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Tone Pattern
Tone patterns () are common constraints in classical Chinese poetry. The four tones of Middle Chinese—''level'' (平), ''rising'' (上), ''departing'' (去), and ''entering'' (入) tones—are categorized into level (平) tones and oblique (仄) tones. Tones that are not ''level'' are ''oblique''. When tone patterns are used in poetry, the pattern in which level and oblique tones occur in one line is often the inverse of that of the line next to it. For example, in the poem 春望 (pinyin: chūn wàng, ''Spring View'') by Du Fu, the tone pattern of the first line is 仄仄平平仄, while that of the second line is 平平仄仄平: In poetry In Classical Chinese poetry, the presence or absence of formal tonal constraints regarding tone pattern varies according to the poetic form of a specific poem. Sometimes the rules governing the permissible tone patterns for a poem were quite strict, yet still allowed for a certain amount of liberty and variation, as in the case of regula ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chinese Poetry
Chinese poetry is poetry written, spoken, or chanted in the Chinese language, and a part of the Chinese literature. While this last term comprises Classical Chinese, Standard Chinese, Mandarin Chinese, Yue Chinese, and other historical and vernacular forms of the language, its poetry generally falls into one of two primary types, Classical Chinese poetry and Modern Chinese poetry. Poetry is consistently held in high regard in China, often incorporating expressive folklore, folk influences filtered through the minds of Chinese literati. Poetry provides a format and a forum for both public and private expressions of deep emotion, offering an audience of peers, readers, and scholars insight into the inner life of Chinese writers across more than two millennia. Chinese poetry often reflects the influence of China's various religious traditions. Classical Chinese poetry includes, perhaps first and foremost ''Shi (poetry), shi'' (詩/诗), and also other major types such as ''Cí (poet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four Tones (Middle Chinese)
The four tones of Chinese poetry and Varieties of Chinese, dialectology () are four traditional tone (linguistics), tone classes of Chinese language, Chinese words. They play an important role in Chinese poetry and in comparative studies of tonal development in the modern varieties of Chinese, both in traditional Chinese and in Western linguistics. They correspond to the historical Chinese phonology, phonology of Middle Chinese, and are named ''even'' or ''level'' ( ''píng''), ''rising'' ( ''shǎng''), ''departing'' or ''going'' ( ''qù''), and ''entering'' or ''checked tone, checked'' ( ''rù''). (The last three are collectively referred to as ''oblique'' (''zè''), an important concept in poetic tone patterns.) They are reconstructed as mid (˧ or 33), mid rising (˧˥ or 35), high falling (˥˩ or 51), and mid (˧ or 33) with a final stop consonant respectively. Due to historic splits and mergers, none of the modern varieties of Chinese have the exact four tones of Middle Ch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Middle Chinese
Middle Chinese (formerly known as Ancient Chinese) or the Qieyun system (QYS) is the historical variety of Chinese language, Chinese recorded in the ''Qieyun'', a rime dictionary first published in 601 and followed by several revised and expanded editions. The Swedish linguist Bernhard Karlgren believed that the dictionary recorded a speech standard of the capital Chang'an of the Sui dynasty, Sui and Tang dynasty, Tang dynasties. However, based on the preface of the ''Qieyun'', most scholars now believe that it records a compromise between northern and southern reading and poetic traditions from the late Northern and Southern dynasties period. This composite system contains important information for the reconstruction of the preceding system of Old Chinese phonology (early 1st millennium BC). The ''fanqie'' method used to indicate pronunciation in these dictionaries, though an improvement on earlier methods, proved awkward in practice. The mid-12th-century ''Yunjing'' and other r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pinyin
Hanyu Pinyin, or simply pinyin, officially the Chinese Phonetic Alphabet, is the most common romanization system for Standard Chinese. ''Hanyu'' () literally means 'Han Chinese, Han language'—that is, the Chinese language—while ''pinyin'' literally means 'spelled sounds'. Pinyin is the official romanization system used in China, Singapore, Taiwan, and by the United Nations. Its use has become common when transliterating Standard Chinese mostly regardless of region, though it is less ubiquitous in Taiwan. It is used to teach Standard Chinese, normally written with Chinese characters, to students in mainland China and Singapore. Pinyin is also used by various Chinese input method, input methods on computers and to lexicographic ordering, categorize entries in some Chinese dictionaries. In pinyin, each Chinese syllable is spelled in terms of an optional initial (linguistics), initial and a final (linguistics), final, each of which is represented by one or more letters. Initi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Du Fu
Du Fu (; 712–770) was a Chinese poet and politician during the Tang dynasty. Together with his elder contemporary and friend Li Bai, Du is often considered one of the greatest Chinese poets of his time. His greatest ambition was to serve his country as a successful civil servant, but Du proved unable to make the necessary accommodations. His life, like all of China, was devastated by the An Lushan rebellion of 755, and his last 15 years were a time of almost constant unrest. Although initially he was little-known to other writers, his works came to be hugely influential in both Chinese and Japanese literary culture. Of his poetic writing, nearly fifteen hundred poems have been preserved over the ages. He has been called the "Poet-Historian" and the "Poet-Sage" by Chinese critics, while the range of his work has allowed him to be introduced to Western readers as "the Chinese Virgil, Horace, Ovid, Shakespeare, Milton, Burns, Wordsworth, Béranger, Hugo or Baudelaire ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Classical Chinese Poetry
Classical Chinese poetry is traditional Chinese poetry written in Classical Chinese and typified by certain traditional forms, or modes; traditional genres; and connections with particular historical periods, such as the poetry of the Tang dynasty. The existence of classical Chinese poetry is documented at least as early as the publication of the ''Classic of Poetry'' (''Shijing''). Various combinations of forms and genres have developed over the ages. Many or most of these poetic forms were developed by the end of the Tang dynasty, in 907 CE. The use and development of Classical Chinese poetry actively continued up until the May Fourth Movement, in 1919, and is still developed even today. Poetry created during this period of more-or-less continuous development displays a great deal of diversity – categorized by both major historical periods and by dynastic periods (the traditional Chinese historical method). Another key aspect of Classical Chinese poetry is its intense i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Regulated Verse
Regulated verse – also known as Jintishi () – is a development within Classical Chinese poetry of the '' shi'' main formal type. Regulated verse is one of the most important of all Classical Chinese poetry types. Although often regarded as a Tang dynasty innovation, the origin of regulated verse within the Classical Chinese poetic tradition is associated with Shen Yue (441–513), based on his "four tones and eight defects" (四聲八病) theory regarding tonality.Watson, 110–112 There are three types of regulated verse: the eight-lined '' lüshi'', the four-lined '' jueju'', and the linked couplets of indeterminate length '' pailu''. All regulated verse forms are rhymed on the even lines, with one rhyme being used throughout the poem. Also, and definitionally, the tonal profile of the poem is controlled (that is, "regulated"). Furthermore, semantic and tonal parallelism is generally required of certain interior couplets. During the Tang dynasty, the "Shen-Song" team of Shen Q ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ci (poetry)
''Cí'' (pronounced ; zh, t=詞), also known as ''chángduǎnjù'' ( zh, t=長短句, s=长短句, l=lines of irregular lengths, first=t, labels=no) and ''shīyú'' ( zh, t=詩餘, s=诗馀, l=the poetry besides Shi, first=t, labels=no), is a type of lyric poetry in the tradition of Classical Chinese poetry that also draws upon folk traditions. ''Cí,'' also known as "song lyrics," use various poetic meters derived from a base set of fixed pattern forms, using fixed-rhythm, fixed-tone, and line-lengths varying according that of the model examples. The rhythmic and tonal pattern of the ''cí'' are based upon certain, definitive musical song tunes (''cípái''), and in many cases the name of the musical tune is given in the title of a ''cí'' piece, in a form such as "after (the tune of)...." Typically, the number of characters in each line and the arrangement of tones were determined by one of around 800 set patterns, each associated with a particular title, called ''cípái'' ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Qu (poetry)
The ''Qu'' form of poetry is a type of Classical Chinese poetry form, consisting of words written in one of a number of certain, set tone patterns, based upon the tunes of various songs. Thus ''Qu'' poems are lyrics with lines of varying longer and shorter lengths, set according to the certain and specific, fixed patterns of rhyme and tone of conventional musical pieces upon which they are based and after which these matched variations in lyrics (or individual ''Qu'' poems) generally take their name.Yip, 306-308 The fixed-tone type of verse such as the ''Qu'' and the '' ci'' together with the '' shi'' and '' fu'' forms of poetry comprise the three main forms of Classical Chinese poetry. Names and types In Chinese literature, the ''Qu'' () form of poetry from the Yuan Dynasty may be called ''Yuanqu'' (元曲 P: ''Yuánqǔ'', W: ''Yüan-ch'ü''). Qu may be derived from Chinese opera, such as the ''Zaju'' (雜劇), in which case these Qu may be referred to as '' sanqu'' (散曲). ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tone (linguistics)
Tone is the use of pitch (music), pitch in language to distinguish lexical or grammatical meaning—that is, to distinguish or to inflection, inflect words. All oral languages use pitch to express emotional and other para-linguistic information and to convey emphasis, contrast and other such features in what is called intonation (linguistics), intonation, but not all languages use tones to distinguish words or their inflections, analogously to consonants and vowels. Languages that have this feature are called tonal languages; the distinctive tone patterns of such a language are sometimes called tonemes, by analogy with ''phoneme''. Tonal languages are common in East Asia, East and Southeast Asia, Africa, the Americas, and the Pacific islands, Pacific. Tonal languages are different from pitch-accent languages in that tonal languages can have each syllable with an independent tone whilst pitch-accent languages may have one syllable in a word or morpheme that is more prominent t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four Tones (Middle Chinese)
The four tones of Chinese poetry and Varieties of Chinese, dialectology () are four traditional tone (linguistics), tone classes of Chinese language, Chinese words. They play an important role in Chinese poetry and in comparative studies of tonal development in the modern varieties of Chinese, both in traditional Chinese and in Western linguistics. They correspond to the historical Chinese phonology, phonology of Middle Chinese, and are named ''even'' or ''level'' ( ''píng''), ''rising'' ( ''shǎng''), ''departing'' or ''going'' ( ''qù''), and ''entering'' or ''checked tone, checked'' ( ''rù''). (The last three are collectively referred to as ''oblique'' (''zè''), an important concept in poetic tone patterns.) They are reconstructed as mid (˧ or 33), mid rising (˧˥ or 35), high falling (˥˩ or 51), and mid (˧ or 33) with a final stop consonant respectively. Due to historic splits and mergers, none of the modern varieties of Chinese have the exact four tones of Middle Ch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chinese Sanqu Poetry
''Sanqu'' () is a fixed-rhythm form of Classical Chinese poetry or "literary song".Crump (1990), 125 Specifically ''sanqu'' is a subtype of the '' qu'' formal type of poetry. ''Sanqu'' was a notable Chinese poetic form, possibly beginning in the Jin dynasty (1115–1234), but especially associated with the Yuan (1271–1368), Ming (1368–1644) and Qing (1644–1912) dynasties. The tonal patterns modeled on tunes drawn from folk songs or other music. Overview The ''sanqu'' were literary lyrics directly related to the ''zaju'' arias: these were dramatic lyrics written to fixed musical modes or metrical forms and could contain several aria or lyric song segments in one suite. ''Sanqu'', however, could be composed in single discrete sections. It is often said that the ''sanqu'' verses tend to reflect excess energies and resentments of contemporary disenfranchised Chinese literati, due to contemporary Jurchen and Mongol political domination. Often the poetry could be humorous ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
