A long time ago, the place where the Yellow Crane carried the saints to heaven is now only the Yellow Crane Tower.
Yellow cranes no longer come, and white clouds no longer fly.
Every tree in Hanyang becomes clear in the water, and Parrot Island is a nest of herbs.
But I looked at my hometown, and the twilight was getting thicker, and the mist of sadness was filled on the river waves.
About the author: Cui Hao, (? -754), a native of Bianzhou (now Kaifeng, Henan Province), was a scholar in the tenth year of Kaiyuan, and once went to Hedong. During the Tianbao period, he served as a foreign minister of Taibus Temple Cheng and Si Xun. He has traveled all over the south of the Yangtze River, and his poems have a wide range of contents and different styles. Or he wrote about his children's feelings, almost frivolous. It is still the suffering of the military, which is awe-inspiring. There are poems early and have far-reaching influence.
Interpretation of Poetry: All the immortals in the past flew away with the Yellow Crane, leaving only an empty Yellow Crane Tower here. The yellow crane left and never came back. For thousands of years, only long white clouds have been seen. In the sun, Hanyang trees are clearly visible. Nautilus Island is covered with green grass. It is getting late. Looking into the distance, where is my hometown? I only saw a mist hanging over the river, which brought people deep sorrow.
Appreciation of the Yellow Crane Tower: Li Bai, a poet in the new biography of Tang people in Yuan Dynasty, originally wanted to write poems on the Yellow Crane Tower. Seeing Cui Hao's works, he closed his hand and said, "The scenery in front of him can't be seen. Cui Hao is writing poems on it." The legend may not be true, or it may be attached by later generations. However, Li Bai did write poems twice to draw up this poetic style. The first four sentences of his Nautilus Island say that "what is the tree" is exactly the same as Cui's poem, and "Climbing the Phoenix Terrace in Nanjing" obviously imitates this poem. Because of this, many poets have a good reputation, such as Yan Yu's Canglang Poetry, "The Yellow Crane Tower in Cui Hao should be the first of the seven-character poems in the Tang Dynasty." Therefore, the Yellow Crane Tower in Cui Hao is more famous.
The Yellow Crane Tower is named after its Yellow Crane Mountain (also known as Snake Mountain) in Wuchang. According to legend, ancient immortals rode a yellow crane here. (see chi). It is also said that it is a fee to drive a crane here (see "Taiping Universe", quoted from "Tujing"). Poetry is named after the origin of architecture, and then written by legend, and then germinated. The fairy crossing the crane was nothing at first, and now it is nothing. If it is said to be "gone forever", there will be regrets that the ancients have not been seen for years; The fairy went to the empty building, leaving only white clouds in the sky, which can show the boundless generosity of the world for thousands of years. The poet wrote the common feelings of people who were suitable for crane tower in that era, with boundless spirit and sincere feelings.
In the first half of this poem, it was changed to a loose tune and the whole injury was corrected in the first year of the following year. It 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.
There used to be a saying that "writing is based on qi". The first four sentences of this poem seem to be spoken casually, rotating in one breath and descending with the trend without any obstacles. The Yellow Crane and Eryu appear again and again, but because of their imposing manner, readers "wave their hands sine and look at Hong Fei" and rush to read on, without paying attention to their overlapping appearance. This is a big taboo in metrical poetry, and the poet seems to forget that he is writing. The third sentence is almost completely annoying; The fourth sentence, reading the tail with three pawns seems to be "empty"; Regardless of the antithesis, they all use the syntax of ancient poetry. Is this because the seven laws were not finalized at that time? The seven laws of standardization already exist and were written by Cui Hao himself. This is not necessarily the poet's intention to write a crooked law. He is different from Du Fu's later metrical poems. It seems that he still ignored them. As Lin Daiyu said when she taught people to write poems in A Dream of Red Mansions, "If there are strange sentences, you don't have to." Tripper 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. Shen Deqian commented on this poem, saying that "the meaning is like the first, and the implication is between the lines, so he is good at the wonders of the ages" (Volume XIII of Tang Poetry), which is exactly what it means. If you just put it away, it will be unconventional. This poem seems to be divided into two parts. In fact, the trend of the text is always 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 integration of metrical poems. The second couplet of metrical poems in Yuan Yang's The Poet's Legalists said: "This couplet should be followed by the first couplet." The forehead and the puzzle embrace each other and are integrated. Yang Zai also said to the "turn" of the neck couplet: "Avoid the meaning of the former couplet and change it. If the thunder breaks the mountain, it will surprise the viewers." The metaphor of thunder is intended to show that the composition should have a mutation and become five or six sentences, which is surprising. At the turning point of this poem, the style turns from right to right, and the realm is completely different from the previous couplets, just in line with the law. Suddenly, it turned into a lush landscape in Sichuan, and I could vividly see the scene in front of my wife Manzhouli. This contrast can not only dye away the sadness of those who go upstairs and overlook, but also make women's potential fluctuate. "Chu Ci Zhao Yinzhe" says: "If your grandson does not return, the spring grass will not leave." In the poem, "the grass grows and the warbler flies."
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.