Fifth Grade Traditional Culture Curriculum Sima Qian Literary Grammar Contexts

Fu, an important genre of classical Chinese literature, is far less popular than poetry, prose and novels for modern people. But in ancient times, especially in the Han and Tang dynasties, poetry and fu are often mentioned side by side, from Cao Pi's "poetry and fu want to be beautiful" and Lu Ji's "poetry and love and beautiful, fu body and Liu Liang" can be glimpsed.

So, what is Fu? Fu was born in the Warring States, flourished in the Han and Tang dynasties, and declined in the Song, Yuan, Ming and Qing dynasties. In the Han and Tang dynasties, there are literati who only make fu but not write poetry, but there are almost no talented people who only make poetry but not write fu. After Jian'an and even throughout the Six Dynasties, Fu was even more highly regarded than poetry. In the Records of the Grand Historian, the works of Qu Yuan were called fugu, and in the Book of Han, the works of Qu Yuan and others were also called fugu. Since the later generations honored the Shiji and the Hanshu, they called the works of Qu Yuan and others fugu.

The first person to use the word "fu" as a literary style should be pushed Sima Qian. At the time of Emperor Wen of Han Dynasty, "Poetry" had already set up a doctoral degree and became the science of scripture. In this context, it is extremely inappropriate to call Qu Yuan's works poems. However, Qu Yuan's works could only be recited but not sung, so it would be inappropriate to call them "songs". Therefore, Sima Qian chose the two names "Rhetoric" and "Fugue". However, he still preferred to name Qu Yuan's works as "Rhetoric", which was due to the fact that Qu Yuan's works were rich in literary talent. On the other hand, he called the works of Song Yu, Tang Le, and Jing Dai "Fu". The first writer who really called his works "Fu" was Sima Xiangru. And then, to the end of the Western Han Dynasty, the literati often to "Fu" name their own works.

Fu is a marginal genre between poetry and literature. Between the two, Fu is closer to poetry. From the Han to the beginning of the Tang Dynasty, the period, Fu is closer to poetry and far from the text, from the theme, the Chu Rhetoric body of work theme is relatively single, mostly for "sadness of the poor". And its form is also relatively fixed, are modeled on the works of Qu Yuan style, like Qu Yuan as writing their own misfortune and sadness. Qu Yuan's "Invocation of Soul" is full of exaggerations, and its influence on the Han Dynasty Fu is self-evident. Since the day of its birth, the fu has a strong literati flavor, which is the reason why it is y influenced by Chu Rhetoric. In the style of Fu, most of them adopted the metaphorical technique of "Vanilla Beauty" of Chu Rhetoric, and often followed the technique of "Citing Analogies" of Chu Rhetoric.

The intertwining of fugue and poetry and their mutual influence started from the formation of the word "fugue". In the Wei, Jin, and North-South Dynasties, the phenomenon of merging poetry and fugue appeared. However, poetry and fu must be two kinds of literary styles. Generally speaking, most of the poems are written for the sake of feelings, while fu is often written for the sake of feelings. Poetry to express the emotion is important, fugue is mainly narrative. Liu Xizai, a Qing scholar, said, "Fugue is different from poetry in that poetry is less rhetorical and more vocal, while fugue is less vocal and more rhetorical."

There are roughly three types of Han Fu in terms of style, i.e., Sao Style Fu, Quatrain Poetry Style Fu and Prose Style Fu (or Da Fu). In terms of the structure and language of fugu, prose style, seven-styled style, set theory style, and Tang Dynasty literary style fugu are closer to prose, and some of them can be completely attributed to the category of prose. The characteristics of fugue like poem like text are somewhat similar to the prose poem in modern literature. It has three main features: first, the phrase is mainly four or six-character sentences and pursues parallelism; second, the voice requires the harmony of sound and rhythm; and third, the rhetoric is concerned with ornamentation and the use of canonical expressions. Parallelism and ornamentation are the major features of Han Fu.

Paraphrase was greatly influenced by Fu, which started in the Eastern Han Dynasty and matured in the Northern and Southern Dynasties. It was a common habit of Han literati to use the form of parallelism of fu extensively in their writings. So much so that some of the famous articles were regarded as ekphrasis. For example, Baozhao's "Wucheng Fugue", Xie Huilian's "Snow Fugue" and Xie Zhuang's "Moon Fugue" of Liu Song in the Southern Dynasty.

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2.Remembering

Travelogue: Travelogue is a form of prose that describes what you see and hear when you travel. The traveler's journal has a wide range of materials, can depict the beauty of the mountains and rivers, can record the local conditions of the bizarre Fusheng, can reflect the daily life of a person and a family, but also can write down a country's major events, and to express the author's thoughts and feelings. The writing style is easy, the description is vivid, the account is informative, giving people rich social knowledge and the feeling of beauty. There are travelogues with polemical colors, such as "The Record of Yueyang Tower" and "The Record of Traveling to Mount Baochan"; there are travelogues with scientific colors, such as Li Daoyuan's "The Three Gorges"; and there are travelogues with lyrical colors, such as Liu Zongyuan's "The Record of the Small Stone Pool".

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3.Zhi

As for Zhi, it seems that there is no such genre. The first thing I'd like to say is that I don't know what I'm talking about. I have not heard of anyone in history who has written this style of Zhi.