漢語嫵媚王翼奇

在王翼奇先生的大著《綠痕廬詩話·綠痕廬吟稿》中，收有“詩人喜為偶對(duì)”一文，說的是胡銓貶朱崖，行臨高道中，知有‘買愁村’古未有對(duì)，因以‘聞喜縣’對(duì)之，于馬上口占一絕云：“北望長思聞喜縣，南來怕入買愁村。區(qū)區(qū)萬里天涯路，野草荒煙正斷魂。”王翼奇先生評(píng)論說：“喜為偶對(duì)，詩人幼學(xué)所養(yǎng)積習(xí)也。仆仆風(fēng)塵中猶不禁技癢，愁亦為之解，想見其掀髯一笑之態(tài)!”其實(shí)，作為浙江省語言學(xué)會(huì)楹聯(lián)研究專業(yè)委員會(huì)會(huì)長，王翼奇先生在“喜為偶對(duì)”上，比之文中的胡銓亦不遑多讓。

王翼奇先生曾屢次贊嘆杭州西湖是一座楹聯(lián)的大觀園!古往今來對(duì)西湖山水人文的品題、楹聯(lián)佳制堪稱夥頤，且大都膾炙人口，尤為游客所喜聞樂見，成為一大人文景觀。諸如“青山有幸埋忠骨；白鐵無辜鑄佞臣”、“湖山此地曾埋玉；花月其人可鑄金”等常被大眾傳誦，文人稱引。其間王翼奇先生也為西湖景色創(chuàng)作諸多楹聯(lián)，或放筆長揮，靈動(dòng)飄逸；或微墨短寫，質(zhì)實(shí)沉雄，為環(huán)水抱山的西湖有情點(diǎn)睛。如他的“題杭州白蘇二公祠”聯(lián)：“黎庶至今思，湖山俎豆雙賢守；風(fēng)華終古在，唐宋詩詞兩大家。”動(dòng)靜相偕，切地切題。這種抒懷敘事上的風(fēng)韻，不是一天兩天可以做到的，而是學(xué)識(shí)、人情、閱歷在時(shí)間這個(gè)熔爐里煅煉出來的。又如杭州孩兒巷一古宅傳為陸游名句“小樓一夜聽春雨，深巷明朝賣杏花”所詠處，今已辟為陸游紀(jì)念館，王翼奇先生參與考察時(shí)，即席撰聯(lián)云：“世味依然，入巷重尋聽雨地；詩情何似，登樓長憶賣花聲。”此聯(lián)既滄桑厚重，又精致工麗。其他如“題杭州雷峰塔”聯(lián)、“題吳山伍子胥廟”聯(lián)、“題秋雪庵兩浙詞人祠堂”聯(lián)等，無不吞古納今，豪邁靈動(dòng)，既有歷史深度，又富于當(dāng)代性，從而毋庸置疑地成為該景點(diǎn)的主題聯(lián)。

長久以來，王翼奇先生創(chuàng)作的楹聯(lián)如晉人所言：“如行山陰道上，使人應(yīng)接不暇。”浙江古籍出版社副社長尚佐文認(rèn)為王翼奇先生的楹聯(lián)鍛句煉字頗為考究，他舉例說：“人有一聯(lián)求正于先生，中以‘恬淡青山’對(duì)‘玲瓏別墅’。先生改‘別墅’為‘綠野’，改‘恬淡’為‘嫵媚’。以裴度綠野堂別業(yè)指代別墅，而‘綠野’對(duì)‘青山’甚工；‘嫵媚青山’用稼軒詞‘我見青山多嫵媚，料青山見我應(yīng)如是’語，而循其典源，為唐太宗語‘人言魏徵舉動(dòng)疏慢，我但覺其嫵媚耳’。上下聯(lián)既典雅切題，復(fù)暗含唐代兩名臣故事，耐人咀嚼尋味，洵點(diǎn)金有術(shù)也。”

很多人都知道，王翼奇先生不僅是楹聯(lián)高手，更是駢文大家，紹興大禹陵的祭文等都出自他的手筆。駢文作為一種字句對(duì)仗、音律和諧、典故繁富的獨(dú)特文體，如今會(huì)寫的人屈指可數(shù)，能將駢文寫得篇篇精到、句句出彩的更屬鳳毛麟角。但王翼奇先生創(chuàng)作的《重建錢王祠碑記》《重建楊公堤碑記》《重建交蘆庵記》等，讓人覺得他似乎在描寫一座城市的地理歷史、人文景觀、特產(chǎn)風(fēng)貌等，其句式靈活，長短適中，“有厚德載物之致”，這些充滿文采的駢賦，讀了難于忘懷。

張中行先生說，好的文章是不用力來寫的，此系誠懇之語。而碑記一類的駢文，則是需用力為之的文體，只有少數(shù)文學(xué)修養(yǎng)高深雅博者方可駕輕就熟，不為規(guī)則所累。王翼奇先生的駢文，大都典麗靜穆，有一種開闊的文化視野。譬如坐落于景行古橋旁的《重建楊公堤碑記》，就被社會(huì)各界譽(yù)為“新西湖美文”。王翼奇先生在碑文中除了追溯明代杭州知府楊孟瑛筑堤經(jīng)過以及該堤后世變遷之歷史外，還著重描繪了楊公堤豐富悠久的人文內(nèi)涵，藻聲繪色，文采斐然：“以白蘇為伯仲，堤復(fù)成三；通南北而逶迤，橋又有六。從此西湖以斯堤為聚景之中軸，攬勝之長廊。西進(jìn)之水域一碧遙接諸峰，頗饒幽野逸閑之趣；人文之遺址多姿紛呈異彩，彌暢觀瞻游憩之懷。西望金沙、茅埠、三臺(tái)，綠灣碧澗，曲折幽深，蘭舫輕移，青旗微現(xiàn)；東連曲院、劉莊、花港，玉帶晴虹，風(fēng)荷水竹，樓臺(tái)罨畫，煙雨藏詩。又有燕南寄廬，都家舊館；汾陽別業(yè)，玉岑高軒。張伯雨黃篾之樓；趙悲庵白石之碣。茅鄉(xiāng)之上香古道；麥嶺之留記摩崖。竹園奇石，峰縐秋云；花圃幽蘭，香凝朝露。吳俊卿之葉遺刻；康長素之蕉石鳴琴。光懸日月，潭畔于謙之祠；誼證中韓，山間高麗之寺。村居古俗，觀百年黎庶遺風(fēng)；越調(diào)吳歌，聽一曲桃花流水……”；樹立在錢王祠的《重建錢王祠碑記》，則別有一種中通外直、不蔓不枝的氣度和精神：“獎(jiǎng)勸農(nóng)桑，浙地至今富庶；招邀商賈，錢塘從此繁華。而花開陌上，雋語溫溫，佳話清談，流傳于世；潮射江頭，英姿勃勃，雄風(fēng)奇氣，想見其人……”我記憶猶新的還有他的《錢塘江下沙大橋碑記》，氣勢(shì)雄強(qiáng)，遣語雅馴，既是對(duì)當(dāng)年杭州“構(gòu)筑大都市，建設(shè)新天堂”的別開生面記錄，從中也可看到“精致和諧，大氣開放”的杭州人文精神。

這些美輪美奐、字字珠璣的碑記，王翼奇先生是怎么創(chuàng)作出來的？以文辭清暢、韻律流美、廣受好評(píng)的《中國越劇百年誕辰碑記》為例，王翼奇先生說，去年他為了寫這篇碑記，閱讀了許多歷史資料，對(duì)越劇發(fā)展歷程作了一個(gè)梳理，前后做了三四個(gè)稿子。“但我這種梳理和考據(jù)不同，要看詳細(xì)史實(shí)可以去看《中國越劇發(fā)展史》。我的這種梳理是為了在敘事中作一些穿插，理一個(gè)脈絡(luò)。比如越劇最早由男班創(chuàng)始，但碑記中沒有提到男班，以一句‘新創(chuàng)女子科班’涵蓋了。所以大家看這個(gè)碑文時(shí)把它當(dāng)成一種文學(xué)樣式來看，碑記是一種傳統(tǒng)駢文的表達(dá)，不是詳盡歷史記錄。”由于越劇是通俗的戲曲，王翼奇先生在碑記中也極力避免用一些生僻的詞句，“我得讓關(guān)心越劇的人看得懂啊，所以用詞時(shí)很注意雅俗共賞。”值得一提的是，王翼奇先生于年前出版的《綠痕廬詩話·綠痕廬吟稿》，雋永可誦，識(shí)見特出，不獨(dú)有傳統(tǒng)根柢，更有民主自由之視角，洵老辣作文者之翹楚也。在我想來， 中華文化之所以能古而不朽，舊而常新，也即董橋所謂“新和舊是可以同時(shí)存在的：多少前朝舊宅的深深庭院里，處處是花葉掩映的古樹。房子和樹是老的；花和葉是新的”，這與王翼奇先生等既能入乎典籍之內(nèi)、又能出乎其外并能引發(fā)他義的知識(shí)分子的存在，是大有關(guān)系的。王翼奇先生以其高深的文化造詣、豐厚的生活積累所創(chuàng)作的楹聯(lián)、碑記，表明漢語的博大、厚重，在滔滔者天下皆是的今天，偶爾獲讀此種游心于古今之際，意會(huì)于情意之間，裁剪風(fēng)物，熔鑄文史的文字，對(duì)漢語書寫的振興當(dāng)會(huì)有一種信心吧。

The Man Who Adds Literary Beauty to West Lake

By Li Lizhong

The West Lake of Hangzhou has been famous for about 1，000 years in China. The picturesque scenery， together with the city's legendary wealthy past and luxurious life， has made the West Lake a household phrase in the country. Poets and artists have been in love with the tranquil lake and mountain beauty for centuries. If some historical folklore is true， the lake caused an invasion as a northern tribe leader saw a picture of the lake and vowed to have a commanding view of the lake from the hill where the City Temple towered. When the Northern Song Dynasty collapsed and the remaining royal family fled to Hangzhou and set up their new dynasty， Hangzhou became the national center of politics， economy， literature and art. Some disappointed poets blasted the government for its shameful indulgence in the wealth and natural beauty of Hangzhou and for its reluctance to recover the lost territory.

According to Wang Yiqi， director of the Couplets Studies Subgroup under the Zhejiang Languages Association， the West Lake literally displays a great anthology of literary couplets and inscriptions. The West Lake abounds with scenic spots and scenic spots abound with couplets and inscriptions. Wang knows the lake and knows these literary marvels， for he himself has created quite a few couplets and inscriptions for the lake and the city itself. What is more， he has written quite a few rhythmical essays for memorials across Zhejiang， a province steeped in history， literature and arts.

The rebuilding of the West Lake has offered Wang a godsend opportunity to write couplets and rhythmical inscriptions， for restored historical sites need couplets and inscriptions to tell people what the sites are and why they are there.

How does Wang write such couplets and inscriptions? He always researches thoroughly before setting pen to paper. For example， when he was requested in 2006 to write an inscription for a monument to be erected in celebration of the \"centennial birthday\" of Yueju Opera， he browsed ancient archives and studied the history of the opera; he weighed historical and modern factors and considered the best phrases; he rewrote the inscription four more times after the first version. He wanted the inscription to be literary and interesting; he did everything possible to avoid making it a representation of historical facts， data and names; he shunned away from turning out an essay of jaw-breaking ornate words and phrases; he wanted to pen an elegant inscription in a concise style so that most people could easily understand. He succeeded.

Wang Yiqi has published a collection of couplets and inscriptions he has written for the lake over years. The book also carries some of his contemplations on the Chinese language. His creative couplets and inscriptions reflect his profound understanding of Chinese classics， literary tradition， and his brand-new ideas about the future of the Chinese language.

(Translated by David)