The Yellow Crane Tower is a seven-character poem written by C
The Yellow Crane Tower is a seven-character poem written by Cui Hao, a poet in the Tang Dynasty. This poem describes the beautiful scenery overlooking the Yellow Crane Tower and is a masterpiece of nostalgia. The first section of this poem skillfully uses allusions to lead immortals to the Yellow Crane Tower by crane. Zhuan Xu closely followed the first couplet, saying that the Yellow Crane Tower has gone through thousands of years since the immortal left; With the poetic turn of the neckline, I entered the description of the scenery and wrote down what I saw in the Yellow Crane Tower on a sunny day. The end of the couplet is to write about the feeling of returning home at sunset along the Yanbo River, which makes the poem return to the intangible realm at the beginning. Although the whole poem is not harmonious, its syllables are loud and clear. Scenes blend and artistic conception is profound.
Name of the work: Year of Creation of Yellow Crane Tower: Source of Works in the Prosperous Tang Dynasty: Literary Genre of All Tang Poems: Seven-character Rhyme Author: Cui Hao's original work, annotation translation, text annotation, vernacular translation, creation background, work appreciation, overall appreciation, expert comment, work correlation, author introduction, original work of Yellow Crane Tower (1) Long ago, the place where Yellow Crane carried saints to heaven (2) Now except. The yellow crane will never come to the earth, and the white clouds will never fly without him (3). Every tree in Hanyang becomes clear in the water (4), and Parrot Island is a nest of sweet grass (5). But I looked home, and the twilight was getting thicker? Ripple on the river with a sad mist. Note 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) Previous life: According to legend, in ancient times, there was a fairy named Feiyi, who rode a crane to ascend to immortality here. (3) leisurely: the appearance of floating. (4) Qingchuan: a mysterious river in the sun. Sichuan, plain. Vivid: clear and countable Hanyang: Place name, west of Yellow Crane Tower, north bank of Hanshui River. 5] describe lush vegetation. Parrot 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 presented parrots here, so it was called parrot island. [6] Township official: hometown. (7) Smoke waves: The river is in the twilight. The gods of the past have flown away 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! The specific creation time of this poem has been impossible to verify. The Yellow Crane Tower is named after its Yellow Crane Mountain (also known as Snake Mountain) in Wuchang. It is said that the ancient fairy Zi An came here on a yellow crane (see Qi Xie). It is also said that Feiyi rides a crane here (see Taiping Universe), and this poem was written in the origin of the building name. The poet boarded the Yellow Crane Tower, saw the scenery in front of him and wrote this poem. Appreciation of Li Yu's Poem of the Yellow Crane Tower is a new work by scholars in Yuan Dynasty. Seeing this work by Cui Hao, he closed his hand and said, "There is no road ahead, and Cui Hao is writing poems 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. 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. In addition, 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", and reduplicated words such as "Youyou", "Lili" and "Lush" all contribute to the sound of this poem. 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. In fact, the text is the focus 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. Famous experts commented on Yan Yu's canglang poems in Southern Song Dynasty: Cui Hao's Yellow Crane Tower should be the first of seven-character poems in Tang Dynasty. Welcome to the Ear: The first four sentences of this poem are not even, with great momentum. After seeing it, Li Bai dared not talk about the building again, but went to Nanjing to board the Phoenix Terrace. Fiona Fang commented on Ying Kui's rhythm and essence: Feng Shu: Why is there a disease, that is, metrical poetry, which is not even, let alone dual? Feng Ban: That's strange. The first half is thousands of miles away. If you start four sentences, you will be at a loss. Ji Yun: If you get them occasionally, you will have a unique tune. However, there must be neither one nor two. Copy it again and it will become a pattern. Xu Yinfang: This article is a variation of metrical poetry. The first half is ancient poetry, and the ancient pen is rhythmic poetry. Anonymous (B): The first six sentences are full of excitement, and the second sentence contains infinite meaning, which is the first swan song in the future. Zhao Xi: This poem is full of difficulties, and its beauty lies in the so-called "God comes, gas comes, and love comes". Kun's 300 Tang Poems, Yun Cun: The ancients did good deeds. When Li Bai boarded the Yellow Crane Tower, he said, "There is a scene in front of him, but Cui Hao is writing poems on it." When he arrived in Jinling, he wrote Phoenix Terrace to draft it. Today, two poems are real opponents of chess. Liu said: Hatred is overwhelming carelessness, so it is better than ingenuity. Gao Mingkun's Pronunciation of Tang Poems: The sound of Qi is a must in a thousand years. Ming Langying's Seven Drafts: The ancients did not care about works, such as "Nautilus Island" versus "Hanyang Tree" and "Bailuzhou" versus "Blue Sky", which were detached from things and not bound by laws, and were prosperous and meaningful. Excerpt from Wang Ming Shimao's Art Garden: Cui Langzhong wrote the poem The Yellow Crane Tower, and Violet was short of breath, and then the title was Phoenix Terrace, which was an enemy from ancient times to modern times. The knower says that the first six sentences can't be used, and the conclusion is deep and generous, and the difference is better than the ear. However, the aftertaste is even worse, both Chinese and English couplets can't be reached, and even the conclusions are quite different. Words and poems must be more vivid than fu, such as "going to the countryside at sunset", expressing the spirit and fu, "floating clouds" and "covering the sky", and fu is better than fu. From this point of view, although the words "sad" are all the same, which one should we do? "Sunset, Xiangguan" and "Yanlang River" did not point out. People who get on the plane are naturally sad, so they say "annoying" and smoke waves bother people. You should worry about "floating clouds", "covering the sky" and "Chang 'an not seeing", so why not do it? Violet's talent has been reflected for thousands of years, not Popo? The ruler is short, the inch is long, and I can't catch this poem. If I am guilty, I dare not quit. Hu Yinglin's poems in the Ming Dynasty: Yellow Crane Tower in Cui Hao and Phoenix Terrace in Li Bai, but the short title is not mentioned. ..... Therefore, the ancient people's desires were often detached and never chiseled. Li Ming Pan Long's Selected Poems of Tang Dynasty: Li Binzhi said: Cui Hao's poems are ancient poems, and you can never get tired of listening to them. Ming He's Mirror of Tang Poetry: This poem is vivid and natural. Zhong Mingxing's return from Tang poetry: The beauty of this poem lies in its generosity and its use of all means. It is particularly uncomfortable to use songs to make others act, and it is too white to disrespect. Zhou Mingzan's General Introduction to Tang Shilin: How smooth and vivid are the first four sentences about the name of the building? How sad are the last four words with emotional thoughts? The yellow crane has gone and never returned, and the white clouds are in sight. Seeing the grass in Jiangshuzhou, I can't help feeling sad. Giving love to scenery is not a fake axe, so it has become a masterpiece through the ages. Li Mengyang Cloud: It's clear, bright and wonderful. It's too white, so I'm sorry. Zhou Jing said: The whole story is both tragic and wonderful. On Xu's Poetic Style in Ming Dynasty: Cui's Yellow Crane Wild Gate, read by Shang Sheng of Jinshi Palace, was written in his later years. "Tang Dingfeng" with star rhyme: This genre is also more fascinating. Yun Qing's "ancient meaning" still involves exercise, which is the highest. Wu Mingyi's Three Hundred Poems of Tang Dynasty: Wu Jinglian said: Sorrow over the past, learn from the past, and now, that's what it means to write. Zong's "Near Autumn": high and empty, muddy and peerless, is in the same strain as Taibai's "Phoenix Terrace". Gu Taibai is an irregular teacher and idealistic. He didn't dare to learn from the past, so he had to push it alone. Selected Poems of Tang Caizi in Guanhuatang at Jin Ming Altar: This poem is written with a giant pen and the word "Yellow Crane" is written in succession. ..... Four sudden accompanying "white clouds" are wonderful intentionally or unintentionally and meaningless. After a thorough investigation, I don't know if he wrote a poem, but when he saw the truth, he stood up, picked up a pen and dipped it in ink, went to the white powder wall of the building and wrote a line. Now that the book has been written, I'll read it myself, and I don't know if it's good. I just feel that there is no need to repair, make up, add or subtract, so I am full of satisfaction. Even if I stay, I will have a rest. Unexpectedly, when someone saw it later, I couldn't jump out of its shadow. Then people can't jump out, and they don't have to make up, add or subtract, so they leave. It's not that grammar, syntax and composition are all occupied and can't be compared. This solution is also wonderful, because it is not involved in it. This is just a far-sighted question. Don't spit out your arms, let the readers decide for themselves later. It's really a rule that everyone has. May 6th just overthrew the word "where is the township pass", saying that this is a tree and this is a continent, which is unique to the township pass, but I don't know where it is. He only crossed the word "sunset" in the sentence, so he made the first four sentences and 28 words, each of which was shaking together, which was a unique stroke. Wang Mingfu's Selected Poems of Tang Dynasty: Pengfei's image is amazing and ambitious. In fact, in terms of nostalgia, it is a poem about architecture, not architecture. A knot is not as good as "Phoenix", and the damage to the spirit is more meaningful. Poems in Qing Chun Jiutang: Poem comments are too white and empty. I like Tan Youxia's phrase "generosity is more than enough", which is not unique to Cui's poetry and can be inferred from it. Without knowledge and deep temperament, you will be shy, such as a shepherd chair. Wu Qinchang-qi's interpretation of deleting Tang poems: neither ancient nor illegal, but also ancient and legal. Why should Li Tang be lonely? Qing Mao Qiling's Selected Seven Laws of Tang Dynasty: The most important change of this law is that it comes from a whim and talks nonsense. For example, the magic colt comes out of the water, and it is not good to cut it. The former figure is the first in the Tang Dynasty, or it is not inevitable, but there are two security guards. Huang Baishan's "Adding Tang Poetry to Pick Money" in Qing Dynasty: In the first half, I went straight and didn't do it right, which is a variant of the law. "State" and "grass" and "tree" are exchanged in pairs (horns). The first half of the sentence means to cling to the past and come down out of thin air. "Qingchuan is vivid" and "green grass is like grass" are all born from "white clouds" and "leisurely" From the "Hanyang Tree" and "Nautilus Island", we can see the identity of the author. Discover the "river" and indicate its location; Also use "smoke waves" to evoke the word "worry" and fill the first half with the word "worry". The first four sentences are correct, and the second sentence is harmonious and healthy, with the word "smoke wave" inserted horizontally. Bold and arrogant, all won by gas, straight as the text of the National Policy, and its method is extremely detailed. Qing Chuanmin's "Tasha Tang Poetry": It goes without saying that it is necessary to seek its essence today and achieve it in one go. It is the sentence "Qing Chuan", which is so clear that no matter what you do, you can't see the future. And the traces are gone, so it's a one-step process? Tea Shen Xing's Poem Review on the First Hundred Ans: This poem developed from the last seven laws. He Qing Chao's Three-body Poetry Review of Tang Poetry: This style can be compared with the Yueyang Tower of Lao Du Deng. Qu Fu's poems in the Tang Dynasty in the Qing Dynasty: the rhythm is out of control, the rhythm is in harmony with the leaves, and the purple fairy is the instantaneous pen, which is unprecedented. "Phoenix Terrace" was repeated for this article, and it was a toddler in Handan, so it was lost. The first half of Nautilus Island is like a ghost, and the second half is thousands of miles away. In Cui Shiben's "Dragon Pool", although the words are yes, the tone is self-created, and Cui hit it off. This is a smooth Shang Ping sound, while Gong Yin is immortal. Xu Qingzeng's "Two Tang Poems": The words are tit for tat, so make a turn. Fang is a famous hand. Wang Ruanting's Notes on Samadha of Tang Xian in Qing Dynasty: This poem is a stack of words, all translated from 300 articles. Shen Deqian's comments on Tang poetry in Qing Dynasty: meaning comes first, words are divine words, so he is good at making wonders through the ages. In the Qing Dynasty, Zhao annotated the seven-character law of Tang poetry: The beauty lies in saying "yellow crane", "yellow crane" and "yellow crane" three times, so that readers will not be suspicious, bored or surprised. What's particularly amazing is that when you call the Yellow Crane, you call it the Yellow Crane again, and you call it the Three Yellow Crane, and suddenly it is connected with the white clouds, so that readers don't think it is sudden, don't know its birth, and don't be surprised by its unprovoked. Why is this? Its qi is enough to fill it, and God is enough to transport it. If we proceed from reality, Cui Zhiming is above and Li Zhiming is below. Does it matter? Zhao Wei in Fang Qing Dynasty: Cui Hao's Yellow Crane Tower, a masterpiece throughout the ages, only writes in style and has a turning point. Although the scenery is broken in May and June, the air is overflowing. This is also the case. So precious. It is not surprising that this body can no longer learn, and it is tasteless to learn. After careful study, it is not as good as "Lujia Young Woman", which can be used as a law in past dynasties. Zhang Qingshiwei's Seven Laws of the Tang Dynasty: Mao: Zhang said that it doesn't matter if others don't know his poems, but Cui Sixun's Yellow Crane Tower and Shen Zhanshi's Ancient Meaning are illiterate in Ding Bai if they can't remember them. Selected Tang Poems by Wu Qinyi: This style is full of fu style, and the first four sentences are felt by climbing stairs. Wang Kaiyun's poems about Xiangqilou in modern times: From beginning to end, I knew I was clumsy only by reading Taibai's Phoenix Terrace and Poems on Nautilus Island. Modern Gaomai Tang and Song Poetry Collection: Boundless, singing high into the clouds, too white to be broken, not to mention? Modern Yu Biyun's Brief Discussion on Poetic Realm: This poem is a swan song, but it doesn't say why, so readers can't find its beauty. Commenting on this poem, Cui Shicheng said that "meaning comes first, god speaks beyond the language", but the reader still didn't express it. I said that there are two advantages: people who can rotate the seven laws in one breath, the five laws are already very difficult, and the seven laws are particularly difficult. After Dali, there were not many experts. Cui Shi's poems float in the air. If an immortal is empty-footed, he can be compared with Li and Du Fu. Its beauty lies in its high style and superb implication. The Yellow Crane Tower and Yueyang Tower are the best in the Jianghu, and the poems of Yueyang Tower by Du Shaoling and Meng Xiangyang are magnificent in the Jianghu. The Yellow Crane Tower is at the turn of Jianghan, and the water is vast. Anyone who climbs it is easy to think from now on. It is also dedicated to singing the river view, which is not necessarily out of the category of Du and Meng, while Cui only thinks of the word "Yellow Crane Tower". The first two paragraphs clearly indicate the inscription that the crane will go to an empty building. At first glance, if it is straight, it means that the fairy crosses the crane, which is nothingness and does not want to be qualitative. So the next three sentences of Yellow Crane have gone, and there is no hope of starting again, but the song of everlasting regret has gone to heaven and disappeared. The building is named after the fairy, and the fairy goes to the empty building, and the rest is only the sky and white clouds, which has a long history. It is said that it thinks the cloud is immortal, and it is said that it is unknowable because of the fairy. However, it is boundless and has an infinite feeling. Not only decided to write the word "Yellow Crane Tower", but also its beauty lies in its ethereal and lofty feelings. The whole article was said in vain, and five or six sentences were written from what I saw in the building, summarizing the whole article with the meaning of missing my hometown. In your two poems of Yueyang Tower, the first half is true, the second half is empty, and the five or seven words are the same rule. His works are related to many selected poems in the Tang Dynasty. The Yellow Crane Tower in the Seven Laws began or rolled up because this poem was called "the first of the Seven Laws in Tang Dynasty" by later generations, which was related to an allusion of Li Bai. Among many poets in the Tang Dynasty, Li Bai, known as the "Poet Fairy" in the Tang Dynasty, was the first to have an indissoluble bond with Jianghan. When Li Bai was a teenager, he wandered around Jianghan for more than ten years, so he called himself "Little Changjiang Han". He said, "I am a madman in the state of Chu. "These are not the words of the poet's banter, but his heartfelt words. Chushan and Chushui once created such a great poet as Qu Yuan in the Warring States Period, and Li Bai's growth could not be separated from the nurturing and edification of the magnificent Chu landscape. There are more than 1000 poems in Li Bai's poetry collection, of which more than 50 are about Yellow Crane Tower, Jiangxia and Hanyang. There are many legends and sites about Li Bai in Sheshan, Wuchang, including the writing pavilion, Taibai pavilion and Li Bai's reading room. Because Cui Hao's poem "Yellow Crane Tower" also leads to Li Bai's eternal story that "there is no scenery in front of me, but there are poems by Cui Hao on it". Whether Li Bai "stopped writing" the Yellow Crane Tower because of Cui Hao's poems, poets in different dynasties have different opinions. Some people think that Li Bai has not stopped writing. Some people are skeptical about the cancellation. Some expressed regret and regret for Li Bai's writing. Some people are unconvinced by Cui Shi and shout "Don't let Cui Shi take the lead", which seems impulsive. Chen Shi, a scholar from Hubei Province in Qing Dynasty, calmly researched and pointed out that Li Bai had nothing to do with writing at that time. Chen Shi mentioned the origin of this rumor: "When Li Bai visited Wuchang and saw Cui Hao's Poem of the Yellow Crane, he stopped writing it. Go to Jinling Phoenix Terrace. Later, the Zen master took advantage of this incident and slapped him:' smash the Yellow Crane Tower with one punch and kick Nautilus Island with one foot. There can't be a landscape in front of you, and Cui Hao wrote a poem on it. "It was a matter of setting words, not Taibai poetry. It's been around for a long time, and I believe it. Later generations praised Li Bai for being open-minded and brilliant, and specially built a writing booth. Zeng Yandong, the magistrate of Jiangxia County in Qing Dynasty, wrote a couplet for this purpose: "There is a crane before the building rises, but there is no poem after writing", and the Yellow Crane Tower in Cui Hao also became "the first of the seven laws of Tang Dynasty" with this allusion. Author introduction Cui Hao (704? -754), a poet in the Tang Dynasty. Bianzhou (now Kaifeng City, Henan Province) people. In the 11th year of Kaiyuan (723), he was a scholar. In the late kaiyuan period (713-741), Emperor Xuanzong of the Tang Dynasty worked under Du, the governor of Daizhou. In the early years of Tianbao (742-756), Emperor Xuanzong of the Tang Dynasty entered the court as the official of Taibu Temple, and the official was Shang Shu Si Xun and Yuan Wailang. In his early poems, he wrote more about boudoir feelings and was superficial and frivolous; Later frontier life greatly boosted his poetic style, and suddenly became normal and awe-inspiring, especially frontier poems, which were generous and bold and famous at that time. There are 42 Complete Poems of Tang Dynasty.