Hao is from Bianzhou. 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." Always scold: "Children are rude!" Do not connect. Bitter songs, when the disease is empty, friends play: "It's not a child's disease, 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)}
The new biography of talents in Tang Dynasty records 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 a scene in front of him, and poems are inscribed on it." Legend or attachment of later generations may not be true. But Li Bai did write poems twice to imitate this poetic style. The first four sentences of his poem Nautilus Island say: "The parrot crossed the Wujiang River eastward, and its name spread to the upper reaches of the river." The parrot flew west to Longshan, and the trees around him were green. Just like Cui Shi. There is also a poem "On the Phoenix Terrace in Nanjing", which is obviously copied. Because of this, many poets are praised for their oral performance. For example, Yan Yu's Cang Shi Lang Dialect said: "The Yellow Crane Tower by Cui Hao should be the first of seven-character poems in the Tang Dynasty." Gal, Cui Hao's "Yellow Crane Tower" is even more famous.
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? Saying that it is "gone forever" will lead to the regret that the years have passed and the ancients have not seen it. 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. These words written by the poet show the common feelings of people who were suitable for Crane Tower at that time, with boundless spirit and sincere feelings.
The first half of the poem was scattered and the whole injury was corrected in the first year of the following year. It is about what I saw and felt in the building, and the homesickness caused by the grass and trees overlooking Hanyang City and Nautilus Island from upstairs. This is put first and then collected.
There used to be a saying that "writing is based on qi". The first four sentences of this poem seem to be spoken casually, rotating in one breath and descending with the trend without any obstacles. The Yellow Crane and Eryu appear again and again, but because of their imposing manner, readers "wave their hands sine and look at Hong Fei" and rush to read on, without paying attention to their overlapping appearance. This is a big taboo in metrical poetry, and the poet seems to forget that he is writing. Try it: the five or six words in the first couplet are the same as "Yellow Crane"; The third sentence is almost completely annoying; The fourth sentence, reading the tail with three pawns seems to be "empty"; 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 is a standardized seven-method drought, which was 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 Po practiced according to the principle that poetry should be based on the meaning, and "words should not harm the meaning", which is why he wrote such a rare poem in the Seven Laws. Shen Deqian commented on this poem, saying that "the meaning comes first, the spirit transcends language, 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. 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. Regarding the second couplet of legal poems, Yang Zai said in Yuan Dynasty: "This couplet should be broken (the first couplet), and it should be as persistent as riding a dragon ball." This poem is like this because of ten days. It tells the legend of a fairy riding a crane, and the forehead is connected with the problem, one integrated mass. Yang Zai also said the "turn" of the neck couplet: "Avoid the meaning of the former couplet and change it, like a thunderbolt breaking the mountain, and 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. Recalling the big yellow crane in the past, it has gone away, giving people the feeling of unknowability; Suddenly, it turned into a beautiful grass tree, and I could vividly see the scene in front of my wife Manzhouli. This contrast can not only dye away the sadness of those who go upstairs and overlook, but also make the situation of women fluctuate. "Chu ci? Call a hermit and say, "The prince and grandson don't go swimming, but the spring grass will grow.". "The language of' lush grass' in the poem is also used to sort out the meaning of where the end point is, which makes it difficult to stop thinking. At the end of the couplet, I wrote the homesickness at sunset along the Yanbo River, which made the poem return to the invisible state at the beginning, making it echo the front "Taiwan" like a leopard tail, and also conforming to the laws of poetry.
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.