Zhao, Jiang Yan Fu Theory

It is in Shi Pin written by Zhong Rong that Bao Zhao and Jiang Yan are said to rank with each other. Then Wang Tong in Sui Dynasty and Li Bai, Du Fu in Tang Dynasty echo, and later more and more agree to this, too. Especially Ming Dynasty and Qing Dynasty witness even more critics like Zhang Bo and Zhang Wenguang in Ming Dynasty, Zhang Huiyan, Sun Mei, Bao Guixing, Li Diaoyuan, XuLian in Qing Dynasty, Qian Zhenlun,Li Shenyan in Mondern and Cao Daoheng in Contemporary, most of whom discussed Jiang and Bao from a perspective of Fu. Also Bao Zhao and Jiang Yan are prominent Fu writers in Nan Dynasty, therefore it is quite reasonable to study the fact that the two rank with each other from a viewpoint of Fu.The first chapter:The era of metaphysics being dominant is over when it moves into Jin after Song of Nan Dynasty, and literature composition returns to expressing feelings from philosophy. Confucianism, metaphysics, historiography, the study of Yin and Yang and literature regain more importance, which lead to the diversification of social thoughts. This diversification in social thoughts results in the diversification in literary thoughts which provid external conditions for the display of writers'individual characters while composing. It is very popular in Song of Nan Dynasty to compile collections of Fu works, and Fu is one of the most important writing styles and is paid too much attention to. Fu works by Bao Zhao and Jiang Yan provide new opportunities for Fu in Nan Dynasty to develop with its strong lyric features. Bao Zhao and Jiang Yan make great contribution to the returning of Chu Ci, and to the change from Fu to Fu with characteristics of either Pian Wen or poetry, which wins Fu of Nan Dynasty a significant place in literature. Due to the sharp contradictions between the two writers' uprightness, activeness in official careers and unhappy life experiences, their composition is characterized by eager and resentment, and represented by cheer and vigor which add to some feature of masculinity in literature of Nan Dynasty.The second chapter:Altogether there are 10 pieces of Fu written by Bao Zhao and 40 by Jiang Yan left over. Despite the number, the quality and the state of preservation, from Wen Xuan written by Xiao Tong to many collections and articles following, Jiang and Bao are greatly appreciated and admired for they are definitely representatives of the crowning achievements made in literature of Nan Dynasty. According to the contents, the thesis outlines Bao Zhao's Fu from facets like his plight, destiny, and philosophical thinking, etc.;and discusses the composition of Jiang Yan's Fu from aspects like praising things, expressing feelings, femininity, miscellaneous topics, and imitations of writing Chu Ci, etc. Then, the thesis continues talking about the artist features of Bao Zhao's Fu from the extension of theme, his excellence at expressing and depicting, his eager style and pursuit of oddity; and about the artist style of Jiang Yan's Fu from his mastery of creating language for special situations, of expressing feelings, the individuality and integration in describing emothions, his plight, his internal confession, his seeking for oddity and being splendid and gorgeous.The third chapter:Being involved in a historic era of a turning point in literature, they two are representatives of Fu writers in Nan Dynasty, and their works reflected the mainstream of Fu in that era. It mainly discusses the inheritance and innovation of Fu led by Bao Zhao and Jiang Yan in the early period of Nan Dynasty and the great contribution they two make to the continuation and development of Fu. These consequently show the historic status they two hold in Fu and their composition wins Fu of Nan Dynasty an extraordinary position in literature history.The fourth chapter:It deals mainly with Jiang Yan's learning from and inheriting of Bao Zhao's works. One reason is that it is a tendency of writing style in that era; the second is that they two share similar personalities and experiences; the third is that Jiang Yan is good at imitating and learning from others. More than ten of Jiang Yan's works like Hen(Hatred) Fu, Bie(Departure) Fu and Moss Fu borrowed more or less from Bao Zhao's works, and thus he could be regarded as Bao Zhao's direct successor. Meanwhile, as a well-known writer of Fu, Jiang Yan demonstrates his own style and characteristics in aspects like origin of literature, expressions of emotions, marks of an era, methods of embodying, etc., and acted as the head of Qi Dynasty and Liang Dynasty in the style of being gorgeous.The fact that Bao Zhao and Jiang Yan rank with each other is first mentioned by Zhong Rong; however, up to now in Qing Dynasty, scholars make only a superficial statement of ideas, no profound and detailed exploration has been made. The writer of this thesis is meaning to make a more systematic explanation and interpretation of the reason why Bao Zhao and Jiang Yan are comparable to each other from the perspective of Fu works written by the two with the help of the scattered information and some researches done in the related field.