If you compare an essay to a house, the words and phrases in it are like objects placed in different places in the house. If the whole house contains the author's temperament and ambition, then the objects and utensils in different positions in the house are the author's language and sentences. It can be seen that the article is like a house, not only the overall image is concrete, but also the style is conclusive and distinct, as for the style of the sentences scattered in it, it is just like the utensils placed in different positions in the house, which can be similar or vastly different. Therefore, the sentences and paragraphs that are part of the article are composed of many single words and words that are connected to each other, while the whole article is jointly formed by collusion of emotions and righteousness. Since ancient times, anyone who writes articles, if he can correctly distinguish the content and meaning of "chapters and sentences", is like driving a chariot and horse, not only to be familiar with the thoroughfares, but also to understand the bumpy paths, only in this way can he be familiar with it, and can gallop across the country.

Born in the world, the "words" repeatedly advocated by the ancient sages, whether it refers to publicizing speeches or intending to write articles, need to be combined into sentences, collected sentences into chapters, and chapters because of chapters. If the book can shine for a thousand years, there must be no deviations and errors in the chapters; If the chapter is brilliant enough, it must be free of flaws; If the text is clear and ornate, there must be no false and perverse words. Therefore, the dialectical relationship between the three of "texts, chapters and sentences, and words" is also like the source of the end.

Literary ideas and the resulting works of art, whether they are ingenious or ingenious, or whatever their length and content, are inseparable from the reading of words and rhymes. The sluggishness and rapidity of the rhythm of a single lecture article is generally improvisation and adaptation to the situation, and there is indeed no certain standard specification. However, in terms of ligature, regardless of the number of words, the sentence it constitutes must be able to convey the meaning, and in the context of the sentence, the content of each chapter must have at least one complete intellectual meaning or moral statement, otherwise it cannot become a chapter. As for the righteousness and sentiment conveyed in the words chapter, and how to accurately express the connotation of knowledge, this is like a group dance, which seems to be cross-cutting and dazzling, but in fact, each dancer can only have a pleasing effect if he finds his or her own position; This is also like the sound of music, just looking at the instruments playing together, it sounds like drum music, and the tone seems to be able to pierce the ears and deaf, so if it can still make people feel the beauty of the melody, unless it reaches the level of the so-called "eight-tone harmony".

If we only talk about the stylistic characteristics of poetry, in general, poets often use metaphors and metaphors in their works. Although between the sentences of the poem, it is usually taken out of context, and it is rarely described in a complete and detailed manner, but in the whole poem, it is still necessary to be able to unify the whole sentence, and this relationship between the part and the whole is just like a silkworm cocoon and a fish scale. Like the style of the "Book of Songs", the words at the beginning have already germinated the central idea of the chapter; The ending sentence echoes the meaning of the previous theme. Therefore, in terms of external form, it seems that they are not related to each other, but in the internal sense, they are indeed in the same vein, just like the calyx, the flower house and the final fruit. It can be seen from this that if the words do not have the help of the left and right, the words do not reach the meaning, the narrative is disorderly, just like wandering alone, even if you stay in the reverse journey, you are still physically and mentally restless. Therefore, where words are used to form sentences, it is taboo to turn things upside down, and the formation of sentences into chapters is important in the natural order. This principle should be the basic way of writing that general language and articles can better express their meanings. So this is not only true for poetry, but also for other essay styles.

To sum up, although there is no specific and clear rigid rule on the composition of a sentence, there is still a rule to follow in the number of words in it, whether it is in language or writing. The four words are usually tight and not urgent, the six words are rigorous and not slow, and the three or five words are improvised. Like the "Ya" and "Song" in the "Book of Songs", they are all models of righteousness with four characters, only "The Book of Songs, Xiaoya, Pray for the Father" and "The Book of Songs, Zhou Song, Weiqing" are composed of two words. The two-word sentence can be traced back to the time of the Yellow Emperor, and legend has it that the folk song "Dange" at that time was completely true. The three-character sentence can be seen in Yu Shun's "Song of the Führer". As for the four-character works, they appeared in the Xia Dynasty, and it is said that the "Song of the Five Sons" by the brother of Taikang was by the Luoshui. And the five-character sentence arose in the Zhou Dynasty, such as "The Book of Songs, Zhaonan, Xinglu". As for the six-character and seven-character sentences, they have been mixed in the "Book of Songs" and "Chu Ci", but like six- or seven-character sentences, they really became natural and prevailed, and it was only in the Han and Han dynasties that the transition was completed. By exploring the evolution of the number of words in the text, it is obvious that the number of words has always been accompanied by the simplification of emotions and righteousness, and the two not only complement each other, but also continue to develop and expand according to the needs of the times.

In addition, if the rhymes such as poems and songs are discussed, as well as the phonological problems of all texts and texts in reading; That is, because of the influence of rhyme and rhythm, the author deliberately adds, subtracts, or chooses the number of words, etc., in order to seek to read the chapter or the whole text, not only to rhyme harmoniously, but also to read catchy and listen to it freely. Cultural phenomena like this have been around for a long time and have intensified since the Han and Jin dynasties. For example, Jia Yi and Mei Cheng's rhetoric prefers two rhymes and one change; The works of Liu Xin and Huan Tan are rhymed to the end, which is different from person to person. In the past, Cao Cao was dissatisfied with the repetition of the same rhyme, and was keen on substitution and change. Lu Yun also said that in the four-word sentence form, it is better to change the rhyme of four sentences. On this point, Lu Yun has the same opinion as Mei Cheng and Jia Yi. The reason for this is that usually two rhymes are changed, and the chant is slightly urgent; If you rhyme to the end, reading and reciting is quite tiring. Therefore, the shrewd writer is not only good at thinking well, but also good at compromising rhyme, in order to avoid major flaws in this form.

In the past, poets, like those in the Book of Songs, liked to put the word "Xi" at the end of the sentence, but in the "Chu Ci", they put the word "Xi" outside the rhyme at the end of the sentence. Therefore, as a sentence component, "Xi" generally only plays an auxiliary role to delay the tone. However, the use of "Xi" was first seen in Emperor Shun's "Song of the South Wind", but Cao Cao particularly hated the use of the word "Xi", perhaps he thought that this kind of tone particle did not benefit the content of the work. As for "husband, only, cover, therefore", etc., they are used as the pronunciation words at the beginning of sentences, and "zhi", "and", "in", "to", etc., are commonly used as insertions in the middle of sentences, and "hu, ya, 矣, also", etc., are more often used at the end of sentences. Facts such as these, i.e., some of the so-called virtual words may seem to have no specific meaning in themselves, but not all of them actually play a role in specific passages. Because of this, there are some shrewd and ingenious writers who are particularly adept at using imaginary words, or using them to subtly form a harmonious whole with a few words or sentences. Therefore, if some of the above-mentioned imaginary words without specific connotations are still not to be underestimated in verbal writing, then how can we take them lightly like the crucial sentence reading chapters in literary works?

All in all: words and articles are all over the world, and they need to be pleasing to the eye. There is a law for taking words out of context, and there are no rules for collecting sentences. The rhyme and rhythm add color, and the sentence reads the virtual and the real and the strong. The meaning of the words should not be monotonous, and the words should be considered according to the main idea. The pronunciation and meaning of the argument are read, and the brilliance is dazzling.