"Climbing the Yellow Crane Tower" is a seven-character poem written by Cui Hao, a poet in the Tang Dynasty, and was selected as one of the 300 Tang poems.
This poem describes the beautiful scenery overlooking the Yellow Crane Tower and is a masterpiece of nostalgia. The first four sentences are about visiting the past, and the last four sentences are about standing on the Yellow Crane Tower. Poetry is not harmonious, but the syllables are clear and not awkward. Become the envy of all previous dynasties. This poem was very famous at that time. It is said that Li Bai boarded the Yellow Crane Tower and was asked to write a poem. He said: "I have a scene in front of me, and Cui Hao wrote a poem on it." Yan Yu's evaluation of Canglang's poems: "Cui Hao's Yellow Crane Tower should be the first of seven-character poems in Tang Dynasty."
In the Heron Tower is a poem by Wang Zhihuan, a poet in the Tang Dynasty. The first two sentences of this poem are about natural scenery, but when you start writing, you will shrink Wan Li at your fingertips, so that you can have Wan Li at your fingertips. The last two sentences are freehand brushwork, written unexpectedly, and integrate philosophy with scenery and situation seamlessly. The poet's mind, under the shock of nature, has realized a simple and profound philosophy, which can urge people to abandon the superficial knowledge of complacency, climb high and look far, and constantly open up new and better realms. Poet critics in Qing Dynasty thought: "Wang's poems are just two crosses, the first cross has done its best, and the last cross has a thousand miles." This poem is a masterpiece of five-character poems in Tang Dynasty. Wang Zhihuan is famous for this five-character quatrain, and the mirage is also famous in China.
Although this poem has only twenty crosses, it depicts the majestic momentum and magnificent scene of the rivers and mountains in the north. It is magnificent and far-reaching in artistic conception, and has been inspiring the Chinese nation for thousands of years. In particular, the last two sentences are often quoted to express a positive exploration and unlimited enterprising attitude towards life. Today, this poem appears in important political and diplomatic occasions in China countries from time to time.
original work
Huangdenghelou
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.
Word annotation
1. Yellow Crane Tower: It was built in the second year of Three Kingdoms Wu. This is an ancient and famous building. Its former site is on the Yellow Crane Rock in Wuchang, Hubei, overlooking the river and facing Guishan across the river.
2. Leisure: the way it floats.
3. Qing Chuan: a mysterious river in the sun. Sichuan, plain.
4. Vivid: clear and countable.
5. lush: describe lush vegetation.
6. Nautilus Island: It is located in the southwest of Wuchang County, Hubei Province. According to the records of the later Han Dynasty, when the ancestor was the satrap of Jiangxia, some people offered parrots here, so it was called Nautilus Island.
7. Xiangguan: hometown.
8. Smoke Wave: Twilight River.
Vernacular translation
The immortal of the past has flown by the Yellow Crane, leaving only the empty Yellow Crane Tower here.
The yellow crane never came back here. For thousands of years, only white clouds have been fluttering.
The trees in Qingchuan Pavilion in Hanyang are clearly visible, as is Parrot Island with lush vegetation.
I don't know where my hometown is at dusk Seeing the foggy waves on the river is even more worrying!
Literary appreciation
In the Yuan Dynasty, the new biography of talented people 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 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. 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.
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.
Brief introduction of the author
Cui Hao, a scholar in the Kaiyuan period of the Tang Dynasty, was an official in Taibu Temple and a scholar and foreign minister in Tianbao. The most talked about is his Yellow Crane Tower. It is said that Li Bai wrote an inscription for it, and once praised it as "there is a scene in front of me, and Cui Hao wrote a poem on it". There are 42 Complete Poems of Tang Dynasty.
original work
Stork tower
The sun sets slowly near the western hills, and the Yellow River flows into the East China Sea.
By going up one flight of stairs, look further.
Sentence annotation
① Stork House: It was called Stork House in ancient times, named after storks lived on it. Its former site is on the bank of the Yellow River in the southwest of Xupu District, yongji city. "Zhou Pu County Records" records: "(Stork House) was originally located in the middle and high hills of the Yellow River in the southwest of the county, and sometimes storks perched on it, hence the name."
② Day: the sun.
3 rely on: rely on.
4 do: disappear. The sun sets near the mountains.
⑤ Desire: the desire to obtain something or achieve a certain purpose, but it also expresses hope and want.
6 poverty: exhausted, reaching the extreme.
⑦ Thousands of miles: Wide field of vision.
8 more: Come again.
Vernacular translation
The sunset slowly sinks beside the western hills, and the Yellow River rushes to the East China Sea.
If you want to see the scenery of Wan Li, you must climb a higher tower.
Creation background
This poem is one of the last six quatrains of Wang Zhihuan, a poet in the Tang Dynasty.
The author served as editor-in-chief in Hengshui County, Jizhou (now Hengshui County, Hebei Province) in his early years, and was dismissed soon after being framed. Wang Zhihuan, who was less than 30 years old, lived a life of visiting relatives and friends. When writing this poem, Wang Zhihuan was only thirty-five years old. [ 1]
Poetic artistic conception
Calligrapher Cui Guowei's Running Script in Heron Pavilion
The extraordinary ambition of the poet in this poem reflects the enterprising spirit of the people in the prosperous Tang Dynasty.
Write what you see in the first two sentences. "Mountains cover the day" is about mountains, and "All rivers run into the sea" is about water. The poet watched a sunset sink to the endless rolling mountains in front of the building, and Ran Ran disappeared at the end of his vision; I watched the Yellow River roaring south in front of the building and downstairs, then turned east in the distance and flowed to the sea. The poet captured the rivers and mountains of Wan Li with extremely simple and plain language, with a short span of ten words with high image and high generalization, and the picture was broad and distant.
There are two sentences in Du Fu's Song of Wang Zai's Painting Landscape: "Traveling in ancient times, talking about Wan Li recently". Although it is about painting, it can also be used to talk about poetry. These two poems written by Wang Zhihuan's landscape make it possible for Wan Li to be close at hand and Wan Li to be close at hand.
Write the last two sentences. "But you have broadened your horizons by three hundred miles", a poet's endless desire to explore, wants to see further and see where his eyesight can reach. The only way is to stand higher and "walk up a flight of stairs". It can be inferred from the second half of the poem that the first half was written on the second floor (not the highest floor), and the poet wanted to see the distant scenery as far as possible, and even climbed to the top floor of the building. The word "Lou" at the end also plays the role of a point, indicating that this is a poem about climbing stairs.
This poem seems to describe the process of climbing stairs straightforwardly, but its significance is far-reaching and people can explore it. "A thousand miles" and "the first floor" are imaginary numbers, which are both vertical and horizontal spaces in the poet's imagination. The words "to be poor" and "to be better" contain many hopes and longings. These two poems are not only novel and unexpected, but also very natural and close to the first two poems, thus pushing this poem to a higher level and showing readers a broader vision. It is precisely because of this that these two sentences with simple philosophy have become famous sentences that have been passed down through the ages, and this poem has also become a swan song.
Zhou Fugang said that this poem has the power to transcend time and space. This power is the unity of beauty and philosophy, the harmony of objectivity and subjectivity, and the great artistic reproduction and creation.
Writing method
Association between activity and inertia
It's only a short process to end the day at the mountainside. The setting sun holds the mountain, and the clouds cover the fog barrier. At this time, the already weakened glory of the sun is even more dazzling.
Adding gloom can be called a quiet scene, which is the beauty of peace; The Yellow River flows to the sea, not so-called "freezing", but rushing and roaring, rolling south and flowing east into the sea, full of infinite vitality and magnificent momentum, which exists in the eternal movement. The combination of dynamic and static forms a magnificent picture, which is colorful, magnificent and unpredictable.
The combination of virtuality and reality
The first sentence begins with an illusion, in which the sky sinks during the day and disappears into the mountains. The second sentence extends from the rushing Yellow River downstairs to the distant ocean. In this way, the sunset in the west and the flowing water in the east combine the visible sunset with the sea in the mind (the poet can't see the Yellow River entering the sea on the stork tower), and the foreground and the middle scene are skillfully integrated, from far to near, from far to far, making the picture endless and far-reaching, which also arranges endless reverie for the poems on both sides of the strait.
The scene becomes rational.
Konghai, a monk sent by Japan to the Tang Dynasty, emphasized that "the scene is in love" in The Mirror Flower Edge, which means that poetry should not be inferred in a blunt, boring and abstract way, not that philosophy cannot be revealed and promoted in poetry. This poem perfectly combines truth with scenery and events, so that readers don't think this is reasoning, but think it makes sense. This is a mode to express the philosophy of life through thinking in images according to the characteristics of poetry.
Pure philosophers appear as preachers and can be worshipped. A philosopher-like poet speaking as a friend is enough to make people feel excited and pursue.
Full text comparison
This poem is a four-line poem, and it is full of antithesis. When Shen Deqian chose this poem in the Tang Dynasty, he pointed out: "Four languages are correct, and it is not too expensive to read, so the bones are high." Stunning consists of four five-character sentences, and * * * is divided into two couplets. There are no hard and fast rules for confrontation, and there is generally no need for confrontation. Many antithetical quatrains have only one antithesis. The appearance of two opposing sentences is easy to cause the feeling of piling up, and it will be rigid if it is not handled well. The first couplet of this poem is used correctly, and the sentence pattern is extremely neat. The latter couplet uses flowing water for antithesis. Although the two sentences are opposite, there is no trace of confrontation. The poet is also very mature in using dual skills. [3]
Brief introduction of the author
Statue of Wang Zhihuan
Wang Zhihuan (688-742) was a famous poet in the prosperous Tang Dynasty. His name is Ji Ling, Han nationality, from Jiangzhou (now Xinjiang County, Shanxi Province). Bold and uninhibited, he often mourned swordsmanship, and his poems were sung by musicians at that time. At that time, he often sang with Gao Shi and Wang Changling, and was famous for describing the frontier fortress scenery. Representative works include Heron Pavilion and Liangzhou Ci. "The mountain covers the day, and the sea drains the golden river. But as long as you go up a flight of stairs, you can broaden your horizons by 300 miles. "This is the eternal swan song.