1) four tones of level and oblique
平仄四声
2) The oblique and even tones
仄声平声
3) Ievel and oblique tones
声律平仄
4) oblique tone
仄声
1.
Through the survey on 1,293 in tone characters in The N ew Rhymes Corpu s and in reference to the phonetic notation, explanation and phrases in The Chin ese Grand Dictionary, The Chinese Dictionary and The Xinhua Dictionary, the resu lt reveals that the old in tone characters fall into four of the nine rhymes, a n d that 604 characters are of flat tone and the rest of oblique tone.
结果表明：旧入声字派入九道辙的四辙中，且平声字仅604个，其余689个仍为仄声。
5) level and oblique tones
平仄
1.
They emphasized rhythms,level and oblique tones as well as word matching.
其诗作集中表现了感时伤事、思乡、惜别、人生无常的情感;讲求押韵、平仄、对仗,同时用典灵活自然,注重运用隐喻手法;另外,其诗作深受晚唐唯美主义诗风的影响,但崔致远和朴仁范则体现出淡雅、通俗直白、叙事与议论相结合的现实主义诗风。
2.
In this paper, Through a comparison in the language between their Zhuzhici and, that is, in the Level and Oblique Tones, rhyme, antithesis, etc, examine the of Zhuzhici\'s characteristics different from their recent poetry.
明代王象春的《济南百咏》和清代王初桐的《济南竹枝词》是众多济南竹枝词中影响较大的,本文通过对二者竹枝词与他们的近体诗在语言上,即在平仄、押韵、对仗等方面的比较,来考查竹枝词不同于近体诗的一些特点。
3.
The present study investigated the implicit learning of rules about poetry\' s level and oblique tones for the effect of instructions(rule-discovering,memorizing and appreciating) on subjects\' learning about the rhythmic patterns of poetry.
研究探讨诗歌平仄相对规则的内隐学习。
6) tonal pattern
平仄
1.
The four types of tonal patterns of the metrical verse of four five-character lines have five rules to go by.
五绝的四种格式的平仄具有二字音步、平仄交错、粘对联系、出仄对平和音步重音等五条规律可寻,并可以根据这五条规律推导出格律诗的十六种格式。
补充资料：古四声
| 古四声 汉语音韵学术语。中国先秦两汉时期汉语的声调。最早论及上古声调的是明代陈第。他认为古音存在平上去入四种声调，同时指出《诗经》不像唐诗那样非得同声调押韵不可，江永把陈氏的观点概括为“陈氏知古四声可不拘矣”。清代顾炎武提出“四声一贯”说，意思是《诗经》押韵平上去入四声可以同用。表面上看与陈氏四声不拘说相似，本质上却有所不同。他认为《 诗经 》押韵字可以在具体语言环境中“转变”声调。清代江永关于古四声的观点与陈第基本一致。陈、顾、江三家可以统称为“古有四声”说，只是说得不甚明确、肯定。段玉裁首倡“古有三声”说，认为上古只有平、上、入三声，没有去声。孔广森提出“古无入声”说。王念孙、江有诰明确提出“古有四声”说。周祖谟坚持“古有四声”的观点。王力则动摇于“古有四声”和“古无去声”说之间。20世纪30年代，王力所著的《汉语音韵学》赞成江有诰“古有四声”说，60年代王氏的《汉语音韵》则赞成段玉裁“古无去声”说。 |
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条