I have no illusions about my talents as a writer. That won't stop me from writing creatively, however. Why? Because I can still come up with fresh ideas. As far as creative writing is concerned, fresh ideas do mean something, no matter what language I happen to use as the medium.
I have no illusions about my talents as a writer. That won't stop me from writing creatively, however. Why? Because I can still come up with fresh ideas. As far as creative writing is concerned, fresh ideas do mean something, no matter what language I happen to use as the medium.
Let me use Chinese this time.
……
《漫思》平水韵七绝
游吟京外远歌台
帝路回头尽是埃
在野清风疑识字
频吹笺纸索诗来
纫秋兰原创
《漫思》 十一真
万古文章重意新，千秋霸业覆前尘。
羌笛未必邀胡月，自在扶摇斩赤鳞。
文友用的是平水韵上平十一真吧。据平水韵，羌笛的笛属入声即仄声，出律了。据《中华新韵》，笛当然是平声。普通话虽云有四声，其实欠了入声，基本上只得平上去三声而已。有兴趣的话，可参考王力著《音韵学初步》和 清人所辑的《诗韵集成》。另外，赐玉七绝也犯所谓“四法同一”的诗病，因为四句皆是2-2-1-2。顺便说一下，如果作七言古绝而非七言律绝看待，前说可以不理。再谢文友一个。
海中明月共潮来，满载清辉入客怀。
欲寄云间一纸墨，思乡遥忆凤凰台。
中华通韵
大雪登门送白埃，梅家梅酒庆梅开。
醉中疑见庄生笑，引得群仙化蝶来。
可否指点一下？多谢了
个见：诗句与诗句之间，不宜跳跃太大，因为读者未必像作者那样对笔下所写的背景瞭如指掌。背景的舖墊真是很讲技巧的。我在学习前人范作的时候，特别留意这一点。