Does the Yellow Crane Tower mean to satirize the present by borrowing the past?

Year: Tang Author: Style: Seven Rhymes

The fairy of the past has flown away by the yellow crane, leaving only an empty Yellow Crane Tower.

The yellow crane never revisited earth, there have been no long white clouds for thousands of years.

Every tree in Hanyang has become clear due to sunlight, and Nautilus Island is covered with sweet grass.

But I looked home, and the twilight was getting thicker. The river is shrouded in mist, which brings people deep melancholy.

To annotate ...

Precautions:

1, Yellow Crane Tower: The former site is in Wuchang County, Hubei Province. It was burned in the early years of the Republic of China. It is said that there was a man named Wen Fei in ancient times. about

Fairy, take a crane to ascend to immortality here. Some people think that the past is blowing in the wind.

2, leisurely: the meaning of a long time.

3, vivid: clear and distinct.

4. Nautilus Island: It is in the southwest of Wuchang County, Hubei Province. According to the records of the later Han Dynasty, Zu Ren was here when he was the satrap of Jiangxia.

Among the banquet guests, some people presented parrots, so some people called it Parrot Island.

Rhyme translation:

The legendary fairy flew over the yellow crane long ago,

There is only the empty Yellow Crane Tower left in this place.

The flying yellow crane will never come back,

Only the long white clouds will last for thousands of years.

The trees in Qingchuan Pavilion in Hanyang are lifelike.

The grass on Nautilus Island grows thick and thick.

I don't know where my hometown is at dusk

Facing the foggy river, it is worrying!

Comments:

This poem is a masterpiece of nostalgia. The poet boarded the historical site Yellow Crane Tower and got a panoramic view of the scenery before him. His poems are full of emotion, blurted out and beyond words. It is both natural and magnificent, full of personality. Poetry is not harmonious, but the syllables are clear and not awkward. It's really one step at a time, and it has become a treasure admired by all previous dynasties. Legend has it that Li Bai boarded this building and witnessed this poem, which impressed him deeply. He said: "There is a scene in front of me, with Cui Hao's poems on it." Yan Canglang also said that the seven-character poems of the Tang Dynasty should be the first. It shows that poetry is precious to nature, even if it is metrical.

-Quoted from "Ultra-pure Zhai Shi" bookbest. 163.net Translation and comments: Liu Jianxun.

This poem is a seven-character poem written by Cui Hao, a poet in the Tang Dynasty. The main points are:

"The fairy has gone by yellow crane, leaving a yellow crane tower here for nothing. After the yellow crane left, it never came back. White clouds floated in the air for thousands of years and did not change because of the departure of the yellow crane. On sunny days, the trees along the Chuanjiang River in Hanyang are clearly visible, and Nautilus Island is also covered with green grass. At night, I can't see where my hometown is, and the vast river waves on the river in the distance are really worrying. 」

The main idea of the poem is to describe the loneliness and homesickness when climbing stairs and looking into the distance. The author points out the Yellow Crane Tower from the beautiful myth that the immortal came here by yellow crane for recreation, and then the immortal left and never came back, leaving only the Yellow Crane Tower and thousands of years of Qingchuan, Cao Fang, Hanyang Tree, Nautilus Island and Baiyun * * * for homesickness.

There are three different stories about this beautiful fairy tale over the years. The first thought the fairy was Huang Zi 'an, the second thought it was Fei Yi, and the third didn't have the fairy's name. They are described as follows:

At first, I thought it was the fairy Huang Zian:

According to the "Southern Zhou County Records", "According to legend, there are immortals driving yellow cranes here, hence the name. It is pointed out that the origin of the naming of Yellow Crane Tower is that there was once a fairy named Zi 'an who passed by this place by yellow crane, so it was named Yellow Crane Tower.

Second, I thought it was a fairy fee:

According to "Atlas", "I went to visit immortals, but I took a test drive of the Yellow Crane and still rested here, so I became a famous building. It is believed that the origin of the naming of the Yellow Crane Tower refers to the fact that after Fei Yi's corpse became immortal, he returned with a yellow crane and rested in this building, so he was named the Yellow Crane Tower.

"Taiping Universe" said: "Shu Fei Wenxian ascended the immortal and wanted to drive the Yellow Crane to rest here." This points out that Fei Heng is a native of Shu, and he has an extra word "Wen" with Fei Heng in front. In Biography of the Three Kingdoms of Shu, there was a man named Fei Heng, whose body was Fei Heng and Heng. Is this Fei Wenwei, a Shu person? Because there is no other record,

Third, say it's a fairy:

This legend is recorded in detail, and it comes from karma. The original text is: "Xin used to sell wine as a business. When a gentleman came, he was tall and in rags. He said quietly to Xin, "Can you drink? Xin didn't dare to quit and drank a big glass. When I was half a year old, the Xin family enjoyed it. One day, Mr. Xin called him and said that he owed wine and he couldn't pay you. So he took a small basket of orange peels and drew a crane on the wall. It was yellow. The sitter clapped his hands and blew, and the yellow crane danced with the law. Everyone paid money to see it. 10 years later, when the Xin family was exhausted, Mr. Hou came to the table. Xin thanked him and said that he was willing to provide him with the best. Mr. Wang said with a smile, "Why did I suddenly take a flute and play a few tricks for it?" After a while, white clouds fell from the sky and painted cranes. The king rode over the crane and built a building in Xin's house, named Yellow Crane. " 」

The general idea of this myth is that there used to be a Mr. Xin who sold wine on weekdays. One day, a guest came. He looked poor, but he was dressed in rags. He calmly asked Mr. Xin if he could give me a glass of wine. Mr. Xin didn't neglect each other's rags, and quickly filled a large glass of wine. After half a year, Mr. Xin didn't seem bored because the guests couldn't afford the drinks, and he still invited the guests to drink every day. One day, the guest said to Mr. Xin: I owe you a lot of money for drinks, and I can't pay it back. So I took out the orange peel from the basket and drew a yellow crane on the wall. Then I beat my hands and sang a song. The yellow crane on the wall dances with the song and the beat. Other guests in the hotel paid to watch this wonderful event. Ten years have passed and Mr. Xin has accumulated a lot of wealth. One day, the ragged guest drifted to the hotel again. Mr. Xin came forward to thank him and said, I am willing to support you according to your wishes. The guest smiled and replied, Where did I get this? Then he took out his flute and played some songs. Before long, I saw white clouds falling from the sky, drawing cranes in Bai Yunfei for the guests. The guests climbed onto the crane's back and went to heaven by Bai Yunfei. In order to thank and commemorate this guest, Mr. Xin built a building here, named Yellow Crane Tower.

These three myths not only explain the origin of the naming of the Yellow Crane Tower, but also give us good enlightenment. Because Mr. Xin, the owner of the hotel, doesn't care much about poverty, loves money and doesn't judge a book by its cover, he got help from the gods and became a rich man.

It is through these beautiful myths and legends that Cui Hao, the author of this poem, wrote that he climbed the Yellow Crane Tower at dusk and looked out at the countryside. He saw that water and sky were the same color and boundless, which added to his melancholy and blurred sadness. He thought that the immortal who sat on the crane here would never come back. Even if the author wants to let go of all the troubles in the world, he can't return with the fairy. Facing the misty haze of a river, looking up at the eternal white clouds, lamenting that life is short and impermanent, but homesickness is insoluble, the day of returning home is far away, and fairyland is hard to find. Thinking that there is nowhere to go in this life, all kinds of feelings are surging, and the sadness in my heart is like smoke on the river, which is too thick to melt.

After Cui Hao wrote this poem, poets in the Tang Dynasty competed to sing and imitate it. Li Bai, a great poet, once came to Yellow Crane and wrote a poem "Nautilus Island" to compete with Cui Hao. It is said that Li Bai felt that his writing style was not as good as that of Cui Hao, so he wrote a doggerel on the Yellow Crane Tower: "One punch breaks the Yellow Crane Tower, two feet." There is a scene in front of me in which Cui Hao wrote a poem. "He left the Yellow Crane Tower and became more and more unwilling when he came back. He wrote a song" On Boarding the Phoenix Tower in Nanjing ". This interesting legend is introduced in another article.

-Quoted from "Written by Teacher Luo"

In the Yuan Dynasty, the new biography of talented people in Tang Dynasty recorded that Li Bai once wrote poems on the Yellow Crane Tower. When he saw Cui Hao's works, he closed his hand and said, "The scenery in front of him can't be seen. Cui Hao wrote a poem on it." Legend or attachment of later generations may not be true. But Li Bai did write poems twice to imitate this poetic style. The first four sentences of his poem Nautilus Island say: "The parrot crossed the Wujiang River eastward, and its name spread to the upper reaches of the river. The parrot flies to Longshan in the west, and the tree of Zhou Fang is He Qingqing. " Just like Cui Shi. There is also a poem "On the Phoenix Terrace in Nanjing", which is obviously copied. Because of this, many poets have a reputation of oral communication. For example, Yan Yu's Canglang Poetry says, "Cui Hao's Yellow Crane Tower should be the first of seven-character poems in the Tang Dynasty." Gal, Cui Hao's "Yellow Crane Tower" is even more famous.

The Yellow Crane Tower is named after its Yellow Crane Mountain (also known as Snake Mountain) in Wuchang. Legend has it that in ancient times there was a fairy who crossed here by yellow crane (see Zhi); It is also said that Fei went to the immortal to drive a crane (see "Taiping Universe", quoted from "Tu Jing"). Poetry is to think about the origin of the name of a building, from legend to writing, and then grow out. What is the fairy crossing the crane? What is it now? If it is said to be "gone forever", there will be regrets that the years are gone and the ancients are gone; The fairy went to the empty building, leaving only the white clouds in the sky, which lasted for thousands of years and could show the boundless generosity of the world. The poet's strokes describe the feelings that people who boarded the Yellow Crane Tower at that time often felt, with boundless spirit and sincere feelings.

There used to be a saying that "writing is based on qi". The first four sentences of this poem seem to be spoken casually, spinning in one breath and going down the trend without hindrance. The word "Yellow Crane" appears repeatedly, but because of its momentum, readers "wave five strings to see Hong Fei" and read on in a hurry, which is a taboo in metrical poems. The poet seems to have forgotten that he wrote the seven laws of "floating before cutting", and every word has a fixed tone. Try it: the five or six words in the first couplet are the same as "Yellow Crane"; The third sentence is almost all snoring; The fourth sentence ends with a three-level tone such as "empty leisurely"; No matter any confrontation, it is based on the syntax of ancient poetry. Is this because the seven laws were not finalized at that time? No, there are already seven standardized laws, which were written by Cui Hao himself. Is it the poet who deliberately writes disharmonious laws? Not necessarily. He is different from Du Fu's later metrical poems in that he deliberately created his own tune. It seems that I still ignored it. As Lin Daiyu said when she taught people to write poems in A Dream of Red Mansions, "If there are strange sentences, even the truth is wrong." Here, Cui Hao 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, thinking that "the meaning is like the first, the implication is between the lines, and he writes with a vertical pen, so he is good at making great achievements through the ages" (Volume 13 of Tang Poetry), which means this.

The first half of this poem, put in order, and the second half, 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. If you just let nature take its course, don't accept it, don't stick to the rules, and don't return to the meter, then it's not seven tones, but seven ancient ones. This poem seems to be divided into two parts, but in fact, the text is always focused 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 combination of rhythmic poetry. When discussing that the second couplet of legal poems should be attached to the first couplet, Yuan Yang wrote several poets and legalists: "This couplet should be broken (the first couplet), like a dragon ball, and should be firmly adhered to." This is the case in the first four sentences of this poem, which tells the legend of a fairy riding a crane. Couplets and puzzles embrace each other and are integrated. Yang Zai also said that the "turn" of the neck couplet: "Avoid the meaning of the former couplet, and change it, such as thunder breaking the mountain, the viewer is amazed." The metaphor of thunder is intended to show that there should be a sudden change in the first five or six sentences, which is unexpected. At the turning point of this poem, the style turns from right to right, and the realm is completely different from that of the former couplet, which just meets this requirement of the law. The sudden death of a native Syrian yellow crane gives people a feeling of unknowability. Suddenly it became a grass tree in Qingchuan, and I can vividly see the scene in front of Manchuria. This contrast can not only dye away the sadness of those who climb the building and overlook, but also make the literature change. "The Songs of Chu Recruit Hermits" says: "Wang Sun swims without returning, and spring grass grows luxuriantly." The poem also uses the language of "fragrant grass" to sort out the meaning of where the end point is, which makes it difficult to stop thinking. At the end of the couplet, homesickness at sunset along the Yanbo River is written, which makes the poem return to the invisible state at the beginning, and can respond to the previous "combination", such as the tail of a leopard, which also conforms to the law of poetry.

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.

(Cai Yijiang)