People in the past have gone there on the Yellow Crane, and the Yellow Crane Tower is vacant here. The yellow crane is gone and never returns, and the white clouds are empty for thousands of years.

The immortals of the past have flown away on the Yellow Crane, leaving only an empty Yellow Crane Tower. The Yellow Crane never came back. For thousands of years, only the white clouds were seen. Hanyang under the sun. The trees are clearly visible. There is a patch of green grass covering Parrot Island. It is getting late. Looking into the distance, where is my hometown? All I can see is a mist covering the river, which brings deep sadness to people.

This poem describes the scene in the front and expresses the emotion in the second. It is so concentrated and natural that even Li Bai, who is known as the "Poetry Immortal" of his generation, could not help but admire and praise it repeatedly, and felt that he had better stop writing for the time being. For this reason, Li Bai sighed with regret and said: "The good scenery in front of me is unavailable, so Cui Hao wrote a poem on it!"

The Yellow Crane Tower is named after the Yellow Crane Mountain (also known as Snake Mountain) in Wuchang where it is located. It is said that the ancient immortal Zi An rode a yellow crane and passed here (see "Qi Xie Zhi"); it is also said that Fei Wenwei ascended the immortal and rode a crane here (see "Taiping Huanyu Ji" quoted from "Illustrations"). The poem is based on the origin of the name of the building, borrowed from the legend to write, and then develops. The immortal straddling the crane is originally nothingness, but now it is nothingness. It is said that it "gone and never returned", which means that time has passed and the ancients cannot see it. The immortal has gone and the building is empty, leaving only white clouds in the sky, which lasts for thousands of years. It can express the vastness of worldly affairs. These few strokes of the poet describe the common feelings of people who climbed the Yellow Crane Tower in that era, with a vast spirit and sincere emotions.

Predecessors said that "writing is dominated by Qi". The first four sentences of this poem seem to be spoken casually, spinning in one breath and flowing down without any hindrance. The word "Yellow Crane" appears again and again, but because of its momentum, it makes readers "waving the five strings and watching the flying dragon". They read on in a hurry and have no time to notice its overlapping appearance. This is a taboo in the rhythm of verse. The poet seems to have forgotten that he is writing the seven rhythms of "there is a floating sound in the front, and a sharp sound in the back", and every word has a definite tone. Let’s take a look: the fifth and sixth characters of the first couplet both come from the word “yellow crane”; the third sentence is almost entirely in oblique tones; the fourth sentence also uses a three-level tone like “empty and leisurely” at the end; regardless of the antithesis, all ancient poems are used. syntax. Is this because the Seven Rules had not yet been finalized at that time? No, the standard Qilu has long been in existence, and Cui Hao himself once wrote it. Is the poet deliberately writing a rhyme? Not necessarily. It is also different from Du Fu's later poems in which he deliberately created his own unique tune. It seems that they still know it and ignore it, just like what Lin Daiyu said when teaching people to write poems in "A Dream of Red Mansions", "If there are strange sentences, even the plain ones and the false ones will be wrong." Here, Cui Hao practiced based on the principle that poetry should focus on the idea and "not harm the idea with words", so he wrote such a singing poem that is rare among the seven rhymes. Shen Deqian commented on this poem, saying that "the meaning is like Xiangxian, the spiritual actions are beyond the language, and the pen is written vertically, so it is good at the wonders of the ages" (Volume 13 of "Tang Poems"), which is what it means.

The first half of this poem uses San Tiao to change the pattern, and the second half straightens it out to truly describe what is seen and felt in the building. It writes about the grass and green trees of Hanyang City and Parrot Island viewed from the upstairs, and the The nostalgia caused by this is released first and then collected. If you just let it go but not close it, blindly follow the rules, and don't return to the rhythm, then it will not be a song of seven rhymes, but become seven ancients. This poem seems to be divided into two parts. In fact, the writing momentum is concentrated from the beginning to the end, and there is just a breath in the middle. This kind of connection, which seems to be discontinuous and continuous, is also the most organized in terms of the beginning, succession, transition and closing of the verse. When Yang Zai of the Yuan Dynasty discussed the second couplet of rhythmic poetry in his "Poetry and Legalists", he said: "This couplet should be connected to the first couplet (the first couplet), and it should be like the pearl of Lilong, which can be hugged and never be taken off." The first four lines of this poem Just like this, the narration of the legend of the immortal riding a crane, the couplet and the broken title are connected and integrated into one another. Yang Zai also discussed the "turn" of the neck couplet: "To avoid the meaning of the previous couplet, it needs to change, like a thunder breaking through the mountain, and the viewers are shocked." The metaphor of thunder is intended to explain the five or six sentences of the composition. There are sudden changes and unexpected changes. At the turning point of this poem, the style changes back to normal, and the realm is completely different from the previous couplet, which exactly meets the requirements of the law. The Yellow Crane in the past has disappeared, giving people a sense of incomprehensibility; it suddenly changes into grass and trees in Qingchuan, which is still vivid in the mind, and the scene in front of the lush Manchuria. This contrast can not only color the scene of climbing up the stairs. The melancholy of those looking from afar also causes the ups and downs of the writing.

Returning the poetic meaning to the vague and invisible realm at the beginning, so that it can respond to the previous part, such as the "he" that can wrap around the forehead like a leopard's tail, is also in line with the laws of rhythm and poetry.

Because this poem is artistically superb and has achieved great success, it is understandable that it is praised as the swan song of the Yellow Crane Tower.

Later, when Li Bai went to the building, he became very popular with poetry. When he found a poem by Cui Hao in the building, he called it "excellent, wonderful!" It is said that Li Bai wrote four lines of "doggerel" to express his feelings. Reflection: "Punched the Yellow Crane Tower to pieces with one punch, kicked over the Parrot Island with one kick, and the scenery in front of me was unstoppable. Cui Hao wrote a poem on it." Then he stopped writing. A young man, Ding Shiba, laughed at Li Bai: "The Yellow Crane Tower is still intact. You can't beat it to pieces." Li Bai wrote a poem to defend himself: "I did smash it to pieces. It was only because the Yellow Crane Immortal went to heaven to cry out to the Jade Emperor that he could not break it." Rebuilding the Yellow Crane Tower and letting the Yellow Crane Immortal return to the tower is really impressive and magical. Later generations built a pavilion on the east side of the Yellow Crane Tower, named Li Bai's pen-holding pavilion, to commemorate his events. With double eaves and roads, it became a place for Yan to travel. In fact, Li Bai loved the Yellow Crane Tower so much that he shouted passionately, "One Qingyun guest will climb the Yellow Crane Tower three times." Mountains, rivers and humanities rely on each other, and the name of Yellow Crane Tower is even more prominent.