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Yellow Crane Tower A long time ago, a yellow crane carried a saint to heaven. Now there is nothing left but the 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, and Parrot Island is a nest of herbs. Gradually washed away by the river. ○ Describe the scenery you saw when climbing the stairs. But I looked home, and the twilight was getting thicker. The river is shrouded in mist, which brings people deep melancholy.
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Once upon a time, the immortal flew away by the yellow crane, leaving only the Yellow Crane Tower standing at the head of the river.
The yellow crane flew with the fairy and never came back. For thousands of years, white clouds have drifted with the wind.
In the sunshine, the trees in Hanyang Town are vivid, and the spring grass is lush and covered with Nautilus Island.
Where is my hometown when the sun sets? The vast waves of smoke and the surging rivers add to my homesickness.
Brief analysis
In the Tang Dynasty, Yellow Crane Tower, Yueyang Tower and Wangtengting were called the three famous scenic spots on the south bank of the Yangtze River. The Yellow Crane Tower was built in the second year of Wu (223), the pavilion was built in the thirteenth year of Tang Zhenguan (639) and Yueyang Tower was built in the fourth year of Kaiyuan (7 16). According to Lu You's Book of Entering Shu, Volume 5 says: "Yellow Crane Tower, according to legend, Fei Yi rose here, and then suddenly returned by yellow crane, hence its name, which is the best scenery in the world." Wang Tengting was founded by Tang Gaozu's son Li Yuanying, who was then governor of Hongzhou. Yueyang Tower was built on the basis of the old parade platform when Zhang Shuo, secretary of the Central Secretariat, was guarding Baling. In terms of origin, the Yellow Crane Tower is the oldest.
There are many works dedicated to the Yellow Crane Tower, but it is universally acknowledged that Cui Hao's The Yellow Crane Tower is a swan song. Even the great poet Li Bai stopped writing because "Cui Hao wrote this poem on it". So, what's good about Cui Hao's poem The Yellow Crane Tower? This involves grasping the essential characteristics of the Yellow Crane Tower. Because the Yellow Crane Tower overlooks Jianghan, it is difficult to distinguish the advantages and disadvantages from the Ganjiang River in front of Wang Tengting and Dongting Lake under Yueyang Tower. As far as architectural forms are concerned, they are also different and equal. If ink falls from these aspects, even if there is a good pen, it can only look like it at best. The genius of Cui Hao's poem The Yellow Crane Tower lies in that it completely abandons the external features such as the position and shape of the Yellow Crane Tower, and makes a big fuss about its name. As far as naming theory is concerned, the connection between the Yellow Crane Tower and the magical legend is its charm, which is incomparable to Yueyang Tower and Wang Tengting. The first two couplets of the poem are written under the Yellow Crane Tower. Looking up at the sky, I feel something. When the poet first saw the Yellow Crane Tower, the most prominent impression in his infinite reverie was the story of the rise of the ancients here. The "old man" was originally an ordinary person, but he was born in fairyland because he learned from immortals. Later, he revisited the old place of the Yellow Crane, and the Yellow Crane Tower should still remember his sage like type. The yellow crane is naturally a crane of consciousness. After flying across the sky in front of it, it still belongs to this world. Facing the white clouds, the poet realized the eternity of time and the shortness of life in the universe. Although there is no series of feelings of "Tian Wen", readers feel the ups and downs of the poet's mood with the help of images such as "yellow crane" and "white clouds", and realize the poet's thinking about the universe and the true meaning of life. The first four poems are good, because they are triggered by the Yellow Crane Tower and cannot be moved elsewhere. Naturally, it seems to come out of the mouth, without any trace of axe chisel. It is visual, it doesn't tell the whole story, but it can make people think in infinity. In this way, although the shape of the Yellow Crane Tower is not specifically described, it successfully shows its spiritual outlook.
In the last four sentences of the poem, from another angle, write what you saw and felt when you climbed the Yellow Crane Tower overlooking Jianghan. The poet is condescending, just like observing the world from the sky. He feels detached from the outside world. This feeling is also carried out from the perspectives of space and time. Compared with the vast space, the sense of distance in the world should be insignificant. On a sunny day, the scenery on the vast Jianghan Plain is vivid; The grass on Nautilus Island grows faster than before, but my hometown is far away and I can't see it. The range of activities in a person's life is too limited Compared with immortals, it's really as different as sparrows flying among Artemisia selengensis and Dapeng birds spreading their wings in Wan Li. As far as time is concerned, people's life span is measured in years. In the blink of an eye, it is a hundred years, and people's life is over. Compared with the ghost spirit of "taking 500 years as spring and 500 years as autumn", it is already pitifully short; Compared with "seven days in the sky, a thousand years on earth", it is unparalleled. Where am I in the coordinate system of this space and this life? This day will be dusk, and the smoke will start from the river. The "I" on the Yellow Crane Tower is really unclear. It can be seen that the poet's "worry" has rich connotations, not just for homesickness. In the last four sentences, the description of scenery is more prominent, but they are all handy prospects, and the author does not deliberately describe them; Especially when these landscape words are integrated into the poet's deep feelings, their characteristics as landscapes tend to fade. It is inferred that Li Bai's statement that "there is a scene in front of him" largely stems from this.
Predecessors recommended this poem. Some people say that it is "flying like flying, amazing, and ambitious" (the language of Wang Fuzhi), while others say that it is "like meaning first, but it is beyond the word of God, so it is good at the wonders of the ages" (Shen Deqian language), all of which focus on the broad artistic conception and elegant brushwork of this poem, which is the artistic charm of this poem.