一代詞宗夏承燾

王姝

臺(tái)灣作家琦君憶起父親在她牙牙學(xué)語(yǔ)時(shí)便把她帶到一個(gè)年輕人面前，告訴她：“這個(gè)年輕人將來(lái)學(xué)問(wèn)不可限量，你的學(xué)業(yè)就托付給他了。”這個(gè)20歲出頭的青年叫夏承燾，當(dāng)時(shí)才從溫州師范畢業(yè)，任教于琦君家鄉(xiāng)的瞿溪中學(xué)。十多年后，琦君放棄報(bào)考北大，就讀之江大學(xué)，得以受教于夏承燾門(mén)下。此時(shí)的夏承燾，已經(jīng)完成了堪比“詞史”的《唐宋詞人年譜》，而《白石歌曲旁譜辯》《白石歌曲斠律》對(duì)詞樂(lè)的開(kāi)創(chuàng)性研究也已使他譽(yù)滿學(xué)界。

夏承燾先生總是一襲青衫，戴一副眼鏡，顯得格外瀟灑。他上課時(shí)笑容可掬，一口字正腔圓的永嘉官話。外地學(xué)生理解起來(lái)大概頗為困難，但卻格外適合吟唱詩(shī)詞。他用鏗鏘有節(jié)奏的鄉(xiāng)音高聲朗誦《文心雕龍·神思》篇。說(shuō)來(lái)奇怪，經(jīng)他一吟，原本艱澀的駢文顯出韻律之美，竟然瑯瑯上口，不知不覺(jué)就會(huì)背誦了。他講辛棄疾詞《破陣子》時(shí)，放下書(shū)本就引吭嘌唱，似匝地風(fēng)雷激蕩于教室中。夏先生常常說(shuō)詩(shī)詞就在萬(wàn)事萬(wàn)物之中，他信口吟道：“短發(fā)無(wú)多休落帽，長(zhǎng)風(fēng)不斷任吹衣”。吟時(shí)長(zhǎng)衫飄飄，如神仙中人。他帶著學(xué)生去九溪等處游玩，在茶亭把盞賦詞：“若能杯水如名淡，應(yīng)信村茶比酒香?！睂W(xué)生問(wèn)起他的字“瞿禪”的含義，他說(shuō)：只因我很瘦，雙目瞿瞿，且對(duì)新鮮事物都懷驚喜之情。至于禪，卻是不談的，一談就不是禪了。其實(shí)禪并非一定是佛法，禪就在圣賢書(shū)中、詩(shī)詞中，也在日常生活中。他贈(zèng)詩(shī)勉勵(lì)病中學(xué)生，曰：“禪機(jī)拈出憑君會(huì)，未有花時(shí)已是春。”并解釋說(shuō)杜甫熱愛(ài)人生，能入不能出，故有“風(fēng)定花猶落”；俞曲園性豁達(dá)，故有“落花春猶在”之詩(shī)。但我更樂(lè)觀些，所以是“未有花時(shí)已是春”，生命應(yīng)當(dāng)永遠(yuǎn)美好，充滿希望。

他待學(xué)生親切平易，第一堂課上來(lái)，不談學(xué)業(yè)，先就聊天：“你們喜歡之江大學(xué)嗎？我就喜歡。這里人情款切，學(xué)風(fēng)淳厚，風(fēng)景幽美。一面是秦望山，一面是西湖，一面是錢(qián)塘江。之江的風(fēng)景據(jù)說(shuō)占世界大學(xué)第四位，希望你們用功讀書(shū)，將來(lái)使之江大學(xué)的學(xué)術(shù)地位也能升到世界第四位甚至更高?！彼鲝堊x書(shū)要樂(lè)讀，而另一位任銘善老師卻非常嚴(yán)肅，總怪夏承燾對(duì)學(xué)生太寬容，不夠嚴(yán)厲。夏先生笑說(shuō)：“你是教人為學(xué)的道理，我是講娛樂(lè)人生的道理。心情本來(lái)就不一樣的。逼著他們背和作，就不是娛樂(lè)了?！彼麑?duì)學(xué)生的幫助也是不遺余力。學(xué)生來(lái)家中問(wèn)學(xué)，每次都悉心指點(diǎn)，出門(mén)一律送到門(mén)口。有一次，一個(gè)學(xué)生來(lái)訪，夏先生正好生病，就在病榻之上寫(xiě)了條子，讓學(xué)生去找胡士瑩輔導(dǎo)。學(xué)生生病了，他親自帶到懂中醫(yī)的陸維釗家中，按脈開(kāi)方。三年困難時(shí)期，學(xué)生偶爾談到山中缺油，夏先生囑其回去時(shí)來(lái)家中，結(jié)果拿了一大包香腸讓學(xué)生帶回家。抗戰(zhàn)時(shí)在浙大龍泉分校，夏先生在雁蕩山上偶見(jiàn)進(jìn)步學(xué)生史鵬攜帶共產(chǎn)主義宣傳材料，便囑其要小心收藏?！拔母铩敝杏腥藖?lái)外調(diào)史鵬之事，夏先生始終咬定史鵬是進(jìn)步青年。來(lái)人只好悻悻而退。夏先生獎(jiǎng)掖后進(jìn)，鼓勵(lì)學(xué)生超越自己。他賞識(shí)之江大學(xué)的學(xué)生朱生豪，評(píng)價(jià)朱是“不易才”，“聰明才力，在余師友之間，不當(dāng)以學(xué)生視之。”

夏先生在教學(xué)上輕松灑脫，對(duì)學(xué)生熱忱幫助，治學(xué)卻十分嚴(yán)謹(jǐn)。他常說(shuō)，自己很笨，“笨”這個(gè)字很有意義，頭上頂著竹冊(cè)，就是教人要用功，用功是人的根本，所以“笨”字從竹從本。他在1939年11月17日的日記中自述道:“少年頗能讀書(shū)，自十七八以后非疾病罕離書(shū)本。自在嚴(yán)州以后，始妄意著作，勤苦尤甚。”上世紀(jì)50年代初，他因?yàn)樾轮袊?guó)的新氣象而奮發(fā)，說(shuō)：“我五十多歲了，應(yīng)該自信發(fā)憤工作，以后一年的工作，可以抵以前的十年?！闭麄€(gè)五六十年代，無(wú)論是逢年過(guò)節(jié)，還是嚴(yán)寒酷暑，全年無(wú)歇。除夕春節(jié)，等親友散去，他馬上就抓緊寫(xiě)作，像《詞風(fēng)格論》《詞的興起》《杜詩(shī)論綱》等文都是在年節(jié)間隙寫(xiě)成。杭州夏天近四十度高溫，彼時(shí)沒(méi)有空調(diào)，夏先生揮汗如雨，著述不停。就是生病高燒，不能工作，也“蒙被歌唱自寬”，并“枕上自作白話詩(shī)二首”。勤奮執(zhí)著如此。夏先生出身貧寒之家，他說(shuō):“歷史上凡是占有學(xué)問(wèn)界、事業(yè)界最高席位者，十之七八是窮人出身。凡能在貧賤困厄中磨煉出人格光輝者，則貧賤困厄在他人為憂患，在彼卻為幸運(yùn)”，并云:“高原陸地，不生蓮花;卑濕污泥，乃生此花。在憂患中悟得人生真義，此所謂轉(zhuǎn)煩惱為菩提?！?/p>

“文革”中，夏承燾遭到磨難，身體也越來(lái)越差，于七十年代末離開(kāi)了杭大，去北京養(yǎng)病。1984年，中國(guó)韻文學(xué)會(huì)成立，夏先生捐贈(zèng)4萬(wàn)元，用以設(shè)立“夏承燾詞學(xué)獎(jiǎng)”。談起此事，夏先生深沉地說(shuō):“我已垂垂老矣，要做的事已來(lái)不及做了，我寄希望于中國(guó)韻文學(xué)會(huì)，希望后來(lái)人都超過(guò)我?！毕某袪c在新舊詞學(xué)之交，一面繼承歷代詞學(xué)之長(zhǎng)，一面對(duì)傳統(tǒng)詞學(xué)作了多方面的開(kāi)拓與創(chuàng)新，借鑒科學(xué)的研究方法與現(xiàn)代理念，結(jié)合其深厚的傳統(tǒng)學(xué)養(yǎng)與扎實(shí)的考訂功夫，在詞人年譜、詞論、詞史、詞樂(lè)、詞律、詞韻以及詞籍箋校諸方面均取得突破性成果。他以史治詞，構(gòu)筑起超越前人的嚴(yán)整的詞學(xué)體系，實(shí)現(xiàn)了現(xiàn)代詞學(xué)的科學(xué)化、系統(tǒng)化與理論化。早在30歲前后，夏先生考證詞人行實(shí)，積年累月而成的《唐宋詞人年譜》十種十二家，開(kāi)創(chuàng)詞人譜牒之學(xué)?！短扑卧~論叢》“對(duì)唐宋詞之聲律，刻析入微，前無(wú)古人”，收入《月輪山詞論集》中的論文從文學(xué)藝術(shù)和音樂(lè)聲律兩方面結(jié)合起來(lái)研究詞學(xué)，建立了新的完整的詞學(xué)理論體系。他還以大學(xué)問(wèn)家的身份，普及詞學(xué)知識(shí)，在《浙江日?qǐng)?bào)》《文匯報(bào)》香港《大公報(bào)》上撰寫(xiě)了許多深入淺出的知識(shí)性和鑒賞性文章。他的《論詞絕句》以詩(shī)筆寫(xiě)詞史，品論精當(dāng)，而富于藝術(shù)情趣。他還開(kāi)創(chuàng)了以日記治詞，《天風(fēng)閣學(xué)詞日記》從十余歲記起，除了“文革”被迫中斷之外，每日必記，積累了六七十余冊(cè)?！短祜L(fēng)閣學(xué)詞日記》是他治詞一生的實(shí)錄，“具有詞學(xué)文獻(xiàn)之價(jià)值”。

夏先生不但是詞學(xué)家，更是20世紀(jì)最杰出的詩(shī)詞家之一。其詩(shī)詞總數(shù)達(dá)1000余首，時(shí)間跨度60年。他在《論詞絕句》的最后一首寫(xiě)道：“蘭畹花間百輩詞，千年流派我然疑。吟壇拭目看新境，九域雞聲唱曉時(shí)?！边@新境新聲正可用來(lái)評(píng)價(jià)他的詩(shī)詞創(chuàng)作。寫(xiě)詩(shī)“于昌黎取煉韻，于東坡取波瀾，于山俗取造句”，詩(shī)作被選入《石遺詩(shī)話》；夏先生寫(xiě)詞師承常州詞派朱祖謀，又欲“合稼軒、白石、遺山、碧山為一家”，兼收并蓄，再造新體?！?/p>

Virtue and Academic Virtuosity of Confucian Masters in Hangzhou University (II)

By Wang Shu

Hangzhou University, which became part of present-day Zhe-jiang University in 1998, used to be a key university of liberal arts in China. For a long time after the founding of the Peoples Repub-lic of China in 1949, Hangzhou University prestigiously ranked side by side with Beijing University as two centers of Chinese clas-sical studies and Confucianism. During these years, the Chinese Department of Hangzhou University boasted preeminent scholars such as Wang Jiawu, Xia Chengtao, Hu Shiying, Jiang Liangfu and Sun Xizhen (names arranged in the order of age). During that time, someone came up with a pithy and humorous comparison to describe the two universities in terms of the strength and wealth of Confucian studies: Beijing University is like a landlord whereas Hangzhou University is like a rich farmer. The portraits of the five professors are high on the walls of the conference room of the Chi-nese Department of Zhejiang University. Wang Shu, a graduate of Hangzhou University and specialist of modern Chinese literature, has written a series of essays in commemoration of these masters. These stories are to run from the April issue on. The following fea-ture is in honor of Master Xia Chengtao (1900-1986).

Xia Chengtao is a legendary master of Ci studies. Xia never had a college education, but the self-made scholar successfully established himself as a master of Ci studies and began to teach at Zhijiang University (one of the 13 Chinese universities established, financed and operated by a religious organization in America) in 1930 when he was 30 years old. He taught in Hangzhou University after the founding of the Peoples Republic in 1949.

Xie was a native of Wenzhou, a port city in southern Zhejiang Province. After graduating from Wenzhou Normal School in 1918, Xie taught in a number of middle schools. It was while teaching in Yanzhou Middle School that Xia read up all the poetry books in the school li-brary and started his research project on Chinese Ci poetry, his life-long passion. Ci is a special form of poetry. It evolved, flourished and culminated in the Song Dynasty (960-1279). After a mediocre period during the Ming Dynasty, it flourished again in the Qing Dy-nasty (1644-1911). Ancient scholars of Ci studies usually focused on writing annotations and editing collections, but they rarely stud-ied the history of Ci poetry; nor did they conduct systematic study of theories of Ci poetry. Though ancient scholars wrote numerous books of Ci poetry, there lacked good studies. It was not until the 20th century that studies of Ci poetry had a new opportunity to go ahead. Xia was a leading scholar of the ancient Ci studies in the 20th century. The two breakout books he wrote on Ci while teach-ing at Yanzhou Middle School established him as a leading scholar in this field. That was why he came to work as a professor at Zhi-jiang University to teach Chinese Ci Poetry.

Xia is widely recognized as a scholar with unique understanding and knowledge of poets lives and careers and their works. A pro-lific writer, he penned nearly 30 books on Ci, which cover a broad range of Ci studies. In particular, the Ten Chronicles of 12 Ci Poets he published in 1955 broke a brand new ground for Ci studies. Xia was the first scholar in China who recreated chronicles of Ci poets and studied their poems by comparing their life stories with their poetic creations. His studies corrected many mistakes made in the past studies and clarified many points. Moreover, Xia was a diligent diary writer. He began to keep a diary as a teenager. The diary writ-ing was interrupted only by the Cultural Revolution (1966-1976). His diaries spanned decades. These journals were about his studies and researches of Ci poetry. Scholars now consider these journals as records that document his career as a scholar of Ci studies.

In some reminiscences of his students at Zhijiang University, Xia usually came to classes dressed in a long blue gown. He smiled a lot and spoke a heavily accented mandarin. Many students struggled to understand his pronunciation, but strange enough, the mandarin he spoke in a special way sounded melodious for reading poems and essays aloud. The hidden beauty of these poems could be appreci-ated better in his pronunciation. Xias teaching style was lovely. He loved to interact with students. The first class he gave at the beginning of a term was usually a casual chat. Sometimes he took students to the nearby Nine Creeks, a quiet, zigzagging valley with bubbling streams and wooded peaks. Xia Chengtao commented on Zhu Shenghao (1912-1944), a student of Zhijiang University, say-ing that the young scholar was a genius. The professor considered him a friend. Zhu Shenghao is widely recognized as the best trans-lator of Shakespeares plays in China.

Over a period of 60 years, Xia wrote about 1,000 poems. He is generally considered one of the best Ci poets of the 20th century. While writing and teaching, he contributed to newspapers. His newspaper writings focus on the appreciation of ancient Chinese Ci poems. □