理论基础
现代汉语成语
Chinese idioms, known as 成语, are fixed phrases or short sentences that are an integral part of the Chinese language vocabulary They represent a significant cultural heritage of the Chinese nation, reflecting its long history and are among the most frequently used expressions in the language Scholars, such as Ma Guofan in his revised edition of "Idioms" (Inner Mongolia People's Publishing House, 1983), define idioms as historically and ethnically significant fixed phrases commonly used by people, primarily composed of monosyllabic elements, with a basic structure of four syllables The "Modern Chinese Dictionary" (5th edition, Commercial Press) also emphasizes their importance in the language.
In 2005, idioms were defined as "well-established phrases or short sentences that are concise in form and profound in meaning." According to Ni Baoyuan and Yao Pengci in "Chengyu Jiu Zhang" (Zhejiang Education Press, 1990), idioms are characterized as stable in structure, complete in meaning, and succinct in form, serving as standardized expressions that people can use over time.
Chinese idioms are numerous, with approximately 18,000 in total, of which about 3,000 to 4,000 are commonly used Structurally, these idioms are unique fixed phrases characterized by stability and completeness of meaning, predominantly in a four-character format Many idioms originate from ancient texts, reflecting a strong written language style and features of classical Chinese grammar In terms of usage, idioms function similarly to words and can serve various roles in sentences, including as subjects, predicates, complements, and modifiers.
Mr Lü Shuxiang once stated that the primary characteristics of idioms are their brevity and structural symmetry, with a particular emphasis on four-character phrases, especially those that follow a two-two pattern.
（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 culture has developed a unique appreciation for symmetrical forms over time This stylistic choice deliberately emphasizes the tone of idiomatic expressions and enhances the overall impact of the language, resulting in a powerful and rhythmic reading experience.
（二）现代汉语成语保存着古代语法和读音
Idioms are a product of history, with the majority having been passed down through generations They primarily reflect events, figures, and narratives from ancient times In terms of language form, modern Chinese idioms retain many phonetic, semantic, and grammatical features of ancient Chinese.
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
The prevalence of four-character phrases in Chinese is primarily due to their rhythmic and melodic qualities, which embody musical beauty and align with the aesthetic principles of symmetry and harmonious sound.
The semantic structure of Chinese idioms is fixed, meaning that their components cannot be arbitrarily rearranged, split, or substituted This reflects a cohesive and complete semantic 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 idiomatic expressions are highly generalized in meaning The relationships between the morphemes that make up these idioms can be categorized into several main types.
（一）语素义的比喻用法
Metaphors are commonly used by people to articulate complex situations or ideas that are difficult to express clearly In modern Chinese, numerous idiomatic expressions formed through metaphorical structures predominantly pertain to aspects such as individuals, systems, actions, arts, and discourse.
感情色彩上有褒有贬。
例如： 过河拆桥
The phrase "burning bridges" refers to the act of dismantling the bridge after crossing it, symbolizing the behavior of using others to achieve personal goals and then abandoning or discarding their support.
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 exhibit structural characteristics and meaning representation similar to metonymy Among these idioms, certain expressions reflect this linguistic relationship effectively.
Using entire idioms as a metaphor to refer to objective objects is one approach, while another involves utilizing only certain components of the idiom to convey meaning.
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 must be understood in the context of their origins and original usage to grasp their meanings.
Since ancient times, the overall meanings of idioms derived from fables, historical tales, and folklore have been established by convention.
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 phrases, or "四字格," are highly prevalent in Chinese expression, characterized by a unique linguistic structure consisting of four syllables grouped together This form exhibits a tight internal structure, offering a sense of wholeness and independence, typically encompassing words and fixed phrases Scholar Guo Shaoyu emphasized in "New Explorations in Chinese Grammar and Rhetoric" (Commercial Press, 1979) that "four-character phrases are unique to Chinese," noting that no other language possesses such a distinctive form, which has particularly evolved within Chinese Additionally, Ma Guofan highlighted in "On Four-Character Phrases" (Inner Mongolia Normal University Journal, 1987) the significance and distinctiveness of this linguistic structure in Chinese.
Four-character phrases, known as "四字格," are a distinctive and prominent feature of the Chinese language, forming an essential part of its vocabulary These phrases are characterized by their clear and simple structure, consisting of four syllables, which can be either polysyllabic words or fixed expressions.
The use of four-character structures in modern Chinese is widespread and has been increasingly trending in recent years Chinese four-character idioms are a unique linguistic phenomenon that differs significantly from Western phonetic languages They consist of a fixed combination of two or more words, functioning as a single unit within the language These idioms emphasize stable structure and closely related meanings, achieving a harmonious rhetorical effect characterized by rhythmic sound, elegant style, and vivid emotional and colloquial tones The "two-two correspondence" format creates a sense of balanced beauty, manifesting visually as symmetry and aurally as bisyllabic harmony, making symmetrical four-character idioms a fundamental aspect of Chinese expression.
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，
"Deep" and "shallow" are adjectives, while "enter" and "exit" are verbs, and their meanings are opposites This structure forms a four-character symmetrical idiom.
The widely referenced "Modern Chinese Idiom Dictionary" (Revised Edition, Shanghai Education Press, 1998) contains a total of 8,700 idioms, with 8,420 of them being four-character idioms, accounting for approximately 90% of the entries Among these, a significant portion features symmetrical four-character structures.
Mr Feng Shengli, in his work "The Prosody, Morphology, and Syntax of Chinese" (Peking University Press, 1997), suggests that the "two-two succession" in Chinese language reflects both the rhythmic needs of the language and the cultural appreciation for symmetry in Han Chinese psychology Four-character idioms have become the primary format of Chinese idioms, aligning with the principles of effective communication and aesthetic preferences Additionally, their long-standing historical development provides a solid social and historical foundation, contributing to their widespread use in 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 inherent in the language At the fundamental rhythm level of idioms, the principles of tonal patterns and rhyme reflect a harmonious symmetry The prominent phonetic feature of these idioms remains their balanced and symmetrical structure.
Chinese idioms, typically composed of four characters, each with a single syllable, can be classified as four-syllable phrases This two-by-two syllable structure creates a rhythmic and melodious quality, showcasing a distinct regularity in their formation.
例如： 金口//玉言
The idiom "善有善报" embodies a harmonious interplay of tones, creating a balanced and melodious structure The variation in pitch among the characters reflects a sense of symmetry and musicality, enhancing its appeal and resonance.
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）
Chinese four-character idioms utilize techniques such as rhyme, alliteration, and reduplication to enhance their rhythm and harmony Rhyme specifically refers to the phenomenon where the final sounds of two characters within an idiom are identical.
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
The rhythmic variations in idioms create a captivating cadence, enhancing their aesthetic appeal Additionally, the use of techniques such as alliteration, assonance, and rhyme contributes to a smooth and harmonious reading experience.
1.2.2.2 现代汉语四字格对称成语的结构特点
Modern Chinese four-character symmetrical idioms consist of four morphemes, divided into two parts: a front and a back These two parts are aligned along a symmetry axis.
例如： 水落//石出
In their 1952 work "Chinese Rhetoric," Lü Shuxiang and Zhu Dexi state that the most fundamental format of idioms consists of two segments connected in a paired manner This dual-layer structure is formed by two symmetrical units with the same grammatical characteristics, resulting in four-character idiomatic expressions Consequently, four-character idioms can be divided into two segments.
（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
"利害得失" bao gồm hai phần: lợi hại (AB) và được mất (CD), trong đó "lợi" (A) và "hại" (B) là những từ trái nghĩa, tương tự như "được" (C) và "mất" (D), tạo thành một cấu trúc phân cấp.
"Câu thành ngữ '鸟飞兔走' bao gồm hai phần: '鸟飞' (AB) và '兔走' (CD), trong đó '鸟' (A) và '兔' (C) là những từ chỉ động vật, còn '飞' (B) và '走' (D) là những động từ chỉ hành động, tạo thành cấu trúc phân lớp."
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
The four-character phrase is a fixed form of Chinese idioms, characterized by a relatively stable internal combination of words Based on the features of modern Chinese four-character symmetrical idioms, we can categorize their internal structure into five main types, depending on the differences in their internal composition and hierarchy.
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
In the realm of auspiciousness, the phrase "Great fortune and prosperity" resonates deeply The concept of "Neither birth nor death" emphasizes the eternal nature of existence The idea of "Neither clear nor obscure" reflects the balance between understanding and ambiguity "Deeply insightful yet easily understandable" highlights the importance of clarity in communication The expression "Seven ups and eight downs" captures the unpredictable nature of life Lastly, "Equal footing" signifies the importance of fairness and equality in interactions.
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
Có thể nói, thành ngữ là một thành phần chính trong tiếng Việt, và tiếng Việt cũng chịu ảnh hưởng từ tiếng Hán Thành ngữ Hán-Việt thể hiện sự tương đồng về cấu trúc, nội dung và văn hóa Theo ông Nguyễn Văn Hằng, thành ngữ bốn yếu tố đối ngẫu cặp đôi là loại phổ biến và độc đáo nhất trong hệ thống thành ngữ tiếng Việt, với đặc điểm quan trọng là tính cặp đôi và đối ngẫu trong từ vựng, ngữ pháp, ngữ nghĩa và ngữ âm.
The study of Vietnamese idioms categorizes them into two main types: symmetrical and asymmetrical idioms Among these, symmetrical idioms constitute a significant portion, reflecting the unique linguistic characteristics of the Vietnamese language.
In literature and daily life, the use of four-character idioms is prevalent, accounting for 66% of expressions According to the grammatical relationships of the components within these idioms, Ruan Wenheng categorizes the internal structure of Vietnamese symmetrical four-character idioms into eight distinct patterns.
内部结构 例子
Ăn gió nằm sương thể hiện sự lười biếng; Đầu voi đuôi chuột ám chỉ những kế hoạch lớn nhưng kết quả không như mong đợi; Đao to búa lớn biểu thị sức mạnh nhưng không hiệu quả; Núi lở non mòn nói lên sự suy giảm theo thời gian; Đỏ mặt tía tai diễn tả sự xấu hổ; Nhìn xa trông rộng là khả năng dự đoán tương lai; Cha nào con ấy thể hiện sự tương đồng giữa cha và con; Cao chạy xa bay ám chỉ việc thoát khỏi khó khăn.
表二：越南语四字格对称成语的内部结构分类
The analysis of the internal structure of modern Chinese four-character symmetrical idioms reveals a significant presence of nouns, particularly in the attributive structure Statistical data indicates that approximately 26% of these idioms in Chinese feature an attributive structure Similarly, Vietnamese also possesses this type of idiom This article examines the characteristics of modern Chinese attributive structure four-character symmetrical idioms and compares them with their Vietnamese counterparts to highlight their similarities and differences.
小结
Chinese idioms are essential linguistic building blocks, consisting of fixed phrases or short sentences that have been commonly used in oral tradition for many years They derive from ancient poetry, mythology, fables, and historical stories, as well as contemporary innovations and influences from foreign cultures, showcasing rich and profound content The most common form is the four-character structure, which has a deep historical and social foundation, reflecting a beauty of balance Four-character idioms, with their unique format, emphasize phonetic parallelism and structural symmetry, often conveying complex semantic relationships and achieving strong rhetorical effects, making them highly prevalent in Chinese expression.
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 grammatical relationships among the components of Chinese idioms, focusing specifically on the symmetrical four-character fixed phrases within the Chinese center-structure.
The article discusses three models: "name for names," "shape for names," and "number for names." Each model is examined in detail to highlight their unique characteristics and applications.
2.1.1 名名//名名 a) 汉语
According to statistical results, idioms featuring the pattern "名名//名名" account for 32.9% of the four-character symmetrical idioms in modern Chinese, with a total of 74 such expressions identified.
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, Qi, Shu, and Hua" refers to four traditional forms of ancient artistic expression, namely music (Qin), chess (Qi), calligraphy (Shu), and painting (Hua).
The characteristics of word-class idioms are evident in the examples provided, as most consist of four similar morphemes These idioms typically represent four aspects of a particular category or four dimensions of a specific event or object The meanings of these morphemes are parallel and equal, resulting in a smooth and rhythmic reading experience.
From the perspective of the semantic relationships between morphemes, there exists a significant semantic connection between the first and third morphemes, as well as between the second and fourth morphemes, all of which belong to the same semantic field.
再如： 海角天涯
The term "Niu Tou Ma Mian," which translates to "Ox Head and Horse Face," refers to animals, with "Niu" (ox) and "Ma" (horse) representing the semantic field of animals, while "Tou" (head) and "Mian" (face) denote specific parts of these animals.
In the phrase "Cape and Horizon," both "sea" and "sky" refer to geographical locations, while "horizon" and "cape" pertain to the concept of boundaries.
Hình thức lặp lại âm tiết là một đặc điểm nổi bật của loại thành ngữ này Đầu tiên là thành ngữ kiểu AABB, trong đó toàn bộ thành ngữ được cấu thành từ hai từ lặp lại, tạo thành mối quan hệ liên kết, đồng thời mang lại sự dễ nhớ và dễ nói.
例如： 风风火火
Thành ngữ ABAC là loại thành ngữ mà chữ đầu tiên và chữ thứ ba giống nhau, trong khi hai chữ còn lại khác nhau Loại thành ngữ này có số lượng khá ít và được sử dụng phổ biến trong ngôn ngữ hàng ngày.
例如： 人山人海
土头土脑 风言风语 鬼头鬼脑 b) 越南语
In Vietnamese, numerals are categorized as nouns, which leads to the inclusion of idiomatic expressions following the "noun-noun" pattern.
“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, cấu trúc của cụm danh từ có mối quan hệ chính phụ giữa các thành phần B, C và D thường khác với tiếng Trung, đặc biệt là vị trí của trung tâm từ Trung tâm từ được đặt ở phía trước, trong khi các từ bổ nghĩa được đặt ở phía sau.
“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。
Dây mơ rễ má là một cụm từ bao gồm hai danh từ, trong đó "Dây" và "rễ" là các từ trung tâm, được đặt ở vị trí đầu câu, trong khi "mơ" và "má" là các từ bổ nghĩa, đứng ở vị trí sau.
Vietnamese idioms often feature numerous symmetrical expressions characterized by the structure "number + noun//number + noun." In these idioms, numerals are typically placed in the first and third positions.
例如： Trăm công nghìn việc
Trong thành ngữ, mối quan hệ giữa bốn yếu tố không chỉ mang tính ngữ pháp mà còn có sự liên kết chặt chẽ về mặt nghĩa A và C, B và D đều thuộc cùng một trường nghĩa Đặc điểm này của thành ngữ đối xứng trong tiếng Việt tương đồng với tiếng Trung.
现代汉语定中结构四字格对称成语的语音特点
The four-syllable structure of Chinese idioms, exemplified by "二二相承," showcases its characteristics not only in grammatical and semantic aspects but also in phonetics This structure exhibits a rhythmic pattern of two-character beats, resulting in a harmonious and resonant cadence The four-character format is the most rhythmically rich, reflecting balance in tone, rhyme, and pitch At the fundamental rhythmic level of idioms, the principles of tonal variation and rhyme demonstrate a harmonious symmetry, with a clear regularity in the distribution of open and closed syllables The notable phonetic feature of idioms is their balanced symmetry, primarily manifested through the pairing of tones, rhyming, and the use of alliteration and reduplication.
Chinese four-character idioms consist of four syllables that can be categorized into level and oblique tones, creating a distinct rhythm and musical beauty The symmetrical pairing of tones in these idioms is characterized by harmonious and pleasant sound combinations, showcasing a balance between different tones In Mandarin, the rising and departing tones are classified as oblique tones, while the level tones are also grouped under this category Liu Zhenqian's work, "The Symmetry and Cognition of Tone Pairing in Chinese Four-Character Idioms," explores this fascinating aspect of Chinese idiomatic expressions.
A 2004 article in a university journal discusses the symmetrical characteristics of tone combinations in Chinese four-character idioms It suggests that these combinations can be classified and statistically analyzed based on modern Chinese phonology, with the primary tone patterns being level-level falling-falling and falling-falling level-level.
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：
The opposing type refers to phrases where the tones of AB and CD are completely contrasting, such as平平仄仄 and 仄仄平平 In these idiomatic expressions, the four characters are divided into two rhythmic units, with each unit sharing the same tone type—either level or oblique—while the tones between the two units are in opposition.
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," the character "龟" is pronounced with a level tone (阴平), while "毛" also has a level tone (阳平), both categorized as flat tones In contrast, "兔" is pronounced with a departing tone (去声), and "角" has a rising tone (上声), classifying them as oblique tones.
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 term "子子" consists of two syllables with a rising tone, classified as oblique tone, while "孙孙" features syllables with a level tone, categorized as flat tone.
The term "reciprocal pattern" refers to a structure where the first and third characters share the same tone, as do the second and fourth characters, resulting in alternating tones within the same rhythmic unit In this pattern, two syllables alternate between level and oblique tones, leading to the conclusion that the tones of CD overlap with those of AB There are two types of reciprocal patterns: level-oblique-level-oblique and oblique-level-oblique-level.
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 character for "four" is pronounced with a falling tone, while "five" is pronounced with a rising tone, both classified as oblique tones In contrast, the characters for "books" and "classics" are pronounced with a level tone, categorizing them as level tones.
This category of Chinese idioms features two forms: Pingze (平仄) and Ze Ping (仄平), characterized by alternating tones Within the same rhythmic foot, two syllables maintain a balance of level and oblique tones, while the preceding and following rhythmic feet differ This structure is also referred to as "Pingqi Ping Shou" (平起平收) or "Zeqi Ze Shou" (仄起仄收).
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）
In the phrase "金口玉言," the character "金" is pronounced with a flat tone (阴平), while "言" has a rising tone (阳平), representing the first and fourth syllables of the level tones Conversely, "口" is pronounced with a falling tone (上声), and "玉" with a departing tone (去声), corresponding to the second and third syllables of the oblique tones.
In the phrase "十室九空," the character "十" is pronounced with a flat tone (yangping), while "空" also has a flat tone (yinping) In contrast, "室" is pronounced with a falling tone (qusheng), and "九" has a rising tone (shangsheng), categorizing them as oblique tones.
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" pronounced in a falling tone and "角" in a rising tone, representing the first and fourth syllables of the phrase, which are classified as oblique tones In contrast, "毛" and "麟" are pronounced in a level tone, serving as the second and third syllables, categorized as level tones.
“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。
This type of idiom includes two forms: all level tones and all oblique tones Its distinctive feature is the absence of tonal pairing, with all four syllables sharing the same tone, either entirely level or entirely oblique However, there is still a degree of tonal variation, as the all-level form combines yin and yang tones, while the all-oblique form merges rising and departing tones, maintaining a certain level of harmony.
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 "一龙一蛇" features the tone pattern of "一" as a level tone (阴平) and both "龙" and "蛇" as rising tones (阳平), resulting in an overall tonal balance that alternates between level and rising tones.
“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 the character "笨" pronounced in a falling tone, while "手" and "脚" are pronounced with rising tones, creating an alternating pattern of tones throughout the phrase.
“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
By analyzing the structural characteristics of modern Chinese four-character symmetrical idioms, we have identified several key features regarding their internal structure and phonetics These idioms exhibit distinct patterns that contribute to their coherence and aesthetic appeal in the Chinese language.
Modern Chinese four-character symmetrical idioms, known as "Dingzhong structures," consist of four monosyllabic morphemes divided into two corresponding parts Based on the grammatical relationships of the morphemes within the idioms, they can be categorized into three patterns: noun-noun, adjective-noun, and numeral-noun.
Một đặc điểm nổi bật của thành ngữ bốn chữ đối xứng trong cấu trúc định trung của tiếng Trung hiện đại là hình thức lặp lại yếu tố ngữ nghĩa Các thành ngữ này có hai dạng lặp lại: ABAC và AABB.
Thirdly, there are specific formats for symmetrical four-character idioms that include numerical elements in their central structure.
“一 A 一 B”、“千 A 万 B”、“七 A 八 B”等。
In modern Chinese, the symmetry of four-character idioms in the fixed structure is primarily reflected in three aspects: tonal pairing, rhyme, and the use of alliteration and reduplication This rhythmic quality, characterized by even and harmonious foot patterns, creates a striking cadence that enhances its musicality.
In modern Chinese, there are 16 symmetrical four-character idioms based on the tonal patterns of Ping and Ze, categorized into five types: oppositional, repetitive, cyclical, special, and tonal variation forms.
The unique forms of double sounds, rhymes, and repetitions in Chinese four-character idioms create a rich and diverse structure These elements enhance the rhythmic beauty of the idioms, making them melodious, harmonious, and enjoyable to read aloud.
By comparing the four-character symmetrical idioms in Vietnamese with those in Chinese, we observe that the internal structure and phonetic characteristics of Vietnamese idioms are quite similar to those of Chinese The internal structure reveals that both languages exhibit parallelism in their idiomatic expressions.
In Vietnamese, four-character symmetrical idioms are categorized into two patterns: "noun-noun/noun-noun" and "adjective-noun/adjective-noun." While Vietnamese features tonal patterns and rhyme schemes, they are less complex than those in Chinese There are only 14 tonal combinations in Vietnamese, and reduplication primarily occurs when the vowels of the two middle characters are the same, with few exceptions.