Chapter 21 19. Metrics of words

Now we use the old-style rhyme to express our feelings. There are various styles of poetry available, and it seems that we don’t need to write words.Some people still do it, and there are two reasons.First of all, the most important thing is that sometimes there will be such a kind of affection, which is unprovoked and vague, like soft but not powerless, expressed in poetry, whether it is the ancient style "the same is true for worldly pleasures, since ancient times, everything flows eastward", or the close style "Cong Ju (reading the tone) shed tears for the future, and the lonely boat is the heart of the hometown", I felt that the way was wrong, so I turned to the words to find it, and came across "Where is the drunkenness tonight? The wind and the moon on the willow bank", "I can't get rid of my soul, the wind is blowing from the west, and people are thinner than yellow flowers", I feel that it fits well, so I have to follow this path, using this kind of tune to express the faint softness.In addition to the heavy ones, there may be some light ones, which come from everyone’s taste psychology, such as big dishes or snacks, since they are sold, and there are banknotes in the bag, I can’t help but taste them. To taste means to pick up a pen and fill in one or two poems according to the score, so as to express the faint and soft feelings.

Poems are written according to metric (either broad or strict), and words are filled out according to notation.Spectrum is a stricter metric (the requirements for words and sounds are more complex).If it is stricter, it will be more difficult, right?Generally speaking, this is the case.To elaborate, there are many aspects.Let's start with the basics.Taking the characters in the middle school as an example, Xue Pan, the overlord, is not suitable for writing lyrics, because he does not have that kind of vague affection (assuming that writing and ink are not a problem); Li Dan is also not suitable for writing lyrics, either.

Because, even if there is a vague affection, according to the provisions of "Internal Regulations" and "Women's Commandments", it is always not manifested as yes.This is fundamentally the most important thing. Without this, it will be barely imitated, and the lower part will inevitably have a shell but no content, and the upper part will flow into poems as lyrics, such as Su Dongpo's "The Great River Goes East", which has to be sung by the big men in Kansai.Secondly, with this kind of affection, it can be turned into sentences, just like the softness of affection, which is the so-called internal and external consistency, which is especially difficult.I sometimes think that this is not easy. As far as men are concerned, at least part of it comes from the need to play a role in a drama.In this way, as far as the lyrics are concerned, taking famous artists as an example, Ouyang Xiu will be more difficult than Li Qingzhao, because Ou wants to reverse the role and imitate the harmony of the red skirt and green sleeves, while Li can do it without imitating it.If this metaphor is good, some people may ask, is such a cross-talk necessary?Should it even be?If you ask whether it should be or not, the question will expand in depth and become: What is the value of this kind of vague affection of people (including men and women) worth cherishing?Presumably for some people, the answer will be no.The evidence is that it has not been a day for many years, and it has been blown by the wind of the times, spoken and written, always, because a certain person, or a certain work, has social content, so the value is high; on the contrary, Although it is not necessary to say that personal sorrows and joys without social content, especially those that tend to be gentle and perverse, have low value or even no value.In this kind of place, I would rather follow Mr. Cai Yuanpei's doctrine of inclusiveness, and admit that "the poor year worries about Li Yuan, sighs the heat in the intestines", "asks the flowers with tears in their eyes, and flies across the swing in chaos", as long as the affection is true, you can If they coexist, we must weigh the importance, and the latter is by no means less than the former, because: first, any affection, as long as it is not immoral or illegal, is what nature needs and what society should accommodate; the second reason may be more powerful Yes, without personal sorrow and joy, social content will inevitably become empty.

It is still difficult to turn back.The difficulty mentioned above is large, and the masters of the past will also feel headaches, right?At least it is "bystanders who are clear", such as some people after the Nandu, and even the Zhejiang school poets in the Qing Dynasty, who always turn over in beautiful and obscure sentences, one of the reasons, and even one of the important reasons (even if they do not I think, let alone admit it), I am afraid that I can't write sentences like "flowing water and falling flowers, spring will go, heaven and earth", "for fear of leisure and sorrow, how many things I want to say (read the tone) and rest".This kind of difficulty reminds us of some entanglements between gracefulness and unrestrainedness, so let's put it aside.Or talk about other minor difficulties in writing lyrics.This can be seen with the method of physiognomy.One is the diversity of syntax.Syntax includes two items: one is the number of words in a sentence.After the Six Dynasties, poems generally consisted of five or seven characters; this was not the case for words, which ranged from one character to crosses.The second is the number of sentences in a poem.There are two types of poems: definite and indeterminate. There is definite style in modern style (special rhythm), and indeterminate in ancient poetry and rhythm (except test posts).In addition, the organization and words of a song also have the pattern of fragmentation.This pattern includes whether to divide or not, how much to divide, and the relationship between the form (same specification or different specifications) and content (broken but not connected) between pieces. In short, there is no uniform specification.The second is the complexity of the sound.Poems basically rhyme at intervals; words don't necessarily.The rhyme of the poem is fine, only to the point that it is generally distinguished from mediocre to mediocre, especially some ancient poems that rhyme into the rhyme; the words are varied, such as in the early days, when they could be sung, they had to distinguish between clear and voiced, and five tones. Distinguish up, but in some places it is allowed to substitute for leveling, and so on.In addition, fragmentary ones, such as tones, can have different specifications. For example, in "Linjiang Xian", the opening sentence can be six characters or seven characters, and in "Sheng Sheng Slow", it can rhyme with flat rhyme or rhyme with oblique rhyme; , the tune name is different but the specifications can be the same, such as "Butterfly Love Flower", also known as "A Basket of Gold", "Jiang Rulian", "West Smile", "Rolling Bead Curtain", "Mingyue Sheng Nanpu", "Taoyuan Walking", "Tong Blossom Phoenix", "Looking at Chang'an", "Drizzle Blows the Pond", "Drizzle Sings the Spring Marsh", "Fish and Water Joy", "Golden Thread", "Phoenix Perched on the Wu", "Transition Butterfly Love" "Flower" and "Magpie Stepping on a Branch" have as many as a dozen different names.In addition, literati like to make their own ancient times, and sometimes create their own tunes (that is, create their own tune names). Everyone, such as Zhou Bangyan and Jiang Kui, understands the theory of sound. Effectiveness, does it count?All in all, there are too many tricks, not to mention doing it, even remembering it is not easy.All in all, the rhythm of speaking is much more troublesome than the rhythm of poetry.

But as the saying goes, don't bite if there are too many lice, and don't worry if there are too many bills. Difficulties can also be transformed into easy with the help of the east wind.This actually has to be the case.Poetry, taking the rhythmic poems in modern style as an example, has limited rhythm and little change, and is easy to be familiar with. The "Tone Spectrum" outside the mind is dispensable.Not so with words, there are nearly a thousand tones (some tones have different styles, the total number is even more), remember, most people will not be able to do it, so there must be a word spectrum written on paper, so that you can write it as you want. Those who are not familiar with the meter can fill it in according to the notation.There are two types of notation: thick and thin. The early ones (such as the Song Dynasty) were Gongchi notations. In addition to the chapters (including fragments) and sentences, Gongdiao and the singing methods of each character were also indicated.This kind of lyric spectrum is no longer handed down (Jiang Kui's "Baishi Taoist Songs" preserves a part, which is incomplete).Not disseminating is a loss in research, but it doesn't matter much for writing.Maybe there is also an advantage, because the requirements for temperament are lowered, and we can hum a few lines according to the score and fill in the numbers.In this way, the required word notation, in addition to chapters and sentences, only notes the flatness, flatness, flatness and flatness, and rhymes of the characters.Take Li Bai's "Bodhisattva Man" in "Ci Lv" by Wan Shu of the Qing Dynasty as an example (originally going straight to the left):

Flat (can be flat) forest desert (can be flat) desert smoke like weaving (rhyme) cold (can be flat) mountain one (can be flat) with sad blue (leaves) dark (can be flat) color into high-rise buildings (change flat) yes (can Ping) Renlou (Keping) Sorrow (Ye Ping) Jade (Keping) Standing in the sky (Three Changes) Su (Keping) Birds return to fly (Ye Sanping) Where (Keping) is the return journey ( Four-for-flat) Long (Keping) Pavilion (Lian Keping) Short Pavilion (Ye Siping) There are no small characters for words that cannot be accommodated. For example, "Lin" should use a flat tone word, and the latter "Mo" should use a flat tone word. "Keping" means that it is better to use a flat tone character in this place, but it is also possible to use a level tone word; the same as "Kezuo". "Rhyme" means that this place should be rhymed; "Ye" means that this place should be rhymed with a rhyme character. "Change Ping" means that the flat tone rhyme should be used instead in this place; the following "Ye Ping" is to use this flat tone rhyme. The "three" in "three changes" does not mean the third "change", but the third rhyme; "four changes" is the same.

The word spectrum indicates flat and equal rhythm, and there are also symbols next to the word, such as ○ or - means should be flat, N or O means should be flat,  means should be flat and can be flat,  means should be flat and can be flat, P means entering rhyme, etc.Take Wen Tingyun's "Genglouzi" from "Kaozheng Baixiang Ci Pu" edited by Qing Shu Menglan (word Baixiang) and Chen Xu et al. as an example (also originally going straight to the left): ○ indicates that the level tone characters should be used in this place, N indicates that the level tone characters should be used in this place, and Q indicates that the level tone and zhe tone characters can be used in this place (it is better to use  to show that there are constant changes). "Sentence" means that there is a pause (and "dou" means a small pause), but it does not rhyme. "Rhyme" means that this place should be in rhyme. "Ye" means that this place should rhyme with a rhyme word. "Change level" means that this place needs to change level rhyme. "Ye Ping" means that this place should be rhymed with a flat tone rhyme. "Sanchang", "Ye San" and so on also indicate which "one" rhyme this place is (not which "time" to change and ye).

There are also those that leave the words and sentences and directly explain the mediocrity. For example, Mr. Wang Li's "Poetry Metrics and Lexical Spectrum Judgment" introduces the metric of "Osmanthus Fragrance", first indicate the number of words (101 words) And fragmentation (dual tone), the following are: It not only shows the flatness ( means flexibility) and rhyme, but also shows the syntax that should be paid attention to, which is more clear and convenient to use. Comparing the above various notations, and referring to the explanations of each tone (syntax and sound points that should be paid attention to), it is not difficult to compose words with more complex rhythms, as long as they meet the requirements of the rhythm.

Wan Shu's "Ci Lv" mentioned above seeks completeness, although there are still people who wrote "Supplements" and "Addendums" later. After "Ci Lv", there is another kind of completeness, which is also famous. It is "Imperial Ci Pu" compiled by Wang Yiqing and others during the Kangxi period. It contains more than 800 tones and different styles. Each has its own use.There are so many poets who study Ci.As for those who "have other things to do as poets" and those who have more things to do to write lyrics, there is no need for so many.In fact, even in the case of great masters in the Song Dynasty, such as Liu Yong, Qin Guan, Zhou Bangyan, etc., they did not try all the tones of their words, but filled in the ones they liked and used to.Most of these tones are commonly used, that is, not uncommon.Commonly used, it is presumed that it must have a greater power to express affection.This situation can prove that even if we are quite interested in writing words, the required tone of words does not need to be many, or should not be many.This kind of abstract Ci Pu, the ancients also made, the most popular one is the "Baixiang Ci Pu" mentioned above.The collection of words in this dictionary has been adjusted to 100, starting with "Recalling Jiangnan" and "Tao Lianzi" (both 27 characters) with fewer words, and finally "Spring Breeze" (125 characters) and "Doli" ( 139 words).Those with too few characters, such as "Sixteen-Character Order" (16 characters), and those with too many characters, such as "Preface to Ying Tiao" (240 characters), will be confiscated.For ease of use, this is an advantage.Of course, if you are willing to refine it, you will feel that there are deficiencies.The main reason is that the tones of the words received are relatively small (not to mention other styles that do not receive tones), and even some common words are omitted.The lyric spectrum is for the majority of people to choose, and the tune is too small, and the supply exceeds the demand, so it is not suitable.

The one with more tunes is "Tang and Song Ci Metrics" edited by Long Yusheng (named Muxun) (after his death, compiled by Zhang Zhenhuai and others, and published by Shanghai Ancient Books Publishing House), which includes 153 tunes and common other styles.Arranged according to different situations of rhyme, there are 5 categories in total: the first category is rhyme with flat tone, including 52 tones such as "Sixteen Character Order" and "Nangezi"; Gui Ziyao" and other 75 tones; the third category is the conversion of flat and tonal rhymes, including 12 tones such as "Nanxiangzi" and "Faner's Resentment"; Cao" and other 6 tones; the fifth category is flat and flat rhyme interlaced leaves, including 8 tones such as "Lotus Leaf Cup" and "Voice of Heartfelt Love".Introduce the tone of the words using the method of taking into account, and take "Qing Ping Le" with the conversion of flat and flat rhymes as an example:

Qing Ping Le Also known as "Recalling the Moon", "Drunken Spring Breeze". "Song History Lezhi" was incorporated into "Dashi Diao", and "Jin Cang Collection" and "Music Chapter Collection" were incorporated into "Yue Diao". "Zunqian Collection" contains four poems by Li Bai, which may not be credible.Li Yu's words shall prevail.Forty-six characters, the front piece has a four-square rhyme, and the back piece has a three-level rhyme. Freeze ＋—＋O (音音) + O——O (叶颖) + O+—— OO (叶结) + O+—+O (叶结)+—+O——(change flat rhyme) +— +O——(Ye Ping) +O+—+O (sentence)+—+O+——(Ye Ping) Example 1 Don't come to the middle of spring, you will feel sad and heartbroken.The falling plums are like snow, and the whole body is full after brushing.There is no evidence for the news of Yanlai, and it is difficult for Lu Yao to return to his dream.Leaving hatred just like spring grass, walking farther and still alive The following are examples 2 and 3, with one poem by Yan Shu and one poem by Xin Qiji.The above said that this is a method of taking into account, because in addition to solving problems, the meter uses both "symbols" and "words".Symbols, "—" for the flat tone, "O" for the flat tone, "+" for Keping and Keping, respectively annotated with rhyme, leaf rhyme, and change rhyme; words, "=" for flat tone, "—" for flat tone , "N" does not substitute for a pause that does not enter the rhyme: the comparison of the two can be described as simple and clear.It's just that the symbol "+" doesn't distinguish between constant and variable, and it's hard to catch. I think it's better to use "R" (replacing flat and flat) and "S" (substituting flat and flat) two.If two are used, the symbol form above becomes: In this way, R and S both represent the constant in the upper part, which can be entered and spoken, and the change in the lower part, which only appeals to the purpose, which is convenient to obtain.The bigger achievement is, if the words are constant and unchanged, it will be more perfect, right? In fact, beginners can also start from the easier path.Then use Mr. Wang Li's "Poetry Metrics".This small book only contains 50 tunes such as "Sixteen-Character Order" and "Recalling Jiangnan", all of which are the most common and relatively short (one-fifth of a hundred words or more; the longest "Six States Song") "Tou" has 143 characters, which is almost 100 characters less than "Ying Tiao Xu").When I say "beginning", I may still be used to looking at high places; to be honest, if I don't have much spare energy, I probably won't feel cramped in this small pond for many years or even a lifetime. Finally, let’s talk about filling in according to the notation, there will be a further step, and it should be further, that is, gradually becoming familiar with some words and tones, and can fill in without looking at the notation.Of course, familiarity is better than unfamiliarity.There are many benefits: labor saving is the first; sometimes, when encountering a certain occasion, you can be active or passive, and you can’t do what you want, but you don’t have a dictionary at hand, and you can avoid embarrassment by putting some housekeeping in your mind. This is the second. .Familiarity, if there is a problem of speed, if you want to be fast, you have to memorize it hard; if you have strength and interest, it is best to be able to memorize some, but if you don’t, you can take your time.There is also the question of which ones to get familiar with first, which is better to simplify first and then complex; in the same way, it can depend on personal preference.There is also the question of how much to use. In principle, Han Xin will have more soldiers, and the more the better; but we must also take care of the reality and express our affection. If there are enough, even if there are only a few dozen or even a dozen, it should be considered more than enough. ------------------ Any metric has a reason, or reason.The rhythm of poetry is based on the pleasantness of "reciting"; the rationale for the rhythm of words is the pleasantness of "singing".This difference is exaggerated and said that the rhythm of poetry is gradually settled by "literati"; the rhythm of words is gradually determined by "songgirls".Special words, if it is settled like this, is it appropriate?There seems to be no absolute right and wrong here, especially if we were not born in the Tang and Song Dynasties, and cannot sing or listen to singing among flowers or in front of statues, we can only assume that such singing is good or better.However, after traveling to the south, Ci gradually became unsingable, so it was reduced to the same level as poetry, and the rationale of the meter became the melody of "reciting".After all, reciting and singing are not the same thing. For example, if they are used together with more than three characters, it may be necessary to meet the requirements of singing, but reciting may not be pleasant.In this way, when we compose lyrics now, we still have to fill in the notation, that is, the rhythm used for singing. What is the reason?I think one of the reasons is that we were not singers in the Tang and Song dynasties, nor did we have the ability to understand music and theory like Liu Yong and Zhou Bangyan, so we have no ability to not follow the example.The second is the lazy man's idea, so the gourd can save effort and enjoy the benefits.The third and most important thing is that the popular rhythm does have the exclusive ability to express faint feelings, and it may not be possible to change it.The third of these will lead us to infer the fourth, that is, there is indeed a reason (even if we can’t say it clearly) that is hidden in this popular rhythm, which probably comes from singing, so it should be cherished and kept. use.All in all, we should fill in the notes, in order to enjoy the advantage of not being able to sing but having a flesh-and-blood connection with singing.But on the other hand, it’s a fact that you can’t sing. Some subtleties that can only be revealed in singing, such as Li Qingzhao’s "Five Tones" and "Voice" in "Ci Lun", can you relax?I think it is possible.The fact is that the poems that this layman Yi'an ridiculed as "poems without words and sentences" came from the great masters of the Northern Song Dynasty, and they have long since relaxed.The question is how far to relax.It's hard to be specific. My thoughts can be considered from two aspects. One is that the distinction is not clear (including the old sayings), and the other is that it is very laborious to do so, so you might as well close your eyes. If you are not allowed, you may as well settle for the same. Contentment is almost a matter after getting started; in the past, you had to get started first, that is, to be familiar with meter and all kinds of things related to meter.This is obviously not simple.From the standpoint of this book, there are two ways to deal with this problem. One is to bear it yourself, and the other is to beg your neighbors and get along with it.I think the latter path should be taken. One of the reasons is that the purpose of this book is to talk about how to read and write in a rough way, not to explain the rhythm in detail;There are two kinds of finished products that I would like to recommend: one is "The Metrics of Poetry" by Mr. Wang Li who also lectures on poetry, and the other is "Common Sense of Reading Ci" co-authored by Xia Chengtao and Wu Xiong and two of them (also published by Zhonghua Book Company). publishing).The volume of the two books is not large. Because Mr. Wang lectures concurrently, the content is relatively brief, while Xia and Wu are dedicated lectures, and the content is relatively detailed.I thought that for those who don't study in depth, but just want to hum a few words between Huajian and Zunqian, it is enough to find these two kinds, chew them carefully, understand and remember them. The recommendation is to push it out.But since it is about meter, I think I should add a few words about meter, and I still want to say a few words.The following is from the big to the small, and talk about the items. 1. Different homogeneity It includes two questions: one is what is counted and what is not counted; the other is how to choose.Let me talk about the first one first, I think that the changes in syntax (including temperament) can be counted, and the changes that are too large or even the name of the tune can be counted.The former is like the two bodies in "Linjiang Immortal": When the cherries are all gone and spring returns, the butterflies turn light pink and fly together.Zigui crows to the west of Yuexiaolou.The jade hook is on the screen, and the melancholy evening smoke hangs down.After the lonely people in Bie Lane are gone, Wang Can Tobacco is in a downturn.The incense burns leisurely and phoenix children (read ni).Holding the Luo belt empty, looking back and hating Yiyi. (Li Yu) After the dream, the tower is locked high, and the curtain is lowered when you wake up (read flat tone).last spring When hate comes.The fallen flower stands alone (reading in a melodious tone), and the little swifts fly together.I remember (reading in oblique tone) when we first met Xiaoping, the word Luo Yi was double-folded.Said on the strings of the pipa (read the tone) lovesickness.At that time, the bright moon was there, and it once returned home according to the colorful clouds. (Yan Jidao) In the first song, both the upper and lower parts start with a seven-character sentence, one more than the latter; "Yugou Luomu" and "Kongchi Luodai" use a four-character sentence, which is one less than the latter: the whole first has the same number of words, The others are all of the same type, so they should be regarded as homomorphic variants.For slow words like Liu Yong's homonym, just look at the first two rhymes of the first film: Mengjue (reading in a flat tone) In the small courtyard, the cold wind is blowing, and the rain is drizzling.Outside the window, the autumn wind blows leaves. ... There are so many differences, it is always considered homology and heterogeneity.As for the following two songs: Green poplars, fragrant grass and long pavilion roads are easy to leave for young people.The dream at the top of the building is at five o'clock, and the flower bottom is sad for the rain in March.Ruthless doesn't seem to be passionate and bitter, and an inch is worth thousands of strands.When there is a limit to the ends of the earth, there is only endless lovesickness. (Yan Shu's "Magnolia") End of the world old hatred, alone desolate people do not ask.If you want to see the ileum, cut off the golden furnace Xiaozhuan incense.Dai'e is long and restrained, let the spring breeze blow.Trapped and leaning on a dangerous building, I have to worry about Feihong's words. (Qin Guan's "Magnolia Flowers") Not only the format is very different, but even the name of the tune has changed, and it is more important to draw a clear line. Let's talk about the latter question, how to choose between such similarities and differences.In my opinion, for beginners and those who fill in lyrics for other things, the general principle is to follow the trend, that is, it is advisable to learn from the common and abandon the out-of-the-ordinary.There are often different situations.One is that variants of homophony are common, and there is no obvious difference in syntax and rhythm. For example, the first two styles of "Linjiang Xian" mentioned above can be combined, and one can be selected at the time of writing.The second is homophonic and different styles, one of which is rare, and the more common one in syntax or rhythm is inferior, such as the rhyme change in the second film of "Linjiang Xian": Peach blossoms are floating in the cold red, and the youthful mood is fading.The curtains of high-rise buildings are cold.The rest of the wine is scattered, leaning on the railing alone.The setting sun is thousands of miles long with fragrant grasses, and the scenery is sad to kill (read the tone) Wang Sun.Wandering and flying all the clouds in the blue sky.Where is Fengcheng?The bright moon shines at dusk. (Feng Yansi) It is appropriate to follow the usual and not take the uncommon. (Another example in "Voice of Heartfelt Love", Long Yusheng's "Tang and Song Ci Metrics" does not accept commonly used opening sentences as flat, flat, flat, flat, and uncommon, but rarely used opening sentences are flat, flat, flat, and it is not acceptable.) Third, for example, "Shengshengman" has two styles, flat rhyme and flat rhyme (into the rhyme). One song used zhe rhyme, which became famous, and all subsequent lyrics using this tune used zhe rhyme, so we had no choice but to follow and rhyme. Two, the difference between high and low tune The soul of tune is meter.Different syntax and rhythm constitute different meter.Taking melody as the standard, different syntax and rhythm may make a difference.Naturally, this distinction may not be obvious; even if it is considered obvious, the division may not be appropriate.Let’s admit that there must be more or less justifications for the difference in feeling, so for different tones, at least some of them, we can say that for some two, the former is better than the latter, or the former is better than the latter. worse than the latter.The better and the worse, sometimes (not very rarely) come from the old (from the mouth of a singer with a long history) and the new (made by literati behind closed doors) of the brand name, such as the following two: The sound of the flute swallows, Qin E dreams of breaking Qin Louyue.Qin Louyue, the willow color every year, Ba Ling hurts the farewell (read the tone).Leyou Yuanshang Qingqiu Festival (read the tone), Xianyang ancient roads are full of sound (read the tone).Absolute sound and dust (read the tone), the afterglow of the westerly wind, the tomb of the Han Dynasty. (Biography of Li Bai's "Recalling Qin'e") He bowed his waist for rice, abandoned his home because of wine, and got tired of verbal and physical exchanges.Come back, who doesn't send the king back?I feel that the past is not the present.Lu Weixi, Zheng husband pointed out the way back, and the laughter in front of the door was childish.The old chrysanthemums (reading the tone) are all barren, and the new pines are dark and old. This is the case this year!But the small window can kneel (read the tone) to close the firewood door, stick a stick to see the lone cloud flying in the evening, the cloud comes out (read the tone) unintentionally, the bird is tired and knows to return, it is not intentional. Alas!Come back, I forget myself and the world today.Relatives (reading the tone) have no languor, but there is a real flavor in the piano book.Bucuilu is rugged, the Fanxi River is slim, and the spring water trickles in the dark valley.Watching the flourishing of vegetation, the seclusion of people's self-consciousness, my life is gone and I will stop!How many times do you read Yu Xingzi? Unconsciously (reading in flat tone), what does the emperor want to do?Where are the gods?Wealth is not my will.But knowing Linshui mountaineering and singing, drinking from the pot and cup.There is no doubt about the fate of this life, and if you ride the flow, you will stop when you encounter obstacles. (Su Shi's "Whistle Over") As long as you read it once, you will feel that the first one is musical, while the second one is from everyone, but it is rigid and has no musicality.Without musicality, even if it can be called a word, it should always be regarded as inferior. Better and worse, sometimes found between two tunes of the same old brand, such as the following two songs: The moon shines in front of the red pink building, and the warbler sings outside the green screen window.Dreaming of breaking the news of Liaoyang, it is worth staying alone in the empty boudoir.I hate the season of hundreds of flowers (read the tone), Wang Sun's green grass is luxuriant. (Mao Wenxi's "He Manzi") After the Qunfang, the West Lake is good, the mess is red, the catkins are flying, and the weeping willows are exhausted by the sun's wind.When all the tourists are gone, I feel (reading the tone) the spring sky, the curtains are drawn down, and the two swallows return in the drizzle. (Ouyang Xiu) Compared with the two poems, the syntax and rhythm of the first poem have too few changes, so it seems rigid; People have a sense of frustration and happiness, of course they have the upper hand.This difference allows us to infer that when learning and accepting the meter, we should choose first, that is, read it, compare it, and only take what we think is good. 3. Between short and long tunes The history of words, in terms of length, generally develops from short to long.The length is short and long. In the past, there were small orders (within 58 characters), middle tunes (59-90 characters), and long tunes (beyond 91 characters), which many people disapproved of.Here we are talking about short and long, and I don’t want to touch the issue of demarcation, so short tunes generally refer to small orders and those close to small orders, and those with more words are considered long tunes.In the Tang, Five Dynasties, and early Northern Song Dynasties, there were many short tunes and few long tunes.Literati always like to show their talents in terms of writing. If they want to show their talents and learning, few sentences are like too small a venue, and it is difficult to gallop. Therefore, from the late Northern Song Dynasty, long tunes (or slow words) gradually increased.This trend was passed down. From the Southern Song Dynasty to the Qing Dynasty, most of the famous writers wrote slow words vigorously, with only a few exceptions such as Nalan Chengde and Wang Guowei.Now that we are learning to compose lyrics and delve into rhythm, should we treat short and long tunes equally, or should we put more emphasis on them?In my opinion, for the sake of beginners and those who fill in lyrics for other things, it is better to put more emphasis on it, that is, to absorb more short tunes and less long tunes.There is more than one reason.First, it is obvious that short tunes are easy to memorize and compose. Although non-professional people should not be afraid of difficulties, it is better to avoid troubles that can be avoided.Second, short tunes have a deep relationship with singing. As mentioned above, they have strong musicality and expressiveness; long tunes, at least some of them, are not necessarily created by literati behind closed doors.When writing lyrics, choosing a tone is like buying knives and scissors, of course they should be sharp.Third, according to the general rule, the content expressed by the word is the affection in bits and pieces (perhaps the vague affection is not suitable to spread out; therefore, there is no work like "Peacock Flies to the Southeast" in the word), bit by bit, placed in a small The scene can be compact and clear, which makes it powerful; if the scene is too large, it has to be pulled in many ways, compact becomes loose, bright becomes blurred, and the moving power will naturally be reduced.Take the two extremes as examples: After washing and washing, I lean on the Wangjiang tower alone.After all the sails are gone, the slanting light is pulsating and the water is long, and the heart is broken and white (read bo) Pingzhou. (Wen Tingyun's "Dream of Jiangnan") The remnant cold is bullying alcoholism, hiding the agarwood embroidered households.Yan came late and flew into the west city, as if to say that spring is late.Painting boats carry, Qingming passes, and clear smoke slowly rises Wu Gongshu.Thoughts wandering about in love, turning into light flocs with the wind.For ten years in the West Lake, the willows are tied to the horses, and the dust is soft and the fog is soft.Suhong gradually recruits Xianxi, and Jin'er secretly sends Yousu.Leaning on the silver screen, the spring is broad and the dream is narrow.The embankment is empty, and the setting sun is light, and the gulls and herons are always returned.Youlan is getting old, Du Ruo is still alive, and the water town is still traveling. After the farewell visit to Liuqiao, there is no letter, and the matter goes to the Flower Committee, and the jade is buried in the incense, how many times of wind and rain?Long waves are jealous and hopeful, and the distant mountains are ashamed, and the fishing lights are divided into shadows in the Spring River.It's like a brothel, writing poems on the wall when it is about to fall apart, tears and ink are bleak and dusty.The dangerous pavilion is looking at the extreme (reading the tone), the grass is at the end of the world, and the temples are invading half of the ramie.The dark spot checks away the traces and spits happily, still dyed the shark silk, the two phoenixes return home, and the broken luan dances lazily.Waiting to be written attentively, the book is filled with eternal hatred, the blue sky sinks over the Liaohai geese, and the lovesickness bounces into the mourning zither column.Sad thousands of miles south of the Yangtze River, complaining about the song and calling again, is there a broken soul? (Wu Wenying's "Preface to Ying Tiao") Comparing the two poems, the latter one, in addition to showing the author's great ability to pile up and draw, is harsh to say that it is simply thankless, because as the ancients ridiculed, "Seven Treasure Towers" It makes people dazzled, but they can't see clearly and grasp what kind of affection they express.If you are dazzled but feel nothing, the original meaning of the lyrics will be lost.Therefore, in order not to fail, I think it is best to fill in less slow words; even if you fill in, you have to stop at some familiar words, such as "Qinyuanchun", "Yongyule", "Congratulations to the Bridegroom" and so on. Traveling so far that I also tried "Preface to Ying Tiao". 4. Between flat rhyme and flat rhyme Since the Tang and Song Dynasties, especially at the later stage, when composing poems, most people are accustomed to using close styles.Closely speaking, generally speaking, they all rhyme with flat tones.Some words rhyme with level rhyme, and some with rhyme with oblique tone (including entering rhyme).From the perspective of quantity, those that rhyme with oblique rhymes (including those with oblique rhymes as the main body) seem to have the upper hand.This may also have a reason.If there is, I think, it is a faint and soft feeling, which is more suitable to be expressed in oblique rhyme.We all know that voice and affection are related, or closely related.As far as the flat tone is concerned, the level tone is cheerful and the tone tone is gloomy. If a worker wants to do a good job, he must first sharpen his tools, and the same is true for lyrics.The reason is the nature of this faint and soft affection.It is small, "Looking at the front and back mirrors of the flowers, the flowers are in harmony with each other." But it is often personal, "The season (reading the tone) is like dusk, and there is no one (reading the tone) to lean on the door." Almost all involve good things, but as the saying goes It is said that good things take a long time, and the result is often longing, thinking, melancholy, or in short, unreasonable and difficult to dispel worries.This is compared with color, not bright, but dim.How to behave?Or in terms of rhyme, you can use flat tones, "Where is the return journey? Long pavilions connect short pavilions." But it is better to use flat tones, "Leyou Yuanshang Qingqiu Festival (read the tonal tone), Xianyang Ancient Road is absolutely unique (read the tonal tone). "It seems more desolate and more painful.Therefore, between the flat rhyme tone and the zhe rhyme tone, in my opinion, it is appropriate to pay more attention to the zhe rhyme.That is to say, think of it as a sharp knife, and use it to cut the messy threads of affection and the tone of the words is not enough.In the past, everyone often did this. There are many popular articles, such as Feng Yansi's "Butterfly Love Flower" (how deep is the courtyard), Ouyang Xiu's "Sheng Chazi" (last year's Yuan Ye), Liu Yong's "Yu Lin" Bell" (Cicadas are sad and sad), Wang Anshi's "Osmanthus Fragrance" (climbing to see off), Qin Guan's "Treading on the Shasha" (fog lost [reading the sound] the tower), He Zhu's "Sapphire Case" (Lingbo but the Hengtang Road), Zhou Bangyan's "Lanling King" (Liu Yinzhi [reading the tone]), Li Qingzhao's "Slow Voice" (Xun Xun Mi Lan), Xin Qiji's "Yong Yu Le" (Eternal Rivers and Mountains), Jiang Kui's "Qi Tian Le" (Geng Lang Xianzi Yinchou Fu), etc., can be evidence. 5. Varieties Different from Poetry Most of today's people who have the leisure to hum a few rhymes are more familiar with poetry and newer with words.As the old saying goes, one who is close to Zhu is also good, and one who is close to ink is black, so writing lyrics is easily influenced by poetry, or in other words, writing lyrics with a pen that writes poetry.Isn't that bad?The benevolent sees benevolence, and the wise sees wisdom. If we follow the trend of the times, some people think that "the great river goes east" is not bad, but better.It's useless to justify, I say my own.Let's admit that the words can be written as "but watching Fang Chen go", and "the waves sweep away all the romantic people through the ages"; but we must also admit that there are feelings like "but watching Fang Chen go", and it is easy to express them in words. As for poetry, if Li Kui embroiders with an axe, I am afraid it must be thankless.This is an idea in favor of division of labor, or to take a step back, even if scrambling is allowed, it should always be admitted that there are words (not only in form, but also in content) that are different from poetry; such words should not only have a foothold, And there should be a fairly broad foothold.To put it bluntly, it is best to write words that resemble words. How can it be like words?The form is not the only decisive condition. For example, "Menghun is used to (reading the oblique tone) without arrest, and crosses the Xieqiao with Yanghua". "no.This is in terms of artistic conception, which has been mentioned many times before.Language matters too.I remember that Li Yu said in "Idle Love Occasionally" that writing lyrics is better than poetry.I think this is because the words need to be childish, and it is not appropriate to have a charm like Xie Lingyun and Wang Changling.You can find a visual explanation of the difference between children and literati. In the twenty-eighth chapter, Baoyu, Xue Pan and others gathered at Feng Ziying's house. This book is "Cardamom Blooming on March 3rd", the owner of Zhengshu Bookstore, Di Pingzi, commented: "Cardamom Blossoming on March 3rd is a wonderful word in the song. Now it is changed to Cardamom Blossoming, so it is not surprising. The news here is as good as ordinary people's." Find out!" In fact, the news here is just that blossoming is a child's language, and it is unavoidable to be bookish when it turns into blooming.Obviously, the most important thing here is how to have a faint affection, and how to express it in the tone of a child.It's useless to think about it, but to be able to do it.But this can only be explored slowly, and God knows it, so I have no choice but to not talk about it.The following is a little bit of signs to look for. One is the sharding of rules.A small number of small orders are not divided into pieces, and they are completed in one go.Most of the fragments of words: generally divided into upper and lower two fragments, a few three fragments, very few four fragments.Fragmentation comes by singing overlaps.Divided into chapters, Yuefu has one interpretation, two interpretations, etc. After singing a song, sing it once or twice with the same or similar tune to satisfy the ear's addiction to listening more.In the Middle Ages, there were three stacks of Changyangguan, and the traditional old method was still used.The same is true for words, because singing requires overlapping, so fragmentation.南渡以来不能唱了，分片却给作法留个诗里没有的麻烦，是下片要意有变，又不可大变，换个说法，是既要藕断又要丝连。怎么断而又连？有多种办法，如上下片，一谈事，一言情；一怀往，一伤今；一写外界，一写内心；以至一彼一此；一正一反；一问一答；都可以。贵在能够斟情酌事，量体裁衣。上下片的断和连，尤其着重下片的开头一句（名过片或换头），如姜夔咏蟋蟀的《齐天乐》一首： 庚郎先自吟愁赋，凄凄更闻私语。露湿（读仄声）铜铺，苔侵石井，都是曾听伊处。哀音似诉，正思妇无眠，起寻机杼。曲曲屏山，夜深独自甚情绪！西窗又吹暗雨…… 上片终于写思妇，下片起于写天时，从事方面看是断了，从情方面看又连得很紧，所以历来推为过片的名作。成名，不易，退一步，得体，也不易，所以要努力，至少要注意。 另一种是句法的多变。魏晋以后，诗大致是五、七言两种，句的组织（上二下三、上四下三之类）都从习惯，或任方便。词就不然，而是有五、七言以外的句式；句的组织，少数还有分节的规定。举《调笑令》和《八声甘州》的开头为例： 团扇，团扇，美人并来遮面。玉颜憔悴三年，谁复商量管弦？弦管，弦管，春草昭阳路断。（王建《调笑令》） Sprinkle the river and the sky with the rain in the evening, and wash away the autumn.Gradually frosty wind is tight, Guanhe is cold, and the building is still in the afterglow. ……（柳永《八声甘州》） 前一首，“团扇”、“团扇”是二字句；“弦管”、“弦管”不只是二字句，而且是上一句末尾二字“管弦”的倒转：这样的句法都是诗里没有的。后一首，对潇潇暮雨的“对”，渐霜风凄紧的“渐”，都是领字，规定要一个音节单干，也是诗里没有的。此外还有一些诗里没有的句法，不备举。 还有一种是声音要求的加细。一般说，诗，尤其近体，要辨平仄；只有少数古体，押入声韵，深追了一步。词就限制多得多，有不少词调惯于押入声韵之外，在有些调的某些地方，常常还有要用某声字的限制。如上面举的“对”、“渐”之类的领字，要用去声。又如《永遇乐》的尾句，辛弃疾一首最有名，是“尚能饭否”，其前的李清照是“听人笑语”，其后的刘辰翁是“满村社鼓”，最后两字都用去上，想来也是有意这样。比这更细的还有辨五音（发声部位）、清浊（清声母和浊声母）等说法，因为更难做，不通行，现在当然就不必管了。 六、题目 诗都有题目，表明全篇的大意或写作的起因。字数可多可少，通常是三五个字；太多可以用题下加小字“并序”的形式。有的标“无题”，表示有难言之隐，所以也可以说，无题就是有题。真无题的有两种：一是用乐府旧题，如《短歌行》、《子夜歌》之类；另一是《绝句》、《律诗二首》之类。词一般只标词调，调经常与内容无关，如《渔家傲》可以写“将军白发征夫泪”，所以应该说是无题。无题有好处，是接近朦胧，可以由读者去仁者见仁，智者见智。但有感，写在纸上，如果是仁，读者见的是智，也总是小的事与愿违吧？如果竟是这样，那就只好在调下加个说明（即题目，如“闺怨”、“黄州定慧院寓居作”之类），以资补救。加好，还是不加好呢？似乎应该考虑两个方面：一是本事和意境隐不隐，隐可以加，不隐不必加；二是宜于隐不宜于隐，宜于隐不必加，不宜于隐可以加。两个方面有时协调，有时不协调，情况颇为复杂，只好由作者相机处理了。 七、可否也自度曲 我看最好是不这样。因为：一，那很难，余事填填词的，还是以知难而退为好。二，即使费大力，取得勉强过得去的效果，也难于取得他人的首肯。三最重要，是已经有足够的词调可用，不必有清福可享而不享。总之，填词比作诗难，我们的希求不宜于过高，或说得更切实些，应该有自知之明。