After the Wei and Jin Dynasties, Han Fu gradually evolved into a smaller form of parallel fu (also called haifu), which emphasized antithesis, had gorgeous words, increased lyrical elements, and became more literary.

The Wei and Jin Dynasties were an era of beautiful writing, and parallel rhymes were the most prominent symbol of beautiful writing in this era. The people of the Wei and Jin Dynasties pursued beauty practices under the guidance of their aesthetic values ??and formed parallel beauty forms, which most strongly expressed the typical emotions and aesthetic characteristics of their time. The emergence of parallel rhyme is a special requirement for the personalized expression of literature, and it also makes literature truly become a "people's study". Judging from the nature of the style, parallel fu is very similar to imported prose poetry. The richness, complexity and splendor of parallel fu are very conducive to expressing deep and stirring emotions, adapting to the implicit expression of complex and unspeakable sorrow and melancholy of individual life, often expressing the theme of compassion and resentment of "disharmony of life" , forming a strong, rich, long and lingering emotional charm, which makes people soul-stirring when reading it and generates a tremor of artistic pleasure. Parallel Fu in Wei and Jin Dynasties not only has its own formal advantages, but also has a profound influence on other literary styles.

Parallel Fu is the representative style of literature in the Wei, Jin, Southern and Northern Dynasties, the mainstream force of literary creation at that time, and the most magnificent spectacle in the literature of the Wei, Jin, Southern and Northern Dynasties. Parallel Fu in the Wei, Jin, Southern and Northern Dynasties (hereinafter referred to as "Wei-Jin Parallel Fu") is the most prominent period in the history of Chinese literature, both in terms of output and quality. This has become a very important and meaningful phenomenon in the history of Chinese literature. Why do literati in the Wei and Jin Dynasties generally like parallel rhymes? What is the significance of Wei and Jin parallel poems? This is a phenomenon in literary history that has not been really taken seriously by people and must be treated correctly.

Because people are very secretive about the word "parallel", and even tend to talk about "parallel" in a disgraceful manner. They associate "parallel fu" with formalism, so we should pay more attention to it when studying the literature of this period. Regarding five-character poetry, or in other words, the greatest attention paid to the literature of the Wei, Jin, Southern and Northern Dynasties is on five-character poetry. We believe that the parallel rhymes of this period, both artistically and in influence, far surpass five-character poetry and even surpass literature itself. When discussing the metrical form of poetry, Mr. Zhu Guangqian said: "Rhythm poetry has its drawbacks, which we need not deny, but we don't have to stop eating because of choking. Any genre of poetry may have drawbacks if it falls into the hands of ordinary poets. Rhythm poetry is restricted to form, and at best it is But it is like the sonnet in European poetry. Can we despise the poems written in sonnet by Petrarch, Shakespeare, Milton, and Keats? Are poems written by people using rhythmic style? ”① We appreciate this statement and add a question after it: Can we despise the poems written by Cao Zhi, Wang Can, Tao Qian, Bao Zhao and Yu Xin who used parallel verse form? Did you make a gift?

1. The climax of parallel fu in the Wei and Jin Dynasties and the mood of the times when scholars were self-awakening

Since the founding of the An Dynasty, parallel fu has replaced the big fu and become popular. Almost all literati write parallel fu. Almost anything can be included in parallel fu. According to statistics from "Three Kingdoms and Six Dynasties" compiled by Yan Kejun and "Fu Collection of Ancient Dynasties" compiled by Chen Yuanlong, there are 1,095 fus (including fragments) in the Wei, Jin, Southern and Northern Dynasties, and 284 writers. The total number is today. Save 6 times the amount of Han Fu. Cao Zhi, Fu Xuan and others wrote more than 50 poems. The form of these Fu is mainly based on parallel people. It can be said at least that these Fu have elements or components of parallel people.

According to the expression content or subject matter, Wei and Jin parallel poems can be roughly divided into three categories:

Singing objects and writing about aspirations: Cao Zhi's "White Crane Fu" uses birds as metaphors for people. The description of the encounter "in the face of severe disasters" expresses the author's indignation at being persecuted; his "Ode to Cicada" and "Ode to Harrier" describe the fear of slander and ridicule in a specific environment; Ying Jue In "Min Ji's Ode", he expresses his anger at the difficulty of realizing his great ambitions by saying "good people never meet him"; in Mi Heng's "Parrot Ode", writing about the parrot's misfortune is a metaphor for his own misfortune. Wang Can's "Locust Tree Ode" expresses the desire of "birds wish to roost and throw their wings, and people look for shelter and cover their clothes"; there are also "Qin Fu" by Ji Kang, "Wren Fu" by Zhang Hua, Bao Zhao's "Ode to the Dancing Crane", "Ode to the Snow" by Xie Huilian, "Ode to the Moon" by Xie Zhuang, "Ode to the Dead Tree" by Yu Xin, etc. The Fu of chanting about things is particularly developed, and there is almost nothing that cannot be included in the Fu. Even moths, flies, mice, etc. can be the objects of the Fu.

Scenery lyricism: The compassion of scholars in the Wei and Jin Dynasties was often expressed through the chanting of natural objects, and they were associated with the impermanence of life from the mountains, rivers and withered vegetation.

Cao Pi and Cao Zhi both wrote many such poems. Cao Pi wrote "Gan Wu Fu", "Chou Lin Fu", "Dengcheng Fu", etc., and Cao Zhi wrote "Chou Lin Fu", "Jie You Fu", "You Guan Fu", etc. , as well as "Ode to Sorrow" by Ying Jue, "Ode to Climbing the Tower" by Wang Can, "Ode to Mountain Residence" by Xie Lingyun, "Ode to Residence in Suburbs" by Shen Yue, "Ode to Wucheng" by Bao Zhao, and "Ai Jiangnan" by Yu Xin Fu" etc.

Nostalgia for the past: This type of works laments and mourns the loss of loved ones, such as Cao Pi's "Ode to the Death" and "Ode to Sentiment". Cao Zhi has more poems in this area, such as " "Li Si Fu", "Jing Si Fu", "Shi Si Fu", "Gui Si Fu", "Yousi Fu", "Xianju Fu", "Min Zhi Fu", etc., as well as "Luoyang Fu", "Luo Shen Fu", Another example is Xiang Xiu's "Reminiscence of the Past", Lu Ji's "Sigh of the Passing", "Sad Thoughts", "Damu Fu", "Ganqiu Fu", etc., and Jiang Yan's "Hate Fu" and "Farewell Fu". , Yu Xin's "Si Jiu Ming" and so on.

No matter what kind of theme, parallel rhymes are basically adapted to the need to express melancholy, depression or miserable moods. They are all aesthetic pursuits of beauty as sadness. There is always a kind of sadness echoing in these works. A low-pitched and mournful sound. It can be said that compassion is the common theme, the main theme, the main tone, and the common essence of these poems and poems in the Wei and Jin Dynasties.

Parallel Fu, as a literary wonder that flourished in the Wei and Jin Dynasties, certainly has its reasonable historical significance. We can find the reason in "human self-awakening". General research believes that this is due to the times, and focuses on the direct causes of social unrest, that is, hunger, poverty, plague, migration, alienation, relegation, exile, etc. This is naturally good. The society is experiencing drastic changes, turmoil, and people are suffering from severe disasters. "The bones are exposed in the wild, and there is no rooster crowing for thousands of miles." We believe that the most profound reason for the large number of parallel fu writings lies in the life consciousness of scholars, the individual life touches in their special environment, and the self-awakening mood of the times. The turmoil in the Wei and Jin Dynasties destroyed the normal and stable life. Whether they were prominent officials or untouchables, they all felt precarious and could end their lives at any time due to natural or man-made disasters. During the Wei and Jin Dynasties, the political power changed. For scholars, in addition to the common people's fear of death caused by war and plague, there was also the added worry of death caused by party strife in the political arena. Taking the Seven Sons of Jian'an as an example, none of them lived to the end of their lives. Kong Rong died under Cao Cao's knife, Wang Can died during the Eastern Expedition, Xu Qian, Chen Lin, Ying Jue, and Liu Zhen died of the plague at the same time, and Ruan Yu only lived. Over forty years old. Famous celebrities in the Wei and Jin Dynasties, such as He Yan, Ji Kang, Lu Ji, Lu Yun, Pan Yue, Zhang Hua, Shi Chong, Guo Pu, etc. were all guillotined during the turmoil. Liu Kun, Bao Zhao and others died in the chaos. Lu Ji, who was in his forties, lamented that more than half of his relatives and friends of the same age had died. In "Ode to the Death", he sighed with emotion: "The world is so vast, but life is short." For literati, there are two most confusing things: one is the impermanence of life, and the other is poverty. In a sense, the latter is more than the former. "There is no criticism greater than being humble, and there is nothing more tragic than poverty." < /p>

When analyzing the causes of tragedy and tragic emotions, Posbilov pointed out: “It is not only caused by the conflict with external threatening forces, but first of all by the personal requirements and what he believes. Caused by the contradiction between transpersonal life values ??③ This "contradiction" caused the scholar's sorrow and loneliness far more than the pain of other "emotions", and also caused far more complexity and intensity than other emotions. . This kind of compassion and loneliness caused by "poverty" became a common emotion in the Wei and Jin Dynasties, and also reflected the strong sense of individuality and emotional desires of the Wei and Jin people who were devastated and suppressed by the harsh reality. Later, especially when they felt that they had no control over their destiny, they had many mental traumas, which resulted in the scholars of this era being particularly sentimental, eccentric, eccentric, and unkind, which in turn formed the Wei and Jin people's compassion for nature, compassion for others, and pity for time. The aesthetic state of mind of the object formed a mentality and taste that regarded sadness as beauty, and formed a parallel fu text with sad and sad tragic beauty.

Therefore, the writing of parallel fu and the expression of the theme of sadness and compassion in parallel fu. The literary creation placed at the center is entirely based on the mood of the times based on self-awakening. It is the deep sigh of the hearts of the people under the high-pressure politics of the time, and the dissonant trembling of excitement in life.

In addition, "the brand-new literary concept of 'article immortality' vividly reflects Jian'an literati's pursuit of the eternal value of life, encourages people to engage in this 'immortal event' with great enthusiasm, and also encourages people to regard literature as They use literature to express their inner feelings and spiritual world, thus making lyricism the soul of Jian’an literature and an important symbol of literature’s independence from the shackles of classics.”④ This is also a sign of people’s self-awakening. part of the mood of the times.

2. Aesthetic requirements and the perfection of beautiful writing in the era of pursuing beauty

From Cao Pi’s “Poems Desire to be Beautiful” ("Essays on Classics") to Lu Ji’s “Poetry "Literary talent is the reason for embellishment, and beauty is based on emotion" ("Wen Xin Diao Long· Qing Cai"), and Zhong Rong's "Literature is gentle and beautiful. "The meaning is sad but distant, thrilling" ("Shipin"), etc., which highlights the culture of admiring beauty and pursuing beauty in the Wei and Jin Dynasties from the perspective of literary theory.

Mr. Lu Xun spoke highly of Cao Pi's artistic proposition of "poetry should be beautiful": "The gorgeous and beautiful articles are the result of Cao Pi's advocacy." Cao Pi was the first to put forward the idea of ??beauty. , he was the first to grasp the needs and trends of the times pursuing beauty. Lu Xun said: "He said that poems and poems do not need to contain lessons, and opposed those opinions at that time that poems and poems should contain lessons. From a modern literary perspective, Cao Pi's era can be said to be It is the "self-conscious era of literature". Or as it is said in modern times, it is the school of art for art's sake. "⑤ It focuses on the formal beauty of literature and puts it in an important position, which is in line with the times. requirements, but also indicates that literature has entered a self-conscious era, and literature has already possessed the requirements and form of "qiexi" formal beauty.

Perhaps it is because it has been constrained by Confucian classics for too long, or it may be because the literature is incompetent and unable to meet the needs of lyricism. After the Wei and Jin Dynasties reached the "era of literary self-consciousness", over-correction appeared. Extreme demands. The Wei and Jin Dynasties became an era of "beautiful writing". The era needed beautiful writing, so that all writings that could be beautiful became beautified. Not only all writing in literature was beautified, but almost all official articles were also beautified. Moreover, people's pursuit of beauty has penetrated into all aspects. They not only appreciate nature, but also appreciate people themselves, and pursue all kinds of leisure and leisure. Beauty has become their deep need and a life form that replaces or transcends their spirit. People's need and pursuit of beauty are most prominently expressed in parallel poems. In other words, people in the Wei and Jin Dynasties most strongly expressed the typical emotions and aesthetic characteristics of their time in the form of poems and poems. This pursuit of formal beauty in literature has become an important symbol of literature getting rid of the shackles of classics and gaining independence, and has become the survival need of Wei and Jin people to express their inner emotions and their own spiritual world. People use the ruler and compass of beauty to judge people and works. Regarding this point, Zhong Rong’s aesthetic attitude is the most distinctive and the most typical. For example, "Zhong Rong did not appreciate the impassioned sentiments in Jian'an literature, and disapproved of Ji Kang's unscrupulous and almost indignant ideological expressions. The works of Bao Zhao, an outstanding poet in the Song Dynasty, often gave people a harsh impression. The expression of vigorous and vigorous spirit is also dissatisfying." ⑥ This is because Zhong Rong cannot appreciate the fierce and fierce expression, and the "plain" and "really ancient" style of Tao Qian's poems is not favored by him either. , whose poems were classified as medium grade. Zhong Rong Why doesn’t Zhong Rong appreciate these poets and poems that we all praise now? What does Zhong Rong appreciate? We believe that clarifying this issue will actually clarify the essential issue of aesthetic taste in this era. Zhong Rong particularly admired Li Ling, Su Wu, Cao Zhi, Liu Kun, Ruan Ji, Lu Ji and others because their works had the requirements of deep resentment, elegance, sadness and far-reaching meaning. The core of Zhong Rong's literary outlook is also "resentment but not anger". He puts more emphasis on "resentment" in his understanding of the nature of poetry. However, he pays special attention to "emotions combined with elegance and resentment" and "classics with resentment". Zhong Rong used this as a criterion for evaluation and divided poets and poems into three grades: upper, middle and lower. It is obvious that he puts the standard of "form" first, attaches great importance to expression, and attaches great importance to the beautiful form of expression and expression. Although this only refers to Zhong Rong's personal aesthetic taste, it represents the mainstream aesthetic trend of the Wei and Jin Dynasties and the aesthetics of the Wei and Jin Dynasties. The criteria for judging literature have all become aestheticized. Even if the content is "resentful", if it is not expressed in an "elegant" form, it is destined to be left out in that era. Tao Qian is the best example.

Liu Xie's poetic aesthetics were orthodox to Confucianism, and he had no favorable impression of Tao Qian's poetry. In "Wen Xin Diao Long", even though the poets of all ages are discussed, there is not a single word about Tao Qian. However, if Tao Qian's parallel poems are measured in that era, his emphasis on the spirit, means, form and effect of expressing beauty are by no means inferior to those of the time. Although there are only three poems by Tao Qian, they are exquisite and perfect. Ouyang Xiu spoke highly of his "Return to the Song", saying that "there are no articles in Jin Dynasty, only one piece of Tao Yuanming's "Return to the Song"" ( Cited in Volume 5 of Li Gonghuan's "Notes on Tao Yuanming's Collection" of the Yuan Dynasty). This poem's diction is fluent and brilliant, with four parallel characters and six characters in uneven and scattered patterns. The pairs of characters are skillful and natural. It uses double tones, repeated rhymes, and repeated words, such as "The boat is far away and the wind is fluttering, and the clothes are blowing" and so on. , resulting in a distinct musicality that is rhythmic in language.

The requirements of the times for literature have brought literature into a period of "chasing beauty". This "chasing beauty" became the trend of the entire era in the Wei, Jin, Southern and Northern Dynasties, causing almost all literary styles to attach great importance to diction, parallel poetry, and the formal beauty of rhythm. However, parallel fu is the most prominent in this aspect. That’s all. It should be said that there are many precedents for parallel sentences and even sentences before, but there is really no such thing as the people of the Wei and Jin Dynasties who were so serious and persistent and appeared so frequently in their works. Especially the conscious use of rhythm is unprecedented. The tendency of language to become parallel and rhythmic is the most important formal requirement of the era for "beauty". This is the dominant trend in the poetry of the Wei, Jin, Southern and Northern Dynasties, and the most significant external reason why the poetry of the Wei, Jin, Southern and Northern Dynasties is different from the lyrical poetry of the Eastern Han Dynasty. The characteristics are even more different from the Han Dynasty Fu who always had a serious face and "advised hundreds of people to ridicule one".

Tao Qian's "Xian Qing Fu" has always been regarded as a controversial work in the history of literature because it is not "advising hundreds of people to satirize one" but pure romance. Even Xiao Tong, who was the first to speak highly of Tao Qian, also Therefore, he was accused of being a "white jade with slight flaws" and shouted "what a pity". In fact, Tao Qian also tried hard to "contribute to satire". He made such a statement when describing the origin of the poem in his preface. In the preface, he modestly said: "Although the writing is not very clever, does it mean that I have not violated the author's intention?" This means that even if the writing is not as elegant and sublime as the predecessors, I will still imitate it. This shows that during the "chasing beauty" period in literature, Tao Qian also had this pursuit and ability. In fact, his parallel poem surpasses that of the ancients, and there is no comparable work in almost all subsequent ancient poems with this theme. "Fu is a large-scale descriptive poem." ① Tao Qian's "large-scale" description fully demonstrates the advantages and characteristics of Fu, as well as his individual artistic attainments, rich emotions and creative spirit. This poem is engraved with gold and colorful colors, and is full of emotions such as longing and disappointment, joy and fear, enthusiasm and calmness, joy and lamentation. The psychological conflicts are intense and the emotions are ups and downs, forming a great internal tension. In particular, the "Ten Wishes" and "Ten Sorrows" in the middle part are spared no effort, are extremely grand and vigorous, and are developed layer by layer to fully describe a series of feelings in passionate love. The psychological process is subtle and lifelike, fully demonstrating the author's extraordinary ability. Imagination and superb control have formed a flowing, unrestrained and hearty writing style, forming a strong, rich, long and lingering emotional charm, which makes people soul-stirring when reading it, and generates a sense of pleasure. Trembling, I was immersed in the pure and beautiful artistic conception for a long time and could not extricate myself.

The emergence of parallel rhymes is a special requirement for the personalized expression of literature, an artistic feature that truly makes literature a "humanity", and a way for literature to comply with the requirements and trends of the times in pursuit of beauty. This profound need for beauty made the people of the Wei and Jin Dynasties change the lackluster style of Han Dynasty Fu into compassion, and change the content of Han Dynasty Fu from the ostentatious accumulation of Da Fu into emotional objects. Therefore, the style also changed from the richness of Da Fu. The combination of beauty and elegance combined with sadness made parallel fu the representative and ultimate form of literary beauty of that era. Even though the requirements are almost harsh, and the prose, diction and usage of allusions are very particular, but because of the persistent pursuit of beauty and superb artistic skills of the Wei and Jin people, the extremely difficult parallel fu form has reached the standard of "emotion, elegance and resentment" , giving people an enjoyment of beauty, without any feeling of pretentiousness, showboating, or stuffing. After reading it, it makes people feel excited and leaves a lingering lingering sound that is hard to get rid of. Although some people say that these parallel poems have "more love for children than less romance", they have achieved great success in experiencing the secular world and the beauty of fate, and have become a mournful carrier for awakening the individual's sense of sorrow. This kind of creation that highlights spiritual expression and formal beauty in literature is undoubtedly a great progress in the development of literature, and it is also an inevitable requirement and trend for the development of literature itself.

Especially in Qi and Liang Dynasties, a system of aesthetics and literary theory was established. The emergence of appreciation theory was a summary and promotion of the creation of parallel fu, and allowed the aesthetic elements used and appearing in parallel fu to penetrate into other countries. In various categories of art and even life. Mr. Zhu Guangqian believes that Fu is originally a genre in poetry. Chinese poetry took the road of "rhythm", and the greatest influence was "fu". Both poetry and prose originated from Fu. Mr. Zhu explained: "Why is it said that the parallelism in poetry and prose originated from Fu? Fu focuses on cross-sectional description, and must tell all the conflicting things and modes in the space, so it is easiest to embark on the path of parallelism. . ” ① Mr. Zhu’s concept of Fu refers to parallel Fu in a strict sense. That is to say, parallel Fu not only has its own formal advantages, but also has a profound influence on other literary styles.

3. The stylistic advantages and characteristics of parallel poems in Wei and Jin Dynasties

Why did people in Wei and Jin Dynasties insist on using parallel poems to express their emotions? Why is parallel rhyme most popular only in this period? It makes sense to think about these questions.

Liu Shipei said in "Miscellaneous Notes on Essays": "In the Jian'an period, the Seven Sons continued to rise, and occasionally wrote essays, all of which were arranged in single lines. Hua Mi's works preceded those of the Fourth and Sixth Dynasty, and the style was different from that of the Eastern Han Dynasty." 7 This theory has two meanings that we agree with: First, parallel fu appeared in Jian'an, an important period of literary style change, although its style was different from that of the Eastern Han Dynasty. The authors do not yet have conscious stylistic awareness, but their writings already possess some basic characteristics of parallel fu, and the Jian'an literati were the pioneers of parallel fu; the second reason is that they possess the form of parallel fu. , which makes these words obviously different from the lyrical poems of the Eastern Han Dynasty. We believe that although this "style is different from that of the Eastern Han Dynasty", it is obvious that it came from Xiaofu and was formed on the basis of Xiaofu in a way that is more suitable for expressing resentful emotions and is more suitable for expressing resentment. A beautiful form with exquisite shapes. In other words, the direct source of parallel fu is the main artistic nourishment of Qu Song's Ci Fu, not the Han Fu. The purpose of the great fu is to satirize and admonish, but the excessive arrangement and arrangement often have a sense of showing off and self-admiration, which not only dilutes the theme, but also makes the satire at the end seem weak, especially weakening the power of the fu. It is so literary that some people think that adding or deleting some chapters in the Fu will not affect its content and theme. Therefore, Dafu has become a kind of "official learning", a rigid routine, a bloated and anemic appearance, rather than literature, let alone "human science".

Zhong Rong was in the mature and climax period of parallel fu, and in the era of literary theorization and aesthetic specialization. His "Shipin" used "life disharmony" to comment on Li Ling's poetry. Zhong Rong greatly appreciated this disharmonious state of life and the "sad" vibrato produced in this state of life. This was actually a summary of the taste of the times and a summary purification of the creative style at that time. Naturally, it was also a reflection of the Specific requirements for parallel rhymes with poems that have the same origin or even homogeneity. In "Shi Pin", he often uses "resentment" to discuss the poems of poets in the Wei and Jin Dynasties. There are dozens of words like "resentment". ⑥ Zhong Rong attaches great importance to the status of "resentment" in literature, believing that "resentment" is inseparable from the various emotions caused by the author's personal encounters. In "Shipin", he wrote: "There are many sad articles, and those who complain are the most miserable." "Liu Liu" commented on Li Ling's poetry and analyzed the reasons for its formation, "If Ling had not suffered hardships, how could his writings have reached this point?" He directly used the author's life experiences to explain the cause and effect of this theme of resentment.

What is the vibrato of "disharmonious life"? This is a symphony of compassion and soul mixed with many emotions such as loneliness, confusion, trouble, turmoil, hesitation, fear, panic, melancholy, depression, loneliness, anger, sadness, etc. It is a desperate situation where life is being devastated. The great instinctive excitement and tremor generated in the process of writing form a need for emotional expression that is vivid and unrestrained, flowing vertically and horizontally like a river. "How can the meaning be expressed if it is not a Chen poem? How can one express his emotions if it is not a long song?" ?" (Zhong Rong's "Poetry") In terms of the development and exploration of this vibrato of life, parallel verse has more advantages than poetry. The suffering of life and the deep feelings and thoughts of individual life caused by this suffering are not enough to express the feelings without a long description. The requirements of Chen poetry and the nature of long songs are the positive choice of genre for emotional expression and the special requirements for the display of temperament. The richness, complexity and splendor of poetry are very conducive to expressing deep and exciting emotions, adapting to the implicit expression of complex and unspeakable sorrow and melancholy in individual life, and forming a touching and profound artistic effect. Judging from the nature of this style of writing, parallel rhymes are very much like imported prose poems.

Compared from the perspective of stylistic form, prose poetry is the same as Fu. It is both poetry but different from poetry. Comparing the way of expression, both are expressions of "monologue". It can be said that monologue is the most "authentic" expression of prose poetry. He Qifang directly called "Weeds" "Solo". ⑧Qian Liqun and others also described Lu Xun's prose poems as "'monologue style' prose". They believe: "('Monologue') does not require a listener (reader), and even the tension and rejection between the author and the reader is the premise of its existence: only by eliminating the interference of others can we look directly at ourselves. The deepest part of the soul captures the subtle and indescribable feelings (including intuition), emotions, psychology, and consciousness (including subconsciousness) of the self, and carries out higher and deeper philosophical thinking." 9 Looking at parallel fu with these characteristics, it is in expression. The above is completely similar. However, our focus is not on its appearance, but mainly on its inner quality. In other words, the two have more in common in expressing the great sorrow, great emotion and great responsibility of life. . The French symbolist master Baudelaire believed that prose poetry "is a special style adapted to the lyrical turmoil of the soul, the fluctuations of dreams and the jumps of consciousness." Examining the birth of prose poetry, it is the product of a great tremor in the soul. ⑩In this special literary style, which originates from the great pain and compassion of life, we can see the similarities between Wei and Jin parallel poems. The poems and poems of the Wei and Jin Dynasties mostly describe the sad and resentful emotions of frustration in life and mourning for death. Such stylistic nature and characteristics are similar to those of prose poetry. The existential experience of people in the Wei and Jin Dynasties caused by great soul struggle and great tremor is most suitable to be expressed in parallel fu. This is the stylistic significance of parallel fu. Liu Xizai said in "Yi Gai·Fu Gai": "Fu originated from the mixed emotions, which could not be controlled by poetry, so it was used to lay out the poems. This is because of the myriad of shapes and forms, which appear one after another, and the flow is always smooth, smooth or exhausted. "(11) What the ancients said is also talking about the formal characteristics and advantages of Fu style. We might as well take evidence from Wang Can's "Ode to the Climbing Tower". This poem expresses more than simple worries about one's life experience. In the poem, all kinds of emotions come together, including the worry of leaving home, the worry of living under someone else's roof, the worry of hating war, the worry of being homeless, the worry of being stuck in the world, the difficulty of finding a wise king, the worry of not finding a talented person, the worry of the impermanence of life. It can be described as extremely sad. The great pain of life and the great excitement generated by the feeling of great responsibility cannot be controlled by poetry, and it is not enough to express emotions and anger without parallel rhymes. The author first uses happy scenes to set off worries and arouse the sadness of returning home, and then uses the description of miserable and desolate scenery to highlight and strengthen the mental state of being wandering, restless and physically and mentally haggard. He also uses allusions repeatedly to create a multi-level and multi-faceted story Expressing intense excitement, emotions are like streams in a valley, twisting and turning, reaching a lyrical climax in thousands of twists and turns.

The form of parallel rhyme determines that it is good at expressing the deep content that makes the author's heart tremble and life pain. In other words, only these contents are the best psychological state produced by the best parallel rhyme. . We can list a large number of works to illustrate. Cao Zhi's "Ode to the White Crane", "Ode to the Cicada", "Ode to the Harrier", etc. all describe his anger at being persecuted and his fear of being slandered and ridiculed. "Ode to the Goddess of Luo", which represents the highest achievement of his poems, is also It is a tragic mentality that is extremely sad in a specific environment; Mi Heng was only 26 years old when he was murdered. His "Parrot Ode" represents the highest achievement of chanting things in this period and is a portrayal of his soul when he was in adversity. Although Xiang Xiu's "Reminiscence of the Past" has very few words, it is written with mixed feelings and profound melodiousness; Jiang Yan's "Hate Fu" and "Farewell Fu" express a kind of emotion that "makes people feel stunned and heartbroken." The ancients said that "the hero who reads it is in tears"; Bao Zhao's "Wucheng Fu" evokes the past but hurts the present. It writes tragic scenes and sad moods with beautiful diction and handsome style, which makes people feel sad. Yao Nai of the Qing Dynasty praised it as "the desperate situation of the Fu family". His "Dancing Crane Ode" also wrote about driving away the desolation. The poet "is sad for thousands of miles". In his poem, "I look up to the sky and live in admiration, and I am even more melancholy." "Jingsi" expresses a kind of discordant note in life; Yu Xin's "Ai Jiangnan Fu" is praised as the highest achievement of parallel fu, and it is also a "word of danger" that trembles the soul. There are a lot of uses in the poem. The classics formed a grand, broad, desolate and tragic charm and epic structure. The poet was full of resentment and resentment of leaving the country and being alone, and said with emotion: "Spring and Autumn are changing, and there must be sadness of passing away. God's will and human affairs can make people feel sad and sad. "... In short, this kind of existential experience of great soul struggle and great tremor is most suitable to be expressed in Ci Fu. Parallel Fu has the stylistic advantage of presenting a narrative, which is suitable for lyricists to vent excessive pent-up emotions.

When commenting on Lu Xun's state of mind when writing "Weeds", the author expressed it this way: "The author entered the realm of mystery and sublimation in extreme disillusionment and nihilism. In the great torture of the old self's rapid decay, the poet went through spiritual purgatory. After deep fear, heart-breaking pain and extreme loneliness, I gained the great satisfaction of the birth of a new self after death." 10 We believe that from the perspective of literary genetics, this creative psychology and process are closely related to the Wei and Jin Dynasties. The writers are extremely consistent.

"Literary Hearts and Carvings of Dragons·Emotions" says: "Poets in the past wrote essays for the sake of emotion; they wrote poems and praised poems for the sake of essays and created emotions." (12) Liu Xie compares poetry with poetry. To explain the relationship between emotion and literature, the reason why he despised poetry and emphasized poetry was because the style of poetry was edgy and anemic due to the "abuse of the true". He also said in "Wen Xin Diao Long Preface": "People love to be strange in their words, and their words are noble and frivolous." (12) These all reflect his aesthetic proposition of putting emotion first and adhering to nature. However, the important writers of poetry during the Wei and Jin Dynasties used the parallel form very skillfully out of the need to "compose for emotion", and they often used it when they needed to express great sorrow and emotional turmoil in life. Parallel Fu is a form that is good at expressing "words of danger", thus forming the compassionate theme and resentful melody of Wei and Jin parallel fu. This special requirement for the personalized expression of literature, which is entirely based on self-awakening, is the need of the times for literature to truly become a "humanities" and "aesthetics" rather than a form of "creating emotions for the sake of literature." We believe that the success of parallel fu in the Wei and Jin Dynasties lies in the practice of pursuing beauty under the guidance of the aesthetic concept of Yuanqingqimu and the beautiful form of parallel couples formed. The mistake of parallel rhyme literature is not a mistake of style, but the loss of humanistic spirit and compassion when the author of this style pursues the elegant form, which results in the sinking of character and shallow thinking.