"Preface to Mao's Poems" has a saying: "Poetry has six meanings: one is wind, two is fu, three is comparison, four is xing, five is elegant, and six is ode." So, what does the second-ranked "fu" mean? Fu, that is, "shop", is "flattened, unfolded". As a style of writing, "fu" is the choice of rhyming words and sentences to express people's feelings and aspirations when they perceive all things.

According to the "Chinese Zhou Yushang", Shao Gong said: "The Son of Heaven listened to the government, so that the ministers of the government could present poems, songs, histories, teachers, endowments, recitations, hundreds of work, and ...... of the common people." After the poems of the officials are submitted to the government, there will be blind people who are responsible for sorting them into a format suitable for recitation and singing, so as to achieve the purpose of convenient broadcasting and education.

"The Biography of Mao's Poems" (referred to as Mao's Biography) wrote in "The Book of Poetry, the Wind and the Prescription of Ding": "Jianbang can order turtles, Tian can give orders, make instruments can be inscribed, enable life creation, elevate energy endowment, division and brigade can swear, mountains and rivers can speak, funeral discipline can be said, sacrifice can speak, and the gentleman can be said to have a moral sound and can be a doctor." If we compare nine of the virtues that meet the criteria of "doctor", the ability to "improve energy" is equivalent to the ability to export chapters when "climbing high and looking far, relaxing and happy, and flourishing poetry".

According to the above, in the "Book of Songs", "Mao's Poetry Preface" is one of the "six meanings" that classify "Fu" into poetry. In "Chinese" and "Mao's Biography", after tracing the origin and function of "fu", the connotation of "fu" between them is not completely equivalent. Roughly speaking, their different views are just like the relationship between the trunk and the branches. Therefore, Liu Xiang said in "Seven Strategies" (now 佚) that what is not used for singing is only for recitation. And Ban Gu said in "The Preface to the Two Capitals" that Fu is a tributary of ancient poetry.

If we look at the origin of the works, such as Zheng Zhuanggong's "In the Great Tunnel" and Jin Guoshi (Qi surname Shi name Ziyu Spring and Autumn Jin Guoqing Dafu Jin Xiangong one of the main strategists), the two not only have concise and clear words, but also rhyme with sentences, and are the exit chapters that touch the scene and live with affection. Although these two songs are not yet fully in line with the style format of "Fu", they are just as bright and exciting as the morning sun that has not yet reached the blazing sunrise. When Qu Yuan wrote "Lisao", Fu Cai really began to highlight his grandeur. Therefore, Fu, as a literary style with a distinctive personality, is indeed derived from the "Book of Songs" and is distinguished from the "Chu Ci". Immediately afterwards, there were the texts of Xun Guo's "Li" and "Zhi", as well as Song Yu's "Wind" and "Fishing", and they began to directly use "Fu" to mark the title...... At this point, "Fu" and "poetry" are truly distinguished. Prior to this, "Fu", as one of the "six meanings" of the Book of Songs, was exactly the same as a vassal of a great country. Since then, Fu has not only taken on a new look, but also is unique, and can even dominate one side. In addition, in terms of the format of the text, the "fu" at this time usually begins with the way of the dialogue between the subject and the object, and in terms of specific content, whether it is depicting landscapes or smiling faces, especially the choice of words and sentences, its most significant feature is to strive for meticulousness, comprehensiveness and gorgeousness, and it must also be accompanied by a sense of rhythm and charm...... And all this is exactly what happened when "Fu" was just becoming independent from poetry.

Entering the Qin Dynasty, which dominated the world, its literary achievements were actually not developed, and it is said that there were nine "miscellaneous fu" articles at that time. At the beginning of the Han Dynasty, writers not only dared to follow the trend, but also contributed to it. Among them, Lu Jia (about 240-170 BC, a native of Chu in the early Han Dynasty, a thinker, politician, diplomat, and diplomat in the Western Han Dynasty) bore the brunt of the attack, while Jia Yi chased the waves, and then Mei Cheng and Sima Xiangru echoed the voice, and there were Wang Bao and Yang Xiong galloping. When it comes to Meigao and Dongfang Shuo, all large and tens of millions of things, no matter how big or small, can be included in the endowment. By the time of Emperor Xuan of the Han Dynasty, the accumulation of poems and miscellaneous endowments had been numerous, and when Emperor Cheng of the Han Dynasty ordered him to proofread and edit, there were more than 1,000 "Fu" poems submitted to the imperial court alone.

By tracing the origin of "Fu", it is not difficult to see that it arose in Chu during the Spring and Autumn Period and the Warring States Period, and prevailed in the Han Dynasty. The content of the study is either to describe the palace hunting, or to record the footprints of the ambitions, or to do the affairs of the family and the country, or to express the feelings of loneliness...... In short, its main style and admiration are all for the purpose of exhorting and educating the general public. In terms of writing style, at this time, there is generally a "preface" at the beginning of the article, and there is a "nonsense" at the end. The so-called "preface" at the beginning is used to clarify the meaning of the theme of the whole article, while the "nonsense" at the end is used to summarize and refine the whole article, and can further condense the momentum of the theme of the article. In "Under the Chinese Lu Language", there is a record that Min Ma's father (that is, Min Ma also called Min Zima was Min Ziqian's father in the Spring and Autumn Lu Dynasty) quoted the verses of "Shijing, Shang Song, Na", and pointed out what the ending part of "that" means "chaos". It can be seen that in the "Ode" poems of the Yin Shang period and the "Chu Ci" of Ji Zhou Chunqiu, there is an artistic style of "chaos" at the end...... This is not only the characteristic of "Dafu", but also the style of Yazheng's poetry. As for the display of plants, trees, birds, animals, miscellaneous goods, etc., it should generally belong to the daily needs of touching the scene or adapting to the situation, whether it is a real depiction or a virtual one, it is generally necessary to pursue the delicate and delicate rhythm of words and sentences, and it is mainly for the purpose of reasoning and admonishment, as for other needs, they are only auxiliary...... Although all these belong to the category of "small fu", the emphasis on "novelty" and "ingenuity" should belong to its distinctive characteristics.

Since the independence of the Fu body, like Xun Kuang's "Fu", he makes good use of metaphors but does not speak directly, and the habit of telling the truth is progressive, and he asks and answers himself; And Song Yu Zhufu, who is good at clever words and good arguments, is the initiator of the extremely gorgeous words of the Fu; In addition, the "Liang Wang Yuan Fu" is not annoying, and it is novel and new; Sima Xiangru "Shanglin" is even more naturalistic, and the writing is elegant and luxurious; Jia Yi's "Ostrich Fu" not only has the ultimate dialectic of yin and yang, but also blends the scenes; Wang Bao's "Cave Xiao Fu" not only evokes the imagination of the songs, but also depicts the sound and emotion; Bangu's "Two Dufu" is even more clear and smooth, and it is still elegant and golden; Zhang Heng's "Erjing Fu" is more and more vigorous, and the meaning is rich and full; Yang Xiong's "Ganquan Fu" is good at constructing deep and gorgeous, especially dwarfed by irony; Wang Yanshou (about 140-165 A.D., the character of the examination of the other character, the character of the Zizi Shannan County, Yicheng, the Eastern Han Dynasty Cifu family) "Lu Lingguang Dianfu", is accustomed to the narrative to write the real and the virtual, creating an atmosphere of vividness...... The above ten are the masterpieces of the master of the resignation.

Moreover, like Wang Cang (one of the seven sons of Jian'an, a native of Zhongxuan, Shanyang, Gaoping), he is meticulous in his writing and thinking, and he is strong and powerful at the beginning; Xu Gan (170-217 A.D., one of the seven sons of Jian'an, a native of Beihai), was erudite and wise, endowed with talents, and was handsome and gentle; Zuo Si (year of birth and death unknown, the character Taichong, Qi State, Linzi, Western Jin Dynasty writer), Pan Yue (247-300 AD, that is, Pan An, Anren, Henan Zhongmu people, Western Jin Dynasty writers) in the creation of great endowment, the two of them have made outstanding contributions; Lu Ji (261-303 A.D., a native of Wu County, Wu County, a writer and calligrapher of the Western Jin Dynasty), and Cheng Gongsui (231-273 A.D., a writer of the Western Jin Dynasty, a native of Baima County, Andong County) have made other achievements with each other in addition to their achievements; Guo Pu's endowment is magnificent and magnificent, with complicated rhetoric, and the disadvantage is that it is unreasonable; Yuan Hong (c. 328-376 A.D., the character Yanbo, the small character Hu, the native of Yangxia, Chen County, the Eastern Jin Dynasty, the metaphysician, the writer, the historian) was endowed, generous, and eloquent, and won in the popular ...... The works of these characters are all outstanding representatives of "Fu" in the Wei and Jin dynasties.

After browsing the above works, I will look back at the main meaning of "ascending energy", which is fundamentally about seeing things, living feelings, and being strong. Therefore, only when the love starts from the object can the wind be clean and elegant, and the external object can only be influenced by the inner wind and elegant temperament, in order to write a clever, beautiful and liberal rhythmic rhetoric. Between love and external objects, only the temperament complements and echoes each other, in order to complement each other and export into a piece, which is like a brocade silk intertwined with colors and colors, and also like a painting of colorful harmony. Therefore, although the style of Fu is new, it has never changed from the function of satirical reputation; Although the expression of fu is dazzling, its true character suitable for recitation will remain forever...... This is the essence of Fu being unique, and it is also the basic element that the writer must grasp. However, in Fu's writing, those who abandon their roots and chase the end are like cutting bamboo, and the more they come into contact with it, the more they will be at a loss, not knowing who is the body and who is the use. Therefore, in such a state, just as the abundance of flowers naturally damages the growth of the branches and the fat and vigorous will inevitably destroy the health of the bones, if the creation of Fu falls into the track of discarding the original and chasing the end, it will be further and further away from the original value of exhortation and education. Because of this, Yang Xiong lamented in "Fa Yan Wuzi" that he should not spend his energy on carving the rhetorical rhyme of "Fu", because this is like a female worker weaving a tulle cicada clothes, which seems to be ingenious and beautiful, but in fact, it is laborious and flamboyant.

In a word: the endowment that comes from poetry! Once diverted, it will run rampant. There are thousands of things around, and the beauty of scrutiny and pondering is more and more vivid; The scenery in all directions, depicting the splendid engraving, is more vivid. The dam is dredged and the way is changed, and the ugly woman Qiao is eye-catching. Exhortation and edification! The rhetoric is gorgeous and catchy, so it can be regarded as worthy of the name. Flashy Fu! Remove the pile-up, exaggerated, and complicated words and phrases, and what is left?