In Liu Xie’s Dragon-Carving and the Literary Mind (Wen Xin Diao Long), he came up with four types of parallelism, namely, the lexical parallelism (“Yan Dui”), the factual parallelism(“Shi Dui”), the antithetical parallelism (“Fan Dui”) and the synonymous parallelism (“Zheng Dui”). He prone to quote sentences from Fu to uphold his idea that “the factual parallelism is difficult to write”. Such difficulties rest with both the “literary form” and “writing style” of Ci Fu, especially the latter aspect. The banality, absurdity and redundancy in writing Fu which are caused by the factual parallelism may to some extent explain the meaning of “difficulties” raised by Liu Xie. Besides, studying the factual parallelism in Fu composed before Tang dynasty, we can take a look at the application, development ,merit and demerit of the factual parallelism in parallel sentences among Ci Fu in such three aspects, that is, the changing of time, the selection of themes and the alternation of past and present. While Fu composed during the Western Han Dynasty prefer the lexical parallelism to the factual parallelism because the writers pay more emphasis on Confucian Classics Argumentation (Jing Yi), since the Eastern Han Dynasty, Fu-writers tended to use the latter type of parallelism more frequently out of their preference for historical facts. What’s more, the transformation of Fu from studying “Li” (Wu Li,the nature of objects) out of objects to understanding “Li”(Shi Li, the truth of affair) by using literary quotations also fit in with the tendency of historization in composing Ci Fu. As for the emphasis on “judging people by their eloquence (Qu Ren Yi Yan)” and the revival of the lexical parallelism which were put forward by people of Song Dynasty in their Fu composed for imperial examinations are of significance for the history of Fu in rendering introspection to the tradition of the lexical parallelism.