(This article was published in the Journal of Hubei Institute of Engineering, No. 7, 2020, please indicate the source for citations or reprints, and the officially published text shall prevail.) ）
Cui Hao's "Yellow Crane Tower" is a different text to examine and refer to the fallacy of contemporary theories
Shandalin
(Institute of New Media Studies, Peking University, Beijing 100871)
Abstract: Cui Hao's "Yellow Crane Tower" is one of the most classic Tang poems. For historical reasons, there are many different texts in the poem. Except for the controversial "riding on white clouds" and "riding on yellow cranes", other different texts have not attracted the attention they deserve. Moreover, the different texts of the previous literature on the Yellow Crane Tower are neither comprehensive nor concentrated. In this regard, this article has carried out a lot of research, both new discoveries and in-depth analysis, such as "Where is the Sunset River and Mountains" in the Inscription of Emperor Taizong of Song, "Where is the Jimu Xiangguan" in the "Poetry Analysis" has not been mentioned by predecessors, and the "Qingchuan Calendar HanyangDu" in the "Wuchang Fu Zhisheng" is also little known. In addition, this article also points out many errors in the previous discourse.
Keywords: big data Cui Hao Huang Helou Heterogeneous text Ride on white clouds Hanyang crossing the sunset rivers and mountains
The people of the past have gone by white clouds, 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 ferry, spring grass green parrot island.
Where is the sunset of the country, the smoke wave river makes people sad.
Cui Hao's "Yellow Crane Tower" was pushed as the "first of the seven laws" by the Song dynasty Yan Canglang. In the Tang Poetry Rankings, published a few years ago, the poem even ranked first among all Tang poems. Although controversy is inevitable, there is certainly no problem in saying that it is "one of the best Tang poems". Due to its wide circulation, the Chinese people are very familiar with this poem, and even recite it backwards, but few people know that this is also one of the Tang poems with the most foreign texts. For more than 1,000 years, among the various anthologies printed over the centuries, many different texts have appeared in the poems of the Yellow Crane Tower. In summary, there are at least 12 words with different words, and even as many as 5 kinds of different words in one word. They are: "Riding on the White Clouds" and "Riding on the Yellow Crane", "Here" and "Zidi", "Empty Remains" and "Only Remains", "Empty Remains", "Empty Works", "Thousand Years" and "Thousand Miles", "Empty Leisure" and "Final Leisure", "Hanyang Ferry" and "Hanyang Tree", "Hanyang Shu", "Spring Grass" and "Fangcao", "Qingqing" and "Lotus", "Miserable", "Sunset" and "Extreme Eyes", "Jiangshan" and "Xiangguan", "Family Mountain", "Where is It" and "Where Are", "Where are", "Smoke Waves" and "Fireworks", and so on. In addition, the title of the poem and the author's name are also different, in addition to the poem "Yellow Crane Tower", there are also "Title Yellow Crane Tower", "Climb the Yellow Crane Tower", "Title Wuchang Yellow Crane Tower", etc., and "Cui Hao" also has the writing "Cui Hao".
In this examination and research, the author has retrieved a total of 49 kinds of poetry anthologies, poems, notes, reviews, chronicles or novels that include or quote the whole poem of "Yellow Crane Tower", a total of 51 editions (2 of which are one book and two books). According to the time of the original writing, there are 5 kinds of Tang Dynasty, 15 kinds of Song (Jin) Dynasty, 2 kinds of Yuan Dynasty, 14 kinds of Ming Dynasty, and 13 kinds of Qing Dynasty. Most of these works are photocopies of ancient Ming and Qing dynasties, including original photographs of Dunhuang manuscripts, rubbings of Song Taizong's imperial inscriptions, and anthologies published in Japan and Korea. In order to facilitate reading, the author has collected all the different texts of the poems of "Yellow Crane Tower" in these books in a table (attached to the text), and the sources of all the different texts are also noted in the table, and the quotations of different texts in the main text no longer indicate the source.
I. "Riding on white clouds" and "riding on yellow cranes"
This is the most poetic and controversial piece of the Yellow Crane Tower. For hundreds of years, many poets have participated in the "White Cloud Yellow Crane" controversy.
Dunhuang Bo Volume 3619
The 34 editions of dunhuang manuscripts, "Guoxiu Collection" and Song Taizong's Royal Book are "White Clouds", 12 versions such as "Selected Poems of Tang Hundred Families" and "Selected Poems of Tang Caizi" are "Yellow Crane", and 5 versions of "Tang Poems Advocate" and "Quan Tang Poems" are "White Clouds, One Yellow Crane". In terms of time, the 6 versions of the Tang Dynasty are all "White Clouds", 13 of the 16 versions of the Song Dynasty are "White Clouds" or "White Clouds" as positive, the 2 versions of the Yuan Dynasty are all "White Clouds", 12 of the 14 versions of the Ming Dynasty are "White Clouds" or "White Clouds" as positive, and 6 of the 13 versions of the Qing Dynasty are "White Clouds" or "White Clouds" as positive. It can be seen that the Tang Dynasty was all the world of "white clouds", the Song and Yuan Dynasties were still the absolute mainstream, the Qing Dynasty took a turn, and the "Yellow Crane" came to the top.
Among the retrieved literature, "Yellow Crane" first appeared in the "Selected Poems of Tang Hundred Families" compiled by Wang Anshi. The reason why the Qing Dynasty was reversed was mainly because Jin Shengsi denied the "white cloud" and advocated the "yellow crane". He published more than 1,000 words of commentary on the poems of the Yellow Crane Tower in "Selected Poems of Tang Caizi", the first paragraph of which was about "White Clouds" and "Yellow Cranes".
This is the poem "Yellow Crane Tower" that has been rumored for thousands of years. There is a book that "the old man has gone by the white clouds", which is a great fallacy. I don't know that this poem is writing three "yellow crane" characters in a row with a huge pen as a strange ear. And if the people of the past ride on the white clouds, why is this building called the Yellow Crane? This is also the most obvious one. As for the four suddenly accompanying the white clouds, it is good to be intentional or unintentional, meaningless. If you did not write the yellow crane, you have written a "white cloud" first, it is "yellow crane" and "white cloud", the two face each other, "yellow crane" is the name of the building, "white cloud" from what canon? And since the white clouds were multiplied by the people of the past, and they are still seen so far, how can the world have a thousand years of white clouds? The disadvantage is when a gimmick has been made.
After this, Shen Deqian's "Tang Poems" and "Three Hundred Tang Poems" of The Retired Scholar of Yutang both chose "Yellow Crane", and Ji Xiaolan also helped in "Yingkui Law Essence Publication Error". Because the "Three Hundred Poems of Tang Dynasty" was too widely circulated, the "Yellow Crane" began to flourish in the world.
Probably because Jin Shengsi, Shen Deqian, Ji Xiaolan and others are famous, in the more than 300 years of the Qing Dynasty, there was only the voice of echo, and no one raised objections, at least the author did not see the literature in this regard. It is only in the contemporary era that no one has stood up and questioned. Shi Jing existed in the article "Yellow Crane Tower and Phoenix Terrace", and comprehensively refuted Jin Shengsi's comments. Shi Wen believes that the so-called "intentional or unintentional, meaningless" is "so mysterious", "Baiyun is taken by the past, and still see the yo-yo, the world is a thousand years of white clouds?" The phrase is "nearly a rogue." Shi Jingcun believes, "The original work of this poem must be 'white clouds'. The first and second couplets are both "white clouds" and "yellow cranes" to form a "confrontation". [2] Huang Yongwu also proceeded from the Dunhuang manuscript and comprehensively refuted Jin Shengsi's arguments. Huang believes that "the Jin clan is strong and reasonable" and "when the Dunhuang Ben appeared, it was more certain that the Tang people were originally like this." [3] In addition, Luo Man[4], Hu Kexian[5], Zhang Minghua[6] and others have also published papers arguing that the claims of Jin Shengsi and others are untenable, and the first sentence is "White Cloud".
The author believes that Jin Shengsi's comments sound imposing, and in fact, every sentence does not stand up to scrutiny. The first sentence is "white cloud", which not only has no problem in the logic of the matter, but also responds to each other in pairs and in pairs. And all the Tang Dynasty versions, such as the Dunhuang Manuscript, are the most probative. "And if the people of the past had ridden on the white clouds, why was this building called the Yellow Crane?" This is indeed a "superficial" problem, because in various legends about the "guest of the crane", although the names of the immortals are different, they all go from the Yellow Crane Tower to "ride the crane and ride the clouds", that is, "riding the white clouds" contains "riding the yellow crane", or "there are cranes in the clouds". Moreover, the name of the Yellow Crane Tower is not only derived from the "guest of the crane", but also from the saying that it is "named because of the mountain". Reading through Jin's thousand-word comment on the poem "Yellow Crane Tower", you will find that his arguments are based on the logical premise of "Phoenix Terrace" imitating "Yellow Crane Tower" - because it is intended to be "Phoenix Triple Stack", the original work must be "Yellow Crane Triple Stack", which is also the reason why many people believe that "riding on the Yellow Crane". However, through in-depth research, the author believes that the so-called "Li Bai shelved his pen" and later "proposed "Phoenix Terrace" to win or lose" are only appendices of posterity, in order to spread false rumors, and accumulate non-success.
In addition, as far as the law is concerned, it should also be "white clouds". The first sentence of the Seven Laws of Pingqi is "□ Ping□ 仄□平韵", and the sixth character must be a flat sound. "Cloud" is in harmony, "crane" is not in harmony.
Regarding the "White Cloud Yellow Crane", the author has specially written a paper entitled "The People of the Past Must Have Multiplied must be "White Cloud" instead of "Yellow Crane"", which was published in the Journal of Weinan Normal University in the 7th issue of 2020.
II. "Hanyang Tree" and "Hanyang Crossing" and "Hanyang Shu"
"Tree", "戍", "ferry", the probability of the occurrence of different words here is extremely low. In various monographs or papers, there are few different comments on this word. Since the Tang Dynasty, almost all versions have been "Hanyang Tree". The correctness of this version seems indisputable. But in the impression, when I first saw the "Hanyang Tree", the author's heart had a small question: "What kind of tree is the Hanyang Tree"? Is it a local specialty species, like the "Wuchang fish"? Because the author knows that "Parrot Island" is a sandbar on the river, it should also be a conventional word to fight with it. Later, I learned that "Hanyang Tree" is not a tree species, but only refers to the trees of Hanyang in general. But I always feel that there is some deficiency in the beauty, or that the beauty is discounted. This feeling is not unique to the author. Later, it was found that the predecessors had already had a slight word about this. Xu (Huo + Bo) (1563-1639) once said: "The Tang people are very strict, 'Hanyang Tree' versus 'Parrot Island'... The song body is natural, and the so-called legal body is accommodating. [7] Fang Shen'an (1893-1962) was even more impolite: "The 'Parrot Island' of The Six is an idiom, and the 'Hanyang Tree' is twisted into pairs of ears." [8] Although some people argue that the law was not yet mature at that time, and that the half-law and half-ancient law were normal, and some people even said that the magic of "Yellow Crane Tower" was "not bound by the law", it still gave people a sense of imperfection.
In the Quan Tang Poems, there is a small note under the "Hanyang Tree": "Tree, a work of shu." Qian Jiushao's (1731-1796) "Zhongzhou Poetry Notes" is also a small note: "Tree, one work". The Five Lantern Society Yuan compiled by the Southern Song Dynasty monk Shi Puji (year of birth and death unknown) quotes two sentences from the Yellow Crane Tower: "Qingchuan calendar Hanyang Shu, Yerba Bukusa Parrot Island." [9] The author was unable to find the entire poem with "戍" as the main choice. According to the Minutes of Reading the History of Public Opinion: "Yellow Crane Mountain, a Yellow Crane Mountain... The pseudo-Han soldiers are stationed here. [10] However, after going through ancient books, the author did not find "Hanyang Shu" in the literature on Wuchang, but found this term in the history of Sichuan. The "Chengdu Prefecture" of the Minutes of Reading the History of Public Opinion says: "Liang Set Xi County, later changed to a county, and the Western Wei Dynasty was also a national. A HanYang Shu. Tang Yonghui reinstated the county in four years and belonged to Lingzhou. [11] The Old Book of Tang's "Jiannan Dao" reads: "Liang Xi Commandery, a Hanyang Shu. Yonghui for four years, divided into noble flat. [12] This statement is also quoted in the Great Qing Dynasty Chronicle. [13] As far as the law is concerned, it is not inevitable that "Hanyang Shu" and "Parrot Island" will not be in conflict, but if "Hanyang Shu" is not a conventional place name, the confrontation with "Parrot Island" will not work. In terms of pattern, "Hanyang Shu" is also small. Standing on the high Yellow Crane Tower, with a wide view, you should not only focus on one fort. Therefore, "Hanyang Shu" is not advisable.
In "Wuchang Province Zhisheng" is "Qingchuan Calendar Hanyang Ferry"
The Zhonghua Bookstore edition of the Taiping Huanyu Ji mentions in the commentary after the poem "Yellow Crane Tower": "'Tree', Wanben, Kuben Tong, Song edition as 'Ferry'. I don't know which works this so-called "Song Edition" refers to. The author searched hard in various ancient books, and found only one source, that is, cao Xuequan (1574-1647) compiled the "Daming Unified Name Shengzhi Wuchang Fu Zhisheng". The fifth sentence of the Yellow Crane Tower in this document is "Qingchuan Calendar Hanyang Ferry". There is nowhere to find stepping on the iron shoes, and it is still a little exciting. I remember the first time I saw "ferry", my eyes lit up, because I immediately felt that this word was more appropriate than the word "tree". When I was studying at Wuhan University, I took the ferry under the Yellow Crane Tower many times. Even years after the Wuhan Yangtze River Bridge was built and opened, that ferry port still exists. "Huguang Tongzhi" said: "Hanyang Ferry, in the west of the county, the old use of civil ferry, the river is wide and dangerous, and the light ship encounters many dangers in the wind." During the Ming Dynasty, Chen Rui, the governor of the ming dynasty, set up eight huge ships, and reorganized twelve sailors from Jiangxia County to recruit a ferryman to lead them, and is still restored to the people. [14] In Tang poems, the figure of "Hanyang Ferry" can often be seen, for example, in Li Bai's "Gift of Hanyang Auxiliary Records", there is "Parrot Island crossing Hanyang Ferry, and the water leads cold smoke without river trees." Yuan Shu's "Thoughts" has "Only should grow up in Hanyang Ferry, transform into a Mandarin duck and fly." Wen Tingjun's "Sending People to the East" has "High Wind Hanyang Crossing, The First Day Yingmen Mountain." "Wang Zhenbai has a poem titled "Xiaobo Hanyangdu". In the poems after the Tang Dynasty, "Hanyang Du" is also seen from time to time. In stark contrast, except for the Yellow Crane Tower, the author has not been able to find the "Hanyang Tree" in other Tang poems. Although the "Hanyang Tree" also appeared many times in the poems after the Song Dynasty, these are likely to originate from the Yellow Crane Tower.
"HanyangDu" for "Parrot Island" is not only neat for the battle, but also more in line with the context of the poem. "The people of the past have gone by the white clouds" and "the white clouds are full of time and leisurely", what a momentum! Climb high and look far away, Harukawa calendar, what a vast field of vision! In this situation, we should take out the momentum of the world, and enter the eyes and hearts as a magnificent and vast thing. Obviously, "Hanyang Ferry" meets such conditions, and "Hanyang Tree" seems insignificant. As mentioned above, the pattern of "Hanyang Shu" is smaller, while the pattern of "Hanyang Tree" is even smaller. The Yellow Crane Tower on the top of Wuchang Mountain is not close to Hanyang on the other side of the Yangtze River, and although the sky is clear, it is impossible to see the trees there. Imagine: that kind of wandering emotion, that pair of extremely wide-eyed eyes, but the final sight fell on the "tree", is there some feeling of a thousand miles?
Since "Hanyang Ferry" is so appropriate, why is it not seen in the earlier version? In this regard, the author is also confused. Perhaps it was copied and engraved by later generations, or someone deliberately changed it.
III. "Township Pass" and "Home Mountain" and "Jiangshan"
Here is a different text, "township pass" is absolutely mainstream. 46 versions, including 6 Tang versions, are "Xiangguan". There are four versions of "Jiashan", which are: the "Class Theory" edited by Zeng Yu (Southern Song Dynasty, birth and death year unknown), the "Tale of the Story" compiled by Hu Zai (1110-1170), the "Bamboo Poetry" written by He Wen (1196 Jinshi), and the "Jiya" edited by Nan Longyi (1628-1692), the first three of which are transferred from Li Bi's (Northern Song Dynasty, birth and death year unknown) "The Anthology", which is actually a source. Nam Ryu-wing is a Korean, and The Jiya was printed in North Korea. And "Jiangshan" is only found in the poem "Yellow Crane Tower" in the Royal Book of Emperor Taizong of Song. This text was discovered by accident while browsing calligraphy inscriptions, and has not been seen in any previous works or papers on the Yellow Crane Tower.
The "Youdi Jisheng" says: "Emperor Taizong's imperial book Cui Hao Huanghe Tower poem is carved in the state rule" [15]. The "Ming Dynasty Unified Name Shengzhi Wuchang Fu Zhisheng" also contains: "Yellow Crane Tower poems, Song Taizong Imperial Book engraved in the state rule." "But this stele is no longer traceable in wuchang today." Zhu Qiyuan, the son of the Ming and Jin Dynasty Emperors, had a "penchant for loving books", and collected many famous fa books from all generations and compiled them into the "Baoxian Tang Collection of Ancient Fa Ti", including the Song Taizong Imperial Book "Yellow Crane Tower". In order to pass on to future generations, the best carved stones are now preserved in the stele gallery of Yongzuo Temple in Taiyuan. "Where is the sunset", the inscription is very clear. Like the Dunhuang scrolls, neither the legal books nor the inscriptions can be tampered with by future generations. Emperor Taizong of Song (939-997) was only about two hundred years away from Cui Hao. The Song Dynasty historical data on the poem "Yellow Crane Tower" is probably the earliest and most reliable.
The inscription (second half) of the Song Taizong Imperial Book "Yellow Crane Tower" is "Sunset River and Mountain"
"Jiashan" and "Xiangguan" are basically synonymous, and both mean "hometown". In ancient poetry, "home mountain" is not uncommon. Luo Yin (833-910) "Autumn Night Sending Soldier Gu Rong" and "Works on the Way back to the East" have respectively "a thousand feet after the dream of the family mountain, and the dust scratches a hairpin." "The old man knows that the wind and the moon will eventually be hated, and the poor family mountain will not be easy to return." Zhao Tuo (1082-1135) "In the North Inscription Wall" has "Looking back at the three thousand miles of the family mountain, there are no geese flying in the south." Huang Ji (1612-1686) "Six States Song Tou • A Hundred Years of Loyalty and Indignation" has "Where is the Wangjia Mountain, Gungun has been swept away." The author's feeling is that "Xiangguan" is more elegant, and "Jiashan" is more intimate, and it is difficult to distinguish between good and bad in terms of textual theory.
However, "Jiangshan" is completely different. This word not only changed the meaning and poetry of the sentence, but even affected the pattern of the whole poem. When I saw the different text here from the inscription, the author was also bright-eyed, and that feeling was even worse than seeing "Hanyang Ferry". Why? Because many of the poems I have read before, although most of them have praised the "Yellow Crane Tower", many people have mentioned doubts, and these criticisms mainly focus on the last two sentences, and the word "Jiangshan" just answers these questions.
"Li Bai's proposed "Jinling Phoenix Terrace" and "Yellow Crane Tower" to win or lose" is an eternal topic in the poetry world. Selected poems of the Tang Dynasty and the Treatise on Poetry of the Past Dynasties will be reprinted or added to the comments on this topic after the Yellow Crane Tower or the Jinling Phoenix Terrace. The mainstream view is, of course, that "Jinling Phoenix Terrace" is inferior to "Yellow Crane Tower", but there are also different opinions. For example, Qu You (1347-1433) believes that the ending of the Yellow Crane Tower is inferior to that of the Jinling Phoenix Terrace, and he said in the "Poetry of Guitian" that "the meaning of loving the king and worrying about the country is far beyond the thought of the countryside, and the good occupation is good." [16] In poetry and in text, the subject matter and the purpose are very important." Where is the Nippori Township Pass, the Yanbo River makes people sad" compared with "always floating clouds can cover the sun, Chang'an does not see to make people sad", the pattern is indeed much smaller. Compared with the majestic momentum of the opening sentence "The people of the past have gone by the white clouds", the "where is the township pass" and "make people sad" in the last sentence also seem small and childish. The author has always felt that "Yellow Crane Tower" as a whole is "tiger head and tail".
Shi Jingcun believes that from the perspective of ideological content and syntax, "Jinling Phoenix Terrace" is better than "Yellow Crane Tower". In another article, he specifically analyzed and compared the endings of the two poems. Here's a passage --
The last two sentences, the two poems both end with emotion, and the word "sorrow" is the same. Cui Hao was worried about "where the countryside is closed" for "smoke and waves on the river", and Li Bai was worried about "floating clouds obscuring the sun" and even "Chang'an is not seen". What Cui Hao is worried about is the fate of one body and oneself, and what Li Bai is worried about is that the little humane is long, and the sage is not allowed to take his place. It can be seen that when Cui Hao ascended to the heights and looked far away, his mood was far less positive than that of Li Baizhi. Moreover, the relationship between these two sentences and the context is also that Cui is not as good as Li. What is the explanation of "Harukawa Calendar, Yerba Buena" and "Where is the Township Pass"? Tang Zhongyan explained: "The tree of Hanyang is all over the Qingchuan River and the continent of parrots, all of which are herbs; the ancients who made this contribution are also safe in Yayah? The extreme hope, because of homesickness, and the smoke waves on the river, the air makes me touch my eyes and worry. "Strangely, I was nostalgic for the past, and suddenly remembered my hometown, this thought process, very unnatural, is it not obviously a very awkward explanation? It is not that Tang Zhongyan explained it awkwardly, but that the author did it awkwardly. It is not that the author is doing something awkward, but the author's thoughts are originally very awkward here. [17]
"Very strange", "very unnatural", "very awkward", Shi's statements, the author deeply feels the same. In that era when the emperor took the lead in advocating Taoism, coming to such a Taoist resort as the Yellow Crane Tower, and associating with the legend of such a miraculous and changeable ascension into immortality, it should be natural and logical to think about life or wander in the heart. WTO Entry or WTO Escape? Temple or jianghu? Homesickness is, of course, a normal emotion, but usually in silence, solitude, frustration, etc., and climbing the Yellow Crane Tower is neither the right time nor the right place for homesickness.
The Qing Dynasty novel "Wild Sorcerer's Exposure" begins with the poem "Yellow Crane Tower". The author of the novel, Xia Jingqu (1705-1787), borrowed the mouth of a Taoist gentleman to make a large alternative interpretation of the Yellow Crane Tower, the focus of which was also on the last two sentences, and also questioned the melancholy of "where is the township pass": "And enter the realm of the immortals, see the traces of the immortals, when you get rid of the common thoughts, screen away the dust, how to reverse the hometown pass, and the township pass is not seen, but as for the sorrow?" Sad word, vulgar pole, stupid pole; sad in the countryside, more vulgar, more stupid! He thinks that "the beauty of this poem lies in the last two sentences; the poet who has never interpreted the poem has misunderstood these two sentences, so the meaning is so clear!" "The world's interpretation of the first few sentences is also incorrect. How should it be understood? Mr. Taoism said: "The meaning of this poem is a matter of words and immortals, and it is nothing, and it is completely untrustworthy." "Foolish people learn immortals, abandon the township pass, often old and dead, that is, like 'the Yellow Crane Tower is empty here', and the people of the past will never return", so, "I should hurry back to my hometown, and when I see my parents and wife, I will not mourn the past, and the posterity will mourn me!" Therefore, the two sentences are combined: Where is the Nippon Pass? The smoke wave on the river makes people sad! ”
It sounds like the logic of reason is a little smoother, and homesickness seems to be less "sudden". But the question is, are the first few sentences talking about the immortal path of nothingness? I believe most people will not agree. Thinking about it carefully, Mr. Daoxue's "high theory" is still a bit twisted. It should be noted that "idiots learn immortals" is not just "throwing away the countryside", many people have even abandoned the fame and wealth, and even the emperor is not good at doing it - Tang Xuanzong was obsessed with the art of ascending immortals and the government was abandoned. Even if you don't want to learn immortals, you don't have to "rush back to your hometown" - isn't it better to be like Li Bai, who is tied to Chang'an, who draws on merit, who has made meritorious achievements, who has been promoted to fame, who has been promoted to fame, and then who has returned to his hometown in his clothes, or even "Weijia Hainei returned to his hometown"? Therefore, Mr. Taoism's interpretation still cannot solve the "very unnatural" knot.
So, what's going on? "Jiangshan" has made this problem easy to solve. "Where is the sunset of the country, the smoke and waves on the river make people sad." The sky gradually darkened, and the great rivers and mountains could not be seen clearly. From the "Harukawa Calendar" and "Spring Grass", to the twilight and the smoke waves, the tone is from light to dark, and the mood is high and low, such a process is natural, without any sense of violation and awkwardness. The word "Jiangshan" also contains the meaning of "bearing the world in mind", and there is no top-heavy suspicion in the pattern.
Of course, if "Jiangshan" is replaced by "Township Pass", the third word in the last two sentences is "Jiang", and the words overlap and the position is the same. As far as the law is concerned, this is a flaw. The reason why "Jiangshan" is rare may be related to this. However, "Yellow Crane Tower" is originally a poem that does not hesitate to stack words, in addition to "white clouds" and "yellow cranes", "go" and "empty" also appear twice. If two "clouds" and two "cranes" are held in pairs, then "going" and "empty" are also echoed back and forth. Since this is the case, what is the harm in the two "rivers" facing each other?
Fourth, a brief analysis of several other different texts
"Here" and "here". Dunhuang manuscripts and "Guoxiu Collection" and "Wenyuan Yinghua" are "Zidi", "Quan Tang Poems" and "Zhongzhou Poetry Notes" are small notes". The remaining 47 versions are "here.". The meanings of "this" and "this" here are exactly the same, but the tones are different. "Z" is a flat sound, and "this" is a slang sound. The first word of the second sentence of the Seven Laws of Pingqi should be a slang sound, and the word "this" is combined.
"Empty" and "only remaining", "empty", "empty", "empty". Of the 51 versions, 44 are "free". "Wei" is only found in the Dunhuang manuscript. The Quan Tang Poems and the Zhongzhou Poetry Notes are "Yu, One Work Stays". The Zhonghua Bookstore edition of the Taiping Huanyu Ji (太平寰宇記) notes that "Yu, Song edition, Wanben, and Kuben are 'left'". "Wenyuan Yinghua" and "The Complete Biography of the Four Journeys" are "empty relics". It is "empty work" in the Shugutang Jing Song banknote "Cai Tuning", but it is "empty" in the Wenyuan Ge Siku manuscript "Cai Tuning Collection". "Relic" and "stay" have the same meaning, but the "leftover" is usually their own things, but the Yellow Crane Tower is not owned by the "past", so "empty relic" and "empty stay" should be excluded first. "Only remaining" and "empty" can be accepted, because there is an "empty" word in the following text, if it is taboo, "empty" should be discarded, but there are many overlapping words in this poem, and the two "empty" echoes may be more in line with Cui Hao's original meaning. Puzzling is "empty work". The poem title of the "You Xuan Ji" and the Wenyuan Ge Siku written in this edition of the "Cai Tuning Collection" are both noted with "Yellow Crane is a person's name", which seems to mean that the Yellow Crane Tower is named after a person, and "former people" may be "Yellow Crane", and if so, "Empty Works" is very appropriate - this building is named after the person "Yellow Crane", and this former person is gone, and there is no "Yellow Crane" in the "Yellow Crane Tower", isn't it "empty" work? Therefore, "empty work" and "Yellow Crane is a personal name" are logically connected. However, it is strange that the "You Xuan Ji" with the note "Huang He Nai Ren Ming Ye" and the Wenyuan Ge Siku edition of the "Cai Tuning Collection" are both "empty", while there is no small note under the poem title of the Shugu Tang Jing Song Banknote "Cai Tuning Collection" that is "empty work". Combining various factors, it is more appropriate to "spare".
"Senzai" and "Senri". "Qianli" is only found in the "Guoxiu Collection", and the other 50 versions are "Qianzai". One is the concept of time, a concept of space. The legends of those immortals are all things that happened a long time ago, and it is appropriate to use "Senzai". The use of "thousand miles" to describe "white clouds" is not appropriate and very rare. The only "thousand miles" should be a mistake.
In "Poetry Rhyme Analysis", it is "finally leisurely" and "extremely muxiangguan"
"Empty Yo-Yo" and "Final Yo-Yo". Of the 51 editions, only Wang Xuan (1692-1759) wrote "Poetic Rhyme Analysis" as "Final Yo-Yo". Here, "leisurely" may have the meaning of "leisurely and free", such as "idle clouds and ponds shadow day leisurely" (Wang Bo's "Preface to the Tengwang Pavilion"); or for the meaning of "long and vast", such as "the leisurely of reading the heavens and the earth, the solitude but the drooling" (Chen Ziang's "Dengyouzhou Tai Song" sentence). "White clouds are empty for a thousand years", which can be understood as "white clouds have been idle for a long time", and can also be understood as "time is long, the sky is vast, and the white clouds are so white and empty, no one takes them anymore." "The end is leisurely", which is interpreted as "always leisurely", seems to make sense. However, the word "empty" has empty inspiration and conforms to the characteristics of white clouds; while the word "final" is more dignified and does not match the tone of the poem. Moreover, the version of "Final Yo-Yo" is too lonely to know where it originated.
"Spring Grass" and "Yerba Buena". There are 16 versions of the Dunhuang Manuscript and the Imperial Book of Emperor Taizong of Song as "Spring Grass", 31 versions such as "Class Theory" and "Three-Body Tang Poems" as "Fangcao", and 4 versions such as "Tang Poetry Institute" and "Tang Poetry Chronicle" as "Spring, One Piece Fang". Quantitatively, "Fangcao" is dominant; but "Spring Grass" is mostly an early anthology, including all 6 versions of the Tang Dynasty. "Spring grass" must be "yerba mate", and "yerba mate" is not necessarily "spring grass". Whether the grass is "fragrant" or not, people upstairs in the distance can neither see nor feel it, but the grass in the spring season is naturally "spring grass". "Parrot Island" is considered to imitate the "Yellow Crane Tower", and there is a "Fang" character in the sentence of Li Shi's "He Qingqing of the Tree of Fangzhou" - "Parrot Island" of "Fangcao" is not "Fangzhou"? According to the logic of the "Yellow Crane" school, since "Parrot Island" uses "Fang", then "Yellow Crane Tower" should also be "Fang". In the literature I have consulted, the stories of "Yerba Buena" and "There is no way to see the scenery in front of you" first appeared in Li Bi's "Records of the Story", so it may be that during the Northern Song Dynasty, "Spring Grass" was changed to "Yerba Buena".
"Qingqing", "Qingqing", "Miserable". 5 versions, such as the Dunhuang Manuscript and the Guoxiu Collection, are "Qingqing", 34 versions such as "Heyue Yingling Collection" and "Youxuan Collection" are "萋萋", 10 versions such as "Chronicle of Tang Poetry" and "Class Theory" are "miserable", and "Quan Tang Poems" and "Zhongzhou Poetry Notes" are "萋萋, Yi Zuo Qingqing". "萋萋" and "miserable" can be universal, and can be interpreted as "the appearance of flourishing grass and trees", such as "Shi ZhouNan Ge Qin": "Ge Zhi Qin Xi, Shi Yu Zhonggu, Wei Ye Ying." But "sadness" and "misery" both contain the meanings of sadness, coldness, and restlessness. "Poetry Classic, Zheng Feng": "The wind and rain are miserable, and the chickens are chirping." The word "miserable" means bad weather, which is obviously inconsistent with the "Harukawa" in the previous sentence. The meaning of "Qingqing" is relatively simple, "spring grass is green", full of vitality. In order to avoid unnecessary ambiguity, coupled with the term "Qingqing" in the early literature, "Qingqing" should be the right choice.
"Twilight" and "Polar Eye". Like "The End of The End", "Extreme Eye" is only found in the Poetic Rhyme Analysis. Shi Jingcun and others believe that the sudden turn of the last two sentences of "Yellow Crane Tower" into homesickness is "very unnatural", but with the word "extreme eye", it is much more natural. Climbing a tall building and looking at the distance, it is easy to have the idea of looking at the hometown or the question of where the township is, but "on the yanbo river" and "the hometown is small", of course, can not be seen, so "people are sad". In addition, the time from "Harukawa" to "Nippon" is not short, will Cui Hao stay upstairs for so long? There are feelings and hair, poetry is endowed, and the time span of thoughts should not be too long. From this point of view, "Polar Eye" is also more reasonable than "Sunset". But these reasons are not enough to overturn all other versions. The text here cannot be a hand error such as "Lu Yu Feng Hai", it is likely to be a deliberate change. Whether it is changed or not, it is not advisable.
"Where is", "Where is", "Where is". The 39 anthologies such as "Guoxiu Collection" and "Youxuan Collection" are "where is", 6 versions such as Dunhuang Written Book, Heyue Yingling Collection, and Song Taizong Imperial Book are "Where is" (the "place" character of Dunhuang Written Book) is "Where is", and 5 versions such as Quan Tang Poetry and Tang Poetry Institute are "Yes, One Work is in". The Tang Poems are "where is similar", and the poems of the Yellow Crane Tower, which are cited in the Annotations to zhao Baiyan's poetry collection, are also "where is similar". The meaning of the 3 versions is almost indistinguishable, "yes", "like" and "in" are also the same as the voice, it is difficult to say which is more appropriate, may wish to follow the crowd.
"Fireworks" and "Smoke Waves". "Fireworks" only appears in the Dunhuang script, and all other versions are "Smoke Waves". The handwritten "fireworks" should be a clerical error. Huang Yongwu believes that it should be "fireworks", on the grounds that Li Bai's "Yellow Crane Tower Sends Meng Haoran Down to Yang" has the sentence "Fireworks descend yangzhou in March" [19]. Huang believes that "'fireworks' was obviously learned from Cui Haoshi", as if Li Bai was the "parrot version" of Cui Hao, who followed suit and would only learn the tongue, and as if "fireworks" were pioneered by Cui Hao, and no one had used them before, as everyone knew in the Sui Dynasty Jiang Zong's "Autumn Feast Louyuan Lake Yingzhao" had the sentence "The fog opens the building near, and the smoke of the sun is long", and there may be earlier use cases. In addition, the "smoke wave" is followed by "on the river". "Smoke Waves" and "Thousand Miles of Smoke Waves" are all depictions of scenes on the water. If it is "on the river", when it is a "smoke wave", how can it be a "firework"? In Huang's article, every word in the Dunhuang manuscript is correct, and everything must be based on the Dunhuang version - only Dunhuang is from, and it is also a bit too much.
The different text of the poem's title seems to be irrelevant, so I will leave it alone. The "颢" and "灏" in the author's name can be used generically, and there is not much to say.
5. Errors in previous monographs or papers
Regarding the different articles of "Yellow Crane Tower", there have been many monographs or papers before. These monographs or papers have a certain value, and there have been many citations in the previous articles, but there are also many factual errors. As an academic paper of the evidence, while correcting others, there are many mistakes on its own, which is intolerable. In order to avoid false rumors, the author believes that it is necessary to point it out. Of course, these errors are only discovered and confirmed by the author, and there may be omissions.
Shi Jingcun's "Yellow Crane Tower and Phoenix Terrace" is a very valuable article with strong arguments and comprehensive analysis. However, the text says that "another anthology of Tang poems in the Yuan Dynasty, "Tang Poetry Advocacy", began to change to 'Yellow Crane'. And believes that "it seems that between the gold dollars, someone changed 'white cloud' to 'yellow crane'." "This statement is very inaccurate. The author retrieved 4 ancient book versions of "Tang Poetry Advocacy", of which the "Tang Poetry Advocacy" Wenyuange Siku manuscript is "Baiyun", the "Tang Poetry Advocacy Notes" Hao Tianting Annotation Yuan engraving and the "Tang Poetry Advocacy" Qian Qianyi engraving in the early Qing Dynasty are all "White Clouds, a Yellow Crane." Only the "New Tang Poetry Advocacy Commentary" was published by Zheng Yunzhai in the twentieth year of the Ming Wanli Calendar as "Yellow Crane". In fact, there are earlier documents that directly changed to "Yellow Crane", such as the Song Dynasty's "Selected Poems of Tang Hundred Families". Shi Wenzhong also said, "'Spring Grass and Grass', many anthologies of the Tang and Song Dynasties are the same, only the 'Guoxiu Collection' is 'Spring Grass Qingqing'. Starting from "Tang Poetry Advocacy", all versions have been changed to 'Yerba Buena'. It can be seen that this word was also changed by the people of the Jin Yuan era. In fact, regarding these four words, the Tang and Song dynasties were already very chaotic, in addition to "spring grass and grass", "spring grass is miserable" and "yerba buena" are also many. In addition to the "Guoxiu Collection", the version of "Spring Grass Qingqing" also includes the Dunhuang manuscript, Wenyuan Yinghua and Tang Wenzhi. After "Tang Poetry Advocacy", not all versions were changed to "Fangcao Qingqing", and more than a dozen anthologies such as "Tang Fifty Poetry Collection" and "Quan Tang Poetry" were still "Spring Grass And Grass Miserable", and even in the Qing Dynasty, there were versions of "Spring Grass Qingqing", such as "Zhongzhou Poetry Banknote".
Huang Yongwu's article "The Value of Forty-One Tang Poems in The Volume of Dunhuang Bo 3619" also said that "books before the Song Dynasty did not yet take the Yellow Crane", and "it may be Jin Shengsi who directly changed it to take the Yellow Crane in the seventeenth year of Shunzhi in the early Qing Dynasty (1660 AD) who selected and approved the "Tang Caizi Poems"." "This is clearly wrong too. Regarding "empty and leisurely", Huang Wen said: "The 'Empty' of the Heyue Yingling Collection is 'common', and the rest of the books are the same as the Dunhuang version. After verification, the four series of Jingyin Inscriptions "Heyue Yingling Collection" and the rearranged version of the Shanghai Ancient Books Society are "empty", and the rest of the books do not see "Gong", while the word in the "Poetry Rhyme Analysis" is "final". Regarding "spring grass" and "fangcao", Huang Wen said that "before the Song Dynasty, it was all 'spring'" The expression is not clear, if it includes the Song Dynasty, it is a big mistake, because the Song Dynasty version is already mostly "Fang". Regarding "where is", Huang said that "each book is 'in' and 'is', but the thirty-first of the Tang Shiji, in which it is bet 'one work in', is the same as the Dunhuang ben" that still exists today." In fact, in addition to the Dunhuang manuscript, there are at least four editions that use "in" as a canonical choice rather than a different text, including the Royal Book of Emperor Taizong of Song and the Collection of Heroic Spirits of Heyue. The article mentions the "Collection of Heroic Spirits of Heyue" many times, but it is not found that "where is" in this book.
Jing Song Ming's "Heyue Yingling Collection" is "empty and leisurely" and "where is it"
Hu Kexian's "Multiple Interpretations of Tang Poetry Classics: Taking Cui Hao< The Yellow Crane Tower > as an Example" has more errors. "From Tang to Yuan, there were no 'Yellow Cranes'", which was even more outrageous than Shi Jingcun and Huang Yongwu. In fact, among the 51 editions only examined by the author, 3 versions of the Song Dynasty have "Yellow Crane", namely "Selected Poems of Tang Baijia", "Poetry of Zhuzhuang", and "Shilin Guangji" (commercial version). Regarding "Spring Grass Qingqing", Hu Wen said that "several of the Tang and Song Dynasty anthologies and his book quotations are all written as 'Spring Grass Grass'", which is a big fallacy! The table has been listed above and will not be repeated. The "Yellow Crane Tower Poetry Comparison Table" attached to the article calls the "Collection of Heroes and Spirits of Heyue" as "Gongyou" (the same as Huang Yongwu), "Where and How" in the "Cai Tuning Collection", and "This Place Is Empty" in the Taiping Huanyu Record, all of which are wrong! In fact, these 3 places are the most popular versions, namely "Empty Leisure", "Where is", "Here is Empty".
Luo Man's "< The Millennium Bias of the Yellow Crane Tower > Poem Case and the Significance of Its Academic History" cites 17 kinds of literature such as "Wenyuan Yinghua", "Class Theory", and "Yu yin cong dialect of The Fishing in the West", and said that the "Yellow Crane Tower" in these documents "is "all 'the people of the past have gone by the white clouds', and there is no foreign text, which shows that the original state of the poems of the "Yellow Crane Tower" has basically not changed in the Song, Jin, Yuan, and Ming dynasties. In fact, there are many different texts in these 17 kinds of literature, such as "Zidi Empty Yellow Crane Tower" in "Wenyuan Yinghua", "Class Theory" and "Where is nippon Family Mountain" in "Yu yin cong dialect of Cangxi", which is different from the popular version. In addition, the statement that "Wang Anshi is the initiator of changing the 'white cloud' to 'yellow crane'" and "deliberately engaging in the business of stealing the day and changing the day" is also too arbitrary. As of now, the "White Cloud" in Princess Wang Jing's Compilation of "Selected Poems of Tang Hundred Families" is indeed the earliest, but I am afraid that it is not yet possible to conclude that there is no earlier source, and there is no evidence of "deliberate" and "contrived". In addition to the "Selected Poems of Tang Caizi" and "Selected Poems of Tang Baijia" as "targets", Luo Wen did not list other documents from Song zhiming's "riding the Yellow Crane". If you do not know the versions of "Riding the Yellow Crane" such as "Zhuzhuang Poetry" and "Shilin Guangji", it means that the examination is not comprehensive; if you know these versions and deliberately do not list them, it is academic injustice. If both sides only list evidence in their favor, it becomes a matter of saying something and never reaching a consensus. In the text, Luo criticized the "Yellow Crane" faction for "preset targets" and then only looked for evidence that met the preset goals and then excluded evidence that was unfavorable to the preset goals, but he was also suspected.
The foundation is not solid, and the ground is shaking. For the analysis of evidence, verification and verification is the basic work. If the citation is false, the judgment is bound to be wrong, and the foreign text that the author believes should be discarded has not disappeared, and new foreign texts will be generated because of his own error. Both Huang Yongwu and Hu Kexian called the "Heyue Yingling Collection" "Gongyouyou", which may be the result of the latter's introduction to the former. Of the 52 versions of this article, the author has "personally" checked the original provenance. All the literature clues that could not be verified were discarded.
5. Conclusion
Regarding the controversy over the different texts of the Yellow Crane Tower, Pan Deyu said in the "Poetry of Yang Yi zhai": "If you give up his spirit and ask for his words, the more he talks about it, the more he wears it, and the more he imitates it, the more despicable he is." [20] However, without "words", how can we talk about "divine qi"? Therefore, immediately after that, Pan Deyu still made his own judgment between "white clouds" and "yellow cranes", "spring grass" and "herbs".
Tang poetry is one of the most precious legacies in the treasure house of Chinese culture, and "Yellow Crane Tower" is one of the best masterpieces of Tang poetry. For such historical and cultural heritage, the Chinese people should maintain reverence and careful care. What is passing now is not necessarily right. The general public does not need to delve into the origins of cultural heritage, but as practitioners in the field of history and culture, they should always examine it with a historical perspective. But any trace of dust found should be carefully whisked away. The author's analysis and judgment of the different articles of "Yellow Crane Tower" may not be all correct, but if it can inspire readers, it is valuable. The author believes that in classic poems like "Yellow Crane Tower", every word flashes with the light of culture and wisdom, and every word must stand the test of time!
Attached: List of different texts in Cui Hao's "Yellow Crane Tower"
A Research on the Variants inCui Hao’s Yellow Crane Tower
and a Clarification on theErrors in Current Explanations
Sheng Dalin
(School of New Media, PekingUniversity, Beijing 100871)
Abstract: Cui Hao’s Yellow CraneTower is one of the best classics in Tang poetry. Due to historical reasons,this poem m contains a lot of variants. Apart from the long disputable “乘白云（by cloud）”and “乘黄鹤(byYellow Crane)”, other variants failed to gain attention. Who’s more, there is no comprehensive and focused studyon this issue. Therefore, this essay undertakes a lot of research and analysisand makes a discovery. For instance, the line “日暮江山何处在”inthe inscription of Son Taizong’s Calligraphy and “极目乡关何处是” in 《诗韵析》（Analysis on Poetic Rhyme）have never been mentioned before. In the meantime, few people everheard of “晴川历历汉阳渡” in 《武昌府志胜》. In addition, this essay also criticizes and corrects some errors inpredecessors’ works.
Key words: big data; Cui Hao; YellowCrane Tower; variants; by cloud; Han Yang Ferry; sunset landscape
bibliography:
[1] Wang Zhaopeng et al., Ranking of Tang Poems, Beijing: Zhonghua Bookstore, 2011 edition, p. 1.
[2] Shi Jingcun, "100 Words of Tang Poems", Xi'an: Shaanxi Normal University Press, 2014 edition, vol. 1 (3 volumes), p. 191.
[3] Huang Yongwu, Dunhuang Literature and Literature Series, Hangzhou: Zhejiang University Press, March 2017, 1st Edition, p. 330.
[4] Luo Man, "The Millennium Bias of the < Yellow Crane Tower > Poetry Case and the Significance of The Police Province of Academic History", Wuhan: Journal of South Central University for Nationalities (Humanities and Social Sciences Edition), No. 6, 2017.
[5] Hu Kexian, "Multiple Interpretations of Tang Poetry Classics: A Case Study of Cui Hao< The Yellow Crane Tower >", Taiyuan: Appreciation of Masterpieces, No. 4, 2014.
[6] Zhang Minghua, "Cui Hao< Yellow Crane Tower> the first sentence of the poem "The Old Man Has Gone by the White Clouds", Nanjing: Knowledge of Classical Literature, No. 2, 2014.
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[11] (Qing) By Gu Zuyu, Minutes of Reading the History of Public Opinion, Beijing: Zhonghua Bookstore, 2005, p. 3157.
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[13] (Qing) Mu Zhang'a et al. Compilation: "The Great Qing Dynasty Unified Chronicle", Photocopy of the Wenyuan Pavilion Collection of the Siku Quanshu, vol. 151 (Zizhou), p. 10.
[14] (Qing) Mai Zhu, ed., Huguang Tongzhi, photocopy of Wenyuange Tibetan Edition, vol. 13, p. 35.
[15] (Song) Wang Xiangzhi, ed., Jisheng of Youdi, Anthology of Louying Song Banknotes, vol. 67, p. 4.
[16] (Ming) Qu You: Poems of Guitian, Beijing: Zhonghua Bookstore, 1985 edition, vol. 1, p. 3.
[17] Shi Jingcun, "A Hundred Words of Tang Poems", Xi'an: Shaanxi Normal University Press, 2014 edition, vol. II (three volumes), p. 227.
[18] (Qing) Zhao Binglin, "Annotations to Zhao Baiyan's Poetry Collection", Chengdu: Bashu Book Society, 2014 edition, p. 69.
[19] Huang Yongwu, Dunhuang Literature and Literature Series, Hangzhou: Zhejiang University Press, March 2017, 1st edition, p. 330. The title of the poem is "Yellow Crane Tower Sends Meng Haoran to the Guangling Tomb".
[20] (Qing) By Pan Deyu: The Poetry of Yang Yi zhai, Beijing: Zhonghua Bookstore, 2010 edition, p. 512.