The original meaning of "Chu Ci" is Chu Ci, which is a new poetic style developed and transformed by Qu Yuan on the basis of the original folk pop songs and music and dance in Chu during the Warring States period, so it has strong southern regional characteristics. At the end of the Northern Song Dynasty, Huang wrote a good summary in the Preface to the Correction of Chuci: "Gai Qu and Song Zhusao both wrote Chuyu, made Chuyin and recorded Chudi easily, and were famous for their Chu affairs, so they can be described as' Chuci'. If there are some, only, Qiang, slander, stumble, argue, embarrassment, Chu language also; Sad and tragic, or rhyme or no, Chu Sheng also; Yuan, Xiang, Jiang, Jiang, Li, Xiu Men, Xia Shou, Chu Ye; Orchid, chicory, leek, medicine, glutinous rice, glutinous rice, glutinous rice, glutinous rice, glutinous rice, glutinous rice, glutinous rice, glutinous rice, etc. If he is like this, he will be named' Chu'. " After Qu Yuan, Chu people Song Yu, Le Tang and Liu Jing are all famous writers of Chu Ci. At the end of Qin dynasty, the dispute between Chu and Han. Both Xiang Yu and Liu Bang were Chu people in the Warring States period, so there are historical allusions of "besieged on all sides" around Gaixia, as well as Chu songs such as Gaixia Song by Xiang Yu and Da Feng Ge by Liu Bang. After Liu Bang established the unified Western Han Dynasty, with the integration of North and South nationalities, Chu Ci with strong regional characteristics gradually became a historical poetic style.
The style of "Fu" also originated in the Warring States Period. The earliest extant Fu is Fu Pian written by Xunzi, an important Confucian figure. Because it contains ceremony, knowledge, cloud and silkworm. Proverbs and poems are six themes, so they are also called "Xun Qing's Six Fu". The so-called "Fu" was mainly related to literature in the pre-Qin and Han Dynasties. First, pay attention to creative techniques, that is, tell the truth; The second refers to satirical reading, that is, reading without pleasure. Fu handed down from ancient times does have these two characteristics, which are different from traditional poetry and probably the origin of naming.
As mentioned above, Chu Ci and Fu belong to different literary styles, but in the eyes of Han people, they are regarded as the same thing. The most typical embodiment of this concept is Hanshu Yiwenzhi. In An Introduction to Poetry and Fu, not only the works of Qu Yuan, Song Yu and Qu Yuan are listed as "the genus of Qu Yuan's Fu", but also the creation of Chu's Fu is confused: "A great scholar (that is, Xun Kuang) and Chu Chen Qu Yuan are both rich in style (irony). Later, Song Yu, Le Tang, Han Xing, Mei Cheng, Sima Xiangru, and the Yangtze River Cloud argued for extravagance, which meant something different. " Of course, this is unscientific, but it also reflects the influence of Chu Ci on Ci Fu literature from a certain aspect.
The influence of Chu Ci on Fu is first manifested in the system. Poetry before Chu Ci is often realistic in style and relatively short in length. However, in the southern state of Chu, "believing in witches and ghosts, and attaching importance to sacrifice" (Geography of Hanshu), popular folk sacrifice songs are often imaginative and romantic, with the purpose of pleasing the gods by singing, which is not only lyrical, but also narrative, and the space has begun to expand. Qu Yuan's creation of Chu Ci was deeply influenced by it. For example, the famous Li Sao is full of imagination and myth, with 373 sentences and 2490 words. Although the later Han Fu failed to inherit Qu Sao's romance and lyricism, it strengthened its narrative, and long works were common, so it was also called "Da Fu". For example, Sima Xiangru's Zixu Fu, Shanglin Fu, Yang Xiong's Feather Hunting Fu, Du Liang Fu of Ban Gu in the Eastern Han Dynasty, Liang Jing Fu of Zhang Heng, etc. , often from the east, west, north, south, up, down, left and right aspects, imagine each side of the rare and rich, to create a grand scene.
Secondly, the songs of Chu absorbed the characteristics of the songs of Southern Chu, and borrowed from the rhetorical style of various schools of prose to impress people, pursue the elegance and beauty of rhetoric, and deliberately use rhetorical devices such as duality and parallelism to add color to literary talent. For example, Qu Yuan's "Nine Songs to the King": "Take Betty in the water and shake the hibiscus in the wood. The heart is different, the media is hard and the thinking is not very light. The stone is shallow and the dragon is graceful. " Make up three neat pairs with six sentences, which is smooth and beautiful. Han Fu inherited the literary characteristics of Chu Ci, and it became more and more prosperous, competing for elegance. For example, Sima Xiangru's "Shanglin Fu" said: "Strike the bell of a thousand stones, stand the danger of stones, build the flag of Cui Hua, and build the drum of trees; Play the dance of falling pottery and listen to Ge Zhi's song; A thousand people advocate, and ten thousand people are in harmony; The mountains shake and the valleys sway. " It does have many artistic effects.
Finally, Chu State or writers living in Chu region also made direct contributions to the creation or development of Fu. For example, Xunzi, originally from Zhao, was appointed as the official of Lanling in Chu, and stayed in Lanling since he was dismissed from office. Most of his life's major political and creative activities were carried out in Chu State (see Biography of Warring States Policy, Chu Ce IV Historical Records, Mencius and Xun Qing). Therefore, it was no accident that he wrote in Fu for the first time. Another example is Song Yu, who is said to be a student of Qu Yuan. He is not only a master of Chu Ci, but also a fu master. His works, such as Gao, Goddess Fu, Disciple Fu and Phoenix Fu, are widely read by later generations. Consciously or unconsciously, he drew lessons from Qu Yuan's experience and his own creation of Chu Ci to write Fu. On the basis of the original simple Gu Zhuo Fu style, Xunzi developed his imagination, expanded his writing, transplanted rich and colorful literary talents, and opened up a new world in Fu literature, which is the origin of Han Fu.