Yellow Crane Tower in Cui Hao. I went to the Yellow Crane Tower next to the Yellow Crane. The yellow crane never revisited earth, white clouds will never fly. Every tree in Hanyang becomes clear in the water, Yingwuzhou. There is a sad mist on the river waves, but I look home and the dusk is getting thicker.
Du Fu's Ascending the Mountain. The wind is fast and high, the ape cries sadly, and the birds are circling in the white sand. The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. After all the hardships and hatred, the white hair is full, and the wine glasses are damaged.
"Jinse" Li Shangyin. I want to know why my Jinse has fifty strings, and each string has a youthful interval. Zhuangzi daydreaming, a saint, was bewitched by butterflies, and cuckoo crowed in the imperial spring. Mermaids shed pearl-like tears on the moon-green sea, and the blue fields breathed their jade to the sun. A moment that should last forever has come and gone before I know it.
The evolution of seven-character poems;
Seven-character metrical poem refers to a poem with seven words and eight sentences, which conforms to the norms of metrical poem, and is referred to as seven laws for short. Metric poetry belongs to the category of modern poetry, which is named because of its rigorous 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, 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 opened up the realm of metrical poetry in an all-round way, and current affairs, politics, life experiences, customs, cultural relics and historical sites were all integrated into strict metrical style, which raised the value of this poetic style to the level of being juxtaposed with ancient poems and quatrains.
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 Fu is deep and mighty, transcending the vertical and horizontal, and changing. "