Works of Gongmu Volume 5

Author: Gong Mu / Country: Mainland China
Publisher:
Publishing Date: 2001-08-01
Features:
Supreme Master of the Lotus Feet / Yellow Crane Tower, 1927 Spring
Vast and boundless rivers flow through China,
A deep and narrow line connects north and south.
Misty rain shrouds the vast wilderness,
Tortoise and Snake lock the great river.
Where did the Yellow Crane go?
Only the places of travelers remain.
Raising wine to the surging tide,
My heart surges with waves high.
Explanation of the Poem:
Yellow Crane Tower stands on the western Yellow Crane Cliff in Wuchang County, Hubei. Built during the Three Kingdoms period under the Wu Kingdom, it became famous after the Southern Dynasties and was known as "the most magnificent sight in the world." Originally named after the cliff, it later gained fame due to legends of immortals riding cranes.
Yan Bojin of the Tang Dynasty cited the "Map Classics" saying, "Fei Yi, after ascending to immortality, rode a crane back to rest here, hence the tower's name." (See "Wenyuan Yinghua," Volume 810) The "Taiping Huanyu Ji" (Volume 112) also followed this account. The "Shuyi Ji" (Volume 1) narrated: "Xun Gui, styled Shuwei, traveled east and rested on the Yellow Crane Tower, gazing southwest. A figure descended from the heavens, landing before him. It was the guest riding a crane. The crane landed near the door, and the immortal donned feathered robes and rainbow garments, conversing with the host. Later, they parted, the immortal riding the crane into the clouds, vanishing into the mist." This is another legend. The "Yudi Jisheng" (Volume 66) cited the "Southern Qi" claiming that Wang Zhi'an often rode cranes past this tower. This is yet another account.
These myths were already popular before the Tang Dynasty. Thus, Cui Hao's poem reads: "The ancients rode the Yellow Crane away, leaving only this tower here." Li Bai's poem states: "Immortals await the crane's ride, while seafarers carelessly follow white gulls."
The Yellow Crane Cliff is at the northern tip of Snake Mountain, close to the riverbank. In recent years, due to the construction of the Yangtze River Bridge, the tower was demolished and rebuilt atop Snake Mountain.
Mao Zedong wrote this poem in spring 1927, during the Second Revolutionary War, just before the April 12th Incident. In January of that year, the revolutionary government was established in Wuhan, and revolutionary masses reclaimed the concessions of Hankou and Jiujiang from imperialists. Meanwhile, Shanghai workers were staging fervent uprisings, and the nationwide peasant movement centered in Hunan was expanding widely. As Mao Zedong stated: "In a short time, tens of millions of peasants will rise from central, southern, and northern China, like a storm, so powerful that no force can suppress them. They will break free from all constraints and rush toward liberation. All imperialists, warlords, corrupt officials, and local tyrants will be buried in their graves." (From "Investigation Report on the Peasant Movement in Hunan")
Overall, the revolutionary situation was favorable. However, within the revolutionary united front, counter-revolutionaries like Chiang Kai-shek and Wang Jingwei lurked, some openly preparing to split and betray. Within the party, Chen Duxiu's rightist opportunistic line not only failed to firmly oppose Chiang Kai-shek's arrogance but also indulged in toward Wang Jingwei's conspiracies, even confiscating weapons from workers' and peasants' self-defense forces and rejecting Mao Zedong and many other comrades' correct proposals. This brought a severe crisis to the revolution.
Against this political backdrop, Mao Zedong ascended the tower, gazing into the distance after drinking, his heart surging with fervor. Thus, he composed this poem, capturing his feelings at the time.
Appreciation:
The first stanza depicts the scenery: From the tower, the view is vast and profound, majestic and magnificent, stretching from far to near. The word "lock" connects the twin mountains and the great river, vividly portraying the tortoise and snake guarding the river while also hinting at the rugged cliffs and surging waves. The imagery is subtle yet profound, captivating the reader.
The second stanza expresses emotions: Leaning on the precarious tower, raising wine, reflecting on the past and present, the scene evokes feelings, and the environment touches the heart, bold and profound. The word "chase" ties together the surging heart and river waves, dynamically depicting the rolling waves and metaphorically symbolizing the fierce and fervent revolutionary climax. The imagery is subtle yet profound, leaving much to ponder.
Reading both stanzas together, closing one's eyes, one can vividly imagine the poet, with his drunken vigor, wielding a grand brush, sketching a magnificent and sublime realm. It not only highlights the beauty of Yellow Crane Tower, the scenery of Wuhan, and the grandeur of the nation's landscapes but also vividly showcases the poet's lofty aspirations and passion, the great spirit and strength of the nation, and the spirit of the times and revolution.
The poem was written just before the April 12th Massacre. The revolution, like a giant ship, was being steered blindly by rightist opportunists, heading toward hidden rocks. The poet clearly saw this situation, but his advice was ignored, and his correct opinions were rejected. How could his heart not be heavy? Yet he never despaired. With a head soaring beyond the confines of his era, he gazed into the future with the eyes of a giant. This is the image of the lyrical subject revealed in the poem.
Repeating the poem, one unknowingly expands one's heart and horizons, as if infected by a certain spirit, gaining some of the poet's unique vision and magnanimity. This transcends mere landscape or emotional expression, embodying the artistic brilliance of a great poet's subjective thoughts and emotions harmoniously blending with objective realities in a specific context.
Though just a short poem and a small piece, it captures the tides of history and encompasses the past and present, its scope infinitely vast and magnificent, truly a spectacle of "a thousand miles in a single scale."
Poems like "Supreme Master of the Lotus Feet" are short forms, only eight lines and 44 characters, like miniatures in literature or scrolls in painting, suitable only for small scenes, subtle emotions, and fleeting memories. Historically, renowned bold poets like Xin Qiji included 22 such pieces in "Jiaxun Ci," with only "Written on the Wall of Jiangxi at Zaokou" slightly broader, earning the praise of "Yiheng Pavilion Ci Xuan": "Such a bold and resounding tone has never been seen before." His poem reads:
"Below the, clear river water flows,
How many tears of travelers have fallen here?
Gazing northwest toward Chang'an,
Alas, countless mountains block the view.
Green mountains cannot hold them back,
After all, the east flows on.
Evening on the river fills me with sorrow,
Deep in the mountains, I hear the pheasant call."
This is indeed elegant and profound, a fresh perspective. Yet, it merely expresses sentiments and grief.
Mao Zedong's poem, though a short form, possesses a bold and profound atmosphere, just like a long-form poem. It truly deserves to be sung loudly like a "great bell and deep drum." This is truly "great instruments produce great sounds, lofty aspirations inspire great thoughts" (Fan Kai's preface to "Jiaxun Ci").
The ancients praised Xin Qiji with these words. Now, let us apply them to Mao Zedong and his poem.
"The sun has risen—can the bonfire still shine?"
With Mao Zedong and his poem as the standard, who else can match them? This judgment is not based on our preference but on fair comparison.
Mao Zedong's poem rivals Xin Qiji's and even Cui Hao's; it surpasses both in quality.
Yellow Crane Tower is a historical landmark, visited and sung by countless people since ancient times. Yet after Cui Hao's poem, many dared not write again, even the great poet Li Bai sighed, "The scene before me is too beautiful to describe—Cui Hao's poem stands above all."
Thus, writing about Yellow Crane Tower without following the old footsteps is indeed difficult. Yet Mao Zedong's poem, shorter than Cui Hao's, completely avoids clichés like Qingchuan Pavilion and Parrot Isle, starting with grandeur—turbulent waves and a vast spectacle. It then moves to vivid descriptions of misty rain and majestic landscapes. It incorporates legends while giving them contemporary meaning, and through specific actions and contexts, it reveals the poet's inner brilliance and expresses his feelings upon climbing the tower.
Cui Hao's poem merely reflects on the past and expresses homesickness. Mao Zedong's poem is deeply rooted in the revolutionary struggles of the time and the realities of life, concerned with the future of the nation. This is truly "great instruments produce great sounds, lofty aspirations inspire great thoughts." Compared to Cui Hao's poem, it shines even brighter.
P303-309