More than a thousand years ago, Cui Hao, who was unknown at the time, climbed the Yellow Crane Tower and wrote down fifty-six words with a stroke of his pen. It is estimated that even he himself did not expect that these fifty-six words would make him famous from this poem:
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.
The poem is very well written, and it is said that Li Bai put her pen aside. Before the advent of this poem, the Yellow Crane Tower was a poetry building, and countless famous artists left ink treasures; after the advent of this poem, there were many fewer people who dared to write poems in the Yellow Crane Tower. And Cui Hao's poem has also become a seven-law that few people dare to imitate in the past thousand years. Until 1933, Lu Xun copied a poem in one breath.
As we all know, Lu Xun's temper is not small, and there are many poems written on his head. At that time, it was rumored that he had encephalitis, and in a fit of anger, he wrote a "drama of reporting encephalitis", which made people shoot the case. This time, he was angry not for himself, but for the thousands of students in Beiping.
In 1932, the northeast was occupied, the north was in danger, and the authorities were ready to withdraw from Peiping. A large number of cultural relics from Beiping were transported to Nanjing and other places in batches. In this case, they did not let the college students flee. This practice of only valuing cultural relics and not people made Lu Xun very angry, and Lu Xun wrote down these seven laws:
"Peeling Cui Hao Yellow Crane Tower Poetry Hanging College Students"
[Modern] Lu Xun
The broad people have ridden the culture to go, and this place is empty of culture city.
The culture is gone forever, and the ancient city has been deserted for thousands of years.
The front door station of the special motorcade team is full of obscure college students.
Where the day is thin and the yuguan is resisted, no one in the fireworks field is surprised.
The first couplet of poems is stunning. "Kuoren" refers to the officials of the authorities, who took away cultural relics, and didn't they "ride culture" and go away? A "ride" word, full of irony. After they left, Peiping became an empty "cultural city".
The sub-union of the seven laws has always been the most test of the literati's penmanship. Lu Xun's union is not only neat, but also the three words of "cold and clear" in the end also have the meaning of "not only the Yangtze River rolling in" in Du Fu's "Ascending to the Heights". The first four sentences are imitating Cui Hao's "Yellow Crane Tower", but they imitate new heights, which is eye-catching.
The "Qianmen Station of the Special Convoy Team" written in the neck link is a busy scene of a special train transporting cultural relics at the Qianmen Railway Station, which seems to let us see the busy and ugly state of a group of "high-ranking officials and nobles" who are ready to escape. However, they ordered the young people who were not allowed to study to flee, and it seems that compared with these cold cultural relics, the young people studying in Beiping have become "obscure" people.
The tail link uses "Day Thin Yu Guan" to "Fireworks Field", and the battle is neat, a pun, which can be described as the sharp edge of irony, almost wanting to break the literal. The so-called "Nichi thin Yuguan" is both an imitation of "Nippon Township Pass", writing that the sunset is setting in the west and shining on Yuguan. The deeper meaning is that the invaders have all hit the eyes. The so-called "fireworks field" imitates "the smoke wave on the river", clearly writing the drunken dreams and death of the dignitaries and nobles, and secretly writing the smoke of war, in the eyes of these dignitaries and nobles, it is just the fireworks at the head of the building.
The last three words of the poem, like a dagger, "don't be alarmed", plunge the sharp blade of irony into the chest of the perpetrator. For those dignitaries who only care about cultural relics, in fact, where is the concern for what culture, but because these things can be sold for money at any time. They were not at all "alarmed" by the invaders in front of them, at the masses in suffering, and at the empty city of Beiping.
Lu Xun's poem, when read today, still has a majestic momentum and an awe-inspiring and righteous atmosphere, which is worth reading again and again. Such a poem, such a Lu Xun, is amazing, and Mr. Lu is worthy of being the "backbone of the nation.". Sir, what do you think of this poem? Discussion is welcome.