In the poem "There are talented people in the rivers and mountains, each leading the trend for hundreds of years", the "Fengsao" in the poem usually refers to the "national wind" in < > and the

In the poem "There are talented people in the rivers and mountains, each leading the trend for hundreds of years", the "Fengsao" in the poem usually refers to the "national wind" in < > and the "Li Sao" in Qu Yuan's < >. In the history of Chinese literature, "fengsao" is a synonym for "Guo Feng", which represents the Classic of Poetry, and "Li Sao", which represents the Chu Shi. The "Feng-Sao" tradition is developed under the influence of "Poetry Classic" and "Chu Rhetoric" to form the two fine traditions of ancient poetry in China, namely, the "wind" poetry tradition formed on behalf of "Poetry Classic" "National Wind" and "RiSao" poetry tradition formed on behalf of "Chu Rhetoric" "RiSao".

The two fine traditions are the "wind" tradition formed by the "National Wind" of the "Classic of Poetry" and the "riot" tradition formed by the "Chushu".

The so-called "wind" poetic tradition is the spirit of realism that has been passed down from generation to generation. The basic principle of realism is to reproduce life according to the actual style of life, and to express the author's thoughts and feelings through the real, concrete, and figurative depiction of life, reflecting the essence of social life or some aspects of it. The folk songs in the State Winds and the political satires of the ministers and officials in the Er Ya are a concentrated manifestation of this spirit of realism. In terms of content, they face the reality, describe the reality, expose the reality, criticize the reality; in terms of artistic expression, they are good at using simple style, concise language, and clever simile to create real, natural and vivid images, and depict intimate and touching pictures of life, so as to express their feelings and reflect the reality. This is the main feature of the "wind" poetic tradition, i.e. the realist poetic tradition. Inheriting and developing the spirit of realism of the "wind" poetic tradition in the later literature, there are the following: the folk songs of the two Han dynasties, the poems of the literati of the Jian'an and Cao Wei eras, the folk songs of the Northern Dynasties, the "poetic history" of Du Fu in the Tang Dynasty, the "New Lefu Movement" of the Middle Tang Dynasty, which was advocated by Bai Juyi, and the "New Poetry" of the Middle Tang Dynasty, which is the most important of all. "New Music Movement" of the Middle Tang Dynasty, "Bai Juyi Style" poetry represented by Wang Yucheng's works of the Song Dynasty, and the poetry of Yuan Haowen during the Jin and Yuan Dynasties. The Yuan dynasty Guan Hanqing's plays and the Qing dynasty Cao Xueqin's novel Dream of Red Mansions are not poems, but they have inherited the fine tradition of realist literature.

The so-called "sao" poetic tradition is a positive romantic approach full of passion and fantasy. The principle of positive romanticism "seeks to strengthen the will of man to live, and to arouse in him a revolt against reality and all its oppressions". The poet Qu Yuan's long political lyric "Li Sao" centrally embodies this spirit of positive romanticism. This is manifested in both the ideological content and artistic techniques of Li Sao. In terms of content, Li Sao expresses Qu Yuan's ideal of progress and his unrepentant pursuit of that ideal. This is the essence of positive romanticism. In terms of artistic technique, Qu Yuan, on the one hand, used rich mythological materials to form a strange mythological world through free fantasy, thereby expressing the poet's inner conflict and search for heaven and earth as well as his unswerving patriotism; on the other hand, he also made use of the picaresque technique of the folk songs to create the world of "Vanilla Beauty" to symbolize his relationship with the state of Chu. On the other hand, Li Sao uses the folk song's technique of simile to create a world of "vanilla beauty" to symbolize his struggle with the corrupt and dark forces of Chu, which is a struggle between truth, goodness and beauty, and falsehood and evil. This feature of Li Sao, which expresses the author's persistent pursuit of the ideal of progress with rich fantasies and enthusiasm on the basis of real life, is also the main feature of the "Sao" poetic tradition, i.e., the literary tradition of positive romanticism. This literary tradition of positive romanticism has also been passed on to later generations, including the rhetorician Jia Yi in the Han Dynasty, Cao Zhi in the Jian'an Era, Ruan Ji in the Zhengshi Era, Zuo Si and Bao Zhuo in the Two Jin and Six Dynasties, Li Bai in the Sheng Tang Dynasty, Li He in the Middle Tang Dynasty, and even the heroic school of lyricism in the Song Dynasty, represented by Su Shi and Xin Qiji, and the novelists Wu Chengen and Pu Songling in the Ming and Qing Dynasties, all of whom have inherited and developed this fine tradition to a certain extent.