Cui Hao
Cui Hao
Cui Hao (h'ao) (704-754) was born in bianzhou (now Kaifeng City, Henan Province). He was born in Anping County of Boling (now Anping County, Hebei Province). He was born in "Cui family of Boling". He was a famous poet of Tang Dynasty and a famous scholar. He once served as a county captain of Fugou County of Xuzhou. His official position has not been obvious. He traveled to Tianxia. Before and after Tianbao's nine years, he once served as the censor. He was an official until sixun member wailang. Tianbao died for 13 years.
In the 11th year of Kaiyuan (723 A.D.), he was a Jinshi in the imperial examination. He was the official of Taipusi, and the member of tianbaozhong was wailang. He is upright and quick in thinking. His works are vigorous, bold and grand. In the early stage, his poems mostly focus on women's love and women's life, and his style is frivolous, reflecting the life of the upper ruling class. In the later stage, his poems are mainly frontier fortress poems, which are vigorous and unrestrained, reflecting the generosity and heroism of the frontier fortress and the hardships of military travel.
The most praiseworthy song is his yellow crane tower, which once made Li Bai admire. It is said that when Li Bai stopped writing for him, he once praised that "there is scenery in front of him, and Cui Hao wrote poems on it.".
There are 42 poems in Quan Tang Shi, and the original collection has been lost, including two volumes of Cui Hao Ji and Tangren Ji.
Personal life
Emperor Xuanzong of Tang Dynasty was a Jinshi in 723. He was mentioned together with Wang Changling, Gao Shi and Meng Haoran in the biography of Wenyuan in the old book of Tang Dynasty, but he failed in his official career.
He is upright and quick witted. His works are passionate, bold and grand. He is the author of Cui Hao Ji.
Tianbao is the Minister of the Ministry of justice. The youth is a poem, which is full of flowery and frivolous meanings. In the late Festival, it suddenly changes into a regular style, with awe inspiring style. A glimpse of Saiyuan tells us all about military travel. It can be driven by Bao Zhao and Jiang Yan. After traveling to Wuchang, I ascended the Yellow Crane Tower and wrote poems with emotion. And Li Bailai, said: "in front of the scenery, Cui Hao wrote poems on it." He went away without any work, and gathered his hand for the philosopher. However, those who have bad shoes, are fond of erudition, are fond of alcohol, and choose beauty when they marry will abandon them if they are not comfortable. At the beginning of his life, Li Yong heard his name and invited him. Hao to poetry, the first chapter said: "15 married Wang Chang." Yong chide said: "children rude! It's not connected with you. Hao chanted bitterly. When he was sick, his friend said, "it's not because he was sick, but because he chanted bitterly, his ears are thin." Therefore, it is a kind of eloquence. Tianbao died in the 13th year. There is a volume of poetry, this line. (Volume I of biography of Tang gifted scholars by Xin Wenfang of Yuan Dynasty)
His poems are very famous, but his deeds are rarely spread. There are only more than 40 poems in existence.
Cui Hao was once the Prime Minister of Taipusi, while tianbaozhong was the member of sixun.
It is said that when Li Bai was in his prime, he traveled all over the country and left poems everywhere. When he and Du Fu ascended the Yellow Crane Tower, they were inspired by the beautiful scenery upstairs and downstairs. Just as they wanted to write a poem as a memento, they suddenly looked up and saw Cui Hao's yellow crane tower upstairs: people had gone by the Yellow Crane in the past, but there was no yellow crane tower here. Once the yellow crane is gone, it will never return. Qingchuan experienced Hanyang tree, grass luxuriant parrot island. Where is the hometown at dusk? The Yanbo river is worrying.
The meaning of this poem is: the immortal of the past has gone away with the Yellow Crane, leaving only an empty yellow crane tower; as soon as the Yellow Crane has gone, it has never come back, only long white clouds have been seen for thousands of years; the trees in Hanyang are clearly visible under the sun, and the parrot island is covered with green grass; the sky is late, looking into the distance, where is the hometown? In front of my eyes, I saw a piece of mist covering the river, which brought me deep sadness.
The Yellow Crane Tower is named after the Yellow Crane mountain (also known as Snake Mountain) in Wuchang. It is said that an an, an ancient immortal, passed by the Yellow Crane (see qixizhi) and Fei Wenwei ascended the immortal and drove the crane here (see Taiping Huanyu Ji quoted from tujing). The poem starts from the origin of the name of the building, and then begins with the legend. The immortal straddles the crane, which originally belongs to nothingness, but now it has nothing to do with it. It is said that "once gone, it will never return", and there is a regret that time is no longer and the ancients can not see it. When the immortal goes to the empty building, there are only white clouds in the sky for thousands of years. These poems of the poet describe the common feelings of the people who climbed the Yellow Crane Tower at that time. They are bold in spirit and sincere in feelings. There is a saying that "literature is based on Qi". The first four sentences of this poem seem to be said casually. One Qi rotates and goes down with the trend, without any hindrance. The word "Yellow Crane" appears again and again, but because of its momentum, it makes readers "wave five strings and watch Fei Hong". After reading it, they have no time to notice its overlapping. This is a big taboo in the rhyme of poetry. The poet seems to have forgotten that it is the seven rhythms of "floating sound before, cutting sound after" and that every word has a fixed sound. Let's see: the five and six characters in the first couplet are the same as "Yellow Crane"; the third sentence is almost entirely in tone; the fourth sentence ends with three flat tones like "kongyouyou"; regardless of any antithesis, it is all in the syntax of ancient poetry. Is this because the seven rhythms had not been finalized at that time? No, the standard seven rhythms have existed for a long time, and Cui Hao himself once wrote them. Is it the poet's intention to write the law? Not necessarily. He was different from Du Fu's later poems in that he deliberately created his own tone. As Lin Daiyu said in his poem a dream of Red Mansions, "if there is a strange sentence, even the difference between the true and the false can be made." Here, Cui Hao is based on the principle of "not to harm the meaning with words" to practice, so he wrote such a poem which is rare in the seven laws. Shen Deqian commented on this poem, thinking that "the meaning is like the first, the spirit of the line outside the language, vertical pen to write, then good at the strange through the ages" (Tang poetry biecai, Volume 13), that is the meaning.
In the first half of the poem, the style is changed by using scattered tunes, while in the second half, it is straightened and corrected. It describes what you see and feel in the building, and describes the homesickness caused by overlooking the grass and trees in Hanyang city and yingwuzhou island from the upstairs. This is to put it first and then close it. If we just let it go but don't accept it, if we just don't stick to the rules and don't go back to the rhyme, then it will not be a seven rhyme, but a seven ancient poem. The poem seems to be divided into two parts. In fact, Wen Shi has been paying attention to it from the beginning to the end. In the middle, he just changed his breath. This kind of connection, which seems to be broken and continued, is also the most methodical from the perspective of the beginning, inheritance, transformation and combination of metrical poetry. Yang Zai of the Yuan Dynasty said that the second couplet of the poem should be closely followed by the first couplet: "this couplet should be continued to break the title (the first couplet), and it should be like the Pearl of the dragon, holding but not taking off." The first four sentences of this poem are just like this. The legend of the immortal riding on the crane, the chin couplet and the title, are integrated. Yang Zai also talked about the "turn" of the neck couplet, saying: "avoid the meaning of the front couplet, and change it. It's like thunder breaking through the mountain. The audience is shocked." The metaphor of Ji Lei is intended to show that there should be sudden changes in the five or six sentences of the composition, which is unexpected. At the turning point of the poem, the style of the poem changes from the original to the original, and the state of the poem is quite different from the former couplet, which just meets the requirement of the law. In the past, the Yellow Crane has gone, giving people the feeling of being unknown. Suddenly, it turns into a scene of Qingchuan grass and trees, which is vividly seen in front of us, and is full of flowers and trees. This contrast can not only highlight the sadness of those who climb the tower to overlook, but also make the literary trend ups and downs. It is also in line with the law of poetry to make poetry return to the vague and invisible state at the beginning, so that it can respond to the front, such as the "combination" of leopard tail around the forehead. It is understandable that this poem is highly praised as the masterpiece of the Yellow Crane Tower because of its artistic perfection and great success.
Later, when Li Bai ascended the building, his poetry flourished. When he found a poem by Cui Hao in the building, he called it "wonderful, wonderful!" It is said that Li Bai wrote four "Doggerels" to express his feelings: "one punch smashes the Yellow Crane Tower, one kick kicks over the parrot island. There is a scene in front of him. Cui Hao wrote a poem on it." He stopped writing. One young man Ding Shiba sneered at Li Bai: "the Yellow Crane Tower is still safe. You can't beat it to pieces." Li Bai also wrote a poem to explain: "I really beat it to pieces. It was only because the Yellow Crane fairy went up to heaven and cried to the jade emperor that he rebuilt the Yellow Crane Tower and let the Yellow Crane fairy return to the upper floor." It's a matter of great importance. Later generations built a pavilion on the east side of the Yellow Crane Tower, called Li Bai's pen ending Pavilion, to record his affairs. Double eaves Road, become Yan you. As a matter of fact, Li Bai loved the Yellow Crane Tower so much that he was so excited that he even called out "one green cloud guest, three yellow crane towers". Relying on each other, the Yellow Crane Tower is even more famous.
Later, Li Bai also imitated "Yellow Crane Tower" and wrote "climbing the Phoenix Terrace of Jinling":
Phoenix on the phoenix platform, Phoenix to Taikong river.
Wu palace flowers and plants buried in the path, Jin Dynasty clothing into the ancient hills.
Three mountains and a half fall, green sky, two water points Egret Island.
It's always the floating clouds that block out the sun, and it's sad that Chang'an is missing.
Anecdotes of characters
On Cui Hao
Yellow Crane Tower is famous all over the world. With this poem, Cui Hao could have been well-known, but why is it that there are few records of him in the past dynasties? Some materials even have doubts about his birthday, and are written as (704? - 754). The author looked up the old edition of CI yuan, and found that in addition to Li Bai's "there is a scene in front of us, we can't do anything about Cui Hao", there are only "poets of the Tang Dynasty, they have no writing". Mr. Zhong sixun, wailang... " Sentence. What's wrong? There is no record. Cui Hao's life was full of ups and downs. All his life, he was only a Taipusi Cheng and sixun yuanwailang, a humble official, which made people want to know more about him. Later, I finally found some sayings from some ancient books: first, Cui Hao wrote poems in his early days that "he wrote more about his girlfriends and became flashy", and then he said that "when he got married, he only chose the beautiful ones, but Russia abandoned them, and he would marry four or five.". It's not good, even bad, that poetry is too flashy. But we should not only look at his early works, but also look at the development, the later stage and whether he has changed. As for those who only choose beauty in marriage, they should not be regarded as evil deeds. Everyone loves beauty. Who doesn't love beauty? "Russia abandons it again" can be regarded as the manifestation of its evil deeds. Although many people have made excuses for it, they can combine the preceding and the following text to say that it is not beautiful not to marry, but to marry and abandon it. They are always happy to do so. In fact, they are beasts in disguise and never give up
Chinese PinYin : Cui Hao
Cui Hao
