Question 10 on the Plain Verse in the Lyric Verse

There are four types of poems in the seven-character rhythm.

1) Equal start and end the first sentence into rhyme.

Peaceful, peaceful.

It's a lot of mem, it's a lot of it, it's a lot of it.

Ping Ping Ping, Ping Ping, Ping Ping.

It's a lot of mem, it's a lot of it, it's a lot of it.

2) The first sentence does not rhyme.

Ping Ping Ping, Ping Ping, Ping Ping.

It's a lot of mem, it's a lot of it, it's a lot of it.

Ping Ping Ping, Ping Ping, Ping Ping.

It's a lot of mem, it's a lot of it, it's a lot of it.

3) The first sentence of the first sentence is rhymed.

It's a lot of peace, it's a lot of it, it's a lot of it.

Ping Ping Ping, Ping Ping, Ping Ping.

It's a lot of mem, it's a lot of it, it's a lot of it.

Ping Ping Ping, Ping Ping, Ping Ping.

4) The first sentence does not rhyme.

It's a lot of mem, it's a lot of it, it's a lot of it.

Ping Ping Ping, Ping Ping, Ping Ping.

It's a lot of mem, it's a lot of it, it's a lot of it.

Ping Ping Ping, Ping Ping, Ping Ping.

The five-character standard sentence structure is divided into two categories: the beginning and the equal. The beginning of the poem is the beginning of the verse; Pingqi means that the first stanza of the verse is Pingping. The two categories are divided into two types.

Lyric poetry is a kind of Han poetry genre popular in the Tang Dynasty, which belongs to a kind of near-style poetry, and is named because of the very strict requirements of the rhythm. The common types are the Five Laws and the Seven Laws, which generally have a few words to say a few words.

Lyric poetry originated from the new style poems of Shen Yue and other poems that paid attention to sound rhythm and confrontation during the Qi Yongming period of the Southern Dynasty, and further developed and stereotyped in the early Tang and Shen dynasties and Song Zhiwen, and prevailed in the Tang and Song dynasties. Lyric poetry has strict rules in terms of words, rhymes, evenness, and antiphons.

Lyric poetry is one of the basic forms of near-body poetry (the Tang people used to use lyric poetry as the general term for near-style poetry, and near-style quatrains were also included, and they were later divided). It sprouted in the Southern Dynasty Qi Yongming and other new style poems such as Shen Yue, which paid attention to sound rhythm and duality, was stereotyped in the early Tang Dynasty and matured in the middle and late Tang Dynasty.

The metrical poems of Qiliang style are composed of three types: the couplet rhythm (referring to the rhythmic form that is not sticky between the couplets of the whole poem), the sticky rhythm (referring to the rhythmic form that is sticky between the couplets of the whole poem) and the sticky mixed rhythm (referring to the rhythmic form that has both sticky and non-sticky between the couplets of the whole poem). Among them, from the middle and late Liang Dynasty to the Chen Dynasty, some works by Yin Keng, Zhang Zhengjian, Yu Xin, Xu Ling and others have been very close to Tang poetry. In the Sui Dynasty, Yang Su, Lu Sidao, Xue Daoheng and others, combined the beautiful words of the Southern Dynasty and the fresh and vigorous atmosphere of the Northern Land, created some clean and beautiful poems, pointing out the upward way for the development of poetry in the transitional period.