Fu Of The Tang Dynasty Legal Research On The Evolution And Characteristics

Rhymed Fu is a kind of Fu , it was evolved from the Six Dynasty's parallel rhapsody, which is the result of rhymelize of Fu. It formed and prevailed from the Tang Dynasty, and came to a creation peak because of being taken into the imperial civil service examination, with the content change of which, it presents certain gradualness. There are now more than 980 of them exist, occupying 60% of ode in Tang Dynasty. It is the representative writing style and the mainstream article class of Tang Fu, its main characteristic is emphasizing the classical Chinese poetry rules, namely decides the topic in the content to be honorable generally, strictly observes the rules of tonal pattern standard in the form to limit the rhyme, the sound harmonious association, the literary flourishes gorgeous, the antithesis is precise and fitting, sets a high value separates the sentence antithesis and the introduction first leg of an eight-legged essay, the length generally about 400 characters. It occupies an important position in the lives of the Tang Dynasty literati, has extensive and far-reaching influence and important value on the history of literature and the history of ideas.The present paper mainly uses the method which the literature study and the literature and art unify, in cleans up the Tang Dynasty rhythmic prose-poem text in the foundation, and so on the basic question launches thorough and the systematic research to the Tang Dynasty rhythmic prose-poem evolution and the characteristic, hoping to advances the Tang Dynasty rhythmic prose-poem research by the time, then is helpful to deepen the research of the history of Fu and the Tang Dynasty history of literature.The introductory remarks part is for the purpose of stating the object of the research, analyzing the reason why in the history the research on the rhythmic prose-poem is so weak, introducing the basic situation of Tang rhythmic prose-poem creation and the theory, showing the significance of the present research, as well as the mentality, the frame content and the research technique.Chapter 1 is about the origin of rhythmic prose-poem from the view of literary style's development history. First discussed is about the Qi Liang rules of tonal pattern theory, tracing the rhymelize road of parallel rhapsody and the poem way of Fu.Then inferring their influence on the forming of the Tang Dynasty rhythmic prose-poem.Next discussed is about the antithesis thinking, one of a Chinese tradition thinking, to summarize the Six Dynasties person's duality theory and its influence to the parallel rhapsody, parallel prose and poems. Then through the comparison research about the representative works, we found that the antithesis way of parallel prose is clearer than that of the parallel rhapsody, it is the antithesis of parallel prose that influent the antithesis of parallel rhapsody in Tang Dynasty. The parallel rhapsody's tonal pattern and the antithetical style symplectic have given the Tang Dynasty rhythmic prose-poem most basic nourishing in different direction.Chapter 2 is to prove the real relationship between rhymed Fu and the imperial examination system of the Tang Dynasty from the perspective of the system transition. In the process of the transition of the imperial examination systems in the Tang Dynasty, advocating to dictions in exams had always been the masterstroke, as a result, the testing ode systems' transformation had consanguineously correlated with the development of the rhymed Fu. Transversely, the Ming lection section, Progressive Shike in the commonsensible section, the uncommon section and the erudition and grand vocable section related with rhymed Fu in different degree. Vertically, early flourishing Tang is the time when testing ode system were established, and the phase when rhymed Fu was first produced; mid-Tang Dynasty is the phase when testing ode transferred its type, and rhymed Fu flourished; the late Tang Dynasty is the phase when testing ode system regressed and rhymed Fu had new changes.Chapter 3 discusses the characters of the rhymed Fu. The 'rhyme' of rhymed Fu has to be comprehended from two points as 'rhyme' and 'pattern'. To 'rhyme', rhymed Fu's essential characteristic is the limitation of rhyme, and the effect of voice in harmony. The second characteristic is line-jumping parallel, and thereout wonderful syntax with trim and statuesque rhyme. Compared with other styles, rhymed Fu shows a characteristic of exact parallel(including both line-jumping and single-line parallel), or we can call it duality, of sentences, and it is exactitude on structure; and attaches importance to the topic revealing, unforced continuity or change, and topic re-mention at the end; and literary quotation is also important. As for the pattern, rhymed Fu's essential characteristic is "high artistic conception"-or be called ideologization of the text's meaning-which makes the conception high-sounding by choosing the right images.Chapter 4 studies the rhymed Fu of Tang Dynasty. The limitation of rhyme is the main factor to determine the authenticity of rhymed Fu, however, in terms of testing odes and those from the private examing programs, works will still be recognized as rhymed Fu even if they don't have the limitation of rhyme. The rhymed Fu of Tang Dynasty has its own individual principles of evolving, Early Tang ends approximately before the end of Daizong's calendar year; Middle Tang is considered to be the period from Dezong the early years of Jianzhong to Wen-zong opened, followed by Late Tang. The themes of the rhymed Fu can be classfied as Theories of Heaven, Earth, Learning, Humanity, altogether four catalogues. There are 11Odes created during Early Tang, which setted up the basic characteristics; This thesis studies the rhymed Fu of Middle and Late Tang, using individual example of Sun and Moon combination Fu(《日月合璧赋》) from Wei Zhan of Middle tang, as well as the quantity of rhymed fu of Wang Qi from Late Tang. 11 scholars have been recognized as outstanding rhymed fu writors according to the quantities of the works and some related regulations and this paper will also present the current storage of their works.Chapter 5 is about the reviews and previews of studies since the 20th century, which are on rhymed Fu in the Tang Dynasty. Generally speaking, the studies of rhymed Fu in the Tang Dynasty have shown three features as follows, since the 20th century: firstly, comparing with other styles Fu features or other kinds of literature in the Tang Dynasty, its doom of modern times seems to be twister ; secondly, the work of collating bibliographies which are about the rhymed Fuin the Tang Dynasty ,specially about texts of the rhymed Fu is weak; thirdly, rhymed Fu in the Tang Dynasty is developing unevenly, which is mainly shown by the differences between its reality studies and relative studies, and also by the differences of studies in mainland of China, Hong Kong, Taiwan and overseas. If we are studying rhymed Fu in the Tang Dynasty, there are some advices we should take as follows: first, it's important to emphasis on the basic work of studies about bibliography, and also on the clearing work of texts and theories about the rhymed Fu,including collating, distinguishing, editing, noting, commenting and so on. Especially, we should pay more attention to collating, clearing and studying testing ode in different countries, testing ode of system and rich words disciplines, rhymed Fu in 'private exam' and the rhymed Fu used in Xingjuan (行卷) and Wenjuan(温卷). Second, we should promote macro studies of rhymed Fu , in order to find the meaning of the rhymed Fu, from the view of literature history, culture history and ideology history. We should improve the interactive studies between rhymed Fu and other disciplines, in order to enlarge the marginal areas of rhymed Fu studies.