An Aside, Seven-Character Regulated Verse To Be Continued
Xian Ge likes classical Chinese poetry (specifically, regulated verse), and can occasionally improvise a few poems himself. However, in the main text of the novel, Xian Ge has a strong conviction: he can only use lines from ancient poems, and absolutely cannot use his own, because that would truly be out of place.
Xian Ge believes that authors cannot insert their own poems into the main text of a novel outside of the characters' lives (since most of the characters are foreigners, it's impossible to have them write them), as that would be equivalent to self-evaluation. Authors cannot insert self-evaluation or annotations into the main text of a novel (except for Professor Jin Yucheng).
The preface, epilogue, and digressions are not part of the main text. In the preface, Xian Ge wrote a seven-character quatrain entitled "The 28th Moon of Uranus".
This is a digression following the epilogue, not part of the main text. In addition, since Xian Ge has obsessive-compulsive tendencies, he composed a Seven-character regulated verse quatrain as a response to the preface, a reply to readers' requests to see Xian Ge write poetry, and also as a unique summary of the creative process and the entire novel.
Seven-character regulated verse (To be continued)
Picking up an old mirror to illuminate the path of today.
Discard new poetry and rely on old formulas.
The earth's energy is clear and promotes the growth of algae.
The Heavenly King lingers around the weak spider.
Pedestrians must be accompanied by those following the mysterious path.
Sweat warms the ice-cold jade pot.
Two lives, yet unable to communicate, still compete in play.
The five stars are in sync.
The Seven-character regulated verse is the most strictly regulated form of classical Chinese poetry. Through this self-evaluation of his poem, Xian Ge hopes to share his insights on learning poetry with fellow readers.
Regarding rhyme:
The postscript has already introduced the Pingshui Rhyme, which was widely used in Tang and Song dynasty regulated verse. In addition, there is the Cilin Zhengyun, compiled by scholars of the Qing dynasty, which simplified the strict Pingshui Rhyme, and there is also the Zhonghua Xinyun, which is even broader in scope.
Xian Ge's Seven-character regulated verse quatrain rhymes with the Pingshui Rhyme, starting and ending with a level tone, and the first line rhymes.
Tu, Fu, Spider, Hu, and Zhu are all in the "Qiyu" rhyme part of Pingshui rhyme, and they are all commonly used modern characters, and their modern pronunciation also conforms to the new rhyme. Therefore, this poem uses the stricter Pingshui rhyme, which can also be called "Jingzhai rhyme" or "Xinpingshui rhyme" (don't look for Du Niang, these two names are original creations of Brother Xian).
Regarding tones and rhymes:
Tonal patterns are of utmost importance in regulated verse. Even-numbered lines in each quatrain must alternate between level and oblique tones. The upper and lower lines form a couplet, and the level and oblique tones in corresponding positions must be opposite. Couplets must also be linked together (identical).
In summary: the test examines even-numbered characters, alternating tones within sentences, contrasting tones between sentences, and linking tones between couplets.
This is an ironclad rule: any work claiming to be a regulated verse poem that misuses even-numbered characters in terms of tone and rhyme, even if only one character is incorrect, will be immediately rejected and deemed "failing." The term "failing" originated from this rule.
What about odd numbers? In a seven-character Seven-character regulated verse, the 7th character must be a level tone (rhyme) if it rhymes, and an oblique tone (white tone) if it doesn't rhyme; otherwise, it will also be considered a failure.
Except for special rules such as three consecutive level tones at the end and isolated tones, the misuse of level and oblique tones in the 1st, 3rd, and 5th characters is not considered a mistake, which is commonly referred to as "the first, third, and fifth are not counted, the second, fourth, and sixth are distinct". However, the level and oblique tones in the second, fourth, and sixth positions must be correct.
For example, Du Fu's "Climbing High", which is called the first seven rhymes of the ages by historians, some of the characters in the 1st and 3rd positions are wrong. Brother Xian picked out these words, which are. "Wind, Zhu, sand, hundred, and more". The whole poem is as follows:
The wind is fierce, the sky is high, and the monkeys howl mournfully.
Clear waters, white sand, birds fly back.
The endless falling leaves rustle down.
The endless Yangtze River flows on and on.
I often feel melancholy in autumn, a traveler far from home.
He, plagued by illness for a century, took to the stage alone.
Hardship and sorrow have turned my temples gray.
In my decline, I've stopped drinking wine.
There are also poetry critics who rank Cui Hao's Qilu "Yellow Crane Tower" as the first, but Huang He's "huang" character is different.
To reiterate, unless otherwise specified, the tonal discrepancies in positions 1, 3, and 5 are perfectly acceptable and cannot be considered incorrect.
On the other hand, poetry is a literary game and a refined pastime for scholars. It is not about arbitrarily using tones and rhymes without considering the first, third, and fifth tones. Unless absolutely necessary, one should try to use them correctly, which is called "seeking perfection".
The evidence for the ancients' pursuit of perfection lies in the statistical results. If we disregard the tones of characters 1, 3, and 5, then 24 characters in 8 lines are not subject to tones (the actual rules are very complex). The probability distribution should be that 12 characters in each Seven-character regulated verse have tones that do not conform to the rules.
In reality, among the top 100 Seven-character regulated verse selected by enthusiasts, the number of characters with irregular tones ranged from eight to only one, far below the average of 12. This demonstrates the poets' self-discipline and their efforts to achieve perfection.
Are there any ancient Seven-character regulated verse regulated poems that have been passed down through generations, where the tonal patterns perfectly conform to the format? There should be, but Xian Ge haven't seen any yet. Interested readers can try to find them. A poem where every character conforms to the tonal pattern is called "perfectly executed".
The tonal patterns of this Seven-character regulated verse regulated verse by Xian Ge are as follows:
The modern pronunciation of the word "Liao" in "Lianling" and the word "De" in "Deben" in the poem are both rising tones (second tone), which are flat pronunciation characters. However, in ancient Chinese (poems), "Liao" and "De" are both rising tone (third tone), which are oblique pronunciation characters.
Picking up an old mirror to illuminate the path of today.
level level oblique oblique oblique level level
Discard new poetry and rely on old formulas.
The earth's energy is clear and promotes the growth of algae.
The Heavenly King lingers around the weak spider.
level level oblique oblique oblique level level
Pedestrians must be accompanied by those following the mysterious path.
level level oblique oblique level level oblique
Sweat warms the ice-cold jade pot.
Two lives, yet unable to communicate, still compete in play.
The five stars are in sync.
Is Xian Ge's Seven-character regulated verse quatrain a perfect work?
No, there is a discrepancy between one character. It should be in flat tone, but in the poem it is in oblique tone, which is the character "" for five stars. Since it is the first character, it is not wrong.
Doesn't Brother Xian have obsessive-compulsive disorder? If you change the word "five", wouldn't it be possible to "full work"?
It can't be changed! If Xian Ge can change it, then the ancients could too. Why is it that among the hundreds and thousands of Tang Dynasty Seven-character regulated verse, not a single one is perfectly crafted? Isn't it said that the ancients also had obsessive-compulsive tendencies, striving for perfection?
Later, Xian Ge realized that this was a kind of self-deprecation and leaving room for interpretation in ancient times (where "leaving room" refers to minor mistakes).
Pride goes before a fall, humility brings benefit. Being overly ambitious is not a matter of inability, but rather a matter of choosing not to!
Flawless white jade is exquisite, while flawed jade is close to true beauty!
The highest good is like water, which humbly grazes and does not contend; it is concerned with whether to advance or retreat, but finds joy in acknowledging others' shortcomings.
This is the philosophy of poetry, and also the unique aesthetic values of humility, courtesy, retreat, and deference in Chinese culture.
For example, the famous story that inspired the poem. "What harm is there in retreating three feet?"
Furthermore, although changing "five stars" to "three stars" makes sense in terms of tone and meaning—five stars can align, and so can three stars— the Five-Planet Alignment is a crucial calculation basis for deciphering the Maya Long Count calendar in Xian Ge's novel.
The symmetry calculation related to Alautun in the Maya Long Count calendar is exactly 13 squared, which is 169 Five-Planet Alignment, totaling over 23 billion days, or more than 63 million years. This is also the time span given in the novel, and it cannot be changed! This is called:
By yielding three feet, one can achieve harmony among neighbors.
Even a single word of forbearance is not enough; it embodies the virtues of all five stars.
Regarding the solitary level tone:
Guping is a big taboo in modern poetry. According to the definition of Mr. Wang Li, a representative of the mainstream (called Jia School), it is: in the rhyme sentence, there is only one flat character besides the rhyme character. The "five stars have faith in self-linking" is: , which does not belong to Guping.
According to the Yi school, two oblique tones flanking a level tone constitute an isolated level tone. By this strict standard, many Tang poets violated this isolated level tone rule. Du Fu is generally considered to have the highest standards for himself, often violated this rule. For example, "A line of white egrets ascends to the blue sky" and "A wild boat just receives two or three people" are both oblique-level-oblique-oblique-oblique-level-level.
According to the viewpoint of School B, Brother Xian's poem also commits the same crime. The third character can be changed to a flat tone to "defeat" it, such as "Five stars connect beads by faith."
However, Xian Ge thought it was unnecessary, because if, in order to avoid this so-called isolated level tone, "a line of white egrets soaring into the blue sky" were changed to "a line of red egrets soaring into the blue sky", I'm afraid all the scholars in the world would not agree.
There is also a poem by Bai Juyi, "One wave destroys and one is reborn." It is also flat, flat, flat. Can this poem be changed?
Xian Ge doesn't know if scholars all over the world would allow it to be changed, but Xian Ge knows that if this line of poetry is changed, the readers of <Explosive Wavelength> will not agree!
Regarding parallelism:
There are many techniques for parallelism. Based on this seven-character Seven-character regulated verse, Xian Ge introduces the following methods:
Basic parallelism:
Heaven versus Earth, existence versus non-existence, return versus self, two versus five, competition versus a string of pearls, and so on.
As a seven-character regulated Seven-character regulated verse, the middle two couplets are mostly parallel, while the first and last couplets do not have to be parallel. Poet Sage Du was obviously a perfectionist, and the aforementioned "Ascending Heights" is a "full parallel" with all four couplets being parallel.
Xian Ge's Seven-character regulated verse uses the technique of full parallelism; attentive readers can check it out.
Self-parallelism within the sentence:
This means that the first line of the poem contains antithetical words, mostly antonyms, and the second line also contains antithetical words, forming a double antithesis within the first and second lines, and between the first and second lines. The mirror narrative technique of <Explosive Wavelength> is actually a kind of antithesis, with "ancient" contrasting with "modern"; the use of classical-style collected-line poems to conclude the chapters on new technology content is "new" contrasting with "old".
First couplet of Xian Ge's Seven-character regulated verse Quatrain:
Picking up an ancient mirror to illuminate the path of today (past and present)
Discarding new poetry that relies on old symbols (both new and old).
Ancient examples:
Lu You:
Ten thousand volumes of ancient and modern books while away the long days (Ancient and Modern)
A window at dusk and dawn marks the passing years.
Yang Wanli:
The old year will be replaced by the new year.
It's difficult to decide whether to stay or leave (it's a matter of discussion and negotiation).
Same side overlapping:
The first sentence contains two words with the same radical, and the corresponding words in the second sentence also contain words with the same radical.
The second couplet of Xian Ge's Seven-character regulated verse Quatrain:
The earth's atmosphere is clear and conducive to the growth of algae (clarification, algae).
The Heavenly King lingers around the weak spider (lingering, spider).
Ancient examples:
Du Fu:
Wanma Zongfei Spring Alfalfa (Alfalfa)
The only general among them was Han Piao Yao (嫖姚).
Zhao Mengfu:
Spring wine, grape song, graceful figure (grape, graceful figure)
Autumn alfalfa and succulent (alfalfa, succulent).
Twin word pairs:
A character composed of two identical radicals or radicals corresponds to another similar character. Twin characters include Lin, Zhu, Shu, Rui, Mao, Chang, Lu, Yan, Hui, etc.
The second couplet of Xian Ge's Seven-character regulated verse Quatrain:
The earth's atmosphere is clear and the algae thrive.
The Heavenly King lingers around the weak spider (weak).
Ancient examples:
Du Fu:
The brocade mat lingered, then left the shore (out).
Ge Jin leaned to one side and did not return to the boat.
Bai Juyi:
During the Dali era, he rode a bamboo horse (bamboo).
Several people were able to see Huichang Chun (Chang).
Neighboring changes:
In the same sentence, a character with the three-dot water radical is next to a character with the two-dot water radical, a character with the double-person radical is next to a character with the single-person radical, or the radical is reduced, such as ice becoming water, and snow becoming mountain.
The third couplet of the Seven-character regulated verse- character quatrain by Xian Ge:
The traveler finds companionship along the mysterious path (a person finds companionship).
Sweat warms the jade pot (the water is as cold as ice).
Ancient examples:
Xu Hun:
The cold water yearns for spring, its surface thin with ice.
The snow-capped peaks stand tall after the morning sun shines.
Su Shi
The remaining snow illuminates the mountain with a bright, clear light (snow-capped mountain)
Light ice encased water, dark and melting (ice water).
Multiple characters with the same radical:
The first sentence contains several characters with the same radical, which correspond to another character with the same radical in the second sentence.
The couplet of the Seven-character regulated verse- character poem by Xian Ge:
The traveler is accompanied by someone following the mysterious path (行, 得, 循).
Sweat warms and moistens like ice in a jade pot (sweat, warmth, moistening).
Ancient examples:
Hong Yan:
Seeking fragrance every day while wearing a graceful dress (wearing a graceful dress)
Walking to quench thirst, rinsing with the murmuring stream.
Fang Hui:
Old from Yangliu Cherry Blossoms (Yangliu Cherry Blossoms)
The drunken, willing, moth-like, wasp-like, and arrogant (moth-like, wasp-like).
Regarding the use of allusions:
The middle two couplets of Seven-character regulated verse are often parallel, and the use of allusions is encouraged; most Tang and Song dynasty Seven-character regulated verse use allusions.
The so-called use of allusions refers to the use of stories, figures, and vocabulary from classics, historical records, and philosophical works to borrow and express the artistic conception of the poem.
There are four allusions in the two couplets and four sentences in the Qilu of Xian Ge. They are all two words at the end of each sentence, namely: jianzao, spider, xuandao and jade pot. The source and meaning are as follows:
Algae, aquatic plants, can absorb carbon dioxide and increase oxygen levels when they reproduce in large quantities. This is exactly what is depicted in the novel, the method Tesla and Maria used to purify Earth's atmosphere.
The Zuo Zhuan) records in the third year of Duke Yin's reign that tiny aquatic creatures such as algae and lichens "can be offered to spirits and gods, but can be presented as a sacrifice to kings and dukes." This means that although small, these creatures have small uses. Later, the phrase "offering algae" came to mean making small contributions and playing a significant role.
Du Fu also used this phrase in his poem. "Offering celery is small and insignificant, recommending algae is modest and unworthy."
A few small algae cannot clarify the Earth's atmosphere unless they "flourish" and cover the ocean. That's why Xian Ge used the word "flourish" in his poem, which is exactly. "The Earth's atmosphere is clear, and the algae flourish."
Spiders are small insects. In the "Xijing Zaji," Liu Bang's strategist Lu Jia said, "When spiders gather, all things will be auspicious; Heaven uses this as a sign of good fortune. It is a response to people's virtue, hence it is called an auspicious omen." This means that seeing a spider indicates that good things will happen.
Ouyang Xiu quoted Li He's poem. "A spider brushing the face foretells good fortune; a butterfly entering the curtain announces news to the family."
In this poem, Xian Ge uses the word "spider," which is related to Xian Ge prediction of the 28th Moon of Uranus in the preface. The spider web is a little elf in Shakespeare's "A Midsummer Night's Dream," and Xian Ge hopes that the new satellite will be named Spider Web, hence the use of a spider in the poem.
In the Seven-character regulated verse, the spider refers to the 28th Moon of Uranus, which is dim and small, making it seem incredibly weak. However, its discovery is a great boon for the Uranus system, as its orbit is on the outermost edge of Uranus, greatly expanding the extent of the Uranus system.
Thus came the saying, "The Heavenly King lingers around the weak spider."
Tiny algae, such as those in the "Chang" algae, make the Earth's atmosphere clearer and more transparent, thus weakening the greenhouse effect;
The spider's dimness, though "weak," can still increase the orbital trajectory of the Uranus galaxy, making the galaxy's range "expand."
The phrase "prosperity leads to weakness, weakness leads to prosperity" together corroborates the simple dialectic of Chinese philosophy.
The term "Xuan Dao" comes from the Tao Te Ching, which is familiar to most readers, so I won't elaborate further.
Pedestrians must be accompanied when following the mysterious path. The first five words are all related to "people". In addition to the ingenious arrangement of battles, Brother Xian would like to talk about the meaning of "travelers must be accompanied". Obviously, the "companion" here does not refer to travel companions or drinking companions.
The Analects begins with these three sentences: "Is it not pleasant to learn with a constant perseverance and application? Is it not delightful to have friends coming from afar? Is it not the mark of a gentleman to remain unperturbed when others do not recognize his merits?"
Once you understand the third sentence, the first two sentences will be much easier to grasp.
If you are a "traveler," contemplating and researching a certain field of knowledge, exploring its patterns, and believing you have made some discoveries, you may share them with everyone around you, but they will neither understand nor agree with you.
How can you be considered a "gentleman"?
Don't get angry if people don't understand!
Even though you're not angry or upset, do you feel lonely?
Returning to the second sentence, "A friend comes from afar," what kind of friend is that? It's easy to understand now.
Of course, it's about having companions who make you feel less alone, like-minded people who are willing to walk alongside you step by step. The readers of <Explosive Wavelength> are the companions that Xian Ge is so proud of!
Jade Pot: The idiom comes from the saying "A heart of ice in a jade pot," which is widely known and needs no further explanation.
In the novel "Explosive Wavelength," there is a recurring English word: VESSEL, which means container, blood vessel (the blood vessels of plants and animals), and large ship. The novel provides imaginative interpretations and extensions for each of these meanings.
In a religious context, VESSEL means a vessel for faith and the soul. This allegory is arranged as an important "burden" in the novel, as the Venusians, in desperation, engrave the consciousness (souls) of 6 billion people on Lingshen Star.
Lingshen Star is VESSEL! A vessel for faith and soul.
How can the meaning of VESSEL be accurately translated into Chinese? The novel uses "Holy Grail" (Shengbei), but "Holy Grail" is a Chinese character, not a Chinese word.
Brother Xian found a Chinese word: jade pot.
What was contained in the jade pot that Wang Changling spoke of? It has been sung for thousands of years, and it seems that everyone understands, yet no one has ever been able to explain it clearly.
Xian Ge believes that the jade pot contains many "things," including at least the virtues of "benevolence, righteousness, propriety, wisdom, and trustworthiness, gentleness, kindness, respect, frugality, and humility" and a clear, pure, and compassionate heart.
The jade pot is also a spiritual home for scholars all over the world, where humanity and the nation are united!
Isn't that a vessel for faith and soul?
Therefore, Brother Xian believes that when VESSEL is used as a container of faith and soul, the most accurate Chinese translation is "Jade Pot".
Your fellow traveler comes from afar, carrying a pure jade pot containing his clear and pure heart. And you? Use the passion and sweat you've accumulated along the way to warm that pure heart.
Thus, like a clear, bright jade vessel, facing a long and arduous journey, you, with hearts as pure as jade, set off together on a new adventure. As the saying goes:
Pedestrians must be accompanied by those following the mysterious path.
Sweat warms the ice-cold jade pot.
These two lines are not only literally parallel, but also semantically parallel. The first line is "personally practiced," and the second line is "cultivating the mind." This corresponds to the main conflict in the novel, namely the contradiction between technological development and ethics.
In a broader sense, the first line is "practicing the Way," and the second line is "upholding benevolence." The value conveyed by <Explosive Wavelength> is precisely that when practicing the Way, one must always uphold benevolence.
Regarding formal extension:
Poets write poems for readers, and there are two ways to "read": one is to recite them, and the other is to "silently look at" them after they have been written as calligraphy. The regulated verse, as its name suggests, has strict rules of tone and rhythm to ensure that it can be recited with intonation and rhythm.
Poets and critics throughout history have been strict about the parts of speech and tonal patterns of words, but seem to pay little attention to the strokes and structure of words.
To facilitate recitation, one should pay attention to tonal patterns; to achieve a balanced composition in calligraphy, one should consider the shapes of the characters used in the poem. Xian Ge refers to this practice of considering the calligrapher's perspective when composing poetry, intentionally choosing more suitable character shapes, as "form extension."
Pedestrians must be accompanied by those following the mysterious path.
Sweat warms the ice-cold jade pot.
If you regard the above two lines of poetry as a couplet and write it as a calligraphy work, which two characters would you intentionally write smaller? Brother Xian guesses it is "Xuan" and "Yu".
This is called "form extension".
Composers need to consider the performers. To put it more simply, when you finish building a house and leave, don't let the renovation team spit on your back.
In a poem, there are bound to be characters with many strokes. When written in traditional calligraphy, the number of strokes will be even greater. In this case, the poet should consider choosing characters with fewer strokes that are easier to write in small characters in calligraphy when they are adjacent to the poem.
For example, the characters are sun, stone, gold, jade, mysterious, out, etc., but it does not mean that the fewer the strokes, the smaller the calligrapher writes, such as the open glyphs of person, thousand, water, big, etc.
As is customary, Xian Ge searched for examples of "form extension" from ancient times, but couldn't find any at first. He only managed to find one after much effort.
Ancient examples:
Mi Fu:
The humble officials gaze upon the crimson steps (丹).
Amidst the five-colored light, I gaze upon her jade-like face.
Zhao Mengfu:
The palace willows sway gently in the breeze, their golden threads heavy (gold).
The ice melted in the imperial moat, and jade scales appeared.
Despite his efforts, Xian Ge only found two examples, which shows that the so-called "form extension" was not a standard that ancient poets writing Seven-character regulated verse had to consider.
Xian Ge took a closer look and laughed. Mi Fu and Zhao Mengfu?
Why do great calligraphers consciously or unconsciously consider the shape of the characters when composing poetry?
It turns out they had to handle both the construction and the interior decoration themselves, so they couldn't ignore the overall design, since their units were being delivered "fully furnished."
To clarify, the concept of "form extension" is a figment of Xian Ge's imagination and is not a rigid requirement of regulated verse. There is no such concept as "form extension" in ancient or modern poetry theory.
However, when composing couplets, in addition to considering the parts of speech and tones, the symmetry of the characters must be taken into account; otherwise, they will not look good when pasted on a door frame.
The requirements for writing Seven-character regulated verse are high, and it is very difficult. What I mentioned earlier are just the basic format requirements. No matter how well you do it, it is only a passing grade. It is neat and cleverly matched.
As for the softer standards such as theme, fluency, scene, rhythm, and realm, there are too many to list, so let's leave it to the readers.
Two lives, yet unable to communicate, still compete in play.
The five stars are in sync.
This couplet summarizes the main plot of the novel. Neither Tesla nor Michael could completely complete the game, but neither of them gave up. Perhaps on X Planet, at the edge of the distant Solar System, when the five planets align again, the two generations separated by 65 million years will meet.
The earth is compassionate, the heavens are faithful, the spirits have a place to reside, and the inscriptions have a place to be entrusted.
What does it matter if two lives are not connected?
The five stars will align in time, let's work up a sweat and play another game!
The last two lines of the poem also have another layer of meaning. Xian Ge has already published two novels, * Dark Frequency * and * Explosive Wavelength *, which have received some support from readers and garnered some attention, but he hasn't yet reached the top. Will Xian Ge continue this word game?
From the start to the completion of the first book, "Dark Frequency," I, Xian Ge, was fortunate enough to advance from Level 1 to Level 4 author. "Explosive Wavelength" is also finished. If I, Xian Ge, am fortunate enough to advance to Level 5 and become a five-star author, I will certainly keep my word and continue writing.
Thank you to all the readers for following and supporting me all this way. I have benefited greatly from reading your comments and I am deeply moved!
It's so good to have you all as my companions!
Come on, let's do it together!
Reciting Tagore's lines: Believe in love! Whether in joy or sorrow, the true nature of a hero rises and falls within my heart.
Sing Beethoven's song: To Hope! Even after thousands of years, through countless changes, we must believe in the enduring power of nature!
Borrowing the title of this Seven-character regulated verse quatrain from Chapter 64 of the novel, "A Thousand Autumns" (Nian Nu Jiao), I share with my fellow readers our hopes and expectations.
The hymn of love, to be continued!
See you in Part 3 of <Nikola Tesla's Rope>!
&
Poems composed to seal the chapter:
The Milky Way displays its beauty in all directions, by Yang Yi (Song Dynasty).
Observing the Minute, Towering Thousands of Chapters. —Zhang Gang, Song Dynasty
Who will share my heart and courage if we start anew? —Guo Yu
Another Branch Emerges, Long and Prosperous by Wang Tinggui of the Song Dynasty.
The Two Eras Compiled and Rewarded by Old Companions, Song Dynasty, Su Song
The perpetual calendar is recorded in the imperial palace. (Ming Dynasty, Lu Duo)
The Heaven and Earth Vast, Body Like a Sojourner. — Zhang Bi, Ming Dynasty
The Dabbing and Dyeing Miraculously, Creation is Busy. — Chen Youxue (Ming Dynasty)