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Chapter 6. The Creation of Modern Song Lyrics Preface: Modern song lyrics are a highly strictly conditioned type of metrical poetry. They emphasize syllable count per line and number of characters, end-rhyme patterns, tonal symmetry between level and oblique tones, line-end rhyming, rhyme shifts, and so on. If one is familiar with these “rules” and knows how to flexibly apply variations, and is able to write or produce lyrics with beautiful imagery, then one’s skill in lyric writing has in fact reached a state of “transcendent mastery”. Those free verse poets are at most minor figures at the gate of poetry, and cannot hope to compare with you. Therefore, do not think that writing lyrics is merely arranging lines and piecing together sentences, or regard it as a trivial craft. Beautiful lyrics set to melody, once loved by listeners, not only spread widely, but also have a very considerable return on investment, absolutely exceeding the usual remuneration of eight hundred or one thousand per poem. Modern popular songs’ lyrics mostly come from so-called “professional lyricists”. Their professionalism comes from their mastery of these “rules of lyric writing” and their ability to apply them flexibly, while their own literary cultivation is actually secondary. This has resulted in many popular songs showing a phenomenon of “having meaning but no imagery, having emotion but no visual scene”, an excessive sentimentalism. The entire text is filled with romantic sorrow and tragic lament, with negative emotions making listeners feel as if the end of the world is imminent. Therefore, the author hopes that more outstanding new poets will enter the field of popular lyric writing, comprehensively elevate the creative level of popular lyrics, and completely reverse this phenomenon of “having meaning but no imagery, having emotion but no visual scene”. Section 1. The phenomenon of excessive sentimentalism in popular lyrics Early popular songs had subtle and implicit meanings, with imagery and visual scenes. The imagery in lyrics provided continuous visual scenes, allowing listeners to imagine and connect these scenes in their minds into a complete love story: 〈The Slanting Sun in Misty Rain〉 / Zhuang Nu A curtain of misty rain—where do you come from A trace of slanting sunlight—you arrive in haste This life is also the same In this AAB structure of lyrics, section A contains concrete imagery such as “misty rain” and “slanting sun”. These are not merely abstract nouns and emotions such as “love”, “life”, “parting”, and “sorrow”. Continuous imagery (visual scenes) provides the listener with imagination, allowing them to construct a story. The lyrics also use metaphorical techniques rather than merely directly describing emotions. 〈Autumn Water and Endless Sky〉 / Liang Guangming It is still the autumn tide toward the evening sky, still the reed blossoms along the distant embankment It is still the autumn shore with fading goose cries, still the setting sun before the thatched gate In this BABA structure of lyrics, concrete and perceptible imagery appears everywhere. For example, in main verse B1 there are “autumn tide”, “evening sky”, “reed blossoms”, “distant embankment”, “clouded mountains”, “tears of emotion”, etc.; in B2 there are “autumn shore”, “goose cries”, “setting sun”, “thatched gate”, “returning sails”, “small harbor”, etc.; in the chorus there are “sea”, “wind and mist”, and “distant fishing lights”. Through these continuous visual images, listeners can construct a vivid narrative scene in their minds. Modern popular lyrics have gradually become more vague and verbose, unlike the concise and visually concrete lyrics of the early period. This phenomenon of “emptiness and excessive sentimentalism” has existed for a long time. Since the 1980s, although poets such as Yu Guangzhong, Xi Murong, and Chen Kehua have participated in lyric writing, and Luo Dayou and campus folk songs once brought a fresh current, most lyric writers still habitually “shout out love in a hoarse voice”, producing a large amount of lyrics that are “having soul but no body, having meaning but no imagery, having emotion but no visual scene”. The tone is overly sweet and excessively sentimental, sticky and nauseatingly mushy. Listeners seem gradually to have become accustomed to it and can accept this direct and superficial, almost colloquial “shouting of love”. Popular lyrics have even degenerated into a “recycling bin of emotional waste”. Consider the following two recent popular songs: 〈Ask〉 / lyrics & music: Jonathan Lee Who makes your heart move, who makes your heart ache, who makes you occasionally want to hold them in your arms Only women easily fall deeply in love, always trapped by love, finally sinking deeper and deeper In this song〈Ask〉, the entire lyrics consist of abstract vocabulary: “love”, “soul”, “youth”, “dream”, “devotion”, and abstract emotions such as “heart moved”, “heart ache”, “without regret”. These “components” are all abstract emotional elements of “having meaning but no imagery, having soul but no body”. When listeners close their eyes and recall it, there is almost no concrete visual scene that can remain in the mind for imagination. What the lyrics narrate is unclear; only waves of negative emotional vocabulary repeatedly press upon the listener’s emotions. 〈Waking Up from a Dream〉 / lyrics & music: Jonathan Lee You said you loved someone you should not have loved, your heart full of scars You said you have tasted all the bitterness of life, unable to find anyone to trust Knowing heartbreak is inevitable, why fall so deeply in love In this song〈Waking Up from a Dream〉, the entire lyrics likewise consist of abstract vocabulary: “love”, “scars”, “mistake”, “waking from a dream”, and abstract emotions such as “pain”, “regret”, “frustration”, “doubt”, “heartbreak”, “deep love”, “warmth”. Again, no visual scene ever remains in the mind. Songs like〈Ask〉and〈Waking Up from a Dream〉, filled with “having soul but no body, having meaning but no imagery, having emotion but no visual scene”, and excessively sentimental like slogans, have nevertheless become highly popular in the market. This reflects that most listeners, after long-term conditioning, have had their perceptual reception function degraded, becoming shallow and impoverished, retaining only emotional sensitivity but lacking the imagination that poetry should possess. Section 2. How to fill in and write modern popular song lyrics Modern popular song lyrics are divided into two types: lyric filling and lyric creation. The former takes existing melodies or foreign songs as a “blueprint”, and carries out lyric writing or lyric rewriting. The lyrics of foreign songs are rewritten into Chinese (Mandarin or Taiwanese Hokkien or Hakka), and this is simultaneously a kind of “meta-creation”. Those who fill in lyrics are called “lyric fillers”; the latter are called “lyricists”, who create from nothing. Generally speaking, they mostly follow rules of lyric writing to create lyrics in a certain form, and then hand them to composers to set the music (main melody), after which arrangers add the prelude, interlude, and ending. After completing this process, a song is basically completed. I. Lyric filling So-called “lyric filling” refers to “using an existing melody and writing lyrics according to syllable and metrical rules”. Its advantage is that there is a main melody as the basis for lyric writing, so there is no need to spend effort designing syllables and meter, nor to spend time deliberating the order of word arrangement and combination. Its disadvantage is that it is constrained by the main melody, requiring careful adjustment of word count and selection of corresponding vocabulary, which limits the lyricist’s imaginative space and freedom of expression. Principle: one must avoid similarity in wording and overlapping emotional content with the original lyrics, but the emotional tone (sadness or joy) is allowed to be similar. Beginners can start practicing with short, simple-form early popular song lyrics. The steps are as follows: 1. Find a song you like and try to fill in new lyrics. First listen to the melody back and forth several times while comparing with the original lyrics. If one can find numbered notation (jianpu) corresponding to the lyrics, and carefully study the matching between notes, beats, and lyrics in each measure, the effect will be even better. 〈The Homeland of the West Wind〉 Lyrics: Sun Jialin / Composer: Weng Qingxi / Vocal: Yin Xia If you are a small flower, you should also have a homeland; Oh west wind! where do you come from, there should always be a starting point; If you are a lamb, you should also have a homeland; Oh west wind! why are you silent, always so quiet; (1) The number of words in lyrics should be equal to or less than the number of scale notes “In where do you come from” contains six scale notes, using six characters; “where are you going” also contains six scale notes, but uses only five characters, because the word “go” occupies two scale notes. It is worth noting that this situation reminds lyric writers that the number of characters used in lyric writing, the “maximum” number of characters, should correspond to the number of scale notes. In this passage, the maximum is six characters. The lyric writer may reduce by one or two characters, but must not forcibly increase it to seven or more characters, otherwise the rhythm becomes too compressed and the lyrics will be sung unclearly. (2) In the same position, use a binary (contrastive) relationship of meter Furthermore, in “where do you come from”, the character “come” is a level-rising tone, while in “where are you going”, the character “go” is a falling tone. The two form a before-and-after correspondence, which conforms to the compositional principle of melodic variation of “seeking difference within sameness”: using contrasting rising and falling tones to mark semantic meaning and melody, producing dual variation within a symmetrical relationship. The same principle also applies to “lamb” (level-rising pattern) and “fledgling swallow” (falling pattern); “silent” (rising-falling pattern) and “hidden” (falling-rising pattern), in these two sets of lyric correspondences. There is also a hidden mechanism in this song, located in the end rhyme of each stanza. Readers may already have noticed its pattern: the variation lies in the third stanza at the same position. The end rhyme of “starting point” in the first stanza is the “-an” rhyme, forming a “rhyme shift” (similar vowels constitute a shifted rhyme) with the main “-ang” rhyme; the end rhyme of “silent” in the second stanza is the “-o” rhyme, forming a “rhyme change” (different vowels constitute a changed rhyme) with the main “-ang” rhyme. In this regard, the lyricist seems to have been influenced by classical poetry (jueju), deliberately selecting the end rhyme of the third stanza to perform rhyme shifting and rhyme changing. (3) Tonal transformation: raising oblique tone into level tone In this song, “should also have a homeland” contains six scale notes, and the line-end uses a rising-falling pattern, first falling then rising, extending the final rhyme of “home” with the “-ang” sound; “also has a place where it grows” is a variation of the previous line, containing seven scale notes. The line-end originally also uses a rising-falling pattern, but the composer, for variation, raises the tone of the character “place”, changing it into the first tone, producing a “tone change” (oblique tone becoming level tone). Thus “place” transforms into a level-level tonal pattern. This is because in symmetrical positions within the same stanza (both being the third line), it is not appropriate to use the same pattern both before and after, otherwise the melody would become repetitive and monotonous. The author attempts to re-fill the original lyrics as follows, for readers’ reference: 〈Time Treasure Box〉 Lyrics: Chen Qianfei You say childhood will return again, once the treasure box is opened; Oh treasure box! you sealed away memories, from then on there is no wind or rain; You say good times will return again, flowers bloom on time; Oh treasure box! you have preserved time, leaping over the vicissitudes of reality; In the author’s attempt at lyrics, the main rhyme of the first two lines in the first section is the “-ai” rhyme; the third and fourth lines respectively use the “-ü” and “-i” rhymes. In terms of rhyme structure, it is first rhyme change, then rhyme shift. In the second section, the first and second lines use the main “-ai” rhyme, only substituting words on the surface so that “good times” and “beautiful scenes” form a homogeneous correspondence; the third and fourth lines respectively use the “-ang” and “-an” rhymes. In terms of rhyme structure, it is also first rhyme change, then rhyme shift. 2. In addition, when filling lyrics, one must pay attention to the following rules: (1) Try to preserve the original syllables as much as possible Try to use prepositions (from, from, toward, by, in, etc.), conjunctions (and, with, although, because, even if, etc.), structural particles (of, structural markers), dynamic particles (le, zhe, guo), and sentence-ending particles (de, le, ne, ma, ba, a, etc.) according to the syllables of the original song as much as possible. Do not destroy the original syllabic structure of the song, so as to avoid imbalance in tempo speed. 〈Prayer〉Lyrics: Weng Bing-rong / Music: Japanese traditional melody / Singer: Weng Qing-xi Let us strike the bell of hope ah! how many prayers are in the heart. Let the Earth forget its rotation ah! the four seasons lose spring, summer, autumn, winter. Let joy replace sorrow ah, smiles will no longer be shy. Let poverty begin to flee ah, happiness and health spread in all directions. In the lyrics, the structural particle “of,” the dynamic particle “le,” and the sentence-ending particle “ah” should, when rewriting, be preserved in their original parts of speech as much as possible. If any one of them must be changed, then it must be rewritten at the corresponding position in the same syllable-and-beat location of the original melody, to avoid rhythmic disharmony. Each stanza of this song uses one rhyme in the first two lines, and another rhyme in the last two lines, with two lines as a unit, proceeding in sequence with rhyme alternation and rhyme shifting, making the rhymes lively and dynamic. The author attempts to rewrite two sections for reference: 〈When I Miss You〉Lyrics: Chen Qi-fei Wind gently sways the wind chime by the window ah! longing climbs into my dreamscape. Rain knocks awake the sleepless rain doll ah! insects all laugh at my foolishness. In the rewritten lyrics, the author still maintains the original word count, replacing the initial word “let” with “wind” and “rain” respectively, and also uses rhyme alternation and rhyme shifting, so that the line-ending rhymes of the two subsections change. (2) Follow established meter rules Each line ending in the original song must follow established metrical patterns (iambic corresponds to trochaic: falling pattern corresponds to rising pattern). Word choice should correspond as much as possible to the original meter, avoiding conflict and preventing musical disharmony. If the lyricist wishes to make changes, this rule must still be followed: in front and back sections, line endings must correspond as follows—iambic corresponds to trochaic; falling pattern corresponds to rising pattern. Unless the final section uses repeated melody for a reprise, the same metrical pattern should not appear twice in the same section, in order to avoid rigidity and lack of variation. Four metrical patterns: (A) Iambic pattern: falling–rising tone, first weak then strong, beat short then long, e.g. love, warm man, sunset glow. 〈South Ping Evening Bell〉Lyrics: Fang Da / Music: Wang Fu-ling I hurriedly walked into the forest, the forest in clusters; I hurriedly walked into the forest, the forest in clusters; South Ping bell, drifting with the wind, it seems like it is striking, striking in my heart. It awakens my love dream, what use is love? ~~ In this song, the melodic structure is A1, A2, B, variation A; A1 and A2 are chorus sections 1 and 2; B is the verse; the ending section repeats A but with rewritten lyrics. “Heart’s core” in the verse ending is an iambic pattern, while “love dream” is a trochaic pattern, forming a contrasting opposition. However, the originally falling tone word “dream,” after being lengthened and raised in pitch at the ending, becomes a level tone; this is called a “tonal mutation.” Usually tonal mutation appears only at line endings, and only from falling tone to level tone. Its function is to lengthen the final beat so the rhyme becomes clearer and more distinct. 〈Green Island Serenade〉follows a similar principle: Let my singing voice follow the gentle breeze, opening your curtain; “Curtain” uses a rising pattern. It originally should correspond to a falling-pattern word such as “lamenting,” but a falling pattern here would make the rhythm too abrupt and short. Therefore the lyricist replaces it with “speaking earnestly,” which is a trochaic pattern, and deliberately lengthens the final sound of “speaking,” producing a tonal mutation from falling to level tone. Similarly, the word “water” in “flowing water” is also a mutated tone, used to extend the beat and correspond with “wind.” (3) How to use the four metrical patterns within a section Within the same section (A or B), falling pattern and trochaic pattern should not be placed at the end of the final line. In a four-line stanza, they may appear in lines 1 to 3, with one line ending using a harmony of iambic and rising pattern. In a six-line stanza, they should appear at most twice, placed at line endings 2 and 4. In other words, the short-beat falling pattern and trochaic pattern must be interwoven between iambic and rising patterns, like “binding rings,” so that the rhythm alternates between loose and tight, slow and fast. One may imagine the shape of a long sausage: between each segment there is necessarily a “binding ring.” If unavoidable, and if they must appear at the final line ending, then the final rhyme of falling and trochaic patterns must, according to the need for extended beats and pitch, be treated through tonal mutation in the melody—raising and lengthening the falling syllable into a level tone, transforming falling and trochaic patterns into iambic patterns. 〈Fishing Song〉Lyrics: Jin Tie-zhang / Music: Jin Tie-zhang / Singer: Huang Da-cheng In the vast boundless sea, I have a small boat, with blue sea and sky as companions. I cast out my fishing net, like my soaring heart, Rolling river waters flow east, washing away dust and sorrow, Ah… sunset red fishing sails, joyful singing rises, freely wandering. This song’s chorus is longer than the verse, with the form B1 B2 + A1 A2 + B3, presenting an inverted structure where verse (B) comes first and chorus (A) comes later. In the verse, the endings of the first and second subsections, “as companion” and “as company,” are both trochaic patterns. However, in order to extend the duration of the final tone, both undergo tonal mutation: the former becomes a rising pattern, the latter becomes an iambic pattern, forming a new corresponding (level–oblique) metrical structure. (4), In a segment, how to use rhyme-shifting (zhuanyun) and rhyme-changing (huanyun): when varying, preserve predictable regularity Within a segment, relatively common forms of rhyme-changing, generally speaking, even-numbered lines (lines four, six, eight) are more suitable for using rhyme-shifting and rhyme-changing, and may combine sequential rhyme (lines 1 and 2 share one rhyme, lines 3 and 4 share one rhyme, lines 5 and 6 share one rhyme) or alternating rhyme (lines 1 and 3 share one rhyme, lines 2 and 4 share one rhyme) plus sequential rhyme (lines 5 and 6 return to the main rhyme). If odd-numbered line segments use rhyme-shifting or rhyme-changing, one should as far as possible use continuous rhyme; five-line segments are divided into “first two, last three,” and seven-line segments are divided into “first two, middle two, last three.” One should not use alternating rhyme such as “lines 1, 3, 5 one rhyme; lines 2, 4 another rhyme,” so as to avoid chaotic rhyme endings and the loss of “predictable regularity.” In summary, rhyme-shifting using similar vowel finals (such as ㄢ, ㄣ, ㄤ, ㄥ), or rhyme-changing using different vowel finals (such as ㄤ and ㄚ), both share the same principle: “when varying, preserve predictable regularity.” “〈The Last Night〉” lyrics: Shen Zhi / music: Chen Zhirong / singer: Tsai Chin I cannot finish stepping the disturbing dance steps, I cannot finish drinking the intoxicating wine, I cannot finish passing through the red and green crowds, I cannot finish seeing the rise and fall of the human sea, I once was intoxicated in mutual affection, like butterflies dancing in flight; The red lights are about to extinguish, the wine is also awakening, at this moment I should bid it farewell, This song adopts the form A1 A2 + B + transformed A. In choruses A1 and A2, the lyricist uses “ㄡ” as the main line-ending rhyme, with “ㄨ” as a secondary rhyme. When it reaches verse B, the main ending rhyme is changed to “ㄝ” and is maintained throughout. In the final transformed A section, the main ending rhyme still continues to use the “ㄝ” rhyme. “〈Autumn Cicada〉” lyrics: Li Ziheng / music: Li Ziheng / singers: Yang Fangyi & Xu Xiaojing Listen to me calling spring water into coldness, watch me urging green leaves into yellow, In the end it is autumn, in the end it is autumn, In chorus (A1), in the first line ending, the word “cold” uses the ㄢ rhyme; the second line ending “yellow” shifts rhyme to the ㄤ rhyme. Then the third and fourth lines change rhyme to the ㄡ rhyme (“sorrow,” “dim”). In chorus (A2), again the rhyme changes: the first line ending “red,” and the second line ending “maple,” both use the ㄥ rhyme. Then the third line uses the ㄢ of “geese” as a variation, and the fourth line returns to the main ㄥ rhyme (“winter”). In the verse section, the first half uses ㄢ as the main rhyme (“heaven”), with ㄥ as a secondary rhyme (“dense”). The second half returns again to the ㄥ rhyme. The entire song’s line-ending rhymes move among “ㄢ,” “ㄤ,” and “ㄡ,” “ㄥ” (rhyme-changing), containing both rhyme-shifting between ㄢ and ㄤ, and rhyme-changing between ㄡ and ㄥ. This creates lively variation within fluidity, producing a soft and rich phonetic texture; such careful design yields a highly pleasant auditory experience. (5), Example of rewriting foreign-language lyrics into Mandarin lyrics: Below are two works based on Japanese song melodies, the original lyrics and the rewritten Mandarin versions: “〈Shiosai / The Sound of Tide〉 (tidal sound)” 1 2 Chinese translation: 1 2 Mandarin version lyrics: Lyrics adaptation by Chen Jinxing 1 Ah~ I have already stopped caring, whether love is deep or resentment is strong, 2 Ah~ I have already stopped caring, whether love is deep or resentment is strong, Compared with the original Japanese lyrics, although the Mandarin adaptation of “〈Shiosai〉” preserves the sorrowful and desolate mood of the original and also maintains the main scene of “tide,” the lyrics are not only reduced to a single repeated structure in both verse and chorus, but even the concluding repetition is simply reused. In contrast, the Japanese lyricist carefully constructs variation in every section, both in lyrical expression and narrative structure. The Mandarin lyrics complete less than half of the original craftsmanship; such careless work makes it impossible to feel the effort or talent of the Mandarin lyricist. Next, another widely circulated film theme song is introduced: “〈Namida Sōsō / Tears Overflowing〉”. “〈Namida Sōsō〉” Japanese lyrics Lyrics: Ryoko Moriyama / Music: Begin Furui arubamu mekuri arigatō tte tsubuyaita Chinese translation: Turning the old album pages, I whispered “thank you” “〈Stay With Me While I Watch the Sunrise〉” Mandarin lyrics 1 Lyrics: Liang Wenfu / Music: Begin The scent of rain is the small road home When using foreign-language melodies for lyric writing, one must pay attention to keeping the number of syllables as close as possible to the original number of musical notes; it may be slightly reduced by one or two characters, using a sustained note on one character to cover it. These two Mandarin lyrics both use the melody of “〈Namida Sōsō〉” for lyric adaptation. Their artistic conception is similar, but their diction each has its own characteristics: the first is restrained yet full of genuine emotion, while the second is deeply affectionate. Both lyricists are highly dedicated. Second, lyric writing: From my experience, lyric adaptation (filling lyrics) has a pre-existing main melody as its “blueprint,” while lyric writing (original songwriting) is creation from nothing. It seems freer for the author, but is actually more difficult than “filling lyrics,” because the lyricist must conceive what form the lyrics should take and still follow the same rules as lyric adaptation.
(1) A is the chorus, B is the verse, C is the ending section. The chorus A melody will always repeat and may even be used as the ending; the two chorus sections may be identical or only slightly varied. The verse B has greater variation; its melody may appear only once. If it appears twice, it may be mistaken for a chorus. The chorus is mainly lyrical, creating atmosphere; the verse narrates and describes scenery, forming the core of the theme. (1) A1 + A2 + B “〈Bronze Rose〉” Lyrics: Chen Qufei / Music: Xiao Fengnu A traveler exhausted in the vast yellow sand Song link: http://blog.udn.com/yah660730yah660730/4081623 Variant: A1 A2 + B + transformed A “〈Blue Tears〉” Lyrics: Chen Qufei / Music: Xiao Fengnu Waves shatter upon uneasy reefs Song link: http://blog.udn.com/yah660730yah660730/2666292 (2) A1+B1+A2+B2 〈In the Next Life I Wish to Be Your Household Wife〉 Taiwanese Version Lyrics: Chen Qufei / Music: Xiao Fengnu The same form, using two languages respectively to write lyrics, is quite challenging. Beginners can practice this kind of one-topic-two-forms writing method to enhance their creative ability. (3) A1+A2+B1+B2 (4) A1+B1+A2+variant B; variant form: A1+A2+B+C 〈Weaving Dreams〉 Taiwanese Hokkien Lyrics / Lyrics: Chen Qufei / Music: Xiao Fengnu (5) A1+A2+B1+B2+A3
(2) The refrain must as much as possible, in “lexical and part-of-speech” structure, through symmetry or contrast produce melodic harmony, and furthermore, the two sections of refrain in relation to “syllable beat count,” especially when using prepositions (from, to, toward, by, at, in, etc.), conjunctions (and, with, although, because, even if, etc.), structural particles (of, to, -ly, etc.), dynamic particles (already, ongoing, experienced, etc.), and sentence-final particles (of, already, huh, eh, ah, etc.), must in identical positions maintain symmetrical relations. (3) When using rhyme shifting and rhyme changing, within the same stanza it should be applied according to the number of lines with careful judgment. A four-line stanza may shift or change rhyme only once; a six-line stanza may shift or change each at most once (i.e., cumulatively twice). Regardless of how many times rhyme shifting is used, the final line’s ending rhyme should preferably return to the most frequently used “main rhyme.” 〈Song of Borderlands〉 Lyrics: Xi Murong / Music: Li Nanhua Please sing for me a Song of Borderlands And we always must sing again and again This “Song of Borderlands” chorus section uses three ending rhymes in sequence, shifting from “yu” to “an”, then shifting rhyme again to “ang”; the verse section likewise uses the main rhyme “ang”. (4) Within the same stanza (A or B), the use of rhyme shifting or changing must have “predictable regularity.” For example, in a six-line stanza: 〈Four Rhymes of Homesickness〉 Lyrics: Yu Guangzhong / Music: Luo Dayou Give me a piece of begonia red ah begonia red Give me a piece of snowflake white ah snowflake white Give me a branch of wintersweet fragrance ah wintersweet fragrance (5) Within the same stanza (A or B stanza), taking a six-line stanza as an example, rising-falling meter and level-rising meter are generally placed at the end of lines, especially the final line of the stanza is mostly these two meters. For example: I seem to be a tired returning sail……level-rising meter Come, let us walk hand in hand……rising-falling meter After analyzing the tone pattern of each line ending, the following rules are summarized: |
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