The parallelization of

Ci-fu

reached its peak in Qi and Liang of the Northern and Southern Dynasties and the early Tang Dynasty: both words and sentences were antithetical

parallels came in other lines

and five and seven-character lines were adopted in

Fu

until limited-rhythm

Fu

appeared

and such development went to a dead end. In order to pursue the beauty of flexibility

some elite writers used function words to adjust the tone

or used loose sentences directly

and prose style began to be seen in parallelized

Fu

. After the founding of the Tang Dynasty

the showy style originated from the Six Dynasties was discarded in order to go along with the prose style of

Ci-fu

. The techniques of prose style

Ci-fu

gradually increased since the reign of Wu Zetian. The literary atmosphere of the prosperous Tang Dynasty was grand. Li Bai and Du Fu’s

Ci-fu

were full of feelings and thoughts embodied by beautiful words

which often broke the exquisite and framed traditions of parallelism. And pioneers of the Ancient Prose Movement deliberately returned to the ancient prose style

whose pursuit of abstruseness and astringency completely dispelled parallelism. Han Yu and Liu Zongyuan combined the ancient and the current style

who wrote with clear and smooth words

mixing the parallel and the prose style. Thus the "New Literati

Fu

" came into being

finally establishing the Tang

Fu

which was different from that of the Six Dynasties. The development of Tang

Fu

towards the prose style was a reaction to the parallelization of

Ci-fu

since the Wei and Jin Dynasties

which opened a new path for the development of

Ci-fu

’

s

style and added to its vitality.