河内国家大学下属外语大学 研究生院 裴氏梅香 现代汉语定中结构四字格对称成语考察 (与越南语的对比) KHẢO SÁT CÁC THÀNH NGỮ ĐỐI XỨNG BỐN CHỮ CÓ KẾT CẤU TRUNG TÂM ĐỊNH NGỮ TRONG TIẾNG HÁN HIỆN ĐẠI (CÓ ĐỐI CH[.]
理论基础
现代汉语成语
Chinese idioms are fixed expressions or phrases that are part of the Chinese language's vocabulary, reflecting the rich history of Chinese civilization They are a vital component of Chinese idiomatic expressions and are used frequently in daily communication Scholars like Ma Guofan define idioms as commonly used, historically and culturally significant fixed expressions, predominantly composed of single-syllable components, with the basic form often consisting of four syllables These idioms represent the great legacy of Chinese history and language, embodying cultural values and linguistic features that remain highly relevant today.
2005 年）的定义为“人们长期以来习用的、形式简洁而意思精辟的、定型的词组或短 句”。倪宝元，姚鹏慈在《成语九章》（浙江教育出版社，1990 年）认为“成语是人 们长期可用的、意义完整、结构稳定、形式简洁，整体应用的定型词组”
Chinese idioms number approximately 18,000, with around 3,000 to 4,000 commonly used in daily language These idioms are a special type of fixed phrase characterized by a stable structure and complete meaning, primarily composed of four-character expressions Many idioms originate from ancient classics, reflecting classical Chinese syntax and literary style, and are predominantly used in written language In usage, Chinese idioms function similarly to words and can serve as subjects, predicates, adverbials, attributes, or complements within sentences.
吕叔湘先生曾经说过：“成语的主要特点是形式短小，并且最好是整齐，甚至可 以说是以 四字语 ，尤其 是二二 相承的 四字语为 主。” （ 在《中 国俗语 大辞 典》
（序），上海辞书出版社，1989 年）
（一）汉语成语以对偶形式出现
汉语常使用叠字、双声、叠韵、押韵等方式来构成大量对称成语。
春树暮云 （押韵）
Chinese people have developed a special appreciation for symmetrical forms in language over centuries of cultural tradition This stylistic preference intentionally emphasizes idiomatic expressions to enhance their rhetorical impact Such symmetrical structures make the language sound more powerful and rhythmic, creating a sense of harmony and musicality in communication.
（二）现代汉语成语保存着古代语法和读音
Chinese idioms are cultural relics passed down through history, often originating from ancient events, figures, and stories They encapsulate historical experiences and wisdom, serving as linguistic expressions rooted in the past Despite their ancient origins, modern Chinese idioms retain many phonetic, semantic, and grammatical features of classical Chinese, enriching contemporary language with historical depth and cultural significance.
例如： 否极泰来 （“否”是古音）
不三不四 ，不伦不类 （否定词直接放在数词和名词前）
（三）成语的主要外部特征是四字格，少于或多于四字的成语比较少。
例如： 阳春白雪
四字格成为汉语的普遍形式主要因为在音响上所表现的节奏和旋律具有音乐 美，符合美学上匀称和谐音的原则。
Chinese idioms have a fixed semantic structure, where their components cannot be arbitrarily moved, split, or replaced, ensuring semantic cohesion and integrity.
汉语成语的意义有的是语素义的简单加合，
例如： 力不从心 （心里想做力量跟不上）
Most of the content is a highly summarized representation of the overall meaning The relationships between the morphemes that form idioms primarily include several key types.
（一）语素义的比喻用法
Metaphors are commonly used by everyday people to articulate complex thoughts or situations that are difficult to describe clearly In modern Chinese, many idioms are formed through metaphorical structures, often related to characters, systems, actions, arts, and speech These metaphors enhance communication by conveying nuanced meanings efficiently and vividly.
感情色彩上有褒有贬。
例如： 过河拆桥
The Chinese idiom "Guo He Chai Qiao" (过河拆桥) means "to dismantle the bridge after crossing the river." It metaphorically describes a situation where someone uses others to achieve their goals and then disregards or abandons them once their purpose is fulfilled This phrase highlights the act of being ungrateful or opportunistic, emphasizing the importance of loyalty and gratitude in relationships Understanding this idiom is crucial for recognizing behaviors that undermine trust and integrity in social and professional interactions.
过自己的人一脚踢开。
“井底之蛙”指井底的青蛙只能看见小小的一天，用来比喻见识短浅的人。
（二）语素义的借代用法
In Chinese, some idioms are closely related to the rhetorical device of metonymy, featuring similar structural characteristics and expressive methods These idioms use substitution to convey meaning indirectly, enhancing both linguistic richness and cultural depth Understanding this relationship is essential for grasping the nuances of Chinese idiomatic expressions and their subtle ways of conveying ideas.
Using entire idioms as metaphors to represent objective entities is one approach, while another involves employing only parts of the idioms' components to convey meaning This technique allows for nuanced expression and enriches the communication by leveraging the cultural significance of idioms Incorporating idioms in this manner enhances the richness of language and provides deeper contextual understanding, making it a valuable tool in literary and cultural expression.
例如： 粗茶淡饭
“粗茶淡饭”以 “茶”、“饭”代表饮食。其意义是简单的，不讲究的茶饭，
指普通的饮食。
“窗明几净”以“窗”、“几”（小桌）代表整个屋子，形容房间干净明亮。
（三）汉语成语的整体义是约定俗成的
Some modern Chinese idioms can only be fully understood by examining their origins and original usage, which is essential for grasping their true meaning and significance.
Ancient idioms often derive their overall meanings from traditional fables, historical tales, and folk stories, reflecting collective cultural understandings These expressions have become standardized over time through commonly accepted interpretations Recognizing their origins in storytelling helps us appreciate their enduring significance in language and culture.
例如： 自相矛盾
现代汉语四字格对称成语
1.2.1 现代汉语四字格对称成语的定义
Four-character expressions are highly prevalent in Chinese language and communication They represent a unique linguistic structure consisting of four syllables grouped together, with a fixed and tightly-knit internal structure that imparts a sense of completeness and independence, often including fixed phrases and words According to Guo Shaoyu in "New Exploration of Chinese Grammar and Rhetoric" (Commercial Press, 1979), four-character phrases are a distinctive feature of Chinese, emphasizing that “[four-character expressions] are unique to Chinese,” and “no other language develops such a form, making it especially characteristic of Chinese language.” Ma Guofan, in "Theory of Four-Character Structures" (Published in Inner Mongolia Normal University Journal, 1987), further highlights the significance and unique development of four-character expressions in Chinese linguistics.
Four-character expressions are a distinctive and prominent form of Chinese vocabulary, serving as an important component of the language Their external structure is simple and recognizable, typically comprising four syllables; some are multi-syllable words, while others are fixed phrases According to Shi Xiujuan's analysis in "A Brief Study of the Parallel Four-Character Structure in Chinese and Its Rationality" (Laiyang Agricultural College Journal, 2001), these four-character constructs play a significant role in Chinese linguistic expression and communication.
Modern Chinese heavily utilizes four-character phrase structures, and this trend has been increasing in recent years Chinese four-character idioms represent a unique linguistic phenomenon that distinguishes it from Western alphabetic scripts, consisting of solidified combinations of two or more words used as independent units These idioms are characterized by stable structure, precise meanings, and often feature overlapping or complementary concepts They achieve aesthetic effects through rhythmic sound patterns, elegant prose, and strong emotional and colloquial tones The symmetrical “paired” format creates visual balance through symmetry and auditory harmony with bi-syllabic forms, making four-character idioms the predominant stylistic feature in Chinese language.
例如： 飞短流长
深入浅出 半推半就
“飞短流长”是动补结构的联合式成语，分为“飞短//流长”两个部分，其中
“飞”和“流”是动词，“短”和“长”是形容词，它们意义是相反的。
“深入浅出”是状中型联合式的成语，可以分为“深入//浅出”两个部分，
The adjectives "deep" and "shallow" describe levels of severity or extent, while the verbs "enter" and "exit" indicate movement directions These opposing meanings form symmetrical four-character idioms, creating balanced and meaningful expressions in Chinese language.
According to the widely used "Modern Chinese Idioms Dictionary" (Revised Edition, Shanghai Education Publishing House, 1998), there are a total of 8,700 idioms, with approximately 8,420 of them being four-character phrases, accounting for about 90% Among these, four-character symmetrical idioms are particularly prominent, highlighting their significance in Chinese linguistic culture.
According to Feng Shengli in "The Phonology, Morphology, and Syntax of Chinese" (Peking University Press, 1997), the "binary pairing" pattern in Chinese prosody serves both linguistic and cultural purposes, reflecting a deep-rooted appreciation for symmetry in Han Chinese culture Four-character idioms have become the dominant form of Chinese idiomatic expressions because they effectively balance communicative efficiency with aesthetic appeal Their long historical development and strong social and cultural foundation explain why four-character idioms are widely used and highly valued in Chinese language and society.
例如： 桃之夭夭 （来源于《诗经》ư《周南ã桃夭》）
举棋不定 （来源于《左传ã襄公二十五年》）
千里之行，始于足下（《老子》六十四章）
1.2.2 现代汉语四字格对称成语的特点
1.2.2.1 现代汉语四字格对称成语的语音特点
Chinese four-character idioms are a product of the long-term development of Chinese language and literature, showcasing the musical qualities of the language Their fundamental rhythm emphasizes harmonious and symmetrical patterns, with tonal regularity and phonetic cadence reflecting these qualities The most notable phonetic feature of Chinese idioms is their balanced symmetry, contributing to their rhythmic harmony and literary elegance.
Chinese idioms are typically composed of four characters, each with a single syllable These four-character phrases are also four-tone words with a 二二对应 (double-double pairing) structure This pattern is catchy, melodious, and exhibits a clear sense of rhythm and regularity, making Chinese idioms both memorable and aesthetically pleasing.
例如： 金口//玉言
The Chinese idiom "善有善报" exemplifies how the tonal variations within its characters create a harmonious and musical rhythm The interplay of different tones produces a balanced contrast, showcasing symmetry and aesthetic appeal This nuanced combination of tone patterns not only enhances the phonetic beauty but also embodies the principle of moral reciprocity, making the phrase both melodious and meaningful.
例如： 老调重谈 （仄仄平平）
重见天日 （平仄平仄）
砍瓜切菜 （仄平平仄）
和盘托出 （平平平平）
汉语四字格成语还运用押运、双声、叠韵等方式来加强成语的节奏感和谐感。 押韵指成语中两个汉字的韵母相同。
例如： 万死不辞
县花一现 双声指成语中两个汉字的声母相同。
例如： 山高水长
莫名其妙 叠韵指成语中两个相连的汉字的声母相同。
例如： 眉飞色舞
Strategic Planning and Rhythmic Balance: The variation in tone and rhythm in Chinese idioms creates an expressive cadence that enhances their poetic elegance The use of tonal harmony, alliteration, and repetitive rhymes not only enriches the auditory experience but also imparts a sense of smoothness and harmony during recitation, demonstrating the aesthetic beauty and sophistication of Chinese language artistry.
1.2.2.2 现代汉语四字格对称成语的结构特点
Modern Chinese four-character idioms are composed of four morphemes divided into two parts, with a symmetrical structure around a central axis.
例如： 水落//石出
According to Lü Shuxiang and Zhu Dexi in "Remarks on Chinese Rhetoric" (China Youth Press, 1952), the fundamental structure of Chinese idioms is based on a symmetrical pairing of two parallel units This grammatical pattern involves connecting two matching segments to form a cohesive whole, typically in a four-character phrase Consequently, four-character idioms are divided into two parts, reflecting their balanced and parallel construction.
（即 AB|CD），构成上下两个层级：（AB）与（CD）构成上层；A 与 B，C 与 D 构成下
层或 A 与 C，B 与 D 构成下层。
例如： 利害得失
Trong mô hình "lợi ích và mất mát," có hai phần chính là lợi ích (AB) và mất mát (CD), trong đó "lợi" (A) và "hại" (B) là hai yếu tố phản nghĩa tạo thành một phần cơ bản Đồng thời, "được" (C) và "mất" (D) cũng là các từ đối nghịch, cấu thành nền tảng của lý luận này, giúp hiểu rõ các mối liên hệ giữa lợi và hại, cũng như đạt được và mất đi trong quá trình ra quyết định.
Trong bài viết này, "鸟飞兔走" được chia thành hai phần: "鸟飞" (AB) và "兔走" (CD), trong đó "鸟" (A) và "兔" (C) cùng loại từ, còn "飞" (B) và "走" (D) cũng là từ cùng loại tạo thành các cụm từ Điều này thể hiện mối quan hệ cấu trúc giữa các từ trong câu, giúp hiểu rõ hơn về cú pháp và ý nghĩa của câu trong ngữ cảnh tiếng Trung Việc phân tích này cung cấp kiến thức hữu ích cho những người học ngôn ngữ, đồng thời nâng cao khả năng nhận diện mô hình câu và từ loại trong ngôn ngữ trung hoa.
在汉语成语中也存着不少有固定格式的四字格成语，可以是 ABAC 式
例如： 自生自灭 ，自言自语
有始有终 ，有情有义
一东一西 ，一起一落
可以是关于数字的成语
例如： 七嘴八舌 ，七长八短
千家万户 ，千呼万唤
半信半疑 ，半青半黄
或者是一些特别的固定格式。
例如： 南征北伐 ，东翻西倒
左思右想 ，左推右挡
有气无力 ，有口无心
现代汉语四字格对称成语的内部结构分类
Four-character idioms are a fixed form of Chinese idiomatic expressions, characterized by relatively stable internal word combinations Based on their features and internal structure, modern Chinese four-character symmetrical idioms can be categorized into five major types These classifications reflect differences in internal structure and hierarchy, helping to better understand their formation and usage Recognizing these structural patterns is essential for effective language learning and accurate application of Chinese idioms.
内部结构 例子
名动//名动 手舞足蹈
主谓 代动//代动 你死我活
代形//代形 自高自大 名形//名形 头重脚轻
动宾 动名//动名 动手动脚
动数//动数 丢三落四
数名//数名 三头六臂 名名//名名 人山人海 形名//形名 甜言蜜语
The article explores various Chinese philosophical concepts, such as "Good fortune and great prosperity" (大吉大利) and the principle of "neither born nor extinguished" (不生不灭), emphasizing the balance between existence and non-existence It discusses the idea of "neither bright nor dark" (不明不暗), highlighting dualities in perception Through "from deep to shallow" (深入浅出), it underscores the importance of clarity and understanding in communication The phrase "fluttering unpredictably" (七上八下) illustrates emotional fluctuations, while "equal footing" (平起平坐) emphasizes equality and harmony These concepts collectively reflect core Chinese philosophies of harmony, balance, and duality, relevant for audiences interested in traditional wisdom and cultural insights.
动补 动形//动形 飞短流长
表一：现代汉语四字格对称成语的内部结构分类
可以说，越南语里的成语是越南语的一个主要成分，越南语也受汉语的影响 。越 汉成语在结构形式、内容意义以及文化蕴涵等各个方面都具体表现大同小异。阮文恒 先生认为 “Những thành ngữ 4 yếu tố đối ngẫu cặp đôi là loại thành ngữ phổ biến nhất, có số lượng nhiều nhất và độc đáo nhất, chiếm vị trí đặc biệt trong hệ thống thành ngữ tiếng Việt Đặc điểm quan trọng nhất của loại thành ngữ này là tính cặp đôi và đối ngẫu (tương ứng) trong cấu trúc từ vựng, ngữ pháp, ngữ nghĩa và đặc biệt là về mặt ngữ âm.”（《Thành ngữ bốn yếu tố trong tiếng Việt hiện đại》,NXB Khoa học xã hội, 1999）。从结构形式上看, 黄文行在
The book "Vietnamese Idiom Studies" categorizes Vietnamese idioms into two main types: symmetrical idioms and asymmetrical idioms Symmetrical idioms constitute a significant portion of Vietnamese idiomatic expressions, emphasizing balance and harmony within their structure These idioms are essential for understanding cultural nuances and language richness in Vietnamese communication Recognizing the distinction between symmetrical and asymmetrical idioms enhances language comprehension and lexical diversity, making it a valuable resource for learners and linguists alike.
Approximately 66% of four-character idioms are widely used in literature and everyday life According to the grammatical relationships within the morphemes of these idioms, Nguyen Wenheng categorizes their internal structures into eight distinct patterns, highlighting the linguistic complexity and cultural significance of Vietnamese four-character expressions.
内部结构 例子
Bài viết giới thiệu những câu thành ngữ thể hiện đặc điểm và trạng thái trong cuộc sống hàng ngày như "Ăn gió nằm sương" thể hiện sự thích thử thách, "Đầu voi đuôi chuột" mô tả tình trạng bắt đầu tốt đẹp nhưng kết thúc thất bại, hay "Núi lở non mòn" phản ánh ý chí bền bỉ vượt qua thử thách Ngoài ra, các cụm từ như "Đao to búa lớn" miêu tả sức mạnh, "Cao chạy xa bay" diễn tả sự trốn tránh nhanh chóng, giúp độc giả hiểu rõ hơn về các thành ngữ phong phú trong tiếng Việt Các từ khóa như "động từ", "danh từ", "tính từ" được sử dụng một cách hợp lý để tối ưu hóa SEO và mang lại sự rõ ràng cho bài viết.
表二：越南语四字格对称成语的内部结构分类
从现代汉语四字格对称成语的内部结构分类之表与越南语四字格对称成语的内部结构分类之表看，名词在成语中的数量相当大，特别是含定中结构的成语。根据一些专著的统计结果，我们看到在汉语四字格对称成语中，定中结构的占了大概 26%，数量比较多。我们越南语也具有这种类型，所以本文把现代汉语定中结构四字格对称成语的特点进行考察，并且对它们与越南语的对比来看两者的同异特点。
小结
Chinese idioms are essential building blocks of the language, reflecting fixed expressions and short phrases used familiar to people over generations They often originate from ancient poetry, myth, fables, or historical stories, incorporating rich and profound meanings; some are created through modern innovation or cultural exchange The most common form is the four-character structure, which has deep social and historical roots, embodying a sense of balanced beauty Symmetrical four-character idioms feature a unique format, with attention to rhyme, structural symmetry, and complex semantic relationships, creating powerful rhetorical effects These idioms are highly prevalent in Chinese communication, emphasizing their importance in conveying nuanced ideas efficiently.
现代汉语定中结构四字格对称成语的形式特点 （与越南语定中结构四字格对称成语对比）
现代汉语定中结构四字格对称成语的内部结构类型
This article analyzes the syntactic relationships among the components within Chinese four-character idioms with symmetric structures It examines how each morpheme functions grammatically to form cohesive and meaningful expressions Through this analysis, the study highlights the importance of the "定中" (determinative) structure in shaping the symmetry and elegance of Chinese idioms Understanding these grammatical relationships enhances comprehension of Chinese language patterns and contributes to more accurate language learning and usage This research provides valuable insights into the morphology and syntax of Chinese four-character idioms, emphasizing their significance in Chinese linguistic culture.
This article explores three key patterns: noun, adjective, and number-based classifications It discusses how each pattern functions and their significance in language structure, providing detailed insights into their roles and applications Understanding these patterns enhances comprehension of grammatical frameworks and improves language mastery.
2.1.1 名名//名名 a) 汉语
According to statistical data, idioms containing the pattern "名名//名名" are prevalent in modern Chinese, particularly in four-character fixed structures These symmetrical idioms account for 32.9% of such expressions, totaling 74 examples.
例如： 风霜雨雪
琴棋书画 梅兰竹菊
“风霜雨雪”是由四个名词语素“风”、“ 霜”、“雨”和“雪” 构成 ， 都是天气现象的。
“梅兰竹菊”是由“梅”、“兰”、“竹”、“菊”四个名词语素构成，表示中 国人的“花中四君子”。
"Qin, chess, calligraphy, and painting" are four traditional art forms representing ancient cultural heritage These four elements symbolize refined artistic skills and classical talents cherished in Chinese history Incorporating these arts reflects a deep appreciation for traditional Chinese culture and enhances cultural awareness Emphasizing "qin, chess, calligraphy, and painting" aligns with keywords related to Chinese arts, making the content SEO-friendly for audiences interested in East Asian culture and classical arts.
Chinese four-character idioms are primarily composed of four similar morphemes, symbolizing specific concepts These idioms often represent four aspects of a particular thing or event, providing a comprehensive view They are characterized by parallel and equal semantic relationships, offering a balanced and smooth rhythm when read Understanding these features enhances the comprehension and proper usage of Chinese four-character idioms.
The semantic relationships between morphemes reveal that the first and third morphemes, as well as the second and fourth morphemes, share significant connections These morphemes belong to the same semantic field, indicating their related meanings within a broader linguistic context Understanding these relationships enhances comprehension of how morphemes work together to convey meaning effectively.
再如： 海角天涯
In the term "牛头马面" ("Ox Head and Horse Face"), "牛" (ox) and "马" (horse) both belong to the semantic field related to animals, while "头" (head) and "面" (face) are associated with different parts of animals This composition highlights the symbolic use of animal body parts within Chinese language and culture.
In the phrase "海角天涯," both "sea" and "sky" belong to the semantic field of place, emphasizing locations Meanwhile, "cape" and "edge" fall under the semantic field of scope, indicating boundaries or extents.
Các dạng thành ngữ dạng lặp từ cũng là đặc điểm nổi bật của nhóm từ này Đầu tiên là thành ngữ theo kiểu AABB, trong đó toàn bộ thành ngữ thực chất là sự lặp lại của hai chữ, tạo thành một mối liên kết hợp nhất Trong cách diễn đạt, các thành ngữ này có đặc điểm dễ đọc dễ nhớ, góp phần nâng cao tính nhấn mạnh và truyền cảm.
例如： 风风火火
Trong tiếng Trung, có các thành ngữ như "口口声声" và "日日夜夜", thể hiện sự lặp lại liên tục của hành động hoặc trạng thái Thứ hai là thành ngữ theo kiểu ABAC, nghĩa là thành ngữ có hình thức với từ đầu và từ thứ ba giống nhau, trong khi các từ còn lại khác nhau Loại thành ngữ này khá ít, nhưng lại mang ý nghĩa đặc trưng trong ngôn ngữ Trung Quốc, giúp người học nâng cao khả năng hiểu và sử dụng linh hoạt hơn trong giao tiếp hàng ngày.
例如： 人山人海
土头土脑 风言风语 鬼头鬼脑 b) 越南语
Vietnamese language classifies numerals as nouns, which means idiomatic expressions following the "noun + noun" pattern often include numerals These expressions reflect the linguistic structure where numbers are incorporated as nouns, influencing idiomatic usage and meaning Understanding this pattern helps in grasping the formation and interpretation of such idioms within Vietnamese language and culture.
“数名//数名”的。越南语中这类成语一共有 174 个， 占定中结构四字格对称成语
的 70.7%，比汉语多，其中含有“数名//数名”结构的占 17.9%，在含有“名名//名 名”结构的占 52.8%。
例如： Miệng hùm nọc rắn Đất khách quê người
在“名名 // 名名”模式中，四个语素都是单音节名词，其中相连的两个名词 A
Trong tiếng Việt, các cụm danh từ tạo thành quan hệ lệch tiệm tiến với B, C và D, đặc biệt là vị trí của từ trung tâm khác so với tiếng Trung Cụ thể, trong tiếng Việt, từ trung tâm thường đứng ở phía trước, còn phần mô tả hoặc từ bổ nghĩa thường đi sau Điều này khác hoàn toàn với cấu trúc của tiếng Trung, nơi trung tâm thường nằm ở cuối hoặc giữa câu đã tạo thành các mối liên hệ rõ ràng giữa các thành phần trong câu Việc hiểu rõ sự khác biệt này giúp cải thiện khả năng phân tích cú pháp và dịch thuật giữa hai ngôn ngữ.
“Miệng hùm nọc rắn”中“Miệng hùm”和“nọc rắn”是两个名词词组，其中“Miệng”、
“nọc”都是中心语，放在前边；“hùm”、“ rắn”都是修辞词，放在后边。
“Đất khách quê người”中“Đất khách”和“quê người”是两个名词词组，其中
“Đất”、“quê”是中心语，“quê”和“người”都是修辞词。中心语放在前边，修 辞词放在后边。
Trong câu “Dây mơ rễ má”, hai nhóm danh từ “Dây mơ” và “rễ má” đóng vai trò là thành phần chính, với “Dây” và “rễ” làm trung tâm ngữ đặt ở phía trước Các từ “mơ” và “má” đóng vai trò như những yếu tố tu từ, đứng sau để làm rõ nghĩa và tạo nên sự sinh động cho câu Đây là cấu trúc câu đặc trưng của ngôn ngữ Việt Nam, thể hiện mối liên hệ khăng khít giữa các mối quan hệ gia đình hoặc mối liên hệ bền chặt trong cuộc sống Đặc biệt, việc kết hợp các từ này giúp tăng tính hình tượng và nhấn mạnh ý nghĩa của câu, phù hợp với nguyên tắc tối ưu hóa SEO về cấu trúc câu và ngôn ngữ tự nhiên.
Vietnamese idioms often feature symmetrical expressions of the "number + noun // number + noun" pattern, where numerals are strategically placed in the first and third positions of the phrase These balanced idioms enhance the rhythmic and memorable qualities of the language, making them an important aspect of Vietnamese linguistic culture Understanding these symmetrical idioms can provide deeper insights into Vietnamese expression and stylized communication.
例如： Trăm công nghìn việc
Trong thành ngữ, mối quan hệ giữa bốn thành phần không chỉ mang tính ngữ pháp mà còn có mối liên hệ chặt chẽ về mặt ý nghĩa Cả A và C, B và D đều thuộc cùng một lĩnh vực ý nghĩa, thể hiện sự đối xứng trong thành ngữ Đặc điểm này của thành ngữ trong tiếng Việt tương đồng với ngữ pháp của tiếng Trung, cho thấy sự tương đồng về cách hệ thống thành ngữ phản ánh mối liên hệ ý nghĩa trong hai ngôn ngữ.
现代汉语定中结构四字格对称成语的语音特点
The four-character structure of Chinese idioms like "二二相承" not only reflects their grammatical and semantic features but also emphasizes their phonetic qualities These idioms exhibit a rhythmic pattern characterized by a two-character atonal beat, creating a balanced and even cadence that is both orderly and resonant This four-word format is highly rhythmic, with harmony and symmetry evident in tone patterns, rhyme, and sound devices such as alliteration and assonance The core rhythmic features include balanced tonal arrangements and phonetic harmony, with a clear pattern in the distribution of open and closed characters, emphasizing the overall symmetry and balance in pronunciation The prominent phonetic characteristic of these idioms is their balanced and symmetrical sound structure, primarily reflected in tone pairing, rhyme schemes, double sound repetitions, and vowel echoing.
Chinese four-character idioms contain four syllables, each with distinct tonal patterns, creating a rhythm that is both lively and melodious The interplay of tones—the use of level and oblique tones—maintains symmetry, resulting in a harmonious and musical quality In Mandarin, tones are categorized into level (阴平, 阳平) and oblique (上声, 去声) tones, with 上声 and 去声 being classified as oblique, and 阴平 and 阳平 as level tones Liu Zhenqian's research emphasizes that the balance of tone patterns in four-character idioms enhances their aesthetic appeal and cognitive recognition.
According to the 2004 issue of the university journal, four-character Chinese idioms exhibit a symmetrical tonal pattern Modern Chinese phonetic classification reveals that the most common tonal combination is the "ping-ping-ze-ze" (level-level-oblique-oblique) pattern This tonal arrangement plays a significant role in the structure and aesthetic of Chinese idioms.
例如： 金口玉言 （平仄仄仄）
丰衣足食 （平平平平）
现代汉语定中结构四字格对称成语的平仄搭配形式共有 5 类：
Contrasting tones refer to pairs like AB and CD where the tones are completely opposite, such as level-level and oblique-oblique patterns In four-character idioms, the four characters are divided into two rhythmic units, with each unit sharing the same tone type—either level or oblique The tone patterns of the two rhythmic units are opposite, creating a vivid contrast that enhances the idiom’s expressive power and aesthetic appeal.
例如： 风霜雨雪 （平平仄仄）
龟毛兔角 （平平仄仄）
花前月下 （平平仄仄）
家家户户 （平平仄仄）
“风霜雨雪”中“风”、“霜”的声调都是阴平，所以属于平声，“雨”和
“雪”的声调都是上声，所以属于仄声。
In the phrase "龟毛兔角," "龟" is pronounced with the level tone (阴平), and "毛" with the rising tone (阳平), both classified as level tones in Chinese phonetics Conversely, "兔" carries the departing tone (去声), and "角" has the falling-rising tone (上声), both considered oblique tones Understanding the tonal classifications of these characters is essential for accurate pronunciation and poetic rhythm in Chinese poetry.
再如： 鸟兽虫鱼 （仄仄平平）
万水千山 （仄仄平平）
子子孙孙 （仄仄平平）
海角天涯 （仄仄平平）
“万水千山”中“万”是去声，“水”是上声，它们都属于仄声，而“千”和
“山”都是阴平，所以属于平声。
In the phrase "子子孙孙," the syllables "子子" are pronounced with a rising tone, classified as a departing (仄) tone, while "孙孙" is pronounced with a level tone, representing an even (平) tone Understanding the tonal distinctions within this phrase is essential for accurate pronunciation and poetic harmony in Chinese language and literature.
The reciprocal pattern in Chinese poetry refers to the structure where the first and third characters, as well as the second and fourth characters, share similar tone patterns In each rhythmic unit, the tones alternate between level (flat) and oblique (arched), creating a harmonious balance This pattern can be viewed as overlapping tonal sequences, specifically in two forms: 平仄平仄 (level-oblique-level-oblique) and 仄平仄平 (oblique-level-oblique-level) These structures exemplify the intricate interplay of tones that define the rhythm and aesthetic of classical Chinese poetry.
例如： 七手八脚 （平仄平仄）
慌手慌脚 （平仄平仄）
一日千里 （平仄平仄）
一板三眼 （平仄平仄）
“慌手慌脚”中“慌”是阴平，属于平声，“手”和“脚”都是上声，所以属于 仄声。
“一板三眼”中“一”和“三”是阴平，属于平声，而“板”和“眼”都是上 声，属于仄声。
例如： 恶衣恶食 （仄平仄平）
四书五经 （仄平仄平）
半青半黄 （仄平仄平）
谨言慎行 （仄平仄平）
“恶衣恶食”中“恶”是去声，属于仄声，“衣”是阴平、“食”是阳平，都 属于平声。
In the "Four Books and Five Classics," the number "Four" is pronounced with a departing tone, and "Five" with a rising tone, both classified as oblique tones In contrast, the words "Book" and "Classics" are pronounced with a level tone, making them level tones Understanding these tonal classifications is essential for appreciating classical Chinese pronunciation and poetry.
This type of idiom includes two forms: "Pingze Ze Ping" (level and oblique tones) and "Ze Ping Ping Ze" (oblique, level, level, oblique) The two syllables within the same tone pattern generally follow a level or oblique tone, but the tones differ between the two rhythmical units This structure is also known as "Pingqi Pingshou" (level start, level end) or "Zeqi Zeshou" (oblique start, oblique end), highlighting the tonal and rhythmic features crucial for understanding Chinese prosody and idiom formation.
例如 ： 金口玉言 （平仄仄平）
人面兽心 （平仄仄平）
十室九空 （平仄仄平）
“金口玉言”中“金”是阴平，“言”是阳平，它们是属于平声的第一和第四 音节，而“口”是上声，“玉”是去声，它们是属于仄声的第二和第三音节。
The phrase "十室九空" contains a mix of tones: "ten" (十) is in the level tone (equinormal), "empty" (空) also has a level tone, while "room" (室) is in the departing tone, and "nine" (九) carries a rising tone The tonal contrast between the level tones and the oblique tones emphasizes the rhythm and meaning of the phrase, making it an important example of tonal harmony in classical Chinese poetry Understanding these tone patterns is essential for appreciating the nuanced beauty of traditional Chinese language and literature.
例如： 凤毛麟角 （仄平平仄）
五风十雨 （仄平平仄）
半斤八两 （仄平平仄）
五光十色 （仄平平仄）
The phrase "凤毛麟角" features the character "凤" with a falling tone (去声) and "角" with a rising tone (上声), both classified as the first and fourth tones of oblique (仄声) syllables Meanwhile, "毛" and "麟" are in the level tone (阳平), representing the second and third syllables, respectively Understanding the tonal structure of these characters enhances appreciation of this rare Chinese idiom, highlighting the importance of tone classification in Chinese phonetics and poetry.
“半斤八两”中“半”是去声，“两”是上声，它们都属于仄声，而“斤”和
“八”都是阴平，属于平声的。
Chinese idioms can be categorized into two forms: all平 (level tones) and all仄 (oblique tones) These idioms are characterized by having four syllables with uniform tone patterns, either all in level tones or all in oblique tones Despite the uniformity, there is still some tonal variation; the all平 style combines阴平 (yinping) and阳平 (yangping), while the all仄 style combines上声 (shangsheng) and去声 (qusheng), creating a sense of harmony within their tonal structure These tonal patterns contribute to the rhythmic and aesthetic qualities of the idioms, enriching their expressive power.
例如： 一龙一蛇 （平平平平）
亭台楼阁 （平平平平）
一国三公 （平平平平）
一言一行 （平平平平）
The phrase "One Dragon, One Snake" features the tonal pattern where the character "one" is pronounced with the first tone (阴平), while "dragon" and "snake" are pronounced with the second tone (阳平) This creates a harmonious rhythm, as the entire idiom is composed of 平声 (level tones), alternating between yinping and yangping tones Understanding these tonal patterns enhances appreciation of Chinese pronunciation and language music.
“亭台楼阁”中四个语素都是阳平，所以这个成语整个都是平声。
例如： 大手大脚 （仄仄仄仄）
各式各样 （仄仄仄仄）
笨手笨脚 （仄仄仄仄）
The Chinese idiom "笨手笨脚" features specific tonal patterns: "笨" is pronounced in the departing (去声) tone, while "手" and "脚" are in the rising (上声) tone This combination results in the entire phrase comprising alternating tones of oblique and level sounds Understanding these tonal characteristics is essential for proper pronunciation and appreciation of Chinese idioms, highlighting the importance of tone patterns in Chinese language and culture.
“各式各样”中四个语素都是去声，所以这个成语整个都是仄声。
2.2.1.5 平仄变式型
小结
Analyzing the symmetrical four-character idioms in modern Chinese with the "modifier-head" structure reveals key characteristics These idioms exhibit a balanced internal structure and consistent phonetic patterns, highlighting their distinctive form Understanding these features enhances comprehension of Chinese morphological and phonological patterns, emphasizing the significance of symmetry in four-character idioms.
Modern Chinese four-character chengyu with a fixed Zhong-structured symmetrical format consist of four one-syllable morphemes divided into two contrasting parts These idioms are categorized into three patterns based on the grammatical relationship between the morphemes: noun-noun, adjective-noun, and numerals, such as noun-number or number-noun.
Trong tiếng Trung hiện đại, hình thức lặp lại cấu trúc từ là đặc điểm nổi bật của các thành ngữ bốn chữ đối xứng trong cấu trúc định danh Các thành ngữ này thường có hai dạng lặp lại từ vựng chính là ABAC và AABB, góp phần làm tăng tính cân đối và hài hòa trong ngôn ngữ.
Third, there are fixed formats for symmetrical four-character idioms with numeric components in the middle structure, such as those that follow specific patterns, enhancing their coherence and recognition.
“一 A 一 B”、“千 A 万 B”、“七 A 八 B”等。
In modern Chinese, the symmetry of four-character idioms with a fixed structure is primarily reflected in tonal pairing, rhyme, and phonetic patterns such as consonance and repetitive vowel sounds These idioms exhibit a balanced and rhythmic musicality, with alternating tones and harmonious sound arrangements that create a pleasing auditory effect The use of double-foot syllables enhances the sense of order and musicality, making the expressions both aesthetically appealing and memorable.
Based on the tonal patterns in modern Chinese, there are 16 four-character idioms with a fixed structure that follow symmetrical patterns These idioms are categorized into five types: contrasting, iterative, circular, special, and tonal variation patterns, highlighting the diverse tonal arrangements in Chinese idiomatic expressions.
Alliteration, rhyme, and repetition are unique stylistic features of Chinese four-character idioms with a symmetrical structure These poetic devices enrich the idioms with rhythmic beauty, making them easy to read aloud and melodious Their diverse and flexible forms create a strong sense of rhythm, enhancing the overall harmony and appeal of the language.
By comparing Vietnamese four-character symmetric idioms with their Chinese counterparts, we observe that the internal structure and phonetic features of Vietnamese four-character idioms closely resemble those of Chinese The internal structure of these idioms demonstrates significant similarities, reflecting shared linguistic patterns between the two languages Additionally, the phonetic characteristics further highlight the close relationship, emphasizing the influence of Chinese on Vietnamese idiomatic expressions.
Vietnamese four-character idioms follow symmetrical structures such as "noun noun // noun noun" and "adjective noun // adjective noun," which are categorized into two pattern types While Vietnamese also exhibits tonal patterns and rhyme schemes, these features are less complex than those in Chinese Specifically, Vietnamese tonal combinations are limited to only 14 patterns, and rhyme schemes primarily involve the middle two characters sharing the same final vowel, with few other variations.