This is the fourth lecture in the series "secrets of good practice 14 " , and after reading all 14 of the series, you will be well-versed in the teachings of good practice and the foundation of the poetry。
This is perhaps one of the most well-known and often cited and misunderstood in the rule of gertrude ping。
The rule seems to be simple and clear, but it does enrich the core secrets of gertrude。
The present statement will go beyond its superficial understanding to dig deeper into the chinese-language speech base on which it is based, to clarify its underlying causes as a basic calm rather than a “jus cogens rule” and to clearly define its conditions of application and exceptions。
I. Why does gertrude have to say, "i don't care, i don't know."
The last word is fixed, and the first four or the first six words can be divided into two or three sets of bisonics, each of which is flat by the last of the two。
Double node, whether it is " flat" or "polymous", is attributed to the symphony; it is to the symphony, whether it is " flat " or " flat"。
For example, peaches and snowflakes, which are two binary nodes, although peaches are flats and snows are symphonies, the first is not important, and the second word, flowers, is important, because flowers are flats, so peaches and snowflakes, as a whole, are flats。
You can read both words out loud to see if that's the case。
For example, peach tree and almond tree, although the first word is flat and the first word is flat, the second key word, tree, is symphony, so both peach tree and almond tree are symphony。
You can read both words out loud and feel what i'm saying。
For the poetry, we read the rhythm in two words, for example:
Days and days..
Yellow river - into the sea
In the chorus of the day, the flatness is determined by the flatness of the day; in the verb of the mountain, the core is the flatness of the mountain。
♪ moon falls ♪
Maple-fire-silence-silence
Likewise, the flatness of the end word is fixed, and the flatness of the other bisonics is determined by the flatness of the second word。
The position of the first word of a binary is just as flat as that of the first, third and fifth words of a poem, while the second word of a binary is just as flat as that of the second, fourth and sixth words of a poem, and is flat and flat。
So, the rule of “one, three, five, two, four, six” was born。
It should be noted that the rule of “one, three, five, twenty, forty-six” is not imposed by a person or group, but is the result of natural selection of acoustic aesthetics, which is then widely accepted on the basis of the theory of the multi-word symphony, which we read as a unit in every two words。
The words of the second, fourth and sixth place in each poem may be called the rhythm, and the words of the first, third and fifth place may be referred to as the point of freedom, while the last word of each poem may be either rhyme or white feet。
Ii. Meaning of the rhythm and freedom points
1 rhythm
Now that the rhythm is in the second, fourth and sixth words of each poem, the flat properties of these words directly determine the rhythm of the entire pace and the sound of the entire poem。
If these dots are flat, as they should have been, “ping-ping-ping” becomes “ping-ping-ping”, the whole poem's frustration will be completely lost, and the poems will read flat or silent。
Thus, the essence of “two-and-a-half” is that it requires that the rhythms of the poems must strictly follow the pattern of flat alternation in order to construct a clear acoustic skeleton, so that the poems have the effect of discouraging frustration。
2. Freedom
On the contrary, the first words of the steps, i. E. The first, third and fifth words of the poem, are the points of freedom。
Since the free point position is not where the rhythm is accentuated, its flat changes have a relatively small impact on the overall rhythm of the poem。
It is easy to define it as “whatever” and gives poets great flexibility and freedom in the use of words so that, while maintaining the integrity of the whole skeleton, they can give preference to the most poetic word for the purpose of not “injury”。
That is why the one-and-a-three-five can ignore the essence。
Three, rhyme and white feet
In the case of the gertrude, the even sentences must rhyme, and the odd sentences must not rhyme except for the first sentence, which can rhyme or not。
The end words of the rhyme are rhymes, the most important place in a poem; the end words of the non-hymn are called white feet, the second most important place in a poem。
The final words of each poem, or the white foot or the hymn foot, are fixed, the hymn foot must be flat, the white foot must be soothed, and the hymns and white feet have the greatest influence on the hymn。
Iii. “forever” is not absolute
The word “3 by 5” is by no means unconditional, and in four exceptional cases it must be “spoken”, otherwise it would cause even more serious problems of rhyme and destroy the rhythm and beauty of the poetry。
What are the four special circumstances? I'll introduce them separately。
1. Avoiding “single”
In the five words of the "performance" phrase, if the first word is replaced by a sound, and the first word is changed to a "performance" sentence, it is a sin to be lonely, and it is a cynic。
The position of the first word of the “single-single” phrase must therefore be “problem” and the tone must be used, at which point the “one-three-five” rule could not be used。
Similarly, in the seven poems, the phrase “in the middle of the flat”, if the third word is replaced by the word “in the middle”, the word becomes “in the middle” and the word “in the middle” is also a sin, so the third word here must be “in the words” and the word “in the same words”。
That is the question of the rule of legality's priority, which is much greater than “one or three or five”。
2. Avoiding the “triple tail”
In the five phrases, "the middle is flat" , if the third word is replaced by "the middle is flat" , the third word is turned into "the middle is flat" , which is also a cynic. The third word of the sentence must therefore be “mental” and sound。
Similarly, in the seven words, “chongping is flat”, if the fifth word is replaced by a sound, it becomes “chongping is flat” and the third part is broken. The fifth word here must therefore also be “mental” and sound。
Similarly, avoiding the three-salary tails is much higher than “one-three-five”。
3. Avoiding “triple tail”
In the five words, the third word, if it is replaced by the sound, becomes the word “single” and the third is a three-tailed end, which is less severe than a three-tailed end, but avoids it. Therefore, the third word here, as far as possible, should be kept calm。
Four. Wall overboard
The phrase “big wall flips” has traditionally been regarded as a rule, and in the phrase “big wall flips” the flatness of each word is fixed, so that it cannot be “one or three” and the flatness of each word should be “clear”。
In spite of the exceptions, “one-three-five, two-and-a-half” is of irreplaceable guidance value to grateful. It has enabled beginners to quickly capture the main contradictions of grategic peace and to gain initial creative flexibility. The vast majority of non-critical positions can indeed be dealt with accordingly。
In fact, the rule of “one, three, five, two, four, four, six” could be upgraded to read:
“as long as it does not lead to `single' or `triple plume' poetry, the first, third and fifth words of the poem can be handled flexibly; and the second, fourth and sixth words, as the rhythmal thrusts, must strictly follow the rotational pattern, except in the case of recognized specific variations such as `twirling the walls'.”
Iv. Application of the equipment of “again, three and through”
Predeterminator: when drawing up sentences, make sure that the two, four and six words are correct and that sound-to-bone frames are built。
Flexible filling: in the first, third and fifth places between the skeletons, according to poetry, the choice of words is free and preference is given to the advantages and disadvantages of words。
These are only theoretical foundations, and very few in reality do. Usually a poem or a few poems are written first, and then the flatness of the irregular position is adjusted to make it a final rhythm。
Final examination: once the sentence has been completed, the taboos of “single ping”, “single ping” and “single ping” should be examined and, in the case of poetic diseases, such as “single ping”, “single ping” or “single ping” should be adjusted or rescued。
Friends, have you read this paper and developed a deeper understanding of the rule of “one, three, five, two, four and a half”? What do you think。
