During the Wei, Jin, Southern and Northern Dynasties, there was not much long-term social unrest and stability, and scholars had no time to study Chu Ci. Poetry in the Sui, Tang and Five Dynasties once flourished, but people paid more attention to the enlightenment literature of "combining poetry" and "painting with Taoism", and Chu Ci, which was characterized by expressing personal feelings, was relatively ignored. Therefore, the songs of Chu in this period are not as good as those before Han Dynasty and after Song Dynasty.

According to Jiang Liangfu's Five Bibliography of Songs of the South, there are three volumes of Songs of the South by Guo Pu in Jin Dynasty, one volume of Songs of the South by Xu Miao, one volume of Notes on Deleting Wang Yi in Southern and Northern Dynasties, one volume of Notes on Songs of the South by Yanhe, one volume of Notes on Songs of the South by Zhuge Liang and one volume of Notes on Plants and Trees of the Songs of the South by Liang Liugao. Regrettably, most of these notes have been lost, and only the Dunhuang remnant of Chu Ci written by Shi Daoqian remains. Guo Pu's Notes on Songs of the South are quoted in Dunhuang suicide note Notes on Songs of the South and Hong Xingzu's Supplementary Notes on Songs of the South. According to careful study, there are many notes related to Guo Pu's Songs of the South, such as Notes on Mountains and Seas, Notes on Erya, Notes on Dialects, Biography of Mu, etc. Therefore, from these sorted materials, there are also many notes related to the content of Chu Ci.

There are four kinds of Chu Ci in the above-mentioned bibliography, which shows that "sound and meaning" is an important content in the annotation of Chu Ci in this period, which is probably related to the prosperity of phonology in the Six Dynasties. The remaining three lost articles and fragments of Song of the South were taken by Buriot and now kept in the writing headquarters of the National Library of Paris. In 1936, Wang Zhongmin copied these documents and sent them back. There are eighty-four lines in the remnant volume, starting from Lisao and ending in Miscellaneous Yao Xiang Si Che, with one hundred and eighty-eight articles and ninety-six notes. Pronunciation is mainly reverse tangent and straight tone, and the font is often modified or interpreted. "Records of Sui Shu's Classics and Records" says: "Those who have Taoist explanations in the Sui Dynasty, are good readers, can clearly understand the sound and rhyme, and pass on the sound of Chu to this day are all ancestors." Daoqian's Songs of the South not only had a great influence at that time, but also played an opening role in the rise of the school of "sound and meaning" in the study of Chuci.

There is no textual research on the notes of Chu Ci in this period, but we often see literati's comments on Chu Ci. For example, during the Qi and Liang Dynasties, Shen Yue praised Qu Song's works "English words are like a golden stone, and lofty ideas are like thin clouds" ("Song Xie Shu Lingyun Biography"), but Pei criticized: "If you wander, Chu Sao is your ancestor; Just like harmony, just like harmony. " (On the Skill of Carving Insects) Their views on Chu Ci reflect the conflict between the two different literary concepts of respecting literature and respecting quality at that time, which is very representative. Liu Xie has made outstanding achievements in commenting on Chu Ci.

Liu Xie (? —520), a famous literary theorist in the Southern Dynasties, discussed Chu Ci in many places. Among them, Bian Sao comprehensively discussed Chu Ci represented by Li Sao from a literary point of view, which is an unprecedented monograph on Chu Ci. In Distinguishing Sao, he first listed the views of Liu An, Ban Gu, Wang Yi and others on Li Sao, and thought that they were "exaggerating" and failed to make a proper evaluation. Secondly, he pointed out that the theory of four things in Li Sao is both elegant, while the theory of four things in Li Sao is different from the classics, such as strange words, narrow aspirations and obscenity. Therefore, Chu Ci is "a scholar praising elegance and a hero in Ci". Finally, he specifically analyzed the different artistic styles of each work of Chu Ci and its influence on later generations. Liu Xie's main contribution is to affirm the important position of Chu Ci in the history of literature. The Ci of Chu is "after the poet, but before the poet", which inherits the Book of Songs and enlightens the Ci of Han Dynasty. "It is based on Jame's pursuit of beauty and Ma Yang's wonderful scenery along the waves, and he is dressed as a poet, not a generation." The special significance of Chu Ci as a link between the past and the future has been ignored by predecessors. At the same time, he attached importance to and emphasized the magnificent and bizarre artistic style and tragic lyric characteristics of Chu Ci, which was also very enlightening to later generations. However, Liu Xie can't understand Qu Yuan's inner world and spiritual essence by commenting on Sao, so it is his limitation to praise his words without understanding his character.

Except for Liu Xie, Xiao Tong's Selected Works of the Southern and Northern Dynasties created two categories of "Sao" and "Ci" besides "Fu". According to most Han Chinese Ci, Wang Yi's Chapters and Sentences of Chu Ci made the style of Chu Ci independent from that of Fu, while Liu Xie's Wen Xin Diao Long was written as a special article besides explaining Fu, and Xiao Tong's selections of Sao and Ci were unique, which further strengthened the role of Chu Ci. Yan Zhitui in the Northern Dynasties inherited Ban Gu, saying that Qu Yuan was "frivolous" and "showed his talents and showed his hegemony" (Yan Family Instructions), which was criticized by later generations Hong Xingzu and Jiang.

According to Zhu's Preface to the Collection of Songs of the South, there were five or six interpretations of Songs of the South in Sui and Tang Dynasties, which are not visible today. However, in the Tang Dynasty, there were many poets and scholars, and quite a few scholars commented on Chu Ci. In fact, there are as many as nine people including Li Bai, Han Yu, Li He, Liu Zongyuan, Du Mu, Yan Hua, Liu Zhiji, Jia Dao and Pi Rixiu in Jiang's Seventy-two Comments on Chu Ci in the Ming Dynasty. Generally speaking, in the early Tang Dynasty, Du Fu and Liu Mian advocated the ancient prose movement, opposed the extravagant style of writing in the Six Dynasties, and regarded Qu Yuan and Song Yu as the source of debauchery, thus denouncing the traditions of Qu Song and Chu Sao. In the middle of the prosperous Tang Dynasty, with the actual victory of the ancient prose movement, Han Yu, Liu Zongyuan and others began to attach importance to Chu Ci, advocating that learning literature should focus on classics and take Chu Ci as a reference; In the middle and late Tang Dynasty, Pi Rixiu and others were able to evaluate Qu Song's ci objectively and comprehensively, and also praised his "beauty of ci" and "escape from algae". It must be pointed out that many poets in the Tang Dynasty, such as Li Bai and Du Fu, generally respected Qu and Chu Ci in their poems. For example, Li Bai's "Qu Ping's Ci and Fu hangs on the sun and the moon, and the king of Chu is too empty" ("Song on the River") and Du Fu's "I'm afraid to follow in the footsteps of Qi Liang" ("Play is a six-line quatrain") have already become well-known famous sentences. However, Wang Wei, Han Yu, Liu Zongyuan and others created a large number of Sao-style works (see Zhu's "After the Songs of Chu"), which formed a craze of imitating Sao in the Tang Dynasty, which also showed their love for the songs of Chu. In the Tang Dynasty, there was Shen Ya's Biography of Qu Yuan, which collected many legends and anecdotes about Qu Yuan, similar to legends, but also reflected that Qu Yuan's deeds had been deeply rooted in people's hearts and integrated into folk culture.

During the Five Dynasties and Ten Kingdoms period, Wang Mian in the Southern Tang Dynasty wrote The Interpretation of Chu Ci. This book has been lost, only under the first title of Hong Xingzu's Supplement to Songs of the South, the titles of the text interpretation are indicated one by one, and the notes quote 1 18 * * *. In addition, Chao's Reading Record of County Zhai and Chen's Understanding Zhai Jie are also recorded, but there are no authors. Yu Jiaxi, a famous scholar, made a careful textual research based on The History of Song Dynasty and The History of Arts and Literature, and determined that this book was written by Wang Mian in the Southern Tang Dynasty. There are great differences between the articles and sentences in Wang Yi's Songs of the South, which are obviously two different systems. Although there are many messy chapters in Shuo Wen Jie Zi, it retains another clue of Chu Ci and has its own value.