Edit this paragraph. On the Origin of Six-character Poems
There are three influential people about the origin of six-character poems:
1. Originated from The Book of Songs. This statement was first put forward in the Eastern Jin Dynasty. He said, "Six-character speaker,' I take my money? Genus also. Yuefu is also used. "(1)" menstruation is thinking about money? " A sentence from The Book of Songs, Nan Zhou crooked her ears. Liu Xie's Wen Xin Diao Long Ming Shi explores the origin of six-character metrical poems, and inherits Zhifu's view that "three or six miscellaneous words come from articles". ② Obviously, Liu Xie's theory about the origin of six-character rhythmic poetry can be traced back to The Book of Songs. Zhao Yi, a A Qing, talked about the origin of the Six-character Rhyme, and also attacked the theory of suffering. He said, "According to Shi Mao, I said I moved to the king's capital, and I said I had no family. ". "③
2. The theory originated from Gu Yong in the Western Han Dynasty. This statement was first put forward by Ren Liang *2 of the Southern Dynasties. He said in "The Origin of Articles": "The six-character poem was written by the great Confucian Yong in the Han Dynasty." Cang Hua in Song Dynasty accepted Ren's point of view when talking about six-character poems. He said: "Five words began in Liling and Su Wu, seven words began in Hanwu Bailiang, four words began in Hanwangfu, six words began in Guyong and Hansi farmers, three words began in Xiahou Zhan, and nine words began in your hometown." ④
3. It started in Dong Fangshuo. In the Tang Dynasty, Shan Li annotated Zuo Si's Ode to Historical Poems in Selected Works, believing that this six-character poem originated in Dong Fangshuo in the Western Han Dynasty. Dong Fangshuo's six-character rhyme can only be found in Shan Li's notes and quotations in Selected Works, and there are only two sentences. One sentence is that Zuo Si's poems in the twenty-first volume of Selected Works quote Dong Fangshuo's six-character poems, "give up and not accept"; The other sentence is "Selected Works", Volume IV, Zuo Si, Shu Du Fu, and quoted "combining respect to entertain".
Among the above theories, the theory of worry traces the origin of six-character poems, so it begins with the six-character poems in the Book of Songs. Both Gu Yong's theory and Dong Fangshuo's theory limit the origin of the six-character rhyme to the Western Han Dynasty. Looking at the existing literature, we can find that the latter two statements are debatable in three aspects: first, there are no poems circulating in Gu Yong and Dong Fangshuo; Second, Sima Qian's Historical Records and Ban Gu's Hanshu have no records of their poems. Third, Yu of the Eastern Jin Dynasty talked about the six-character poetic style when discussing the poetic style, but only said that there were six-character poems in the Book of Songs, but did not explain when the six-character poems were formed. Liu Xie's "Wen Xin Diao Long" only said that "three or six miscellaneous words came from the article", and did not mention the contribution of Gu Yong and Dong Fangshuo to the six-character poem. Moreover, in the past, many opinions about the origin of six-character poems focused on six-character scattered sentences without considering the whole poem, which was not enough to show that six-character poems had appeared in the pre-Qin or Western Han Dynasty, let alone that six-character poems had been formed.
The origin of editing this six-character poem
Six-character loose sentences were first scattered in The Book of Songs. There are single sentences and even sentences. For example, "People in the room make friends with me all the time", "People in the room make friends with me all the time to destroy me" (North Gate of Gaofeng), "I have nothing to do at night" and "I don't sleep at night at work" (Feng Wei) "I moved my stock in May. Because there are so many six-character quatrains in The Book of Songs, Zhiyu and Liu Xie discuss the origin of the six-character poems. However, the six-character poems in The Book of Songs are only scattered sentences, which are relatively rare, and there are no more than two consecutive six-character poems. Therefore, if we think that there has been a complete six-character rhyme in the era of the Book of Songs, there is obviously a lack of sufficient evidence.
When it comes to Chuci, six-character sentences are not only common, but also more than four conjunctions have appeared. The basic sentence pattern of Lisao is "Up to seven and down to six", such as "I would like to ride the jade wind, I would like to ride the wind. The morning sun starts from Cangwu Xi and reaches Xuanpu in the evening. If you want to stay less energetic, it will be dusk. I ordered how to celebrate the festival. I hope you are embarrassed, don't be reluctant. " . If you remove the word "Xi" from the previous sentence, you will actually have the prototype of six-character rhyme. There are even six consecutive sentences in Nine Arguments: "I can't be generous, I'm confused. I feel sorry for myself and my heart is beating. " This is a very noticeable phenomenon. Because, as a kind of poetic style, if it can be a poem independently, it must have at least four sentences, otherwise it can only be regarded as a poem, not a complete poem. It can be said that the sentence patterns in Lisao and a large number of neat six-character sentences in Chuci laid the foundation for the maturity of six-character poems.
Poetry in Han dynasty is dominated by five-character miscellaneous words. Although six-character sentences are common, they are mostly scattered sentences. For example, the Qing Opera "Escape to the East" includes Mountain Danger, Birds Gather in Smoke, Going to the Jade Hall after a Small Recovery, and Long live Your Majesty, and God bless you. The essay "Elegy" has the following words: "Elegy can be weeping, but from afar it can be angelica"; There are six sentences in the tune Gynecological Diseases, such as "Don't worry about your son's hunger and cold, don't worry". Different from Chuci, the six-character loose sentences in Yuefu of Han Dynasty are mostly notional words, while function words such as "Xi", "zhi", "qi" and "hu" are rare. This change is a remarkable sign that the six-character rhythmic poem is gradually maturing. Liang Hongyi's Five Songs and Wu Shishi are all six words. Wu Shishi is similar to the six sentences in Chu Ci, because each sentence uses the word "Xi", so it can be regarded as a poem.
There are many neat six-character quatrains in the lyric poems of scholars in the Eastern Han Dynasty. If it is independent, it is a fairly neat six-character poem. For example:
Going to the capital is permanent, and ignorance is used to assist; When I was in Linchuan, I wanted to find a fish. Once the river was clear, it was not due. Feeling Cai Zi's generosity, I suspect it comes from Tang Sheng. I dare to chase the fisherman and play with him. It's been a long time since I left the world. (Zhang Heng's Return to Tianfu)
Feel the places you have traveled all your life, if you need each other; If Hu Yue is different, what are the two wonders of today? Follow the cage and throw at the threshold, and hesitate to peek at the door; Think of the majestic mountains in Kunshan and Deng Lin's help; Although Liu purlin has been destroyed, what's the hurry? If you return to your heart, you will only resent it in a corner. If you devote yourself wholeheartedly to what you are doing, dare you forget your original heart? Trust the small life and entrust the humble body; Do your best to repay your kindness; Depending on your past kindness, it will last forever. (Mi Fei's "Parrot Fu")
These paragraphs are not only neat six-character poems, but also pay attention to rhythm and antithesis, which are almost the same as mature six-character poems and have a far-reaching influence on the formation of six-character poems.
We can clearly see the development and evolution of six-character poems from the six-character scattered sentences that occasionally appear in the Book of Songs, to the six-character continuous sentences that frequently appear in the Songs of the South, to the six-character sentences that rarely use function words in the Yuefu of the two Han Dynasties, and finally to the six-character paragraphs in Wu, Shi and lyric poems in the Eastern Han Dynasty. Although the standardized six-character rhyme didn't appear until Jian 'an period, the development and changes of six-character scattered sentences in sentence patterns, words, syllables and rhythms before Jian 'an period predicted the basic direction of the evolution of six-character rhyme, which made the appearance of complete and standardized six-character rhyme a natural thing.
The maturity of editing this six-character poem
The complete and standardized six-character metrical poem only appeared in Jian 'an period. The earliest and most complete existing six-character poems are Kong Rong's three six-character poems. Kong Rong, one of the seven sons of Jian 'an, is famous for his poems. In poetry creation, on the basis of drawing lessons from The Book of Songs, Songs of the South and two six-character prose poems of Han Yuefu, he created a complete six-character rhythmic poem:
In the Han family, Ye Daowei and Dong Zhuo took advantage of the situation to make a mess, arrogantly abused their authoritarian power, and all officials were afraid, and the people were miserable.
Li Guo was in dispute and moved to Chang 'an to consider returning to China. Looking forward to Kanto's sorrow and dreaming of Cao Gong's return.
From Luo to, Cao Gong served the country selflessly, reducing the sweetness of the kitchen food. The team leader is from Qi Qi. Although he often goes hungry, he misses my bitterness and sadness.
His poems narrate the history of the late Han Dynasty, starting with Dong Zhuo's move to Chang 'an under the threat of Emperor Xian of Han Dynasty, then writing about Guo Si and Li * "fighting for power and profit", and finally writing that Cao Cao promised Emperor Xian of Han Dynasty to pay attention to current affairs, with clear love and hate, and a sad style, which is called the history of poetry. Mr. Xu Gongzhi thinks that Kong Rong's three six-character poems were written in the first year of Jian 'an, and the author wooed Xu to take office. In the poem, Cao was warmly praised and said,' It's sad to dream of Cao Gong's return while looking at the Kanto. From Luo to, Cao Gong served the country selflessly. It showed great trust and expectation for Cao Cao at that time. In terms of poetic style, this is the earliest complete six-character poem in the history of Chinese poetry, so it is of great significance. ".⑤
Kong Rong's six-character poem is an extension of the traditional four-character poem and five-character poem. Three poems are placed on the same rhyme, and one rhyme is at the end, which shows that Kong Rong intends to write six words, or it may be written at the same time; His narrative has always been timely, with rich feelings and clear love and hate; Its language is concise, clean, concise and lively, unlike the previous six-character scattered sentences, which use interlining. This poem emphasizes narration, lyricism and image, and obviously inherits the tradition of the Book of Songs and folk Yuefu in Han Dynasty. There are many overlapping words in the poem, such as "Weiwei", "Miserable" and "Qi Qi", which have the legacy of literati Yuefu in the Han Dynasty.
After Kong Rong, both Cao Pi and Cao Zhi had six-character poems handed down from generation to generation. Cao Pi has three six-character poems, among which Li Shihe is the standard six-character poem. The widow's poem is a six-character poem, but because the fourth word of each sentence is "Xi", it can be regarded as a unique style of six-character poem. Poems of Liyang was written by Cao Pi when he passed Liyang in the morning and prepared to cross the Yellow River eastward. The poet looked around Mount Li. "Looking north, my old house is tilted, and there are many tall buildings and thorns. Looking south, the orchard is green and the frost is terrible, which can't help but give birth to the feeling of "I am hurt". The poem Shilin was written by Cao Pi when he was about to become emperor. The first three sentences "Mourning is greater than dying in the heart, and the bones are vertical and horizontal in Wan Li, and mourning is greater than dying in the heart", which expresses the condemnation of Emperor Xian of Han who is about to abdicate, while the sentence "I will arrange it at an appropriate time" inadvertently reveals the poet's ambition and ambition to win the world.
If Kong Rong's three six-character poems are the pioneering works of six-character poems, then Cao Zhi's Concubine is the representative work of six-character poems in Jian 'an period. Yuefu Poetry Collection contains two poems of Concubine: ⑥.
Holding hands with jade, I like to take the same car and fly north to Yun Ge. The fishing platform is empty and the pond is entertaining. Looking up at the dragon boat and the green waves, overlooking the branches of Shencao. Miss Fu Fei Luohe and bid farewell to China girl's Hunan and Hubei feelings (1)
The sun and the moon passed away in Tibet, but they will also be in the Blue Hall. Deng Hua's steps are smooth and bright. If the sun rises, it will help us sit together. When the host dances, the hole of the ability touches the other end. Teng Fei is dry, with the same amount and color. Make friends at will, and Zhu Yan turns blue. The sleeves are very ceremonial and the fairy body is light. The dress is unbuttoned, and the smile is not there. Look beautiful, raise the gold plate. The hand sleeve is difficult, the wrist is not beaded, and the seated person sighs and feels comfortable. The royal towels and powder around you, including Huo Natto Liang and chicken tongue with mixed flavors, will be deeply unforgettable for anyone who enters ginger. Just invite relatives to have a private banquet, because it's too late for the Song Cup. The guest Fu was drunk, but the host said not to expose him? . (2)
The second poem is about the love between men and women, which is extremely well prepared. Mr. Xiao Difei speaks highly of this poem. He said: "The six-character rhyme, Ren * Er Yun, began in Han Dynasty, but it has not been passed down to this day. There are three songs written by Kong Rong, which are not impressive. Later six-character writers, such as Fu Xuan's "Escape to the East through the Nine Autumn Stories", Yu Xin's "Songs of Grief" and Wang Bao's "Koguryo", all created by themselves. In the Tang Dynasty, Wei, Liu Changqing and Jincon wrote Drama Order and Mourning for the Immortals. 7 Xiao Difei put Cao Zhi's six-character poem in the history of its development to evaluate its value and function, and pointed out its far-reaching influence on the later six-character poem creation.
Six-character poems developed into Jian 'an period and gradually matured. During this period, not only a complete six-character metrical poem appeared, but also six-character metrical poem writers represented by Kong Rong, Cao Pi and Cao Zhi, as well as Cao Zhi's My Unfortunate Trip, which was very influential in the history of China's poetry. From the perspective of the history of poetry development, Kong Rong has made great contributions to the creation, while the Cao Shi brothers have expanded the influence of six-character poems through their creation and their special status, and won space for the further development of six-character poems.
Edit the beginning of the formation of six words in this paragraph.
After Kong Rong, Cao Pi and Cao Zhi, the successful composers of six-character poems mainly include Wei Jikang in the Three Kingdoms, Fu Xuan in the Western Jin Dynasty, Lu Ji in the Eastern Jin Dynasty, Yu Yan, Xie Hui in the Southern Song Dynasty, Xiao Gang in the Liang Jianwen Emperor, Xiao Tong, Prince Zhaoming, Wang Bao and Yu Xin in the Northern Zhou Dynasty. Their six-character poems are not only ancient poems, ancient customs and poems, but also new explorations in form, which have made important contributions to the formation of six-character poems.
Ji Kangyou 10 composed six-character ancient poems, each with four sentences. Among them, there are six poems, Yao Shun in Ancient Times, Tang Yu Ruling the World, Dong Fangshuo Guiqing, Zi Chu Gentle Scholar, Lao Lai's Wife and Xian Sheng Yuan, which praise the ancient wise men and sages and express their reverence for the ancient sages. The four poems, Wise and Useful, Who is the Relativity between Name and Body, How to Make Good Use of Life and How to Make Good Use of Life, and How to Make Good Use of One's Behavior and Show One's Disease, are the summaries of life experiences and lessons, and contain the author's life experiences and rich life philosophy. There was no "temperament theory" in Ji Kang's era, but Ji Kang's six-character metrical poems not only fit the rhythm, but also have four sentences in each capital, which has the basic form of six-character quatrains and provides a basic paradigm for the emergence of six-character quatrains.
Fu Xuan was the poet with the largest number of six-character poems in Wei, Jin, Southern and Northern Dynasties, with 12 six-character songs "Escape from the East". There are three main opinions about the author of this poem: one is that it is an ancient poem of Han Dynasty; One thought that the first 10 was written by Liang Wendi Xiao Gang and the last two were written by Fu Xuan. One thought it was all written by Fu Xuan. Mr. Xiao Difei believed that this poem was written by Fu Xuan, and made a dialectical analysis of its author in the History of Yuefu Literature in the Han, Wei and Six Dynasties. As far as its content is concerned, this poem belongs to the quasi-generation and can be ignored. In terms of artistic form, there are three most noteworthy points in this poem: first, there are five sentences in each chapter, the first sentence is like a Sao style, the basic sentence is Shangsaner, and the middle is connected by the word "Xi", such as "Xi Sanchun in the past nine years" and "Xi Fu Jun in the new poem"; Second, except the first sentence, the other four sentences rarely use function words as parenthesis; The third is that every sentence rhymes to the end. All these characteristics show that when the six-character rhyming poem developed to the selection of poems, it basically retained the styles of ancient poems and Sao poems, especially five sentences in each chapter, with the word "Xi" in the first sentence, which clearly shows that it has not got rid of the influence of Sao poems.
Lu Ji has two six-character poems, which are a kind of singing. Dong Yi showed the feeling that life is short, and began to eat, drink and be merry from Han Yuefu. A trip to stay in the field shows the feelings of traveling and the thoughts of mourning for the past. In terms of artistic skills, Lu Ji's six-character poems have long paid attention to antithesis, such as "singing pigeons for feathers, ploughing and making sounds" ("Escape to the East") and "flying horses in the original wind, canoeing" ("Going to stay in the field"), which is quite good and has made the six-character poems develop into modern poems.
Yu Yan and Zhan both have six-character poems. Yu has 10 poems about immortals, among which six poems with six words and four sentences each are poems about immortals. Yu Yan lived in the Eastern Jin Dynasty when metaphysics flourished, and he was also a master of metaphysics. His poems show the author's longing for nature and forgetting everything, and show the profound influence of metaphysics and Laozi and Zhuangzi in the Eastern Jin Dynasty. Zhan's Poem on Autumn Night is a work of "sorrowful autumn", but the poet talked about it when "sorrowful autumn". Although there are only remnants of his poems, they are worthy of attention in the history of metaphysical poetry in the Eastern Jin Dynasty.
Xie Hui's Compassion in the Southern Song Dynasty is the only long six-character poem in the history of its development. According to Song Shuzhuan, Xie Hui befriended Xu and Fu Liang, Xu and Fu were in charge of the power in the DPRK, and Xie Hui was heavily stationed in Jingzhou. Then acceded to the throne, xu, Fu Liang and others arise and crusade against Xie Hui. Xie Hui was afraid, so he went to Beijing and was defeated and captured. Yuanjia was killed in Song Wendi in the third year (426). This poem was written on his way to Beijing after he was captured. The rhyme of the whole poem 150 repeatedly expresses "sorrow for the practical difficulties of human beings, sorrow for the dangers of human beings, and sorrow for hurting people's insecurity", showing infinite feelings for the difficult life. This poem is full of emotion, sonorous syllables and many cautionary words. It is a summary of the poet's life experience and contains profound philosophy.
develop
After Chen Liang, the six-character poem developed to a new stage, and the embryonic form of six characters, three rhymes and six rhythms appeared. Beauty and Snow by Prince Xiao Tong of Liang Zhaoming is the earliest poem with six words and three rhymes.
It is like the parting of Meiying and the flying of Taigu flowers.
As dense as a public super, as bright as a deep guest.
Without the envy of Kunyan element, it is impossible to shake the heron back.
This poem simulates the shape of flying snow, which is very associative and the music is wonderful. The whole poem rhymes every other sentence, the antithesis is neat, the allusions are ingenious, and it has the basic characteristics of six words and three rhymes, which is the earliest six words and three rhymes. Wang Bo of the Northern Zhou Dynasty also had six words and three rhymes:
Noise is easy to make waves, and there are many beautiful women in Zhao Yan. Pour the cup and cover the bowl *, *, and hang down your sleeves. I didn't hesitate to spend all my gold, but I was afraid to waste the day. ("Koguryo")
The first two sentences of this poem use allusions, the middle two sentences draw shapes, and the last two sentences are lyrical, which are naturally connected and achieved in one go; The last four sentences are both antithesis and both form and spirit.
Liang Jianwen's poem, Xiao Gang's worship of buildings and aversion to festivals, can be regarded as the embryonic form of six-character rhythm poem. In the Northern Zhou Dynasty, Yu Xin's Hate Songs and Dancing Mei Niang initially possessed the basic characteristics of six-character metrical poems:
Before I lived in Jinling County, I married a teenager in Chang 'an.
Looking back, tears fall, I don't know where the world is.
I will be exhausted in a few days. When will Han Yue be more round?
Because you can sing this song, you won't feel your heart broken. ("the song of complaint")
Look at the mirror in front of the visitor and smile at yourself.
The eyebrows are thick and straight, and the forehead is yellowish.
I only doubt that the fallen flowers will walk slowly and the spring breeze will not come back.
Teenagers only have fun, and drinking will leave them disabled. (Dancing Mei Niang)
Although these two six-character poems belong to the chorus style, they initially have the basic characteristics of rhythmic poems: rhyming every other sentence, and paying attention to the level and level. For example, "Chen Huying will finish in a few days, and the moon will be more round in the Han Dynasty", "The eyebrows are thick and straight, and the forehead is yellowish", "I only doubt that the flowers will slow down and the spring breeze will not return", which is very smooth and harmonious and unique in the creation of six-character rhythmic poems in Wei, Jin, Southern and Northern Dynasties.
If the six-character rhyme from Jian 'an to Qi-Liang period is only in the form of six characters, with little emphasis on rhythm, levelness and antithesis, and some function words are occasionally mixed in many works, then after more than 300 years' development from Wei-Jin to Qi-Liang in the Southern Dynasties, the six-character rhyme has matured by Emperor Liang Jianwen, Prince Zhaoming, Wang Bao and Yu Xin in the Northern Zhou Dynasty. Their six-character poems not only provide a standard model for six-character poems in artistic form and creative techniques, but also have a far-reaching impact on the stereotypes of six-character poems after the Tang Dynasty.
mature
In the Tang Dynasty, six-character poems, like five-character poems and seven-character poems, gradually developed into metrical poems. The most representative of the six-character quatrains is Wang Wei's Six Words in Wangchuan. Six Words of Wangchuan was written by Wang Wei when he lived in seclusion in Wangchuan. It depicts the pastoral scenery and shows the poet's happy mood of seclusion in pastoral areas. Let's look at the following poem:
It's windy across Cailing River, and Zhang Ce Village is in the west.
Fisherman by apricot tree altar, family in peach blossom garden.
Poetry uses the technique of changing scenery, and through the description of three kinds of scenery-wind rush, sunset and fisherman-it naturally comes to an idealized realm of "people in the Peach Blossom Garden". Except the second sentence of this poem is a traditional "22" sentence pattern, the other three sentences are all "42" sentence patterns, which can be divided into: crossing the river by picking ling/driving out the wind, walking on crutches/moving the village to the west/setting the sun. Apricot tree altar/fisherman, peach blossom garden/family. His poems are rigorous in meter, clever in antithesis and changeable in sentence patterns, which can be called the representative work of six-character quatrains in Tang Dynasty.
Some six-character poems written in the Tang Dynasty are very affectionate. For example, Yu's "Sending Children across the Han River" is the masterpiece of six-character poems:
Looking forward to sorrow in the north and south of the Yangtze River, yearning for empty songs.
Yuanyang lies in the sand and is warm, and the orange forest flies leisurely.
The songs in the kitchen smoke are faint, and the moonlight on the ferry is heavy.
Love is thousands of miles away, love is thousands of miles away from the anvil.
The first sentence of this poem carries the word "sorrow", which is extremely beautiful with the sadness and melancholy of lovers across the river. In the first pair of couplets, there are homesickness in the south and the north, melancholy and empty songs, while in the couplets, Yuanyang is warm and lying, Shapu is opposite to Xinglin. Necklace couplets use "singing in the smoke" to "cross the moon" and "faint" to "weigh". The meter is strict and the antithesis is neat. Although the basic sentence pattern of this poem is not the old example of "222" in the traditional six-character rhythm poem, there is no monotonous feeling because the cadence and long sound and short sound of words can be determined according to the beat when singing the poem.
The Tang Dynasty was the prosperous period of China's classical poetry. Although six-character poems are not as popular and prosperous as five-character poems and seven-character poems, they are by no means as rare as some people say. There are 37 six-character quatrains compiled by Hong Mai in the Southern Song Dynasty, 57 six-character quatrains published by Huang Fengchi in the Wanli period of the Ming Dynasty and 50 six-character quatrains compiled by Yan Changming in the Qing Dynasty. That is to say, as far as the six-character quatrains in the Tang Dynasty are concerned, some famous six-character quatrains are not included (for example, Huangfuran has three six-character quatrains, while the six-character quatrains in the Tang Dynasty only include two). If you add six-character poems, three-character poems and six-character poems, the six-character poems in the Tang Dynasty are obviously far more than this figure. Some people have made statistics based on the whole Tang poetry, saying that there are 75 six-character poems in the Tang Dynasty. Pet-name ruby this figure is obviously not very accurate.
The maturity and stereotype of six-character poems in Tang Dynasty laid a good foundation for the development of six-character poems. After the Tang Dynasty, the creation of six-character poems gradually flourished. After the Song Dynasty, six-character metrical poems became a common poetic style for literati to express their feelings and describe scenery. The Thousand Poems of Song People compiled by Yan Changming in Qing Dynasty contains 98 six-character quatrains of famous poets such as Wang Anshi, Su Shi, Huang Tingjian, Qin Guan, Lu You, Yang Wanli and Fan Chengda, accounting for about110 of the book. Famous writers in the Ming Dynasty, such as Yang Ji in the "Three Yang" in the early Ming Dynasty, Li Dongyang, a leading figure in the early Ming Dynasty, He Jingming in the "First Seven", Yuan Hongdao in the "Three Yuan of the Public Security Bureau" and Tan, the leader of Jingling School, all have six-character poems handed down from generation to generation. What is more noteworthy is that several influential six-character poems appeared in the Ming Dynasty, such as Li Panlong's Six-character Poems, Yang Shen's Ancient Six-character Poems and Huang Fengchi's Six-character Pictures of Tang Dynasty. The appearance of these anthologies expanded the influence of six-character rhythmic poetry and promoted its development. In particular, Huang Fengchi's Painting Spectrum of Six-character Tang Poetry, which integrates poetry, calligraphy and painting, enables readers to "read poetry to explore the spirit of writing, copy words to explore the machine, and draw pictures to see the ingenuity", which has greatly promoted the spread of six-character poetry. Famous poets in Qing Dynasty, such as Gu, Wang Fuzhi, Zhu Yizun and Yuan Mei, also made great achievements in the creation of six-character poems.
Edit the rhyme of this six-character poem.
The quatrains in "One" flatten the rhyme.
The blank format of the first sentence of the six-character quatrain in A;
Flat, flat, flat, flat, flat (rhyme). (dual)
Flat, flat (rhyme).
The rhyming format of the first sentence of the six-character quatrain in "B";
Average (rhyme), average (rhyme).
Flat, flat (rhyme).
The first sentence of the six-character quatrain of "C" doesn't rhyme;
Flat, flat (rhyme). (dual)
Flat, flat (rhyme).
The rhyming format of the first sentence of the six-character quatrain in D;
Flat (rhyme), flat (rhyme).
Flat, flat (rhyme).
Er's rhyme leveled the rhyme.
The rhyme format of the first sentence of the six-character rhyme in A;
Flat (rhyme), flat (rhyme).
Flat, flat, flat, flat, flat (rhyme). (dual)
Flat, flat (rhyme). (dual)
Flat and even, flat and even (rhyme).
The rhyming format of the first sentence of "b" in the six-character rhyme;
Average (rhyme), average (rhyme).
Flat, flat (rhyme). (dual)
Flat, flat, flat, flat, flat (rhyme). (dual)
Flat, flat (rhyme).
allow
Rhyme of quatrains in One
The six-character quatrains in A stand on the same level:
Flat (rhyme), flat (rhyme).
Flat and even, flat and even (rhyming).
The six-character quatrain in "b" starts from the beginning:
Flat (rhyme), flat (rhyme).
Flat, flat (rhyme).
Er yun zhi yun
The six-character rhyme in a;
Flat (rhyme), flat (rhyme).
Occasionally, occasionally (rhyme). (dual)
Flat, flat (rhyme). (dual)
Flat and even, flat and even (rhyming).
The six-character rhyme of "b" starts from the beginning;
Flat (rhyme), flat (rhyme).
Flat, flat (rhyme). (dual)
Occasionally, occasionally (rhyme). (dual)
Flat, flat (rhyme).
Note: the fifth word is not difficult to store, which is different from the seven words (absolute method)
Six methods (rare, in fact, seven methods damage five words, two, four, six are distinct, one, three, five are sloppy, and must not be flat. ) such as:
Flat (rhyme), flat (rhyme).
Flat and even (dual) flat and even (rhyming).
Flat and even (dual) flat and even (rhyming).
Flat, flat (rhyme).
Six unique (common, mainly combined with the following three sentence patterns. )
Flat and light, flat and light. Flat and faint,
It is flat. Flat and flat, flat and flat.
(a habit of antithesis, wrong. Sometimes both couplets are antithetical. )
Ordinary body:
Flat, flat (rhyme).
Flat, flat (rhyme).
Flat, flat (rhyme).
Flat, flat (rhyme).
Flat, flat (rhyme).
Flat, flat (rhyme).
Flat, flat (rhyme).
Flat, flat (rhyme).
Flat, flat (rhyme).
Flat, flat (rhyme).
Flat (rhyme), flat (rhyme).
Flat, flat (rhyme).