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[诗词] 塔塔打拳(亲情系列)

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 楼主| 发表于 2018-8-11 08:54:27 | 显示全部楼层
本帖最后由 新叶 于 2021-2-3 10:37 编辑

春夏麗景

山色蔥蘢輝夏日
祥雲舒卷映藍天
竹林吐翠迎春到
蘭影含香引蝶翩



The Beautiful Scenery Of The Spring And Summer

The mountain color is verdant
reflecting the summer sunshine

The auspicious clouds are mass and scatter
reflecting the blue sky

The bamboo forest spitting out vivid green
greets spring arriving

The orchid shadow with aromas
attracts butterflies dancing

8/10/2018對聯體 ● 七絕羅志海著譯
Two Pairs of Couplets ● Seven Words of Quatrain by Luo Zhihai
第6678首對聯體詩
The 6,678th Two Pairs of Couplets
 楼主| 发表于 2018-8-12 10:55:39 | 显示全部楼层
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柳风花语

幽幽曲径迷游客
碧碧荷塘啼早莺
漫赏柳风观胜景
静听花语诉衷情


The Words Of The Flowers And The Willow Wind

On the hidden and winding path
the tourists lost
The early orioles sang
in the vivid green lotus pond

I silent to listen to the words of the flowers
speak the softly love
I boundless to enjoy the willow wind
watch the scenic spot

8/11/2018对联体 ● 七绝罗志海著译
Two Pairs of Couplets ● Seven Words of Quatrain by Luo Zhihai
第6689首对联体诗
The 6,689th Two Pairs of Couplets
 楼主| 发表于 2018-8-12 11:23:24 | 显示全部楼层
新浪官方微博
清幽

半坡杨柳风吹细
一苑桃花雨润红
汩汩泉声添笔底
清清月色驻心中


Clear And Quiet

Half a slope of the willows
wind blew thin of them

The peach blossoms in a garden
rain moistened red of them

The murmuring sounds of the spring
added in my pen tip

The clear moonlight
stayed in my mind

8/11/2018对联体 ● 七绝罗志海著译
Two Pairs of Couplets ● Seven Words of Quatrain by Luo Zhihai
第6691首对联体诗
The 6,691th Two Pairs of Couplets
 楼主| 发表于 2018-8-13 11:40:31 | 显示全部楼层
本帖最后由 新叶 于 2018-8-13 17:21 编辑

《对联和律诗的区别》此帖文搜自Baidu知道
•風bw

https://zhidao.baidu.com/question/135796405267196005.html

2014-11-05
《对联和律诗的区别》 对联和律诗,虽然同根,但不同枝;虽然同源,但不同流。是同根异枝、同源别流。因此,二者所遵循的规则,除了与“同根”、“同源”相联系也即由对仗句本质所决定的相同点外,在“异枝”、“别流”的长期发展过程中,也必然形成各自的特殊性即不同点。联律与诗律的不同点主要是:

(一)句数字数不同 格律诗,除排律外,无论是五绝七绝,还是五律七律,前者四句分别为20字和28字,后者八句分别为40字和56字,这就是所谓“首有定句,句有定字”。对联则“副无定句,句无定字”,句数、字数多少不拘,少则一字,多则上千言。这个篇幅长短、字数多少的不同,影响甚至决定着联和诗在创作自由度上的差别。一首格律诗,每句字数相等,排列整齐,句与句之间的平仄安排不是相对就是相粘,在词汇选择上限制较大。对联则不同,由于没有句数和字数的硬性规定,不仅在文字选择上具有较大的自由度,而且每边句与句之间一般也没有平仄相对相粘的限制,因而活动空间要大得多。

(二)叶不叶韵不同(押不押韵) 不仅格律诗要有叶韵,而且自《诗经》以来所有的诗、词、曲甚至当代的大部分新诗都是叶韵的,所以诗属于韵文。诗中的律诗,除首句可入韵也可不入韵外,所有偶句都必须叶韵。对联,不管多少句多少字,从理论上说,只能排成“两两相对”的两行,所以也就不必叶韵。况且,最初的对联只是四至七字的短联,这样的上下句也不可能叶韵,因为一个偶句根本就不需要同谁叶韵的问题。由此,人们有理由将对联列入非韵文。由于对联不要求叶韵,就更增加了语言选择的自由度。以格律诗为例,《平水韵》中“十五咸”韵部只有41个平声字,最多的“四支”韵部也只有464个平声字。一首诗的韵脚用字只能在一个韵部内挑选。可对联由于不叶韵,所以不受韵部的限制,几乎所有汉字都可作为选择对象。虽然近些年有韵联出现,但这是对对联品种的丰富,并不改变对联不要求叶韵的本质。

(三)平仄匹配不同 所有律诗包括排律在内,对仗的平仄匹配,实际上只有两种相对句式。以七律为例:一种是以仄仄平平仄仄平对平平仄仄平平仄;一种是以平平仄仄仄平平对仄仄平平平仄仄。由这种平仄交替所形成的句式称为律句,违者称为失律。对联,当然也讲究当句的平仄协调,但不完全同于律诗。对联的平仄句式,既可以是律句,也可以是非律句。一般认为,五言、七言等短联,采用律句较好。但总的讲,不必用律句来束缚对联的创作。因为,对联没有字数句数的限制,长短参差不齐,没有必要也不可能非得句句按律句安排。再说,对联具有不同于律诗的语言特点,既可以用诗的语言,也可以用散文语言,还可以用俗语、谚语、成语、既定语、口头语甚至俏皮话,它们不可能句句由律句组成。所以,对联平仄匹配句式,相较于律诗要灵活得多、丰富得多。

(四)词性宽严不同 律诗的对仗,在词性要求上是十分严格的,除上下句相对部位用语必须词性相同外,甚至还有一些细化要求,如名词相对,要人名对人名,地名对地名,动物名对动物名,植物名对植物名,方位词对方位词,数量词对数量词,等等。对联在对仗上的词性要求较之于律诗则要宽松些。语法上古已有之的词性互用,律诗允许,对联自不必说。即使是一些非常明确的不同词性之间的对仗,对联中也时有所见。如北宋名将宗泽墓联:“大宋濒危撑一柱;英雄垂死尚三呼。”“撑”是动词,“尚”是副词。再如一副贺冯玉祥五十寿联:“为民族存正气;是抗战之前驱。”“存”是实词,“之”是虚词。由此可见,联律与诗律在词性对仗上,总则相同,细则有别,诗较严格,联较宽松。

(五)同字处理不同 同字必须用同字相对,是对联与律诗共同遵循的规则。但在一首律诗中,颔联的同字不能再在颈联中出现。对联却不同,同一个字,不仅可以在本边各句中反复出现,而且可以在上下联两边错位出现。最大的不同是,律诗绝对不允许同一个字处于对仗上下句的同一位置上,即不允许同位重字。在对联中,却允许带有衬字性质的虚词同位重字,诸如之、乎、也、者、矣、焉、哉之类。如弥勒佛联:“大肚能容,容天下难容之事;开口便笑,笑世间可笑之人。”“之”字就是虚词同位重字。还有更宽者,在某种特定情况下,甚至允许实词同位重字,如在皖南事变中牺牲的新四军政治部主任袁国平《自题》联:“读书不忘救国;救国不忘读书。”“不忘”就是实词同位重字。

(六)音步句式不同 陈东成副会长著文说:五言联的音步,可以是“二、三”式,也可以是“三、二”式;七言联的音步,可以是“二、二、三”式,也可以是“三、二、二”式和“三、四”式以及“二、三、二”式。而五言、七言律诗的音步只限于上述“可以”的范围,而不能进入“也可以”的领域。与律诗对仗句字数相等的对联尚且如此,其余就可想而知了。陈东成把联律与诗律在音步句式上的不同点讲到家了.如果还要罗嗦几句的话,在“其余可想而知”里,由于对联“副无定句,句无定字”,其音步句式的不同组合量在理论上是个天文数字。这就使得对联的音步较之于律诗更加纷繁多变和交错铿锵。

(七)自对方式不同 自对是对仗中常用的方法之一。从大的方面分,有本句中字与字的自对,如郑板桥联:“花开花落僧贫富;云去云来客往还。”其中“贫富”是形容词并列形成自对,“往还”是动词并列形成自对。这种双字对上下联互对可以不论词性。这是联律和诗律所共有的。另一种自对方式,就是本边自对。这种自对主要分三种情况:一是本句内词组与词组的自对,如用“富国强军”对“风调雨顺”,前者为两个动宾结构词汇自对,后者为两个主谓结构词汇自对;二是本边内句与句的自对,如用“一元复始,万象更新”对“燕语莺歌,龙飞凤舞”,每边两句各自相对;三是本边句与句对排比方式形成的类似自对,如马萧萧名誉会长的一副联就是这种情况:“山水好,人文好,谁不说俺嘉祥好;石雕乡,唢呐乡,无非壮咱宗圣乡。”由于字数句数上的不同,这种本边自对是律诗所不具备的、所望尘莫及的,但恰恰是对联独树一帜、引为自豪的。

(八)违规犯忌不同 律诗,包括所有的律句,为了保持严格的平仄交错句式和整齐的抑扬顿挫声调,明确规定:一是不得失替;二是不得有三仄尾、三平尾;三是不得有四连平、四连仄;四是不得有孤平。这些规则,凡是会写格律诗的人都很熟悉并严格遵守,稍有违反就会引起违律和犯忌的议论。 对联本句的平仄交替,可以像律句那样进行,也可以不像律句那样两字一转换,如七言句的音步,可以分为三个,也可以分为两个,其极端的可能只有一个,所以就不忌讳失替和四连仄、四连平;上下联平仄相对,只要求节奏点的字平仄安排必须相反,非节奏点的字平仄可问可不问,因而也就不忌讳三仄尾、三平尾;由于这两种情况与律诗的不同,所以也就不存在孤平的忌讳。这样一来,就使得对联在遣词造句上享有更广阔的空间,实际上也使其所运用的语言具有更强的表现力。



上面《对联和律诗的区别》一文,是当今联坛对联写作的总结。是一篇好文。
罗志海直到三天前才看到。现转贴。

 楼主| 发表于 2018-8-13 11:51:19 | 显示全部楼层
本帖最后由 新叶 于 2019-9-2 22:25 编辑

联律PK诗律
罗志海  



    通常,诗人们所说的诗律,有相当部分是后人的总结。至于哪些是唐人制定,哪些是后人总结,本文就不一一细分析了。
对联体诗是一种新诗体,它的律则遵循联律,与诗律有相同,有不同。下面一一比对。对联体诗的律则下面简称联律。


一、一三五不论,二四六分明

诗律规定一三五不论,二四六分明。实际上不管是唐人,还是后人,对这条规则是打折扣的,是有条件的不论,有条件的分明。例如,有些唐代诗人诗句拗了,采用本句自救。这种自救方式,一是表明了该诗人辞穷,二或是他觉得唯有这样子写,才能更好地表达情怀。这种错误的写作,在诗律初创的唐代,也许不算是一种错误。后人总结后,不但不认为是错误,还认为这是一种经典。这是后人在逐错。
联律规定,一三五七九、十一、十三、十五、十七、十九不论,二四六八十、十二、十四、十六、十八、二十分明。这个不论,是真的不论。这个分明,是真的分明。一副联,在双字分明位置上的字,上联该平的,写成仄了,下联对应的字原本仄的,就要改写成平。没有本句自救的说法。只有上句拗,下句救的律则。

二、三平尾

诗律规定,不能三平尾,更不能双句三平尾与单句三仄尾同时出现。纵观唐及唐之后的律绝,偶尔也出现过三平尾的诗例。
联律规定,可以三平尾对三仄尾,也可以四平尾对四仄尾。但尽量不要这么写。这是因为,对联体诗,不仅仅有五言七言,还有九言十一言,更含有双字言。双字言的写作,不可避免地要出现三平尾四平尾,它的对应句,当然地会出现三仄尾四仄尾。目前,罗志海写作了六千多首对联体诗,五七九等单言诗当中,三平尾对三仄尾的诗例不足五例,占不到百分之零点一。假如要给罗志海写的对联体诗打分,从有没有三平尾的角度打分,罗志海的得分就是九十九点九分。
这其中原因,是觉得唯有这样,才能更好地表达情怀。另有三五首诗例,起初是想三平尾对三仄尾,后来认认真真地推敲后,改弦易辙,不那么写。这说明,罗志海还没有到了辞穷的地步。

三、标点符号


由于历史上的原因,古诗没有标点符号。
细细分析,唐律律绝诗,单句句末,应标上逗号。双句句末,应标上句号。这是公识。如今的诗人,常常直接加上标点符号,以致诗意荡然无存或是打了折扣。在唐诗或是近现代仿唐诗句末加上逗号句号,无疑是画蛇添足。
唐诗用字是繁体字,现代诗多用简化字。唐诗平仄用字遵循古平仄,后人写诗平仄用字有的遵循古韵一佰零六部平水韵,有的遵循中华新韵(十八韵)。遵循古韵的仿唐诗诗人们,对写通韵新韵的仿唐诗诗人们深恶痛绝,到了欲置于死地而后快的地步,常常出言不逊横加指责。殊不知,你们写格律诗旧瓶装新酒(抑或新瓶装旧酒),还不是用了标点符号简化字,还不是用普通话去吟诵唐诗宋词。我就不信,你们能用唐朝话来诵读唐诗?!你们的可笑行为、错误书写和朗读,比起写新韵仿唐诗的诗人来,还不是五十步笑百步哟!

四、首句末字


唐律绝诗,首句末字可平可仄。
对联体诗,首句末字只能是仄,不能平。如果一副联,上下联末字皆是平音字,且押韵,这副联肯定是蹩脚联,不能贴在门框上招人笑话。
单独一副对联,上联末字是仄声字,下联末字就是平声字。平声字就是韵字。两副对联合成诗时,一定要押同韵或通韵的平声字。合成诗了,才能明显看到韵脚字,感受到诗韵的媚力。

五、粘连


粘连是律绝诗的灵魂。
同样,对联体诗也是律绝诗,也讲究粘连。没有粘连,对联体诗就不再是诗,而是两副或四副对联简单的堆砌,诗韵同时荡然无存。
写作四六八十言等对联体诗,讲究粘连,一定会平仄失替、
联律规定,对联体诗五七言律绝平仄,必须按照诗律规定,依次顺替。其余四六八九言等律绝允许平仄失替,允许犯孤平。

六、平仄依次顺替
   

诗律有“平平仄仄平平仄”等规则。
联律同样也有“平平仄仄平平仄”等规则。对联每句用字已超过五言七字,甚至长达百字以上,其平仄很难依次顺替。如果平仄失替了,上联拗字,下联在相同位置的字,务必救回来。
罗志海写的对联体诗,用字三至二十一言,且都是绝句。仅有一首《千古奇緣》(对联体三十六绝,与钱永德、塞外雪影合写)是超长绝句。
罗志海也翻译过诗友写的对联体诗律句。


七、主题


每一首律绝诗的主题非常明确。也有主题不那么明确的律绝诗,标题为《无题》。
家家户户门框上贴上对联,大多数是喜庆欢乐性质的。常常多副对联共用一条横批。横批,是对联的主题。共用一条横批,也就是主题不那么明显,或是没有主题。对联体诗是两副或四副对联粘连的诗,受此影响,它的主题有时不那么明确。
对联体诗通俗易懂,极有特点,富有诗意,吟诵起来朗朗上口。

八、对联诗与对联体诗


对联诗与对联体诗,一字之差,极易混淆。
唐格律诗中,有些律诗,第一二句第七八句也对仗;有些绝句,第一二句第三四句两两对仗。这些律绝,为数不多,后人称之为对联诗。唐之后的诗人,也有写对联诗的。这些诗不能自成一体,故不能称之为对联体诗。
对联体诗包含对联诗,但自成一体。对联体诗中的五言七言律绝,是对联诗,与唐对联诗写作方法相同,也是古韵新韵格律诗的其中之一。对联体诗中,三四六八九言至二十一言,已超出唐诗五七言的范畴。故对联体诗是一种新格律诗。

20180630/40020180704/1800罗志海写
20190806/100020190902/2100罗志海译

The Rule Of Couplet PK The Rule Of Poetry

By Luo Zhihai

Generally, the rule of poetry that the poets saying a considerablepart is the summary of later generations. As for which are formulated by Tangpeople and which are summarized by later generations, this paper will notanalyze them one by one.
Two pairs of couplets are a new style of poetry. Its rulefollows the rule of couplet. It’s same and different to the rule of poetry. Thefollowing comparisons are made one by one. The rule of two pairs of couplets ishereinafter referred to as rule of couplet

1. One, three and five are regardless, but two, four and six are clarity

The rule of poetry stipulates one, three and five are regardless,but two, four and six are clarity. In fact, whether it is Tang people or latergenerations, this rule is discounted, It’s conditional regardless and conditionalclarity. For example, some Tang poets’ verses were written wrong. He saved itin the same verse. This way of saved it in the same verses showed that the poetwas poor in words, or that he felt that only by writing like this could heexpress his feelings better. This kind of wrong writing may not be regarded asa mistake in the Tang Dynasty when the rule of the poetry was first created. Latergenerations concluded that this is not only not a mistake, but also a classic.This is the later generations are pursuing the mistake.
The rule of couplet stipulates that no matter one, three,five, seven, nine, eleven, thirteen, fifteen, seventeen and nineteen are regardless.But two, four, six, eight, ten, twelve, fourteen, sixteen, eighteen and twentyare clarity. This no matter, true no matter. This clarity, true clarity. In acouplet, double words in a clear position, the upper couplet should be leveltone, but written in oblique tone. The lower couplet corresponding to theoriginal, it is necessary to rewrite level tone. There is no self-help in thissentence. Only rule that the first sentence written wrong and the secondsentence saved right.


2. Three level tails

The rule of poetry stipulates that no three level tailsand not to mention three level tails of a double sentence and three obliquetails of a single sentence should appear at the same time. Throughout the TangDynasty and after the Tang Dynasty, there were occasional poems with three leveltails.
The rule of couplet stipulates that three level tails canbe paired with three oblique tails or four level tails can be paired with four obliquetails. But try not to write like that. This is because there are not only fivewords and seven words, but also nine words and eleven words in two pairs ofcouplets. It also contains double words. Writing of double words, it isinevitable that there will be three level tails and four level tails. Ofcourse, there will be three oblique tails and four oblique tails in itscorresponding sentence. At present, Luo Zhihai has written more than 6,000 twopairs of couplets (also named couplet poems). Among the single words poems suchas five, seven and nine words, there are less than five couplet poems withthree level tails, accounting for less than 0.1 percent. If Luo Zhihai's poemsare to be graded from the angle of whether there are three level tails, LuoZhihai's score is 99.9.
The reason for this is that only in this way could heexpress his feelings better. There were three or five other poems. At first, hewanted to have three level tails to three oblique tails. Later, after carefuldeliberation, he changed his chords and wrote like that. This shows that LuoZhihai has not reached the condition of poverty words.

3. Punctuation marks

For historical reasons, there are no punctuation marks inancient poems.
Detailed analysis shows that Tang's rhythmic poetry shouldbe marked with commas at the end of a single sentence. Put a full stop at theend of a double sentence. This is common sense. Nowadays, poets often addpunctuation marks directly, so that their poetry disappears or is discounted.
Putting comma or stop at the sentence end of Tang poetryor modern imitation of Tang poetry is undoubtedly painting a snake with feet -- superfluous.
Words used in Tangpoetry are traditional words, while simplified ones are often used in modernpoetry. In Tang poems, level and oblique words follow ancient level and oblique.Some of poets of later generations, their level and oblique words follow ancientrhyme, one hundred and six Pingshui rhymes. And some of them follow Chinese newrhyme (eighteen rhymes). Following the ancient rhyme, the poets who imitateTang poems hate the poets who write the new rhyme of Tang poems. When they wantto be put to death and then quickly, they often criticize them. Little wonder,when you write metrical poems like putting new wine into old bottles (or like puttingold wine into new bottles), you also use punctuation marks and simplified words.Also use Mandarin Chinese to chant Tand poems and Song lyrics. I don't believethat you can read Tang poems in Tang Dynasty dialect?! Your funny behavior,wrong writing and reading are not as good as the poets who write new rhymes andimitate Tang poems. That’s those who retreat fifty paces laugh at those whoretreat a hundred paces.

4. The end word of the first sentence

    In Tang Dynasty's rhythmic poetry, the end wordof the first sentence can be level and oblique word.
For two pairs of couplets, the end word of the firstsentence can only be oblique not level. If a couplet, the end words of theupper and lower couplets are all level words and rhymed, it’s surely a poorone. It can not be put up on the door frames to attract jokes. In a single pairof couplets, the end word in the upper couplet is a oblique word, and the endword in the lower couplet is a level word. The level word is rhyme. When twopairs of couplets are combined into a poem, they must rhyme in the same rhymeor in the near rhyme. When they are combined into a poem, we can clearly seethe rhyme words and feel the charm of the rhyme.

5. Adhesion

Adhesion is the soul of rhythmic poetry.
Similarly,two pairs of couplets are also rhythmic poems, also pay attention to adhesion. Without adhesion, they are nolonger poetry, but simple stacking of two or four pairs of couplets with norhyme at the same time.
Writing two pairs of couplets such as four, six, eight orten words, paying attention to adhesion, it's bound to be out-of-order in leveland oblique words
The rule of couplet stipulates that the five or sevenwords of rhythmic poetry of two pairs of couplets, the level and oblique words mustbe replaced successively in accordance with the rule of poetry sequential succession.Remaining four, six, eight and nine words and so on rhythmic poetry allow them areout-of-order in level and oblique words, allow alone level word.

6. Successive succession of level and oblique words

In the rule of poetry, there are rules as “level, level, oblique,oblique, level, level and oblique”.
In the rule of couplet, there are rules as “level, level,oblique, oblique, level, level and oblique”, too. Words of every sentence ofcouplet has exceeded five or seven words or even more than one hundred words. Itis difficult to be successive succession of level and oblique words/ If it’snot successive succession of level and oblique words, ao word of the uppercouplet, and the word in the same position of the lower couplet must save itback.
Two pairs of couplets written by Luo Zhihai, their usedwords from three to twenty-one. And they are all quatrains. There is only CuriousFate Of Thousands Of Ancient Times (thirty-six words of quatrain of two pairs ofcouplets written by Qian Yongde, Saiwaixueying and Luo Zhihai), which is asuper-long quatrain.
Luo Zhihai also translated eight verses of couplets written by friendsin poetry.

7. Theme

    The theme of each rhythmic poem is veryclear. There are also poems with less specific themes, titled Untitled.
On the door frames of every household the couplets posted. Most of them are the nature offestivity and joy. Often pairs of couplets share a banner. A banner is thetheme of couplet. Share a banner, that is, the theme is not so obvious. Orthere is no theme. Couplet poem is a poem adjoined with two or four pairs ofcouplets. Affected by this, the theme of couplet poem is sometimes not soclear.
It is easy to understand, very characteristic and full ofpoetry. It is easy to recite.


8. Couplet poetry and two pairs of couplets

A word difference between couplet poetry and two pairs ofcouplets is easy to be confused.
In Tang metrical poems, there are some eight verses, theirfirst and second sentences and seventh and eighth sentences are also in antithesis.Some quatrains, their first and second sentences and third and fourth sentencesare in antithesis in pares. These eight verses and quatrains are rare, andlater people call them couplet poetry. Poets after Tang Dynasty also wrotecouplet poetry. These poems are not self-contained, so they can not be called twopairs of couplets.
Two pairs of couplets contain couplet poetry, but theyare self-contained. Five words and seven words of eight verses and quatrains intwo pairs of couplets are couplet poetry. They have the same writing method ascouplet poetry in Tang Dynasty. They are also one of the metrical poetry of theancient rhymes and the new rhymes. Among two pairs of couplets, three, four,six, eight, nine to twenty-one words have gone beyond the category of five andseven words in Tang poetry. Therefore, two pairs of couplets are a kind of metricnew poetry.

6/30/2018, 4: 00—7/4/2018, 18: 00 Luo Zhihai wrote
8/6/2019, 10: 00—9/2/2019, 21: 00 Luo Zhihai translated

 楼主| 发表于 2018-8-13 12:01:01 | 显示全部楼层
本帖最后由 新叶 于 2018-8-16 22:44 编辑

我写对联体诗

罗志海/文

我与对联结缘已有十余年。起初以不正师太、鯻滗尐顖的网名在多个QQ诗联群,在几个诗联网站上出对求对。后来自撰楹联。2015年2月6日,我开始写第一首对联体诗《山高一鸟寂》,至2018年8月13日今天发表第6700首对联体诗《红莲绿柳》。
http://www.chinapoesy.com/gongxi ... 9-2a2d08b9b561.html
http://www.chinapoesy.com/gongxi ... 8-e2e67daf013a.html
我写作对联体诗,遵循的恰好是《对联和律诗的区别》所总结的联律。
我直到三天前才看到《对联和律诗的区别》一文。我的观点与它不谋而合。
但更进一步的是,对联从唐律绝分出,一千年后的今天,我又将对联写成对联体诗。岁月沧桑,人生短暂。我是该庆幸,还是该悲伤我的对联体诗?
 楼主| 发表于 2018-8-13 12:08:55 | 显示全部楼层
本帖最后由 新叶 于 2018-8-13 17:22 编辑

ABCDEFGHIJKL
 楼主| 发表于 2018-8-14 09:56:08 | 显示全部楼层
春月

红杏凝妆添秀色
青篙点水破苍天
半壶桂酒醉春梦
一枕松风抱月眠


The Spring Moon.

The red apricot in splendid attire
added the beautiful colors

Jabbed through the blue sky
the green pole pointed water

Half a pot of the fragrans wine
intoxicated the spring dream

I pillowed on the pine wind
hugged moon sleeping

8/13/2018对联体 ● 七绝罗志海著译
Two Pairs of Couplets ● Seven Words of Quatrain by Luo Zhihai
第6704首对联体诗
The 6,704th Two Pairs of Couplets

 楼主| 发表于 2018-8-14 10:12:09 | 显示全部楼层
桂花荷叶

几抹残红弱
一帘暮雨凉
夏池荷举伞
秋夜桂飘香


Fragrans And The Lotus Leaves

A curtain of the dusk rain
is cold
A few wipes of the withered flowers
are inferior

In the summer pool
lotuses holding umbrellas
In the autumn night
sweet-scented osmanthuses floating aromas

8/13/2018对联体 ● 五绝罗志海著译
Two Pairs of Couplets ● Five Words of Quatrain by Luo Zhihai
第6707首对联体诗
The 6,707th Two Pairs of Couplets

 楼主| 发表于 2018-8-15 00:01:37 | 显示全部楼层
秋思

株空北院霜凝树
菊瘦东篱愁入诗
婉约一笺君会懂
情思两地雁能知


Affection In Autumn

Trees were bare
in the North Garden
frost gathered on the trees

Chrysanthemums were thin
on the East Fence
sorrows went into the poetry

Euphemism on the paper
you could understand it

Affection between two places
wild geese could know it

8/14/2018对联体 ● 七绝罗志海著译
Two Pairs of Couplets ● Seven Words of Quatrain by Luo Zhihai
第6711首对联体诗
The 6,711th Two Pairs of Couplets
 楼主| 发表于 2018-8-15 06:13:05 | 显示全部楼层
风流缱绻

不给骄矜留寸地
想凭豪气过一生
弄潮冲浪风流客
饮酒赋诗缱绻情

Romantic And Attached

Don’t leave an inch land
to the arrogance
Want to rely on the heroic spirit
over a lifetime

Drink wine and write poem
the attached feelings
Tiding and surfing
the romantic guys

8/14/2018对联体 ● 七绝罗志海著译
Two Pairs of Couplets ● Seven Words of Quatrain by Luo Zhihai
第6714首对联体诗
The 6,714th Two Pairs of Couplets

 楼主| 发表于 2018-8-15 06:32:38 | 显示全部楼层
春来了

院落植修竹
台阶生绿苔
春风开杏眼
蚁酒醉桃腮


Spring Comes

In the courtyard
planting the tall bamboos
On the steps
growing the red mosses

The spring breeze
opens the apricot eyes
The ant wine
intoxicates the peach cheeks

8/14/2018对联体 ● 五绝罗志海著译
Two Pairs of Couplets ● Five Words of Quatrain by Luo Zhihai
第6717首对联体诗
The 6,717th Two Pairs of Couplets
 楼主| 发表于 2018-8-18 22:32:52 | 显示全部楼层
春日

紫燕掠波春处处
金莺啼梦日迟迟
心诚意切觅知友
学浅才疏羞写诗


The Spring Sun

The purple swallows skim waves
the spring is everywhere
The golden orioles cry dreams
the sun is late

I am sincere
look for the bosom friends
He has little talent and less learning
shy to write poetry

8/16/2018对联体 ● 七绝罗志海著译
Two Pairs of Couplets ● Seven Words of Quatrain by Luo Zhihai
第6730首对联体诗
The 6,730th Two Pairs of Couplets
 楼主| 发表于 2018-8-19 15:58:39 | 显示全部楼层
本帖最后由 新叶 于 2018-8-19 16:06 编辑

海天景色

霜天人字雁
野渡水波舟
月落云闲逛
海平鱼畅游


注:第一二句振波浪清作,第三四句罗志海作。


Scenery Of Sea And Sky

In the frost sky
there is a formation of flying swan goose
like parallel rows of zigzag lines
At the wild ferry
water ripples a boat

Sea calms
fish swim happily
Moon falls
clouds stroll

Note: first and second sentences by Zhenbolangqing.
Third and fourth sentences by Luo Zhihai.

8/17/2018对联体五绝 罗志海译
Couplet Poem Five Words of Quatrain
Translation by Luo Zhihai
6734首对联体诗
The 6,734thCouplet Poem
 楼主| 发表于 2018-8-21 10:25:46 | 显示全部楼层
古典


二月柔风君醉醉
三春细雨妾痴痴
岳阳楼记范天下
黄帝内经穿晷时


Classics


In February
in the tender breeze
you are drunk
In the late spring
in the drizzle
who is obsessed?
your wife

Article of the Yueyang Tower
modeling the world
Huang Di's Canon of Medicine
crossing time

8/20/2018对联体 ● 七绝罗志海著译
Two Pairs of Couplets ● Seven Words of Quatrain by Luo Zhihai
第6741首对联体诗
The 6,741th Two Pairs of Couplets
 楼主| 发表于 2018-8-22 14:22:36 | 显示全部楼层
阐释

過雁沒留意
逢君卻動情
平心看世相
隨意釋人生


Explain

I no notice of the wild geese passing
After I met you
I became excited

With my ordinary heart
see the ways of the world
Explain life at will

8/21/2018对联体 ● 五绝罗志海著译
Two Pairs of Couplets ● Five Words of Quatrain by Luo Zhihai
第6742首对联体诗
The 6,742th Two Pairs of Couplets
 楼主| 发表于 2018-8-22 19:18:20 | 显示全部楼层
人言心语

养性居竹侧
闻香临桂间
人言莫尽信
心语可相连


Gossips, Innermost Thoughts And Feelings

Nature-cultivation
live by the bamboos
Smell aromas
enter in the sweet osmanthus

Don’t believe most gossips
Innermost thoughts and feelings
can be connected

8/21/2018对联体 ● 五绝罗志海著译
Two Pairs of Couplets ● Five Words of Quatrain by Luo Zhihai
第6745首对联体诗
The 6,745th Two Pairs of Couplets
 楼主| 发表于 2018-8-23 20:14:41 | 显示全部楼层
醉语艳诗

莲塘风细细
旷野鸟声声
醉语谈今古
艳诗咏爱情


The Intoxicating Language And The Romantic Poem

In the lotus pool
wind was thin
On the wilderness
birds sounding

The romantic poem
chanting love
With the intoxicating language
we talked about the modern and ancient things

8/22/2018对联体 ● 五绝罗志海著译
Two Pairs of Couplets ● Five Words of Quatrain by Luo Zhihai
第6757首对联体诗
The 6,757th Two Pairs of Couplets
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