The Characteristics of Fu in Ancient Chinese

Han Dafu as "the literature of a generation" in the content, to the Kyoto Park hunting as the theme, the use of fictional imagination and other methods of exaggeration, "persuade a hundred irony" against the emperor's extravagance and luxury, with the beauty of the giant and the form of the characteristics of the exposition.

Keywords: Han Dafu Formal Characteristics Content Characteristics

Main text:

I. What is Han Dafu

Fu, is a new style of writing gradually formed and developed during the pre-Qin period, different from poetry and literature, which contains two layers of meaning: the expression of the presentation and the stylistic "not singing but reciting. It contains two meanings: presentation and stylistic "recitation without song". Mr. Ma Jigao synthesized the previous discussion, the fugue is divided into four categories: by the evolution of the chu song of the tao style fugue; by the evolution of the question and answer style of zhuzi and the words of the travelers of the text fugue; by the evolution of the "Classic of Poetry" poetic fugue; similar to the vernacular of the popular fugue. In the Han Dynasty, Fu was further developed on the basis of widely absorbing the culture of the Warring States, and became the most popular literary style, and later people called it "Han Fu" along with Tang poetry, Song lyrics, and Yuan operas.

Han Fu is the formation of Wen Fu in the development of change, and Mr. Ma Jigao called it as "Bravado Rhetoric Fu", and there are also the names of Ancient Fugue, Prose Fugue, Man Fugue, and Scattered Fugue, etc.

II.

Second, the formation of Han Fu

Han Fu in the form of Chu Fu, and in the spirit of "Poetry" from the "Fu". During the Warring States period, there were two factions of fugue in the north and the south. Since the Poetry Classic, the northern faction of fugue has not been interrupted along the clues from the northern ballads to Xun Shi's "Fugue", the Qin Dynasty stone-carved texts, and the miscellaneous fugue development of the Qin Dynasty. The development of the Southern School of Fugue has always maintained its own tradition and characteristics, i.e., from the folk songs of Chu land through the transformation and creation of Qu Yuan, and the development of Song Yu's fugue and the early Han Riot Style Fugue, whose clues are also very clear. The formation of Han Dafu is the result of the fusion and development of these two genres in the Han Dynasty (the spread of Chu Fugu in the central seat of power in the early Han Dynasty and the interest of the emperors) and the acceptance of the influence of the pre-Qin prose (the gradual disappearance of the style of vertical and horizontal and the transformation), which can be summarized as the spiritual essence inherited from the poetic teachings; the gorgeous form of rhetoric transmuted by Qu Sao; and the versatile structure of the content in and out of the sons of the Warring States.

Three, the characteristics of Han Dafu

(1) Formal "host-guest question-and-answer" and "gourd structure"

The "host-guest question-and-answer" is a feature of Han Dafu, which inherited the question-and-answer style of the pre-Qin and zhizi. Inheriting the question-and-answer prose of the pre-Qin and Qin zhuzi, Zixu Fu, Shanglin Fu, and Liandu Fu all use the way of "describing the guest and the host with the first citation" (Wenxin Diao Long - Interpretation of the Fu). To "Xidu Fu" as an example, the beginning of the cloud: there are Xidu guests asked the master of the East said: "I heard that the beginning of the operation of the Royal Han, tasted intentionality are Hailuo carry on. Dropped out and Fukang ...... made me on the capital. The master heard the reason and see its system?" The master said: "not also. I wish you set forth nostalgia of the stored thoughts, send the ancient feelings, Bo me to the Imperial Way, Hong me to the Hanjing." Bin said: "Only. ...... "After that, there are more than two thousand words describing the text of Chang'an in the Western Capital, without a single line of dialog. Then there is the gourd-shaped structure of the Great Fugue: the two main parts have their own beginning and end, but the two are somehow related to each other. This way of structure can be traced upwards to Song Yu's "Gao Tang Fugue" and "Goddess Fugue", and after that, most obviously, a special form created by Sima Xiangru with Song Yu's writing about men and women, and thus "Zi Xiu" and "Shang Lin" later became the models for the great fugue writing about field and hunting and Kyoto subjects.

(2) Formal "big"

The most fundamental reason for the prosperity of Han Fu is that the Han society provided big depictions for Han Fu, and the Han people had the aesthetic interest in the beauty of big. On the one hand, this kind of aesthetic interest dominated the creation of Han Fu; on the other hand, Han Fu was especially adapted to the psychological and aesthetic stereotypes of the Han Dynasty people from the style and expression method. In this way, the reality of the big, the aesthetic ideal of the big and the big of the system of Han Fu perfect combination, shaping a series of grand masterpieces.

During the Han Dynasty, the ruling class needed the Han fugu to express their prestige of the sea, and the increasingly rich social life needed the Han fugu to reflect it. In the big empire of the Han Dynasty, the big territory, the big people, the big mountains and rivers, the big city, the big palace, the big forest, the big culture, the big Han people's upward spirit of opening up the realm of existence, the broad-mindedness of the eclecticism, the great enthusiasm of the people in the period of the social upswing, in a word, the people's self-confidence in this era, the sense of pride, the inflated desire for materialism, the exaggerated state of mind, are all difficult to be reflected in the non-fugue of the big. Liu can accurately grasp the "seven hair" "unique and magnificent", "Dongjiao" "poor change in the sound and appearance", "both" "elegant support", "two Jing"" Macro rich", "Ganquan" "deep Wei" features, it is to see the fugue to the beauty of the big. The "big" of big fu is summarized in four qualities: Firstly, the big fu of Han Dynasty is big in comparison with the contemporaries of the tao and poetic fugue, and the system is big and the length is big. For example, Sima Xiangru's "Zixu", "Shanglin" two fugues, Yang Xiong's "Ganquan", "Fei Hunting", "Chang Yang" three fugues, Ban Gu's "Two Capitals Fugue" and Zhang Heng's "Two Capitals Fugue" and so on, all of them are structured and magnificent, more than 1,000-word long masterpieces; secondly, great vigor. Han Fu in exaggerating the material richness of Kyoto, geographic superiority and the emperor's grand hunting scenes, life enjoyment of luxury, all have a kind of grandiose and broad atmosphere. This is inseparable from the economic prosperity of the Han Empire, the unification of the country and the strength of the country, and is a reflection of the increased self-confidence of the literati. Thirdly, the content of Han Dafu is inclusive. The choice of subject matter is not only to depict the mountains and rivers, Kyoto, palaces, hunting and other grand things, as well as customs and other aspects of the content, are extremely rendering the prestige of the Han Empire.

(C) the form of "Li"

"Li" has a wonderful, gorgeous meaning. Chu Rhetoric - Invocation of the soul: "by the text service fiber, Li and not strange some." Wang Yi note: "Li, beautiful also." The Book of Bi: "I have been a luxurious and beautiful person for ten thousand years." Kong Yingda's commentary: "The common people have been transformed into luxury and splendor." For the fu, "li" mainly refers to the gorgeousness of describing objects and words, which is manifested by piling up rhetoric, spreading exaggerations, arranging even sentences, and emphasizing on sound and rhyme, and so on. Han Dafu has the form of gorgeous and obscene characteristics. This is not a natural formation, but a product of the article writer's deliberate text. Sima Xiangru in reply to a friend Sheng see how to write a fugue had mysteriously said: "the compilation group to become a text, columns and rust for the quality; a warp and a weft, a palace and a merchant, this fugue family traces also. The heart of the fugu family, encompassing the universe, the total character. The heart of a fuguist encompasses the universe and the characters in general, and it is not possible to get it to be passed on." (Note: Xijing Miscellany, Volume II.) The so-called "the heart of the fugu master" seems to refer to the artistic conception of the fugu; "the trace of the fugu master" refers to the form of the fugu. According to Sima Xiangru: the form of fu should be gorgeous. Speaking of rhetoric, speaking of elegance, as weaving embroidery; speaking of sound, speaking of musical beauty, as the Gongshang concerto. Therefore, "Zi Xu Fu" in "trailing the pearl flag of the bright moon, build the strong halberd of the dry generals; left the carved bow of the Wu Horn, right the strong arrows of the summer clothes," Yun Yun, the couplets are neat and tidy, and the layout of the text, not with its extreme. From this, we can see that Sima Xiangru is deliberately pursuing splendor. Yang Xiong wrote Fu, the pursuit of rhetoric, mainly by the influence of Sima Xiangru Fu, is also deliberate. The Han Book - Yang Xiong biography: "Gu tasted good rhetoric. First of all, Shu has Sima Xiangru, Fu very Hongli Wenya, ambitious, every Fu often proposed to the style." Because of the fugue deliberately pursuing the rhetoric of the gorgeous, the work more presents "spreading caiwen, extravagant more exaggerated" characteristics, so, when criticizing the fugue, critics coincidentally noticed the fugue of the extravagant characteristics. The Historical Records of China (史记-太史公自序), commented on Sima Xiangru's fugue: "The matter of ZiXu, the fugue of the adults said that it was extravagant and exaggerated." Yang Xiong also thought that the fugue: "will be the wind also, will push the class, extremely beautiful and extravagant words, extravagant and huge diffusion, competing to make people can not be added also." (Note: Han Shu - Yang Xiong biography)

(4) the form of "spread"

In the "Poetry", Fu and than, Xing, is a means of expression, with the meaning of narrative. And Fu as a literary style, although emphasizing the narrative, but a "pavement caiwen" narrative, that is, the narrative of the fugue can not be separated from the literary color, leaving the literary color of the narrative does not have the characteristics of the fugue. Sima Xiangru said, "Combine the qigu to form a text, list the embroidery and quality, a warp and a weft, a palace and a Shang, this is the trace of fu." Fu is like the embroidery woven by the warp and weft threads, and like the music of the combination of five tones. Weaving and combining, in this genre of Fu, are manifested as vertical and horizontal spreading. Liu Xizai said, "The Fu is both narrative and column: column, a left and a right, horizontal meaning; narrative, a first and a second, vertical meaning." (The Art of Fugue) The sequence is the sequence of time, which is vertical and longitudinal; the left and right are the left and right of space, which is horizontal. What Sima Xiangru called "Wen" refers to the color of the writing, "'Quality' refers to the quality of the art form, i.e., the texture, which is the foundation on which 'Wen' relies on. It is the foundation on which 'text' is based. The spread of Han Fu, whether vertical or horizontal, time or space, are very concerned about the literary color.

The vertical presentation is in chronological order, with more obvious narrative elements; the horizontal presentation gives the reader the deepest impression of space (three-dimensional sense). For a large fugue (or a part of it), there are often layers of narration before and after, up and down, east and west, south, north and south, for example, the description of the "hill" in Yunmengze in the "Zixu Fugue". The two Du Fu", "two Beijing Fu" and so on is also this kind of writing, for example, "Xijing Fu" written about the western capital of Chang'an, cloud: "the left side of the Bancheng, the letter of the heavy danger, the Peach Grove of the plug ...... right side of the Long, his defilement ...... in the front of the Terminal South, the Taiyi ...... in the back is the Gao Ling Plain". Vertical and horizontal spread, often used in a large fu at the same time, warp and weft intertwined, Gong Shang intertwined, time and space intertwined, grand and bold, moreover, a wide range. In the portrayal of the character's dress and manners, the fugu writer also consciously to spread out. For example, "Zi Xu Fu" describes the beauty of Zheng female Man Ji. There are also features of imagination and exaggeration.

(E) content "fiction"

Pre-Qin period, artistic fiction in Zhuangzi, Qu Yuan's works, and the emergence of Han Dafu, so that fiction has become a way of literary creation. This situation is especially obvious in Sima Xiangru's "Zi Xu" and "Shang Lin" fugues. These two fu not only in the structure of the **** the same characteristics, that is, in a fictional framework in the form of questions and answers to develop the content, and the three characters in the fu, were respectively entitled "Zi Xu", "Mr. Wu You", Moreover, the three characters were named "Zi Xu", "Mr. Wu You", and "Mr. Deceased is Gong" respectively, which clearly indicated the fictional names, and the fictional color of the work appeared to be particularly strong. Since then, most of the great Han fugues, such as Yang Xiong's "Chang Yang Fu," Ban Gu's "Two Capitals Fugue," and Zhang Heng's "Two Capitals Fugue," have followed the fictionalized way of narrating their stories.

(6) "Against the luxury of emperors"

The rulers had unlimited power and endless wealth, and their lives were often extremely luxurious. And the debauchery of their lives was often associated with people's suffering. Therefore, the more far-sighted politicians and thinkers in the ruling class would always spare no effort in criticizing the historical obscenity and extravagance of the fainting kings, while praising with all their heart the bright masters who were frugal and self-possessed, so as to satirize the present day and show the future generations.

At the beginning of the Han Dynasty, the recovery and prosperity of the social economy provided a strong material basis for the ruling class to squander money.　　In response to this situation, the Han fu against the supreme ruler's extravagance as the theme of their own creations, they use the technique of borrowing the past to satirize the present, to the present emperor to politely persuade and admonish; sometimes even boldly, nakedly expose and criticize.

The great fugu are indeed almost always "satirizing" the ruling class for its extravagance, while those who refer to "citing to thrift", such as the works of Sima Xiangru and Yang Xiong, etc. The works of Sima Xiangru, Yang Xiong and other fugu writers are also very important to the emperor. The theme of Sima Xiangru's "Zi Xu Fu" is very clear. In the fugue, the author first arranged the representatives of the lords and kings - the king of Chu's Zi Xu and the king of Qi's Mr. Wu You - for their masters to compete: Mr. Wu You to the king of Qi, "the car driving thousands of rides, choose ten thousand riders, cultivate the seashore, the line of pawns full of zephyr, fu Mr. Wu You shows off to Zi Xu the grandeur of the king of Qi, while Zi Xu presses the king of Chu with the pomp and circumstance of "the matter of Yunmeng". In the end, the author let the representative of the Son of Heaven to appear on the stage, criticizing Chu's "joy of games and the size of the garden", which is not in line with the system of the vassals, and the lustful pleasure of the vassal kings and the suffering of the common people are tightly linked together in the assignment. To the son of heaven, it is inconvenient to be criticized by outsiders, the author adopts the technique of letting the son of heaven to reflect himself after the lewdness: "So the wine in the music is sound, the son of heaven is confused and thinking, seems to be like a death, said: 'Contempt, this is too extravagant'...... Then it is to solve the wine strike hunting, and ordered the Secretary said: 'the land can be reclaimed, all for the agricultural suburbs, in order to support the bud affiliates ...... if the husband galloped all day long, laboring God bitter shape ...... greedy pheasants and rabbits to obtain, the benevolent is not carefree. '" The son of heaven feel lost, hurriedly decided to push the wall to fill in the rift valley, so that the people can be planted woodcutting salary. After that, Yang Xiong remonstrated with Emperor Cheng with his "Feather Hunting Fugue", suggesting that the emperor's food and drink and amusement rituals should be moderate and should never affect the production and life of the common people. The author also criticized Emperor Cheng's ancestor, Emperor Wu of Han - "Emperor Wu widely opened the Shanglin ...... tour of the extravagant, poor and wonderful ...... then to the feather hunting, armored vehicles and military horses. ...... Shangtai luxury boasts."　Compared with Yang Xiong, Ban Gu's Fu is a little inferior. He emphasized the law in the "two capitals fugu", praising the east capital of the son of heaven for his demeanor, and criticizing the west capital of the son of heaven for his behavior of the excesses of the system. Compared with the son of Xidu, the son of Dongdu was already frugal; however, the author refused to stop there, he also wanted the son of Dongdu to "show his frugality, demonstrate his vegetarianism, remove the beautiful decorations of the harem, and lose the costumes of the passenger and the public carriage. ...... After Ban Gu, Zhang Heng's Two Capitals Fugu commented on the palace buildings in Xijing, and the son of Xijing in his hunting excursions. and the son of Xijing in the hunting and in daily life without restraint in the arrogance and luxury made full of exposure and scorn, and it is linked with the people's suffering and the safety of the feudal dynasty. It is said that if the king "must be wise in wanton extravagance", then Jie Zhou has done the right thing, and Tang Wu has not yet reformed his life. Qin Shihuang built the A-fang, the Ganquan, "tax exhaustion, manpower exhaustion", so that "the people can not tolerate", and therefore "rest shoulder in the Han". Here the author's attitude of right and wrong is extremely clear.

(7) the content of the "Beijing Palace Court Hunting" theme

Beijing Palace Court Hunting, as a social and humanistic phenomenon, its social, realistic and very strong. Without the unity of the Han Dynasty, strong, prosperous social reality based on the environment, the prosperity of the capital of the court hunting Fu is impossible. And the capital of the court hunting fu also with its "paving caiwen" stylistic characteristics, "extreme sound and appearance" performance characteristics, the magnificent momentum of the giant grand piece, and the harmonious combination of the subject matter of its positive grandeur, showing a very strong praise of the beauty of the function of the Han empire, a powerful exhibition of the richness and strength of the Han empire, It is a powerful display of the rich and powerful Han Empire, a magnificent picture of social life, a tribute to the Han Empire, a generation of monarchs' achievements and virtues of praise.

Kyoto Yuan hunting fugu is mostly made at the request of the king during the time of hunting, amusement and viewing, so it is required that the Han fugu in the content of "the body of the country by the field" to show the prestige of the Han empire and the virtues of the monarch. Formally, it should be "good-looking", which not only means to cover the meaning of the whole world and the heart of the universe, but also to achieve the effect of "expressing the feelings of the lower part of the country and communicating with the satirical message" and "proclaiming the virtue of the upper part of the country and fulfilling the loyalty and filial piety", in order to make the monarch feel the power of the Han Empire and the virtues of the monarch. The effect is to "express the feelings of the lower part of the people and communicate sarcasm" and "proclaim the virtue of the higher part of the people and fulfill loyalty and filial piety", and to add a bit of satirical meaning in addition to the entertaining sensory enjoyment and satisfaction of the monarch. For example, "Seven Hair", "Zi Xu Fu", "Shang Lin Fu", "Yu Hunting Fu", "Chang Yang Fu", "Two Capitals Fu", "Two Kyoto Fu". Therefore, the Yuan Hunting and Kyoto Grand Fugue mainly shows the side of "talent and wisdom" of the fugu writer, and this kind of "order fugu" writing method makes the Yuan Hunting and Kyoto Grand Fugue become the carrier of emperor's preference, public opinion and the spirit of the times from the moment of its birth. Therefore, the grand narrative mode and extraordinary imaginative exaggeration to show a wide range of social life in the Han Dynasty is the basic theme of the Yuanxun Kyoto Grand Fugue that we see.

(VIII) The content of "persuasion and satire"

Han Fu can generally be divided into "persuasion" and "satire" two parts (from Yang Xiong), persuasion for indulgence, encouragement, satire for satirical oracles. encouragement, and satire is satirizing. However, the proportion of the two parts of the Han dynasty is seriously unbalanced. The length of "persuasion" far exceeded that of "satire". The creative impulses and enthusiasm of the writers were almost entirely poured out in the first part. Their descriptions were always seeking to be comprehensive and large, and they wanted to summarize the panoramic view of up, down, left, right, east, west, south, north and south. In this process, their mentality seems to be unhurried and relaxed. Transition to the "ironic" part will be bored, hastily ended. No wonder Yang Xiong later thought: "The fugue of the beautiful, persuade hundred ironic one." Yang Xiong denied the Han Dynasty fugue because the purpose of the fugue is to satirize and advise, while the actual effect of the fugue is not satirical in persuasion, there is a serious deviation between the two; secondly, the identity of the fugue maker "is quite similar to the haiku", "non-fairness of the existence of the fugue". Sima Xiangru, for example, Sima Qian in the "Records of the Grand Historian - Sima Xiangru Liezhuan" mentioned the creation of the "Shanglin Fu", said: Xiangru to "ZiXu", false words, also known as Chu; "Mr. WuYou", WuYu also this matter, for the Qi difficult; "The person who is not a public official is also a person who is not a human being, which is the meaning of tomorrow's son. Therefore, the empty use of this three people as a rhetoric, to push the court of the vassal of the son of heaven. Its final chapter is attributed to thrift, because of the wind admonition. Here said very clearly, Sima Xiangru's creative purpose is "push the court of the son of heaven and the vassals", "push", praise and praise is also, the consciousness is aesthetic; one is "the final chapter of the thrift, because of the wind to admonish The first is "the chapter is devoted to frugality and thrift, so the wind is used to admonish"; the "wind is used to admonish" is to politely criticize and oppose, and the consciousness is the idea. The two opposing creative intentions are simultaneously reflected in an essay, which will surely weaken the utility of satirical advice. Because he was describing the grandeur and opulence of the courts of the princes and lords of heaven, dominated by his emotional intention and aesthetic experience, he mobilized all his artistic talents, artistic experience and knowledge accumulation, and carried out vivid figurative descriptions; while in the satirical admonition, he was dominated by rational concepts, and used the concepts and dogmas in the Confucian system of thought to carry out abstract sermons. In this way, in the objective effect, not only from the ideological significance of the phenomenon of "wanting to satirize and persuade", but also in the art of the two parts of the content of each other in a free state of disharmony.

First of all, Fu is a marginal style between poetry and literature. Between the two, fu is closer to poetry. Fugue, in addition to its source, Chu Rhetoric stage, went through several stages of Han Fu, Pian Fu, Ritu Fu, and Wen Fu.

Paraphrase Fu: "It is often used in four-word and six-word sentences, so it is also called "four-six text" or "four-six parallelism". The whole piece is mainly composed of double sentences, and it emphasizes the neatness of the contrasts and the resonance of the sound rhythm.

The system of eqi fu is characterized by couplets throughout the text, new skills; refining words and melting allusions, and paying attention to a certain sound rhythm; it is like a series of couplets to form a text. However, compared with the Tang Dynasty, the four or six is not strict, and the level and oblique are arbitrary. For the new parallel fugue authors think, can not be too rigid, according to the content of the increased narrative text, the sound and rhythm of the level and oblique seems to be a little more casual.

Pressing rhyme: that is, at the end of the sentence, with the same rhyme to the end. Nowadays, there are 18 rhymes: ma, broadcast, song, all, branch, child, qi, micro, open, aunt, fish, hou, hao, cold, wave, tang, geng, east.

Wen Fu

Fu style of a category. "

Wen Fu

Fu style.

Wen Fu

Fu is a kind of fugue written in ancient Chinese, which is relative to parallelism, and also relative to haiku, which is free of parallelism. Yuan dynasty

Chu Yao said, "Song people make fu, its body has two: said haiku body, said literary style"; and

thinks that using literary style to make fugu, "is a piece of text, a few rhymes" ("Ancient

fugu discernment body"). Although his theory was biased against the Song dynasty fugu, he pointed out the genre characteristics of fugu, i.e., the rhyme written by the structure of fugu and the language of the ancient language

.

As a kind of variant of fugu, wenfu is a product of the ancient language movement of the Tang and Song dynasties.

Han Yu and Liu Zongyuan in the Middle Tang Dynasty advocated the ancient language movement and reformed

the language of parallelism under the slogan of restoration of antiquity.

Their fugu works directly inherited and developed the ancient fugu traditions of the pre-Qin and Han dynasties,

like Han Yu's "Explanation of Entering Learning", Liu Zongyuan's "Answer to a Question", and "Setting up a Fisherman Against a Zhi Bo",

although they were not named "fugu", the genres of their fugu works were taken from the Dongfangshuo's "Answer to the Guests' Difficulties", and the Yangxiong's "Explanation of the Mockery", which was exactly what was classified as "set up theory" in the "Anthology of Wen".

But its genre is taken from Dongfangshuo's "Answer to the Guest's Difficulties" and Yangxiong's "Explaining Mockery", and it is precisely the ancient fugu of "Selection of Writings" which is listed as a kind of ancient fugu. The typical

work is "A Fang Palace Fu".

The Guwen movement of the Northern Song Dynasty, represented by Ouyang Xiu, inherited the tradition of Han and Liu's innovations, and opposed the parallelism of the Xiyu school that prevailed at the beginning of the Song Dynasty, which further consolidated the status of Guwen as a literary language in the place of parallelism, and enlarged the function of Guwen as a literary language.

The Guwen movement, represented by Ouyang Xiu, was founded on the principle of the "ancient language", which was the basis for the development of the ancient literary language.

One of its achievements was to make the development of the fugue genre more mature and rich in

characteristics. Its representative works are Ouyang Xiu's "Autumn Sound Fugue" and Su Shi's "Red Cliff Fugue" before and after. In terms of genre, both "Autumn Sound Fugue" and "Former Red Cliff Fugue"

still keep the system of Han Fu of the category of "setting up a discussion", both the structure of the subject and the guest to answer the question

form, and draw on the nature of the narrative of Han Yu's "Solution of Entering the Academy", but expand the narrative

part, increase the part of the writing of the scenery and lyricism. On the other hand,

The Post-Chibi Fugu

is almost

completely free from the influence of the Han Fugu system, and it is an original conceptualization of a night trip to the Red Cliffs, a climb to the summit of a mountain, a boat ride on the Yangtze River, and an encounter with and dream of a crane.

The same feature of Song dynasty fugu, represented by these three pieces,

is that it is characterized by the integration of landscape writing, lyricism, narration, and discussion

in one, and by the use of a rather neat ancient language to write resonant and harmonious rhyming text.

The essence of Song dynasty fugu is a rhyming text with the structure of fugu written in ancient language. Therefore, according to the ancient traditional concept of literature, on the one hand, they affirmed that fugu is a variant of fugu, and on the other hand, they thought that The other

side also thinks that "the fugue is still rational, but lost in the rhetoric, so those who read it have no singing

remaining sound, and can't be said to be liguid" (《文体明辨》), and feels that it is not in line with

"the flow of the ancient poems", and also doesn't conform to the "liguid" ("俪辞"), which is a kind of variation of "liguid".

The standard of "Li Ri" (俪辞), in fact, is no longer a fugue. But from the law of development of literary genre, Song

generation fugue is the ultimate stage of development of fugue, before and after the Red Cliff Fugue that

is

for the sign of the critical works.

Fugue is a style between rhyme and prose, from the Warring States period Xun Qing's "Fugue" to create its name, has appeared in the magnificent Han Fu, the parallelism of the parallelism of the parallelism of the parallelism of the fugue. This "Former Red Cliff Fugu" is a rhymed text, from beginning to end of the twelve rhymes; like Han Fugu, the use of the host and guest answer to expound the author's thoughts and understanding; and like parallel fugu and fugu, the lines often use parallelism and couplets, with the basic characteristics of the "fugu", but it is not for the "fugu" of this style of writing constraints, the use of prose in a number of places, the sentence sometimes long and short, sometimes neatly, the difference between the wrong and the wrong, it can be said that

With the help of the author's writings, the author has made a great contribution to the development and breakthrough of the fugue genre.

Su Shi, who was wronged and imprisoned for no reason, was relegated to the position of deputy envoy of Huangzhou Reunion Coach soon after the Wutai Poetry Case was concluded. Fortunately, the local officials in Huangzhou admired him for his character and talent, and they did not only leave him unchecked but also allowed him to roam around the mountains and view the water within the area, and the love of Su Dongpo, who was so proud of his passion for pleasure, would have poems to chronicle the success of his travels, and the "Former Red Cliff Fugue" and "Post-Red Cliff Fugue" were immortal masterpieces left behind in this period. The "Former Red Cliff Fugue" and "Back Red Cliff Fugue" are the immortal pieces left in this period.

The author's previous travel essays, most of them to chronicle the tour of the scenery or in the chronicle of the tour of the scenery in the lyrics-based, while many of the prose of Dongpo, but created a new way of writing. In these essays, the author does not focus on writing scenery, but to clarify the philosophy, the main argument. The unique style of utilizing the topic to make use of the scenery to make arguments runs between the lines. The former Red Cliff Fu is a representative of this new type of travelogue.