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.
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.