Chapter 8 Chapter VII Historical Situation (B)

7.1 Tributaries of Classical Chinese Section 6.1 of the previous chapter said that for the convenience of explanation, classical Chinese is divided into two streams: the mainstream is the non-rhyme writing, and the tributary is the rhyming writing.We know that many genres of classical Chinese often rhyme, and some rhyme occasionally or have rhyming sentences mixed in prose.What I want to introduce here is an overview, and we have to choose the important and discard the light.The most important thing is poetry, because there are many authors, large output and high achievements.The second is words.Next is Fu.Qu is an important style of rhyming, but from the perspective of speaking classical Chinese, the problem is more complicated.Qu has both broad and narrow meanings: the broad sense refers to the so-called scripts, such as etc. are all Qu; the narrow sense refers to Quwen.There are two kinds of songs and texts. Those that are sung in the script are the lyrics, and those that are not sung outside the script are Sanqu.In the script, there are also narrations that are only spoken but not sung.Compared with the ancient prose of the Qin and Han Dynasties, Qu is a contemporary prose, that is to say, it was originally written in the "language" of the time so that the audience can understand it.However, because: on the one hand, the author is always a proficient writer (unknowingly seeks elegance), on the other hand, there is a close inheritance relationship between the music and the words, so the music (including the music and lyrics, binbai and sanqu) has to be mixed and different. Very little classical Chinese.But no matter how much it is, it is always mixed, not pure or in general, so putting it in this current will become a misnomer.

After the music is excluded, there will be two problems when talking about classical Chinese with rhyme.One of the small ones is that there are a few that do not rhyme, such as most of the "Ode" and "The Fisherman" in "Chu Songs"; or not all of them rhyme, such as some Fus in the Western Han Dynasty.Fortunately, these few exceptions were only seen in the early stage of rhyme, and according to the principle of taking the same and discarding the small differences, they can be ignored.Another problem is more serious, that is, the distance between poetry and spoken language is close, and many of them (such as some Yuefu poems) even have problems in classical Chinese.How to deal with it?I think there are two ways or principles: one is still "lexical-syntax system" and the other is "from the majority".The first one does not need to be explained, it just depends on whether the expression method is from Qin and Han: yes, it is considered classical Chinese (before Qin and Han, for example, from habit, it is considered classical Chinese); no, it is considered vernacular.The latter has two meanings: on the one hand, in terms of the whole, such as poetry, most of the expressions are in classical Chinese, so it is considered classical Chinese in general; It is from the Qin and Han Dynasties, and it is also considered classical Chinese.This way of distinguishing, it is inevitable to meet the middle one, and it is difficult to determine it. Then we can seek truth from facts and let it sit on the wall and stay in the middle.This kind of problem will be discussed later in Chapter 14 when discussing the boundary between text and vernacular, so it is omitted here.

7.1.1 and "Chu Ci" These are the two collections of poetry with the earliest time and the highest value in the literature inventory of our country.Compared with the two, the time is earlier, from the Western Zhou Dynasty to the mid-Spring and Autumn Period; "Chu Songs" was written during the Warring States Period (the imitation by the Han people is not counted).There is also a big difference in the place of production: it is mainly from the Central Plains, and "Chu Ci" is from the Jianghan area.Differences in time and region also bring about other differences. For example, the vast majority of "Songs of Chu" are written by unknown authors, while most of "Songs of Chu" have a clear author (a few have doubts); it is a collection of official songs, "Songs of Chu" is not .The most important difference is the pattern of sentences and the artistic conception expressed.The system is short and tidy: most of them are four words and one sentence, which rhymes every other sentence; it is generally divided into several chapters of the same form, which is for repeating singing with the same tune; the length is relatively short.Compared with the "Songs of Chu", the system of "Chu Ci" is more complicated: the sentences are long, and the number of words is not fixed; there is no repetition of chapters;The difference in mood is even greater.What is written is the "human" environment, commonplace, and the technique is realistic. "Chu Ci" is not the case, but uses rich imagination to describe many "divine" realms beyond the human world; even when it writes about the human world, it is always beautiful and vanilla, blurred and trance.In short, both are poems, "Chu Ci" is rich in romanticism, and because it also uses some Chu dialects, it is difficult to read.

As far as the compilation is concerned, it is relatively simple: the customs of the fifteen countries are folk songs from various places, Xiaoya and Daya are court songs, Zhou Song, Lu Song, and Shang Song are ancestral temple songs. The seventeen chapters of "Songs of Chu" were compiled by the Han people, and the ten chapters were devoted to Qu Yuan and Song Yu during the Warring States period. The nature is very mixed. Dance songs, "Buju" is a chronicle.As for the seven articles imitated by the Han people, they are copying in nature and have no new features. 7.1.2 Ancient Yuefu Poems

This mainly refers to the poetic works from the Western Han Dynasty to the Tang Dynasty.Yuefu and ancient poetry are discussed together because the two have a constant relationship.On the one hand, there are differences between Yuefu and ancient poetry: first, the source is different. Yuefu (as the name of the poem) was originally the lyrics collected by Yuefu (as the name of the government) from various places. The lyrics have tunes, and the tunes have names, such as "Mo "Shangsang" and "Stepping out of Xiamen Xing" and so on; ancient poems are poems created without maintaining the same tune, such as Han Gaozu's "Great Wind Song" and Zhang Heng's "Poem of Four Sorrows".Second, due to different sources, there are differences between simple and simple styles and profound decorations.But on the other hand, there is a close relationship between the two: first, literati often imitate Yuefu when they write poems, imitating the sound, and mark the name of the tone, which becomes Yuefu poems; It is called so by posterity).The second is from the perspective of structure, Yuefu and ancient poetry are the same. In the early period, miscellaneous words other than five characters were used, and later it was basically five words and one sentence, which rhymed every other sentence.The third is that after the rise of modern style poetry in the Tang Dynasty, compared with modern style poetry, Yuefu and ancient poetry became one family, and they were both considered ancient style poetry.But in terms of difference, the rise and fall of the two are very different: during this period, Yuefu poems gradually declined from great prosperity, and ancient poems gradually appeared to become more and more numerous.The difference between rise and fall is the result that wind poems come from the folk, copied by literati, and gradually become overwhelming.

The Yuefu poems of this period were used in some temples, and included in the official history "Yuezhi".Most of the others are folk songs or are originally from folk songs. The language is simple, and the description of emotion and scenery is true and natural, which is the best work of poetry.There are many works. In the later years of the Southern and Northern Dynasties, some of them were included in "New Odes on Yutai" compiled by Xu Ling.Specially collecting Yuefu poems, Song Guo Maoqian has the largest collection and the most detailed classification.There are one hundred volumes of the book, and Yuefu poems are divided into twelve categories, which are: Jiaomiao Song Ci, Yan She Ge Ci, Advocate Qu Ci, Hengfeng Qu Ci, Xianghe Song Ci, Qing and Shang Song Ci, Dance Song Ci Ci, Qin Qu Ci Ci, Miscellaneous song lyrics, modern song lyrics, miscellaneous song lyrics, and new Yuefu lyrics.Because of seeking completeness, it included both ancient rhymes and literati imitations since the Sui and Tang Dynasties, as well as songs composed by Tang people who no longer use the names of ancient tunes, such as Yuan Zhen and Bai Juyi's New Yuefu.

Most of the ancient poems of this period were written by literati after the end of the Eastern Han Dynasty, and later generations call them five-character ancient poems.As a style of poetry, ancient poetry refers to modern poetry of the Tang Dynasty. Generally speaking, modern poetry has strict standards, while ancient poetry is relatively free.The so-called freedom means that the length of the text is indefinite, the rhyme of level or oblique rhyme is uncertain, the restriction of rhyme is relatively wide (for example, Yidong and Erdong can be used in common), and there is no requirement for regulated sentences (the level of sound changes according to the law) and duality.In addition, sentences are also more qualitative than similar poems.But these are the works of literati after all, so starting from the seven sons of Jian'an during the Han and Wei dynasties, compared with Yuefu poems, the sentences tended to be more beautiful. In the Southern Dynasties, Xie Lingyun, Xie Tiao, etc. Yu Xin and others wrote palace-style poems, depicting red and emerald green, and the rustic style became less and less.Most of the works of this period are collected in individual collections, such as "Cao Zijian Collection", "Xie Xuancheng Collection", "Yuzishan Collection" and so on.In addition to other collections, Xiao Tong's "Selected Works" is an important anthology, such as this book can be handed down.The recent Ding Fubao compiled "The Poems of the Whole Han, Three Kingdoms, Jin, Southern and Northern Dynasties", which collected all the poems (including Yuefu poems) of this period. If you want to know the whole picture, you can refer to it.

After the Southern and Northern Dynasties, the ancient Yuefu poems no longer had a dominant position.But it did not perish, but survived and developed in another way.The so-called survival is still imitated by literati. For example, Li Bai once wrote "Midnight Wuge" and "Long Gan Xing". "Three Poems of Qiang Village", "Five Hundred Characters of Yonghuai from Beijing to Fengxian County", etc., have achieved very high achievements.The so-called development refers to the rise of long seven-character songs, such as Bai Juyi and "Pipa Xing", almost everyone knows and reads; later generations also imitate constantly, such as Qing Wu Weiye's "Yuanyuanqu" and "Yonghe Palace Ci" ", occupy an important position in the history of literature.

7.1.3 Modern poetry Modern style poetry is the product of more and more attention to the rhythm of poetry since the Qi and Liang Dynasties in the Southern Dynasties.Compared with ancient style poetry, modern style poetry has more frames.Roughly, there are only two styles, regulated poems and quatrains. A regulated poem has eight sentences, and a quatrain has four sentences; because a sentence can be five characters or seven characters, it is subdivided into four styles, five-character regulated poems and five-character verses. Quatrains, seven-character regulated poems and seven-character quatrains; in addition, there are five-character regulated poems that are not limited to eight sentences, and the whole text is antithetical (except for the last couplet), and not many people write them.Generally, it rhymes with a flat tone, and rhymes every other sentence (except for the first sentence); thirty rhymes with a flat tone are not allowed to be used in common.Sentences must be in harmony; the so-called harmony means that two syllables are used as a unit (the last one is the key point), and the level must be changed. ; To do otherwise is to violate the law.According to the general practice, the two sentences in the middle of the verses should be in pairs, forming two couplets, and the other sentences (including the four sentences of the quatrains) should not be duals as usual, and duals should be changed.What has become the most is the duality of verses and quatrains, and the non-duality of verses.The former such as:

(1) The wind is raging, the sky is high, the ape screams and mourns, and the white bird flies back to clear the sand.The boundless falling trees are rustling, and the endless Yangtze River is rolling in.Wandering With Melancholy, a century on stage alone and sick.Difficulty and bitterness hate the frosty temples, and the new stop the dirty wine glass. (Du Fu's "Climbing the High") (2) Two orioles sing green willows, and a group of egrets go up to the blue sky.The window contains Qianqiu snow in Xiling, and the door faces the boat of Dongwu Wanli. (One of Du Fu's "Four Quatrains")

The latter such as: (3) Although the family moved with Guo, the wild path entered Sangma.The hedgerow chrysanthemum, which is a recent species, does not bloom in autumn.There is no dog barking when the door is knocked, and I want to ask the West family.The report goes to the mountains and returns every day. (Jiaoran's "Looking for Lu Hongjian, Not Encountered") In addition, there is another big change, which is a deliberately unlawful practice, which is called "折体" (rare).Such as: (4) The thatched cottage in Airu Yushan is quiet, and the atmosphere is fresh and fresh in high autumn.Sometimes bells and chimes ring spontaneously, and fishermen and woodcutters can be seen even more in the setting sun.Peel the millet from the white crow valley, and cook the celery at the bottom of the green mud workshop.What is the matter of the king of Xizhuang, the chaimen is free to lock Songyun. (Du Fu's "Cui's Dongshan Thatched Cottage") The first sentence "草堂" should be flat and it is flat, and the fourth sentence "Gengjian" should be flat and it is flat. What's more, the second and fourth sentences both use Lian Sanping (similar to the difference) New, fishermen and woodcutters), this is to seek strangeness by deviant, playing a new trick. People in the Tang Dynasty wrote modern style poems, generally according to the rules, and the later the time, the stricter the requirements.From the point of view of writing, this means that the freedom is getting less and less, but from the point of view of results, it cannot but be admitted that it has gained a lot.The so-called more includes two meanings.One is that at least in terms of the beauty of sound, modern poetry is indeed far superior to ancient poetry.See the example below: (5) Jielu is in a human environment, without the noise of cars and horses.Ask the king how can you, the heart is far away from the side.Picking chrysanthemums under the eastern fence, leisurely seeing Nanshan.The scenery of the mountains is beautiful every day and night, and the birds return each other.There is true meaning in this, and I have forgotten the words if I want to distinguish it. (Tao Yuanming's "Drinking Wine" No. 5) (6) Ziquan palace is locked in haze, and wants to take Wucheng as the emperor's home.Yuxi is not destined to return to the corner of the sun, Jinfan should go to the end of the world.Today there are no fireflies in the rotten grass, but there will always be evening crows in the hanging willows.If you meet Empress Chen in the underground, how can you ask the flowers in the backyard again. (Li Shangyin's "Sui Palace") Comparing the two poems, if you only judge by your ears, Tao's ancient poems have no choice but to bow down.The other kind is more output.Almost all the literati in the Tang Dynasty did not like to write poems, and they took modern style as their job, because they could show their skill and talent.As a result, a large number of modern poems were naturally written.These, of course, are handed down to a small number, and most of them are collected in individual collections.In the Tang Dynasty, there was still a trend of selecting poems. Now there are ten kinds such as "Heyue Yingling Collection" and "Zhongxingjianqi Collection".The book with the largest collection of poems from the Tang Dynasty is the 900-volume "Quan Tang Poetry" compiled by officials in the early Qing Dynasty. It has more than 2,200 authors and nearly 50,000 poems (including some words). After the Tang Dynasty, the luck of modern style poetry has not diminished.For example, we often talk about Tang poetry, Song Ci and Yuan Qu. It seems that in the Song Dynasty, poetry has been squeezed to a second place by Ci.In fact, this is not the case. The evidence is that not only are there more poems but few lyrics, but even masters who are good at both, such as Ouyang Xiu and Su Shi, also write more poems and fewer lyrics.Because of this, almost like the Tang Dynasty, the literati in the Song Dynasty also wrote a lot of poems, and produced many outstanding poets, such as Wang Anshi, Huang Tingjian, Fan Chengda, Lu You and so on.After the Song Dynasty, the habit of literati to write modern poetry has not diminished. For example, literati in Yuan, Ming and Qing dynasties not only wrote, but also produced many great masters; When I feel it, like Mr. Lu Xun, it is inevitable to write the seven rhythms of "Used to spend the spring at night". 7.2 words Prose with rhyme, especially in terms of style, originally came from the folk, but it was just a ditty in the lanes and fields.But it has a real situation and a beautiful voice, and it soon entered the hall of elegance, such as "Guofeng" from "Chu Ci", "Nine Songs" from "Chu Ci", Yuefu's "Xianghe Geci" and "Miscellaneous Songs" and so on. so.Vulgarity becomes elegance, and literati who pride themselves on elegance must of course imitate.As a result, the sentences have been refined, and the output has increased; but the situation is not so real, and almost all stay on paper, and no longer compose the orchestra.People always want to sing, and singing cannot be done without lyrics, so when the old style cannot serve as the lyrics, the new style emerges as the times require.Ci came into being because by the Sui and Tang Dynasties, Yuefu poems were no longer lyrics in the hands of literati.The early name of ci was "quzi" or "quzici", which means the lyrics when playing music and singing.Later, some people called it "Yuefu" because it was the lyrics of the music.There are other names for words, such as "long and short sentences", which is compared with the neat sentence structure (five or seven words) of poetry; "Shiyu" may mean Ci Nai Xiaodao, but it means the end of the poem. Words and poems are close relatives in the rhyme system, so those who comment on poetry speculate that there is a relationship between the egg and the chicken.In fact, words did not evolve from poetry, although rhetoric and rhythm cannot be unaffected by poetry.Compared with poetry, ci has its own characteristics. First, because it is sung in the emerging Yan music, there are stricter and more detailed rules in terms of rhythm: the lyrics have tones (such as "Bodhisattva Man"), and the tones are sung. There is a spectrum (such as the first sentence is "Ping Ping Zhe Ping Ping Zhe"), and some not only require that a certain word must be flat or must be flat, but also require that a certain word must be a certain type of ze (such as the last two characters in "Yongyule" must be is "go up"), and even distinguish five tones and yin and yang.Second, because it is often used in the flower room and in front of the statue, the sentiment is soft and gentle, and it is inseparable from red lights, green wine, jade bracelets and gold hairpins.These two characteristic determiners are quite different from poems.One is the specifications.The poems are quite simple, especially the close style, but there are only five or seven character rhythms, there are four types in total, that is, subdivided, including the rhyme and non-rhyme of the first sentence, there are no more than a dozen kinds.There are a lot of words. In the "King Ding Ci Pu" compiled by Wang Yiqing and others in the early Qing Dynasty, there are more than 800 tunes in total, and some tunes also include different styles, totaling more than 2,000.Different tunes have different numbers of characters. For example, "Sixteen Character Order" has only 16 characters, while "Ying Cry Preface" has as many as 240 characters.A small number of tones have few characters and are not divided into pieces; most of them are divided into upper and lower pieces.In the past, according to the number of characters, words were divided into three types: less than fifty-eight characters are small orders, fifty-nine characters to nine crosses are middle tones, and more characters are long tones (there are different opinions).There are many changes in the way of rhyming. Rhyming every few sentences, changing the rhyme or not changing the rhyme, if changing, changing several times, each tune has its own specifications.In short, because of the complex specifications and strict requirements, it is more difficult to compose than poetry.The second is emotional appeal.Poems are all lyrical rhymes, but the nature of artistic conception expressed is different.Generally speaking, poetry is suitable for expressing more straightforward feelings, and words are suitable for expressing softer feelings.Long is meticulous and euphemistic, so Su Xin has always used the euphemism school as his orthodox.Su Shi's nature is free and easy, and it is difficult to change his nature in writing words, so there are famous sentences such as "When is the bright moon, ask the blue sky for wine", "The great river goes east, and the waves sweep away all the romantic people through the ages". The bold and unconstrained faction, the literary historians of later generations use the present to measure the past, saying that this is the liberation and progress of the ci realm.At that time, most people didn't think so. For example, Yu Wenbao's "Blowing the Sword Record" recorded that a certain singer who could sing said that Su Ci "must be a big man in Guanxi" and "sing the great river to the east".Li Qingzhao put it even more bluntly in his "Ci Lun", which is "poems that cannot be read in a sentence" and "often do not harmonize with rhythm".Here we are not commenting on the superiority of the graceful school and the bold school, but just want to explain that there is a difference between the poetic environment and the poetic environment, or that the words have characteristics, and we should understand and experience this characteristic when reading words.Compare the following examples: (1) I heard that Chang'an is like playing chess, and the world is full of sorrows for a hundred years.The residences of princes and marquises are all new owners, and their civil and military clothes are different from those of the past. ... (Du Fu's "Eight Poems of Autumn Prosperity") (2) When is the bright moon?Ask the sky for wine.I don't know the palace in the sky, what year is this eve. ... (Su Shi's "Water Melody Song") (3) Where do you go in the clouds for a few days, forgetting to return, not saying that spring is coming to an end.Hundreds of herbs, thousands of flowers, cold food road, whose tree is the fragrant car tied to? ... (Feng Yansi's "Magpie Stepping on a Branch") (4) The willows in the west city are soft in spring, moving away from sorrow, tears are hard to hold.I still remember that amorous feelings were once a boat for returning home.On the day of Biye Zhuqiao, no one was seen, and the water was empty. ... (Qin Guan's "Jiangchengzi") Example (1) is a poem, example (2) is Li Qingzhao's so-called "poetry that cannot be read without repair", and example (3) (4) is a word.To appreciate the artistic conception and sentiment, we have to admit that what is contained in examples (3) and (4) is suitable for expression with words, and even said that it is not what poetry can express. In addition, the artistic conception and sentiment of the words are different in different tones. For example, "Manjianghong" and "Congratulations to the Bridegroom" are more rigid, accounting for a minority of the tones; "Huanxisha" and "Butterfly Love Flower" are more soft. , occupying the vast majority of the tones.In short, words have been developed to the most delicate level in the various styles of verse, and their achievements should be valued. Ci was originally a folk work, but in the past, the earliest anthology of Ci, Zhao Chongzuo's "Huajian Collection" and Wuming's "Zunqian Collection", were all works of literati in the Tang and Five Dynasties.It was not until recent years that some early unknown works were discovered in the Dunhuang scrolls. Wang Zhongmin compiled the "Dunhuang Songs and Ci Collection", including more than 160 pieces such as "Fish Beauty" and "Bodhisattva Man".The imitation of literati began in the middle Tang Dynasty, and a few works of Liu Yuxi, Bai Juyi, etc. have been handed down.Ci became the heyday in the late Tang Dynasty and the Five Dynasties, and many masters such as Wen Tingyun, Wei Zhuang, Feng Yansi, and Li Houzhu came out.The poems of this period are all short and small orders, and the themes are mostly banquets and boudoir love. In "Tang and Five Dynasties".By the time of the Song Dynasty, Ci had a great development and great change: the text gradually became longer, and there were more and more middle and long tones; , Qin Guan, etc. are still the old graceful all the way, while Su Shi, Xin Qiji, etc. have become bold and unconstrained.There are many writers, more works, and almost everyone has a collection of words. If you add them up, if you count them first, the number is too large.The collected books include "Sixty Famous Poems of the Song Dynasty" engraved by Mao Jin in the late Ming Dynasty, and "Quan Song Ci" compiled by Tang Guizhang.After the Song Dynasty, words were no longer used as lyrics, but like poems, many literati imitated them in various dynasties. Among them, the Qing Dynasty was the most prosperous and the most successful. Not only did many masters, such as Zhu Yizun, Gu Zhenguan, Na Lan Chengde and others also formed different schools, such as Zhejiang School and Changzhou School.Most of the poets have a collection of words handed down from generation to generation, and the collection of books includes "Ci Ming Jia Ci" edited by a close friend Chen Naigan.Also, just like writing poetry, there are still people who regard words as a tool for expressing emotions. Sometimes they fill out a poem or "Qinyuanchun" when they are in a mood. 7.3 endowment Compared with poetry, Fu is the second-largest family in classical rhyme.Therefore, it has become second-class because there are many articles and few quality, difficult to write and not very useful (most of the descendants are dealing with exams).The origin of the Fu style is very early. "Hanshu·Yiwenzhi" said: "Ascend to the heights and be able to Fu, you can be a doctor."The situation of this ode is often recorded in the pre-Qin classics, such as "Zuo Zhuan" Yin Gong Year Record Zheng Zhuang Gong and his mother Jiang's reconciliation, said: "The public enters and writes, 'In the big tunnel, the joy is also harmonious." Jiang Fu came out, 'Beyond the big tunnel, the joy is also released.'" The Fu is very short, but it shows the nature of the Fu style, which is exaggerated in content and rhymed in form.It is inferred that since composing Fu is an essential skill of the upper class, the style of Fu will surely prosper and grow, so the length of Fu gradually changes from short to long.In the pre-Qin period, perhaps Chu was the most popular, so what we can see today, such as some chapters in "Chu Ci", "Chengxiang Chapter" and "Fu Chapter" in "Xunzi", are all works of Chu. .The Han people inherited the pre-Qin tradition and carried it forward. They regarded Fu as the most important place to gallop their literary talents, so they made a lot of Fu, which are generally called "Ci Fu" or "Ancient Fu".Han Fu has its own characteristics. In addition to the general forms of rhyming, changing rhymes, using four or six-character sentences, and often orderly before the text, it is long in length. The question and answer between the two sparked.Overly elaborate and long, at least reading it now, it will feel dull and uninspiring.This kind of fu was valued in ancient times. For example, Xiao Tong's "Wen Xuan" regarded it as a high-level work, and not only selected most of it, but also listed it as the first category of the selected texts.Later compiled anthologies have continued this tradition, always putting Fu at the top of each genre. During the Six Dynasties, Fu was still regarded as an important style of writing, but the specifications changed.The most important change is that the subject matter has become wider, sometimes describing scenery (such as "Xiaoyuan Fu", "Yue Fu" and so on), but often writing about mood (such as "Reminiscing the Old Fu" and "Hate Fu" and so on).Secondly, the length is shorter, and the sentences are no longer ancient and weird, but beautiful and natural.In addition, due to the influence of the heavy parallel style at that time, the sentence patterns of scattered lines were less, and almost all of them were duals.This kind of Fu is called "Pian Fu" by later generations, such as Bao Zhao's "Wucheng Fu" and Yu Xin's "Ai Jiangnan Fu". When we read it, we think it is much better than Han Fu. Parallel Fu was taken by the government in the Tang Dynasty and later, and included in the examination subjects, and it was usually restricted to a few rhymes to become "Lythmic Fu".This kind of Fu inherits the elaboration of Han Fu, but throws away the realistic feeling of Six Dynasties Fu, and becomes a rhyme stereotyped prose, so its value is very small. Outside the examination room, some literati had nostalgia for the past, and wrote some small fuss with loose rhymes, and the sentences were often scattered, such as Ouyang Xiu's "Autumn Sound Fu" and Su Shi's "Red Cliff Fu", which are called "Wen Fu" by later generations.This kind of fu is truly retro in nature, because the ancients lyrical, sometimes sang, and the lyrics were poems;Climbing can be endowed, without preparation in advance, it is presumed that there should be few restrictions.However, the descendants are used to looking at the law and Fu, and always feel that the fu without clothes and shoes is not the authentic Fu. There are very few ancient books dedicated to collecting Fu, no matter whether they are selected or all collected.The reason is probably that there are not many people who like to read it.One of the more important ones is "Fu Hui of the Past Dynasties", which was compiled by the officials in the early Qing Dynasty. It includes nearly 200 volumes of addenda, and it collects all the works from ancient times to the Ming Dynasty. It will be a lot.