那一路行吟噴薄的佳句

尚佐文

錢塘江是浙江的母親河。從入海口溯江而上，下游為狹義的錢塘江，以“錢江潮”聞名于世;中游為富春江，“奇山異水，天下獨絕”;上游分為南源與北源，南源為衢江，流至蘭溪境內(nèi)納金華江接蘭江，一路云水煙嵐，槳聲鳥語;北源為新安江，以山高水清、灘多勢險著稱。

錢塘江集壯美與秀麗于一身，又是古代交通的黃金水道，深受行游詩人的青睞。正是歷代詩人詞客后先相繼，留下無數(shù)的作品和故事，形成了自然風(fēng)光與人文蘊藉完美結(jié)合的“錢塘江詩路”。杭州出版社2019年出版的《錢塘江詩詞選》，選編自東晉至現(xiàn)當(dāng)代780多位詩人近3000首詩詞佳作，精彩紛呈，但也僅是取鼎中一臠。一篇短文更是無法承擔(dān)全面介紹的任務(wù)，且舉幾位與錢塘江關(guān)系尤為密切的詩人為代表，略窺詩路之勝。

謝靈運

最早的山水詩獻(xiàn)給錢塘江

東晉南北朝大詩人謝靈運被尊為“中國山水詩鼻祖”，他集中創(chuàng)作山水詩，是在擔(dān)任永嘉太守期間。永嘉郡，即今溫州地區(qū)，所以今天溫州人很自豪地宣稱楠溪江是中國山水詩的發(fā)源地。

然而，如果要爭個先后，錢塘江則先拔一籌。謝靈運于永初三年（年）赴任永嘉，經(jīng)由富春江，留下了《初往新安至桐廬口》《七里瀨》《夜發(fā)石關(guān)亭》等詩作;元嘉年間經(jīng)富春江北上，又作《富春渚》。這些詩對富春江景色的描寫，如“江山共開曠，云日相照媚”，“石淺水潺湲，日落山照曜”，“亭亭曉月映，泠泠朝露滴”，“溯流觸驚急，臨圻阻參錯”，可與吳均《與朱元思書》對讀。而《七里瀨》詩中“目睹嚴(yán)子瀨，想屬任公釣。誰謂古今殊，異代可同調(diào)”，開后世詠嚴(yán)子陵詩詞之先河?？梢哉f，謝靈運最早有意識地用詩歌描摹錢塘江兩岸山水風(fēng)光，是“錢塘江詩路”的開創(chuàng)者。隨后，南北朝詩人紛紛加入這個行列，其中特別值得一提的是浙江德清人沈約。

沈約是最早發(fā)現(xiàn)漢語有聲調(diào)的人之一，他和周顒等人提出“四聲八病”說，并運用到詩歌創(chuàng)作實踐，創(chuàng)“永明體”，為唐代近體詩的興起奠定了基礎(chǔ)。沈約自京城建康（）赴任東陽（）太守途中作《新安江至清淺深見底貽京邑同好》，描摹細(xì)致傳神，是最早的新安江詩詞名篇，其中云：“洞澈隨深淺，皎鏡無冬春。千仞寫喬樹，百丈見游鱗。”沈約還寫過《早發(fā)定山》詩，也是用心之作。定山，又稱“浙山”，在錢塘江下游。

孟浩然

勤奮敬業(yè)的行吟詩人

孟浩然號稱“唐代山水田園詩第一人”，《唐詩三百首》收錄其詩14首，其中兩首寫錢塘江：

山暝聽猿愁，滄江急夜流。

風(fēng)鳴兩岸葉，月照一孤舟。

建德非吾土，維揚憶舊游。

還將兩行淚，遙寄海西頭。

移舟泊煙渚，日暮客愁新。

野曠天低樹，江清月近人。

孟浩然曾長期漫游吳越，對浙江山水相知甚深。這兩首詩寫的是錢塘江的中游、上游，桐廬江即富春江流經(jīng)桐廬縣的一段，而新安江流經(jīng)建德的一段則又稱建德江。二詩都寫“客愁”，前詩中還直言“建德非吾土”（），如果心胸狹窄的主人聽了，也許會心生不悅;但這不妨礙它們成為錢塘江詩路上最耀眼的明珠。詩是需要真情實感的，發(fā)自內(nèi)心的感慨，比那些直接的贊美之辭更具價值。

孟浩然是少有的寫遍錢塘江上游（）、中游和下游的大詩人。在上游南源，他寫下《宿武陽川》（）;在下游，他寫下《早發(fā)漁浦潭》《將適天臺留別臨安李主簿》《初下浙江舟中口號》等詩作。錢塘江和孟浩然，可謂兩不相負(fù)。

白居易

錢塘江與西湖的艱難選擇

白居易是西湖的知音和恩人，他一手將西湖從水利工程打造成聞名遐邇的風(fēng)景區(qū)?！白類酆|行不足，綠楊陰里白沙堤”，“未能拋得杭州去，一半勾留是此湖”，他對西湖的喜愛與眷戀濃得化不開。

然而，白居易晚年退居洛陽時所寫名篇《憶江南》，卻給后世留下謎團?！稇浗稀饭踩?，其一泛憶江南，其二憶杭州，其三憶蘇州。憶杭州的這首，只寫到杭州的兩個景觀：“山寺月中尋桂子，郡亭枕上看潮頭?！睕]有西湖的影子。這是為啥，難道西湖不是白居易的最愛嗎？

有專家說，白居易不寫西湖，是避嫌，因為他開發(fā)西湖有功。這種說法根本經(jīng)不起推敲。白居易寫過大量贊美西湖的詩詞，他在宣傳西湖方面從來都是很高調(diào)的，怎么偏偏寫這首詩的時候忸怩了起來？其實，在唐代，西湖是個后起之秀，其知名度遠(yuǎn)不如錢江潮、靈隱寺、天竺寺?！稇浗稀分挥袇^(qū)區(qū)27字，掐頭去尾，真正寫景的只有中間兩句14個字，要選當(dāng)時最具代表性的景觀，只能舍棄西湖了。白居易寫錢塘江的詩詞也不少，如一首題為《潮》的七絕：“早潮才落晚潮來，一月周流六十回。不獨光陰朝復(fù)暮，杭州老去被潮催?！苯璩彼惆l(fā)人生感慨，也可看出他對錢江潮是很了解的。

作為唐代杭州最佳景觀，錢江潮自然少不了名篇佳句。初唐詩人宋之問《靈隱寺》中的“樓觀滄海日，門對浙江潮”，白居易同齡人劉禹錫的《浪淘沙》：“八月濤聲吼地來，頭高數(shù)丈觸山回。須臾卻入海門去，卷起沙堆似雪堆?！倍紴闅v代所傳誦。但很多選本把李白《橫江詞》（）作為頌美錢江潮的佳作，卻令人啼笑皆非。李白《橫江詞》共六首，此為第四首。詩題中明確道出的“橫江”，即橫江浦，為古長江渡口，在今安徽和縣東南?！罢憬嗽潞稳绱恕保馑际清X江潮哪比得過橫江潮啊，分明是借抑此以揚彼。當(dāng)然，李白找錢江潮作襯托，恰恰說明錢江潮在“潮界”至高無上的地位。

范仲淹詩情噴涌如江水

錢塘江上游流經(jīng)的淳安、建德以及中游流經(jīng)的桐廬，今皆屬杭州，古代曾屬與杭州并立的大州——唐宋時期或稱睦州，或稱嚴(yán)州。北宋名臣范仲淹于宋仁宗明道二年（）十二月被貶為睦州知州，次年（）正月從京城出發(fā)，四月至睦州任所，六月即調(diào)任蘇州。赴任途中開始涉筆睦州，到離任止，短短半年時間，范仲淹寫下大量與睦州、與錢塘江有關(guān)的詩詞，據(jù)統(tǒng)計占到他存世詩歌作品的六分之一。膾炙人口的《江上漁者》，被認(rèn)為是其中的一首：

江上往來人，但愛鱸魚美。

君看一葉舟，出沒風(fēng)波里。

范仲淹所作的《蕭灑桐廬郡十絕》，是十首五絕，每首第一句均為“蕭灑桐廬郡”。第十首寫的是富春江上的嚴(yán)子陵釣臺：

蕭灑桐廬郡，嚴(yán)陵舊釣臺。

江山如不勝，光武肯教來？

這組詩中的“桐廬郡”指睦州，州治在今建德，十首詩的內(nèi)容則涉及睦州全境。因為有“桐廬”二字，今天正好成為桐廬縣的最佳廣告。

在范仲淹之前，晚唐大詩人杜牧也曾任睦州刺史，留下多首詩作。其中《睦州四韻》中云：“有山皆掩映，無處不潺湲?！狈吨傺汀妒挒⑼]郡十絕》其五引用杜牧的句子：“蕭灑桐廬郡，家家竹隱泉。令人思杜牧，無處不潺湲。”繼美前賢，傳承文脈，令人稱羨。

李清照

江水無法承載的家國愁

宋紹興五年（），金兵南侵，李清照避難金華。當(dāng)時她丈夫已逝，多年收藏的金石文物散失殆盡。春光依舊，物是人非，李清照悲從中來，寫下《武陵春·春晚》：

詞中的“雙溪”，在今金華燕尾洲地段，義烏江、武義江在此會合為金華江（），故稱。這雙溪舴艋舟載不動的“許多愁”，是深深的家國愁。

金華在南北朝時稱“東陽郡”，沈約任太守時建玄暢樓，常登樓賦詩，留下名作《八詠詩》。唐人為紀(jì)念沈約，遂改名為八詠樓，歷代詩人多有題詠。李清照寫過《題八詠樓》：

千古風(fēng)流八詠樓，江山留與后人愁。

水通南國三千里，氣壓江城十四州。

在所有題八詠樓的詩詞中，這首詩顯得不同凡響。不禁令人想起這位女詩人寫嚴(yán)子陵的《夜發(fā)嚴(yán)灘》，也是與眾不同：

巨艦只緣因利往，扁舟亦是為名來。

往來有愧先生德，特地通宵過釣臺。

前詩的氣勢，后詩的識見，都是壓倒須眉的。

黃景仁

天才詩人對新安江的感嘆

雖說有唐詩宋詞在前，后世的詩人仍然能寫出讓人眼睛一亮的好詩詞。

被譽為“天才詩人”的清代詩人黃景仁（），寫過一首類似打油詩的《新安灘》，也是秒殺眾多詠新安江的詩詞：

一灘復(fù)一灘，一灘高十丈。

三百六十灘，新安在天上。

這首詩像一道數(shù)學(xué)題，計算的結(jié)果是：新安城在三千六百丈高的地方，那應(yīng)該是天上了。作者用夸張的手法，極寫新安江灘多而險。

清代大才子紀(jì)曉嵐游富春江時寫有《富春至嚴(yán)陵山水甚佳四首》，其一云：

沿江無數(shù)好山迎，才出杭州眼便明。

兩岸蒙蒙空翠合，琉璃鏡里一帆行。

大詩人袁枚則有《桐江作三首》，其一云：

桐江春水綠如油，兩岸青山送客舟。

明秀漸多奇險少，分明山色近杭州。

這兩位都是善于抓住山水風(fēng)光的特色，并且善用比喻、善于概括，讓讀者不僅如臨其境，更有豁然開朗的感覺。

浙江有一個特點：文化的傳承從未中斷，傳統(tǒng)與當(dāng)下緊密對接，交相輝映。100年前白話文運動興起，傳統(tǒng)詩詞逐漸被邊緣化，但錢塘江詩詞仍時有亮點，像毛澤東、郁達(dá)夫、郭沫若分別創(chuàng)作了吟詠錢江潮、富春江、千島湖的名篇。近年來，隨著全社會對傳統(tǒng)文化的關(guān)注，尤其是浙江省政府提出打造“錢塘江詩路”，錢塘江詩詞的欣賞、創(chuàng)作、應(yīng)用受到相關(guān)地區(qū)和機構(gòu)的高度重視，出現(xiàn)一系列可喜的成果。如杭州市和詩詞與楹聯(lián)學(xué)會合作，開展錢塘江沿線鄉(xiāng)鎮(zhèn)“詩詞之鄉(xiāng)”建設(shè)，極大地調(diào)動了當(dāng)?shù)氐姆e極性，有力地促進(jìn)了文旅融合發(fā)展。相信在各方的共同努力下，我們一定能不負(fù)前賢、增華繼美，讓詩詞之江代代流淌！

The Qiantang is the mother river of Zhejiang Province in eastern China. The river has two sources： one in the north and the other in the southwest. In the southwest， it is the Qu River in the upstream. It flows northward and converges with Jinhua River and acquires a new name the Lan River. In the north， the upstream is called Xian River. It goes through an area of mountains before it comes to Fuyang. This part of the Qiantang River is known as Fuchun River. The river empties into Hangzhou Bay before it merges with the East China Sea. The Qiantang River not only offers a view of natural majesty and splendor but also inspires traveling poets. Selected Poems on Qiantang River， published by Hangzhou Press in 2019， anthologizes nearly 3，000 poems by 780 poets from the Eastern Jin up to the 21st century.

Xie Lingyun （385-433）

He is considered Chinas first nature poet. While serving as governor of Yongjia， then a prefecture in southern Zhejiang， he wrote a batch of poems singing of the landscape and integrating man and nature. Today， people of Wenzhou proudly claim that the picturesque Nanxi River which traverses across their part of Zhejiang is the birthplace of Chinas poems about mountains and rivers. However， this reputation isnt undisputable. On his way to Yongjia to take the office in 422， Xie traveled up the Qiantang River. He wrote poems about places along the Fuchun River. For the purpose of the book compiled and published by Hangzhou Press， Xie is the first poet who dedicated his poems to the grand natural beauty of the Qiantang River， before he even saw the Nanxi River in the south.

Xies nature poems opened a new horizon for other poets of his time and beyond. Among these poets is Shen Yue （441-513）. Shens contribution to Chinese literature is that he is one of those who discovered the tones of Chinese language. He was instrumental in creating a critical tonal euphony system for writing poems and suggesting eight tonal defects that should be avoided. The system laid a solid foundation for the flourishing of the “modern-style poetry” of the Tang （618-907）， which is marked by strict tonal patterns and rhyme schemes. Shen wrote a poem about the Xinan River on his way to serve as governor of Dongyang Prefecture in central Zhejiang. The poem is one of the earliest verse masterpieces about the river.

Meng Haoran （689-740）

Meng is considered as the best of the Tang poets who wrote about nature and rural life. Three Hundred Poems of the Tang anthologizes 14 of his poems， including the two about Qiantang River. In fact， he wrote more about the river. He is among the few of ancient times whose poems cover both the northern and the southern branches of the Qiantang. One of the poems reads as follows “My boat is moored near an isle in mist gray; Im grieved anew to see the parting day. On boundless plain trees seem to scrape the sky; In water clear the moon appears so nigh.”The river inspired him and his poems about the river are in the timeless part of Chinas poetry.

Bai Juyi （772-846）

The West Lake of today in Hangzhou owes a great deal to Bai who had the West Lake dredged and had a causeway built in the lake during his years as Hangzhou governor. No wonder it is called Bai Causeway today. Some of his best known short poems are about the beauty of the West Lake. However， he left a mystery to scholars of literature. He wrote three short poems titled Memories of Jiangnan in his evening years while living in retirement in Luoyang. The three poems are respectively about Jiangnan， Hangzhou and Suzhou. Strangely enough， the poem about Hangzhou does not mention the West Lake. Instead it sings of the Qiantang River. Some scholars argue that the poet wanted to be modest about his contribution to the beauty of the lake. But some scholars of today point out that the Qiantang River was much more famous than the West Lake in the centuries of the Tang. This claim is convincingly supported by the number of poems about the river penned by preeminent poets in the Tang.

Fan Zhongyan （989-1052）

Chunan， Jiande and Tonglu， now part of greater Hangzhou， used to be a key prefecture known as Muzhou in the upstream Qiantang River region. Fan Zhongyan served as governor of Muzhou for six months from 1033 to 1034. He began to write poems about Muzhou and the Qiantang River on his way to his governance. The statistics indicate that these poems account for one sixth of his poems.

Li Qingzhao （1084-1155）

In 1135， Li Qingzhao came to Jinhua as a war refugee. Her husband had passed away and the collection of antiques he had put together was lost. The 51-year-old woman was lost in grief and memory of the past. Part of the poem reads： “Things are the same， but hes no more and all is oer. Before I speak， how can my tears not pour！” （translated by Xu Yuanchong）

Though traditional poem-writing patterns have been largely marginalized since 100 years ago， modern poets of the 20th century such as Mao Zedong， Yu Dafu and Guo Moruo wrote poems about the Qiantang River. Hangzhou has been promoting the Qiantang River as the Road of Poetry in recent years. Some poetry organizations have come into being.