Seven principles: the benevolence of doctors-Dedicated to China Physician's Day.

Ping Yun Shui Xia Ping Twelve Invasions

Text/Liu Haijiang

Give an inch of your heart to help the world,

Hanging pots are full of showers.

Save lives, save lives, drive away plague and abuse,

Hold the responsibility and prevent the epidemic from invading.

Chinese medicine suggests the application of herbs,

Western medicine uses spiritual needles to treat diseases.

Better pour the rest of the blood on the dead wood,

The well-being of the people is our responsibility.

Seven-character poetry is a genre of China's traditional poetry, which belongs to the category of modern poetry. Shen Yue's new-style poems originated from Qi Yongming in the Southern Dynasties, paying attention to rhythm and duality. They were further developed and stereotyped by Shen Quanqi and Song in the early Tang Dynasty and matured by Du Fu in the prosperous Tang Dynasty.

Seven-character verse has strict metrical rules, which require the unity of words in the poem. A total of eight sentences, seven words for each sentence, each two sentences as a couplet, a total of four, divided into the first couplet, parallel, neck couplet, tail couplet, the middle two couplet requirements. Representative works include the Yellow Crane Tower in Cui Hao, Du Fu's Ascending, and Li Shangyin's Stabilizing Tower.

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 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.

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. "