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. 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.
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. 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. In addition, the repeated use of disyllabic words, rhymes, reduplicated words or sentences, such as "Yellow Crane" and "Return", disyllabic phrases, reduplicated words such as "Here" and "On the River", and reduplicated words such as "Youyou", "Lili" and "Lush" all contribute to the sound of this poem.
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. "The Songs of Chu Recruit Hermits" says: "Wang Sun swims without returning, and spring grass grows luxuriantly." The poem also uses the language of "fragrant grass" to sort out the meaning of where the end point is, which makes it difficult to stop thinking. At the end of the couplet, homesickness at sunset along the Yanbo River is written, which makes the poem return to the invisible state at the beginning, and can respond to the previous "combination", such as the tail of a leopard, which also conforms to the law 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. Cang Shi Lang dialect: Seven-character rhymes in Tang Dynasty should be headed by Cui Hao's Yellow Crane Tower.
Ying Lu Kuisui: The first four sentences of this poem are not dual, and the momentum is great. After seeing it, Li Bai dared not talk about the building again, but went to Nanjing to board the Phoenix Terrace.
Collection of Tang Poems: Liu Hou Cun Yun: The ancients served the good. When Li Bai boarded the Yellow Crane Tower, he said, "There is a scene in front of him, but Cui Hao is writing poems on it." When he arrived in Jinling, he wrote Phoenix Terrace to draft it. Today, two poems are real opponents of chess. Liu said: Hatred is overwhelming carelessness, so it is better than ingenuity.
Seven Revisions: The ancients were not used by you, such as "Nautilus Island" to "Hanyang Tree" and "Bailuzhou" to "Blue Sky", which was detached from things, free from legal constraints and prosperous and meaningful.
Excerpt from the Art Garden: Cui Langzhong wrote the poem "Yellow Crane Tower", Violet was short of breath, and then titled "Phoenix Tower". The knower says that the first six sentences can't be used, and the conclusion is deep and generous, and the difference is better than the ear. However, the aftertaste is even worse, both Chinese and English couplets can't be reached, and even the conclusions are quite different. Words and poems must be more vivid than fu, such as "going to the countryside at sunset" and being in high spirits, as well as "floating clouds" and "covering the sky", all of which are more vivid than fu. Based on this, although the word "sad" is the same, which one is appropriate? "Sunset, Xiangguan" and "Yanlang River" did not point out. People who get on the plane are naturally sad, so they say "annoying" and smoke waves bother people. "Floating clouds", "covering the sky" and "Chang 'an missing", you should worry about yourself when you drive away. Why not? Violet's talent has been reflected for thousands of years, not Popo? The ruler is short, the inch is long, and I can't catch this poem. If I am guilty, I dare not quit.
Poetry: The Yellow Crane Tower in Cui Hao and the Phoenix Terrace in Li Bai, but there is no mention of the Yellow Crane and Phoenix. ..... Therefore, the ancient people's desires were often detached and never chiseled.
Correct pronunciation of Tang poetry: the tone of the gas lattice is a must in a thousand years.
Selected Poems of Tang Poetry and Song Poetry: Li Binzhi said: Cui Hao's poems are archaic and never tire of listening to them.
A mirror of Tang poetry: this poem is full of vitality, and it is natural.
Return of Tang Poetry: Tan Yun: The beauty of this poem is that it is generous and does everything it can. It is particularly uncomfortable to use songs to make others act, and it is too white to disrespect.
General comment on the forest at the Tang poetry selection meeting: How smooth and vivid are the first four sentences about the name of the building? How sad are the last four words with emotional thoughts? The yellow crane has gone and never returned, and the white clouds are in sight. Seeing the grass in Jiangshuzhou, I can't help feeling sad. Giving love to scenery is not a fake axe, so it has become a masterpiece through the ages. Li Mengyang Cloud: It's clear, bright and wonderful. It's too white, so I'm sorry. Zhou Jing said: The whole story is both tragic and wonderful.
Distinguishing poetic style: Cui's Yellow Crane Wild Gate was read in the voice of Jinshi Palace merchants, and was written in his later years.
Tang: The style of this song is also more charming. Yun Qing's "ancient meaning" still involves exercise, which is the highest.
Tang Xuanpi Tang Caizi's Poems: This poem uses a giant pen, followed by three words "Yellow Crane", which is amazing. ..... Four sudden accompanying "white clouds" are wonderful intentionally or unintentionally and meaningless. After a thorough investigation, I don't know if he wrote a poem, but when he saw the truth, he stood up, picked up a pen and dipped it in ink, went to the white powder wall of the building and wrote a line. Now that the book has been written, I'll read it myself, and I don't know if it's good. I just feel that there is no need to repair, make up, add or subtract, so I am full of satisfaction. Even if I stay, I will have a rest. Unexpectedly, when someone saw it later, I couldn't jump out of its shadow. Then people can't jump out, and they don't have to make up, add or subtract, so they leave. It's not that grammar, syntax and composition are all occupied and can't be compared. This solution is also wonderful because it is not involved in it. This is just a far-sighted question. Don't spit out your arms, let the readers decide for themselves later. It's really a rule that everyone has. May 6th just overthrew the word "where is the township pass", saying that this is a tree and this is a continent, which is unique to the township pass, but I don't know where it is. He only crossed the word "sunset" in the sentence, so he made the first four sentences and 28 words, each of which was a unique stroke.
Selected Poems of Tang Dynasty: Pengfei looks like a line, which is amazing and ambitious. In fact, in terms of nostalgia, it is a poem about architecture, not architecture. A knot is not as good as "Phoenix", and the damage to the spirit is more meaningful.
Poetry in Spring Wine Hall: Taibai's critics are empty ears. I like Tan Youxia's phrase "generosity is more than enough", which is not unique to Cui's poetry and can be inferred from it. Without knowledge and deep temperament, you will be shy, such as a shepherd chair.
Interpretation of deleting Tang poems: neither ancient nor illegal, but also ancient and legal. Why should Li Tang be lonely?
"A compromise in Tang Poetry": Wu Jingzi said: Mourning the past and hurting the present means writing.
Selected Methods of Tang Dynasty: This method is the most changed, and it is naturally the result of a whim and belief. If the colt comes out of the water, it will be bad to cut it. The former figure is the first in the Tang Dynasty, or it is not inevitable, but there are two security guards.
"Adding Tang Poems to Pick Money": The first half is straight, not right, and it is a variant of the law. "State" and "grass" and "tree" are exchanged in pairs (horns). The first half of the sentence means to cling to the past and come down out of thin air. "Qingchuan is vivid" and "fragrant grass is growing" are born from "white clouds" and "leisurely". From the "Hanyang Tree" and "Nautilus Island", we can see the identity of the author. Discover the "river" and indicate its location; Also use "smoke waves" to evoke the word "worry" and fill the first half with the word "worry". The first four sentences are correct, and the second sentence is harmonious and healthy, with the word "smoke wave" inserted horizontally. Bold and arrogant, all won by gas, straight as the text of the National Policy, and its method is extremely detailed.
Tasha Tang Poetry: It goes without saying that the meticulous pursuit of modern people is accomplished in one breath, Fagu. It is the sentence "Qing Chuan", which is so clear that no matter what you do, you can't see the future. And the traces are gone, so it's a one-step process?
Chu Bai 'an's Poetry Review: This poem was written by Qi Ju, a novel with seven laws.
Comments on Three-body Poems in Tang Dynasty: This style can be compared with Lao Du's Climbing Yueyang Tower.
"The Formation of Tang Poetry": The rhythm is out of line, the rhythm is in harmony with the leaves, and it is unprecedented to write with the talent of Violet Fairy in an instant. "Phoenix Terrace" was repeatedly drafted for this article, and it was lost because it was a toddler in Handan. The first half of Nautilus Island is like a ghost, and the second half is thousands of miles away. In Cui Shiben's "Dragon Pool", although the words are yes, the tone is self-created, and Cui hit it off. This is a smooth Shang Ping sound, while Gong Yin is immortal.
"Near autumn": high and empty, muddy and peerless, in line with Taibai's "Phoenix Terrace". Gu Taibai is an irregular teacher and idealistic. He didn't dare to learn from the past, so he had to push it alone.
An Shuo's Tang Poetry: Every word is tit for tat, so make a turn. Fang is a famous hand.
Poems of Past Dynasties: This is like nineteen ancient poems, which is the vitality of space. Suddenly being teased into the pen, the author didn't know it at first. The viewer lamented that it was a masterpiece and also admired the clumsy external ear.
Notes to Samadha Collection of Tang Xian: This poem has a stack of words, all of which have been translated from 300 articles.
"Tang Poetry": The meaning seems to be the first, and the implication is that it is written in a vertical pen, so it is good at making great achievements through the ages.
"The Seven-character Rhythm of Tang Poetry Annotated on the Hill": The beauty lies in saying the yellow crane once, the yellow crane again and the yellow crane three times, so that readers will not feel too tired, bored and surprised by its meaning. What's particularly amazing is that when you call the Yellow Crane, you call it the Yellow Crane again, and you call it the Three Yellow Crane, and suddenly it is connected with the white clouds, so that readers don't think it is sudden, don't know its birth, and don't be surprised by its unprovoked. Why is this? Its qi is enough to fill it, and God is enough to transport it. If we proceed from reality, Cui Zhiming is above and Li Zhiming is below. Does it matter?
Zhao Weizhan Yan: Cui Hao's "Yellow Crane Tower" is a masterpiece, only writing style, with a turning point. Although the scenery is broken in May and June, the air is overflowing. This is also the case. So precious. It is not surprising that this body can no longer learn, and it is tasteless to learn. After careful study, it is not as good as "Lujia Young Woman", which can be used as a law in past dynasties.
Comment on Ying Kui's Rhythm and Essence: Feng Shu: Why is there a disease, that is, prosodic poetry, which is not even, let alone duality? Feng Ban: That's strange. The first half is thousands of miles away. If you start four sentences, you will be at a loss. Ji Yun: If you get them occasionally, you will have a unique tune. However, there must be neither one nor two. Copy it again and it will become a pattern. Xu Yinfang: This article is a variation of metrical poetry. The first half is ancient poetry, and the ancient pen is rhythmic poetry. Anonymous (B): The first six sentences are full of excitement, and the second sentence contains infinite meaning, which is the first swan song in the future. Zhao Xi: This poem is full of difficulties, and its beauty lies in the so-called "God comes, gas comes, and love comes".
Seven Laws of the Tang Dynasty: Mao Qiu Qingyun: Zhang said that it doesn't matter if others don't know his poems, but Cui Sixun's Yellow Crane Tower, the ancient meaning of the history of Shen Zhan, is illiterate if he can't remember it.
Selected Poems of Tang and Song Dynasties: This style is full of style, and the first four sentences have feelings of going upstairs.
Shi Shuo: There is something floating in the air. Only by observing Taibai's poetics of Phoenix Terrace and Nautilus Island can we know the clumsiness of the works.
Poetry of Tang and Song Dynasties: wuyue: Boundless, singing high into the clouds, too white to break, not to mention Yu Zi?
On the realm of poetry: this poem is a swan song, but there is no reason, and readers can't find its beauty. Commenting on this poem, Cui Shicheng said that "meaning comes first, god speaks beyond the language", but the reader still didn't express it. I said that there are two advantages: people who can rotate the seven laws in one breath, the five laws are already very difficult, and the seven laws are particularly difficult. After Dali, there were not many experts. Cui Shi's poems float in the air. If an immortal is empty-footed, he can be compared with Li and Du Fu. Its beauty lies in its high style and superb implication. The Yellow Crane Tower and Yueyang Tower are the best in the Jianghu, and the poems of Yueyang Tower by Du Shaoling and Meng Xiangyang are magnificent in the Jianghu. The Yellow Crane Tower is at the turn of Jianghan, and the water is vast. Anyone who climbs it is easy to think from now on. It is also dedicated to singing the river view, which is not necessarily out of the category of Du and Meng, while Cui only thinks of the word "Yellow Crane Tower". The first two paragraphs clearly indicate the inscription that the crane will go to an empty building. At first glance, if it is straight, it means that the fairy crosses the crane, which is nothingness and does not want to be qualitative. So the next three sentences of Yellow Crane have gone, and there is no hope of starting again, but the song of everlasting regret has gone to heaven and disappeared. The building is named after the fairy, and the fairy goes to the empty building, and the rest is only the sky and white clouds, which has a long history. It is said that it thinks the cloud is immortal, and it is said that it is unknowable because of the fairy. However, it is boundless and has an infinite feeling. Not only decided to write the word "Yellow Crane Tower", but also its beauty lies in its ethereal and lofty feelings. The whole article was said in vain, and five or six sentences were written from what I saw in the building, summarizing the whole article with the meaning of missing my hometown. In your two poems of Yueyang Tower, the first half is true, the second half is empty, and the five or seven words are the same rule.