哀是酝酿,伤是释放–“曾经沧海”–by豪迈(horror)

哀是酝酿,伤是释放–“曾经沧海”

–by豪迈(horror)

“人生若只如初见”,出自清代纳兰容若的《饮水词》。“人生若只如初见,何事秋风悲画扇”给人一种莫名的激动。如果真的人生若只如初见,你我初见,那一种朦胧与缠绵,将不会被时间与距离遗忘。

??? 今早读安意如的《人生若只如初见》,发现了这句话,“哀是酝酿,伤是释放”,于是手痒。

??? 那是在潘岳悼亡杨氏的章节中读到的,于是自然想到了悼亡的诗词。说起悼亡,首推苏轼悼亡发妻王氏的《江城子——十年生死两茫茫》;其次可以想见就是知名度绝不在其下的元稹的《离思》,她的名字不如诗句响亮,“曾经沧海难为水”,相信没有人不知道;再次的就是另一首经典,也可以称咏物,那就是元好问的一首《摸鱼儿——雁丘词》。如同上首,依然是只凭一句就可以堪称经典,“问世间情为何物?”。这是千百年来多情人的追求。

对于《江城子——十年生死两茫茫》以后再说。

??? 元稹的《离思》原文如下:

曾经沧海难为水,除却巫山不是云。取次花丛懒回顾,半缘修道半缘君。

??? 其中的前两句,几乎妇孺皆知。为什么?如何才能堪称经典?

??? 只因其情。因为是悼亡,悼的是情,是哀伤。“哀是酝酿,伤是释放”因为情,才有了哀的酝酿、积累;而伤,则是对情的释放。没有你 的 痛苦,终于通过悼亡,得到情的升华。

??? 沧海,一个古典文学中常见的词。那是浩瀚,是时间与空间的交融。沧海一粟、沧海桑田, 将她赋予了时间与空间的深广内涵。曹操的《观沧海》写“东临碣石,以观沧海”,只是写到沧海的文章中的沧海一粟。巫山,一个春秋时期的传说,一篇宋玉的《高唐赋》,造就了一篇传奇。也为后人开启了浪漫文学的旅程。楚襄王与宋玉游于云梦泽的高唐,谈起楚王曾在巫山遇到神女,自荐枕席。而后才成为了许多后世文人的素材,如刘晨、阮肇天台山采药遇仙的故事等等。巫山,也因此成了文学作品中出现次数最多的少数几个用典之一。只是“巫山”一词,很久很久以后才附会为男女之事,失去了那原有的神秘韵味。

??? 曾经沧海,眼中哪还会看到一滴水。领略到了沧海的浩瀚,才知道水的真正之美。经历了巫山,才体会到“朝云”之美,其他的云将不能入眼。(正如,苏轼曾有一妾——朝云王氏——陪伴他一生。她名字的由来不能说没受影响)。

?? “花丛懒回顾”,那不是因为“曾经沧海”吗?可诗人却说“半缘修道半缘君”,很含蓄。其实,诗人是在告诉我们,“全是因为你啊!”“是你,让我看不到了水,看不到了云,看不到了花丛。因为我已经遇到了最美的水、云和花。”而伤的释放则是最后一句。“半缘君”,岂止是一半?“半缘修道”,那修道缘何?无非是“缘君”,“自从你走后,我才开始修道”。

??? 曾经看过冷情著的一本《纸玫瑰》,上面有一句我认为近现当代最值得的品味的。“来生我不会再爱任何人,因为今生爱你,已耗尽我所有轮回的情和痴”,可将其和前者比较,有什么区别吗?前者,是说今生,你就是沧海,没有谁会比上你;后者则是说,我的一切都给了今生的你,来世也不会出现新的沧海。我曾经说过,“只重今生,不修来世”的,为什么却欣赏这句话呢?原因就在这,因为她是一个要先走的人写的,留给那个尚存的人的嘱咐。可以说,是对“曾经沧海”的完美的现代的诠释,不缺失缠绵与柔情。

??? 提到元好问的《摸鱼儿——雁丘词》,让我不禁想起了那个手拿拂尘,口吟“问世间情为何物”的“赤练仙子”;还有那个刚满二八年华,目送杨过小龙女携手归隐时,口诵“直教生死相许”,并最终皈依峨眉的小东邪。本来,元好问是写给天上两只翱翔的大雁,其中一只被猎人射中,另一只则触石而亡。元则出资买其尸,合葬,并写了这首悼亡词。悼的是情,哀的是情,伤的也是情。词中感伤的是那一对双雁,注意,不是“双燕”。它们的情,是我们艳羡的,所以有了对“问世间情为何物”的追捧。

??? “赤练仙子”,其实是“痴恋”仙子,金先生其实对这个女子流露的是一种同情。描述这个仙子的不是对她的狠毒的描述,不是赤练蛇中的那两个字,其实应该是一生的痴恋。她一生都在等待那个陆展元,认为他是她的那个沧海。所以她道装,其实古墓派不是道家。她的修道应该全是缘君了。拂尘千丝,终于难以系住陆君的青骢,就如同她的情思,终于葬身于绝情。是呀,“千山暮雪,只影为谁去”。郭襄,一个痴情女子,看着杨龙的“天南地北双飞客”,自己又“只影为谁去”。追逐了多年,最终只能修道峨眉,亦是缘君。

先写到这里,,待续…

2008年7月3日11:31:49? By豪迈(Horror)

PS:金庸也太强了,为什么李莫愁,郭襄要修道?

推荐大家一些书《神殿侠侣》《纸玫瑰》《何以笙箫默》

62 thoughts on “哀是酝酿,伤是释放–“曾经沧海”–by豪迈(horror)

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