1. First, the breakthrough of 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. The second is the innovation of rules and regulations. Qu Yuan's "Sao Style" is not limited to the meter of ancient poetry, but indulges in his own thoughts, statements, lamentations or calls. It has its origin, development and circular concern, and its context is extremely clear. The third is 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.
Second, the significance:
Sao style fu is a kind of fu with distinctive literary characteristics. Song Yu is the first author of Sao Style Fu, and his Gao Fu Tang and Goddess are the earliest representative works of Sao Style Fu. In the early Han Dynasty, Jia Yi's Ode to Hanging Qu Yuan, Ode to Watching Birds, and Zhao Yinyi in Xiaoshan, Huainan were all famous works in Sao style. These works reflect the transition from Chu Ci literature to Ci Fu literature. With the completion of this transition, although there are occasional good structures in later Sao Fu (such as Sima Xiangru's Changmen Fu and Wang Shen's Denglou Fu). ), as a whole, it seems that it has completed its historical mission and gradually retired, which is of little significance to the simulation effect of later generations. It is worth noting that the noumenon or fu of Sao Style Fu should be different from Chu Feng's works (such as Song Yuzhi's Nine Arguments) with the technique of fu. Cheng's analysis in "On Sao Fu" is quite intriguing: "Farewell and orange ode are full of Sao; Nagato in Han Dynasty mourned for himself, which seemed coquettish and realistic. The door is full of goods, so judge ... or: Sao was written by Qu Yuan, where to start? Hey: Song Yu. "