In the history of Chinese literature, Fu, as a unique literary style, has always been valued by literati. Especially Han Fu, which has greatly expanded Chinese literature in terms of subject matter, genre, expression, and aesthetic form. Therefore, starting from "Selected Works", the creation of Fu is often placed at the top of the literati's anthology. However, what is Fu, that is, which style of writing can be called Fu, which style of writing cannot be called Fu, and what is Fu, that is, whether Fu should belong to poetry or prose, or whether it should be another style of writing, is still a need. Questions to think about.
Since the 20th century, those who study fu literature have conducted useful research on the connotation and denotation of fu. Some scholars are looking for the place of fu in poetry, prose and other literary styles. In the early 20th century, Mr. Cao Juren once published "What is Fu?" Poetry or Prose" article. At the end of the 20th century, Zhao Minli wrote "History of Poetry in the Han Dynasty" and included Han Fu into Chinese poetry for investigation. On the other hand, what genres Fu literature actually includes is also a matter of concern to scholars. "History of Chinese Literature" edited by Mr. You Guoen and others, as well as various research works on fu style literature, anthologies of fu style literature of the Han and Wei dynasties, and even newly compiled literary history works in recent years, list some works that are not marked as "fu" as "Fu". For example, seven-style and interrogative literature are included in the fu style. The "Quan Han Fu" compiled by Mr. Fei Zhengang and others also used this as the selection standard, so it is much broader than the selection standards of "Selected Works" and "Fu Collection of Historical Dynasties" written by Chen Yuanlong of the Qing Dynasty.
There is no doubt that the discussion of the connotation and denotation of fu-style literature means the continuous deepening of the research on fu-style literature. However, objectively, we should also see that the above views may blur the boundaries of fu style literature, and ultimately affect the clear grasp of the tradition of fu style literature and the stylistic characteristics of fu style literature.
The ambiguity of the connotation and denotation of Fu began in "Hanshu·Yiwenzhi". Ban Guyun said that "reciting without singing is called Fu". Taking Qu Yuan's works as Fu, he believed that Xunzi and Qu Yuan were both "Fu". Compose it with wind." Regardless of whether Ban Gu's "Fu" refers to literary style or not, objectively we cannot rule out the possibility that Ban Gu used the works of Xunzi and Qu Yuan as Fu style literature. Therefore, Mr. Luo Hongkai, a recent scholar, believes in "Selected Works·Styles" that "Fu Ci is generally called Fu Ci, Ci is a big name, Fu is a minor name, and its origin is outdated."
However, we also noticed that before Ban Gu, Sima Qian's "Historical Records: Biography of Qu Yuan and Jia Sheng" said: "After Qu Yuan died, there were disciples of Song Yu, Tang Le, and Jing Chai in Chu, all of whom were good. He is famous for his Ci and Fu; however, even though his ancestor Qu Yuan used his calm speech, no one dared to give direct advice. "Sima Qian's passage allows us to think that Sima Qian distinguished between "ci" and "fu" here, and told him. For us, "Ci" and "Fu" are two literary genres that are both interconnected and different from each other. Song Yu, Tang Le, Jing Cha and others like "Ci", but it is "Fu" that makes them famous; Song Yu, etc. People's literary achievements should mainly come from Fu. Although they cannot "directly advise" politically, their "calm rhetoric" in art is no different from Qu Yuan. The humble article "On Song Yu and Tang Le Jingcha's "good words and famous for his poems"" analyzes this and believes that the poems of Chu are poems, but the poems of Song Yu and others are not poems.
Although Chu Ci is an important source of Fu, Fu is different from Chu Ci. This is something Liu Xie has already pointed out. "Wen Xin Diao Long·Ming Poems" says: "Catching Chu State satirizing grievances will "Li Sao" is a poem from the Warring States Period based on Chu Ci. And "Wen Xin Diao Long·An Fu" says: "Thus Xun Kuang's "Li" and "Zhi", Song Yu's "Wind" and "Diao", the name of Yuan Xi, and the realm of poetry and painting, the six righteousnesses were attached, and they became a great country. "In this case, Liu Xie made it clear that Fu originated from Xunzi and Song Yu, and Qu Yuan cannot be regarded as the person who created Fu style literature. Of course, Qu Yuan's works, especially "Divination" and "The Fisherman", as well as the works of Song Yu and others included in the Chu Ci, "Nine Bian", "Calling the Soul", and "Dazhao", are from the Chu Ci to the Fu style. The transition of poetry has a great relationship with Fu style literature, which cannot be denied. (See Chapter 6 of my book "History of Warring States Literature", Wuhan Publishing House, 1996 edition)
Since the 20th century, many scholars have placed the origin of Fu in the Han Dynasty, believing that it started with Meisheng's "Qifa" and then came into being. There are great Fu, but Song Yu's Fu is unreliable. By the end of the 20th century, with the discovery of "Tang Ge Fu", the original hypothesis was self-defeating. Then, the origin of the Fu style should go back to Liu Xie's so-called name of Yuan Xi, and Xun Kuang's "Li" and "Li" in the poetic and painting context. "Zhi", "Yun", "Silkworm", "Proverbs" and other "Fu Pian", as well as Song Yu's "Feng Fu", "Diao Fu", "Gaotang Fu", "Goddess Fu", "Dengtuzi Lustful Fu" ", "Dayan Fu", "Xiaoyan Fu" and other works.
"Wen Xin Diao Long·An Interpretation of Fu" says: "The person who writes Fu is paving; the one who picks up and writes the text is the one who uses the objects to write the aspirations." Liu Xie's discussion accurately captured the Fu style literature basic characteristics. Fu-style literature is a stream of ancient poetry, developed from the Six Meanings of the Book of Songs, and was contributed by literary servants to monarchs or emperors. Ban Gu said, “It may be used to express lower emotions and become a metaphor, or it may be used to express loyalty and filial piety. Yong Yong supported and praised it, and it was written by the descendants, but it was subdued by elegance and praise" ("Selected Works: Preface to Liangdu Fu").
Examining Xunzi and Song Yufu, we find that the characteristics of the fu-style literary works of Han great fu writers such as Sima Xiangru and Yang Xiong are clearly reflected in Xunzi and Song Yu-fu: first, the purpose of creating fu-style literature is to satirize and admonish , Moreover, fu-style literature generally inherits the tradition of "The Book of Songs" and uses a preface to explain the purpose of creation; secondly, fu-style literature uses interrogation as its basic structural form. Third, fu-style literature uses presentation and comparison as its basic descriptive technique. Fourth, Fu style literature all pursues a majestic and elegant aesthetic style.
Since Fu-style literature was produced during the Warring States Period when political strategists emerged in large numbers, and because the original author had an indissoluble bond with Chu Ci, Fu-style literature has been associated with the influence of political strategists and political figures since its emergence. Qu Yuan's shadow. However, the most direct spiritual inheritance of fu style literature is still the Book of Songs. From Ban Gu, Liu Xie, to Cheng Tingzuo, they all emphasized the connection between fu and poetry. This makes sense, but today’s scholars emphasize more on the Songs of Chu and the Warring States Period. Politicians exerted influence on Han Fu, while ignoring the connection between Fu style literature and the Book of Songs in terms of creative purpose, which would inevitably lead to the suspicion of abandoning the original and pursuing the last.
Because of the prominent position of Fu style literature in the Han Dynasty, it had an impact on many literary styles in the Han Dynasty, and this influence may be an interactive relationship. The Japanese Torao Suzuki's "Summary of the History of Fu" states that "fu and odes are commonly known", and the recent scholar Liu Yongji's "Summary of Literature of the Fourteen Dynasties: The Development of the Fu Family" states that "fu may be merged with proverbs" and "the discussion may be the same." drive". An Yangxiong's "Jiu Fu", also known as "Nine Proverbs", Ma Rong's "Flute Fu", also known as "Ode to the Flute", Wang Bao's "Dongxiao Fu", also known as "Dongxiao Ode", Xiang Anshi's "Jia Shuo" Yun Jiayi's "On the Passage of Qin" and Lu Ji's "On the Debate of Death" are both written in styles. Mr. Liu Yongji believes that the "Selected Works" has one topic, namely "Answering the Guest", "Answering the Guest", "Answering the Mockery" "The article, "The Origin of the Fu Family". If such a point of view emphasizes the mutual influence of the above-mentioned styles on a certain writer in the Han Dynasty, it will undoubtedly see the essence of the problem. However, if this influence is infinitely exaggerated, it will be harmful. Because the functions of proverbs, odes, treatises, etc., and fu should be very clearly divided, therefore, Zhang Taiyan's "National Heritage Lunheng·Poetry Debate" says: "The rise of "Answers to Guests" and "Jie Moo" have led to the proliferation of literary texts. "Fu Zhi Mo Liu Er." As for the interrogative style represented by Song Yu's "Asking the King of Chu", it is actually an applied style, and the seven styles represented by Mei Cheng's "Qifa" are in the same vein as the interrogative style. , "Wen Xin Diao Long·Essays" classifies it into essays, which should be very accurate.
In summary, when studying Fu literature today, it is certainly necessary to deepen our understanding of the connotation of Fu literature. However, as for the extension of Fu, we should strictly distinguish between Fu and other works influenced by Fu literature. Regarding literary genres, we should return our research scope to the scope determined by "Selected Works" and "Fu Collection of Ancient Dynasties", that is, strictly limit it to works named after Fu. Only in this way can we accurately grasp the meaning of Fu. connotation and its essence.