-It is meaningless to argue about which poems of Li Bai and Cui Hao are better or worse.
Since Li Bai was relegated to Tianbao and went to Jinling to write "Nanjing Climbing the Phoenix Tower", poetic theorists of past dynasties have repeatedly compared, studied and commented on it with "Yellow Crane Tower", trying to draw an absolute conclusion that Li is better than Cui or Cui is not as good as Li.
For example, Yan Yu, the author of Cang Lang Shi Hua, said, "When the Yellow Crane Tower in Cui Hao is the first"; When commenting on Phoenix Tower, Wu Changqi also said that it was "not as good as the Yellow Crane Tower" ("Deleting Tang Poems"); Although seemingly fair, Liu Kezhuang described it as a "real opponent's chess" ("Hou Lin's Poetry"); It is also a muddle along, saying that "let Cui tune, the style will be inferior to Li" (note on the Complete Works of Li Bai), but Liu and Wang still mean to be better than Li and Cui, and put you in front of me.
Today, Mr. Wang is even more anti-ancient, bluntly trying to correct the prejudice of his predecessors and putting forward the "novel" argument that "Li Shi is superior to Cui" and "Cui is not as good as Li". The title of one of his articles is very simple, that is, The Advantages and Disadvantages of Li Bai's Landing in Nanjing to the Phoenix Terrace and Cui Hao's The Yellow Crane Tower.
In fact, whether it is the ancients' "restraining Li Yang and Cui" or today's people like Mr. Zhang's "respecting Li and restraining Cui", their common fallacy is that they all ignore such an important point: Phoenix Tower and Yellow Crane Tower are not very comparable. If you compare the incomparable things far-fetched, you will never get a result, just as no one can point out and thank who is more beautiful. Phoenix Terrace was written by Li Bai in Jinling, thousands of miles away from the Yellow Crane Tower, many years after the Yellow Crane Tower. Its writing time, place, scenery and mentality are the same as the Yellow Crane Tower in Cui Hao, which has nothing to do with it. You always have to compare poems that are independent. How can it be compared?
If we make a concrete and brief analysis of the Yellow Crane Tower and Phoenix Terrace, we can know that there is no difference between winning and losing masterpieces that shine in their own inherent coordinates.
Let's look at Cui Hao's first. Many people have read the Yellow Crane Tower in Cui Hao:
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, the twilight was boundless, and the waves of the river were filled with sad mist!
Generally speaking, the works of climbing mountains and facing water are easy to get stuck in stereotypes and difficult to do well. When Cui Hao wrote this poem, he wisely foresaw that it was difficult to write the well-known Yellow Crane Tower with ordinary brushwork, so he boldly found another way, got rid of the traditional barrier of measuring with a horizontal ruler, and relied on well-known myths and legends to connect three "Yellow Crane Towers" into the poem with sudden momentum at the beginning of the poem. In this way, the theme is clearly pointed out, and the whole poem is immediately shrouded in a strong lyrical atmosphere. And the following "White Clouds Never Fly Without Him" further strengthened and expanded that sense of loneliness. There are no fairies, no yellow cranes, only white clouds falling for thousands of years, and the intensity of homesickness is hard to see. Cui Hao's semi-archaic and semi-rhyming seven-character poem has become a wonderful flower in the garden of China's poems.
Then the eyes of appreciation fell on Li Bai's "On the Phoenix Terrace in Nanjing". Phoenix Terrace is a touching masterpiece in the frustrated life of the poet. As an excellent chapter with profound ideology and artistry, it stands out in evergreen poetry forest. Poetry cloud:
There used to be a phoenix on the phoenix platform, and the phoenix went to Taiwan, only Jiangdong returned.
Martial arts flowers were laid on deserted paths, and the number of relatives and friends in the Jin Dynasty has become a famine.
The mountains are shrouded in clouds, such as blue sky, and the river is divided into two.
There is always a traitor in power, like covering the sky, and Chang' an is depressed when he can't see it.
In this poem, Li Bai tearfully described the historical changes of the rise and fall of Jinling (the "Wu Gong" and the "Eastern Jin Dynasty" referred to in the poem), directly hitting the reality that the treacherous officials in Chang 'an, Kyoto were in power at that time, and the evil officials sheltered the sages, expressing the deep and dignified feelings of a generation of poets who were worried about the country and cherish the monarch, care about the present and mourn the ancient times, and their unfulfilled wishes and feelings that were difficult to be dismissed. Phoenix Tower has become another immortal poem that is different from and keeps pace with the Yellow Crane Tower.
Faced with such unique, unique, coquettish and wonderful efforts, who has the nerve to divide them into high and low, who is A and who is B? Those who worry about the ranking of "Phoenix Tower" and "Yellow Crane Tower" and talk endlessly think it's time to have a rest. /viewthread.php？ tid=58952
Yellow Crane Tower in Cui Hao
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.
In the Yuan Dynasty, the new Biography of Talented Talents in Tang Dynasty recorded that Li Bai once wrote poems on the Yellow Crane Tower. When he saw Cui Hao's works, he closed his hand and said, "The scenery in front of him can't be seen. Cui Hao wrote a poem 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 flies to Longshan in the west, and the tree of Zhou Fang is He Qingqing. " Just like Cui Shi. There is also a poem "On the Phoenix Terrace in Nanjing", which is obviously copied. Because of this, many poets have a reputation of oral communication. For example, Yan Yu's Canglang Poetry says, "Cui Hao's Yellow Crane Tower 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? 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.
The first half of this poem, put in order, and the second half, 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. 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.
(Cai Yijiang) /news_view.asp? newsid=2367
Take Cui Hao's The Yellow Crane Tower and Li Bai's On the Phoenix Terrace as examples. Cui's poems have been quoted above, and Li Bai's poems are as follows:
There used to be a phoenix on the phoenix platform, and the phoenix went to Taiwan, only Jiangdong returned. Martial arts flowers were laid on deserted paths, and the number of relatives and friends in the Jin Dynasty has become a famine. The mountains are shrouded in clouds, such as blue sky, and the river is divided into two. There is always a traitor in power, like covering the sky, and Chang' an is depressed when he can't see it.
According to legend, Cui Shi wrote it first, and Li Bai's poems have high and low meanings. There are similar statements in Tiaoxi Fishing in Conghua and Chronicle of Tang Poetry. In isolation, Li Shigu is very touching; If compared with Cui's poems, even if the legend quoted above is reliable, Cui's poems show more creativity because of his first work, but in the shadow of this masterpiece, Li Bai can find another way. Although there are similarities, his spirit is quite different and his skill is extremely amazing. The last two sentences of Li Shi are from Lu Jia's "Micro-essays": "Evil ministers cover up the sages, and clouds cover up the bright." Indirectly exposed the government in power and the political affairs were turbid. This reflection of social life is obviously lacking in Cui's poems. If measured by reflecting the breadth and depth of social life, Li's poems should be above Cui. However, it is difficult to draw such a conclusion from the criticism of historical poetry. Yan Yu's Cang Shi Lang Dialect clearly says: "The Yellow Crane Tower in Cui Hao should be the first of seven-character poems in the Tang Dynasty." Now, although I don't know how many people in the Tang Dynasty compared Cui Hao's poems with the Seven Laws, it is said that Li Bai's "Climbing to Nanjing to the Phoenix Terrace" is intended to compete with Cui Hao's poems and should have been compared long ago.
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② Cui Shi's spirit is negative and pessimistic. The first half emphasizes that great events are hard to happen again, and it is filled with impermanence. The second half naturally draws the conclusion that the world is not enough, so it is better to go home. But it's getting late, where is the township pass? Therefore, although there are beautiful scenery in front of us, it is still difficult to restrain sadness. Shi Li is energetic and optimistic. The first six sentences emphasize that although personnel are short, the universe is eternal. So although Phoenix went to Taiwan Province, the Yangtze River is still intact and flowing. Although Sun Wu and the Eastern Jin Dynasty have become the past, Qingtian, Sanshan, Yangtze River and Bailuzhou have not disappeared. Since the universe exists, the history of human beings and their attachment to the universe will continue, so there are still many things to do in the world. It's just that evil spirits are in power, and the poet failed to display his ambition and had to make people sad. Although the endings of Cui and Li's poems are both "sadness", the former is the sadness of those who can explore the world, while the latter is the sadness of those who actively join the WTO.
All these show that the breadth and depth of social life is not the main measure to determine the quality of a work.