Sao-style Fu is a kind of Han Fu, which refers to a work that systematically imitates Chu Ci and is famous for Fu. There is no new development in the creation of Chu Ci in Han Dynasty. Many works intentionally imitate Qu Yuan's Li Sao and Nine Chapters in content and form, and some just copy the form of Chu Ci, which is called Sao Style Fu.
Sao-style Fu is not equal to Chu Ci, it has always been scattered in culture, and it is an excessive form in which Chu Ci evolved into Han Fu, which has the function of connecting the preceding with the following. Representative works include Jia Yi's Fu of Hanging Qu Yuan and Sima Xiangru's Fu of Changmen. The creation of Sao Style Fu has a great influence on the creation of Handa Fu.
Extended data:
I. Basic information
Sao-style Fu is a kind of Han Fu, which developed from Chu Ci and belongs to Sao-style in form, so it is called Sao-style Fu. Most of the prose poems are to express the unfairness of talents and feelings, and to express a complaint that they can't help others. The initiator was Jia Yi in the early years of the Western Han Dynasty, and his representative works include Fu for Hanging Qu Yuan and Fu for Catching Birds. Other representative works include Sima Xiangru's Changmen Fu and Sima Qian's Mourning for the Past Fu.
In terms of content, this kind of fu is mainly lyrical about things, which is close to the artistic conception of Li Sao. It is also close to Chu Ci in form, and often uses sentences with the word "Xi".
In addition, it has been summarized in the past that the tone of "Sao" takes function words as the waist of the sentence, the difference between the words on the waist and the words at the end of the sentence is harmonious, and the homology is awkward; "Nine Songs" takes the word "Xi" as the waist of the sentence, and so does the sentence tone. Sao style can be called poetry or fu. After the Han Dynasty, the second half of Cai Yan's Poems of Sorrow and Indignation, Han Yu's Fu Zhi, Liu Zongyuan's Fu of Punishing Blame and Sheng Min's Fu can all be classified as Sao style.
Second, the representative figures and works
The main writers of Sao style: Qu Yuan, Song Yu and Cai Yan. His representative works include Nine Songs and Li Sao.
Third, characteristics
Compared with Qu Yuan's previous poetic style, Sao Style Fu has the following characteristics:
1 is a breakthrough in sentence patterns. Qu Yuan created a long sentence pattern with six words as the main, five words mixed with seven words, which was generally neat and flexible. This is a major breakthrough in four fonts.
2. It is an innovation in composition. Qu Yuan's "Sao Style" is not limited to the composition of ancient poetry, but indulges in his thoughts, or states, or mourning, or calling, which has its origin, development, circular care and extremely clear context.
This is an institutional expansion. Most of Qu Yuan's previous poems were only short chapters with dozens of lines. His Li Sao, with 372 sentences and 2,469 words, laid a long system of China's ancient poems.
Fourth, the development stage.
Jia Yi was the initiator in the early years of the Western Han Dynasty, and also the first accomplished fu writer in the Han Dynasty. Representative works include Qu Yuan Fu and Bird Fu. His works are good at using metaphors, emotional rhythms and language rhythms, and have obvious traces of Chu Ci. Lyrical narration and strong emotion are the main characteristics of Jia Yi's ci, which has obvious inheritance relationship with Chu ci and is different from Han fu.
In the era of Emperor Wu of the Han Dynasty, there were three-character or four-character sentence patterns in Sao-style Fu, and Zhao Hermit in Xiaoshan, Huainan was its representative, with irregular sentence patterns, strange images and strange scenes.
After the mid-Western Han Dynasty, Sao-style Fu gradually took shape, with typical works including Yan Jidao's Mourning for the Past, Dong Fangshuo's Seven remonstrances and Wang Bo's Jiuhuai.