尋找浙江詩路之美

胡可先

尋找浙江詩路之美，還要從浙東唐詩之路說起。唐詩是中國古典詩歌的巔峰，唐人創(chuàng)造了大量膾炙人口的詩作，成為后代取之不盡、用之不竭的文化財(cái)富。唐代詩人愛山水，愛漫游，浙東成為他們的向往之地，浙東的山水美景與詩人的心靈契合，形成了特色鮮明的唐詩之路。

浙東唐詩之路有著深厚的淵源。晉宋之際大詩人謝靈運(yùn)的山水詩就集中描寫浙東的山水。他作于景平元年春的《登池上樓》有“池塘生春草，園柳變鳴禽”之句，是山水美景的千古傳神之筆。他在赴永嘉途中描寫富春山水的《七里瀨》詩有“石淺水潺湲，日落山照曜。荒林紛沃若，哀禽相叫嘯”，堪稱寫景之逼真有如近在眼前的風(fēng)景畫?！段男牡颀垺匪浴扒f老告退而山水方茲”就是始于謝靈運(yùn)的，而謝靈運(yùn)的山水詩又是集中于他擔(dān)任永嘉太守的時(shí)期。因此可以說，浙東是中國山水詩的主要發(fā)源地，謝靈運(yùn)是名副其實(shí)的山水詩鼻祖。

浙東唐詩之路最有代表性的詩人是李白與杜甫。李白有《夢(mèng)游天姥吟留別》《瓊臺(tái)》《秋下荊門》《越女詞》《越中覽古》《越中秋懷》《天臺(tái)曉望》《對(duì)酒憶賀監(jiān)》等詩。浙東之地，很大程度上是因?yàn)槔畎椎穆味麚P(yáng)天下，李白在浙東留下的足跡也最多。李白最愛浙東山水，《秋下荊門》所言“此行不為鱸魚膾，自愛名山入剡中”就是發(fā)自內(nèi)心的表白。杜甫《壯游》詩說“越女天下白，鑒湖五月涼”，是描寫浙東人物與風(fēng)景的絕佳詩句。唐代詩人因?yàn)槁巍㈦[逸、為宦、貶謫來到浙東，諸如宋之問、王勃、李白、杜甫、孟浩然、元稹、李紳、杜牧，加上本土詩人駱賓王、賀知章、嚴(yán)維、秦系，創(chuàng)造了優(yōu)秀的唐詩佳作，使得浙東的天然山水又融注了豐富的文化內(nèi)涵。

浙江有浙東唐詩之路、錢塘江詩路、大運(yùn)河詩路、甌江山水詩路四條詩路，杭州則融會(huì)了三條詩路的精華。浙東唐詩之路、錢塘江詩路和大運(yùn)河詩路聚焦于杭州，唐代的著名詩人大都在杭州留下足跡。舉其要者有王勃、駱賓王、宋之問、賀知章、李白、杜甫、孟浩然、劉長(zhǎng)卿、元稹、白居易、李紳、張祜等，杭州往往因此成為詩人們終生的記憶，以至于白居易在《望江南》詞中說，“江南憶，最憶是杭州。山寺月中尋桂子，郡亭枕上看潮頭。何日更重游”。 宋人柳永《望海潮》詞說，“東南形勝，三吳都會(huì)，錢塘自古繁華”，說的是杭州，其實(shí)可以擴(kuò)展到整個(gè)浙江。京杭大運(yùn)河以杭州為起點(diǎn)，延伸到全國;錢塘涌潮是全國山水的絕勝之地，杭州西湖更是不可替代的浙江名片，浙東剡溪、曹娥江、婺江等風(fēng)光旎旖，氣象萬千，甌江山水詩路主線也達(dá)300多公里。

浙江這四條詩路，融注了詩人的氣質(zhì)、詩歌的底蘊(yùn)、詩路的風(fēng)采、詩畫的美感;這里有名家、名篇、名勝，是山水美景與人文底蘊(yùn)合而為一的集中地。浙江詩路源遠(yuǎn)流長(zhǎng)，氣象萬千。

浙江少年兒童出版社出版《詩畫浙江：詩路伴我行》一書，以故事的情節(jié)呈現(xiàn)詩人的氣質(zhì)，以通俗的語言呈現(xiàn)詩歌的蘊(yùn)涵，以圖畫的形式呈現(xiàn)詩路的美景，帶領(lǐng)兒童尋找與發(fā)現(xiàn)浙江詩路之美，開拓少年的視野，陶冶兒童的心靈，確實(shí)是做了一件很有意義的事。這本書不僅凝聚了浙江四條詩路之美，更承載著5千年詩路文化的深厚底蘊(yùn)。其意義更在于通過詩路人物、詩路名篇、詩路遺跡、詩路風(fēng)物、詩路故事的敘說，貫通古今的對(duì)話，跨越時(shí)空的交流，引導(dǎo)青少年走上世代傳承的文化自信之路，使中華民族的優(yōu)秀傳統(tǒng)文化基因融注于青少年一代的精神血脈之中。

（作者系浙江大學(xué)教授、博士生導(dǎo)師，中國杜甫研究會(huì)副會(huì)長(zhǎng)。）

Finding Beauty along Zhejiangs Poetry Roads

By Hu Kexian

To find the beauty along Zhejiangs poetry roads， the Tang Poetry Road in East Zhejiang should be the starting point. The pinnacle of classical Chinese poetry， Tang poetry is undoubtedly an inexhaustible cultural wealth for future generations. Since poets in the Tang dynasty （618-907） were particularly partial to mountains and rivers， and were fond of “wandering around”， East Zhejiang became one of their favorite places. Fascinated with the charming landscape in the area， theses poets penned numerous poems， creating what is today known as the Tang Poetry Road.

In fact， the road went a long way back. During the Jin dynasty （266-420） and the Southern and Northern Dynasties （420-589）， the great poet Xie Lingyun （385-433） already began writing poems on the landscape of East China. In 422， when Xie Lingyun was appointed prefect of Yongjia， Wenzhou， he wrote the poem “Ascending the Tower by the Pond” （Deng Chishang Lou）， in which was contained such well-known lines as “Spring grass grows rampantly over the pond and myriad birds chirp happily in the willows.” In another poem， “Seven-league Rapids”（Qili Lai）， the descriptions of the Fuchun Mountains are said to conjure up the image of a landscape painting when one reads them： “Along stony shallows the water flows; when the sun sets， the mountain glows. In forests wild leaves fall， after one another sorrowful birds call.” Literary Mind and the Carving of Dragonstherefore commented：“Zhuangzi and Laozi had receded into the background and the theme of mountains and streams then began to flourish.” It all started with Xie Lingyun， the veritable inventor of the landscape poetry genre， and East Zhejiang， where Xie wrote most of his landscape poems， is a major birthplace of the genre.

Among the hundreds of poets who traveled along the Tang Poetry Road in East Zhejiang， Li Bai （701-762） and Du Fu （712-770） are indisputably the most acclaimed. To a large extent， it is Li Bai that had spread the name of East Zhejiang far and wide， as attested by “Mountain Skyland Ascended in a Dream： A Song of Farewell” or Mengyou Tianmu Yin Liubie， one of his most well-known poems. When he wrote， “Not for stewed perch Im on this trip， but for great mountains Im on my way to Shanzhong [in present-day Shengzhou city]，” Li Bai was showing his genuine love for the place. “Ladies of Yue [present-day Shaoxing] are the fairest under heaven， Jianhu Lake is still cool in the fifth month of lunar calendar，” the two lines in Du Fus poem “Travels in My Prime” （Zhuang You） masterfully capture the features of East Zhejiang and its people. Apart from the two “immortals”， many other Tang poets， such as Wang Bo （ca. 650-ca. 676）， Meng Haoran （689-740）， Du Mu （803-852）， Luo Binwang （ca. 626-ca. 684） and He Zhizhang （658-744）， and their poems on East Zhejiang have infused life and spirit into its natural beauty.

As well as the Tang Poetry Road， Zhejiang province also has the Qiantang River Poetry Road， the Grand Canal Poetry Road and the Oujiang River Landscape Poetry Road. Lying at the intersection of the first three， for some， the essence of the poetry roads lies ultimately in Hangzhou. Indeed， coming to Hangzhou invariably became a lifetime memory for many poets. “When I remember Jiangnan [south of the Yangtze River]， most fondly I remember Hangzhou，” Bai Juyis （772-846） oft-recited verse best sums it up. The Oujiang River Landscape Poetry Road winds for more than 300 kilometers， and as its name suggests， some of the best landscape poems can be found along this route.

Poetic and Picturesque Zhejiang： Growing up with the Poetry Roads， published by Zhejiang Juvenile and Childrens Publishing House， is a meaningful endeavor. It presents poets through stories， explains poems in easy-to-understand language and shows the enchanting poetry roads with illustrations. In the process， the book tries to lead children to look for and eventually find the beauty of Zhejiangs poetry roads， expand their vision and cultivate their mind. More significantly， this book tries to guide children to take to the road cultural self-confidence through the different characters， the elegant poems， the ruins and remains and the stories along the poetry roads.