Cao Pi's seven-character poem was born in the era of "Five-character surging", which not only increased the capacity of the poem and showed complex and changeable feelings, but also replaced the "Xi" in the seven-character poem with content words, making the form of the seven-character poem tend to be standardized. His seven-character poems explore in inheritance, develop in exploration, create a new way, have a unique style and have far-reaching poetic significance.
First of all, in the inheritance of literature, Cao Pi's seven-character poems not only have the implicit charm of Chu Ci, but also have the superb narrative skills of Han Yuefu.
Because Ge Yanxing is an early seven-character poem, some traces of Chu Ci can still be seen in its sentence patterns. The original poem is associated with the change of solar terms and the withering of vegetation in the bleak autumn wind, which reminds people of what Qu Yuan wrote in Lisao: Only vegetation is scattered, and beauty is afraid of withering. At this beginning, the language of scenery was melted into the language of love, which implied deep sadness and sadness, and accumulated enough power for later happiness. A storm is coming, and people can't help but hold their breath and can't wait to see the feelings expressed by the poet behind. For example, the rhyme and rhythm of the sentence "My concubine keeps her room, but she is afraid of forgetting her husband" in Chu Ci has a low and indirect meaning of "the sadness of leaving now and the joy of making new acquaintance". The narrative technique that originated from the event is that the Han Yuefu "gathers hibiscus in the river and Lanze is full of grass." He is good at looking for poetic or typical symbolic shots and taking pictures in time.
The beginning of the poem shows a picture of autumn. The autumn wind is bleak, the vegetation is scattered, the dew is frosty, and migratory birds fly south. This depressing landscape leads to a woman's feeling of thinking and reflects her inner loneliness. Therefore, thinking of Yan and Mandarin fish, lovers who are far away from home, naturally transferred all emotions to the emotional theme of "heartbreaking". In the following straightforward narrative, we can also vaguely see the brushwork of blending scenes inherited from Nineteen Ancient Poems. The application of this brushwork constitutes a seamless artistic realm. A keen sense of order and a subtle sense of space are closely integrated and patchy. The last sentence of the whole poem adopts the rhetoric sentence commonly used in Han Fu, with short syllables, which blows the emotional rendering of the whole poem to the highest point and is magnificent.