An introduction to Qilu, as follows
Seven-character rhyme poetry is a genre of traditional Chinese poetry, referred to as Qilu, and belongs to the category of modern poetry.
It originated from the new style poems of Shen Yue and others in the Qi Yongming Dynasty of the Southern Dynasty that paid attention to rhythm and parallelism. It was further developed and finalized in the early Tang Dynasty by Shen Quanqi and Song Zhiwen, and matured in the hands of Du Fu in the prosperous Tang Dynasty. The seven-character rhyme poem has a strict rhythm, requiring a neat and uniform number of words in the poem. It is composed of eight sentences, each sentence has seven words, and every two sentences constitute a couplet. There are four couplets, including the first couplet, chin couplet, neck couplet and tail couplet, with the middle two couplets. Ask for a fight. Representative works include Cui Hao's "Yellow Crane Tower", Du Fu's "Ascend the High", Li Shangyin's "An Ding Tower", etc.
Seven-character rhymed poetry refers to poems with seven characters and eight sentences that conform to the standard of rhymed poetry. It is referred to as "Qilv" 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 it. In the prosperous Tang Dynasty, Wang Wei, Li Qi, Cen Shen, and Jia Zhi deliberately tempered it to achieve institutional proficiency.
Cui Hao and Li Bai still have works that are a mixture of parallel and prose, half ancient and half rhythm. Although there are also famous seven-character rhymed poems in this period that are elegant and elegant, the vast majority of them are in the content of fenghe, yingyi, and reward, which is even narrower than the five-character rhymed poems.
At the same time, the seven rhymes of poets such as Li Bai, Wang Wei, and Gao Shi during the prosperous Tang Dynasty often contained errors such as misalignment, loss of cohesiveness, and emphasis on words. It was not until Du Fu that the seven-character rhyme poem showed its poetic potential and opened up the artistic world. Du Fu comprehensively opened up the realm of rhymed poetry. Current affairs and politics, life experience, customs, cultural relics and historic sites are all integrated into precise rhythms, raising the value of this poetic style to a level where it can stand side by side with ancient poetry and quatrains.
From Du Fu to the mid-Tang Dynasty, the seven-character rhythm style failed to bring forth new ideas. In the late Tang Dynasty, seven-character rhymed poetry opened up a new situation. Wen Tingyun, Li Shangyin, and Du Mu, these seven-rhythm masters, not only modified the form of rhymed poetry, but also transformed the temperament of rhymed poetry, advancing the art of rhymed poetry to a new stage.
Hu Yinglin of the Ming Dynasty summarized the development of seven-character rhymed poetry in the Tang Dynasty in the fifth volume of "Shisou": "The seven-character rhymed poetry in the Tang Dynasty was first created by Du Shenyan and Shen Quanqi. By the time of Cui Hao and Li Bai Since ancient times, there has been a change. Gao, Cen, Wang, and Li have great styles, but they have also changed a lot. The verses and verses are lackluster. 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.