Sanqu is a poetic form of chorus, so from the perspective of expression,

Sanqu is one of the literary genres of Han nationality. It was called "Yuefu" or "Modern Yuefu" in Yuan Dynasty. It was composed with music tunes popular in the north at that time. It is a kind of Chinese music literature that originated from folk new voices, and it was a new style poem that appealed to both refined and popular tastes at that time. There are two basic forms: small orders and sets.

The name of Sanqu was first found in literature, and it was Chengzhai Yuefu written by Zhu Youdun in the early Ming Dynasty. But the Sanqu mentioned in this book only refers to the poem, not including the number of sets. After the middle of Ming Dynasty, the scope of Sanqu gradually expanded, including the number of collections. At the beginning of the 20th century, after a series of works by composers such as Wu Mei and Ren Ne came out, Sanqu as a complete stylistic concept was finally determined. The appearance of Sanqu is very similar to that of Ci, both of which originated from the folk songs of the Han nationality.

It can be said that the rise of Sanqu and the decline of Ci are almost simultaneous. Jin and Yuan Dynasties originated in the north, so Sanqu was also called Beiqu. It includes several main forms, such as poetry, set number and overtones between them. Sanqu can be divided into three parts in structure: Xiao Ling, Zhong Diao and Chang Diao.

The reason why Sanqu is called Sanqu is relative to the whole drama of Yuan Zaju. If a writer expresses his feelings purely in the form of music, which has nothing to do with Ke Bai's plot, it is "parting". He is a style that can exist independently.

It has three characteristics:

First, in terms of language, he not only needs to pay attention to certain rules, but also absorbs the characteristics of free and flexible spoken language, so he tends to be colloquial, and a certain part of the melody is rambling.

Secondly, in terms of artistic expression, it adopts the way of "Fu" more than modern poetry to elaborate the narrative.

Third, the rhyme of Sanqu is flexible, which can be flat and even, and can also be sandwiched. There were more or less mezzanine characters in the Northern Song Dynasty, and there was a saying that mezzanine was not three in the Southern Song Dynasty. Interlayer is obviously colloquial and slang, which plays a role in making the meaning of songs clear, vivid and poor.

In Qing Dynasty, Liu Xizai divided Sanqu into three categories: affectionate, broad and graceful.