The fairy of the past has flown away by the yellow crane, leaving only an empty 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.
The immortals of the past have flown away with the Yellow Crane, leaving only the empty Yellow Crane Tower.
The yellow crane never came back. For thousands of years, only white clouds have been seen.
The trees in Hanyang under the sunshine are clearly visible, and the green Nautilus Island is also clearly visible.
Twilight gradually spread. Where is my hometown? The misty waves on the river make people even more worried.
Yellow Crane Tower Notes 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.
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.
By car: by car.
Go: Leave.
Empty: Only.
Return: Return, return.
Empty and leisurely: deep and big.
Youyou: Floating.
Qingchuan: Riverside Scene at Qingming Festival.
Chuan: Plain.
Vivid: clear and countable.
Hanyang: Place name, now Hanyang District, Wuhan City, Hubei Province, facing the Yellow Crane Tower across the river.
Lush: describes lush vegetation.
Parrot 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 Ren was the prefect of Jiangxia, a banquet was held 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.
Xiangguan: hometown.
Appreciation of Yellow Crane Tower II This poem is full of scenery before writing, lyrical after writing, and it is natural. Even Li Bai, known as a generation of "poetic immortals", 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 13 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 of its superb art and great success that this poem is regarded as the swan song of the Yellow Crane Tower, which is understandable.
Later, Li Bai went upstairs, 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.
Appreciation of Yellow Crane Tower —— 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.
The reason why the Yellow Crane Tower has become a masterpiece through the ages lies mainly in the aesthetic implication of the poem itself.
First, the artistic beauty of combining image with reality. Poetry begins with the origin of architectural naming, and then spreads through legends. 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.
The second is the magnificent weather and colorful painting beauty. Painting in poetry has always been regarded as an artistic standard of landscape poetry, and the Yellow Crane Tower has reached this wonderful realm. In the legend of crane, the first couplet depicts the close-up of the Yellow Crane Tower, suggesting that the building is located in the mountains and faces the river. In the lyric poem lamenting that "Yellow Crane will never come to earth again", Zhuan Xu described the prospect of Yellow Crane Tower, showing the spectacular sight of towering buildings and white clouds. The beautiful scenery of the neckline directly outlines the bright sunshine on the river outside the Yellow Crane Tower. The tail couplet echoes around the beam, whispering tactfully, indirectly showing the hazy evening scene on the lower reaches of the Yellow Crane Tower. On the whole picture shown in the poem, the close view, distant view, sun view and night view of the Yellow Crane Tower appear alternately, with wonderful changes and magnificent weather. Against each other are the immortal yellow crane, the famous building resort, the blue sky and white clouds, the Qingchuan sandbar, the green trees and grass, and the sunset river, which are vivid and colorful. The whole poem is full of artistic meaning and aesthetic feeling.
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. The poet may not be interested in writing a poem, but he is different from Du Fu's later poems, and he knows what it is but doesn't do it. For example, in A Dream of Red Mansions, Lin Daiyu said when teaching people to write poems, "If there are strange sentences, they are not even true or false." 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. Coupled with the repeated use of disyllabic words, rhymes, reduplicated words or phrases, such as "Yellow Crane" and "Return", disyllabic phrases, reduplicated words such as "Here" and "On the River", reduplicated words such as "Youyou", "Lili" and "Lush", the sound of this poem is caused.
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 for his poetic title. 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.
A detailed explanation of the alliance of the Yellow Crane Tower The poet who first joined the alliance had high hopes for the Yellow Crane Tower to come here, but the immortal drove the crane without a trace, and the crane left the building empty, and an ordinary river tower was in front of him. "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.
The fifth and sixth lines form a couplet.
"Every tree in Hanyang becomes clear in the water, and Nautilus Island is a nest of sweet grass." With a stroke of the pen, the legendary immortal, Yellow Crane and Yellow Crane Tower all became what the poet saw before his eyes, and the illusory legend became what he saw before his eyes. The clear sky in Wan Li, the trees in Hanyang City separated by water and the lush grass on Nautilus Island paint a picture of ethereal distance, which sets the stage for the poet's 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 the current dense fog is also born. It's a faint tear, and it's a broad homesickness that concerns the whole world. When you ask about your hometown, you don't talk. You miss your hometown. 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.