周維強(qiáng)

“王先生寡言，我也少語(yǔ)，二人對(duì)坐，常常陷入沉默，我勉強(qiáng)問(wèn)了一些元曲方面的問(wèn)題，但王先生的回答都非常簡(jiǎn)單，談話始終活躍不起來(lái)”。

明治維新之后的一些日本文化人，特別是其中的漢學(xué)家和作家，既精熟中國(guó)文化，又有西方近代文明的修養(yǎng)，融會(huì)東西。他們“寫生”中國(guó)的人文學(xué)者，一般都以明晰的筆觸真實(shí)地表達(dá)自己的感受和印象，釘是釘鉚是鉚，不含含糊糊吞吞吐吐。所以，他們從自己的視角來(lái)看同時(shí)代中國(guó)治中國(guó)文化的學(xué)者，以文字作“速寫”，也就頗有意味了。

王國(guó)維：“不屑客套的寒暄”

學(xué)者王國(guó)維，生于1877年，卒于1927年，字靜安，又作靜庵，晚號(hào)觀堂，浙江海寧人。

日本漢學(xué)家青木正兒數(shù)次訪問(wèn)王國(guó)維，在他寫的關(guān)于中國(guó)文化的隨筆集《竹頭木屑》里，有文章《王靜庵先生追憶》，里面分兩則：《初次會(huì)面》寫于昭和十二年（1937年）5月;《王先生的辮子》寫于昭和二年（1927年）8月。

明治四十五年（1912年），青木正兒25歲，大學(xué)畢業(yè)的第2年，這一年2月上旬，青木正兒訪問(wèn)了正在日本京都的王國(guó)維先生。初見(jiàn)面，王國(guó)維給青木正兒的印象是“留著辮子長(zhǎng)得像個(gè)鄉(xiāng)下人似的”。王國(guó)維寓所的客廳里擺放著漢籍和若干英文書(shū)，青木正兒以為是戲曲方面的，不料是“晦澀的哲學(xué)書(shū)籍”。青木正兒文章里寫道：“王先生說(shuō)沒(méi)讀過(guò)莎士比亞，問(wèn)他中國(guó)戲劇，答曰一向不喜歡看。問(wèn)音樂(lè)方面，答曰不懂音樂(lè)，但告訴我清吳穎芳《吹豳（bīn）錄》對(duì)音樂(lè)見(jiàn)解頗精。”青木正兒后來(lái)雖細(xì)心尋求，但還是沒(méi)能見(jiàn)到這部書(shū)，到北京留學(xué)時(shí)在目錄上查到北平圖書(shū)館藏有《吹豳錄》五十卷抄本。青木正兒在昭和十二年（1937年）5月寫的文章里感嘆“先生博學(xué)亦如此”。青木正兒這次訪問(wèn)后所得印象是，“先生是樸學(xué)之人，缺少藝術(shù)氛圍”。

幾天后，王國(guó)維來(lái)到青木正兒的住所訪問(wèn)，“先生久久地望著庭院，贊嘆日本家屋樹(shù)木茂盛”，“王先生寡言，我也少語(yǔ)，二人對(duì)坐，常常陷入沉默，我勉強(qiáng)問(wèn)了一些元曲方面的問(wèn)題，但王先生的回答都非常簡(jiǎn)單，談話始終活躍不起來(lái)”。

這幾筆的寫實(shí)，勾勒出王國(guó)維先生的性格和學(xué)問(wèn)。

大正十一年（1922年），青木正兒在4月里訪問(wèn)了寓居上海的王國(guó)維先生;大正十四年（1925年），這時(shí)王國(guó)維已執(zhí)教于北京的清華大學(xué)，這一年4月，青木正兒游覽北京西山后到清華拜訪王國(guó)維先生，“當(dāng)然先生還留著他的辮子”，王國(guó)維對(duì)青木正兒說(shuō)“我還不知道西山”，又補(bǔ)充說(shuō)自從住進(jìn)這里，沒(méi)有去過(guò)城里一次。青木正兒因此聯(lián)想到“那些王朝代興之際，數(shù)年足不入都城的古代先賢風(fēng)格，充滿了尊敬之念和惻隱之情，不禁低下了頭”。

青木正兒對(duì)王國(guó)維先生說(shuō)，元以前的戲曲史已經(jīng)有先生的大著，自己便想搞搞明以后的戲曲史。王國(guó)維先生“謙遜道自己的著作不足掛齒”。王國(guó)維先生又對(duì)青木正兒說(shuō)，“明以后的戲曲史沒(méi)有意思，元曲是活的，而明曲是死的”。青木正兒當(dāng)時(shí)聽(tīng)了王國(guó)維先生的話“感到一些反感”，他在文章里說(shuō)自己深服王先生的著述，但是明代以后的“先生的殘羹冷飯”，自己也是“甘愿拾先生牙慧”。青木正兒又說(shuō)，現(xiàn)在寫這篇文章時(shí)轉(zhuǎn)而想想，“先生當(dāng)時(shí)或許是懇切地勸告我應(yīng)該采取精華”。

青木正兒昭和二年（1927年）8月寫這一則隨筆時(shí)說(shuō)：“先生不屑客套的寒暄，直言胸臆的風(fēng)格正是我所敬仰的。”此時(shí)，王國(guó)維先生已在這一年的6月2日自沉昆明湖而逝了。這篇文章應(yīng)該是為了紀(jì)念王國(guó)維先生而寫的。

張?jiān)獫?jì)：“白皙美好之大丈夫”

張?jiān)獫?jì)，生于1867年，卒于1959年，字菊生，浙江海鹽人，出版家、教育家、實(shí)業(yè)家，著有《校史隨筆》等。

內(nèi)藤湖南于1899年11月初在上海與張?jiān)獫?jì)談?wù)摃r(shí)務(wù)?！队碛蝤欁τ洝防飳憦?jiān)獫?jì)：

“張氏乃戊戌政變以前，與康南海等同為湘撫陳寶箴等所保薦之五人才之一。時(shí)年三十三歲，浙江秀水縣（即嘉興府治）人氏，白皙美好之大丈夫也。在北京時(shí)，嘗創(chuàng)辦通藝學(xué)堂，引導(dǎo)后進(jìn)。頗通英文，蓋亦江浙間之才俊矣?！?/p>

內(nèi)藤湖南會(huì)晤張?jiān)獫?jì)時(shí)，張?jiān)獫?jì)尚未進(jìn)入商務(wù)印書(shū)館。文中云張?jiān)獫?jì)“白皙”，蓋指張?jiān)獫?jì)膚色，此亦可知張?jiān)獫?jì)書(shū)香世家出身，營(yíng)養(yǎng)頗佳，“白皙美好之大丈夫”，儀表堂堂，一表人才也。

陳寅?。骸翱雌饋?lái)很敏銳”

陳寅恪，生于1890年，卒于1969年，字鶴壽，江西修水人。學(xué)者。

日本漢學(xué)家吉川幸次郎年輕的時(shí)候，曾在1928年至1931年間受文部省的委派留學(xué)中國(guó)，晚年口述的《我的留學(xué)記》追述在中國(guó)的所見(jiàn)所聞所歷。當(dāng)時(shí)有一回，版本學(xué)家和藏書(shū)家徐鴻寶（即徐森玉）先生要把吉川幸次郎等一些日本留學(xué)生介紹給陳寅恪，就請(qǐng)來(lái)了陳寅恪一起吃晚飯。吉川幸次郎因此得到機(jī)會(huì)見(jiàn)到了陳寅恪先生?！段业牧魧W(xué)記》一書(shū)里，吉川幸次郎寫道：

西田幾多郎是公認(rèn)的日本近代哲學(xué)史上最有代表性的哲學(xué)家。

和吉川幸次郎一同留學(xué)中國(guó)的倉(cāng)石武四郎，也是在這一次宴會(huì)上見(jiàn)到了陳寅恪。倉(cāng)石武四郎在他的《述學(xué)齋日記》里，記錄的時(shí)間是5月27日，年份是昭和五年（1930年）。宴會(huì)的地點(diǎn)是宣南廣和居。設(shè)宴的主人，除了徐森玉，還有趙萬(wàn)里、錢玄同先生。

倉(cāng)石武四郎在日記里這樣寫陳寅恪先生：

“陳氏論如利刃斷亂麻，不愧靜庵先生后起矣。”

靜庵先生，即王國(guó)維先生。倉(cāng)石武四郎所得印象也是和吉川幸次郎相同，一個(gè)比作西田幾多郎，一個(gè)以為是繼王國(guó)維的后起之秀。周一良先生在給中華書(shū)局出版的《倉(cāng)石武四郎中國(guó)留學(xué)記》一書(shū)寫的序里因此說(shuō)：倉(cāng)石武四郎、吉川幸次郎“他們兩位是很有眼力的”。

辜鴻銘：“目光炯炯，排闥而入”

辜鴻銘，生于1857年，卒于1928年，名湯生，字鴻銘，祖籍福建惠安，生于南洋英屬馬來(lái)西亞檳榔嶼。

日本作家芥川龍之介大正十年（1921年）3月下旬至7月下旬游歷中國(guó)。在上海，路透社駐滬記者鐘斯執(zhí)著芥川龍之介的手說(shuō)：“到中國(guó)，紫禁城不看亦可，勿忘見(jiàn)辜鴻銘?！苯娲堉?925年在東京的改造社出版的《中國(guó)游記》中有一篇寫他在北京拜訪辜鴻銘。

辜鴻銘當(dāng)時(shí)居住在東椿樹(shù)胡同18號(hào)院。芥川龍之介到了辜鴻銘的寓所，傭仆引他入廳堂，待之未足一分鐘，辜鴻銘即進(jìn)來(lái)。芥川龍之介寫道：

“待之未足一分，有一老人，目光炯炯，排闥而入……”

這“排闥而入”真是有氣勢(shì)。

辜鴻銘一邊“排闥而入”，一邊口操英語(yǔ)，曰：“歡迎，請(qǐng)坐?！?/p>

辜鴻銘“辮發(fā)花白，著白色大褂兒。因鼻尺寸短，故容顏略似蝙蝠”。“蝙蝠”這個(gè)比喻甚為形象?！跋壬c仆語(yǔ)，幾上置白紙數(shù)頁(yè)，手捉鉛筆如飛，口中操英吉利語(yǔ)不絕。于耳不敏如仆者，誠(chéng)便利之會(huì)話法也”?！捌汀笔墙娲堉榈闹t稱?？梢?jiàn)辜鴻銘思維敏捷。

辜鴻銘和芥川龍之介縱談古今中外，一會(huì)兒議論段祺瑞、吳佩孚，一會(huì)兒又說(shuō)托爾斯泰。芥川龍之介文章里說(shuō)“先生議論風(fēng)發(fā)，氣宇軒昂，目光益發(fā)如炬，容顏益發(fā)似蝙蝠”。

芥川龍之介亦感于辜鴻銘所論，問(wèn)：“何以先生慨于時(shí)事而不欲關(guān)與時(shí)事乎？”辜鴻銘“恨恨然，奮筆大書(shū)曰：‘老、老、老、老、老……”

一位“排闥而入”的氣概非凡、精氣神十足的老人，躍然紙上。

章太炎：“永遠(yuǎn)冷然的眼睛”

章太炎，生于1869年，卒于1936年，浙江余杭人，字枚叔，后易名炳麟。

作家芥川龍之介1921年初春訪問(wèn)中國(guó)，在上海造訪過(guò)章太炎先生。芥川龍之介看到太炎先生的書(shū)齋里，“不知是出于何種趣味，有一條巨大的鱷魚(yú)標(biāo)本匍匐在墻上”，書(shū)齋為書(shū)卷所埋沒(méi)，芥川龍之介覺(jué)得“寒冷徹骨”。章太炎先生“身著深灰色大褂兒，外加一件厚毛皮里子的黑色馬褂兒”，坐在“鋪著毛皮的藤椅”上，雄辯地談?wù)摚娲堉槁?tīng)得“連香煙也忘了吸”。

芥川龍之介描寫章太炎先生的外貌：

“不過(guò)說(shuō)句失禮的話，先生尊容絕不夠偉岸。皮膚幾乎是黃色的，唇髭與頜須少得可憐。額頭突兀聳起，令人誤以為是個(gè)瘤。唯有一雙細(xì)如絲線的眼睛，在文雅的無(wú)邊眼鏡后面永遠(yuǎn)冷然的眼睛，確乎非同尋常?！?/p>

芥川龍之介接著說(shuō)：“為了這雙眼睛，袁世凱竟會(huì)讓先生受囹圄之苦。同時(shí)也是為了這雙眼睛，他雖然一度將先生監(jiān)禁起來(lái)，卻終于未敢加以殺害?！?/p>

倉(cāng)石武四郎1928～1930年受文部省的委派留學(xué)中國(guó)，他的《述學(xué)齋日記》里記錄了在上海拜訪章太炎先生，時(shí)間是1930年7月初。倉(cāng)石武四郎寫道：

“冒雨訪章太炎先生于同孚路。先生童顏短發(fā)，不飾邊幅，尤見(jiàn)其古怪也。操筆論對(duì)，頗出人之意表。其云：‘治漢學(xué)者不可有好奇之心。寥寥短句，足箴舉世。”

和朱玉麒一起輯注《倉(cāng)石武四郎中國(guó)留學(xué)記》一書(shū)的榮新江，在這部書(shū)的前言里說(shuō)：倉(cāng)石武四郎通過(guò)自己的訪談，言簡(jiǎn)意賅地記述太炎先生的學(xué)問(wèn)及其風(fēng)貌，“非常值得玩味”。

近世日本文化人“寫生”近世中國(guó)的人文學(xué)者，這恐怕是一個(gè)有意思的題目。比如，吉川幸次郎在他的書(shū)里寫他聽(tīng)錢玄同的課，錢玄同上課“還戴著白手套”，這個(gè)細(xì)節(jié)，我沒(méi)有在其他人的文章里見(jiàn)到過(guò)，包括錢玄同的學(xué)生寫的文章。吉川幸次郎還說(shuō)錢玄同先生的課“語(yǔ)言清晰，內(nèi)容易懂”“最有系統(tǒng)性”，課結(jié)束的時(shí)候，大家都鼓掌了，但在錢先生的課之外，不大有這樣的事。

可惜我還沒(méi)能找到上述中國(guó)人文學(xué)者的“寫生”上述日本文化人的文章。不然兩相對(duì)照著來(lái)閱讀，恐怕能尋覓出近世中日學(xué)術(shù)文化交流的更豐富的趣味和更多的意味。

（除署名外，本文圖片由視覺(jué)中國(guó)提供）

Some Japanese scholars after Meiji Reform （1868-1912） were excellent sinologists versed in both Chinese culture and western culture. They never hesitated to frankly say what they saw in Chinese scholars they met. These textual sketches of Chinese scholars look quite fascinating today.

Wang Guowei

Aoki Masaru （1887-1964） visited Wang Guowei （1877-1927）， a Chinese master of ancient poems and theater， several times. He mentions two encounters with Wang in Japan.

In February 1912， the 25-year-old Aoki Masaru， a young scholar who had just graduated from university in the previous year， visited Wang Guowei at his home in Kyoto， Japan. In an essay written in August 1927， Aoki Masaru mentioned that Wang looked like a country fellow with a long braid. In the sitting room where the two scholars met were some books in both Chinese and English. The young scholar guessed these books were all about theater. To his surprise， they were all about philosophy. Wang confessed that he hadnt read Shakespeare， that he disliked Chinese opera plays， and that he did not have any professional knowledge of music. However， Wang offered a piece of professional knowledge： a book by Wang Yingfang of the Qing Dynasty （1644-1911） had some very profound insight into music. Years later the Japanese sinologist spotted the book in a catalogue while studying in Beijing. Aoki Masaru was deeply impressed by Wangs knowledge of ancient Chinese literature. A few days after the first visit， Aoki Masaru came again to visit Wang at his home in Kyoto. They sat face to face awkwardly. The Japanese scholar asked questions about the Yuan poems and Wang gave brief answers. The conversation never had a chance to get animated and most of the time， both of them were silent.

In April 1922， Aoki Masaru visited Wang Guowei at his home in Shanghai. In April 1925， he visited Wang on the campus of Tsinghua University as Wang was teaching at the university. They talked about theater of the Yuan and the Ming. Wang advised the Japanese scholar not to bother to study the theater of Ming. After Wang passed away in June， 1927， Aoki Masaru wrote in an essay dated August 1927 that Wang dismissed small talks and pleasantries and he respected the masters straightforward style.

Zhang Yuanji

Zhang Yuanji （1867-1959）， a native of Haiyan， Zhejiang， was a publisher， educator， and industrialist. Naito Konan （1866-1934）， a prominent Japanese sinologist， met Zhang Yuanji （1867-1959） in November 1899 in Shanghai. Their talked about current affairs. Naito Konan wrote in a book about his China tour that 33-year-old Zhang was one of the five young talents recommended to Emperor Guangxu before the coup by Dowager Empress Cixi in 1898. Naito Konan mentioned that Zhang was a native of Jiaxing and had proficiency in the English language. He also said that Zhang looked fair and handsome. It can be deduced from the description that Zhang came from a family of scholars and his diet was quite good. When the Japanese sinologist met Zhang in Shanghai， Zhang was not yet to work at the Commercial Press.

Chen Yinque

Chen Yinque （1890-1968） was a prominent Chinese scholar. Kojiro Yoshikawa （1904-1980）， a prominent Japanese sinologist， studied in China from 1928-1931 and met Chen at a dinner. Takeshiro Kuraishi （1897-1975）， also a Japanese sinologist， was at the dinner too. In Takeshiro Kuraishis diary， the dinner occurred on May 27， 1930. Kojiro Yoshikawa wrote in a book about his overseas studies in China that he was under the impression that Chen was intelligent and reminded him of the young Kitaro Nishida （1870-1945）， the most significant and influential Japanese philosopher of the 20th century. Takeshiro Kuraishi said in his diary that Chens scholarly ideas were as sharp as a knife and that Chen reminded him of Wang Guowei.

Gu Hongming

Gu Hongming （1857-1928） was a prominent scholar. Akutagawa Ryunosuke （1892-1927）， a prolific Japanese writer known especially for his stories based on the events in Japanese past and for his stylistic virtuosity， took a tour in China from March to July 1921. In 1925 he published a travelogue about the China tour. He mentioned in one chapter that， shortly after he arrived in Shanghai， he learned from a journalist working in Shanghai that he could forget about the Forbidden City but he should never forget to visit Gu Hongming.

So Akutagawa Ryunosuke went to see the prominent Chinese scholar when he was in Beijing. One minute after Akutagawa Ryunosuke was ushered into the meeting room， an old man strode in， his eyes bright. The old man with the bright eyes was Gu Hongming. Gus white hair was made into a long braid， which was a personal statement he wanted to make. They chatted by writing Chinese words on paper on the desk. Gu spoke English but wrote in Chinese. The conversation went smoothly. They talked about some Chinese politicians and they talked about Tolstoy. The master talked as if there had been a big wind; his eyes were as bright as a torch， and he looked majestic， observed Akutagawa Ryunosuke in the travelogue. Asked why he cared about what was going on in China but distanced himself from participating， Gu angrily wrote down “old” many times on paper.

Zhang Taiyan

Zhang （1869-1936） was a prominent scholar and revolutionary. Akutagawa Ryunosuke visited Zhang in Shanghai during his China tour from March to July 1921. On the wall of Zhangs study there was a huge specimen of a crocodile. The Japanese writer felt cold in the study where there were heaps of books. He described the Chinese master as a man who didnt look majestic at all， but he was deeply impressed by Zhangs unusually cool eyes behind the rimless eyeglasses. He commented that Yuan Shikai threw Zhang into prison for the coolness of the eyes but dared not to kill him also for the coolness of the eyes.

Takeshiro Kuraishi visited Zhang Taiyan in Shanghai during his study in China from 1928 to 1930. He made the visit on a rainy day in early July 1930. According to Kuraishi， the master had short hair and looked like a child. The Japanese scholar reasoned that apparently the master didnt pay much attention to his look. They talked by writing Chinese words. The young Japanese sinologist was deeply impressed by the Chinese scholar. One of the things the master said was a sinologist must not have a curiosity. Takeshiro Kuraishi considered the advice as a motto.