Artistic features of the ancient poem Yellow Crane Tower

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" in front, such as the tail of a leopard.

It is precisely because of its superb art and great success that this poem is regarded as the swan song of the Yellow Crane Tower, which is understandable.