Bo Wang
Wang Teng's pavilion is near the river, and Yupei is singing and dancing.
The painted building faces Nanpu Cloud, and the bead curtain rolls up the rain in the western hills at dusk.
The shadow of the idle cloud pool is long, and things change for a few years.
Where is the emperor in the cabinet today? Outside the threshold, the Yangtze River flows by itself.
In 676, in the third year of Tang Gaozong's reign, the poet went all the way to visit his father, passed through Hongzhou (now Nanchang, Jiangxi), attended the banquet of the governor of Yan, and improvised Preface to Wang Tengting. At the end of the preface, he attached this concise and implicit poem, summarizing the contents of the preface. The first sentence comes straight to the point, pointing out the situation of Wang Teng Pavilion with simple and old brushwork. Wang Tengting was built by Wang Teng Li Yuanying, the son of Gao Zu Li Yuan, when he was governor of Hongzhou. Therefore, it is located at the gate of the newly-built Xizhanghe River in Jiangxi, facing the Ganjiang River. You can look at it from a distance. The following "Nanpu", "Xishan", "idle clouds", "Tanying" and "Yangtse River beyond the threshold" all come from the first sentence "Zhu". The Wang Teng Pavilion is in good condition, but who will visit it now? Wang Teng, who built this pavilion, has passed away. He came to the pavilion, held a banquet and sat in a carriage full of beautiful Yu Pei with phoenix bells. The scene of luxury is gone forever. The first sentence is about space, the second sentence is about time, the first sentence is full of enthusiasm, and the second sentence is depressed. The poet adopts the technique of "standing and sweeping", which naturally makes readers feel ups and downs. A few sentences have covered the theme of the whole poem.
Three or four sentences follow the second sentence and play more. Since no one comes to visit the pavilion, it is of course pitiful to draw a bead curtain in the pavilion. Only the rain from Yunxi Mountain in Nanpu is accompanied by it. These two sentences not only describe Wang Teng-ting's loneliness, but also describe Wang Teng-ting's height, the rain rolling bead curtain in the western hills, Wang Teng-ting's distance and the blending of scenes.
At this point, the poet's intention has been completely covered, but the expression technique is still relatively hidden and incomplete. Therefore, after the first four sentences used three relatively calm rhymes of "Zhu", "Dance" and "Rain", they immediately became three long and soft rhymes of "You", "Autumn" and "Liu". Together with the coordination of composition and meaning, they put special emphasis on time and exert their strength, which is in the same strain as the first half sentence. The word "idle cloud" is intentionally or unintentionally associated with the above-mentioned "Nanpu cloud", and the word "pool shadow" deliberately avoids the word "river" and deepens the "river" into a "pool". There are clouds in the sky, pools in the ground, and I leaned down and wrote about the space, but then I used the word "day long", and I immediately turned the space into time, pointing out that time is long, not a day or two, but over the years, naturally giving birth to the feeling of changing the scene and changing the constellation orientation, and naturally thinking of the people who are building pavilions now. Here, a "minority" and a "why" ask questions continuously, expressing compact emotions. Finally, from time to space, it is pointed out that things will change, stars will move, Di Zi will die, and the Yangtze River outside the threshold is endless. The words "threshold" and "river" responded to the first sentence, and the spirit was exhausted.
This poem has only fifty-six words, including pavilion, river, building, curtain, cloud, rain, mountain, pond shadow; If it belongs to time, the long day, things change, a few autumn days, where is it now These words are mixed together, and there is no feeling of overlapping bedsteads. The main reason is that they all revolve around a center-Wang Teng Pavilion, and each pavilion plays the role of the Moon Arch. Tang poetry uses notional words (nouns), which is obviously different from Song poetry, which likes to use function words (especially turning words). For example, in three or four sentences, except the word "Fei" and the word "Juan" are verbs, the other twelve words are content words, but the two function words bring them together, which shows that the Tang people make good use of content words, which are real but not real. In addition, the end of the poem is antithesis, which is very distinctive. Generally speaking, antithetical sentences are mostly used in the middle section, which plays the role of arrangement. This place is used for ending, and it is not juxtaposed like two doors (the term is fan pair), but is open and closed. The reader only feels its flow, but does not feel that it is double, which shows Wang Bo's extraordinary talent. Later, Du Fu's seven-character poems, even seven-character quatrains, often used this technique, such as "coming back from this mountain, passing another mountain, coming up from the south, and then going north-to my own town!" , "oral powder medicine is kind, jade tube silver poppy is under the sky", "butterfly always dances, and the charming warbler just crows" and so on. It can be seen that Wang Bo's influence on that development of Tang poetry.
Nostalgia for the lofty realm —— Appreciation of Cui Hao's Yellow Crane Tower
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Author: anonymous source: click: 1609 update: 2005-4-26 2: 17:05
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 poet came here with great longing for the Yellow Crane Tower, but there was no sign of the immortal driving the crane. In front of him was an ordinary river tower. "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.
"Yellow cranes will no longer come, and white clouds will no longer fly." The natural landscape of Yellow Crane Tower, where the Yellow River meets the sky, is more and more magnificent and spacious against the background 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.
"Every tree in Hanyang becomes clear in the water, and Nautilus Island is a nest of sweet grass." The sun is shining high, the sky is clear and blue, and in a trance, the trees on the north bank of Hanshui River turn into long-missed dear people, just like eyes. Warm sunshine brings warmth to people's homes. Vaguely, Mi Fei, who was beating drums in the grass on Nautilus Island, died in the face of Huang Zu's butcher knife, shedding green grass with blood. It is the selfless dedication of countless wandering wanderers soaked in blood and tears that has built countless unforgettable hometowns. Beautiful vision and emotional memories make the sentence "Qingchuan, Cao Fang" very human. Therefore, the ideological interest of poetry has reached a higher position.
"but I looked home, and the twilight was getting thicker? There is a sad mist on the river waves. "After sunset, it is night, birds will return home, ships will return home, and wanderers will return home. Fog and smoke, in a daze, ask for silence from their hometown and feel homesick. In the face of this situation, no one misses 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, it expresses the lingering homesickness with ups and downs, reaching the implication, conveying feelings in the painting and dragging sounds outside the painting.
The first two folk songs in the poem are full of charm, vivid scenery and connected language. The last two sentences are neat, harmonious and beautiful, and the literary talent is flying. In particular, the author's unique tailoring is even more memorable. The poet organically combines the narrow homesickness of missing relatives with the broad homesickness of caring for the whole world, which makes the charm and character of this poem reach the peak of its kind. The poet's demeanor and temperament are also highlighted with the development of poetry: he is brilliant, like a clear stream flowing from east to west; He is informal, like a lush grass. There is no decadent narcissism and narrow selfishness, and the expression of homesickness is equally magnificent and heroic, which is worthy of being praised by future generations as the first masterpiece in the seven-law poems of the Tang Dynasty.
More complicated:
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 becomes clear in the water [①], and Parrot Island is a nest of herbs [②].
But I looked home, and the twilight was getting thicker. The river is shrouded in mist, which brings people deep melancholy.
Cui Hao's early poems mostly described boudoir feelings and reflected women's life. Later, I went to the frontier fortress, and the frontier fortress poems I wrote were generous and heroic, and my poetic style became bold and unrestrained. But Cui Hao's most famous poem is the Yellow Crane Tower. According to legend, this poem touched the great poet Li Bai. In the Song Dynasty, the Chronicle of Tang Poetry in Jigong made a bet on the poem Yellow Crane Tower, saying, "The legend in the world is too white:' There is no road in front of you, and Cui Hao inscribed a poem on it.' He wrote the poem Phoenix Terrace to compare the ending. Yuan Fang's Biography of Tang Caizi also recorded Li's Yellow Crane Tower, because he saw the poem, which is "Doing nothing, gathering hands to be philosophers". Of course, this legend is not necessarily true. Ji Yougong expressed his doubts behind the note. However, Li Bai's poem "On the Phoenix Terrace in Nanjing" is indeed similar to Cui Zuo in writing. As for his poem "Nautilus Island": "Parrots have been to Wujiang River, and Jiangshangzhou passed on the name of parrots. Parrot flies west to Longshan, he is green, the tree of Zhou Fang! Spring breeze and warm clouds bring the fragrance of orchids, and peach blossoms fall into the river to form layers of brocade waves. At this time, the relocation of guests is extremely eye-catching. Who belongs to Cheung Chau alone? " Then not only the first four sentences are similar to Cui Shi's poems in format, but also the style of the whole poem is forced to be very simple. The first volume of Ying Lu Kui Sui, written by Fang Hui in Song and Yuan Dynasties, pointed out: "Taibai's poem is a poem with great influence. It was processed in May and June, and the ending sentence contains a sigh, so it is still not very restrained." Therefore, this poem has always been highly respected. Yan Yu's Cang Lang Shi Hua in the Southern Song Dynasty holds that "Cui Hao's Yellow Crane Tower should be the first of seven-character poems in the Tang Dynasty." It was not until Sun Zhu's influential Three Poems of Tang Dynasty in Qing Dynasty that Cui Hao's Yellow Crane Tower was placed in the first poem of "Seven-character Rhyme".
Of course, The Yellow Crane Tower is a masterpiece mainly because of the aesthetic implication of the poem itself.
First, the artistic beauty of combining image with reality.
The former site of the Yellow Crane Tower is in Huanggu Jitou, HuangHeshan (Snake Mountain), Wuchang. According to legend, it was built in the Wu period of the Three Kingdoms and was repeatedly destroyed and repaired. The balconies, pillow mountains and rivers in the past were magnificent and ethereal, and there were some doubts about the "Fairy Palace". According to legend, the immortal rode the yellow crane here (A Record of Qi Xie), and rode the yellow crane here every time he escaped and ascended the immortal (A Record of the Taiping Universe). The poet climbs the building and looks into the distance, imagining things. The first four sentences of the poem begin with legends, which lead to inner feelings. The scenery contains feelings and images. Immortals ride on cranes and never return. Immortals go to empty buildings, leaving only blue sky and white clouds, which are long for thousands of years. It not only contains the feeling of the passing of time and the vastness of the world, but also vaguely reveals the vastness and heroism of the Yellow Crane Tower, and the beautiful legend of the fairy crossing the crane adds magical and charming colors to the Yellow Crane Tower, which makes people daydream far and wide.
The Yellow Crane Tower is named after its Yellow Crane Mountain. The so-called "immortal riding crane" is a myth attached to the name. However, the poet skillfully uses these legends to grow out of the void, thus making this poem attractive in art. Then I wrote a real scene, and the scenery on the other side of the river is beautiful: the sunny river, the clear and numerous green trees in Hanyang, and the grass on Nautilus Island is very lush. Parrot Island in Hanyang was originally a sandbar in the Yangtze River southwest of Wuhan. Legend has it that it was named after Mi Fei wrote "Parrot Fu" here at the end of the Eastern Han Dynasty, and it was gradually washed away by the river. Today's Nautilus Island is no longer the hometown before Song Dynasty. The scenery in front of us is bright and open, full of vitality, which makes people feel relaxed and happy, and they linger, even until the sunset on the riverside and the dusk strikes. Cui Hao roamed the south. After a long absence from home, I feel homesick in the face of the heavy twilight and the boundless kitchen smoke: "But I look home, and the dusk is getting dark? There is a sad mist on the river waves. " The poet goes with the flow, which not only shows the author's rich and complicated inner feelings, but also shows the colorful natural scenery, changing feelings and changing scenery of the Yellow Crane Tower, resulting in a beautiful and moving artistic conception. As A Qing poet Shen Deqian commented on this poem in the thirteenth volume of "Collection of Tang Poems": "The meaning is like the first, and the words are written in a vertical pen, so they are good at making great achievements through the ages."
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 the Fairy Riding a Crane, the first couplet depicts a close-up view of the Yellow Crane Tower, which means that the building is surrounded by mountains and waters and the situation is magnificent. 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.
Third, the musical beauty with natural timbre and clear syllables.
Rhyme has strict metrical requirements. In fact, the Yellow Crane Tower is not the standard seven laws. The fifth and sixth words in the first and second sentences are actually "Yellow Crane", the third sentence is finished with six strokes, and the fourth sentence is finished with three tones. It's almost the syntax of ancient poetry without antithesis. The words "Hanyang Tree" and "Nautilus Island" in the fifth and sixth sentences seem to be right or wrong. The reason why it is considered as the masterpiece of "Seven-character Rhyme" lies in its natural tone and clear syllables, in addition to the artistic conception and painting beauty analyzed earlier. The first four sentences of this poem are blurted out, followed by letters, in one go, and go straight down with the trend, so there is no time to take into account the metrical antithesis of the seven laws. "Although the scenery is broken on May 6, the gas is overflowing and the income is the same, so it is valuable." (For Fang's comments in the Qing Dynasty, see Poetry in Tang and Song Dynasties, Volume 5. ) Because the whole poem is finished in one breath, it reads naturally and smoothly. 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.