1. The origin of Han Fu
The term "fu" has already appeared in the pre-Qin Dynasty. "Zhou Li·Chun Guan·Master" says that Taishi "taught six poems: Feng, Fu, Bi, Xing, Ya and Song", which is a technique of expression in the Book of Songs. That is what Zhu Xi said: "Poetry is the one who tells the story and speaks directly" (Volume 1 of "Collected Poems"). Later fu-style literature also mainly used this technique and developed it more fully. As a literary style, the earliest Fu is Xunzi's "Fu Pian", which is the earliest work to be famous for Fu. Generally speaking, Fu originated from ancient poetry, was based on Chu Ci, and was formed and flourished in the Han Dynasty. Ban Gu said: "The poets who write poems are part of the flow of ancient poems." ("Preface to Fu on Two Capitals") also said: "The great Confucian Sun Qing and the Chu minister Qu Yuan, who were away from slander and worried about the country, all wrote poems to satirize them, which has the meaning of pity for ancient poems. "("Hanshu·Yiwenzhi") Ban Gu regarded Xunzi's "Fu Pian" and Qu Yuan's works as Fu, and believed that they originated from "Poetry". Liu Xie said: "Fu is a person who is ordered by the poet to expand Yu and Chu Ci." ("Wen Xin Diao Long·Interpretation of Fu") The greatest influence on the formation of Han Fu was Chu Ci, because the Chu people brought in the Central Plains The first is the Chu Ci, followed by the expression techniques of The Book of Songs and the stylistic forms and expression techniques of pre-Qin prose. In short, Han Fu absorbed and synthesized a variety of literary factors to form a unique literary form that combined poetry and prose.
2. The concept of Han Fu
Han Fu: Fu is an emerging and unique literary style in the Han Dynasty. It is a literary form that combines poetry and prose. It is the combination of prose and poetry. The poeticization of prose. Fu not only has the characteristics of poetry that emphasizes rhyme and formal formality, but also has the characteristics of free prose sentence patterns and no strict metrical restrictions. It has the expressive functions of both poetry and prose, and is a comprehensive style of both. Fu originated from ancient poetry and was based on Chu Ci. It was formed and flourished in the Han Dynasty. Han Fu is the general term for Fu-style literature of the Han Dynasty, which includes Sao-style Fu, Han Da Fu and Xiao Fu (small lyrical Fu), but the typical Han Fu is Da Fu.
Sao Fu: Sao Fu refers to a type of Fu written in imitation of Qu Yuan's "Li Sao" and other Chu Ci works. The content of this kind of Fu focuses on chanting objects and expressing emotions, and mostly expresses sadness, which is close to the mood of "Li Sao". It is also close to Chu Ci in form, and sentences with the word "xi" are often used. For example, Jia Yi's "Ode to Tribute to Qu Yuan" and "Ode to Fu Niao", Sima Xiangru's "Ode to Changmen", and Sima Qian's "Ode to the Tragedy of the Soldier".
Han Da Fu (New Style Fu): Da Fu is the typical form of Han Fu. The Fu is longer in form and has a grand structure. It mostly adopts a subject-object question-and-answer structure. It generally consists of three parts: a preface, a main body, and an end. It alternates between verse and prose, with more elements in prose; in terms of content, writing is the most important part. The main purpose is to "polishing Hongye" (Ban Gu's "Preface to Liangdu Fu"), and it also contains allegorical advice. The most prominent feature in art is the use of flamboyant techniques and rich and colorful rhetoric to describe things in a most vivid way, showing the dense, meticulous and magnificent style characteristics. Meicheng's "Qifa" marks the formal formation of Han Dynasty Fu. Sima Xiangru's "Zixu Fu" and "Shanglin Fu" are the most typical works.
Small Fu: Xiaofu is short in form, uses mostly rhymes, and has various sentence patterns. Some use four characters throughout the text, and some use a combination of four and six characters. The content of Xiaofu focuses on expressing personal aspirations, expressing aspirations by supporting objects, or expressing emotions by chanting objects, and there are also works that criticize reality. In terms of art, it inherits the layout techniques of Da Fu, but the language is much simpler than that of Han Da Fu. The techniques are exquisite and flexible, and the styles are diverse. Some are beautiful and natural, and some are passionate. The lyrical poems of the late Han Dynasty also tended to be poetic. Zhang Heng's "Guitian Fu", Zhao Yi's "Ji Shixie Fu", Cai Yong's "Shu Xing Fu", Mi Heng's "Parrot Fu" are all more famous works.
3. The development and evolution of Ci and Fu in the Han Dynasty
The development and evolution of Ci and Fu in the Han Dynasty can be roughly divided into three stages:
The first stage begins with the founding of the Western Han Dynasty In the early years of Emperor Wu, it was the formative period of Han Fu. The Ci Fu of this period showed a transition form from Chu Ci to Han Fu, and finally established the new style of Han Fu. Representative writers include Jia Yi and Mei Cheng. Mei Cheng's "Qi Fa" marked the official formation of the new style of Fu.
The second stage, from the early years of Emperor Wu to the middle of the Eastern Han Dynasty, was the heyday of Han Fu. During this period, the creation of new style Fu, that is, Han Dynasty Fu, was the mainstream, and it reached a state of complete maturity and extreme prosperity. The period of Emperor Wu and Emperor Xuan was the heyday of Han fu creation. From the end of the Western Han Dynasty, the imitation trend emerged in creation. It has formed the content and artistic characteristics of persuading hundreds of people to satirize one thing, polishing Hongye's work, and "extracting prose and describing objects with objects" (Liu Xie's "Wen Xin Diao Long·An Fu"). The representative writers include the four masters of Han Fu: Sima Xiangru, Yang Xiong, and Ban Gu.
The third stage, from the middle to the end of the Eastern Han Dynasty, is the transition period of Han Fu. During this period, the creation of Han Fu tended to decline, followed by the rise of the creation of lyrical short Fu. Zhang Heng pioneered his style, followed by important writers such as Zhao Yi, Cai Yong, Mi Heng, etc.
Section 2 Jia Yi and Mei Cheng
1. Jia Yi
1. Jia Yi was a famous writer of Ci and Fu in the early Han Dynasty. According to the "Hanshu·Yiwenzhi", there are seven poems, and now there are three poems: "Diao Quyuan Fu", "Songniao Fu" and "Hanyun Fu".
2. Characteristics of Jia Yi's poems and poems:
Jia Yi's poems inherit the creative spirit of Qu Yuan's poems of Chu. Liu Xizai's "Yi Gai· Fu Gai" said: "Qu Zi's poems, Jia Sheng got the quality." It was the early Han Dynasty. A typical representative of Sao style fu.
Jia Yi's poems inherit the satirical spirit of "Li Sao" in content, with strong lyrical color and deep and passionate emotions. For example, "Ode in Tribute to Qu Yuan" expresses one's inner depression and injustice by paying tribute to Qu Yuan. "Ode to the Bird" expresses his feelings about life. In terms of artistic expression techniques, it also inherits the Bixing tradition of "Li Sao", and its style is also close to Chu Ci. In terms of form, it basically maintains the form of Chu Ci. Sentences with the word "xi" are also commonly used, and the sentence patterns are neat but varied. Jia Yi is a master of prose, and his poems also have the tendency of "taking prose as poem" (Volume 2 of Wang Shizhen's "Yi Yuan Yan"). But generally speaking, Jia Yi still inherits the artistic spirit of Chu Ci and carries out imitative creations.
2. Meicheng
Meicheng was an important poet and essayist in the early Han Dynasty. He is most famous for his creation of Ci Fu. "Hanshu·Yiwenzhi" records that he has nine Fu. Today there are three such as "Liang Wang Tu Yuan Fu", "Wangyou Guan Liu Fu" (the first two are controversial) and "Qifa". articles. Among them, "Qifa" has the highest status in literary history. With its grand structure, rich vocabulary, laid out descriptive techniques, and subject-object question-and-answer format, it established the basic writing model of Han Fu. Liu Xie said: "The poems are beautiful, and the first "Qifa" was composed. The poems are rich and beautiful, and the wind is frightening." ("Wen Xin Diao Long·Zawen") has pointed out that his poems are "full of words" and "praising". "Beautiful" characteristics. "Seven Fa" had a great influence on the creation of fu in later generations, and imitation works appeared frequently, forming the "Seven Styles" in fu. "Qifa" marks the formal formation of the new style of Fu in the Han Dynasty.
[Reading of Works]
1. Jia Yi's "Ode in Tribute to Qu Yuan"
1. "Ode in Tribute to Qu Yuan" is a Sao style ode written by Jia Yi when he was passing by the Xiangshui River to pay homage to Qu Yuan when he was on his way to Changsha to take up the post of Grand Tutor Wang. The poet expresses his grief and indignation by paying tribute to Qu Yuan, and criticizes the social reality in which beauty and ugliness are indistinguishable and black and white are reversed. This Fu is a representative Sao style Fu in the early Han Dynasty.
2. This is a lyrical poem with concise writing and short length. There is a small preface before this fu, and the structure of the fu is divided into two parts: the first part is the main text of the fu, describing the social environment in which Qu Yuan lives, where black and white are reversed, and good and evil are not distinguished, and reveals the social reasons for Qu Yuan's tragic fate. The second part is the "Xun" word of the poem, that is, the conclusion, which analyzes the reasons for Qu Yuan's tragic fate.
3. This poem actually expresses one's cynicism, sadness, anger and depression through mourning. This poem mainly uses narrative and argumentative techniques in writing: the main part of the text mainly uses narrative techniques to describe various reversed social phenomena, and expresses exclamations and arguments in a timely manner; the "news" part mainly uses argumentative techniques. Juju complained that Qu Yuan could not stay away from troubled times to protect himself. Whether it is narrative or discussion, the whole poem embodies the author's passionate emotions and has a strong lyrical color. At the same time, this Fu inherits the Bixing tradition of Chu Ci. Its expression techniques mostly use metaphors and symbols, with vivid images and rich connotations. In addition, the method of contrast is also used to make the social phenomenon of good and evil reversed more vivid. The sentence pattern of this fu is that the first part is mainly four-character sentences, and the second part is mainly six-character sentences, also using the word "xi". From the artistic expression to the technique and even the style, this Fu has signs of imitating Chu Sao, which reflects the transitional state from Chu Ci to Han Fu in the early creation of Han Fu.
2. Jia Yi's "Ode to the Birds"
1. "Song Bird Ode" was written by Jia Yi when he was exiled to Changsha and served as the royal tutor of Changsha. "Ode to Song Bird" mainly talks about the philosophy of life based on Taoist thoughts. It is a philosophical poem. He stated that the ways of heaven and people are endlessly changing and difficult to understand, and he attempted to eliminate the depression of life with the Taoist optimistic attitude of life and death being one and the same as one's destiny, so as to obtain spiritual relief.
2. The artistic characteristics of "Ode to Songbirds":
(1) The form of "Ode to Songbirds" is very peculiar. It unfolds with a dialogue between humans and birds. This form is obviously influenced by Zhuangzi's fables, and it is also the first of its kind in the Han Dynasty's subject-object question-and-answer style.
(2) The most prominent feature of "Ode to Song Birds" is that it is mainly based on discussion. Discussion is used to express thoughts on the sorrows of life and to elucidate the philosophy of life. Appropriate metaphors are often used in discussions to enhance the image of the discussion, and exclamations are often used to enhance the emotional nature of the discussion.
(3) The language of "Ode to Song Bird" is focused on expressing philosophy, so it appears to be concise and precise. The form is mainly composed of neat four-character sentences, but also has a tendency of prose culture, reflecting the transition to Han Dynasty Fu.
3. Meicheng's "Seven Hairs"
1. "Seven Hairs" is Mei Cheng's representative work and the official landmark work of Han Dynasty Fu. "Qi Fa" assumes that the Prince of Chu is ill and Wu Ke goes to visit him. So he enlightened the prince of Chu with seven things: music, food and drink, carriages and horses, banquets, field hunting, watching waves, and discussing Taoism. The main purpose of the Fu is to explain that the pleasures of sensuality, dogs and horses are not as good as the "wonderful words" of the sages. It is to dissuade licentiousness and extravagance and inspire people to pay attention to spiritual pursuits.
2. The artistic achievements of "Qi Fa"
(1) "Qi Fa" integrates various factors of previous generations of literature. "Qifa" has a grand system, adopting the form of subject-object question and answer, and connecting links to structure the whole article. It has been influenced by Chu Ci in terms of structure and description techniques. The grand structure of "Li Sao" and the question and answer format, the question and answer between the emperor and Wu Yang in "The Soul Calling", and the layout and description of "The Soul Calling" and "The Great Move" Techniques, as well as the rhetoric of politicians and many other factors. On this basis, "Qifa" completed the foundation task of the Han Dynasty Fu.
(2) The biggest feature of "Qifa" in writing is that it is good at description and scenery, with vivid sounds and emotions, exquisite and delicate descriptions, and vivid images; it is good at presentation and comparison, exaggeration, and magnificent momentum. , with gorgeous rhetoric. Liu Xie said: "The beauty of Mei Cheng is beautiful, and the first "Qifa" was produced. It is full of words and clouds, and it is flamboyant and frightening." ("Wen Xin Diao Long·Essays") Moreover, the characters and their dialogues in "Qifa" are all fictitious. The narrative and description are also imaginary. In this respect, it has more meaning of literary creation. In terms of content, Sao style Fu has also changed from being mainly lyrical to mainly narrative writing.
(3) The language form of "Qifa", on the one hand, it absorbs the sentence patterns of Chu Ci and the word "xi", on the other hand, it uses a large number of prose sentence patterns, and also has dual and parallel sentences. application of formula. Compared with Chu Ci, the elements of poetry are reduced and the elements of prose are increased. It is the combination of verse and prose, the prose culture of poetry and the poeticization of prose. "Seven Hairs" set a model for the later creation of Han Dynasty Fu in terms of system and artistic techniques.
Section 3 Sima Xiangru
1. Sima Xiangru is the most famous fu writer in the Han Dynasty. "Hanshu·Yiwenzhi" records twenty-nine of his poems, six of which are preserved today. His most famous Fu works are "Zixu Fu" and "Shanglin Fu", which are model works of the new style Fu in the Han Dynasty. In addition, there are "Adult Fu", "Nagato Fu", "Beauty Fu", etc. Because of his creation, the new style of Fu established a solid position in the literature of the Han Dynasty. "Zixu Fu" was written during the period of Emperor Jing of the Han Dynasty when he was a guest of King Xiao of Liang. "Shanglin Fu" was written when Emperor Wu was summoned after he ascended the throne. The two articles are ten years apart, but they are actually the first and second parts of the same theme. "Zixu Fu" pretends that Zixu envoy Qi boasted to Mr. Wu You about the prosperity of the Chu king's fields and hunting. Mr. Wu You retorted and criticized Zixu for "not praising the virtues of the King of Chu, but he praised Yunmeng as being high and was extravagant." "Shanglin Fu" writes about the death of Shi Gong and criticizes the two men. It praises the emperor's grand hunting in the forest and the emperor reflects on extravagance, and finally implements it as a political and moral allegory. It embodies the content characteristics of the Han Dynasty's great poems of "polishing Hongye" (Ban Gu's "Preface to the Fu of Liangdu") and "encouraging hundreds of people to satirize one" ("Book of Han: Praise for Sima Xiangru").
2. The artistic characteristics of Sima Xiangru’s Fu
1. Sima Xiangru's poems adopt fictional techniques in artistic conception. In "Zixu Fu" and "Shanglin Fu", not only the characters "Zixu", "Uyou" and "Death" are fictitious, but the exaggeration in the description of some things also contains fictitious elements. The entire article is written in fiction. The structure of the article completely adopts the fictitious question-and-answer form of the subject and the guest. The description is developed through the subject and the guest boasting and questioning each other, striving to show the huge time and space. The whole poem appears to be vast, grand in structure and rich in imagination. This grand atmosphere and structure are exactly the reflection of the prosperous atmosphere of the Han Empire in the psychological structure of the literati. As the author said: "The heart of the family encompasses the universe and the characters." (Ge Hong's "Miscellaneous Notes of Xijing" )
2. In terms of artistic expression techniques, we mainly use the means of exaggeration and rendering to narrate and write things. His poems mainly focus on "objects", focusing on describing the categories, objects and states of objects, and pursuing the richness and splendor of rhetoric. As Liu Xie said: "The person who writes poetry is the one who spreads it; the person who writes it is the one who writes the text, and the objects describe the aspirations." ("Literature Mind Diaolong·Interpretation of Fu") Exaggerated description, delicate description, layer upon layer of rendering, and The colorful words have the potential to describe everything. It can be said that it has reached the state of "writing pictures of objects and turning them into sculptures and paintings" (ibid.).
3. In terms of language form, extensive use of parallelism and antithesis creates a strong sense of rhythm and rhyme. In the arrangement of fonts, we also pay attention to the beauty of form. At the same time, the sentence patterns are alternately long and short, flexible. In short, his poems' deliberate pursuit of rhetorical beauty and formal beauty has reached an extreme level. The work's ability to describe images and use diction indeed surpasses its predecessors. However, it is also suspected of piling up rhetoric, using strange words and uncommon characters, and blindly pursuing "writing of things and pictures" without moving artistic conception and inner charm.
Section 4: Poetry and Fu Creation in the Eastern Han Dynasty
1. Ban Gu
1. Ban Gu is the most famous writer of Ci and Fu in the early Eastern Han Dynasty. "Liangdu Fu" is his representative work of major fu. It created the example of Kyoto Fu. Later, Zhang Heng's "Er Jing Fu" and Zuo Si's "Sandu Fu" were works of the same theme. Other famous poems include "Youtong Fu", "Taobin Xi", etc.
2. "Ode to Two Capitals"
(1) "Ode to Two Capitals" is divided into "Ode to Eastern Capital" and "Ode to Western Capital", which are actually two chapters in one chapter. The work pretends to be a guest in the West and a host in the East. The host and guest boast about each other. The Bin in the West calls the West "the old system of Chang'an", which represents the views of the elders in the West and expresses the "nostalgia" and "the nostalgia for the past." The master of the Eastern Capital boasted of the grand system of the Eastern Capital of Luoyi, which reflected Ban Gu's own views, intended to praise the system of the dynasty, and also reflected the Confucian political ideals of emphasizing etiquette, music, education, and advocating frugality.
(2) "Liangdu Fu" imitates Sima Xiangru's "Zixu Fu" and "Shanglin Fu" in terms of structure and art, such as the grand structure, the way of assuming the question and answer of the subject and the guest, and the arrangement , rendering, exaggerated description techniques, etc. The expression technique and artistic style of "Xidu Fu" are closer to Sima Xiangru's, with its unbridled, rich and detailed style, and strong artistic expression; the technique of "Dongdu Fu" is more plain, and the language style is more elegant. It was influenced by the author's Confucian style. Liu Xie once commented: "Meng Jian's "Two Capitals" is brilliant and elegant.
"("Wen Xin Diao Long·An Interpretation of Fu") summarizes the basic characteristics of "Liangdu Fu".
(3) "Liangdu Fu" has developed and improved compared with its predecessors in the following ways: 1. 1. The scope of description has been expanded in terms of subject matter, from the description of Linyuan to Kyoto; 2. While using fictional and exaggerated expression techniques, it also incorporates realistic expression techniques. 3. Strengthened the penetration of rational factors into the work. It reflects the author's political and historical concepts more deeply, making the content more profound.
2. Zhang Heng
1. Zhang Heng was an outstanding scientist and famous writer in the mid-Eastern Han Dynasty. His poems include "Er Jing Fu", "Guitian Fu", "Si Xuan Fu", "Hot Spring Fu", "Ying Jian Fu", etc. Among them, "Er Jing Fu" is the representative of the large poems about things, and the lyrical poems. "Guitian Fu" is the most famous. In addition, Zhang Heng's "Song of the Same Voice" and "Poetry of Four Sorrows" occupy a certain position in the development history of literati's five- and seven-character poems.
2. "Ode to Beijing"
(1) Zhang Heng's "Ode to Two Capitals" is another masterpiece with the theme of Kyoto after Ban Gu's "Ode to Two Capitals". The origin and purpose of its writing is to satirize luxury. "The Book of the Later Han·Zhang Heng Biography" says: "In the Yongyuan Dynasty, the world was at peace for a long time. From the princes down, everyone was extravagant. Heng imitated Ban Gu's "Two Capitals" and wrote "Er Capital Fu", so he used it to satirize and admonish. . If you think carefully, it will take ten years to achieve success. "Er Jing Fu" is divided into two chapters, "Xijing Fu" and "Tokyo Fu". In "Xijing Fu", Mr. Pingxu first described the prosperous and luxurious scene of Chang'an, Xijing. Mr. Pingxu's point of view is The ruler's enjoyment and luxury are a sign of prosperity and abundance. Then Mr. An Chu in "Tokyo Fu" denies and criticizes his point of view, warning Master Pingxu that "water can carry a boat, but it can also capsize it." It describes the grand occasion of Luoyang, the eastern capital, in order to praise the prosperity of Tokyo without being too extravagant.
(2) "Er Capital Fu" is full of institutional structure, layout and artistic techniques. It is an imitation of Ban Gu's "Liangdu Fu". However, Zhang Heng "thought deeply about Fu Hui and it took ten years to complete it." The level of careful consideration still exceeds "Liangdu Fu". The structure of "Erjing Fu" is grander and longer. It is longer, the description is more delicate, and the scope of the subject matter is wider. "Essays on Two Capitals" also has some new changes and developments: in terms of subject matter, it adds descriptions of urban customs to Kyoto life; in terms of art, in addition to the decoration and exaggeration, it also adds some new changes and developments. In addition to the elements of reasoning and lyrical color, some scene descriptions also reflect the characteristics of beauty and nature, and the writing style is similar to his lyrical poem "Guitian Fu"; in terms of ideological themes, the elements of allegory and criticism are strengthened.
3. In addition, with the decline of the political economy in the late Eastern Han Dynasty, the great Fu, which was mainly about exaggerating and praising merits, accordingly lost its foundation of existence and was replaced by the kind of lyrical narrative. Zhang Heng's "Guitian Fu" is a short, fresh and lyrical poem that is mainly lyrical and more poetic. It is an important work that marks the transformation of the Han Dynasty's great poems into lyrical poems. Many works such as Yi's "Ode on Ji Shixie" by Cai Yong, "Ode on Parrots" by Mi Heng, etc. appeared. reality, and moves towards the personal emotional and spiritual world, and is closer to real life
[Reading of Works]
1. Zhang Heng's "Guitian Fu"
< p>1. "Guitian Fu" was written in Zhang Heng's later years. His official career was dusty, his life was difficult, and his ambitions were difficult to achieve, so he came up with the idea of ????returning to his fields and living in seclusion. The first part is about his thoughts about returning to his fields. Motivation. The second part describes the imagined joy of returning to the field from different perspectives.2. "Returning to the Field" is a lyrical poem. The main artistic features are:
( 1) In terms of writing techniques, one is to integrate one's own state of mind and emotions into the description of the environment and scenery, forming a seamless integration of meaning and scenery, and forming a poetic, harmonious and beautiful artistic conception. The author uses allusions, stories, narratives and other techniques to describe his emotions and express his emotions. In the author's inner psychology, the darkness and depression of reality and the beauty and freedom he longs for form a distinct contrast. Compare and contrast.
(2) The language of "Guitian Fu" is fresh and bright, with delicate and elegant descriptions of scenery and profound discussion.
(3) "Guitian Fu". It is short and short, using four or six sentences, and often uses couplets. The form is neat and the rhythm is harmonious. In form, this Fu embodies the parallel-style prose characteristics of "parallel four and six figures", and can be said to be the earliest relatively mature parallel-style Fu that appeared in the Han Dynasty. It is also the earliest work to feature the joy of pastoral life.