It originated from folk songs. In the pre-Qin period, besides the Book of Songs and Songs of the South, there were seven-character sentence patterns, while Xiangcheng Pian written by Xunzi was a miscellaneous poem with seven characters as the main body, imitating folk songs. In the Western Han Dynasty, in addition to the Song of Guarding the Building and the Song of Shang Jun contained in Hanshu, there were seven-character popular rhymes such as Fan Jiang by Sima Xiangru and Ji Jiu by You Shi.
In the Eastern Han Dynasty, there were many miscellaneous ballads with seven words, such as "Mai Yao", "Wu in the City" (Sima Biao's Five Elements of Hanshu) and "Children's Songs Around the Ling" (Ge Hong's "Bao Pu Zi Shen Ju"), all of which were vivid, popular and fluent folk works with seven words. According to legend, Emperor Wu of the Han Dynasty once called his ministers together and made a seven-character couplet of Bailiangtai. But according to later research, this is an untrue statement and unreliable.
Ge Yanxing by Wei is China's first complete seven-character poem of literati. Later Tang Huilin and Bao Zhao all had seven-character poems. Bao Zhao's 18 "Zhun Qi Difficult to Walk" not only greatly expanded the content of the poem, but also changed the rhyme of the original seven-character poem into the rhyme of every other sentence and can be changed, which opened up a new way for the development of the seven-character style.
From the Liang Dynasty to the Sui Dynasty, seven-character poems gradually increased, and it was not until the Tang Dynasty that seven-character poems really developed. The appearance of seven-character poems provides a new and bigger form for poetry and enriches the artistic expression of China's classical poems. The division of seven-character ancient poems
Seven-character ancient poems are the general name of seven ancient poems and songs. The so-called seven words of the ancients do not mean that every sentence in the whole poem is seven words, but as long as most sentences in the whole poem are seven words. For example, Li Bai's Shu Dao Nan contains three words, four words, five words, and nine words until the two rulers in this area forced it through in the foggy age, but it is still considered as a seven-character poem, not a miscellaneous word poem.
Poets since Ming and Qing Dynasties have two opinions on the division of seven-character ancient poems. One is that seven-character ancient poems and seven-character songs are integrated and can replace each other. For example, Hu Yinglin's "Poetry" said: "Seven-character ancient poems are generally called songs." Wang Shizhen's Selected Ancient Poems is divided into five-character poems and seven-character poems. In the poetry criticism of Ming and Qing dynasties, the seven ancient and seven-character songs are called each other, and the list is endless. On the other hand, another view is that there is a difference in form between the ancient seven dynasties and Ge surname, and this difference is great. On this issue, both Mr. Li Zhonghua and Mr. Li Hui have written. Simply put, from the formal point of view, both seven-character poems and seven-character songs are seven-character poems, and neither of them can be regarded as seven-character poems, so it seems natural that they belong to the same category with the same purpose. However, there are obvious differences in the origin, style and style of their respective poems. First of all, the Seven-character Song originated from ancient Yuefu, and the Seven-character Song is a separate poetic style after the emergence of the Seven Laws, with different origins. There are Long song, short songs, Yan songs, Qige, Yan songs, plaintive songs, lamentation songs, bow songs and songs in Yuefu in Han and Wei Dynasties, which can be regarded as the ancestors of Yuefu in Tang Dynasty. Among them, Qiyan Song is the natural development of Qiyan Yuefu since Han and Wei Dynasties. In Qing Dynasty, Wu Qiao's "Poems around the Furnace Taste the Clouds": "Seven words were created in Han Dynasty, Wei Wendi had Yan Ge Xing, and the ancient poem Dong Fei Bo Lao flourished at the end of Liang Dynasty. There were also people who used five or seven words miscellaneous, and they were the founders of the Tang Dynasty." The so-called ancient poem "Flying East Shrike" is the "Flying East Shrike Song" recorded in Yuefu poetry anthology and miscellaneous songs. Therefore, the seven-character rhyme originated from Yuefu in the Han, Wei and Southern Dynasties. As for the seven-character ancient poems, it is said that they originated from Bailiangtai poems during the reign of Emperor Wu of the Han Dynasty. However, there are as many as 24 authors of Bailiangtai Poetry, each of whom has one sentence, which can only be regarded as a joint sentence, not a complete seven ancient poems. Therefore, from the perspective of poetic style, the two have different sources.
As far as the main characteristics of the style are concerned, the requirement of the seven ancient poems is to draw a clear line with the seven-character poems (including the seven laws and seven laws). There is a saying in Wang Shizhen's The Balance of Ancient Poetry in Qing Dynasty: "Seven words are indifferent. If the rhyme is flat, it must not be mixed. " In seven-character ancient poems, there are three sounds at the end of the sentence, and the sentence emphasizes loneliness and dullness, which are all reactions to metrical poems. As for the Seven-character Song, although some early works are quite similar to the ancient Seven Dynasties in style and style, the phenomenon of legalization has become more and more serious in its evolution. According to Wang Li's China Poetics, there are 53 metrical and quasi-metrical sentences in Bai Juyi's 88 sentences of Pipa Xing, and the song of everlasting regret 120 accounts for as many as 100 sentences. The formation of this legalization trend is not accidental, it is the result of pursuing harmony of sound and rhyme due to the requirements of singing poetry. From the literary style, the typical style of the ancient Seven Dynasties is correct, vigorous, solemn and elegant, while the typical style of singing is elegant and gorgeous. The preface to the analysis of the style of the article holds that "seven-character ancient poetry lies in bold sentences and ancient customs", and the style of "lyric for a long time" is different from that of "running script" "Seven Ancient Poems" also said: "Ancient poems are embarrassed by style, and their system lies in melody, but their lines are short and long, and they are intricate and unsystematic, so they can make people think deeply. Li and Du Zhicai are not only in ancient poems, but also in songs. " In addition to the seven ancient and seven laws, the seven-character songs are regarded as one because of their different styles. Zhao Wei Zhan Yan said that "seven words are wonderful, simple, clumsy, trivial, curved, hard and light, and they are indispensable." Always say "old" and "whenever you sing, be honest and don't ask the police." Man "means that love words are swaying and flowing;" Police "means dignified justice and sophisticated language." These comments all reveal the differences in aesthetic styles between seven-character ancient poems and seven-character songs. Although it was once popular to write poems with seven ancient styles and poems with seven ancient styles in specific poetry creation, it is not difficult to see the difference between them on the whole. For example, Du Fu's Notes on Examining Korea, Lu Tong's Poem on Eclipse, Han Yu's Poem on Hengshan Temple Don't Me, and Li Shangyin's Han Bei can only be a seven-character ancient poem; However, Wang Wei's Peach Blossom Star, Li Bai's Climbing in the Dream of Tianmu Mountain, Bai Juyi's Song of Eternal Sorrow and Wei Zhuang's Ode to Fu Qin can only be seven-character poems.
Jiang Kui said, "Love is like a song, and being like a running script is also called singing." Accordingly, the style of the seven-character song should be hovering down and running away in one breath. Songs with short lines are often similar in style to modern poems. For example, the poem's song: Dear Linjiang Pearl, Dear Mingluan goes dancing. The painted building faces Nanpu Cloud, and the bead curtain rolls up the rain in the western hills at dusk. The shadow of the idle cloud pool is long, and things change for a few years. Where is the emperor in the cabinet today? Outside the threshold, the Yangtze River flows by itself. If you don't consider the level tone, it is simply two quatrains, which are very close. Another example is Du Fu's Night Smell: the night smell on the Cangjiang River, listening to the feelings in the declining years. How sad the sound of neighboring ships is, and how tragic it is at midnight. It was a night of snow and frost, and the lonely lamp was in a hurry. You know that heaven and earth are wars, but you can't see that it is difficult to go. Similarly, there is Gao Shi's Yan Gexing: In the 26th year of Kaiyuan, a guest returned from Rong Yuan and wrote "Yan Gexing" to show his comfort and preparedness. The northeast border of China is shrouded in smoke and dust. In order to repel the barbaric invaders, our generals left their families. Stride forward together, looking like heroes should watch, and received the emperor's most cordial favor. They walked through the elm pass between the flag and the stone with the sound of gongs and drums. Until their captain in Shahai gave the order with feathers, the hunting fire of the Tatar chieftain flashed along the Wolf Mountain. (2) The highlands and rivers on the outer border were cold and desolate, but soon the barbarians' horses dashed in the wind and rain. Half of us were killed at the front, but the other half are still alive, and the beautiful girls are still singing and dancing for them at the camp. (3) When autumn ends on the gray beach, the grass withers, and a few surviving observers are by the lonely wall at sunset. Serve the just cause and despise life and enemies. However, despite what they have done, Elm Street is still unsafe. (four knots) Still ahead, the armor is thin, and the jade chopsticks should say goodbye. Still in this southern city, the young wife's heart is broken, while the soldiers on the northern border are looking forward to going home in vain. (v 5) The crosswind is fluttering, and it can be reached. In a place of death and blue void, there is nothing ahead. Three times a day, the dark clouds of slaughter rose over the camp. All night, the drums on the hour trembled and gave a cold rumble. (v 6) Until the white sword can be seen again, spattered with red blood, when death becomes a duty, who stops to think about fame. Don't you see that the battlefield is tragic? Today we are named Li, the great general who lived a long time ago. Seven knots are like seven quatrains strung together. The basic composition of the seven-character style is that rhyme and flat rhyme alternate, and four sentences change rhyme. (Of course, there are even-numbered sentences with two or six sentences and so on. ) Rhyme changes mainly according to the turning point of meaning. For example, in Ge Yanxing, it is written that the Lord will lead a life, which is the beginning of the poem and rhymes. It is the inheritance of poetry to write down the momentum of the journey and the invasion of the enemy and change the rhyme. The third knot began to sketch and tried to describe it, so it changed its rhyme again. The description can be divided into four levels: three knots and four sentences, writing fierce battles, dissolute lords and rhyming; Four knots and four sentences, writing the defeated country, failing to clear the gap, using micro rhyme; Section five, writing the sufferings of long-separated couples, using rhyme; Section six, write about the hardships of border defense, or use rhyme. The first two sentences of the seventh knot are the turning point of poetry, and the last two sentences are the combination of poetry. Change these four sentences to rhyme. When turning rhyme, one or two sentences should rhyme, that is, the first sentence should rhyme. In Teng Wangge's poems and Yan's songs, when every four sentences rhyme, the first sentence always rhymes. However, when a poem turns rhyme for many times, it is often used alternately with flat rhyme and even rhyme. This has the same meaning as the alternate words in the normal sentence, in order to make the tone changeable, neat and harmonious.
If four sentences are compared to pearls, then a long seven-character song is to string these pearls into a beautiful necklace with a silk thread-the theme of the poem. This kind of composition was carried forward by Bai Juyi, Yuan Zhen and others, and it was called Evergreen Style, which was a great success in the Qing Dynasty and was a famous Meicun Style. Such as Bai's Song of Eternal Sorrow Pipa, Yuan's Lianchang Palace Ci and Wu's Qu. Among these poems, the most striking one is Wei Zhuang's Ode to Fu Qin. This poem is "Changqing", describing Huang Chao's burning, killing and looting, which is described by a thief and a woman. The language is extremely painful and meticulous, and the words are clear and easy to understand. " Writing about the misfortune caused by Huang Chao's rebellion is the highest epic in the Tang Dynasty.
The Tang Dynasty is the era when China's poems shine brilliantly. Among many outstanding literary works in the Tang Dynasty, seven-character ancient poems undoubtedly played an important role. The reason why Tang poetry became Tang poetry is largely due to the prosperity of the ancient seven dynasties in the Tang Dynasty. As an ancient poetic style, Gucci experienced a long and tortuous development process and finally matured in the Tang Dynasty. In previous studies, more attention was paid to the seven ancient prose in the prosperous Tang Dynasty and beyond. However, it is not difficult to find that the development of any literary genre is a complex systematic process by paying a little attention to the history of literature.
As a social phenomenon, the development of literature is inevitably the common result of the development of society, writers' psychology and the whole social psychology. The development of the ancient seven dynasties was not achieved overnight. On the basis of synthesizing the creative practice of the previous generation of the ancient seven dynasties, the poets in the prosperous Tang Dynasty learned from others and finally created the glory of the ancient seven dynasties. The last preparation period of the flourishing Tang Dynasty and the Seven Wonders of Ancient Style-the early Tang Dynasty inherited the Han, Wei and Six Dynasties before the flourishing Tang Dynasty. Although the face of the Seven Wonders did not completely change during this period, it was with the efforts of the "Four Masters" and other poets in the early Tang Dynasty that the Seven Wonders got the necessary preparations for the climax. In the early Tang Dynasty, the system of seven-character ancient poems was formally established. From the four great poets to Zhang, Li, Shen and Song, seven-character ancient poems experienced a slow evolution from form to style. All the poets in the early Tang Dynasty made their own contributions to the maturity and perfection of the seven-character ancient poems, which opened the first sound of the prosperous Tang Dynasty and the seven ancient times. A Moonlit Night on the Spring River
Gao Shixing
Li Bai in Shu Dao Nan
Li Bai dreamed of climbing Tianmu Mountain.
Li Bai's Into the Wine
Du Fu, military vehicle shop
The female disciple of Mrs. Sun in Du Fu's Song of Dancing Daggers
Bai Juyi's Song of Eternal Sorrow
Bai Juyi's Preface to Pipa
Li He's Preface to Chinese Songs of Golden Tongxian Ci
Du Fu: Three Officials and Three Farewells
Wang Bo's Preface to Wang Teng Pavilion