The seven-rhythm poem of Jinci is as follows:
The fountain hangs an urn around the Yu Palace, and it is a much-told story to cut the tung for a thousand years. The spring in the Jin pulse is not old, and the Zhou Feng is vast and abundant. The marsh beam shows the phoenix and the clear waves, and the temple column dances in the blue sky. All the moths in the palace are the Virgin Mary, and their divisions are different and wise.
Introduction to Seven-character Rhyme:
Seven-character Rhyme is a genre of China traditional poetry, which belongs to the category of modern poetry. Shen Yue's new style poems, which originated in Qi Yongming in the Southern Dynasty, paid attention to rhythm and duality, further developed and finalized in Shen Quanqi and Song Zhiwen in the early Tang Dynasty, and matured in Du Fu's hands in the prosperous Tang Dynasty.
Seven-character metrical poem is strict, requiring the number of words in the poem to be uniform. It consists of eight sentences with seven words in each sentence. Every two sentences are a couplet, * * * quadruple, divided into first couplet, parallel couplet, neck couplet and tail couplet, and the middle two couplets require antithesis. Representative works include Cui Hao's Yellow Crane Tower, Du Fu's Ascending the Mountain, and Li Shangyin's Anding Tower.
Genre evolution:
Seven-character metrical poem refers to a poem with seven words and eight sentences, which conforms to the standard of metrical poem, and is called "Seven Laws" for short, which is a kind of metrical poem. Regular poetry belongs to the category of modern poetry, so it is named because of its strict meter. The rise of seven-character poems is later than that of five-character poems. It originated in the Southern and Northern Dynasties, sprouted in the new style poems of Qi and Liang Dynasties, and was shaped between the early Tang Dynasty and the prosperous Tang Dynasty.
in the early Tang dynasty, Shen Quanqi, Song Zhiwen, Du Shenyan, and Li Qiao began to write works. In the prosperous Tang dynasty, Wang Wei, Li Qi, Cen Can, and Jia Zhi painstakingly tempered them to make them proficient in the system, while Cui Hao and Li Bai still wrote works that were half ancient and half law. Although there are also some famous works of Gao Hua Xiulang in the seven-character poems of this period, most of them belong to the content of giving and receiving, and they are more narrow than the five-character poems.
At the same time, in the prosperous Tang Dynasty, the seven laws of poets such as Li Bai, Wang Wei and Gao Shi were mostly wrong, sticky and stressed. It was not until Du Fu that the seven-character rhythm poem showed its poetic potential and opened up the artistic world. Du Fu has comprehensively opened up the realm of metrical poetry, in which current affairs and politics, life experience, customs, cultural relics and historic sites are all fused into strict metrical rules, and the value of this poetic style is raised to the height of standing side by side with ancient poems and quatrains.
from du fu to the middle Tang dynasty, the seven-character law style failed to bring forth new ideas. In the late Tang dynasty, seven-character rhythmic poetry opened up a new situation. Wen Tingyun, Li Shangyin and Du Mu, the masters of the seven laws, not only trimmed the shape of the poems, but also transformed their temperament, pushing the art of the poems to a new stage.