throughout a given piece, and that alternating stressed and unstressed syllable finals to the lines has become the standard verse form. The nonce word used as a single-syllable refrain in various ancient Chinese classical poems varies: (according to modern pronunciation), "Summons for the Soul" uses xie and the "Great Summons" uses zhi (and the "Nine Pieces" uses xi). Any one of these unstressed nonce words seem to find a similar role in the prosody. This two line combo: [first line:] tum tum tum tum; [second line:] tum tum tum ti tends to produce the effect of one, single seven character line with a caesura between the first four syllables and the concluding three stressed syllables, with the addition of a weak nonsense refrain syllable final tum tum tum tum [caesura] tum tum tum ti. Han-style lyrics Within the individual songs or poems of the "Nine Pieces", lines generally consist of various numbers of syllables, separated by the nonce word. In this case, the nonce word of choice is 兮 (, Old Chinese: *gˤe). This, as opposed to the four-character verse of the Shi Jing, adds a different rhythmic latitude of expression. Sao style Some verses tend towards the sao style, based on imitation of "The Lament". The sao style features long line lengths optimized for poetic oral recitation, with a concluding luan (or, envoi). The scholar and translator David Hawkes divides the verses of what seem to be of the earlier (pre-Han era), into two types, each type being characterized by one of two characteristic metrical forms (with the exception of the mixed poetry and prose narratives of the "Divination" and of "The Fisherman"). Direct influences of the Chu ci verses can be seen in the saoti () style of prosody as seen in the "Epilog" of the Cantong qi (the "Luanci", 亂辭), and in anthologies such as the Guwen Guanzhi. Furthermore, the verses of the Chu ci would have been recited using distinctive linguistic features of the Chu version of Chinese language, together with various rare characters, which together with some of the vocabulary and the characters themselves also vary from the typical northern literature; thus, the poems of the Chu ci remain as a major factor in the study of Classical Chinese poetry, cultural, and linguistic history, and the various poems or prose-poems influenced subsequent literature, including other poetry of the Han Dynasty, and subsequent Classical Chinese poetry.