zá yán （杂言）
《新乐府》之大量采用三七杂言体的现象也可从这一角度得到进一步解释。
From this point of view, we can also get further interpretation why Bai used so much three or seven characters.
文学史研究者一般都视句句韵变隔句韵为中古七言体式转型的标志，本文进一步探讨了七古在杂言诗催化之下由句句韵变为隔句韵的背景和原因。
The change from rhyming every line to every other lines generally viewed as the symbol of the style transformation of mid-ancient seven-character poems.
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