| Abstract |
During the Han, Wei and Six Dynasties, the “Goddess”（神女） and “abnegation”（閒邪） types of Fu（賦） were very popular. Although Ruan Ji’s “Ching-Si Fu”（〈清思賦〉） is nominally a “abnegation” type of Fu, the writing style is more like the “Goddess” type of Fu. It is all right to regard it as a combination of these two types of Fu. Compared with Song Yu’s “Shen-Nü Fu” （〈神女賦〉）, Cao Zhi’s “Luo-Shen Fu” （〈洛神賦〉） and Tao Qian’s “Hsien-Ching Fu” （〈閑情賦〉）, Ruan Ji’s “Ching-Si Fu” has many novelties. For example, Ruan Ji talks about female beauty and music beauty and puts forward his own aesthetic views. Secondly, Ruan Ji puts forward the idea that “one can communicate with God with sincerity”, and believes that music can communicate with everything. In Ruan Ji’s view, spiritual cultivation is the reason why the author can meet the Goddess and keep his inner peace and tranquility after the Goddess disappears. On the other hand, the feminine beauty that Ruan Ji pursues implies his longing of eternity. Ruan Ji did not describe the appearance of the Goddess in detail, he just emphasized the connection between the Goddess and the cloud for many times. In this Fu, the Goddess is very similar to the Prince of Cloud in the Chu-Ci （《楚辭》）. All of the above are not found in other Fu of the same type. These are the creativity and characteristics in Ruan Ji’s “Ching-Si Fu”. |
