The Yellow Crane Tower is famous all over the world. With this poem, Cui Jieben can be a household name, but why, as mentioned at the beginning of this article, there are not many descriptions of him in previous dynasties? Some materials even have doubts about his date of birth, written as (704? -754). I checked the old version of Ci Yuan, and the notes about Cui Hao, except Li Bai's "There is a scene in front of me", are only "Tang poets have words but no lines". In the end, Mr. Si Xun was a foreign minister ... "Sentence. Why is there no line? There is no record. Cui Hao's life is full of ups and downs. He only confuses a Taipu Temple Cheng with a humble official Si Xun, which makes people want to know more. Later, I finally found some sayings from some ancient books: on the one hand, Cui Hao's early poems "wrote too much boudoir feelings and became superficial", on the other hand, he said that "those who choose beauty marry, Russia abandons them and marries every four or five times". It's not good to write poems for nothing, or even bad. But we should not only look at his early works, but also look at his development and whether he has changed in the later period. As for those who choose beauty for their wives, it should not be regarded as evil. Everyone has a love of beauty, who doesn't? What about "Russia abandoned it again"? It can be called the embodiment of its evil deeds. Although many people defend it, it can be combined with context. If you are not beautiful, don't marry. If you marry, you will abandon it. It was really the devil who abandoned it! But Cui Hao's evil deeds and his articles and poems are two different things, and we can't deny everything about him. In my opinion, the main reason for his bad impression may be that Cui Hao's "arrogance, indulgence and discrimination against women in his youth" harmed him. According to legend, Li Yong (Tang Beihai) was a satrap, so he was called Li Beihai. I have heard the name of Cui Hao's poem, but I invited it, and I presented a poem. The first chapter says "Marry Wang Chang on 15th", and I say "My child is rude and refuses to accept it. "Let's see how Cui Hao wrote this dedication!" The Wangs * * * "(some people write" ancient meaning ") is as follows:" I married Wang Chang on the 15th, and Yingying entered the painting hall. I am proud of my youth, and I rely on my husband A Lang. Love the green of Qianxi and sing Reiko Long Night. Playing a hundred herbs when you have time can't make up for it. "Is such a poem about boudoir music, angered founder Li Yong, refused to accept it. This really makes people feel sorry for Cui Hao's lack of loyal humanity. It is precisely because of the lack of recommendation from powerful people that Cui Hao had to stay away from the capital Chang 'an and wander the rivers and lakes after winning the Jinshi. In 20 years, he traveled all over the country, from Huaichu to Wuchang, Hedong and finally to Northeast China. It is estimated that in the past 20 years, he released foreign officials, or followed them as aides, and finally returned to Chang 'an as a Beijing official, ending the dusty suffering. However, Cui Hao's 20-year roaming, especially his trip to the northeast frontier, is still romantic, humiliating and disloyal, but it can also be said to be a good thing. Since then, his poetic style has changed greatly and become bold. His frontier poems praised the bravery of the soldiers guarding the frontier and expressed their lofty desire to serve the country and go to disaster. They are full of enthusiasm, awe-inspiring and impressive. Give an example of "Ancient Rangers appeared in front of military generals": "Young people are timid and dare to regain knowledge. When you go out with a sword, the lonely city meets the encirclement. Kill people, lead horses to fish and return to the sun on the Liaohe River. Loose gold chain mail, velvet mink clothing. Going back to China to hunt, the bow and arrow are as fast as flying. The grass is deep and the fox is fat. Two locks at the waist turn into brilliance. Gu said, why not build prestige in today's war? "
Another example is "Liaoxi Zuo": Yanjiao is late, and the residual snow freezes the border town. In April, the grass is green and Liaoyang is born in spring. Hu people were horse herders, and the Han Dynasty recruited soldiers every day. The heavy nod is wet, the sand is empty, and the golden drum is ringing. The cold clothes are gone, who will be the spring clothes? Send a message to Ambassador Luoyang in order to spread the border feelings.
Yin Zan, editor of The Legend of Heroes Crossing the River, said, "It is awe-inspiring to suddenly become a normal person at night. However, some people still only look at his early works and combine his life's evil deeds to draw a conclusion about his writing style, which is really inappropriate.
Not all boudoir poems are flashy.
1. Judging from the contents of 42 poems handed down from generation to generation, Cui Hao's poems can be roughly divided into three categories: poems describing women, frontier poems, landscape poems and poems giving answers. There are 15 poems describing women handed down from ancient times, which is probably one of the reasons why he is "ignorant and frivolous". However, all his poems are not necessarily "flashy". Take the poem "The Wangs * * *" written by Cui Hao to Li Yong as an example. The last sentence "live without make-up" just shows that these women are full of resentment and helplessness, even though they have no worries about food and clothing and compete for beauty. Especially in his "Meet", the phrase "My younger brother is the new favorite, and all my brothers are close to Hou" indicates that Yang Guifei and her subordinate brother Yang are alluded to. When the imperial concubine was in favor, Yang stole the handle and played politics, which was a very important figure. Most people dared to speak out in anger, and dared to point it out. They wrote "Today's life is arrogant, but Lu Ji is subtle" (see Lu Ji pian) and "Mo Yan is hot, but the fire will soon go out" (see Chang 'an Road). If we don't confine ourselves to the preaching of the ancients and look at Cui Hao comprehensively, we should say that most of Cui Hao's poems about women are healthy and artistic. Although he wrote several poems reflecting the life of lower-class women, his "Women on the River" describes the life of boatmen and women: "Women on the river wear fresh makeup in the evening, and when the sun sets, flowers come home from the boat. At dusk, the wind turns tight, saying that this is going to cross the pond, and there is no companion at night in Qinghe, and it is lonely to walk alone." I still wrote the thoughts and feelings of the boatwoman. The style is fresh, lively and natural, which makes people feel very cordial. 2. In Cui Hao's early poems, most of them reflected women's feelings; Later, I went to the frontier fortress, and the frontier fortress poems I wrote were generous and heroic, and my poetic style became bold and unrestrained. But Cui Hao's most famous poem is the Yellow Crane Tower. According to legend, this poem touched the great poet Li Bai. In the Song Dynasty, the Chronicle of Tang Poetry in Jigong made a bet on the poem Yellow Crane Tower, saying, "The legend in the world is too white:' There is no road in front of you, and Cui Hao inscribed a poem on it.' He wrote the poem Phoenix Terrace to compare the ending. Yuan Fang's Biography of Tang Caizi also recorded Li's Yellow Crane Tower, because he saw the poem, which is "Doing nothing, gathering hands to be philosophers". Of course, this legend is not necessarily true. Ji Yougong expressed his doubts behind the note. However, Li Bai's poem "On Nanjing Going to the Phoenix Tower" is indeed similar to Cui Zuo in writing. As for his poem "Nautilus Island": "Parrots have been to Wujiang River, and Jiangshangzhou passed on the name of parrots. Parrot flies west to Longshan, he is green, the tree of Zhou Fang! Spring breeze and warm clouds bring the fragrance of orchids, and peach blossoms fall into the river to form layers of brocade waves. At this time, the relocation of guests is extremely eye-catching. Who belongs to Cheung Chau alone? " Then not only the first four sentences are similar to Cui Shi's poems in format, but also the style of the whole poem is forced to be very simple. The first volume of Ying Lu Kui Sui, written by Fang Hui in Song and Yuan Dynasties, pointed out: "Taibai's poem is a poem with great influence. It was processed in May and June, and the ending sentence contains a sigh, so it is still not very restrained." Therefore, this poem has always been highly respected. Yan Yu's Cang Lang Shi Hua in the Southern Song Dynasty holds that "Cui Hao's Yellow Crane Tower should be the first of seven-character poems in the Tang Dynasty." It was not until Sun Zhu's influential Three Hundred Poems of Tang Dynasty in Qing Dynasty that Cui Hao's Yellow Crane Tower was placed in the first poem of "Seven-character Rhyme".
In the 11th year of Kaiyuan reign of Emperor Xuanzong of Tang Dynasty (AD 723), scholars were introduced. Wen Yuan Biography of Old Tang Dynasty mentioned him together with Wang Changling, Gao Shi and Meng Haoran, but his official career was ups and downs and ended in failure.
He is honest, frank and quick-witted. His works are passionate and magnificent, including Cui Haoji.
Tianbao is a member of the foreign ministers of Shangshu Sixun. Teenagers are poems, colorful and frivolous; The festival at night suddenly became normal and windy. At first glance, the fortress wall looks like a grand journey, and strange creations often drive rivers and abalones together. After swimming in Wuchang, I boarded the Yellow Crane Tower and wrote poems with emotion. Li Bai came and said, "There is a scene in front of me, and Cui Hao wrote a poem on it." Do nothing, gather hands for philosophers. And those who are slightly inferior, eager to learn, addicted to alcohol, marry and choose beauty, will be disgusted if they are slightly dissatisfied, and it is easy to be inseparable. Li Yong heard his name and invited him. Li Zhi presented a poem, the first chapter of which said, "Marry Wang Chang at the age of fifteen." Forever scold: "Children are rude! Do not connect. When the illness cleared up, my friend said, "It's not a child's illness, but a bitter poem and a thin ear!" "Therefore, this is a solid excuse. Tianbao died in the thirteenth year. There is a volume of poetry, and this trip. (New Biography of Tang Cai in Yuan Dynasty, Volume 1)
His poems are very famous, but his deeds are rarely circulated, and only forty poems exist.
Cui Hao was an official of Taibu Temple, and Tianbao was a foreign minister of Sixun.
Legend has it that Li Bai traveled around the world in his prime, leaving poems everywhere. When he and Du Fu boarded the Yellow Crane Tower, they were fascinated by the beautiful scenery upstairs and downstairs. When they wanted to write a poem as a souvenir, they suddenly looked up and saw the Yellow Crane Tower in Cui Hao: a long time ago, a yellow crane carried a saint to heaven, and now there is nothing left but the 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 at my hometown, and the twilight was getting thicker, and the mist of sadness was filled on the river waves.
The meaning of this poem is: all the immortals in the past flew away with the Yellow Crane, leaving only an empty Yellow Crane Tower here; The yellow crane never revisited earth, I saw a thousand years of white clouds; Hanyang trees are clearly visible in the sun, and Nautilus Island is covered with green grass. It is getting late. Looking into the distance, where is my hometown? In front of me, I saw a mist hanging over the river, which brought people deep sorrow.
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. For example, when Lin Daiyu taught people to write poems in A Dream of Red Mansions, she said, "There are strange sentences that are not even true or false." 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 XIII of Tang Poetry), which means this.
In the first half of this poem, put things right, and in the second half, I wrote about what I saw and felt in the building, and wrote about 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. It is also in line with the law of poetry to let poetry return to the invisible state at the beginning to cope with the "combination" in front, such as the tail of a leopard.
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.
Later, Li Bai went upstairs, also full of poetry. When he found Cui's poems in the building, he repeatedly shouted "wonderful, wonderful!" " According to legend, Li Bai wrote four "doggerel poems" to express his feelings: "Hit the Yellow Crane Tower with one punch, and kick over Parrot Island with one foot. There is a scene in front of him in which Cui Hao wrote a poem. " I stopped writing. Young Ding laughed at Li Bai: "The Yellow Crane Tower is still intact, but it can't be beaten." Li Bai also explained in a poem: "It's really a disaster. It was only because the yellow Crane Immortal cried to the Jade Emperor that the Yellow Crane Tower was rebuilt, and the yellow Crane Immortal returned upstairs. " It's really serious. That's great. Later generations built a pavilion on the east side of the Yellow Crane Tower, named Li Bai's Writing Pavilion, to show his ambition. On the double eaves, it re-entered the Tao and became a place for Yan You. In fact, Li Bai's love for the Yellow Crane Tower is hard to find. He is passionate and even called it "one guest in Qingyun, three guests in Yellow Crane Tower". Mountains and rivers depend on humanities, and the name of Yellow Crane Tower is more prominent.
Later, Li Bai also wrote on the Phoenix Platform after climbing the Yellow Crane Tower in Nanjing:
There used to be a phoenix on the phoenix platform, and the phoenix went to Taiwan, only Jiangdong returned.
Martial arts flowers were laid on deserted paths, and the number of relatives and friends in the Jin Dynasty has become a famine.
The mountains are shrouded in clouds, such as blue sky, and the river is divided into two.
Cui Haoshi A long time ago, a yellow crane carried a saint to heaven. Now there is nothing but the 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. -Cui Hao's Yellow Crane Tower/Climbing the Yellow Crane Tower in the Tang Dynasty
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. 300 Tang poems, 0/00 junior middle school poems, landscape description, place names, homesickness, early education in "Tell me, where do you live? Near here, next to the fishing pond? . Let's catch our boat together, and let's see if we belong to the same town ... —— Cui Hao's Long March tells me where you live. The Long March tells me where you live.
Tell me, where do you live? Near here, next to the fishing pond? .
Let's catch our boat together, let's see if we belong to the same town .. 300 Tang poems, female, lonely and homesick, yes, I live here, by the river, and I have sailed on it countless times. You and me, we were both born in Chang Gan, you and me! It's a pity that we have never met. -Cui Hao in the Tang Dynasty "Long March Yes, I live here, by the river" Long March Yes, I live here, by the river.
My home is near Jiujiang, often near Jiujiang.
You and me, we were both born in Chang Gan, you and me! It's a pity that we have never met. Three hundred Tang poems, women, love their hometown. See more poems by Cui Hao >>