The Rhythm was not regulating level and oblique tunes but four tones before Tang Dynasties.
唐前声律以"四声"论而不以"平仄"论,据《文镜秘府论》载,"文"、"笔"皆运用声律,具体规则有:一句中两分句句末声律相间,上句与下句相对,第一句末不得与第三句末同声,第二句末与第三句末止可同声不应同韵,第二句末不得与第四句末同声,骈文上四句与下四句的声律调谐。
Xiao Yan had the knowledge of four tones,but he discriminated against it on purpose.
梁武帝并非不知四声,而是主观上排抑四声。
Chen Yinque thought that four tones of Chinese came into being because of the "reading in Chinese" of sutra and the introduction of the theory of "tone" in ancient India.
关于汉语四声形成的原因,陈寅恪先生认为是由于"转读"佛经与古印度声明论之传入所致。
The conscious use of the four tones of classical Chinese phonetics is the brilliant character of the Yongming-style Poetry.
“永明体”是我国古代诗歌在艺术形式上从天籁偶合的原始状态,向成熟严整的自觉艺术创造转化的一个重要标志,它与前代诗歌的显著不同是其对汉字“四声”的规律自觉运用,永明体诗歌在南北朝时期的出现与该时期佛教文化的影响是紧密相关的。
Hou-si-sheng-yuan by Gui Fu and the Zaju in the Mid-Qing Dynasty;
桂馥《后四声猿》与清代中期杂剧
"Invention of four tones" was criticized by some scholars,because in their opinion,Chinese four tones can not be invented or created by anyone.
有些学者对"发明四声"说法提出批评,认为汉语的"四声"不是任何人所能发明创造的。