本帖最后由 新葉 于 2019-9-2 22:25 編輯
聯(lián)律PK詩(shī)律 羅志海 文
通常，詩(shī)人們所說(shuō)的詩(shī)律，有相當(dāng)部分是后人的總結(jié)。至于哪些是唐人制定，哪些是后人總結(jié)，本文就不一一細(xì)分析了。 對(duì)聯(lián)體詩(shī)是一種新詩(shī)體，它的律則遵循聯(lián)律，與詩(shī)律有相同，有不同。下面一一比對(duì)。對(duì)聯(lián)體詩(shī)的律則下面簡(jiǎn)稱(chēng)聯(lián)律。
一、一三五不論，二四六分明
詩(shī)律規(guī)定一三五不論，二四六分明。實(shí)際上不管是唐人，還是后人，對(duì)這條規(guī)則是打折扣的，是有條件的不論，有條件的分明。例如，有些唐代詩(shī)人詩(shī)句拗了，采用本句自救。這種自救方式，一是表明了該詩(shī)人辭窮，二或是他覺(jué)得唯有這樣子寫(xiě)，才能更好地表達(dá)情懷。這種錯(cuò)誤的寫(xiě)作，在詩(shī)律初創(chuàng)的唐代，也許不算是一種錯(cuò)誤。后人總結(jié)后，不但不認(rèn)為是錯(cuò)誤，還認(rèn)為這是一種經(jīng)典。這是后人在逐錯(cuò)。 聯(lián)律規(guī)定，一三五七九、十一、十三、十五、十七、十九不論，二四六八十、十二、十四、十六、十八、二十分明。這個(gè)不論，是真的不論。這個(gè)分明，是真的分明。一副聯(lián)，在雙字分明位置上的字，上聯(lián)該平的，寫(xiě)成仄了，下聯(lián)對(duì)應(yīng)的字原本仄的，就要改寫(xiě)成平。沒(méi)有本句自救的說(shuō)法。只有上句拗，下句救的律則。
二、三平尾
詩(shī)律規(guī)定，不能三平尾，更不能雙句三平尾與單句三仄尾同時(shí)出現(xiàn)�？v觀唐及唐之后的律絕，偶爾也出現(xiàn)過(guò)三平尾的詩(shī)例。 聯(lián)律規(guī)定，可以三平尾對(duì)三仄尾，也可以四平尾對(duì)四仄尾。但盡量不要這么寫(xiě)。這是因?yàn)椋瑢?duì)聯(lián)體詩(shī)，不僅僅有五言七言，還有九言十一言，更含有雙字言。雙字言的寫(xiě)作，不可避免地要出現(xiàn)三平尾四平尾，它的對(duì)應(yīng)句，當(dāng)然地會(huì)出現(xiàn)三仄尾四仄尾。目前，羅志海寫(xiě)作了六千多首對(duì)聯(lián)體詩(shī)，五七九等單言詩(shī)當(dāng)中，三平尾對(duì)三仄尾的詩(shī)例不足五例，占不到百分之零點(diǎn)一。假如要給羅志海寫(xiě)的對(duì)聯(lián)體詩(shī)打分，從有沒(méi)有三平尾的角度打分，羅志海的得分就是九十九點(diǎn)九分。 這其中原因，是覺(jué)得唯有這樣，才能更好地表達(dá)情懷。另有三五首詩(shī)例，起初是想三平尾對(duì)三仄尾，后來(lái)認(rèn)認(rèn)真真地推敲后，改弦易轍，不那么寫(xiě)。這說(shuō)明，羅志海還沒(méi)有到了辭窮的地步。
三、標(biāo)點(diǎn)符號(hào)
由于歷史上的原因，古詩(shī)沒(méi)有標(biāo)點(diǎn)符號(hào)。 細(xì)細(xì)分析，唐律律絕詩(shī)，單句句末，應(yīng)標(biāo)上逗號(hào)。雙句句末，應(yīng)標(biāo)上句號(hào)。這是公識(shí)。如今的詩(shī)人，常常直接加上標(biāo)點(diǎn)符號(hào)，以致詩(shī)意蕩然無(wú)存或是打了折扣。在唐詩(shī)或是近現(xiàn)代仿唐詩(shī)句末加上逗號(hào)句號(hào)，無(wú)疑是畫(huà)蛇添足。 唐詩(shī)用字是繁體字，現(xiàn)代詩(shī)多用簡(jiǎn)化字。唐詩(shī)平仄用字遵循古平仄，后人寫(xiě)詩(shī)平仄用字有的遵循古韻一佰零六部平水韻，有的遵循中華新韻（十八韻）。遵循古韻的仿唐詩(shī)詩(shī)人們，對(duì)寫(xiě)通韻新韻的仿唐詩(shī)詩(shī)人們深?lèi)和唇^，到了欲置于死地而后快的地步，常常出言不遜橫加指責(zé)。殊不知，你們寫(xiě)格律詩(shī)舊瓶裝新酒（抑或新瓶裝舊酒），還不是用了標(biāo)點(diǎn)符號(hào)簡(jiǎn)化字，還不是用普通話去吟誦唐詩(shī)宋詞。我就不信，你們能用唐朝話來(lái)誦讀唐詩(shī)？！你們的可笑行為、錯(cuò)誤書(shū)寫(xiě)和朗讀，比起寫(xiě)新韻仿唐詩(shī)的詩(shī)人來(lái)，還不是五十步笑百步喲！
四、首句末字
唐律絕詩(shī)，首句末字可平可仄。 對(duì)聯(lián)體詩(shī)，首句末字只能是仄，不能平。如果一副聯(lián)，上下聯(lián)末字皆是平音字，且押韻，這副聯(lián)肯定是蹩腳聯(lián)，不能貼在門(mén)框上招人笑話。 單獨(dú)一副對(duì)聯(lián)，上聯(lián)末字是仄聲字，下聯(lián)末字就是平聲字。平聲字就是韻字。兩副對(duì)聯(lián)合成詩(shī)時(shí)，一定要押同韻或通韻的平聲字。合成詩(shī)了，才能明顯看到韻腳字，感受到詩(shī)韻的媚力。
五、粘連
粘連是律絕詩(shī)的靈魂。 同樣，對(duì)聯(lián)體詩(shī)也是律絕詩(shī)，也講究粘連。沒(méi)有粘連，對(duì)聯(lián)體詩(shī)就不再是詩(shī)，而是兩副或四副對(duì)聯(lián)簡(jiǎn)單的堆砌，詩(shī)韻同時(shí)蕩然無(wú)存。 寫(xiě)作四六八十言等對(duì)聯(lián)體詩(shī)，講究粘連，一定會(huì)平仄失替、 聯(lián)律規(guī)定，對(duì)聯(lián)體詩(shī)五七言律絕平仄，必須按照詩(shī)律規(guī)定，依次順替。其余四六八九言等律絕允許平仄失替，允許犯孤平。
六、平仄依次順替
詩(shī)律有“平平仄仄平平仄”等規(guī)則。 聯(lián)律同樣也有“平平仄仄平平仄”等規(guī)則。對(duì)聯(lián)每句用字已超過(guò)五言七字，甚至長(zhǎng)達(dá)百字以上，其平仄很難依次順替。如果平仄失替了，上聯(lián)拗字，下聯(lián)在相同位置的字，務(wù)必救回來(lái)。 羅志海寫(xiě)的對(duì)聯(lián)體詩(shī)，用字三至二十一言，且都是絕句。僅有一首《千古奇緣》（對(duì)聯(lián)體三十六絕，與錢(qián)永德、塞外雪影合寫(xiě)）是超長(zhǎng)絕句。 羅志海也翻譯過(guò)詩(shī)友寫(xiě)的對(duì)聯(lián)體詩(shī)律句。
七、主題
每一首律絕詩(shī)的主題非常明確。也有主題不那么明確的律絕詩(shī)，標(biāo)題為《無(wú)題》。 家家戶(hù)戶(hù)門(mén)框上貼上對(duì)聯(lián)，大多數(shù)是喜慶歡樂(lè)性質(zhì)的。常常多副對(duì)聯(lián)共用一條橫批。橫批，是對(duì)聯(lián)的主題。共用一條橫批，也就是主題不那么明顯，或是沒(méi)有主題。對(duì)聯(lián)體詩(shī)是兩副或四副對(duì)聯(lián)粘連的詩(shī)，受此影響，它的主題有時(shí)不那么明確。 對(duì)聯(lián)體詩(shī)通俗易懂，極有特點(diǎn)，富有詩(shī)意，吟誦起來(lái)朗朗上口。
八、對(duì)聯(lián)詩(shī)與對(duì)聯(lián)體詩(shī)
對(duì)聯(lián)詩(shī)與對(duì)聯(lián)體詩(shī)，一字之差，極易混淆。 唐格律詩(shī)中，有些律詩(shī)，第一二句第七八句也對(duì)仗；有些絕句，第一二句第三四句兩兩對(duì)仗。這些律絕，為數(shù)不多，后人稱(chēng)之為對(duì)聯(lián)詩(shī)。唐之后的詩(shī)人，也有寫(xiě)對(duì)聯(lián)詩(shī)的。這些詩(shī)不能自成一體，故不能稱(chēng)之為對(duì)聯(lián)體詩(shī)。 對(duì)聯(lián)體詩(shī)包含對(duì)聯(lián)詩(shī)，但自成一體。對(duì)聯(lián)體詩(shī)中的五言七言律絕，是對(duì)聯(lián)詩(shī)，與唐對(duì)聯(lián)詩(shī)寫(xiě)作方法相同，也是古韻新韻格律詩(shī)的其中之一。對(duì)聯(lián)體詩(shī)中，三四六八九言至二十一言，已超出唐詩(shī)五七言的范疇。故對(duì)聯(lián)體詩(shī)是一種新格律詩(shī)。
20180630/4：00至20180704/18：00羅志海寫(xiě) 20190806/10：00至20190902/21：00羅志海譯
The Rule Of Couplet PK The Rule Of Poetry
By Luo Zhihai
Generally, the rule of poetry that the poets saying a considerablepart is the summary of later generations. As for which are formulated by Tangpeople and which are summarized by later generations, this paper will notanalyze them one by one. Two pairs of couplets are a new style of poetry. Its rulefollows the rule of couplet. It’s same and different to the rule of poetry. Thefollowing comparisons are made one by one. The rule of two pairs of couplets ishereinafter referred to as rule of couplet
1. One, three and five are regardless, but two, four and six are clarity
The rule of poetry stipulates one, three and five are regardless,but two, four and six are clarity. In fact, whether it is Tang people or latergenerations, this rule is discounted, It’s conditional regardless and conditionalclarity. For example, some Tang poets’ verses were written wrong. He saved itin the same verse. This way of saved it in the same verses showed that the poetwas poor in words, or that he felt that only by writing like this could heexpress his feelings better. This kind of wrong writing may not be regarded asa mistake in the Tang Dynasty when the rule of the poetry was first created. Latergenerations concluded that this is not only not a mistake, but also a classic.This is the later generations are pursuing the mistake. The rule of couplet stipulates that no matter one, three,five, seven, nine, eleven, thirteen, fifteen, seventeen and nineteen are regardless.But two, four, six, eight, ten, twelve, fourteen, sixteen, eighteen and twentyare clarity. This no matter, true no matter. This clarity, true clarity. In acouplet, double words in a clear position, the upper couplet should be leveltone, but written in oblique tone. The lower couplet corresponding to theoriginal, it is necessary to rewrite level tone. There is no self-help in thissentence. Only rule that the first sentence written wrong and the secondsentence saved right.
2. Three level tails
The rule of poetry stipulates that no three level tailsand not to mention three level tails of a double sentence and three obliquetails of a single sentence should appear at the same time. Throughout the TangDynasty and after the Tang Dynasty, there were occasional poems with three leveltails. The rule of couplet stipulates that three level tails canbe paired with three oblique tails or four level tails can be paired with four obliquetails. But try not to write like that. This is because there are not only fivewords and seven words, but also nine words and eleven words in two pairs ofcouplets. It also contains double words. Writing of double words, it isinevitable that there will be three level tails and four level tails. Ofcourse, there will be three oblique tails and four oblique tails in itscorresponding sentence. At present, Luo Zhihai has written more than 6,000 twopairs of couplets (also named couplet poems). Among the single words poems suchas five, seven and nine words, there are less than five couplet poems withthree level tails, accounting for less than 0.1 percent. If Luo Zhihai's poemsare to be graded from the angle of whether there are three level tails, LuoZhihai's score is 99.9. The reason for this is that only in this way could heexpress his feelings better. There were three or five other poems. At first, hewanted to have three level tails to three oblique tails. Later, after carefuldeliberation, he changed his chords and wrote like that. This shows that LuoZhihai has not reached the condition of poverty words.
3. Punctuation marks
For historical reasons, there are no punctuation marks inancient poems. Detailed analysis shows that Tang's rhythmic poetry shouldbe marked with commas at the end of a single sentence. Put a full stop at theend of a double sentence. This is common sense. Nowadays, poets often addpunctuation marks directly, so that their poetry disappears or is discounted. Putting comma or stop at the sentence end of Tang poetryor modern imitation of Tang poetry is undoubtedly painting a snake with feet -- superfluous. Words used in Tangpoetry are traditional words, while simplified ones are often used in modernpoetry. In Tang poems, level and oblique words follow ancient level and oblique.Some of poets of later generations, their level and oblique words follow ancientrhyme, one hundred and six Pingshui rhymes. And some of them follow Chinese newrhyme (eighteen rhymes). Following the ancient rhyme, the poets who imitateTang poems hate the poets who write the new rhyme of Tang poems. When they wantto be put to death and then quickly, they often criticize them. Little wonder,when you write metrical poems like putting new wine into old bottles (or like puttingold wine into new bottles), you also use punctuation marks and simplified words.Also use Mandarin Chinese to chant Tand poems and Song lyrics. I don't believethat you can read Tang poems in Tang Dynasty dialect?! Your funny behavior,wrong writing and reading are not as good as the poets who write new rhymes andimitate Tang poems. That’s those who retreat fifty paces laugh at those whoretreat a hundred paces.
4. The end word of the first sentence
In Tang Dynasty's rhythmic poetry, the end wordof the first sentence can be level and oblique word. For two pairs of couplets, the end word of the firstsentence can only be oblique not level. If a couplet, the end words of theupper and lower couplets are all level words and rhymed, it’s surely a poorone. It can not be put up on the door frames to attract jokes. In a single pairof couplets, the end word in the upper couplet is a oblique word, and the endword in the lower couplet is a level word. The level word is rhyme. When twopairs of couplets are combined into a poem, they must rhyme in the same rhymeor in the near rhyme. When they are combined into a poem, we can clearly seethe rhyme words and feel the charm of the rhyme.
5. Adhesion
Adhesion is the soul of rhythmic poetry. Similarly,two pairs of couplets are also rhythmic poems, also pay attention to adhesion. Without adhesion, they are nolonger poetry, but simple stacking of two or four pairs of couplets with norhyme at the same time. Writing two pairs of couplets such as four, six, eight orten words, paying attention to adhesion, it's bound to be out-of-order in leveland oblique words The rule of couplet stipulates that the five or sevenwords of rhythmic poetry of two pairs of couplets, the level and oblique words mustbe replaced successively in accordance with the rule of poetry sequential succession.Remaining four, six, eight and nine words and so on rhythmic poetry allow them areout-of-order in level and oblique words, allow alone level word.
6. Successive succession of level and oblique words
In the rule of poetry, there are rules as “l(fā)evel, level, oblique,oblique, level, level and oblique”. In the rule of couplet, there are rules as “l(fā)evel, level,oblique, oblique, level, level and oblique”, too. Words of every sentence ofcouplet has exceeded five or seven words or even more than one hundred words. Itis difficult to be successive succession of level and oblique words/ If it’snot successive succession of level and oblique words, ao word of the uppercouplet, and the word in the same position of the lower couplet must save itback. Two pairs of couplets written by Luo Zhihai, their usedwords from three to twenty-one. And they are all quatrains. There is only CuriousFate Of Thousands Of Ancient Times (thirty-six words of quatrain of two pairs ofcouplets written by Qian Yongde, Saiwaixueying and Luo Zhihai), which is asuper-long quatrain. Luo Zhihai also translated eight verses of couplets written by friendsin poetry.
7. Theme
The theme of each rhythmic poem is veryclear. There are also poems with less specific themes, titled Untitled. On the door frames of every household the couplets posted. Most of them are the nature offestivity and joy. Often pairs of couplets share a banner. A banner is thetheme of couplet. Share a banner, that is, the theme is not so obvious. Orthere is no theme. Couplet poem is a poem adjoined with two or four pairs ofcouplets. Affected by this, the theme of couplet poem is sometimes not soclear. It is easy to understand, very characteristic and full ofpoetry. It is easy to recite.
8. Couplet poetry and two pairs of couplets
A word difference between couplet poetry and two pairs ofcouplets is easy to be confused. In Tang metrical poems, there are some eight verses, theirfirst and second sentences and seventh and eighth sentences are also in antithesis.Some quatrains, their first and second sentences and third and fourth sentencesare in antithesis in pares. These eight verses and quatrains are rare, andlater people call them couplet poetry. Poets after Tang Dynasty also wrotecouplet poetry. These poems are not self-contained, so they can not be called twopairs of couplets. Two pairs of couplets contain couplet poetry, but theyare self-contained. Five words and seven words of eight verses and quatrains intwo pairs of couplets are couplet poetry. They have the same writing method ascouplet poetry in Tang Dynasty. They are also one of the metrical poetry of theancient rhymes and the new rhymes. Among two pairs of couplets, three, four,six, eight, nine to twenty-one words have gone beyond the category of five andseven words in Tang poetry. Therefore, two pairs of couplets are a kind of metricnew poetry.
6/30/2018, 4: 00—7/4/2018, 18: 00 Luo Zhihai wrote 8/6/2019, 10: 00—9/2/2019, 21: 00 Luo Zhihai translated
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