Four sentences of the seven laws of epidemic disease

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Seven-character poetry is a genre of China's traditional poetry, which belongs to the category of modern poetry. New-style poetry originated in the period of Qi Yongming in the Southern Dynasties, paying attention to rhythm and duality, and was further developed and stereotyped in the Shen and Song Dynasties in the early Tang Dynasty, and matured in the hands of Du Fu in the prosperous Tang Dynasty.

Seven-character verse is strict, which requires the unity of words in the poem. It consists of eight sentences, and each sentence has seven words. Every two sentences are a couplet, and * * * is a quadruple, which is divided into first couplet, parallel couplet, neck couplet and tail couplet. The two couplets in the middle demand antithesis. Representative works include the Yellow Crane Tower in Cui Hao, Du Fu's Ascending, and Li Shangyin's Stabilizing Tower.

Seven-character metrical poetry refers to seven-character and eight-sentence poetry, which conforms to the norms of metrical poetry. Referred to as "Seven Rhymes", it is a kind of metrical poem. 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, Song, Du and Li Qiao began to write books. In the prosperous Tang Dynasty, Wang Wei, Li Qi, Cen Can, Jia Zhi, etc. made them master the system, while Cui Hao, Li Bai, etc. still had mixed works of semi-ancient and semi-French. 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 opened up 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.

Amin Hu Yinglin [1] summed up the development of seven-character poems in the Tang Dynasty in the fifth volume of Poems: "Seven-character poems in the Tang Dynasty began in the period of Du, Shen. 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 is mighty, and he has changed again. "

The lack of seven-character metrical poems in the Five Dynasties. The creation of the Seven Rhythms in Song Dynasty continued the innovative efforts of Du Fu and poets in the middle and late Tang Dynasty, and gradually took shape in the hands of "Jiangxi Poetry School", and embarked on a new road of taking reason and interest as poetry, with many excellent works. After the Yuan, Ming and Qing Dynasties, the seven-character rhythmic poetry gradually declined.