Yellow crane tower
[Tang Dynasty, Cui Hao]
The old man has gone by the yellow crane,
The Yellow Crane Tower is vacant here.
The Yellow Crane is gone,
The white clouds are long and long.
Harukawa Calendar Hanyang Tree,
Parrot Island.
Where is Nippori Pass?
The Smoke Wave River is sad.
This poem is written before the scene, after the lyricism, one breath, natural, even if there is a generation of "poetry immortals" known as Li Bai, can not help but admire the praise, feel that it is better to stop writing for the time being. To this end, Li Bai also sighed with regret and said: "The good scene in front of you is not good, and Cui Hao's inscription poem is on the top!" ”
The Yellow Crane Tower is named after the Yellow Crane Mountain (also known as Snake Mountain) in Wuchang, where it is located. Legend has it that the ancient immortal Zi an took the yellow crane through here (see Qi Huanzhi), and the Yunfei Wenweideng Immortal Rode the Crane here (see the Taiping Huanyu Record quoted in the "Book of Figures"). The poem is from the origin of the name of the building, borrowed from the legend, and then sprouted. Immortals across the crane, originally nothing, now with nothing, saying that it "never returns", there are years no longer, the ancients are not visible regrets; immortals go to the building, only the sky white clouds, leisurely for thousands of years, can show the world's vast indignation. The poet wrote about the feelings that people who climbed the Yellow Crane Tower in that era often had, and their arrogance was reckless and their feelings were sincere.
The predecessors have said that "the text is mainly based on qi", and the first four sentences of this poem seem to be said casually, rotating in one breath and going down with the trend, without any delay. The word "yellow crane" appears again and again, but because of its momentum rushing down, the reader "waving five strings in his hand and watching feihong", hurriedly reading it, without having time to perceive its overlapping appearance, and this is the taboo in the rhythm of the law, the poet seems to have forgotten that he is writing the seven laws of "there is a floating sound before, and the back must be cut", and the words have a fixed sound. Try to see: the five or six characters of the first couplet are the same as "Yellow Crane"; the third sentence is almost all in the voice; the fourth sentence uses the three flat tones such as "empty and leisurely"; regardless of what the battle, all the syntax of the ancient poetry is used. Is this because the Seven Laws were not yet finalized at the time? No, the seven laws of the norm have long been there, and Cui Hao himself has written them. Is it the poet's intention to write bad laws? Not necessarily. He was also different from the later Du Fu's Vinaya poems in which they deliberately created their own tunes.
It seems that it is still ignorant of it, as Lin Daiyu said when teaching people to write poetry in "Dream of the Red Chamber", "If there is a strange sentence, even the flat and false reality is not right." Here, Cui Hao practiced according to the principle of poetry with intention and "not harming the meaning of words", so he wrote such a rare verse in the seven laws. Shen De submerged in commenting on this poem, thinking that "the meaning is like the first, the divine line is written, and the pen is written, so that it is good at the wonders of the ages" (Tang Poetry Biejue, vol. 13), that is, this is the meaning.
The first half of this poem is changed with scattered tones, and the second half is completely restored, writing about what is seen and felt in the building, writing about the grass and green trees overlooking Hanyang City and Parrot Island from the upper floor and the nostalgia caused by this, which is first put and then collected. If you only put it away, blindly unconventional, and do not return to the rules, then it is not a seven laws, but becomes the seven ancients. This poem seems to be cut in two pieces, but in fact, the literary posture is from the beginning to the end, and the middle is just a change of breath. This seemingly intermittent connection is also the most methodical from the point of view of the beginning, continuation, turning, and combination of the Vinaya. When Yuan Yangzai's "Number of Poets" discussed the second link of the Vinaya poem, he said: "This link should be broken (the first link), and it should be like the pearl of the dragon, holding it without taking it off." The first four sentences of this poem are exactly like this, the legend of the Immortal Riding the Crane, the jaw connection and the broken topic hug each other, and they are one and the same. Yang Zai also commented on the "turning" of the neck link, saying: "Avoiding the meaning of the former link, it is necessary to change, such as thunder breaking through the mountain, and the viewer is shocked."
The metaphor of lightning is intended to show that the fifth and sixth sentences of the chapter should have mutations and surprises. At the turning point of this poem, the style is changed from change to correction, and the realm is completely different from the previous link, which just meets this requirement of the law. The Yellow Crane, a former man, has suddenly gone, giving people a feeling of ignorance; suddenly changing into a Qingchuan grass tree, which is vividly remembered, and the vision of Manchuria can not only bake out the melancholy of those who climb the tower, but also make the literary trend fluctuate because of this. It is also very in line with the law of poetry to return the poetry to the invisible realm of the beginning, so that it can respond to the "union" of the previous one, such as the leopard's tail that can wrap around the forehead.
It is precisely because of the artistic brilliance of this poem and its great success that it is understandably revered as the masterpiece of the Yellow Crane Tower.
Later, when Li Bai ascended the building, he also made a lot of poetry, and when he found Cui Hao's poem in the building, he even said "Wonderful, wonderful!" According to legend, Li Bai wrote four sentences of "oil poems" to express his feelings: "One punch smashed the Yellow Crane Tower, one kick overturned Parrot Island, there was a scene in front of him, and Cui Hao's inscription poem was on the top." "I put my pen aside and stopped writing."
A teenager Ding Eighteen sneered at Li Bai: "The Yellow Crane Tower is still unharmed, you can't break it." Li Bai also wrote a poem to defend: "I did smash it, only because the Yellow Crane Immortal cried to the Jade Emperor in heaven, I rebuilt the Yellow Crane Tower and let the Yellow Crane Immortal return to the upper floor." "It's really a matter of time, god is god. Later generations built a pavilion on the east side of the Yellow Crane Tower, known as Li Bai's Pen Pavilion, in order to do something about it. Repeat the eaves and repeat the road, becoming a place for swallows to travel. In fact, Li Bai loved the Yellow Crane Tower, to the point of no return, he was high-pitched and excited, and even called out "one Qingyun guest, three climb the Yellow Crane Tower". Mountains and rivers are humanistic and rely on each other, and the name of the Yellow Crane Tower is more prominent.