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fù， zhōng guó gǔ diǎn wén xué de yī zhǒng zhòng yào wén tǐ， suī rán duì yú xiàn dài rén lái shuō， qí yuǎn bù jí shī cí、 sǎnwén、 xiǎo shuō nà yàng kuài zhì rén kǒu。 dàn zài gǔ dài， tè bié zài hàn táng shí shī yǔ fù wǎng wǎng bìng jǔ lián chēng， cóng cáo pī de “ shī fù yù lì ” hé lù jī de“ shī yuán qíng 'ér qǐ mí， fù tǐ wù 'ér liú liàng” kě kuī duān ní。
nà me， hé wéi fù ní？ fù méng shēng yú zhàn guó， xīng shèng yú hàn táng， shuāi yú sòng yuán míng qīng。 zài hàn táng shí qī， yòu zhǐ zuò fù 'ér bù xiě shī de wén rén， què jīhū méi yòu zhǐ zuò shī 'ér bù xiě fù de cái zǐ。 jiàn 'ān yǐ hòu nǎi zhì zhěng gè liù cháo shí qī， duì fù de tuī chóng shèn zhì yú shī。《 shǐ jì》 zhōng chēng qū yuán de zuò pǐn wéi fù，《 hàn shū》 yě chēng qū yuán děng rén de zuò pǐn wéi fù。 hòu rén yīn tuī zūn《 shǐ》、《 hàn》， suǒ yǐ biàn bǎ qū yuán děng rén zuò pǐn chēng wéi zhī fù。
“ fù” zì yòng wéi wén tǐ de dì yī rén yìng tuī sī mǎ qiān。 zài hàn wén dì shí“ shī” yǐ shè lì bó shì， chéng wéi jīng xué。 zài zhè zhǒng bèi jǐng xià， chēng qū yuán de zuò pǐn wéi shī shì jí bù hé shì de。 dàn qū yuán de zuò pǐn yòu wǎng wǎng zhǐ kě sòng dú 'ér bù néng gē chàng， ruò yòng“ gē” chēng yě míng bù zhèng yán bù shùn。 yú shì， sī mǎ qiān jiù xuǎn zé“ cí” yǔ“ fù” zhè liǎng gè míng chēng。 bù guò， tā hái shì qīng xiàng yú bǎ qū yuán de zuò pǐn yǐ“ cí” lái mìng míng， zhè shì yóu yú qū yuán de zuò pǐn fù yú wén cǎi zhī gù。 ér bǎ sòng yù、 táng lè、 jǐng chā děng rén zuò pǐn chēng wéi“ fù”。 zhēn zhèng bǎ zì jǐ zuò pǐn chēng wéi fù de zuò jiā dì yī rén shì sī mǎ xiāng rú。 ér hòu， dào xī hàn mò nián， wén rén men jiù cháng yǐ“ fù” míng piān zì jǐ de zuò pǐn liǎo。
fù shì jiè yú shī、 wén zhī jiān de biān yuán wén tǐ。 zài liǎng zhě zhī jiān， fù yòu gèng jìn yú shī tǐ。 cóng hàn zhì táng chū zhè duàn shí qī， fù jìn yú shī 'ér yuǎn yú wén， cóng zhù tí shàng kàn， chǔ cí tǐ zuò pǐn zhù tí jiào wéi dān yī， duō wéi“ bēi shì bù yù”。 ér qí xíng shì yě bǐ jiào gù dìng， dōushì fǎng xiào qū yuán zuò pǐn tǐ shì， xiàng qū yuán nà yàng shū xiě zì jǐ de bù xìng yǔ chóu sī。 qū yuán de《 zhāo hún》 quán piān de pū zhāng kuā shì， duì hàn dà fù de yǐng xiǎng bù yán 'ér yù。 fù zì dàn shēng zhī rì biàn dài yòu nóng hòu de wén rén qì xī， zhè jiù shì shòu chǔ cí yǐng xiǎng jí shēn de yuán yīn。 sāo tǐ fù， duō cǎi yòng chǔ cí de“ xiāng cǎo měi rén” de bǐxìng shǒu fǎ， yě cháng jì yòng liǎo chǔ cí de“ yǐn lèi pì yù” shǒu fǎ。
fù yǔ shī de pán gēn cuò jié， hù xiāng yǐng xiǎng cóng“ fù” zì de xíng chéng jiù yǐ kāi shǐ。 dào liǎo wèi jìn nán běi cháo shí， gèng chū xiàn liǎo shī、 fù hé liú de xiàn xiàng。 dàn shī yǔ fù bì jìng shì liǎng zhǒng wén tǐ， yī bān lái shuō， shī dà duō wéi qíng 'ér zào wén， ér fù què cháng cháng wéi wén 'ér zào qíng。 shī yǐ shū fā qíng gǎn wéi zhòng， fù zé yǐ xù shì zhuàng wù wéi zhù。 qīng rén liú xī zài shuō：“ fù bié yú shī zhě， shī cí qíng shǎo 'ér shēng qíng duō， fù shēng qíng shǎo 'ér cí qíng duō。”
hàn fù de tǐ shì shàng dà zhì yòu sān zhǒng， jí sāo tǐ fù、 sì yán shī tǐ fù hé sǎntǐ fù（ huò chēng dà fù）。。 cóng fù de jié gòu、 yǔ yán fāng miàn kàn， sǎntǐ、 qī tǐ、 shè lùn tǐ、 jí táng dài wén tǐ fù yòu dū bǐ jiào jiē jìn yú sǎnwén， yòu de wán quán kě guī yú sǎnwén de fàn chóu。 fù de sì shī sì wén de tè zhēng， yǔ xiàn dài wén xué zhōng de sǎnwén shī yòu xiē xiāng xiàng。 tā zhù yào yòu sān gè tè diǎn： yī、 yǔ jù shàng yǐ sì、 liù zì jù wéi zhù， bìng zhuī qiú pián 'ǒu； èr、 yǔ yīn shàng yào qiú shēng lǜ xié xié； sān、 wén cí shàng jiǎng jiū zǎo shì hé yòng diǎn。 pái 'ǒu hé zǎo shì shì hàn fù de yī dà tè zhēng。
pián wén shòu fù de yǐng xiǎng hěn dà， pián bǐ qǐ yú dōng hàn， chéng shú yú nán běi cháo。 zài wén zhāng zhōng guǎng fàn yòng fù de pián bǐ xíng shì， shì hàn dài wén rén de cháng xí。 yǐ zhì yú yòu xiē yǐ fù míng piān de wén zhāng dōubèi rén shì zuò pián wén。 xiàng nán cháo liú sòng de bào zhào de《 wú chéng fù》、 xiè huì lián de《 xuě fù》 jí xiè zhuāng de《 yuè fù》 děng。
yě jiào cí , huò cí fù bìng chēng。
Fu, Chinese classical literature as an important style, although for modern man, its nowhere near as poetry, prose, fiction so popular. But in ancient times, particularly when in the Han and Tang poetry and often simultaneously with, said Fu, from Cao Pi's "Elegance seeking" and Lu's "Lyric Poetry Profusion, Fu style thing and visit the light" can peep clues.
So, what do fu? Fu initiation in the Warring States Period, flourished in the Han and Tang Dynasties, declined in the Yuan, Ming and Qing. In the Han and Tang period, not only for fu poetry of writers, but almost did not only write poetry but not Fu wit. After the Six Dynasties period and the whole Jian, Fu respected even on the poem. "Historical Records", said Fu Qu Yuan's works as "Han" also known as Qu Yuan, who works for the Fu. Later generations because of Praise "history", "Han", so they Qu Yuan, who works as the Fu.
Fu is a range of poetry, prose style between the edge. Between the two, enabling it more nearly poetic. From the Han to early Tang period, Fu and much closer to poetry in the text, from the subject point of view, Chu body themes are more single, more as a "sad Shibuyu." Its form is relatively fixed, is to follow style Qu Yuan, Qu Yuan so as to write their own misfortune and Grief. Qu Yuan's "Evocation" all articles of the extravagant hyperbole, the influence of the Han Dynasty goes without saying. Since the birth will be endowed with a strong literary flavor, which is deeply affected by Chu reasons. Sao type, multi-use Chu's "Vanilla Beauty" of metaphor, often following the use of Chu's "drawing class analogy" approach.
Fu and poetry intertwined, affecting each other from the "Fu" character formation began. To Wei, the more there poems and songs in the phenomenon of convergence. It was, however, two kinds of poetry and Fu style, in general, mostly love poems creating words, and Fu are often made for the text of the situation. Poetry to express their emotions as the most important, the main Web results for Fu Ze Yi narrative. Qing Liu Xizai said: "Fu different from poetry, poetic speech and sound and feeling less love and more, enabling speech sound and feeling less and love more."
Han's style in general there are three, namely, Sao Fu, Fu and Four Poems in Prose Style (or Fu). . Fu's structure from the language side, loose, seven bodies, based on the body, and the Tang Dynasty style they are relatively close to the prose Fu, and some entirely attributable to the prose category. Fu's poems seem like the characteristics of the text, and modern literature in the prose poem some resemblance. It has three main features: 1, the statement on a four-, six-words-based, and the pursuit of parallelism; second harmonic sound voice on demands Association; 3, diction and the use of embellishments on the stress code. Parallelism and embellishments are a major feature of Han.
Parallel effects conferred by the large parallel than in the Eastern Han Dynasty and matured in the Northern and Southern. Widely used in the article side by side Fu form, is the regular practice of Han literati. So some in Ci and articles are being treated as Parallel. Liu Song Southern as of Bao Zhao's "Desolate City Fu", Xie Hui with the "Snow Fu" and Chuang Tse's "Fu on" and so on.
Also known as speech or prose saying.
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