Ban Gu’s 班固 hypothesis that “fu 赋 evolves from of shi 诗” was built on the historical inference of the rise and fall of nations and the evolution of the universe， which differed from the perspective of genre evolution. Differentiating fu from

Shi

（诗 The Book of Songs） was essential for the generic establishment of fu. “Fu created by fu writers” 辞人之赋 and “contributing days and months” 日月献纳 happened only in the dynasty of Wu and Xuan， which was accepted by descendants an

d extended to be the overall impression of Han fu. “Recitation without singing” 不歌而诵 intertwines with fěng （讽 indirect persuasion）， song （颂 eulogy）， ge （歌 sing） and yong （咏 chanting）， annotated according to Jing （经 classics） and Zhuan （传 explanations）. It has been proven that ci词 and fu are able to be sung and incorporated into music， akin to how

Shi

poems are set to music. Ban Gu maintained that Han fu served as a means of persuasion and eulogy rather than elaboration， while Liu Xie 刘勰 criticized fu based on bi （比 metaphor） and xing （兴 association）. The concepts of fēng 风， fěng 讽， song 诵， and song 颂are intricately entangled， while fu， bi and xing share meanings among themselves.All are obscured by the significance of

Shi

， which conceals the structure and organization of fu genre， ultimately leading to its dissolution. The annotations by Jing and Zhuan only established the correlation between the pomes in

Shi

and the form of fu in the sense of “fu as a means of elaboration”. Nevertheless， the original meaning of fu ultimately lies in its vastness and extensiveness which meant the convergence of numerous concrete objects of the universe. The grand fu with its elaboration and resplendence was the only form to accord with the essence of fu. Only by loosening the shackle of the elements of

Shi

would one reach the essence of and then reveal the essential feature of fu.