Fu (poetry)

Fu (Chinese赋, Pinyin fù, Ode ') are poems that have emerged in China at the time of the Han Dynasty. They are called " prose poems ", " Poetic descriptions " or " Rhapsodies ".

The origin of Fu is unclear, they derives from the rhetoric schools of the former political adviser, the riddles of the philosopher Xunzi, which were called Fu and the Chuci. The meter of Fu derives from the Chuci from which the so-called Sao - style (骚, SAO) of Fu comes from: The verses are divided into three and two syllables, between which a link ér而forms a turning point; the first verse closes with the exclamation from each particle xī兮. However, compared to the songs of the Chuci Fu have an unusually long form, which is explained by the fact that a process of secularization of the religious elements of the Chuci seal had taken place. Instead of shamans and goddesses is what the early Fu to an epiphany of the ruler and the praise of his deeds.

The Fu are written in rhyme, a verse may consist of three to seven ( sometimes more) characters and is often a preface in prose preceded, sometimes an epilogue in verse. In addition to the end rhymes fall on alliteration and assonance also frequent.

The Fu are content marked by the fact that they contain long catalogs of plants, animals, people, and events that can be interpreted as a kind of word magic. Similarly, the constant repetition and variation of onomatopoeia, synonyms, parallelisms, hyperbolas and antitheses is interpreted as a kind of mantras that will give the secular rulers, the aura of the sacred. The transfer of the Chuci nor the shaman reserved magical journey to the as superman (Chinese大人, Pinyin Daren ) titled rulers also points to this fact now and some Fu were even used for magical purposes, to heal at about diseases or distribute spirits.

Also popular motifs of Fu point to a quasi-religious character of these seals out: The imperial sacrifices to heaven and earth to obtain harmony and fertility, the capital, the center of imperial power and hunting (also for the purchase of sacrificial animals ) in the imperial park as microcosmic image of the macrocosm was. Despite the pronounced element of the Epiphany of the ruler Fu many have survived that have a pedagogical appeal against the ruling and reject the pomp and extravagance of the imperial households. Fu were often sealed and presented by imperial officials who were appointed as court poet at the court. Famous Fu poets were, for example, Sima Xiangru, Jia Yi and Yang Xiong.

Later, the literary layer Fu also about other issues began to write, the private subjects and your own feelings expressed. The "Fu on the Owl" by Jia Yi, which stands in the tradition of melancholy Lisao (see Chuci ), for example, expresses the personal feelings in exile, and in view of impending death. Other topics of personal character, for example grief and sorrow at the sight of the capital, unfulfilled passions and the encounter with a goddess, as it is already described in the shamanistic tradition of Chuci.

The foot may be the most important lyric genre of the Han era, however, was up to the Tang period the Fu continues as an expression of artful and learned poetry and the poet attacked repeatedly this form and described in the foot, for example, palaces, cities, parks or items such as the zither or the flute and feelings such as grief, loneliness and separation.

Most of the foot have not been handed down.

See also: Yuefu

357595
de