Eight-foot flying dragons have nothing to do, floating from crane.
I accompanied eight horses to the top of Kunlun Mountain, and I was willing to chase them in the crowd.
The sky were to fall and the earth were to fall, and the west wind struggled to lift the ban.
What new contribution Fu Lang can make is difficult in today's political life.
original text
Eight-foot flying dragons have nothing to do, floating from crane.
I accompanied Eight Horses to the top of Kunlun Mountain, and I would like to chase people.
The setting sun is sad, and the west wind struggles to remember the customs.
But without a new tribute to Fu Lang, it is difficult to step into today's politics.
Ma Tiantu is a seven-character poem by Jing Hui, a poet in the late Yuan Dynasty and early Ming Dynasty. Jing Hui, whose name is Gu Ming, is from Songjiang.
Seven-character poetry is a genre of China's traditional poetry, which belongs to the category of modern poetry. Shen Yue's new-style poems originated from Qi Yongming in the Southern Dynasties, paying attention to rhythm and duality. They were further developed and stereotyped by Shen Quanqi and Song in the early Tang Dynasty and matured by Du Fu in the prosperous Tang Dynasty.
Seven-character verse is strict, which requires the unity of words in the poem. It consists of eight sentences, and each sentence has seven words. Every two sentences are a couplet, and * * * is a quadruple, which is divided into first couplet, parallel couplet, neck couplet and tail couplet. The two couplets in the middle demand antithesis. Representative works include the Yellow Crane Tower in Cui Hao, Du Fu's Ascending, and Li Shangyin's Stabilizing Tower.
The rise of seven-character poems is later than that of five-character poems. It originated in the Southern and Northern Dynasties, sprouted in Liang's new style poems in the late Qing Dynasty, and was shaped between the early Tang Dynasty and the prosperous Tang Dynasty. In the early Tang Dynasty, Shen Quanqi, Song, Du, Li Qiao and others began to write articles. In the prosperous Tang Dynasty, Wang Wei, Li Qi, Cen Can and Jia Zhi all made efforts to master the system, while Cui Hao and Li Bai still had mixed, semi-ancient and semi-French works.
Although there are some masterpieces of Gao Hua Xiulang in the seven-character poems of this period, most of them belong to the content of giving and receiving, which is narrower than the five-character poems. At the same time, in the prosperous Tang Dynasty, most of the seven laws of poets such as Li Bai, Wang Wei and Gao Shi were wrong, sticky and emphasized.
It was not until Du Fu that the seven-character rhythmic poem showed its poetic potential and opened up the artistic world. Du Fu comprehensively opened up the realm of Gong's understanding and coordination of poetry. Current affairs, politics, life experience, local customs, cultural relics and historical sites are all integrated into strict rules, and the value of this poetic style has been raised to the level of the quatrains of ancient poetry.
From Du Fu to the Middle Tang Dynasty, the seven-character law system failed to innovate. Seven-character rhythmic poems in the late Tang Dynasty created a new situation. Wen, Li Shangyin, Du Mu and other Seven-Rhythm Masters not only trimmed the form of Seven-Rhythm Poems, but also reformed the rhythm of Seven-Rhythm Poems, pushing the art of Seven-Rhythm Poems to a new stage.
Hu Yinglin, an Amin poet, summed up the development of seven-character metrical poems in the Tang Dynasty in Biography of Poems: "Seven-character metrical poems in the Tang Dynasty began with Du Fu and Shen Quanqi. To Cui Hao, Li Bai's poems have changed since ancient times. Gao, Cen, Wang and Li, their styles are all ready and changed again. " Du is mighty, and he has changed again. "
The lack of seven-character metrical poems in the Five Dynasties. The creation of the Seven Rhythms in Song Dynasty continued the innovative efforts of Du Fu and poets in the middle and late Tang Dynasty, and gradually took shape in the hands of "Jiangxi Poetry School", and embarked on a new road of taking reason and interest as poetry, with many excellent works. After the Yuan, Ming and Qing Dynasties, the seven-character rhythmic poetry gradually declined.