The term "forms" refers to various formal and technical aspects applied to poems: this includes such poetic characteristics as meter (such as, line length and number of lines), rhythm (for example, presence of caesuras, end-stopping, and tone contour), and other considerations such as vocabulary and style.

For the purpose of metrically scanning Classical Chinese verse, the basic unit corresponds to a single character, or what is considered one syllable: an optional consonant or glide (or in some versions of reconstructed Old or Middle Chinese a consonantal cluster), an obligatory vowel or vowel cluster (with or without glides), and an optional final consonant.

The caesuras tended to both be fixed depending upon the formal rules for that type of poem and to match the natural rhythm of speech based upon units of meaning spanning the characters.

Line length is the fundamental metrical criterion in classifying Classical Chinese poetry forms.

For instance, two four-character lines may be written on matching scrolls, in Chinese calligraphy, and each decoratively hung on either side of a door or entrance way, these are known as Duilian.

Six-character line lengths are relatively rare in fixed-length poems, but are found for example in the work of Wang Jian.

This resulted eventually in quite a few fixed-forms with variable line lengths within each piece, with hundreds of named models identified.

[2] A specific poem's length for those forms in which this was a restriction, is another basic classifying criterion (as in Seven-character eight-line verse).

"Regulated" verse, or new-style shi poetry, has very strict and often complex formal limitations, such as mandatory tonal alterations between adjacent positions within a line, or in regards to the same line-positions between couplets.

The presence or absence of formal tonal constraints regarding tone pattern varies according to the poetic form of a specific poem.

Sometimes the rules governing the permissible tone patterns for a poem were quite strict, yet still allowed for a certain amount of liberty and variation, as in the case of Regulated verse.

This was the case with the cí and the qu: an individual poem was written so that its tone pattern (and line lengths) were the same as one of the model types, the poetic variation was in the change in the particular wording of the lyrics.

The Pingshui Yun system was the standard for poetry rhyme from Yuan to Qing dynasty, even though it was very different from actual contemporary pronunciations.

In terms of literary form, however, Classical Chinese poetry has the three main formal types: shi, fu, and cí.

The Classic of Poetry was edited supposedly by Confucius in the Spring and Autumn period, which correlates with the first half of the Eastern Zhou.

[15] A typical feature of the fu form is the repetitive use of certain nonce syllables or "empty words" in fixed positions within the lines.

[16] Similarly characteristic of the fu is the use of certain other particular fixed position particles (function, or "empty" words), often at or near the center of a line, and probably with an unstressed pronunciation.

As for the rest of the words, the author strives for a rich, varied vocabulary, designed to impress the reader by an exhaustive display of synonyms including the rare, the obscure, and the exotic.

Typical subjects of fu tend to be an exotic object or creature (such as a parrot), a well-known object or creature but which is shown in a new and boldly impressive way to the reader (such as an owl), the majesty and luxury of noble rulers (such as the royal hunt), and the "fu of discontent", that is, the frustrations experienced by a scholar (such as not being properly rewarded and appreciated by royal patronage despite great talent and true loyalty).

Despite the surface appearance of fu as unrestrained enthusiasm for some particular object or event upon which the author gets carried away in a rhapsody of words, in actuality the fu genre traditionally dealt with sociopolitical protest, such as the theme of the loyal scholar-official who has been overlooked for promotion or even been unjustly exiled by the ruler or by a disloyal faction in power at the court, rather than receiving the promotion and respect which he truly deserves.

This may be expressed allegorically through the use of the persona of a friend or historical figure (a safer course in the case of a poet-official who might be punished for any too blatant criticism of the current emperor).

A rhapsody on the royal hunt, and the vast slaughter of creatures powerless to save themselves from the majestic power of the royal hunt for the enjoyment of the ruler also invites the reader to make a comparison with the nature of imperial political power in human society.

Criticism in fu of the current social or political situation was traditionally done in the most restrained and indirect way possible: explicit social or political commentary was not acceptable, unless it was masked by setting it in the confines of a former era and avoiding mention of any similarity with the current dynastic power, which, if mentioned could only be lavishly praised.

For example, a traditional fu theme during the Han dynasty was the unfair treatment of scholar-official Qu Yuan, at the hands of high-ranking officials in the former Kingdom of Chu: this allows for the reader to compare the situation of the author versus the current officialdom, but does not compel such an interpretation, allowing for what might be called "deniable plausibility", and a defense against a charge of lèse-majesté.

[23] The fu form is associated with the influence of Chu literature, as anthologized in the Chuci and it had a great flourishing during the beginning of the Han dynasty (founded 206 BCE).

Various persons are prominent in the area of fu literature, including original authors, anthologists, critics, and translators.

Han dynasty authors of fu include Jia Yi, Zhang Heng, Ban Gu, Yang Xiong, Wang Can (177–217), and Sima Xiangru.

Yuefu were a development of the forms of poetic literature collected by or edited by the Han dynasty Music Bureau.

While embracing all, or most of, the lushi rules and regulations the pailu allows for a number of linked couplets with no maximum upward limit.

Poems based on traditional structures, originally meant as lyrics to go along with particular musical tunes or scoring, included in the fixed tone-pattern forms are the cí, qu, and yuanqu.