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styles, each line or couplet contributes to the overall poem but is also able to stand alone as an independent thought. Both
Chinese regulated verse and sijo focus on depicting a single emotion or moment using imagery for the entirety of the poem. Sijo and regulated verse also have many similar themes of nature, ethics, morals, etc. They also both have a shared sense of balance in the structure of their poems. Overall, Chinese regulated verse has influenced sijo in a variety of aspects whether it be structure and style or thematically.
236:, or a pause between certain phrases within any given line is a standard feature of regulated verse, with the main rule being for a major caesura preceding the last three syllables within a line. Thus, in the six-line verse, the major caesura divides the line into two three-character halves. Furthermore, in the seven-character line, there is generally a minor caesura between the first and second pairs of characters.
216:, comparison or contrast, phonology, among other considerations: the degree of parallelism can vary and the type of parallelism is crucial to the meaning of a well-written regulated verse poem. Phonological parallelism can include various considerations, including tonality. Grammatical function parallelism examples include matching colors, actions, numeric quantities, and so on. In the eight-line
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legacy in
Chinese literary tradition. Wang Wei used regulated verse to create vivid pictures and deep feelings, while Li Bai made it feel spontaneous and intense, capturing people's attention with his clear pictures and thoughtful ideas. Their work showed that regulated verse could fit many different themes and styles, and it still matters today.
99:. 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
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Regulated verse underwent significant evolution during the Tang dynasty, notably influenced by the "Shen-Song" collaboration between Shen Quanqi and Song Zhiwen. Their contributions were pivotal in refining the structural intricacies and thematic nuances of this classical
Chinese poetry form. Through
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Regulated verse has also had significant influence on other poetry forms across East Asia. One notable style of poetry that has been influenced by
Chinese regulated verse is sijo, which developed in Korea. The emphasis on brevity and succinctness is similar in both styles of poetry. In both poetry
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Line lengths are all the same in terms of syllables or characters throughout any poem. Generally, the line length is fixed at five or seven characters per line; although, some poems have a six-character line length. The line length is also used to further classify the main three forms of regulated
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During the Tang dynasty, there was a lot more regulated verse poetry, and poets like Wang Wei and Li Bai showed how diverse and long-lasting it could be. Their approaches to form and content expanded the boundaries of regulated verse, inspiring subsequent generations of poets and solidifying its
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Regulated verse is more than just poetry—it reflects the values and artistic tastes of
Chinese society throughout history. From its start to its peak in the Tang dynasty and even afterwards, regulated verse has been a crucial part of Chinese literature. It embodies cultural sophistication and
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Rhyme is mandatory. Rhyme, or rime, is based on a sometimes somewhat technical rhyme scheme. The rhyme of a poem can be difficult to determine, especially for older poems as pronounced in modern versions of
Chinese; however, even as early as the Tang dynasty, formal rhyme might be based upon
169:, rather than on actual vernacular speech. Generally level tones only rhyme with level tones, and non-level (or "deflected") tones only formally rhyme with other non-level tones. Also, the poem's first line may set the rhyme, more often in the seven-character form than the five-character.
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their collaborative efforts, they elevated regulated verse, showcasing the form's adaptability and expressive potential within the Tang literary milieu. During this time, regulated verse reached its peak, becoming a fundamental type of poetry in classical
Chinese literature.
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Parallelism is a feature of regulated verse. The parallelism requirement means that the two parallel lines must match each word in each line with the word which is in the same position in the other line, the match can be in terms of
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form, which is composed of four couplets, the middle two couplets have internal parallelism; that is, the third and fourth lines are parallel with each other and the fifth and sixth lines are parallel with each other. The
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artistic expression. It also influenced other poetry forms in East Asia, notably sijo. The structure and themes of
Chinese regulated verse demonstrate significant impact and are transferable across cultures.
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or "old style poetry" by the addition of several formal rules, most of which they share in common, but in some of which they differ. These rules include:
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main formal type. Regulated verse is one of the most important of all
Classical Chinese poetry types. Although often regarded as a
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The pattern of tonality within the poem is regulated according to certain fixed patterns of alternating level and deflected
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innovation, the origin of regulated verse within the
Classical Chinese poetic tradition is associated with
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first tone) and the other three tones which are grouped in the category of deflected tones (
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system developed. For regulated verse, the important distinction is between the level tone (
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is more flexible in terms of required parallelism, although it may be present. The
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77:(441–513), based on his "four tones and eight defects" (四聲八病) theory regarding
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153:. In each case, the poem is arranged in paired lines in the form of couplets.
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greatly contributed to the development of this Classical Chinese verse form.
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while retaining the basic characteristics that are distinguished from the
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requires parallelism for all couplets except for the first and last pair.
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CHINESE LYRICISM: Shih Poetry from the Second to the Twelfth Century
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Davis, A. R. (Albert Richard), Editor and Introduction,(1970),
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Poetry and Painting in Song China: The Subtle Art of Dissent
81:. There are three types of regulated verse: the eight-lined
59:; "modern-form poetry") – is a development within
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Sunflower Splendor: Three Thousand Years of Chinese Poetry
356:(1991), "The Sanskrit Origins of Recent Style Prosody”,
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The Columbia Anthology of Modern Chinese Literature
93:, and the linked couplets of indeterminate length
149:, and an unlimited, greater, even number for the
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339:. (New Haven and London: Yale University Press)
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388:. New York, NY: Columbia University Press.
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141:Number of lines are limited to four for
115:Regulated verse consisting of the three
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337:The Flowering Plum and the Palace Lady
180:(characteristic of the Chinese of the
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358:Harvard Journal of Asiatic Studies
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330:The Penguin Book of Chinese Verse
537:New Songs from the Jade Terrace
119:or "new style poetry" forms of
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276:Classical Chinese poetry forms
161:authoritative references in a
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647:Chinese poems (category list)
332:. (Baltimore: Penguin Books).
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370:. Harvard Univ Asia Center.
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335:Frankel, Hans H. (1978).
200:平, similar to the modern
558:Three Hundred Tang Poems
445:Classical Chinese poetry
271:Classical Chinese poetry
61:Classical Chinese poetry
652:List of poems (article)
384:Watson, Burton (1971).
364:Murck, Alfreda (2000).
640:Individual poems list
450:Modern Chinese poetry
714:Chinese poetry forms
596:Antithetical couplet
479:Six Dynasties poetry
214:grammatical function
157:verse into subtypes.
661:Modern compilations
551:Complete Tang Poems
25:traditional Chinese
544:Nineteen Old Poems
35:simplified Chinese
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523:Classic of Poetry
377:978-0-674-00782-6
87:, the four-lined
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693:Cantonese poetry
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186:Tang dynasty
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111:Formal rules
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71:Tang dynasty
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589:Major forms
504:Qing poetry
499:Ming poetry
494:Yuan poetry
489:Song poetry
484:Tang poetry
354:Tsu-Lin Mei
291:Song Zhiwen
286:Shen Quanqi
182:Sui dynasty
105:Song Zhiwen
101:Shen Quanqi
579:Zhuying ji
469:Han poetry
459:Poetry by
438:Major eras
297:References
241:Conclusion
194:four tones
163:rime table
53:Wade–Giles
302:Citations
708:Category
572:Wen Xuan
265:See also
117:jintishi
79:tonality
75:Shen Yue
49:jìntǐshī
21:Jintishi
461:dynasty
322:Sources
234:caesura
63:of the
530:Chu Ci
392:
374:
343:
188:, and
127:, and
45:pinyin
630:yuefu
281:Du Fu
227:pailu
223:jueju
218:lushi
192:), a
174:tones
151:pailu
147:lushi
143:jueju
134:gushi
129:pailu
125:jueju
121:lushi
96:pailu
90:jueju
84:lüshi
390:ISBN
372:ISBN
352:and
341:ISBN
232:The
198:píng
103:and
616:shi
208:仄).
165:or
66:shi
40:近体诗
30:近體詩
710::
623:qu
609:fu
602:ci
206:zè
184:,
123:,
55::
47::
37::
27::
423:e
416:t
409:v
380:.
23:(
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