What are the classifications of Fu ? Is there a certain format?

In addition to poems, lyrics, and songs, there has also been a genre with the characteristics of poetry in history, which is Fu. The original poems, lyrics, and songs could be sung, but Fu could not sing, but could only be recited. It resembles prose in appearance and has the rhythm of poetry inside, which is a genre between poetry and prose.

It is generally believed that there are two basic styles of fusi, the body and the loose body.

1) Sao Ti Fu. Directly developed from Chu Ci. It adopts the form of sentence style, without the form of subject-object question and answer, and is mainly lyrical, so it is closer to poetry; Its end often has more important parts such as "chaos", "news" and "song", showing its original background.

2) Scattered fu. It evolved from the hidden language and the prose of the Warring States period. It adopts the form of subject-guest question and answer, with flexible sentence structure and rhyme and scatter; It is mainly descriptive, but there are also rational works; At the beginning of the paragraph, iconic words such as "sohu", "erai" and "Ruofu" are often used, showing its scattered cultural characteristics.

The above-mentioned characteristics also determine its characteristics in terms of means of expression and aesthetics, such as being long in exposition, beautiful rhetoric, and irony at the end of the article, but this is only a secondary feature, not a sign of judging the style.

I would like to ask you about the development of Fu.

Saofu. Short endowment.

Gifted. Ancient Fu.

Who do they represent? What are the works?

Warring States, "Chu Ci": a precedent for future generations. Xun Qing Fu (short Fu): Warring States, "Xunzi Fu Chapter", only five articles of rites, knowledge, clouds, silkworms, and proverbs (the earliest to be named after the Fu). Han Fu (Ancient Fu, Great Fu):

1.Sao Ti Fu (Chu Ci Style): Chu Ci form. Western Han Dynasty, Jia Yi "Hanging Qu Yuan Fu", "Ostrich Fu", "Dry Cloud Fu".

2.Prose style: Originated from Xunzi Fu.

The four masters of the Han Dynasty: Western Han Dynasty, Sima Xiangru: "Zixu Fu Jueji", "Shanglin Fu", "Changmen Fu", "Adult Fu", "Safari Fu", "Nanshu Father Fu", "Mourning II Fu".

Western Han Dynasty, Yang Xiong: "Anti-Lisao", "Ganquan Fu", "Hedong Fu", "School Hunting Fu", "Changyang Fu", "Mockery", "Poverty Fu", "Shudu Fu" (opening the wind of Kyoto Fu). Eastern Han Dynasty, Bangu:

"Liangdu Fu", "Youtong Fu", "Answering Guest Play", "Bamboo Fan Fu". Eastern Han Dynasty, Zhang Heng: "Liangjing Fu", "Sixuan Fu", "Guitian Fu" (the precedent of the small fu of the Wei, Jin, Southern and Northern Dynasties).

Other writers: Western Han Dynasty, Mei Cheng: "Seven Hairs".

Western Han Dynasty, Wang Bao: "Dong Xiao Fu" (Yongwu Fu's mature work), "Nine Huai", "Tong Yue". Wei, Jin, Southern and Northern Dynasties, Pifu (Haifu, Xiaofu lead defeat):

Cao Zhi: "Meditation Fu", "Luo Shen Fu". Wang Cang:

Ascending the Building", "Initial Expedition", "Huai Fu", "Expedition Fu". Xu Gan: "Xuan Ape Fu", "Leaky Fu", "Round Fan Fu", "Orange Fu".

Pan Yue: "Idle Fu". Lu Ji:

Wenfu (literary criticism). Zuo Si: "Sandu Fu" (Luoyang Paper Gui Dian).

Tao Yuanming: "Leisure Fu", "Return to Speech". Xie Zhuang:

Moon Fu. Bao Zhao: "Wucheng Fu".

Jiang Yan: "And Provoke and Hate Fu", "Don't Fu". Yu Xin:

Mourning Jiangnan Fu", "Spring Fu", "Withered Tree Fu", "Small Garden Fu". Tang Dynasty, Law Fu (Tang Fu, Examination Body Fu): for imperial examinations.

Song Dynasty, Scattered Fu (Prose Fu): Ouyang Xiu: "Autumn Sound Fu".

Su Shi: "Former Chibi Fu", "Later Chibi Fu". Ming and Qing Dynasties, share endowment:

It is used for the examination of the eight-strand liberal arts.

First, the sentence is above.

Fourth, six-character sentences are the mainstay, and the sentence structure is staggered and pursues couples;

Second, the phonetic requirements are harmonious;

3. Pay attention to algae decoration and dictionaries in the text;

Four: The content focuses on writing scenes, and uses the scenery to express the feelings of renting and celebrating.

Pai puppet and algae ornament] are the two major characteristics of Hancha Mountain Fu.

Under the influence of the ancient literary movement, there was a trend of scattered culture, which did not emphasize puppetry, rhythm, uneven sentence structure, and relatively free rhyme, forming a fresh and smooth atmosphere of prose, which was called "Wenfu". That's another story).

In addition, due to the deep influence of Chu Ci, the body is endowed, and Chu Ci's "vanilla beauty" method is mostly used, and Chu Ci's "analogy and metaphor" technique is often used.

There are obviously many, many puppets (couples) and algae ornaments in Jiangyan's special endowments. Pretty much all of them.

Fifth, Wenfu. With prose as the main body, the rhyme is sparse and there is no certain rule is called literary fu.

The old titles of Qu Yuan's "Buju" and "The Fisherman" in Chu Ci, as well as the variants of Dongfang Shuo's "Answering Guests" and Yangxiong's "Solving Mockery", can all belong to the category of literary fu. It is a product of the rhetoric of the Warring States Travelers towards the written word.

The ancients wrote articles, and in order to make it easier for readers to memorize them, they often had rhymes. There are many of the sons of the pre-Qin Dynasty, such as the rhyme of the whole book of "Lao Tzu"; Even annotations have rhymes, such as Wang Yi's "Chu Ci Chapters and Sentences". This provides a precedent for the emergence of Wenfu.

Before the Song Dynasty, however, this phenomenon was less significant, and it was often hidden in the ancient fu or variant of the fu, so it did not attract special attention. From the Six Dynasties to the early Tang Dynasty, after the flourishing and decline of the pun literature, writers led by Han Yu advocated prose, so the ancient literature arose. (They called prose archaic to distinguish it from the later prose.)

In the Song Dynasty, Ouyang Xiu, Su Shi and others carried forward the ancient literature and expanded its position. As a result, in the middle of the fu, just as the fu and its derived laws appeared in the era of the prosperity of prose, the literary fu appeared in the era of the prosperity of prose. The Wen Fu, which was liberated from the relatively strict sentence pattern and vocal rhythm, inherited the artistic skills accumulated by the ancient writers for a long time, so that the Fu once again showed a new appearance.

It is free in writing and diverse in style, and it is a successful and important creation of prose poetry in the history of literature.

Mr. Cheng Qianfan divided the fu into five types, the resignation, the big endowment, the pun, the law, and the literary endowment. The first two points are very different, generally the words and the like are called Sao Fu, and the Han University Fu is called the Scattered Fu, which is not easy to misunderstand from the noun.

He said: In the long-term historical development, Fu is roughly divided into five types: Cifu, Dafu, Lufu, Lufu and Wenfu. They are described as follows:

First, Ci Fu, that is, the Fu written in the main form in "Chu Ci".

Because Qu Yuan is the representative writer of "Chu Ci", and "Lisao" is Qu Yuan's representative work, the fu of "Chu Ci" can also be called Sao Fu. This kind of folk song, which originated in the Chu State, has accepted the style of the Central Plains culture, including the "Book of Songs", which has long and short sentences, scattered and loose sentences (i.e., single and complex), and the end of the sentence is mostly embellished with the word "Xi" (that is, the word "ah") as a particle. They have a strong lyrical meaning, and the content is mostly written about the love and joy of people and gods, and personal encounters, in order to express the poet's deep sense of worrying about the country and the people.

Fangfei is supernatural, like a bleak and clear, extremely moving. Except for a few long chapters such as "Lisao" and "The Conjuring", most of them are lyrical short chapters. "Nine Songs" and "Nine Chapters" are incomparably beautiful works, which have opened up a broad road for future generations to write lyrical novels.

This can be seen from the many chapters selected in this book, such as "Recruiting Hermits", "Autumn Wind Speech", "Nagato Fu", "Luo Shen Fu" and so on.