On the Origin of "Fu"

Keywords: the origin of Fu and its literary tradition | Two styles of Fu | Hanshu? 6? 1 literary annals | Fu Sanyi | Oral reading | "Mandarin? 6? 1 Zhou Yu | Reading mode | Fan Wenlan's Notes on Wen Xin Diao Long | A tone | A work without songs | One of the six meanings | Paving | Prose in Xun Qing | The form of argot | Prose of Warring States literati | Lobbying words | Song Yu's Prose | Paving and rendering ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Prose poems of Han Dynasty and others are called Fu, and Qu Yuan's Li Sao and other works are also called Fu. Why do Han people call two works that look completely different today Fu? How did the name Fu come from? Hanshu? 6? In 1 Yiwenzhi, there is an explanation for this when it comes to Fu, which says: "It is said that Fu can be a doctor without singing." "Fu, this is the place where poetry is talked about in the pre-Qin classics. The so-called reading without singing is a form of oral reading without music. Memorized poems can be improvised works or ready-made poems in The Book of Songs. There are many examples in this respect, which can be found in the pre-Qin ancient books such as Zuo Zhuan. Zuo Zhuan recorded that Zheng Zhuanggong and his mother met in a big tunnel in A.D., and the two sides wrote poems separately, that is, they recited extemporaneously. The same is true of the "ascending empowerment" mentioned above. A large number of poems recorded in Zuo Zhuan all use the ready-made chapters in the Book of Songs, or read them directly or let musicians sing them to express their voices. " Mandarin? 6? "Zhou Yu" (1) also has a record about Fu: Therefore, the emperor listened to politics, so that the ministers offered poems, songs, books, teachers' words, Fu, chanting, admonishing all kinds of laws, biography, official rules, relatives' supplementary examination and history teaching. Fu mentioned here, as well as reciting, is also a way of reading aloud. As for the specific situation of this way of reading aloud, it is difficult to verify it today, but at least it is different from singing. Fan Wenlan's Notes on Wen Xin Diao Long concluded: "During the Spring and Autumn Period, many countries invited their guests and hosts to write poems and express their aspirations, so they should recite them at any time without waiting for music." Zhou Yu, because of its analysis of words, is called A Wandering Man's Dream. Liu Xiangtong bluntly said, therefore, the cloud "recites Fu without chanting" [1] ... Stealing suspected Fu has its own tone, which is different from chanting. The fu created by Xun Qu is written in the tone of fu, so although it is miscellaneous, it is just as well as fu. "As a recitation, you can have a cadence tone. However, Xun, Qu and even Song Yu may not all adopt the tone of parallel prose, but just recite without singing. From this point of view, people in the Han dynasty called those works that didn't need to be recited by songs Fu. For example, Li Sao is called Li Sao Fu. At the same time, Sima Qian said: "Qu Yuan's exile is a tribute to Li Sao" (Historical Records? 6? 1 Taishi Gongxu) It is not difficult to see that these works are called Fu and Fu Poetry. From the perspective of language form, there is no difference between Li Sao and Chu Ci, but Chu Ci is sung, so it is called song; And works such as Li Sao are for reading, so they are called ci or fu, never songs. Three-body fu can't be sung, but can only be called fu, not poetry, not song. It is recorded in the history books of the Han Dynasty that the emperor asked ministers to read Chu Ci or prose Fu, which can prove that both works were used for reading at that time, so it can be concluded that it is correct for Han people to explain the stylistic name of Fu by "reciting Fu without singing". In addition to the above statement, some people think that the naming comes from Fu, one of the six meanings in The Book of Songs, whose meaning is elaboration. This statement is groundless. In fact, when Fu was used as a stylistic name, the interpretation of the six meanings of The Book of Songs had not yet appeared, and Fu, especially Sao Fu, generally adopted the method of metaphor. Fu got its name by no means because of its exquisite technique. At the beginning of Fu, there were two basic styles, prose and Sao, with different styles and different sources. Let's talk about Santi Fu first. The earliest prose poems can be traced back to the works of Song Yu and Xun Qing. Xun Qing's fu is a form of argot, and Song Yu's fu is very similar to the prose of the Warring States Period, especially the words of the wanderer at that time. The argot and prose in the Warring States period occupy a very important position in the creation of prose fu. The argot originated from the folk, and then entered the court. It was mainly told to the king by Xi You, sometimes with a little irony. Xun Qing's prose directly adopts the form of argot. However, argot is generally very short, so it is difficult to directly develop into a long prose fu that is being circulated and circulated in the future. It should be said that the prose in the Warring States period played a decisive role in the formation of prose. Lobbying words recorded in the Warring States Policy are often spread out in the dialogue between characters, which has the characteristics of debate and debate. For example, in order to encourage joint resistance to Qin, Su Qin tried to render the prosperity of Qi. His rhetoric uses a lot of metaphors and exaggerations, and the sentence patterns are dual in parallelism, magnificent and sonorous in rhythm, much like the description in Han Fu. For another example, Zhuang Xin tried to persuade the king of Chu Xiang to be prepared for danger in times of peace, using metaphors such as Qing E, Huang Que, Huang Li and Cai Houling, and finally made the king of Chu Xiang change color and fight to pieces. The structure and wording of this article are similar to a prose poem. In some places, the dialogue and arrangement of characters in the prose of the Warring States philosophers have begun to show the characteristics of Fu. In particular, the fables and tautology in Zhuangzi are all discussed and described in the form of fictional dialogue, and finally one party is persuaded by the other party, and its form and language have the embryonic form of prose. For example, in the dialogue in Tian Yun, Beimencheng asked the Yellow Emperor, "Emperor Zhang Xianchi likes the wilderness of Dongting. I was scared at first, but I became lazy after listening to it again. When I heard it, I was confused and swayed silently, but I was not satisfied. " The emperor said, "You are almost born! I play with people, levy with heaven, act with courtesy and righteousness, and build with purity. Those who are happy with their husbands should treat them with personnel first, with righteousness, with five virtues and with nature. Then adjust the four seasons, Taihe everything. Four seasons come one after another, and everything follows. One prosperity and one decline, civil and military ethics. One is clear and one is turbid, yin and yang are harmonious, and the sound is like a cloud. I was shocked by the first sting. Its pawn has no tail, and its beginning has no head. We've been together all our lives, always endless, but can't wait. You're too scared. I hit it with the sum of yin and yang, and I hit candles with the light of the sun and the moon. Its sound energy is short and long, soft and rigid, and changes evenly, so it is not the main reason. The valley is full and the pit is full. Keep god and measure things. Its voice is loud and its name is brilliant. Therefore, ghosts and gods keep secluded places, and the sun, the moon and the stars keep discipline. I stop at poverty and keep flowing. The son wants to worry but can't know, but he can't see it when he looks at it, and he can't reach it one by one. Get in the way of four virtual, lean on the road and sing; I know I'm too poor to see what I want, what I want with all my heart. I am not as good as me, and I am married! Empty, even snakes. You are a snake, so you are lazy. I played it again in a lazy voice and adjusted it to the life of nature. Therefore, if the clusters are mixed together, Lin Le will be out of sight, and the cloth will be waved without dragging, weak and silent. Go in the wrong direction, live in the dark, or call it death, or call it living; Or reality, or glory. Wandering and migrating is not the main voice. The world is suspicious and sage-oriented. A saint loves first and then lives later. The secret is not open, but the five senses are ready. This is called tianle, and the heart is silent. Therefore, Yan Jia praised it, saying,' You can't hear its voice, you can't see its shape, and it is all over the sky, wrapped in six poles.' You want to listen without answering, so you are confused. Happy people start with fear, which is so precious; I am lazy, I am lazy; Being confused, confused and stupid; The way to be foolish and ancient can be carried by the Tao. This paper describes the joy of Xianchi through dialogue, and the sentences are neat, rhythmic and readable. This kind of writing is already very similar to prose. There are many such dialogues in Zhuangzi. Guo Moruo said: "The great fu of the Han Dynasty clearly came from here." (Collected Works of Mo Ruo (volume 12) Pu Jian's Collected Works of Ancient and Modern Times) As for Sao-style Fu, its source is very clear, which is the Chu Ci represented by Li Sao. Qu Yuan's works such as Li Sao and Nine Chapters were all called Fu in the Han Dynasty. At the beginning of Han Dynasty, Jia Yi imitated Chu Ci, paid tribute to Qu Yuan, and was named Fu for hanging Qu Yuan. Later, many people in the Han Dynasty also wrote Fu in this form. Because these works are related to Chu Ci, they are called Sao Style. In a word, Fu is a literary genre suitable for reading. It has two basic styles: Sao style and prose style. Sao Style Fu developed directly from Chu Ci. Adopting Sao-style sentence structure, it does not need the form of subject-object question and answer, and is mainly lyrical, so it is closer to poetry; There are many music parts such as "chaos", "news" and "song" at the end, which shows its original music background. Prose Fu evolved from argot and prose in the Warring States Period. It adopts the form of subject-object question and answer, with flexible sentence patterns and alternating rhymes; Mainly description, but also some works about rationality; Duan Shou often uses symbolic words such as "so", "mistress" and "ruofu", which shows the cultural characteristics of his prose. The above characteristics determine its expressive means and aesthetic characteristics, such as being good at spreading, gorgeous language, satire at the end of the text and so on. But this is only a secondary feature, not a sign of judging style. During the development of Han Fu, the prose style and prose style infiltrated and merged with each other, showing a rich and colorful style. (Article source: Section 1, Chapter 4, History of Chinese Ancient Literature, Volume I, Beijing Normal University) (Western Han Literature) Related links/index.php/%E8% b5% 8b% E7% 9a% 84% E8% b5% B7% E6% ba% 90% E5% 92% 8c% E4.