Poetry is the oldest and most basic literary form in the world, and it is a literary genre that expounds the soul. Poets need to master mature artistic skills and express social life and human spiritual world with concise language, rich emotions and rich images according to certain requirements of syllables, tones and rhythms. Confucius believes that poetry has four functions: arousing, observing, gathering and telling.
Lu Ji believes that "poetry is beautiful because of love." In ancient China, unhappy people were called poems and happy people were called songs. Later people call it poetry.
For example, Li Bai's poems can't match music, but Su Shi's can, so Su Shi's poems are called poems, and Li Bai's poems are called poems.
2. Are Tang Poetry and Song Poetry Classical Chinese? Classical Chinese sentences are used in Tang poetry and Song poetry, but we can't generally say that it is classical Chinese, because classical Chinese generally refers to prose.
The following is an overview of classical Chinese and classical Chinese sentence patterns.
] Classical Chinese is an overview of classical Chinese, that is, articles written in classical Chinese, that is, ancient classical Chinese works and works that imitated it in past dynasties. Classical Chinese, as a written stereotyped writing language, has been used for two or three thousand years, from pre-Qin philosophers and poems in Han Dynasty to ancient Chinese prose in Tang and Song Dynasties and stereotyped writing in Ming and Qing Dynasties. In other words, classical Chinese is the ancient written language of China and the source of modern Chinese. The first "article" refers to a written article. "Speech" means writing, expressing and recording. "Classical Chinese", that is, written language, is relative to "spoken language", which is also called "vernacular". The last word "Wen" refers to works, articles, etc. , which means genre.
Classical Chinese sentence patterns are basically the same as modern Chinese sentence patterns. It is divided into simple sentences and complex sentences, both of which have six major components: subject, predicate, object and definite complement. The word order of sentences is basically the same. Of course, there is still a difference between the two. When learning classical Chinese sentences, we should try our best to grasp the differences between them and the situation of modern Chinese. Although the sentence patterns of ancient Chinese and modern Chinese are basically the same, there are some special sentence patterns because some entity words in classical Chinese are different from those in modern Chinese. If you want to learn classical Chinese well, understand the meaning of sentences correctly and understand the content of the article, you must master the special sentence patterns of classical Chinese. We often say that the special sentence patterns in classical Chinese are judgment sentences, ellipsis sentences, inversion sentences, passive sentences and fixed sentences.
3. Is Tang poetry a modern poem? After reading the following article, you will understand that the sentence patterns and grammatical features of modern poetry are basically the same as those of the Han, Wei and Six Dynasties.
But after the Tang Dynasty, there were more seven-character poems, and the sentence patterns naturally changed. In addition to the four or three forms mentioned in the last section, the seven-character poem can also add two sounds before the whole five-character poem to become an independent rhythm, thus forming a sentence pattern of "25".
For example: draw a building-fly to Nanpu Cloud, bead curtain-winding at dusk? BR> News-Men and women are everywhere. (Du Xing) Shocked-Colorful Feathers.
(Bai Juyi's Song of Eternal Sorrow) I know it is-Lai Zhi Gui Yuan. (Su Zhitan) The last five sentences of these seven-character poems, if carefully analyzed, have a plenty of 2 12, such as Du Fu's "Yan Sui Xing"; Have a plenty of 22 1, such as Wang Bo's "Wang Teng Ge" and Bai Juyi's "Song of Eternal Sorrow"; Some are 4 1 year-old, such as Su Shi's Li.
On the other hand, the five-two style is very rare. Du Fu's fermented bean curd "half-sad at night-talking to himself, the moonlight in the sky is good-who will see it" is the only situation.
There is not much difference between the sentence patterns of modern poetry and ancient poetry. The general sentence patterns of five words and seven languages, ancient poetry and modern poetry are all applicable.
There are only two supplementary explanations here: (1) The sentence pattern of modern poetry is generally that every two syllables constitute a rhythm unit, and each rhythm unit is equivalent to a two-syllable word or phrase. Music rhythm and meaning unit are basically the same.
For example: white clouds-looking back-closing, green haze-looking in-nothing. (Wang Wei to Nanshan) Endless-falling wood-rustling-falling, endless-the Yangtze River-rolling-coming.
(Du Fu goes up the mountain) God's will-pity-grass, earth-weight-yat sen villa. (Li Shangyin, Sun Yat-sen) Squeeze-often sad-kind-Chu imprisoned, moved-still happy-learn-travel together.
(Lu You Huangzhou) It can be seen that a disyllabic word or a disyllabic noun phrase generally does not span two rhythm units. However, disyllabic words or disyllabic noun phrases should span two prosodic units, such as "the time was long before I met her, but longer after we broke up" in Li Shangyin's Untitled, in which "when we met" means crossing two prosodic units; Another example is Moonlight on the Twenty-four Bridges in Du Mu's Report to Hanchuo, Yangzhou Magistrate, in which "Twenty-four" also spans two rhythmic units.
But this kind of situation is relatively rare in modern poetry. (2) The sentence pattern of modern poetry often ends with three characters, which keeps considerable independence.
That is to say, although three-character suffixes can be subdivided into 2 1 or 12, they always form a whole: if it is a pentameter, the last three words and the first two words are divided into two larger rhythms; If it is a seven-syllable rhythm, the last three words and the first four words are separated into two larger rhythms. Therefore, some sentence patterns in the poems of the Han, Wei, Six Dynasties and the ancient poems after the Tang Dynasty generally cannot be used in modern poetry.
See you in the grave. (Jiao Zhongqing's wife, an ancient poem) This is also a risk.
(Li Bai is difficult to detour) and * * enjoys this drink very much. (Tao Yuanming drinks) A foot of carpet uses thousands of wires.
(Bai Juyi's red carpet) Blood is Chen Taoze's middle water. (Du Fu mourns Chen Tao) Living in her parents' house at the foot of Toad Mountain.
(Bai Juyi's Pipa Trip) From the perspective of meaning unit, these poems are not the end of three letters. One or two squares are suffixes, three or four squares are suffixes, and five or six squares are suffixes.
This does not conform to the rhythm of ordinary sentences. In particular, suffix is the last word used in modern poetry.
The following are the sentence patterns of modern poetry. Let's start with the grammatical features of modern poetry. Poetry in the Han, Wei and Six Dynasties and ancient poetry after the Tang Dynasty are grammatically consistent with prose.
Modern poetry is different. Modern poetry has some grammar, especially prose. Some poems can be distinguished not only from the level tone but also from the grammar.
So is the ancient custom of entering the law. We are not going to go into too many details about this problem.
Here are only two points: ellipsis and inversion. Let's talk about ellipsis first.
Modern poetry has a limited number of words, so the language requirements are particularly detailed. It goes without saying that subjects, conjunctions and prepositions are often omitted; The following are sentences lacking verb predicates, which can be subdivided into four categories: the first category is to use only simple noun phrases.
For example, after a night in Shan Yu, hundreds of silky waterfalls will appear on every mountain top. (Wang Wei, Ambassador Li of Baozizhou) Chunshu in Weibei, Twilight in Jiangdong.
(Du Fu's Spring Memories of Li Bai) When he fell out of favor, Ji went back to the hospital for the night, but the veteran went upstairs. (Bai Juyi's Mid-Autumn Festival Full Moon) The second is to put two noun phrases together so that readers can understand their relationship.
For example, I will think of you in the clouds, so think of me in the sunset. (Li Bai sent his friend) The breeze rippled on the grass bank, through the night, and blew to my still tall mast.
(Du Fu's "Sleeping Out") These tears, are all monkeys crying in Wu, or are the geese in Hengshan returning the news? . (Gao Shi to deputy viceroy Li and Wang were demoted, and transferred to Xiazhong and Changsha) The third is to retain adverbs and omit verbs.
For example, there are many soldiers and horses in the old country, and there are drums in other places. (Du Fu sent) Isn't his former residence in the mountains and rivers-empty and empty sex platform-imagined in the dream? .
It is difficult to determine which verbs are omitted after adverbs, but the meaning is clear. The fourth is a complex sentence, where one clause has a predicate and the other clause has no predicate.
For example, her hair is foggy and her shoulders are cold. (Du Fu Moonlit Night) Cold birds gather at dusk, and monks are cold in autumn rain.
(Bai Juyi's second visit to Kong Jing) Every tree in Hanyang has become crystal clear, a state in which parrots grow. (Yellow Crane Tower Cui Hao) This kind of omission often appears in modern poetry.
Say the inverted sentence first. In order to meet the requirements of temperament, modern poetry can often make appropriate changes in word order, which is a syntactic inversion sentence.
Although prose also has inverted syntax, it is not as free as modern poetry and far less free. Some inverted sentences in modern poetry are not allowed in prose.
For example, the green wind breaks the bamboo shoots and the red rain turns into plum blossoms. (Du Fu accompanied Zheng Guangwen) (The wind blows the bamboo shoots green, the rain fattens them, and the plum blossoms are red. )
After the rain, the colors of Hsinchu are refreshing, and the mountains are more lovely against the sunset glow. (Qian Qi Shu Qi sends Yang to fill the vacancy) (After the new rain, pity the bamboo, and the sunset loves the mountain. )
The fragrant rice pecked at the parrot's grain, and the branches of the old phoenix perched in Wu Bi. (Du and his eighth) (Parrots peck at rice, but phoenix perches on old branches. )
Always remember that rivers and lakes belong to the White Temple, and return to heaven and earth to enter the boat. This change in word order is not easy to understand from the perspective of prose grammar.
But in modern poetry, it not only adapts to the requirements of temperament, but also increases the emotional charm of poetry. Only by understanding these special grammars of modern poetry can we better understand the meaning of modern poetry, instead of reading prose or ancient poetry.