poem。Even Li Bai, who is known as the poetry fairy, once said, "There is a scene in front of you, Cui Hao wrote poems on it"!Shanghai Ancient Books Publishing House also agreed with the view that "this poem is the first rhythmic poetry of the Tang people", and the "300 New Notes on Tang Poetry" published in 1992 placed this poem in the first part of the seven-law volume。当代伟人毛泽东（湘方言）所创作的近体诗中，很多也与“平仄规则”大相径庭，但它却在国人中广为传诵，获得好评。There are many popular good poems, are not relying on the beauty of the voice to win the praise of readers。In the practice of creation, the writers of modern poetry always leave the "rules" aside。It is puzzling that in summarizing and exploring the creative experience of modern poetry, some people insist on "tonal rules" as the standard。 It should also be mentioned here by the way that the tonal classification of Chinese characters is to divide the tones of Chinese characters into two parts, the same as the principle of tossing a coin (excluding the possibility of not falling), which is not flat or tonal。In a sentence or a poem, it is much less likely to keep the flat or oblique words in a single color than the oblique words。Most of the sentences we see are interlaced with level tones。Even if it is the same or similar to the requirements of tonal and oblique rules, in addition to the seven words of ancient style and Yuefu poems, it is also ubiquitous in newspapers and books。Therefore, we have no reason to conclude that there is no such coincidence in the recent verse。
四 We recognize that Tang poetry and Song Ci are the treasures of our Chinese classical culture and a shining pearl in human history, whose literary and artistic value can not be denied。同样，Metrical poetry is also a monument in the long history of the development of classical poetry in China!It is like other Tang and Song poems，With rich and profound life content，Colorful art style，Widely and profoundly reflects the social reality at that time，And with its Fu, comparison, xing expression techniques，He has made great artistic achievements in poetry creation，Spread through the ages，It has won widespread appreciation and high evaluation at home and abroad。What we should carry forward is its vivid, beautiful, magnificent and novel artistic image to achieve lyricism and write the artistic characteristics of intention appearance。However, we have no reason and no right to impose on it false rules of tonal norms - to make it a false art injustice。还格律诗没有平仄规则的本来面貌，正是我们在格律诗这项历史文化遗产面前对历史负责，对后人负责的理智选择！ 近体诗“平仄规则”在理论上谬误颇多，且没有统一标准，在创作上没有实践基础。This law is full of loopholes;To educate people, but to mislead children。We should not persist in the theory of "rules" based on the past, but should take a scientific attitude, emancipate our minds, and seek truth from facts to say "no!" to the "tonal rules" of modern poetry.
Author's contact: Hunan Hanshou County Laogan Bureau veteran cadres network publicity Association, contact number :15115753198
