What are the characteristics of the literary form "Fu"? What literary works can be endowed?

As an important style of China classical literature, Fu is far less popular with modern people than poetry, prose and novels. However, in ancient times, especially in the Han and Tang dynasties, poetry and fu were often neck and neck, as can be seen from Cao Pi's "Poetry and fu are all beautiful" and Lu Ji's "Poetry and fu are beautiful because of emotion, vivid and vivid". Fu originated in the Warring States Period, flourished in the Han and Tang Dynasties, and declined in the Song, Yuan, Ming and Qing Dynasties. During the Han and Tang Dynasties, there were literati who only wrote poems without writing them, but there were almost no talented people who only wrote poems without writing them. After Jian 'an and even the whole Six Dynasties, Fu was even praised as a poem. Qu Yuan's works are called Fu in historical records, and Qu Yuan's works are also called Fu in Hanshu. Later generations praised history and Han, so they called the works of Qu Yuan and others Fu. Fu is the most representative style in Han Dynasty, which can best reflect its spirit of the times. On the basis of inheriting the tradition of "The Book of Songs" and moving closer to "Songs of the South", it blended the extravagant style of the articles of the Warring States and the related factors of the works of pre-Qin philosophers, and finally became a new style. Together with the poems of the Han Dynasty, it made the literature of the Han Dynasty brilliant.

The source of fu

The first person to use the word "Fu" as a style should push Sima Qian. During the reign of Emperor Wendi of Han Dynasty, The Book of Poetry became a Confucian Classics. In this context, it is extremely inappropriate to call Qu Yuan's works poems. However, Qu Yuan's works can only be read but not sung, and it is not appropriate to call them "songs". So Sima Qian chose two names: Ci and Fu. However, he still prefers to use words to name Qu Yuan's works, because Qu Yuan's works are rich in literary talent. The works of Song Yu, Le Tang and Jing Ke are called "Fu". What really calls one's work Fu is. Then at the end of the Western Han Dynasty, literati often wrote their own works in the name of "Fu". The name "Fu" was first seen in Xun Kuang's Fu Pian at the end of the Warring States Period. The original poems and songs can be sung, but Fu can't, so he can only recite them. It looks like prose with poetic rhythm, which is a style between poetry and prose.

Han Fu is a rhyming prose that appeared in the Han Dynasty. It is characterized by the combination of rhythm and rhyme, and is good at narration. From the form of fu, it lies in "copying and taking text"; As far as the content of Fu is concerned, the emphasis is on "writing things and writing ambitions". The content of Han Fu can be divided into five categories: one is to render Miyagi; The second is to describe the emperor hunting; The third is to describe the travel experience; The fourth is to express unsatisfied feelings; The fifth is about animals and plants. In the past, they were representatives of Han Fu. Fu is the most popular style in Han Dynasty. During the 400 years of the Han Dynasty, most ordinary literati devoted themselves to this style of writing, so it flourished for a time, and later generations often regarded it as the representative of the literature of the Han Dynasty.

[Edit this paragraph] The structure of Han Fu

Generally speaking, Han Fu has three parts in structure, namely preface, text and ending called "chaos" or "news". Most of the writing methods of Han Fu are flowery and gentle, praising the strength of the Han Empire or the civil and military style of the rulers, with only a few strokes at the end, which is slightly ironic and admonitory.

[Edit this paragraph] Categories of Han Fu

Han Fu can be divided into big Fu and small Fu. Da Fu, also known as Three-body Da Fu, has a huge scale, magnificent structure and magnificent vocabulary, and is often a huge system with thousands of words. Jia Yi, Mei Cheng, Sima Xiangru and Yang Xiong in the Western Han Dynasty, and Ban Gu and Zhang Heng in the Eastern Han Dynasty were all great fu writers. Fu Xiaoyang abandoned the shortcomings of big fu, such as verbosity, rhetoric, giving up the basics and lacking emotion. On the basis of retaining the basic literary talent of Han Fu, it created short Fu, short Fu, Zhao Yi Fu, Cai Yong Fu and lyric Fu.

[Edit this paragraph] The emergence and development of Fu

China's writing style in han dynasty. As a stylistic name, it originated from Xunzi's Fu. As a literary system, it was directly influenced by Qu-Song Chuci and the wanton trend of Warring States. Due to the developed economy and strong national strength of the Han Empire, it provided a solid material foundation for the emergence of Han Fu. However, the rulers' love and advocacy of Fu made the literati compete to write Fu, and Han Fu became the main style of literary creation in the 400 years of Han Dynasty.

Fu, as a literary style, was produced as early as the end of the Warring States Period. Perhaps Xunzi was the first person to write Fu-style works and became famous for it. According to Hanshu? According to the records of Yiwenzhi, Xunzi wrote 10 (there are five existing articles: ritual, ambition, luck, silkworm and chastity), in which five things were written in popular argot. There are also Song Yu's Fu-style works in the old Chu State, such as Feng Fu, Gao, Goddess Fu and so on. The rhetoric is colorful and ironic. Compared with Xun fu, they seem to be closer to Han fu, but it may be entrusted by later generations by mistake, and there is no conclusion. Judging from the existing Xun Fu, this kind of Fu is still in its infancy. The further development of Fu style was greatly influenced by the new style of military prose and Chu ci at the end of the Warring States period. The main feature of Fu style is to lay out the details, "recite without music" and approach to prose, but in its development, it has absorbed some characteristics of Chu ci-gorgeous rhetoric and exaggerated techniques, thus enriching its own system. It is precisely because of the close relationship between the development of Fu style and Chu Ci that Ci Fu was often called Fu in the Han Dynasty. The so-called "Sao-style Fu" in the early years of the Western Han Dynasty is really close to Chu Ci, and it is difficult to distinguish it clearly.

The formation and development of Han Fu can be divided into three stages. Fu writers in the early Han Dynasty inherited the legacy of Chu Ci. At this time, the so-called "Sao-style Fu" was popular, and then gradually evolved into the so-called prose-style Fu with independent characteristics, which was the main body of Han Fu and the most prosperous stage of Han Fu. After the mid-Eastern Han Dynasty, prose poetry gradually declined, and lyric poetry began to rise. This development and change process of Han Fu is closely related to the change of social conditions in Han Dynasty.

The first period was from the early years of Emperor Gaozu to the early years of Liang Wudi. At that time, the so-called "the gentleman is determined to win, and the day is not free." Feudal rulers' ideological and cultural imprisonment was lax, and Confucianism had not yet occupied a dominant position. At that time, kings and scholars wrote books and said that cultural thoughts were still relatively active. Cifu in this period mainly inherited the tradition of "Songs of the South", and the content was mostly works expressing the author's political opinions and life experiences, which had a preliminary change in form. At this time, the more accomplished and representative writers, except Huainan Xiaoshan and Meicheng, were Jia Yi.

Jia Yi's Mourning for Qu Yuan expresses his indignation. Although mourning for the dead, it is a self-metaphor. The form and style of this article is the inheritance of Sao style, but because the work is about the author's true feelings, it is obviously different from the later works that created feelings for words purely out of imitation of Chu Ci. Jia Yi's Ode to the Owl is a work of mourning, assuming dialogue with the Owl and perfunctory writing. On the one hand, this paper adopts the method of subject-object question and answer, and at the same time, it tends to use the method of exposition. The rich flavor of prose indicates that a new kind of prose is gestating and forming.

The author of "Recruit Hermits" in Huainan Mountain urgently appeals to hermits who live in seclusion in the mountains to retire as soon as possible. The description, narration and exaggeration of mountain scenery are full of rich imagination, and it is a masterpiece of Sao style fu in the early Han Dynasty.

Both Jia Yi's and Huainan Xiaoshan's Fu were not far from Sao style, but began to change in some aspects, and the first writers and works that marked the formal formation of Han Fu were Mei Cheng and his seven hairs.

Mei Cheng mainly lived in the period of Emperor Wen and Emperor Jing, and died in the early years of Emperor Wu. His Seven Hair wrote that the King of Chu was ill and Wu Ke went to meet him. He criticized the corrupt and enjoyable life of the ruling class through the question-and-answer between the subject and the object, and showed that the stubborn disease of the aristocratic children was rooted in the decadent thoughts of the ruling class, and all medical stone acupuncture could do nothing but use "punch lines" for ideological treatment. "Fu" used seven paragraphs, laying out the beauty of music, the sweetness of food, the price of horses and chariots, the joy of roaming, the grand occasion of hunting and its grandeur. Although Qifa was not famous for Fu, it had formed a big Fu system in the Han Dynasty. It's all prose, occasionally mixed with Chu ci poetry, forming chapters and sentences in the form of questions, with broad structure and rich rhetoric. Liu Xie said, "Meicheng is gorgeous, and the first edition of Seven Hair is full of words and magnificent." ("Wen Xin Diao Long? From Sao Fu in the early Han Dynasty to Han Fu by Sima Xiangru, Yang Xiong and others, Qi Fa is an important work connecting the past and the future.

In the second period, from the early years of the Western Han Dynasty to the middle of the Eastern Han Dynasty, it was about 200 years, and the 90 years from Emperor Wu of the Han Dynasty to Xuan Di was the heyday of the development of Han Fu. According to Hanshu? Yiwenzhi records more than 900 pieces of Han Fu with more than 60 authors, most of which are works of this period. From the works handed down from ancient times, most of the contents describe the national conditions of the four major States of the Han Empire, the prosperity of emerging cities, the richness of land and water products, the richness of palace gardens, and the magnificent scenes of hunting and singing by royal nobles.

The period from Liu Che, the Emperor of the Han Dynasty, to Liu Xun, Xuan Di, that is, the mid-Western Han Dynasty, was a period of great economic development and the strongest national strength of the Han Empire. Emperor Wu of the Han Dynasty is a very talented emperor. He inherited the "laws of culture and scenery". In order to further defend the country and consolidate the political power, he attacked the Xiongnu in the north to avoid the border troubles for many years. The fighting in the south ended some tribal disputes in the south. In the eyes of ordinary feudal literati, this is undoubtedly a "prosperous time" worthy of praise. In addition, Liang Wudi, who is fond of success and elegant in literary talent, recruited many civil servants to his side, advocated ci and fu, and lured him to make a fortune. Therefore, under the excuse of "promoting the past and inheriting the past, and moistening things silently", a large number of works praising virtues were produced. Ban Gu said in "Preface to the Ode to the Two Capitals": "As for the world of Wu Xuan, it is to worship officials and examine essays, set up a golden horse and stone canal department inside, and promote Yuefu to assist the law outside, so as to revitalize the waste and the future and moisten the great cause. ..... Therefore, the ministers of the attendants, such as Yu Qiushou, Wang, Bao Wang, Liu Xiang, etc., will discuss their thoughts in the morning and evening, and offer them in the sun and the moon. Ministers, such as Ni Kuan, kong zang, Dong Zhongshu, Deng Xiaoping, and Prince Taifu, intercropped from time to time. Or express their feelings and satirize the Oracle, or preach virtue, loyalty and filial piety, elegance and luxury, focus on the inheritors, and suppress elegance and praise Asia. So the world of filial piety has been recorded, and there are more than a thousand articles about it. "

Fu in this period is basically the same as Ya Song in The Book of Songs, and it is a kind of court literature, serving the feudal ruling class. As the attendants of the emperor, some writers praise the emperor, but they are always dissatisfied with their similar status, so they also write some works that express their feelings of life and are mainly satirical. Some writers were encouraged and delighted by the unprecedented prosperity of the Han empire at that time, but they were worried about the extravagance and luxury of the royal family, regardless of historical lessons and people's livelihood at that time. This constitutes the overall characteristics of the ideological content of some great works at that time. They were often praised and boasted in the past, but also satirized and admonished in the future. The unification of the two in one work caused the complexity of the ideological content of these great works in the Han Dynasty.

Sima Xiangru is the founder of Da Fu in Han Dynasty, and also a representative writer with the highest achievement. Zi Xu and Shang Lin in Selected Works are his representative works. According to the biographies of Historical Records and Hanshu, it is determined that these two poems are either one, that is, Poems of the Emperor. These two articles, with hunting as the theme, describe the grand occasion of hunting by emperors and princes and the splendor of the palace in an extremely exaggerated way, and then boil down to praising the strength of the unified Han empire and the dignity of Emperor Wu of the Han Dynasty. At the end of Fu, the author adopts the way of letting Emperor Wu of Han Dynasty have fun and then reflect on himself, and euphemistically expresses the author's intention of punishing extravagance and persuading frugality. Sima Xiangru's two poems occupy an extremely important position in the development history of Han Fu. They spread the splendor of the court and the luxury of the emperor's life in the form of gorgeous words, exaggerated decorations, rhymes and questions and answers, which fully showed the typical characteristics of Han Fu, and thus determined a system of spreading great Fu and the so-called tradition of "advising all to satirize one". Later, some great poems describing Kyoto Palace, hunting and cruising regulated it, but it was always difficult to surpass it in scale and momentum. Therefore, "if the door of Confucius is endowed with Fu, Jia Yi will be promoted to the DPRK and feel like entering the DPRK." ("French words? My son ")

Dong Fangshuo, Gao Mei, Wang Bo and others were also famous fu writers in the period of Emperor Wu of the Han Dynasty and Xuan Di. Hanshu? Yiwenzhi recorded a large number of their poems, but few of them were handed down from generation to generation. For example, Gao Mei recorded 120 essays, and now there is not one left. Dong Fangshuo's "Seven remonstrances" is a Sao-style fu following the Chu Ci, which is nothing new. However, his Answering the Guest and On No Gentleman, though not named, are two prose poems, which have a certain influence on the development of narrative poems in later generations. Wang Bao was an important fu writer when Xuan Di proclaimed himself emperor. Today, there are Dong Xiao Fu and Sao Style Fu. Dong Xiao Fu is an early existing work describing music, which has had an influence on later poems about objects and works describing music themes.

From the end of the Western Han Dynasty to the middle of the Eastern Han Dynasty 100 years, Zi Xu and Shanglin became the same pattern created by many writers in this period. Their works can't go beyond their scope and completely lose their fresh creativity. Only Yang Xiong and Ban Gu have their own characteristics because of their different cultural accomplishments and talents, and they are the representative writers of this period.

Yang Xiong was the most famous fu writer in the late Western Han Dynasty. Ganquan, Hedong, Hunting Feather and Changyang are his representative works. These poems are similar to Sima Xiangru's Zi Xu and Shang Lin in thought, theme and writing, but the satirical elements in the poems are obviously increased, and the artistic level is further improved. Some paragraphs are described and elaborated wonderfully, which have their own characteristics in the simulation. This is also the reason why later generations often call it "Yang and Ma". His "Robbery of the DPRK" is a prose poem, which describes his interest in life, his unwillingness to flatter powerful people and his indifference. It can be seen that it is influenced by Dong Fangshuo's Difficult to Answer a Guest. However, it still has its own characteristics in thought and art, which has a great influence on later generations. "Fu for Eliminating Poverty" and "Fu for Wine" either express the interest of being willing to be poor and despise "being rich but poor", or satirize emperors and nobles, and their thoughts and writing methods are also different.

Ban Gu was a famous fu writer in the early years of the Eastern Han Dynasty. His representative work "Fu on Two Capitals" has been widely valued by people because it lists Xiao Tong's Selected Works at the beginning. The Fu of Two Capitals imitates Sima Xiangru in style and technique, which is the continuation of the Great Fu of the Western Han Dynasty. However, he expanded the description object from the court and hunting of noble emperors to the situation, layout and meteorology of the whole imperial capital, and made more use of the actual historical and geographical data of Chang 'an and Luoyang, so it was more realistic than the Fu of Harmony. The appearance of Zhang Heng and even Zuo Si's so-called "Kyoto Dafu" was obviously influenced by the "Dudufu".

In the third period, from the middle of the Eastern Han Dynasty to the end of the Eastern Han Dynasty, the ideological content, system and style of Han Fu began to change. The great Fu devoted to paving the way and collecting essays gradually decreased, while the short Fu reflecting the dark reality of society, satirizing current events and lyrical chanting things began to rise. After the mid-Eastern Han Dynasty, eunuchs and consorts fought for power and profit, politics became increasingly corrupt, emperors and nobles were extravagant, extortion, social unrest occurred frequently, and people's livelihood declined. Scholars have lost the spirit of striving for strength, and the mood of disappointment, indignation and even worrying about the country and the people has become the keynote of their thoughts, which has promoted the expansion of the theme of Ci and Fu and the change of their style. This situation began with Zhang Heng.

Zhang Heng's representative works are Erjing Fu and Guitian Fu. In his early years, Erjing Fu was created with the feeling that "the world endures for a long time, and it should start from the extravagance of princes", which basically imitated Sima Xiangru's two Beijing Fu. But his accusation of the ruling class's dissolute and enjoyable life is relatively strong and true. He warned the rulers that the fate of heaven was disastrous, and the people's grievances were terrible. Please ask the rulers to understand what Xunzi said: "The water is the load, and the boat is turned into a bandit." This was inspired by the sharp social contradictions at that time, which showed the literati's sense of crisis to feudal rule at that time. Besides describing the situation, palaces and products of the imperial capital, Erjing Fu also described the feelings and customs of many people at that time, which accommodated a broader social life. Of particular concern is his Return to Tianfu. The author uses fresh language to describe the natural scenery and express his feelings, showing his character of refusing to go with the flow and being indifferent to himself when the eunuch was in power and ruled Japan. This is a great turning point in the development history of Han Fu. He changed the "material" fu specially created for emperors and nobles into a small fu with personal expressiveness and lyricism, which made his works have the author's personality, and his style tended to be simple and smooth from carving to stacking. Before Zhang Heng, there had been some fu expressing ambition and things, such as Ban Biao's Fu on the Northern Expedition, which showed a sense of life experience and showed signs of a change in fu style. On the basis of predecessors, Zhang Heng made a fundamental turning point in the development of Han Fu.

Zhao Yi and Cai Yong followed Zhang Heng. Zhao Yi's Disdain for Evil exposes and criticizes the dark phenomenon of "false feelings" in the late Eastern Han Dynasty, and shows the rebellious spirit of taking evil as enemy. This essay is sharp in language, compassionate and revealing, which is completely different from the big essay of the previous stage, which is full of praise, beauty and bravado. Cai Yong's "Shu Xing Fu" was forced to the capital by the eunuchs in power during the reign of Emperor Huan, and I felt something on the way. In Fu, the author not only exposes and criticizes the reality that eunuchs were autocratic, political darkness and nobles were dissolute and shameless at that time, but also sympathetically writes about the sufferings of the people at that time, showing the author's love and hate, with plain language and cold style, which is quite infectious. Later, Mi Fei's Ode to a Parrot was a profound poem about objects. By writing about parrots, the author expresses his feelings of being born in the last days and being persecuted repeatedly. These works completely break through the old tradition of ode. Although they were few in number, they paved the way for the development of lyric poems, scenery poems and object poems in Jian 'an Southern and Northern Dynasties.

[Edit this paragraph] Fu's position and influence in the history of literature

Fu is a new style in China literary world after The Book of Songs and Songs of the South. Before the appearance of literati five-character poems at the end of Han Dynasty, it was the main literary style created by literati during the 400 years of Han Dynasty. Poets in feudal times praised Han Fu, but they thought that the authentic Han Fu was the great fu of Mei Cheng, Sima Xiangru, Yang Xiong, Ban Gu and Zhang Heng, but it was these great fu that showed many limitations in thought and artistic form. Criticism of the western Jin dynasty: "the fu of ancient poetry." Friendship first, supplemented by things; Today, it is endowed with the shape of things and helps them with righteousness. " His so-called "modern fu" refers to the great fu that rose in the Han Dynasty. He thinks they are "too illusory, they are still far from class; Escape words are too strong, contrary to things; If you argue too much, you will lose your righteousness; If you are too beautiful, it will go against your feelings. " Zhifu's criticism of the social function and some fundamental defects in art of Han Fu is pertinent.

Despite the above shortcomings, Han Fu, especially those great Fu, still has a certain position in the history of literature.

First of all, most of the great poems describing palaces, hunting and the capital describe and praise the vastness of the country, the richness of land and water products, the splendor of palaces, the prosperity of cities and the civil and military style of the Han Empire, which was not meaningless at that time. The words of exhortation to feudal rulers in Fu also reflected the thoughts of these fu writers against the excessive extravagance of emperors, indicating that these fu writers were not flatterers and flatterers who had no principle of right and wrong for emperors and nobles. Although this idea is often euphemistic and has little effect, it should not be erased.

Secondly, Han Dafu has made some achievements in enriching the vocabulary of literary works, training language sentence patterns, describing skills and so on, although it is dazzling, piling up words and even making good use of strange words. Many poems after Jian 'an are often inspired by Han Fu in language, rhetoric and narrative techniques.

Finally, judging from the history of literary development, the prosperity of Ci and Fu in Han Dynasty also played a certain role in promoting the formation of China's literary concept. China's rhyme began in The Book of Songs and Songs of the South, and developed from the Western Han Dynasty to the Eastern Han Dynasty, which initially distinguished literature from general knowledge. Hanshu? In Yiwenzhi, there is a special poem "Fu Lue" besides "Zhuzi Lue", and besides the so-called Confucianism and Confucian classics, there is also the concept of "article". In the Wei and Jin Dynasties, there was a "poetic desire for beauty" (Cao Pi's canon? Paper), "Poetry is beautiful because of emotion, but clear because of style" (Lu Ji's "Wen Fu") and other basic characteristics of literature are discussed and understood, and the literary concept is becoming clearer and clearer. 》

Han Fu was lost in the process of spreading, and the existing works include some fragments of about 200 pieces, which were included in Historical Records, Hanshu, Houhanshu and Selected Works respectively.

[Edit this paragraph] The main representative of Han Fu

Sima Xiangru: Zi Xufu, Shang, Fu, Ai, Changmen Fu and Beauty Fu.

Meicheng: Qi Fa (Chu Ci), Liu Fu and Liang Wang native Fu Yuan.

Jia Yi: Fu on Birds

Yang Xiong: Hedong Fu, School Hunting Fu and Changyang Fu.

Wang Bao: Ode to Dong Xiao

Ban Jieyu: Mourn for yourself.

Liu Xiang: Nine sighs.

Liu Xin: Sui Chu Fu

Ban Gu: DuDu Fu

Ban Biao: The Northern Expedition.

Fu is a marginal style between poetry and prose.

Between them, Fu is closer to poetic style. From the Han Dynasty to the early Tang Dynasty, Fu was closer to poetry than prose. From the perspective of subject matter, the subject matter of Chu Ci works is relatively simple, and most of them are "sad people don't meet." Moreover, its form is relatively fixed, and they all imitate Qu Yuan's works and write their own misfortunes and troubles like Qu Yuan. The extravagant decorations in Qu Yuan's Evocation of Soul have a great influence on Han Da Fu. Fu has a strong literati flavor since its birth, which is the reason why it is deeply influenced by Chu Ci. Sao style fu mostly adopts the metaphor of "vanilla beauty" in Chu Ci, and often follows the metaphor of Chu Ci.

Since the word "Fu" was formed, Fu and poetry have been intertwined and influenced each other. During the Wei, Jin, Southern and Northern Dynasties, there was a confluence of poetry and fu. However, poetry and fu are necessarily two different styles. Generally speaking, most poems are written for feelings, while Fu often writes for feelings. Poetry focuses on lyricism, and fu focuses on narrative objects. Liu Xizai, a poet in A Qing, said: "Different from poets, there is less emotion in poetry and more emotion in poetry."

Han fu style

That is, Sao Style Fu, Four-character Poetry Fu and Prose Fu (or Da Fu). Judging from the structure and language of Fu, prose, seven-character style, argumentative style and body fu in Tang Dynasty are all close to prose, and some of them can completely belong to the category of prose. The poetic features of Fu are somewhat similar to prose poems in modern literature.

trait

First, sentences are mainly four or six sentences, pursuing parallel antithesis; Second, it requires harmony in phonology; Third, pay attention to algae decoration and allusions in language. Antithesis and algae decoration are a major feature of Han Fu. After a long process of evolution, it developed to the middle Tang Dynasty. Under the influence of the ancient prose movement, there appeared a trend of prose, which did not talk about parallel prose and rhythm, and the sentence patterns were uneven and the rhyme was relatively free, forming a fresh and smooth prose momentum, called "Wen Fu".

Parallel prose was greatly influenced by Fu, and matured in the Southern and Northern Dynasties compared with the Eastern Han Dynasty. Literati in Han Dynasty used a lot of parallel prose in their articles. So that some famous articles are regarded as parallel prose. For example, Wu Chengfu by Bao Zhao in the Southern Dynasties, Fu Xue by Xie Huilian and Yuefu by Xie Zhuang.

The difference between poetry and fu

Fu originated from Chu Ci and inherited the tradition of satire in The Book of Songs. Regarding the difference between poetry and Fu, Lu Ji, a writer in Jin Dynasty, once said in "Wen Fu" that poetry is beautiful because of emotion and delicate because of body. In other words, poetry is used to express subjective feelings and should be written beautifully and delicately; Fu is used to describe objective things, and it should be written clearly and smoothly. Lu Ji was from the Jin Dynasty. His ci shows the main characteristics of poetry and fu before Jin Dynasty, but it cannot be copied mechanically. Poetry should also write things, and fu also has lyrical elements. Especially in the Southern and Northern Dynasties, lyric fu developed and changed from content to form.

stage

Fu, except the initial stage of Chu Ci, has gone through several stages, such as Sao Style Fu, Han Fu, Parallel Prose Fu, Law Fu and Wen Fu.

Humphries, everyone

Sima Xiangru, Yang Xiong, Ban Gu and Zhang Heng were praised as the four masters of Han Fu by later generations.