How to align couplets?

How to match the parts of speech and structure of couplets (1) These are the two grammatical elements of couplets' meter, and they are also the two key elements. Part-of-speech equivalence means that the relative words of the upper and lower parts should be as same or similar as possible. Such as noun to noun, verb to verb, and so on. For example, the five aggregates are all empty and comfortable; I don't want to see the Tathagata. In this link,? Five? And? One? Are numbers? Yun? And? Heart? Are all nouns? All? And? No? Are adverbs? Empty? And? Chaos? Are adjectives? View? And? See you? Are all verbs? Comfortable? And? Tathagata? Are nominalized adjectives or verbs. Generally, the requirements for function words are loose, while the requirements for content words are strict. In the specific antithesis, in addition to the part of speech, the role of words in sentences can be properly considered, and the requirements for modifiers are loose, while the requirements for central words are strict. Structural symmetry means that the grammatical structure of the corresponding sentences of the upper and lower links should be as same as possible. Such as: always endure humiliation with one heart; Everything goes with fate. The upper and lower parts of this couplet are all subject-predicate-object structures, among which, One heart? Right? Everything? They are all positive structures. Endure humiliation? Right? Follow fate? Both are verb-object structures. How to make couplets (2) equal in words and relevant in content are two basic elements of couplets' meter. Equal number of words means that if the first part is composed of several clauses, the second part should also be composed of several clauses with equal number of words. In short, if the number of words is not equal, it is hard to be called a veritable couplet anyway. From the content point of view, the contents of the upper and lower links should be related to each other in order to achieve the opposite or complementary effect. Or does this relationship set off and complement each other from the same angle, the so-called? Right? ; Or are they contrasting and contrasting each other from opposite angles, the so-called? Objection? . Such as: the sense of fulfillment; Solemn merit. (right) peace of mind; Want to recruit again. (Objection) There are still a few couplets which are connected with each other, that is, the so-called? String pair? Or? Running water, right? . Such as: in addition to sweet, bitter, salty and sour; Rice, oil, salt, sauce and vinegar tea. If the contents of the couplet are irrelevant, it will make people feel very awkward and stiff, and the couplet will not have the literary effect it should have, so it is difficult to be called a qualified couplet. Of course, there is a special form of couplets, that is, the so-called? No feelings? . It means that the couplet is neat in form (literally), but intentionally irrelevant in content (meaning), thus causing a special effect. Love-less antithesis mainly uses the formal features (antithesis) of couplets to embody a kind of literary interest and skill, and its content is secondary. Such as: flowers begin to bloom in front of the court; Your Excellency, Mr. Li (often heartless) The tree is half dead. Sure enough, it's irrelevant. In short, the words are equal and the content is relevant, which is the minimum requirement of couplets in form and content, and reflects the most basic correspondence and relevance, so they are called the basic elements. How to correspond to the rhythm of couplets (3) and how to be even and harmonious are two temperament elements of couplets. Rhythm, originally a musical term, refers to the phenomenon of regular strength and length appearing alternately in music. In couplet law, it refers to the regular pause phenomenon in couplet sentences. The rhythm is corresponding, which means that the upper and lower couplet should be as consistent as possible in the pause of rhythm. Such as: leak-fly-go; Heart empty-and-return. With-magical power-protection-dharma; Set-Meng Lanpen-Cross over-Kindness. However, the author believes that rhythm can be divided into broad sense and narrow sense. The generalized rhythm includes semantic rhythm and rhythmic rhythm. The narrow sense of rhythm refers to semantic rhythm. Semantic rhythm is mainly divided according to sentence structure, which refers to the pause or interval on syllables according to semantics. Rhythm rhythm refers to the tone requirements in a certain position in a sentence (flat arrangement) from the perspective of flat requirements. The author thinks that in order to make the concept clear, it is best to use semantic rhythm and rhythmic rhythm separately? Rhythm And? Step? To express. Examples are as follows: at the same time-smell-give notes; Di di-de-bodhi. (rhythm) at the same time-smell-remember; Second-time-depo-ti. Of course, rhythm and pace are still closely related, and they are often consistent. Flat and parallel harmony, also known as flat and parallel harmony, in a narrow sense, refers to the two major requirements of couplets in tone: flat and parallel opposition and flat and parallel alternation. Broadly speaking, it also includes other leveling problems such as the leveling arrangement at the foot of the sentence (see six taboos). Flat and flat, it means that between the steps of the upper and lower couplet and the foot of each clause, the sound should be flat and flat, that is, the upper couplet is flat and the lower couplet is flat, and vice versa. What are the arrangements for the steps? One, three, five, two, four, six? Say, because, in fact, it is not necessarily required that the whole step is flat and relative, but it can be flat and relative in the step position. The so-called step position is the last word of each step, which is the key sound that determines the nature of the whole step. Since the vast majority of Chinese characters are two-character steps, the step position generally refers to the second, fourth and sixth characters of each sentence. So there is? One, three, five, two, four, six? Said. Such as: heart-there is external-real fan-there is; In-air-invisible-empty. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○967 ) In this couplet, the first 35 words are not necessarily flat and even, and the second 46 words are flat and even. However, not all the steps are in the position of 246, mainly because of the sentence patterns of couplets, besides the antithetical sentence patterns in the regular poems, there are also sentence patterns such as words, songs, fu, parallel prose and even prose, as well as the use of titles and proper nouns. Such as: building-mandala altar-practicing dharma; In-Aranro's place-Zen meditation. Straight heart-is-the foundation of all things; Greed-as-the source of all sufferings. Deep heart-diligent study-mantra-doctrine; All-out-promotion-big handprint-practice. For the above-mentioned links, the step position is not necessarily in the position of 246. The alternation of flat and parallel words, as opposed to flat and parallel words, is actually two aspects of the same problem, which means that flat and parallel words should be used alternately between the upper and lower connected sentences and their own steps (or phonemes). Only between the foot of each clause and the previous step can the alternation be ignored. Such as: the real body has passed the mortal world; The tip is unbearable for Xiao Zhi to listen to. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○967 There is no magic in deep understanding. △○△△○△○○○○○○○○○○○○○○○○○○○○○○○○○○○ In the case of using special rhetorical devices such as parallelism, rhyme and quotation, and using fixed sentence patterns such as idioms and allusions, the metrical requirements of leveling can be relaxed appropriately. Generally speaking, there is a progressive relationship between the above six elements of couplet rhythm. In a sense, part-of-speech is the basis of structural proportionality, structural proportionality is the basis of rhythm correspondence, and rhythm correspondence is the basis of balance and harmony, so it goes without saying.