คืนค่าการตั้งค่าทั้งหมด
คุณแน่ใจว่าต้องการคืนค่าการตั้งค่าทั้งหมด ?
ลำดับตอนที่ #3 : Types of Proverbs You Should Know ep.2 (Klon)
Let's to study for next lesson about "Klon"
"Klon" is considered the most difficult method of composing Thai literature. Because there are many and complicated rules in composing. But it has been popular with many readers. Thus, the poem plays an important role in Thai literature as much as possible, especially "Kon Kao or Klon Supap". He is the king of poems. because of the beauty in the selection of elegant words and the distinctive rhyme In many Thai literatures, this poem has been used to compose poems such as Phra Aphai Mani.
Today we will learn about each type of poem in detail. So let's go see it!
Klon is a characteristic of Thai poetry that consists of 3 compulsory characteristics, namely faculty, number of words and rhyme. It is believed to be a local poem of Thailand in the central and southern regions. By considering the evidence in the literature, both written literature (written) and oral literature (which is spoken to each other without recording), the oldest written literature is Song Yao predicts Ayutthaya and Song Yao at the Chantarapisan Throne Hall The poet was composed in the late Ayutthaya period. Before that, the poem remained in the form of oral literature, such as folk verse, such as lyric, lullaby, folk song, etc.
The poem came to prosper in the Rattanakosin era. During the reign of King Buddhalertlanphalai, there were important poets such as His Majesty King Buddhalertlanphalai, Sunthon Phu, Krom Luang Worawongsathiratsanit, etc., especially Sunthon Phu. It is the poet that made me develop the verse to the highest level. With a perfect prosody, Sunthorn Phu style poems are recognized as the most beautiful and popular poems to date.
Verse classification
Poems are classified according to prosody.
correct
The poem's prosody in literature can be classified into 5 types, which are classified by the number of words. Classified by suffixes, faculties, suffixes, and exposures.
Classified by the number of words can be divided into two types:
The poem has the same number of words in every paragraph (verse supreme) which are verse four, verse six, verse seven, verse eight, and verse nine.
The poems specify the approximate number of words in a paragraph, such as poems for Dok Soy, poems for Sakwa, poems for poems, poems for plays, poems for Nirat, poems for long songs, poems for fairy tales, and poems for villagers.
Classified by suffixes, they can be divided into two types:
Poems for compulsory words, such as poems for flowers, poems for Sakwa, poems for poems and poems for plays.
The poems do not compulsory prefixes, such as poems four, poems six, poems seven, poems eight, poems nine, poems Nirat, poems to fairy tales, and long poem poems.
Classified by faculty can be divided into 2 types:
The poem does not transmit contact between the groups, such as the Dok Choi poem and the Sakwa poem.
The rhyme poems between the faculty include poems for plays, poems for poetry, poems for fairy tales, poems for Nirat, poems for long songs, poems for four, poems for six, poems for seven, poems for eight, and poems for nine.
Classified according to the preceding chapter, it can be divided into 2 types:
Verses for the beginning of a full chapter (4 paragraphs) are: Verse Four, Verse Six, Verse Seven, Verse Eight, Verse Nine, Verse Dok Soi, Kloen Sakwa, Kloen Sepha, and Verse for plays.
The preliminary poems (3 paragraphs) include Nirat poems, long song poems, and fairy tale poems.
Classified by exposure can be divided into two types:
The rhyme poems in the form of a polite poem are: Four poems, Six poems, Seven poems, Eight poems, Nine poems, Kao poems, Sakwa poems, poem poems, poems for fairy tales, poems for Nirat, poems for long songs, and poems for plays.
The poem sends a touch like a folk poem.
Sangkhlik rhyme poems, such as poems in children's play
One-headed poems include poems for folk songs such as boat songs, Lam Thad, E-Saew songs, etc.
Sangkhlik and single head bolts Appears only in oral verse It is also known as the folk poem.
Bolts are classified according to their purpose of use.
It can be divided into two types:
Verse poems are poems that the author has intended to write for reading for enjoyment. They are divided into 8 types: poems for Nirat, poems for long songs, poems for fairy tales, poems for four, poems for six, poems for seven, poems for eight, and poems for nine.
Singing poems are poems composed with the aim of driving interactions. Leading the way for joy and choral performances for entertainment, which are divided into 5 types, namely Klon Dok Soi, Klon Sak Wa, Klon Sera, Klonds for plays, and poems for folk songs.
Invention of the Prosody of Klon
In the Ayutthaya period, the prevalent poems were long poems and drama poems. Later, there was a poet who studied the prosody of the poem and invented a variety of new prosody, namely Luang Sripreecha (Seng), who invented 86 types of poems in Siriwibulkitti Poem. which is the prototype of Verse Four, Verse Six, Verse Seven, Verse Eight and Verse Nine, including Verse of Tales
In the Rattanakosin period Deputy Attorney General Luang Thammaphimon (Tuek Chitthuk) (1858 - 1928), an important poet in the reign of King Rama V - 6, had only written texts, convened for the lead by developing the poem's prosody to have a form. more variety which prescribes the form of chapters and verses by giving chapters to be poems with the beginning of words; verses for poems with unequal number of odd and even paragraph words If a poem with both characteristics is combined, it is called a preamble. In addition, the prosody of the poem has been thoroughly researched and the folk poem has been studied. and has classified various poems in a strange way, such as polite poems, polite poems, and polite poems Promposal Sangkhlik poem Prologue of Sangkhalik Kan, Bodakarn, Lamnam Kan and Lamnam Kan Unfortunately, the Lam Nam meeting, which was completed in 1927, was not published. Until the Prime Minister's Office published it for the first time in 1971, causing the various types of Luang Thammaphimon's writings to not be as widespread as they should be.
The development of the poem
Form development
In the Ayutthaya period, long poems and poetry is still popular with the number of words. and the transmission and reception are not strictly Until Luang Sri Preecha initiated the invention of poems with the same number of words in every paragraph. and was the most successful in the Sunthorn Phu period causing the classification of poems into 2 types: polite poems with the same number of words in every paragraph and poems that determine the approximate number of words in a paragraph, such as long song poems, drama poems, poems, etc.
At the end of the reign of King Chulalongkorn (Rama V), long poems, plays and poems began to decline in popularity. A poem with the same number of words in every paragraph adds more roles. Because it is a versatile bolt Not limited by suffixes, suffixes, or uses.
In the reign of King Prajadhipok (Rama 7), poets developed six poems, seven poems, as well as a form of folk song poems for use in literature. In this era, punctuation marks are used in poems. to express emotions, feelings, or to set a rhythm in reading
In addition, the poet strictly composes poems for the number of words. Rhythm and rhyme according to specified rules as well, such as six paragraphs, 6 words per paragraph, 3 strokes (2-2-2), touching words in the 2nd word or eight poems, 8 words per paragraph, 3 strokes (3-2-3) touching the words 3 Such popularity led to the form of composing poems, divided into 3 parts in each paragraph to determine the rhythm of reading.
For example.
แม่นวลโสม โมเิ เลิศมนุษย์
บริสุทธิ์ สวนศัิ์ น่ารัเหลือ
เป็นู่ีพ อาย หมายุนเือ
เพราะเลือเนื้อ เื้อโล โลมาา
— "โลมาา" อ รูเทพ
development of composing tactics
rhythm
Ayutthaya period poem Not strictly in form, rhythm, and sound of words Example of a long song, prophecy of Ayutthaya.
ะล่าวถึรุศรีอยุธยา
เป็นรุรันราพระศาสา
มหาิเรอันเลิศล้น
เป็นที่ปรารนา
สรรเสริอยุธยาทุแห่หน
ทุบุรียสีมามล
บสลลู้าวานิ
ทุประเทศสิบสอภาษา
ย่อมมาถึรุศรีอยุธยาเป็นอัะนิ
ประาราษร์ปราศาไภยพิศม์
ทั้วามพิลริและวามทุ์.
Poets of the Rattanakosin period have developed a composing technique to have 3 rhythms per paragraph regularly. and force the position to touch the exact position An example from Sunthorn Phu's Nirat.
ประวบนสุริยนเย็นพยับ ไม่ไ้ศัพท์เ็แ่้วยแรสั์
มีระนา้อลอประโมั ระัหั่หั่ห่าลรารึม
มโหรีปี่ไนับใแ้ว วิเวแว่วลอโยนะโพนระหึ่ม
ทุที่ทับสัปปุรุษ็พูพึม รุารึ้มรอบแสพระันทร
เสนาะเสียเทศนาปุาถาม ในสนามเสียสนั่นเนินสิร
เป็นวันบัสีรวีวร พระันทรทรลรนา
ารเลือเสียอถ้อยำ
Choosing the sound of the suffix Poets in the Rattanakosin period developed the selection of ending words to help the poem's style become more melodious. in the leading meeting mentioned the nature of the forced sound at the end of the paragraph of the poem that ...There is a compulsory triangulation in the end of the poem to use only high characters. Do not use polite middle and lowercase letters. In the end of the secondary verse to exchange the verse, use only middle and low letters. Other than that, it's not compulsory. It also explains the use of the tonal subparagraph further:
Verse at Sentence Paragraph ending with a tonal form, ek or tho, called ripples
For example.
เอาวาราระยับับพระันทร์ ่า่อั้นวาลระย้าย้อย.
A poem in which the acceptance paragraph or the subparagraph ends with a tonal, ek or tho is called Rak Chalong.
For example.
ัั่นหวั่นแว่วแ้วแ้วเสีย
เหมือนสำเนียับรวหวนละห้อย
พระพายเอ๋ยเยมา้อพระน้อน้อย
เหมือนนาอยหมอบราบอยู่านพั
sound of words in paragraph There is a melody added by choosing to use the vowel touch. and rhyme as well as the use of accent words
Other tactics include word repetition (yam), crossword separation (hyphen), first and next paragraph consonants (habits), first and second paragraph consonants ( NIST) Failure to use fuzzy or repetitive touches. Determining the rules for the use of tonal sounds at the end of various paragraphs that the end of the paragraph can be used for all five sounds. At the end of the paragraph, the voice is prohibited from ordinary popular voices. At the end of the sub-paragraph prohibiting the use of common sounds, etc., causing the poem to become a poem with a rather fixed prosody.
The unfolding of the poem to the present day
The prosody of the poem reached its highest level between the reign of King Rama VI and the reign of King Rama VII due to the printing technology that helped knowledge more diffuse Fiction textbooks were also published and used as textbooks. resulting in composing conventions that are in the same framework, therefore, poetry works during 1943 - 1973 are in the framework of prosody and dazzling with a strictly textbook touch
The ebb of word count and rhetoric: After 1973, the country was in a state of political volatility. The original form of poems cannot convey emotion. a sense of the era The poet therefore chooses to use a poem that determines the approximate number of words in a paragraph. Reduce vowel rhyme, use rhyme Reduce tonal strictness at the end of a paragraph Use heavy-light, short-long tones to convey emotion. Use simple words instead of old rhetoric. as well as restore the prosody of villagers to use in more poems, such as "Kin Din, Kin Mueang" by Prasert Chandam or "Kinn Din Kinemuang" by Nawarat Pongpaiboon, etc.
Unraveling of Rhythm and Racism Some poets such as Ang Klayanapong and Thanom Chaiwongkaew offer poems where the number of words and rhythms in a paragraph are uneven. as well as to feel unevenly in every paragraph, for example, the world, the galaxy and the Buddha of Angkarn Kalyanaphong
For example.
เวิ้วิเวเอภพมหึมา
และ าราัรอันหลาหลาย
ะหาหล้าไหนวิเศษแพร้วพรรราย
ไุ้โลมนุษย์สุยานั ฯ
เียริยศ ลม ไฟ ิน น้ำ ฟ้า
พาหิราาศห่อหุ้มไว้สูศัิ์
น่าทะนุถนอม่าทิพย์แท้อนุรัษ์
ประโยน์หนันั่นไร้ให้สาล ฯ
style easing Modern poets present a variety of poems, classified into 2 groups, with the first group taking different types of poems like the original ones, but adjusting the technique of using rhyme in and flexible word count It is a retrospective of the poems of the pre-Soonthornphu era, namely Nawarat Pongpaiboon, Suchit Wongthet, Prakai Prachya, Prasert Chandum, Praiwarin Khao-ngam, etc. The second group uses only the outer touch as a framework to define the type of work that is in such as Kanchanapong, Thanom Chaiwongkaew, Wuthita Musikaratue, Saksiri Mesomsueb, etc.
Apparently, "Klon", one of the composing techniques that is complex, difficult and easy, is mixed. It has gained popularity that is no less than any other type. Both refinement and simplicity in one design. Therefore, the poem that can tell a story like a fairy tale has captured the hearts of many people. There must be some level of skill, such as Phraya Sri Sunthorn Vohan (Phu), well known in the general society. And was the first person to make Thai poetry incredibly famous until today and is a legend of Thai poets. In the next chapter, we will learn about "Klang and Lilit" because they both have equally interesting methods. So prepare to adjust your brain well. These are things that must be understood before seriously entering literature. For today, this is enough. See you in the next chapter, bye!!
ความคิดเห็น