Cui Hao's "Yellow Crane Tower" is not neat against the battle, why is it still praised as the crown of the Tang Dynasty's Seven Laws? Is it "the people of the past have gone by the yellow crane", or have they gone by the "white clouds"? The ancients said different things!
<h1 class="pgc-h-arrow-right" data-track="60" >1/The scenery in front of you is not allowed</h1>
In the poetry circles of the Tang Dynasty, there is such a good story: Li Bai, who has the reputation of a poet immortal, has traveled to Jianghan for a long time and left a large number of excellent poems that chant Jianghan style objects. However, once when he landed on the Yellow Crane Tower, even if the poem xing dafa, he helplessly put down his pen and left behind the sigh that "there is a scene in front of him, and Cui Hao's inscription poem is on the top". To this end, later generations also built a "pen booth" next to the Yellow Crane Tower. The masterpiece that made Li Bai "have a scene" and put her pen aside is Cui Hao's seven-word poem "Yellow Crane Tower":
The people of the past have gone by the Yellow Crane, and the Yellow Crane Tower is empty here.
The yellow crane is gone, and the white clouds are long in the air.
Harukawa calendar Hanyang tree, yerba buena parrot island.
Where is Nippori Pass? The Smoke Wave River is sad.
Cui Hao's "Yellow Crane Tower" not only impressed Li Bai, but even many later Tang poets praised it. Many anthologies of Tang poems have selected the Yellow Crane Tower, such as "Three Hundred Poems of Tang", "Collection of Tang Poems", "Tang Poems Zhengyin", "Selected Poems of Tang", "Interpretation of Tang Poems", and "Collection of Tang Poems" selected by Tang Dynasty, "Collection of Heroic Spirits of Heyue" and "Collection of Guoxiu", etc., and the seven laws parts all begin with "Yellow Crane Tower" or press volume. Yan Yu, a famous poet and poet of the Southern Song Dynasty, praised it in his "Canglang Poetry": "The Tang Dynasty's seven-word poetry should be the first with Cui Hao's "Yellow Crane Tower". ”
<h1 class="pgc-h-arrow-right" data-track="67" >2/The famous "Yellow Crane Tower" for thousands of years</h1>
In the Tang Dynasty poet phalanx, Cui Hao was not a top-ranked first-class poet, but it was also a very rare thing to be able to write the "Yellow Crane Tower" that made Li Bai convinced and shelved his pen. The "Tang Poem Zhengyin" notes the cloud under the title of Cui Hao's poem: "This passage is too white to be convinced, I think it is a temporary landing, happy to flow out, may not often have this work." Indeed, how can Cui Hao's poetic titles and poetic talents be compared with Li Bai's? Such a poem can only be "a moment of advent and joy." In addition to this "Yellow Crane Tower", Cui Hao's other poems are of mediocre quality, which is evidenced by this.
This is like some modern singers, only one good song in a lifetime is enough to eat for a lifetime. Cui Hao is famous and famous for thousands of years with this poem. The reason why Cui Hao's "Yellow Crane Tower" has been praised by people shows that this poem is indeed commendable and excellent.
In terms of theme, "Yellow Crane Tower" is a masterpiece of nostalgia for the past. The first link cleverly uses allusions to the immortals to lead out the Yellow Crane Tower by the return of the crane; the jaw link closely inherits the first link, saying that since the immortals left, the Yellow Crane Tower has gone through thousands of years; the neck link poetically turns, enters the scene description, and writes the scene seen in the Yellow Crane Tower on the sunny day; the tail link ends with the feeling of writing the sunset return on the Yanbo River, so that the poetry returns to the invisible realm at the beginning.
The first four sentences of the poem are objective narratives, explaining the origin of the name of the building and the truth of personal upliftment, and the last four sentences are immediately scenery and emotion, emitting endless emotions, great courage, and the realm is high. The first two sentences look like ordinary narratives, but they are really unconcerned. In the next three or four sentences, it seems that there is a thousand and one sighs of the Analects, "Zi in Kawakami: 'The deceased is like a sifu'".
Combined with the first four sentences, the yellow crane is gone, the white clouds are empty, and there is a great feeling of "not seeing the ancients before, not seeing the comers after, reading the leisure of heaven and earth, and weeping alone (Chen Ziang's "Dengyouzhoutai") with a grand feeling.
The five or six sentences of the poem not only write that the tree of Hanyang was born in The Qingchuan River, but also felt that the parrot continent was full of herbs. The sixth sentence is the most important, Parrot Island is the place where Huang Zu killed You Heng during the Three Kingdoms period. You Heng is the one who beats the drum and scolds Cao in traditional drama, for a generation of talents, once wrote "Parrot Fu", the name of the parrot, in order to commemorate his murder. Nowadays, the person who made the endowment is also gone, the traces are gone, and the herbs are immortal, which is similar to the poetry of Li Bai's "Looking at parrots and parrots huai you heng".
Seven or eight sentences are written by the poet at dusk, nostalgic for reality, nostalgic for his hometown, smoke waves on the river, a block in the chest, a "sad" word, and the whole article will be cleaned up together. However, the spirit is cheerful and never decadent, which is indeed very precious.
The advantage of the poem "Yellow Crane Tower" is that the eight sentences are closely combined to convey a condensed poetic sense that is one breath and one, which is impossible for ordinary legal poetry. Therefore, zhou ju in the Ming Dynasty praised his poems in his "Selected Tang Poetry Lineage Society Commentary":
"How fluent and vivid is the reason for the name of the first four sentences? The last four sentences of allegorical thoughts, how clear and sad? The Yellow Crane has no return date, the white clouds are in sight, and when you see the grass of Jiangshuzhou, you can't help but be sad. Endowed with scenery, no false axe chisel marks, so it is hot for thousands of years. Li Mengyangyun: "One breath is formed, pure and bright, too white, so I see it." Zhou Jingyue said: "Throughout the passage, Liu Yue, tragic and magnificent, wonderful and natural." ’”
Regarding Cui Hao's "Yellow Crane Tower", there have also been debates and criticisms in history, mainly focusing on two points: First, the dispute over the first sentence of the poem, whether it is "the old people have taken the yellow crane to go" or "the past people have gone by the white clouds"? The second is the doubt of the poem's confrontation, why is the "Yellow Crane Tower" which is not neatly defended as "the seven laws"?
<h1 class="pgc-h-arrow-right" data-track="78" >3/by yellow crane or by yellow white cloud? </h1>
The first sentence of "Yellow Crane Tower", "The people of the past have gone by the Yellow Crane", in many poems, are regarded as "the people of the past have gone by the white clouds". Those who hold this view include "Quan Tang Poems", "Tang Poems Zhengyin", "Heyue Yingling Collection", "Guoxiu Collection" and so on. When the Tang Poetry Commentary selected this poem, it put forward a different view, believing that the first sentence should be "The people of the past have gone by the yellow crane", so they added a note under the first sentence of the poem to explain: "The books are white clouds, not." Later anthologies of the Tang Poetry Interpretation, such as the Tang Poetry Collection and the Three Hundred Poems of Tang Poetry, all followed the saying of the Tang Poetry Interpretation and were all changed to "The People of the Past Have Gone by the Yellow Crane" and are still used today.
So, so, is the first sentence of "Yellow Crane Tower" "take the Yellow Crane to go" or "take the white clouds"? A closer look reveals that both seem to have some truth.
First of all, "The old people have gone by the white clouds." Some people may think that "riding on white clouds" is unreasonable, but as a poetic language, we cannot use common sense to measure it.
First of all, in the poetry of Tang Dynasty poets, "riding on white clouds" is already a well-known phrase. For example, in the Tang Dynasty poet Liu Yuxi's "Three Townships Post-tower Ambush Seeing Xuanzong Wangnu Jishan Poetry Xiaochen Fei Ran Feeling", there is a saying "riding on white clouds":
Kaiyuan Tianzi was full of everything, but it was a pity that the situation was short at that time.
Sanxiang Mo went up to Wangxian Mountain and attributed it to the Neon Hagoromo Song.
Immortal Heart has since followed in Yaochi, three Qing and eight scenery.
The sky suddenly went by white clouds, and there was an autumn wind in the world.
The Female Mountain in the poem, also known as Huaguo Mountain, is 50 kilometers away from the county seat of Yiyang and 90 kilometers away from Luoyang, the ancient capital of the Nine Dynasties, and is the prototype of Huaguo Mountain in Wu Chengen's Journey to the West. Sun Wukong is good at lifting clouds and driving fog, so "riding on white clouds" is very suitable for female mountains.
The Southern Song Dynasty Wang Zhuo also had clouds in his song and song review notes "Biji Manzhi": "Suddenly riding on the white clouds, there are autumn wind words in the air, and mocking them for their lack of success." It can be seen from this that ancient poets often had this syntax.
Secondly, according to the "Poetry of Wu Libu": "Cui Hao's poem "Yellow Crane Tower" is titled under the title of the self-note cloud: 'Yellow Crane is a personal name. If the yellow crane is a personal name, then the first sentence in the poem can only use "by the white cloud" instead of "by the yellow crane", because the yellow crane itself cannot "multiply" itself.
Finally, according to the sentence structure of the whole poem, the first sentence is "white cloud", the second sentence is "yellow crane"; the third sentence is "yellow crane", and the fourth sentence is "white cloud", which is in line with the symmetrical law of art.
Then "the people of the past have gone by the yellow crane." The reason why later generations chose "the people of the past have taken the Yellow Crane to go" is related to the Yellow Crane Tower and its legend. The Yellow Crane Tower, located at the top of Snake Mountain in Wuchang, Hubei Province, was built in the second year of Wu Huangwu in the Three Kingdoms (223). In the same year, when Emperor Sun Quan of Wu built Xiakou City, in order to facilitate the observation and garrison, he specially built a military fortress in the southwest corner of the city, which was called the Yellow Crane Tower by later generations.
Regarding the name of the Yellow Crane Tower, there are two theories, one is "Because of the Mountain" and the other is "Because of the Immortal". The mountain theory is more in line with the original historical appearance. Historians of the past believe that the name of the Yellow Crane Tower was taken because it was built on the Yellow Crane Mountain; the ancient words "Crane" and "Crane" were interchangeable, and they were common to each other, so it was called "Yellow Crane Tower".
However, Chinese, who have a strong concept of immortal culture, believe in anecdotes such as the legend of xiandao. Because it is a legend, the Theory of the Immortals of the Yellow Crane Tower is not uniform, and there are also two theories. It is said that there were immortals who rode cranes through this, hence the name. And this immortal who drove the crane away was Fei Yi.
According to the Tang Dynasty scholar Yan Boli wrote a "Yellow Crane Tower Record" introducing the Yellow Crane Tower, Yan Wen's opening chapter introduces the origin of the name of the Yellow Crane Tower, and its text is:
In the southwest corner of the city, there is the Yellow Crane Tower. "Tujing" Yun: "Fei Yi Dengxian, tasted the Yellow Crane and returned to rest here, so he made it a famous building." "The biography of the "Immortals" is listed, and the zhi of the "ShuYi" is preserved.
The prefecture in the text refers to Ezhou (鄂州), whose seat of government is in present-day Wuchang, Wuhan, Hubei. The Book of Figures is a book that records the customs, products, and maps of a certain place. Fei Yi is the one who said in Zhuge Liang's "Table of Renunciation": "Shi Zhong, Shi Lang Guo Youzhi, Fei Yi, Dong Yun, etc., all of which are good and honest, loyal and pure, and are the one who left His Majesty with the legacy of the former emperor Jian Ba". Fei Yi was deeply impressed by Zhuge Liang's instruments, and repeatedly sent envoys to Eastern Wu, and Sun Quan, Zhuge Ke, Yang Yan, and others used words to make things difficult, while Fei Yi replied according to reason, with both words and meanings, and was always unyielding. Fei Yi was a famous minister of the Shu Han Dynasty during the Three Kingdoms period, and together with Zhuge Liang, Jiang Wan, and Dong Yun, he was known as the Four Phases of Shu Han.
Another theory that got its name from the immortals is that there was once a Taoist priest who painted a dancing yellow crane on the wall of the Xin restaurant in this place, and the shop's business was greatly prosperous; ten years later, the Taoist priest returned, used the flute to summon the yellow crane, flew away with the crane, and the Xin family funded the construction of the building, called the Yellow Crane Tower. This plot is also quoted from time to time in modern film and television dramas.
Later, according to the title of his poem, Cui Hao's "Yellow Crane Tower" borrowed the legend of Fei Yidengxian driving the Yellow Crane back here, and the gods wandered to form this poem. If that's the case, it should be a yellow crane instead of a white cloud. From the perspective of the overall rhyme and art of the poem: it is better to use "take the yellow crane to go". The so-called "one breath" and "whimsical and informal".
<h1 class="pgc-h-arrow-right" data-track="99" >4/The Yellow Crane Tower, which is not neat</h1>
There is no shortage of different voices in this world, and the "Yellow Crane Tower", which is sought after by many people, has also been questioned by some people. For example, Liu Xianting, a beginner in the Qing Dynasty, once questioned Cui Shi, and he used the name of Shen'an in the "Miscellaneous Records of Guangyang" to evaluate Cui Hao's "Yellow Crane Tower" in this way:
"Shen An plucked the five and six clouds of the Yellow Crane Tower poem of Cui Kao Gong, the six parrot islands, which are ready-made idioms, and the Hanyang tree is twisted into pairs of ears. And the herbs are also ready-made, and the Harukawa calendar, what is the original? And the calendar of Hanyang trees, cut into sentences, and the parrot island, into what kind of literary reason? Gule Fuyun: Heavenly He, the calendar planted white elm, is the calendar character through the tree character, and the grass character on the side. The two pairs of the Vinaya are incorrect, and the first four sentences are not correct. And five or six sentences are sloppy like this, the art is white, and the eternity is even more incomprehensible, it is not understood. If the cloud only takes the qi ge'er, and if the cloud is lawful, why only the qi ge ye? Fine into the hair, I am afraid of kao gong, Qinglian revived in Jiujing, and there is no way to do anything to me! ”
Judging from the faults picked out by this Mr. Shinan, Chu Yi could not say that he was unreasonable. If measured by the familiar standard of the Seven Laws, Cui Shi is indeed debatable. However, there is a big loophole in this Mr. Shin-an's poetry review, that is, it ignores the relationship of the times in the development of the Vinaya poetry, so that such a plausible conclusion is drawn.
Whether it is the Seven Laws or the Seven Absolutes, they all originate from the seven ancient poems. The earliest seven-character poems in China originated in the Wei and Jin dynasties, and Cao Pi, one of the Three Caos, wrote many complete seven-character poems. When it came to Bao Zhao, he changed Cao Pi's consecutive sentence rhymes to interval rhymes, which had a wide impact on later poetry creation. The Jin and Song poets developed duality on the basis of Jian'an poetry's emphasis on literary style, and the Qi Liang poet Shen Yue and others further proposed the specifications of four voices and eight diseases, resulting in the "Yongming body". This new style of poetry can be regarded as the beginning of China's rhythmic poetry, and after the improvement of Yu Xin and others, it has the prototype of the later rhythmic poetry of various bodies. In the hands of the Early Tang Dynasty Shen Qi, Song Zhiqing and others, the Seven Laws were further developed and stereotyped, and gradually matured in the hands of Du Fu of the Sheng Tang Dynasty.
Although the Seven Laws were fixed in Shen and Song and matured in Du Fu, their Seven Laws poems were not neatly organized by the capital. For the writing of poetry, the great poet Du Fu did not "follow the rules" when he was young, and when Cui Hao wrote this seven laws in his later years, when Cui Hao wrote this seven laws, the poetry theorists would never be as fine as the laws of the times of Shen An and Liu Xianting. Even if shen qi and Song Zhiwen wrote more laws and poems, the seven laws were written very rarely, and the seven laws of the Shen period's famous work "Ancient Meaning" "September cold anvil to promote wooden leaves, ten years of conquest to remember Liaoyang", is not neat.
In fact, the Seven Laws were only initially mature in Du Fu's hands, and it was not until the late Tang Dynasty that the Seven Laws of Speech and Poetry opened up a new situation. Wen Tingjun, Li Shangyin, and Du Mu, the Seven Laws Holy Hands, not only repaired the shape of the Vinaya, but also transformed the temperament of the Vinaya, pushing the art of Vinaya to a new stage. This is already many years after Cui Hao created "Yellow Crane Tower".
<h1 class="pgc-h-arrow-right" data-track="106" >5/ Why is "Yellow Crane Tower" known as the ancestor of the Seven Laws? </h1>
A reality is that in Cui Hao's time, although the creation of rhythmic poetry was also very hot, the average poet was still heavy on temperament rather than duality. It can be seen that the poems before and even the same period of Shen Song were not very particular about the law. How can we use the eyes of later generations to criticize Cui Hao with the eyes of the law and poetry?
In addition, if only the principle of whether the battle is neat or not is used as the only condition for the argument, then many of Li Bai's poems will be lost because of the failure to work on the battle, such as his five laws "Night Po Niuzhu Huaigu":
Niuzhu Xijiang night, blue sky without clouds.
Boarding the boat to look at the autumn moon, the air remembers General Xie.
Yu can also chant, but the Si people can't hear it.
The Ming Dynasty hung up the sail mat, and the maple leaves fell one after another.
What a wonderful poem, but it has no verses throughout, can you say that it is not a poem? Yan Yu said in the "Canglang Poetry": "There are laws and poems that are not right at the beginning and end. The Princes of the Sheng Tang Dynasty have this body, such as Meng Haoran's poem 'Hanging Seat Southeast Looking...', and Taibai 'Niuzhu Xijiang Night', the music rhymes sonorously, and the eight sentences have no duality. Shen Deqian also said that Li Bai's poem "does not need duality, a cyclone folds, there is such a grid in the rhythm poem." ”
The same is true of Cui Hao's Yellow Crane Tower. In the Yuan Dynasty, Fang Hui said in the Yingkui Law: "The first four sentences of this poem (Cui Hao's "Yellow Crane Tower") are unconventional and imposing. The poet has never been bound by poetry, and his so-called "one breath, whimsical, informal signs, occasionally obtained, self-contained." No wonder He Zhuo of the Qing Dynasty was so popular in the "Commentary on the Poetry of the Tang Three-Body Body": "This body posture can be matched by Lao Du's "Dengyue Yang Lou". The Qing Dynasty poet Zha Shenxing even adhered to the Southern Song Dynasty Yan Yu's theory in the "Commentary on the Poetry of Chubai'an": "This poem is the origin of the later Seven Laws." ”
Although the whole poem of Cui Hao's "Yellow Crane Tower" is not in harmony, the syllables are loud and not awkward, and they are done in one go; the scenes are blended and the artistic conception is far-reaching. "Not ancient and lawless, also ancient and lawless, thousands of autumns sing." (Qing Wu Changqi's "Deleting the Interpretation of Tang Poems") "In fact, there is originally a way of writing rhythmic poems that is not like rhythmic poetry. If we use the later generations of "the law cannot enter the ancient style, and the ancient poetry cannot enter the law" to stick to Cui Hao and Li Bai of that era, it is naturally wrong!
(Image from the Internet)