Phrase - Hyosoku

In classical Chinese poetry, this is a set of rules for composing poetry to regulate the tone. It is also called pingta. The fact that Chinese has tones began to be recognized during the Six Dynasties, and was established at the end of the 5th century during the Southern Qi Dynasty with the "Four Tones and Eight Disorders Theory" by Shen Yue and others. The four tones are pingsheng (Taira), shangsheng (rising from below), qusheng (falling from above), and nyusheng (a word that ends in a staccato tone, also called nissheng). Initially, the arrangement of these four tones was precisely regulated in the first two-line cross of a five-character poem (the Eight Disorders Theory), but gradually the arrangement became a problem of dividing the poems into two types: flat (Taira) and non-flat (Hou). In other words, pingsheng is flat, and shang, qusheng, and rusheng are Hou. In the Tang Dynasty, modern poetry was established and the arrangement of rhythm was also established. For example, in a five-character quatrain, it is as follows (the circle marks are rhythmic, and the black marks are rhythmic).

If the second character in the first line is a 'ho', it is called a 'ho'-oki' style, and if it is a 'hi', it is called a 'hi'-oki' style. In the case of a five-character phrase, the second and fourth characters must have opposite pitches (called '24 different'), the bottom three characters must not be 'hi', 'hi', 'hi' or 'ho' (called 'shita sanren'), and a 'hi' character must not be sandwiched between 'ho' characters (called 'kohyo'). In the case of a seven-character phrase, the only rule that applies is that the sixth character must have the same pitch as the second character (called '26 pair'), and the rest of the phrase is similar to that of a five-character phrase.

[Tadahisa Ishikawa]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

中国古典詩において、音律を整えるための作詩法上の規定。平他(ひょうた)ともいう。中国語に声調があることは、六朝(りくちょう)に入って自覚され始め、5世紀の末、南斉(なんせい)時代に、沈約(しんやく)らの「四声八病説(しせいはちびょうせつ)」が出て定まった。平声(ひょうしょう)（たいら）、上声(じょうしょう)（下から上がる）、去声(きょしょう)（上から落ちる）、入声(にゅうしょう)（語尾が詰まる。「にっしょう」ともいう）の四声である。当初は、五言詩の初めの二句十字の構成に、これらの四声の配列を細かく規定したが（八病説）、しだいに、たいら（平）と、たいらでない（仄）ものの2種に分けて配列を問題にするようになった。つまり、平声が平、上・去・入声が仄である。唐になって近体詩が成立し、その平仄の配列法も定まった。五言絶句に例をとれば、次のようなことである（○印は平、●は仄）。

　第一句の2字目が仄であるものを仄起式、平であるものを平起式という。五言の場合、2字目と4字目は平仄が反対にならなければいけない（二四不同という）、また下の3字が平平平・仄仄仄となってはいけない（下三連という）、仄平仄のように平字が仄字に挟まれてはいけない（孤平(こひょう)という）などの禁忌がある。七言の場合は、6字目が2字目と同じ平仄になる（二六対(つい)という）規則が加わるだけで、あとは五言の場合の平仄式に準ずる。

［石川忠久］

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