The last sentence is that only love and good food can live up to, and the next sentence is that love and good dreams will only be cherished.

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Couplets, also known as duality, door pair, spring stickers, spring couplets, couplets, peach symbols, couplets (named after the pillars hanging in the halls and houses in ancient times), are a kind of dual literature, which originated from peach symbols. It is a dual sentence written on paper, cloth or engraved on bamboo, wood and columns. It is a unique art form of Chinese language, which is concise and profound, neat and even, with the same number of words and the same structure

Couplets are the treasures of China traditional culture.

Couplets hung during the Spring Festival are called Spring Festival couplets, and couplets for happy events are called Qinglian couplets.

antithetical couplets are a kind of national style written by using the characteristics of Chinese characters, and generally do not need rhyme (only the antithetical sentences in regular poems need rhyme).

Spring Festival couplets have a long history, which is said to have originated from Meng Chang, the master of Shu in the Five Dynasties. His inscription on the peach symbol on the door panel of the dormitory: "New Year's Eve, Qing Yu, the number of the Jiajie Festival, Changchun", means that the text "inscribed the peach symbol" (see "Shu Lang"), which is the earliest couplet in China and the first Spring Festival couplet. The basis of this theory is that Liang Zhangju, a couplets scholar in Qing Dynasty, quoted Shu Lang Lang from Couplets Conghua. However, according to the textual research of Couplets General Introduction, Liang Zhangju changed "ci-poetry" to "non-ci-poetry" and "Shu Lang Lang Lang" when quoting. Different historical materials in Song Dynasty have different opinions about this, and some people classify the author as Meng Chang's son. Therefore, who is the author of this pair of Spring Festival couplets is still an unsolved case.

Parallel Prose and Rhyme are two direct sources of couplets. In the process of its own development, couplets have absorbed the characteristics of ancient poetry, prose, lyrics and songs. Therefore, the sentence patterns used in couplets, in addition to regular poems and parallel prose sentences, also include ancient poems, prose sentences and parody sentences. Different sentence patterns have different metrical patterns and different widths and strictness. Among them, the sentence pattern of rhythmic poetry is the most strict, while the ancient verse pattern is not limited in other positions except for the end of the sentence.

Requirements for couplets

The length of couplets varies, with only one or two words short; It can be hundreds of words long. There are various forms of couplets, such as right, wrong/right, flowing pair, couplet pair and set sentence equivalence. However, no matter what kind of couplets are used and what form they are used, they must have the following characteristics:

1. In addition to deliberately leaving the position of a word to achieve a certain effect, the number of words in the upper and lower couplets must be the same, no more or less.

2. be/flat/flat, and have a harmonious tone. The traditional habit is "pucker up/flat down", that is, the ending of the last sentence in the upper couplet is puckered up, and the ending of the last sentence in the lower couplet is/flat/sound.

3. The parts of speech should be relative and in the same position. Generally called "virtual to virtual, real to real", it means noun to noun, verb to verb, adjective to adjective, quantifier to quantifier, adverb to adverb, and the relative words must be in the same position.

4. Be content-related, linking up and down. The meanings of the upper and lower links must be connected with each other, but they cannot be repeated.

first, the sentence is equivalent.

a pair of couplets consists of upper couplet and lower couplet. The number of upper and lower sentences is equal, and the number of words in the corresponding sentences is also equal.

part-of-speech counterpart.

words in the same position in the syntactic structure of the upper and lower conjunctions have the same part-of-speech attributes or conform to the traditional antithesis types.

third, the structure corresponds.

The formation of conjunctions, the coordination of meanings, the arrangement of word order, the use of function words and the use of rhetoric conform to the rules or habits and correspond to each other.

fourth, the rhythm is opposite.

the flow rhythm of the upper and lower conjunctions is consistent. The rhythm can be determined by "two words and one section" according to the rhythmic rhythm, and the rhythm point is in the even number of words used in the sentence, and the single word accounts for one section; You can also follow the semantic rhythm, that is, there are similarities and differences with the rhythm of temperament, and there are three words or longer words that are not suitable for splitting, and their rhythm points are all in the last word.

five,/flat/opposite.

In the sentence, the alternation of/flat/flat is arranged according to the rhythm, and the upper and lower parts correspond to the word/flat/flat/flat/inverted at the rhythm point. One-sided two or more sentences are connected, and the feet of each sentence are connected in sequence. The/Ping/Bi specification generally requires the formation of step-by-step conversion, which is traditionally called "/Ping/Top/Ping/Bi". If you violate the taboo in Article 11 of these General Rules, or affect the coordination between/Ping/Xie in the sentence, you will be lenient. The upper part is closed at the sound, and the lower part is closed at the sound.

VI. Form-to-meaning association.

formal antithesis, meaning association. The content expressed by the upper and lower couplet is unified with the theme.