Seven-character rhymed poetry is a genre of traditional Chinese poetry, referred to as Qilu, which belongs to the category of modern poetry. It originated from the new-style poetry of Shen Yue in the Qi Yongming period of the Southern Dynasty and other new-style poems that paid attention to rhythm and antithesis. Song Zhiwen and others further developed and finalized it, and it matured in the hands of Du Fu in the prosperous Tang Dynasty.
The rhythm is strict, requiring the poems to be neat and uniform in number of words. It is composed of eight sentences, each sentence has seven words, and every two sentences is a couplet. There are four couplets, which are divided into head couplet, chin couplet, neck couplet and tail couplet. Alliance, the middle two alliances require confrontation. Representative works include Cui Hao's "Yellow Crane Tower", Du Fu's "Ascend the High", Li Shangyin's "An Ding Tower", etc.
Requirements:
Seven-character rhymed poetry refers to poems with seven characters and eight sentences that conform to the standard of rhymed poetry. Its rhythm is very strict, and there are strict regulations in terms of words, rhymes, equivalence, and antithesis.
1. The length is fixed.
Each poem has eight sentences, each sentence has seven words, and it has 56 words. The first and second sentences are called "first couplets", the third and fourth sentences are called "chin couplets", the fifth and sixth sentences are called "neck couplets", and the seventh and eighth sentences are called "tail couplets".
2. Rhyme strictly.
The whole text has four rhymes or five rhymes, and generally even-numbered sentences rhyme, that is, the last word of the second, fourth, sixth, and eighth sentences must have the same rhyme. The first sentence may or may not be rhymed, but is usually rhymed with flat tone, rhyming from beginning to end, without changing rhyme in the middle.
It is also required to rhyme the words in the rhyme book. In principle, only the original rhyme can be used, not the adjacent rhyme; even if it is a little looser, only the first sentence that enters the rhyme is allowed to use the adjacent rhyme, which is called "borrowing rhyme". Seven-character rhyme poems can be divided into two formats: the first sentence in rhyme and the first sentence not in rhyme according to whether the first sentence rhymes. Among them, the first sentence in rhyme is a regular pattern, which is different from the five-character rhyme poem.
3. Pay attention to evenness.
That is to say, it must comply with the rhythm of oblique and oblique, that is, under normal circumstances, two syllables are used as one foot, and the oblique and oblique arrangements are alternately arranged. According to the first two characters of the first sentence, Ping and Qi, the seven-character rhyme poem is divided into two types: Pingqi and Qiqi.
According to the rules of Ping and Ze, there are four standard sentence patterns in seven-character rhyme poems:
1. Ping Ping Ze Ping Ping Ping (Ping Qi Ping Fa, the last two characters are Ping Ping, which is called Flat feet);
2. Flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat, flat. 廄平 (廄 rises and ends with level, the last two characters are 廄平, and it is called 廄廄); It’s called a flat foot).
These four sentence patterns are the basis for the changes in the flat and oblique formats of rhymed poetry, thus forming the four basic formats of seven-character rhymed poetry.
4. Demand confrontation. The chin couplet and the neck couplet must be opposite, and the first couplet and the last couplet may or may not be right. It is a common pattern in seven-character rhymed poems that the first couplet and the last couplet are both non-contradictory.
A new situation in poetry creation officially opened in the late Tang Dynasty. In the early Tang Dynasty, only the form of measurement standards was established, the content was not yet sufficient, and the aesthetic function of poetry was far from being developed. After Du Fu "Yunfa Ancient Law", the realm began, the feelings began to deepen, the changes were surprising, and the law was respected. For the families of the late Tang Wenting and Li Shangyin, comprehensive reforms will be carried out to make poetry more pure.
Rhymed poetry in the late Tang Dynasty was the most developed. From Yao He and Xu Hun to Sikong Tu and Han Xie, almost all famous poets were famous for Gonglv style, and some even only Gonglv style. In particular, Li Shangyin, Du Mu, Wen Tingyun and other Qilu masters not only modified the form of rhythmic poetry, but also transformed the temperament of rhythmic poetry, advancing the art of rhythmic poetry to a new stage.
Extended information:
Background
Rhymed poetry is one of the basic forms of modern poetry (the Tang Dynasty people once used rhythmic poetry as the general term for modern poetry, including modern quatrains. , was divided later). It sprouted from the new style poems such as Shen Yue's in Qi Yongming Dynasty in the Southern Dynasty that paid attention to rhythm and parallelism. It was finalized in the early and prosperous Tang Dynasty and matured in the middle and late Tang Dynasty.
Seven-character rhymed poetry refers to poems with seven characters and eight sentences that conform to the standard of rhymed poetry, referred to as Qilu, and is a type of rhymed poetry. Rhymed poetry belongs to the category of modern poetry and is named because of its strict rhythm.
The rise of seven-character verse was later than that of five-character verse. It originated in the Southern and Northern Dynasties, sprouted in the new style poetry of Qi and Liang Dynasties, and was finalized in the early and prosperous Tang Dynasty. In the early Tang Dynasty, Shen Quanqi, Song Zhiwen, Du Shenyan, and Li Qiao began to write articles. In the prosperous Tang Dynasty, Wang Wei, Li Qi, Cen Shen, and Jia Zhi deliberately tempered them to achieve institutional proficiency, and Cui Hao , Li Bai still has works that are a mixture of parallel and prose, half ancient and half rhythm.
Du Fu comprehensively opened up the field of legal poetry. Current affairs politics, life embrace, customs and cultural relics are all invested in strict indicators, and the value of this poetic style has been mentioned to the height of ancient poetry and quatrains.
From Du Fu below to the middle Tang Dynasty, the seven-character method failed to innovate. In the late Tang Dynasty, seven-character rhetoric opened up a new situation. Wen Tingjun, Li Shangyin, and Du Mu, these seven sages not only trimmed the form of poetry, but also changed the temperament of poetry, pushing the art of poetry to a new stage.
The seven-character rhymed poems of the Five Dynasties period were not good at all. The seven-rhythm creation of the Song Dynasty continued the innovative efforts of Du Fu and the poets of the middle and late Tang Dynasty, and gradually took shape in the hands of the "Jiangxi School of Poetry". It embarked on a new path of being good at theory and using discussion as poetry, and there are many excellent works. After the Yuan, Ming and Qing dynasties, seven-character rhymed poetry gradually declined.
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Baidu Encyclopedia - Seven-Character Rhymed Poetry
Baidu Encyclopedia - Rhymed Poetry