Cui Hao's head.
[ 1]
Tang dynasty [prosperous Tang dynasty]
Author Cui Hao ()
Ancient poetry genre
Original poem
A long time ago, the place where the Yellow Crane carried the saints to heaven is now only the Yellow Crane Tower.
The yellow crane will never come to the earth, and the white clouds will never fly without him (2).
Every tree in Hanyang has become crystal clear, and Cao Fang is lush.
Where is the sunset village pass? There is a sad mist on the river waves.
To annotate ...
1. Yellow Crane Tower: Located in Wuchang District, Wuhan City, Hubei Province. In the early years of the Republic of China, it was burnt down and rebuilt by 1985. Legend has it.
In ancient times, there was a fairy named Feiyi who rode a crane here to ascend to immortality.
2. Previous life: refers to the legendary fairy Zi An. Because he once rode a crane over the Yellow Crane Mountain (also known as Snake Mountain) and built a building. [2]
3. By car: by car.
4. Go: Leave.
5. empty: only.
6. Return: Return, return.
7. Empty leisurely: deep, big meaning
8. Leisure: The way it floats.
9. Sichuan: Plain.
10. Vivid: clear and countable.
1 1. Hanyang: Place name, now Hanyang District, Wuhan City, Hubei Province, facing the Yellow Crane Tower across the river.
12. Lush: describes lush vegetation.
13. Nautilus Island: It is located in the southwest of Wuchang District, Wuhan City, Hubei Province. According to the records of the later Han Dynasty, when Zu was the prefect of Jiangxia, he had a big banquet here.
Got on the parrot, so it's called parrot island. In the Tang Dynasty, it was gradually washed away by water in the Yangtze River southwest of Hanyang.
14. Xiangguan: hometown.
translate
The immortal of the past has flown away with the Yellow Crane, leaving only an empty Yellow Crane Tower here. The yellow crane never came back. For thousands of years, it only saw long white clouds. Hanyang trees are clearly visible in the sun, and Nautilus Island is covered with green grass. It is getting late. Looking into the distance, where is my hometown? In front of me, I saw a mist hanging over the river, which brought people deep sorrow.
Detailed analysis of separation and connection
Shoulian
The poet came here with great longing for the Yellow Crane Tower, but the immortal drove the crane without a trace, and the crane left the building empty, in front of him was an ordinary river tower. "Where the yellow crane used to carry saints to heaven, now only the Yellow Crane Tower is left." The gap between the beautiful vision and the ordinary river building has laid a lost background in the poet's heart and laid a potential foreshadowing for the expression of homesickness complex.
Lines 3 and 4 of Lushi (Rhyme)
"The yellow crane will never return to the world, and the white clouds will never fly without him" is a couplet in the poem. The natural scene where rivers meet the sky is more and more magnificent because of white clouds. Influenced by this scene, the poet's mood gradually brightened, and the feelings in his chest grew wings: the long history and beautiful legend of the Yellow Crane Tower were repeated in front of his eyes, but in the end, things changed and the crane was gone. What can people leave to stand the test of time? She is nothing, she is making the world die, the ocean dry up, the rocks collapse, and giving up her constant nostalgia and nostalgia. This sentence is of universal significance, which expresses the poet's fantasy that the years are hard to come by and the world is at a loss, and also paves the way for writing about the infinite sadness of the difficulty of returning home, thus becoming a famous sentence that is deeply concerned and repeatedly tasted.
The meaning of "yellow crane" in the poem is very clear, except for the entity "crane", its direction should be "everything" Gone forever contains the endless sadness of being born at an untimely time and not waiting for people when they are old. "Baiyun" is unpredictable, which means the author's unpredictable sigh. If the word and "empty leisurely" make people see the vastness of space, then "Millennium" makes people see the infinity of time. The combination of time and space produces a sense of historical depth and space openness, and even gives birth to homesickness.
Tail joint
"but I looked home, and the twilight was getting thicker? There is a sad mist on the river waves. "As the sun sets, night falls, birds return to their nests, ships return home, and wanderers return home. But where is the hometown of vagrants in the world? The river is foggy, and thick fog is born in front of you. It's a faint tear, and it's a broad homesickness that concerns the whole world. When I ask about my hometown, I feel homesick. Faced with this situation, there is no reason for anyone to miss home. The poem ends with a "worry", which accurately expresses the poet's mood of boarding the Yellow Crane Tower at dusk, and at the same time, with the metaphor at the beginning, expresses his lingering homesickness with ups and downs, so as to convey his feelings, convey his feelings internally and echo externally.
works appreciation
1. This poem is a masterpiece of nostalgia. The poet boarded the historical site Yellow Crane Tower and got a panoramic view of the scenery before him. His poems are full of emotion, blurted out and beyond words. It is both natural and magnificent, full of personality. Poetry is not harmonious, but the syllables are clear and not awkward. It's really one step at a time, and it has become a treasure admired by all previous dynasties. Legend has it that Li Bai boarded this building and witnessed this poem, which impressed him deeply. He said: "There is a scene in front of me, with Cui Hao's poems on it." Yan Canglang also said that the seven-character poems of the Tang Dynasty should be the first. It shows that poetry is precious to nature, even if it is metrical. There are many poems about the Yellow Crane Tower in past dynasties, but Cui Hao's Seven Rhymes are the best. Look at what he wrote: A long time ago, a yellow crane carried a saint to heaven, and now there is nothing but the Yellow Crane Tower. The yellow crane never revisited earth, there have been no long white clouds for thousands of years. Every tree in Hanyang has become clear due to sunlight, and Nautilus Island is covered with sweet grass. But I looked home, and the twilight was getting thicker. The river is shrouded in mist, which brings people deep melancholy.
This poem is written with an open artistic conception, great verve, picturesque scenery and sincere feelings. And simple and vivid, just like spoken English, can't help but be amazing. This poem is not only Cui Hao's masterpiece and handed down from generation to generation, but also laid the foundation of his poem name. This conclusion is by no means a person's, nor am I insisting on giving Kaifeng people a golden face. Three Hundred Poems of Tang Poetry is an anthology of Tang poetry in later generations, so Cui Hao's poems are listed as the first of the seven laws. This shows the importance of this poem. In the Yuan Dynasty, the new biography of talented people in Tang Dynasty recorded that Li Bai boarded the Yellow Crane Tower to write poems, but when he saw the works, he put his hands together and said, "There is no road ahead, so write poems on it." Some people say that this is not necessarily because it was attached by later generations. But I don't think it's all fake. I have two poems written by Li Bai about the Yellow Crane Tower. One is "Yellow Crane Tower Farewell to Meng Haoran on the way to Yangzhou": "An old friend said goodbye to the West Yellow Crane Tower, and fireworks went down to Yangzhou in March. Lonely sails are far away from the sky. I only saw the Yangtze River flowing in the sky. " The other is "Listening to the Yellow Crane Tower Flute with Shilang Zhong Qin": "One is to move a guest to Changsha and look at Chang 'an in the west without seeing home. The Jade Emperor blows the Yellow Crane Tower, and plum blossoms fall into the river in May. "Although they are all related to the Yellow Crane Tower, they are all entrusted with other purposes, not completely depicting the scenery. At the same time, the first four sentences of his Nautilus Island, "The parrot crossed the Wujiang River eastward, and the name of the parrot spread in Jiangshangzhou. Parrots fly to Longshan in the west, and the trees are similar to Cui Shifa. The same is true of his Poems of Going to Nanjing and Climbing the Phoenix Terrace, all of which have obvious traces of imitating Cui Shi's style. Therefore, it is not Li Bai's words to admit that Cui's poems are excellent, such as "there is no scenery in front of me, and poetry is on it". "Cang Hua" (Yan Yu) said: "The Yellow Crane Tower should be the first of seven-character poems in the Tang Dynasty." Although controversial, for example, Hu Yinglin called Du Fu's ascent the highest of the seven laws in ancient and modern times, it is indeed a pertinent word representing everyone's opinions. In this way, the Yellow Crane Tower in Cui Hao is even more famous.
With rich imagination, readers will be introduced into ancient times and returned to reality. All kinds of feelings and natural scenery blend together, and no one can but feel its sadness and desolation. This poem has always been highly praised by people and is listed as the first of the seven laws in the Tang Dynasty.
Legend has it that Li Bai traveled around the world in his prime, leaving poems everywhere. When he boarded the Yellow Crane Tower, he was fascinated by the beautiful scenery upstairs and downstairs. When he was about to write a poem as a souvenir, he suddenly looked up and saw Cui Hao's poem upstairs:
[3]2. It is natural that this poem is written in the front and lyrical in the back. Even a generation of Li Bai, who is known as the "Poet Fairy", couldn't help admiring again and again, and thought it would be better to stop writing for a while. To this end, Li Bai also sighed with regret and said: "There is no good scenery in front of me, and Cui Hao wrote a poem on it!"
The Yellow Crane Tower is named after its Yellow Crane Mountain (also known as Snake Mountain) in Wuchang. Legend has it that in ancient times there was a fairy who crossed here by yellow crane (see Zhi); It is also said that Fei went to the immortal to drive a crane (see "Taiping Universe", quoted from "Tu Jing"). Poetry is to think about the origin of the name of a building, from legend to writing, and then grow out. What is the fairy crossing the crane? What is it now? If it is said to be "gone forever", there will be regrets that the years are gone and the ancients are gone; The fairy went to the empty building, leaving only the white clouds in the sky, which lasted for thousands of years and could show the boundless generosity of the world. The poet's strokes describe the feelings that people who boarded the Yellow Crane Tower at that time often felt, with boundless spirit and sincere feelings.
There used to be a saying that "writing is based on qi". The first four sentences of this poem seem to be spoken casually, spinning in one breath and going down the trend without hindrance. The word "Yellow Crane" appears repeatedly, but because of its momentum, readers "wave five strings to see Hong Fei" and read on in a hurry, which is a taboo in metrical poems. The poet seems to have forgotten that he wrote the seven laws of "floating before cutting", and every word has a fixed tone. Try it: the five or six words in the first couplet are the same as "Yellow Crane"; The third sentence is almost all snoring; The fourth sentence ends with a three-level tone such as "empty leisurely"; No matter any confrontation, it is based on the syntax of ancient poetry. Is this because the seven laws were not finalized at that time? No, there are already seven standardized laws, which were written by Cui Hao himself. Is it the poet who deliberately writes disharmonious laws? Not necessarily. He is different from Du Fu's later metrical poems in that he deliberately created his own tune. It seems that I still ignored it. As Lin Daiyu said when she taught people to write poems in A Dream of Red Mansions, "If there are strange sentences, even the truth is wrong." Here, Cui Hao practiced according to the principles of "focusing on intention" and "not hurting meaning with words", which is why he wrote such a rare poem in the Seven Laws. Shen Deqian commented on this poem, thinking that "the meaning is like the first, the implication is between the lines, and he writes with a vertical pen, so he is good at making great achievements through the ages" (Volume XIII of Tang Poetry), which means this.
In the first half of this poem, put things right, and in the second half, I wrote about what I saw and felt in the building, and wrote about the homesickness caused by the grass and trees overlooking Hanyang City and Nautilus Island from upstairs. This is put first and then collected. If you just let nature take its course, don't accept it, don't stick to the rules, and don't return to the meter, then it's not seven tones, but seven ancient ones. This poem seems to be divided into two parts, but in fact, the text is always focused from beginning to end, with only one breath in the middle. This seemingly continuous connection is also the most organized from the perspective of the beginning, inheritance, transformation and combination of rhythmic poetry. When discussing that the second couplet of legal poems should be attached to the first couplet, Yuan Yang wrote several poets and legalists: "This couplet should be broken (the first couplet), like a dragon ball, and should be firmly adhered to." This is the case in the first four sentences of this poem, which tells the legend of a fairy riding a crane. Couplets and puzzles embrace each other and are integrated. Yang Zai also said that the "turn" of the neck couplet: "Avoid the meaning of the former couplet, and change it, such as thunder breaking the mountain, the viewer is amazed." The metaphor of thunder is intended to show that there should be a sudden change in the first five or six sentences, which is unexpected. At the turning point of this poem, the style turns from right to right, and the realm is completely different from that of the former couplet, which just meets this requirement of the law. The sudden death of a native Syrian yellow crane gives people a feeling of unknowability. Suddenly it became a grass tree in Qingchuan, and I can vividly see the scene in front of Manchuria. This contrast can not only dye away the sadness of those who climb the building and overlook, but also make the literature change. It is also in line with the law of poetry to let poetry return to the invisible state at the beginning to cope with the "combination" ahead, such as the tail of a leopard.
It is precisely because this poem is superb in art and has achieved great success that it has been hailed as the swan song of the Yellow Crane Tower.
Later Li Bai
When he climbed the stairs, he was also full of poetry. When he found Cui's poems in the building, he repeatedly shouted "wonderful, wonderful!" " According to legend, Li Bai wrote four "doggerel poems" to express his feelings: "Hit the Yellow Crane Tower with one punch, and kick over Parrot Island with one foot. There is a scene in front of him in which Cui Hao wrote a poem. " I stopped writing. Young Ding laughed at Li Bai: "The Yellow Crane Tower is still intact, but it can't be beaten." Li Bai also explained in a poem: "It's really a disaster. It was only because the yellow Crane Immortal cried to the Jade Emperor that the Yellow Crane Tower was rebuilt, and the yellow Crane Immortal returned upstairs. " It's really serious. That's great. Later generations built a pavilion on the east side of the Yellow Crane Tower, named Li Bai's Writing Pavilion, to show his ambition. On the double eaves, it re-entered the Tao and became a place for Yan You. In fact, Li Bai's love for the Yellow Crane Tower is hard to find. He is passionate and even called it "one guest in Qingyun, three guests in Yellow Crane Tower". Mountains and rivers depend on humanities, and the name of Yellow Crane Tower is more prominent.
Brief introduction of the author
1. Cui Hao was born in Bianzhou (now Kaifeng City, Henan Province) in Tang Dynasty? -754) Tang Xuanzong was a scholar in Kaiyuan 1 1 year (AD 723). His work "Yellow Crane Tower" was called "the first of seven laws" by Yan Yu. He has a quick mind and is good at writing poems. He was a poet in the Tang Dynasty. Wen Yuan Biography of Old Tang Dynasty mentioned him with Wang Changling, Gao Shi and Meng Haoran, but his official career was ups and downs. There are not many accounts about him in history, and there are few legends and stories about him in his hometown of Bianzhou. Tang Hao's old biography is so brief that even his literary achievements are not mentioned. What are these for? It is worth thinking about. The works are passionate and magnificent. His works include Cui Haoji.
2. In the eleventh year of Kaiyuan, there were few sources and good scholars. Tianbao is a member of the foreign ministers of Shangshu Sixun. Teenagers are poems, colorful and frivolous; The festival at night suddenly became normal and windy. At first glance, the fortress wall looks like a grand journey, and strange creations often drive rivers and abalones together. After swimming in Wuchang, I boarded the Yellow Crane Tower and wrote poems with emotion. Li Bai came and said, "There is a scene in front of me, and Cui Hao wrote a poem on it." Do nothing, gather hands for philosophers. And those who behave poorly, study well, drink like a dog, and choose beautiful women when they get married will be disgusted if they are not satisfied. Li Yong heard his name and invited him. Li Zhi presented a poem, the first chapter of which said, "Marry Wang Chang at the age of fifteen." Forever scold: "Children are rude! Do not connect. When the illness cleared up, my friend said, "It's not a child's illness, but a bitter poem and a thin ear!" "Therefore, this is a solid excuse. Tianbao died in the thirteenth year. There is a volume of poetry, and this trip. (Yuan Xinwen's Biography of Talented Talents in Tang Dynasty, Volume 1) His poems are famous all over the world, but his deeds are rarely circulated, and there are only 40 existing poems.