What's the difference between Sao Style Fu and Chu Ci?

Chuci originated in the 4th century BC. That is, the end of the Warring States Period in China's history. It is a new poetic style in Chu after the simple four-character poem in The Book of Songs.

Chu ci, according to its original intention. It refers to the meaning of Chu Ci. This is a new poetic style with strong local color. Its founder and representative author is Qu Yuan, a great poet of Chu State.

Here, I add a knowledge. Although Chu Ci originated from Qu Yuan in the Warring States Period, the name of Chu Ci did not appear at that time! The word "Chu Ci" first appeared in Historical Records: Biography of Zhang Tang. "The buyer is lucky to help Chu Ci". . The earliest name "Chuci" appeared here. Then! Liu Xiang compiled a collection of works written by Qu Yuan, Song Yu and Han people imitating this style. It's called the Song of the South. Since then, there has been a special collection of Chu Ci. But! Here the waterside pavilion tells you an unfortunate news. . The collection of works compiled by Liu Xiang has been lost, so there is no need to go to Baidu.

First of all, the emergence of Chu Ci is directly related to Chu folk literature-the so-called "Chu Sheng" and "Chu Ge"!

At that time, Chu music and folk songs were called "South Wind" or "South Sound". During the Warring States period, we can also see the unique music of Chu State, such as Joho, Jiuge, Jiuzhang, Jiubian, Yangchun and Snow White. Until the Han Dynasty, Chu songs were still very popular. For example, "Embattled" in Historical Records. The so-called songs of Chu, what is the sound of Chu, hehe, in fact, it is difficult for us to know in detail. But judging from the pre-Qin Chu songs preserved in ancient documents, it is really different from other places. . You can read "The Songs of the Ruzi" and "The Songs of the Vietnamese". . . I'm lazy, so I won't quote.

According to records, "Song of the Ruzi" and "Song of the Yue People" are all southern songs before the appearance of Chu Ci. They are different from the poems in The Book of Songs, not neat four-character poems. And almost every sentence ends with an auxiliary word. This is the outstanding feature of the poetic style of Chu Ci. After reading these, we can realize the close relationship between southern folk songs and Chu Ci.

In addition, the folk witchcraft songs in Chu have the greatest influence on the style of Chu ci. According to records, Chu people are superstitious about witches and ghosts and attach importance to sacrifice. Witchcraft songs offering sacrifices to ghosts and gods are often combined with "song and dance music". Lyricism is relatively strong. It also has a certain story. This kind of sacrificial ballad directly influenced the poetry creation of Chu Ci. For example, Nine Songs was written on the basis of folk sacrificial songs.

Evocation is also written according to folk evocation words. Here we can see the close relationship between Chu Ci works and this kind of Chu folk literature.

Of course, Chu Ci is also influenced by the Book of Songs, such as Tian Wen and Ode to Orange, and its sentence patterns are similar to the Book of Songs. In addition, Chu Ci was also influenced by the climax of prose literature in the literary history of China at that time. Here, the waterside pavilion is not discussed much.

Next, let me talk about Sao Style Fu. . . Fu writers in the early Han Dynasty followed the legacy of Chu Ci, and at this time, the most popular one was to try to imitate the Sao Fu of Chu Ci in the system. However, although it is still in the layout, it is not long. And it is lyrical. The sentence pattern is neat and rhymes throughout. With an Xi accent. At this time, the work will be laid out and written, and there will be no songs to recite. Close to prose. But it absorbs the characteristics of Chu ci-gorgeous words hey hey. Exaggerated technology thus enriched their own systems. It is precisely because of the close relationship between Sao Style Fu and Chu Ci. . . Therefore, in the Han dynasty, poetry and fu were often linked, and they were not very different at first. But now we seem to have a way to distinguish between men and women. Next, let's talk about the difference between Sao Style Fu and Chu Ci.

Chu Ci is a new poetic style that appeared in Chu during the Warring States Period. Sao style fu is a kind of semi-poetic and semi-literary fu developed from The Book of Songs and Songs of the South. They are completely different styles and forms. For example, Fu is generally described in the form of a question and answer between subject and object. It is not lyrical, but a rhetoric, reciting things and making sense. There are often some narrative elements, but Chu Ci is a work to express personal feelings, and it is in the form of poetry. Chu Ci "transcends its depth and respects its spiritual principle", while Fu is "magnificent and broad, respects its reality" and "artistic program". This is the fundamental difference between Chu Ci and Sao Fu, and it can also be said that it is the fundamental difference between Chu Ci and Fu. I won't explain these two quotations ~ Hehe, my laziness is coming again ~ So, my understanding is that Chu Ci is lyrical, and Fu (Sao Style Fu) is mostly "material" or true.

Several ways to write * * in Chu Ci, Sao Style Fu and Sao Style Poetry;

(1), generally use four sentences to cross sentences. The number of words in Chu Ci is relatively neat, while the number of words in Sao Fu tends to be dull and quite different. Four, five, seven and nine words.

② The word "xi" is widely used. "Xi" can be interpreted as the modal particle "ah". The word Xi mainly appears in two places, one is in a single sentence, and the other is at the end of a complex sentence. For example, in the place where "Shi Lan Xi took away Du Heng, which made me forget my thoughts", "Xi" is preceded by a phrase with the same or similar grammar, and "Xi" can act as a coordinate conjunction. Another example is "if someone is like a mountain", Xi is connected with a single predicate phrase and an adverbial of place. . Another example is, "I take a long breath to hide my tears and lament the hardships of people's lives." Like this, Xi is often used at the end of the previous sentence of double complex sentences. On the one hand, it can indicate a pause, on the other hand, it can prompt the first two sentences to turn.

(3), a lot of writing, all use the method of fu. The technique of "The Book of Songs" has already existed, and it is a writing method. It can play the role of repeated rendering and emphasis.

(4) Generally speaking, odd sentences don't rhyme, even sentences rhyme.

Here are some prosodic questions my friends gave me.

First, the general law of Sao Fu

According to the basic law of phonology, the longer the sentence, the less intense the tone, and the basic format of Sao sentence is "real (word) is real" Obviously, this function word divides the sentence into two paragraphs, first suppressing and then promoting. Of course, practical applications are not always standard. Of course, this is not absolute. "Syllables are a part of poetry to express feelings", which is true, such as Qu Yuan's Lisao: "Why worry about the old capital?" Cao Zhi's Ode to Luoshen: "I will return to East Road." When we read, we don't use the function word "Hu" to break sentences, but (I'll tell you how I read it, the bar is a pause, and the point is an accent pause), "He/Huai. Therefore, Hu. " Du and "I will-back. Hu. East Road ",forming a" suppression "effect with short front and long back.

Then there are two small sentences and a big sentence. The first sentence has "Xi" and "Xi" is an exclamation, so the first sentence is affirmative and the last sentence is negative.

The overall effect of a short sentence is promotion, because it is first suppressed and then promoted; While the front is short and the back is long. I also have a basis for saying this. For example, Jia Yi's Qu Yuan Fu said, "He is filthy and can't let his husband swallow a giant fish!" The last sentence is long before and short after. Although this sentence is very long, there are nine words, which is almost the limit of Sao sentence, but it still has no sense of "suppression" when reading it, because we break the sentence from "zhi", which is long before and short after.

Take yours, for example, "looking for a quiet capital in the northwest." You are short for a long time, and the effect is repression, but there is an "xi" in the first half of the Sao sentence, which will form yang and disharmony. It would be better if it was changed to "looking for Xi in a secluded city in northwest China" For example, "visiting the secluded city of northwest Xi" can be used as the last sentence, which is the second half of the Sao sentence. Do you feel this way? This leads to the next question: long and short sentences can be used as the first sentence or the last sentence, but suppressed sentences are only suitable for the last sentence. I have a basis for this. Qu Yuan's Lisao said, "I am afraid that the cicada will sing first and make my husband's grass ugly." The first sentence is yang, and the last sentence is suppression. If the last sentence is replaced by the first sentence, it will be ugly.

One more question. For example, your "So you stop and walk, the shadow rises" is not pleasant to listen to, because "So" is independent, and it is generally not a Sao sentence or a syllable of compound sentence. This point has been well reflected in Luo Shenfu. For example, "mistress" is not pleasant to hear if it is included in "mistress", which is an absolutely independent syllable. Another example is "So my heart is moving in fright and my thoughts are suddenly scattered", and "So" is also an absolutely independent existence. Looking back, your "So you stopped and walked, shadowy, choppy" essentially became the first four sentences with very uncoordinated endings. This brings new problems. The number of words in Sao sentences can generally be increased or decreased on the basis of the number of words.

Second, "Xi" and "some"

In the original use of Sao-style Fu, there is little difference between "Xi" and "You" according to other theories of Bali, which is also "Every sentence is (You), and every sentence is a sentence". However, in the process of language development, these two words have different pronunciations. The sound of "xi" is Xi, which is flat; Suo, the sound of "yes" (but this Suo sound is not available in some input methods, so you can only thank me, such as the input method being used by the landlord). What kind of result has this caused? As we know, disyllabic words as modal particles have a positive tone.

The well-known word "a" should belong to "evocation", and the following fragments are given:

Fuck your constant work, what is Fang?

Give up your pleasure, but leave him unlucky.

The soul is back! The east cannot be trusted.

Although there are thousands of people, their souls are demanding.

On the tenth day, I came out, a little more golden.

Both of them are inside, and their souls will be released.

Come back, come back! You can't trust it.

The exclamation mark after "the soul is back" and "back", coupled with the tone of "yes", is particularly sonorous. In the same format, I can give a sentence from Huai Sha: "Without Bole, there will be no progress." This sentence is more like an exclamation. Of course, I am not an ancient linguist. I dare not assert that the words "Xi" and "Shao" are absolutely the same in ancient Chinese. I wonder if there is any basis for saying that these two words are the same. I only talk to myself: maybe it's a coincidence, maybe it's a linguistic reason, and the tone of these two words is in line with the context-

Huai Sha is Qu Yuan's last work, so the tone should be restrained and the lament is affirmative. The ancient practice was to shout it out, and it was right to "summon the soul" with a "yes".

In fact, it is mainly about modern use. "Xi" is the basis of Sao style fu, and can be used at any time as a modal particle; "You" is mainly used for polishing, but the format of "word by word, word by word" seems to be less popular, and it mainly appears in the format of "word by word, word by word" or "word by word, word by word". Personally, in these two formats, the use of the last word "you" can realize a strong feeling of long sound, such as Qu Yuan's "Evocation of Soul": "Soul returns, more against the former residence!" What a sad and powerful call!

This is my understanding of "Xi" and "some".

Third, rhyme.

The rhyme of Sao style may be influenced by Chu Ci. Most people mistakenly think that Sao Fu doesn't rhyme, but in fact there are some in Chu language. If you know a little about rhyme or word formation, you can still see that Chu Ci actually rhymes. Such as Qu Yuan's Li Sao:

Emperor Levin is a descendant of Miao nationality, and I am the emperor Kao Boyong.

I went to Meng Xi with my virginity, but Geng Yin and I surrendered.

==============================

Wandering around is easy to kill a fox and seal a fox.

Solid turbulence will eventually lead to freshness, and you will have greed for your husband's family.

(Cut into two sections with different positions)

For example, in the first paragraph, "Yong" and "Jiang", I haven't studied Pingshui rhyme systematically, but I still know that in ancient Chinese, ing, ong, ang, eng and so on. They all rhyme in a certain combination regardless of nasal sounds (for example, some ing rhymes with some en, some ing rhymes with some ong), that is to say, their last word rhymes. Let's talk about the second paragraph, "fox" and "home", which is based on word formation principle. Chinese characters are mainly pictophonetic characters, the right half of the word "fox" is "melon" and the left half is "anti-dog", so we have every reason to guess that his pronunciation was related to "melon" in ancient times, and the vowel may be "ua" or something else.

The above is enough to show that Sao style fu must rhyme, but how to suppress Sao style fu? First of all, Sao Style Fu (or Chu Ci) is a four-character rhythmic poem with the following format:

Sentences. Sentences. (rhyme 1)

Sentences. Sentences. (rhyme 1)

Sentences. Sentences. (rhyming 2)

Sentences. Sentences. (rhyming 2)

That is to say, each verse has two rhymes (there are exceptions), and the next verse can be changed, but it can also be changed (Cao Zhi's Ode to Luoshen has only two or several rhymes). Then it introduces the rhymes of various sentence patterns in Sao Fu (only one verse is shown).

Format 1 (more words and fewer words as appropriate):

Word for word, word for word, word for word (rhyme).

Word for word, word for word, word for word (rhyme).

Format 2:

Every word, every word (rhyme) is (some).

Every word, every word (rhyme) is (some).

Format 3:

①

Word for word, word for word, word for word, word for word.

Word for word, word for word, word for word, word for word.

②

Word for word, word for word (rhyme), word for word (rhyme).

Word for word, word for word, word for word, word for word.

(① and ② above are often mixed)