汉语妩媚王翼奇
开篇：润墨网以专业的文秘视角，为您筛选了一篇汉语妩媚王翼奇范文，如需获取更多写作素材，在线客服老师一对一协助。欢迎您的阅读与分享！
在王翼奇先生的大著《绿痕庐诗话・绿痕庐吟稿》中，收有“诗人喜为偶对”一文，说的是胡铨贬朱崖，行临高道中，知有‘买愁村’古未有对，因以‘闻喜县’对之，于马上口占一绝云：“北望长思闻喜县，南来怕入买愁村。区区万里天涯路，野草荒烟正断魂。”王翼奇先生评论说：“喜为偶对，诗人幼学所养积习也。仆仆风尘中犹不禁技痒，愁亦为之解，想见其掀髯一笑之态!”其实，作为浙江省语言学会楹联研究专业委员会会长，王翼奇先生在“喜为偶对”上，比之文中的胡铨亦不遑多让。
王翼奇先生曾屡次赞叹杭州西湖是一座楹联的大观园!古往今来对西湖山水人文的品题、楹联佳制堪称夥颐，且大都脍炙人口，尤为游客所喜闻乐见，成为一大人文景观。诸如“青山有幸埋忠骨；白铁无辜铸佞臣”、“湖山此地曾埋玉；花月其人可铸金”等常被大众传诵，文人称引。其间王翼奇先生也为西湖景色创作诸多楹联，或放笔长挥，灵动飘逸；或微墨短写，质实沉雄，为环水抱山的西湖有情点睛。如他的“题杭州白苏二公祠”联：“黎庶至今思，湖山俎豆双贤守；风华终古在，唐宋诗词两大家。”动静相偕，切地切题。这种抒怀叙事上的风韵，不是一天两天可以做到的，而是学识、人情、阅历在时间这个熔炉里煅炼出来的。又如杭州孩儿巷一古宅传为陆游名句“小楼一夜听春雨，深巷明朝卖杏花”所咏处，今已辟为陆游纪念馆，王翼奇先生参与考察时，即席撰联云：“世味依然，入巷重寻听雨地；诗情何似，登楼长忆卖花声。”此联既沧桑厚重，又精致工丽。其他如“题杭州雷峰塔”联、“题吴山伍子胥庙”联、“题秋雪庵两浙词人祠堂”联等，无不吞古纳今，豪迈灵动，既有历史深度，又富于当代性，从而毋庸置疑地成为该景点的主题联。
长久以来，王翼奇先生创作的楹联如晋人所言：“如行山阴道上，使人应接不暇。”浙江古籍出版社副社长尚佐文认为王翼奇先生的楹联锻句炼字颇为考究，他举例说：“人有一联求正于先生，中以‘恬淡青山’对‘玲珑别墅’。先生改‘别墅’为‘绿野’，改‘恬淡’为‘妩媚’。以裴度绿野堂别业指代别墅，而‘绿野’对‘青山’甚工；‘妩媚青山’用稼轩词‘我见青山多妩媚，料青山见我应如是’语，而循其典源，为唐太宗语‘人言魏徵举动疏慢，我但觉其妩媚耳’。上下联既典雅切题，复暗含唐代两名臣故事，耐人咀嚼寻味，洵点金有术也。”
很多人都知道，王翼奇先生不仅是楹联高手，更是骈文大家，绍兴大禹陵的祭文等都出自他的手笔。骈文作为一种字句对仗、音律和谐、典故繁富的独特文体，如今会写的人屈指可数，能将骈文写得篇篇精到、句句出彩的更属凤毛麟角。但王翼奇先生创作的《重建钱王祠碑记》《重建杨公堤碑记》《重建交芦庵记》等，让人觉得他似乎在描写一座城市的地理历史、人文景观、特产风貌等，其句式灵活，长短适中，“有厚德载物之致”，这些充满文采的骈赋，读了难于忘怀。
张中行先生说，好的文章是不用力来写的，此系诚恳之语。而碑记一类的骈文，则是需用力为之的文体，只有少数文学修养高深雅博者方可驾轻就熟，不为规则所累。王翼奇先生的骈文，大都典丽静穆，有一种开阔的文化视野。譬如坐落于景行古桥旁的《重建杨公堤碑记》，就被社会各界誉为“新西湖美文”。王翼奇先生在碑文中除了追溯明代杭州知府杨孟瑛筑堤经过以及该堤后世变迁之历史外，还着重描绘了杨公堤丰富悠久的人文内涵，藻声绘色，文采斐然：“以白苏为伯仲，堤复成三；通南北而逶迤，桥又有六。从此西湖以斯堤为聚景之中轴，揽胜之长廊。西进之水域一碧遥接诸峰，颇饶幽野逸闲之趣；人文之遗址多姿纷呈异彩，弥畅观瞻游憩之怀。西望金沙、茅埠、三台，绿湾碧涧，曲折幽深，兰舫轻移，青旗微现；东连曲院、刘庄、花港，玉带晴虹，风荷水竹，楼台罨画，烟雨藏诗。又有燕南寄庐，都家旧馆；汾阳别业，玉岑高轩。张伯雨黄篾之楼；赵悲庵白石之碣。茅乡之上香古道；麦岭之留记摩崖。竹园奇石，峰绉秋云；花圃幽兰，香凝朝露。吴俊卿之叶遗刻；康长素之蕉石鸣琴。光悬日月，潭畔于谦之祠；谊证中韩，山间高丽之寺。村居古俗，观百年黎庶遗风；越调吴歌，听一曲桃花流水……”；树立在钱王祠的《重建钱王祠碑记》，则别有一种中通外直、不蔓不枝的气度和精神：“奖劝农桑，浙地至今富庶；招邀商贾，钱塘从此繁华。而花开陌上，隽语温温，佳话清谈，流传于世；潮射江头，英姿勃勃，雄风奇气，想见其人……”我记忆犹新的还有他的《钱塘江下沙大桥碑记》，气势雄强，遣语雅驯，既是对当年杭州“构筑大都市，建设新天堂”的别开生面记录，从中也可看到“精致和谐，大气开放”的杭州人文精神。
这些美轮美奂、字字珠玑的碑记，王翼奇先生是怎么创作出来的？以文辞清畅、韵律流美、广受好评的《中国越剧百年诞辰碑记》为例，王翼奇先生说，去年他为了写这篇碑记，阅读了许多历史资料，对越剧发展历程作了一个梳理，前后做了三四个稿子。“但我这种梳理和考据不同，要看详细史实可以去看《中国越剧发展史》。我的这种梳理是为了在叙事中作一些穿插，理一个脉络。比如越剧最早由男班创始，但碑记中没有提到男班，以一句‘新创女子科班’涵盖了。所以大家看这个碑文时把它当成一种文学样式来看，碑记是一种传统骈文的表达，不是详尽历史记录。”由于越剧是通俗的戏曲，王翼奇先生在碑记中也极力避免用一些生僻的词句，“我得让关心越剧的人看得懂啊，所以用词时很注意雅俗共赏。”值得一提的是，王翼奇先生于年前出版的《绿痕庐诗话・绿痕庐吟稿》，隽永可诵，识见特出，不独有传统根柢，更有民主自由之视角，洵老辣作文者之翘楚也。在我想来， 中华文化之所以能古而不朽，旧而常新，也即董桥所谓“新和旧是可以同时存在的：多少前朝旧宅的深深庭院里，处处是花叶掩映的古树。房子和树是老的；花和叶是新的”，这与王翼奇先生等既能入乎典籍之内、又能出乎其外并能引发他义的知识分子的存在，是大有关系的。王翼奇先生以其高深的文化造诣、丰厚的生活积累所创作的楹联、碑记，表明汉语的博大、厚重，在滔滔者天下皆是的今天，偶尔获读此种游心于古今之际，意会于情意之间，裁剪风物，熔铸文史的文字，对汉语书写的振兴当会有一种信心吧。
The Man Who Adds Literary Beauty to West Lake
By Li Lizhong
The West Lake of Hangzhou has been famous for about 1,000 years in China. The picturesque scenery, together with the city's legendary wealthy past and luxurious life, has made the West Lake a household phrase in the country. Poets and artists have been in love with the tranquil lake and mountain beauty for centuries. If some historical folklore is true, the lake caused an invasion as a northern tribe leader saw a picture of the lake and vowed to have a commanding view of the lake from the hill where the City Temple towered. When the Northern Song Dynasty collapsed and the remaining royal family fled to Hangzhou and set up their new dynasty, Hangzhou became the national center of politics, economy, literature and art. Some disappointed poets blasted the government for its shameful indulgence in the wealth and natural beauty of Hangzhou and for its reluctance to recover the lost territory.
According to Wang Yiqi, director of the Couplets Studies Subgroup under the Zhejiang Languages Association, the West Lake literally displays a great anthology of literary couplets and inscriptions. The West Lake abounds with scenic spots and scenic spots abound with couplets and inscriptions. Wang knows the lake and knows these literary marvels, for he himself has created quite a few couplets and inscriptions for the lake and the city itself. What is more, he has written quite a few rhythmical essays for memorials across Zhejiang, a province steeped in history, literature and arts.
The rebuilding of the West Lake has offered Wang a godsend opportunity to write couplets and rhythmical inscriptions, for restored historical sites need couplets and inscriptions to tell people what the sites are and why they are there.
How does Wang write such couplets and inscriptions? He always researches thoroughly before setting pen to paper. For example, when he was requested in 2006 to write an inscription for a monument to be erected in celebration of the "centennial birthday" of Yueju Opera, he browsed ancient archives and studied the history of the opera; he weighed historical and modern factors and considered the best phrases; he rewrote the inscription four more times after the first version. He wanted the inscription to be literary and interesting; he did everything possible to avoid making it a representation of historical facts, data and names; he shunned away from turning out an essay of jaw-breaking ornate words and phrases; he wanted to pen an elegant inscription in a concise style so that most people could easily understand. He succeeded.
Wang Yiqi has published a collection of couplets and inscriptions he has written for the lake over years. The book also carries some of his contemplations on the Chinese language. His creative couplets and inscriptions reflect his profound understanding of Chinese classics, literary tradition, and his brand-new ideas about the future of the Chinese language.
(Translated by David)