平仄

The form discussion studies Liang Zongdai and Ye Gongchao respectively introduced and spreaded the French imagism and British and American formalism. The Poem special issue in the literature and art supplement of Ta kung Pao Newspaper and New Poetry organized twice discussions in poetic forms. The pure poetry school introduced that the modernists introduced the western and ancient pure poetry theories: from Baudelaire, Mallarme, Vale'ry, H. Read, A. Bremond to J.M. Murray, and the basic idea and difference of pure poetry. Besides, a lot of modem poets became greatly interested in pursuit heat of the pure poetry in late Tang and Nan Song dynasties, studying the development and variation of pure poetry. Music theory argues that modernists make introduction and reform on the western and Chinese music theory. He Qifang and Bian Zhilin continue the topic to the contemporary time, and put forward the theoretical frames in Chinese poetry. Rhyme and rhythm theory make researches on the introduction and reform of French symbolism and British and American modernists' rhyme and rhythm theory, making studies on the Chinese new form poetry and its thyme and rhythm theory.

纯诗论是形式论的重心；对西方和古代的纯诗理论之引入，引进了从坡到波德莱尔、马拉美、瓦莱里、默里、里达、白瑞蒙的纯诗理论；纯诗理论的基本内涵与差异；诸多现代派诗人掀起了晚唐南宋纯诗热，对姜夔、严羽作了新的理解；对纯诗理论的发展和变异，含梁宗岱的现象学形式论，何其芳的唯美论与形式论，现代派诸人的诗本体论；梁宗岱对纯诗理论的中国化研究，含梁宗岱的超越性与形式性，"超验"与"妙悟"的比较研究与形态超脱性的比较研究；中西纯诗形态的超脱性等；现代派纯诗论是对初期白话诗理论的清算，对新月派、象征派探索的总结和发展，音乐论是对纯诗论的延伸和对格律论的发展；现代派引入研究了西方诗学音乐论理论，含坡、瓦莱里、里德的纯诗音乐论、抽象音乐论、各种具体的音乐论技术论点；引入了中国古代诗学中关于诗与音乐、音韵、音顿、音义、平仄双声叠韵等音乐的理论；进行了两次关于新诗音乐论的大讨论；在节奏、音顿、音韵三方面借鉴了西方的理论，同时改造了古代的格律理论，扬弃了平仄说，何其芳、卞之琳把新诗音乐论命题延续到当代，提出了汉诗音乐论的理论框架。

Love is a free verse, there is no Level and Oblique Tones prosodic boundaries, free flow.

父爱是一首自由诗，没有平仄韵律的界限，自由流畅。

If the song "love me tender" the melody is exquisite, the lyrics ryhme is resounding, of the song is fastidious the ryhme and the rhythm, differs from with Chinese, English has the major tone and the short sound, division of stress and the non-stress, and draws support from between the length, the weight alternates with forms the rhythm; Chinese emphasizes the level and oblique tones, takes the intonation the change to form the rhythm.

如歌曲"love me tender"中旋律优美，歌词押韵响亮，歌曲讲究押韵和节奏，与汉语有所不同，英语有长音和短音，重音和非重音之分，并借助长短、轻重之间相间而形成节奏；汉语则强调平仄，重视声调的变化而形成节奏。

Those undulating style is my heart sound?

那些平仄起伏的是我的心音？

Following Li Ch'ing-chao's lead, Lin examines the crucial relationship between poetry and music in general, focusing specifically on the development of what he calls the "intrinsic music" of tz'u —uneven line-lengths, strophic divisions, complex rhyme schemes, alternation of level and oblique tones, and intricate tonal patterns differing from those of regulated verse—that evolved in conjunction with the "extrinsic music" of banquet songs and continued to govern the aesthetics of song lyrics long after the tunes had been lost.

沿着李清照的思路，林顺夫诗是音乐的一般关系，将重点放在其所谓的词的&内在音乐&上——长短不一的句子、分开的段落、复杂的押韵安排、平仄相间的格律、错综的音调——已经发展了的其与宴会歌曲之&外在音乐&的联系，尽管其失传已久并继续受宋词美学支配。

Rhythm and"Ping Ze"make the sound of poetry become musical sound--the rhythmized and melodized sound with concrete or abstract pitch, interval and tone quality. The time of sound thus turns into intuitive original Time.

汉语诗歌中的平仄系统的建立，使得具有音乐规律的声调系统通过音调渗透到汉语诗歌的每一个音节中，正式宣告了诗歌声音过程作为一种音乐性文本的独立。

Vast flats of green grass, dull-hued spaces of mesquit and cactus, little groups of frame houses, woods of light and tender trees, all were sweeping into the east.

音美 汉语的四声构成了发音的抑扬顿挫，产生了一种音乐特征。由于语音的特性，汉语诗歌的格律为&平仄律&，英语诗歌的格律为&轻重律&。

Pingze and rhyme are freeze-frame, so some people say quatrains made the interception of Poems.

但唐以前的梁、陈时已有绝句，要求押韵，但平仄较自由，后人称为古绝句。

Its formal form is a meter style with the rising tone sentence as regular and falling tone or one non-rhythm sentence as irregular.

它的正体是格律体，以每句押平声韵、符合律句平仄要求者为正格；以每句押仄声韵，或者只有一句不押韵者为变格。

The form discussion studies Liang Zongdai and Ye Gongchao respectively introduced and spreaded the French imagism and British and American formalism. The Poem special issue in the literature and art supplement of Ta kung Pao Newspaper and New Poetry organized twice discussions in poetic forms. The pure poetry school introduced that the modernists introduced the western and ancient pure poetry theories: from Baudelaire, Mallarme, Vale'ry, H. Read, A. Bremond to J.M. Murray, and the basic idea and difference of pure poetry. Besides, a lot of modem poets became greatly interested in pursuit heat of the pure poetry in late Tang and Nan Song dynasties, studying the development and variation of pure poetry. Music theory argues that modernists make introduction and reform on the western and Chinese music theory. He Qifang and Bian Zhilin continue the topic to the contemporary time, and put forward the theoretical frames in Chinese poetry. Rhyme and rhythm theory make researches on the introduction and reform of French symbolism and British and American modernists' rhyme and rhythm theory, making studies on the Chinese new form poetry and its thyme and rhythm theory.

纯诗论是形式论的重心；对西方和古代的纯诗理论之引入，引进了从坡到波德莱尔、马拉美、瓦莱里、默里、里达、白瑞蒙的纯诗理论；纯诗理论的基本内涵与差异；诸多现代派诗人掀起了晚唐南宋纯诗热，对姜夔、严羽作了新的理解；对纯诗理论的发展和变异，含梁宗岱的现象学形式论，何其芳的唯美论与形式论，现代派诸人的诗本体论；梁宗岱对纯诗理论的中国化研究，含梁宗岱的超越性与形式性，&超验&与&妙悟&的比较研究与形态超脱性的比较研究；中西纯诗形态的超脱性等；现代派纯诗论是对初期白话诗理论的清算，对新月派、象征派探索的总结和发展，音乐论是对纯诗论的延伸和对格律论的发展；现代派引入研究了西方诗学音乐论理论，含坡、瓦莱里、里德的纯诗音乐论、抽象音乐论、各种具体的音乐论技术论点；引入了中国古代诗学中关于诗与音乐、音韵、音顿、音义、平仄双声叠韵等音乐的理论；进行了两次关于新诗音乐论的大讨论；在节奏、音顿、音韵三方面借鉴了西方的理论，同时改造了古代的格律理论，扬弃了平仄说，何其芳、卞之琳把新诗音乐论命题延续到当代，提出了汉诗音乐论的理论框架。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。