冯其庸的昆曲情缘
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冯其庸先生是当代中国著名学者，无锡人，上世纪50年代到北京，先以戏剧评论驰名，后以《红楼梦》研究名世，为著名“红学家”。2005年中国人民大学校长纪宝成宣布组建国学院，聘请年已83岁高龄的冯老任院长。冯老对中国传统文化有六七十年的学术底蕴，他善诗能文，挥洒丹青，晚年对中国字画的研究更显示他非凡的胸襟与学养。
让人更为倾心的是，冯老还是一位资深的戏剧专家，他对昆曲的戏码、曲牌如数家珍；对昆曲的名人、名角更了如指掌。我有幸认识冯老，是因为昆曲表演艺术家张娴的那本回忆录。写书整整两年，张娴曾多次谈及她与冯其庸先生和国风苏昆剧团的往日友情。
冯其庸先生比张娴小8岁，张娴于上世纪40年代初结识冯先生。那时正是抗战艰难时期，由朱国梁当班主的国风苏昆剧团流落到了冯老的家乡无锡前洲镇。冯老那时在读中学，剧场离学校很近，冯先生每天下午下课后就赶到剧院看戏，有时连晚饭也不吃，等看完了晚场再回家吃饭，所以“国风”当时演出的戏，他基本上都看过，特别是王传淞、周传瑛的《访鼠测字》，王传淞、张娴的《活捉》，张娴、周传瑛的《长生殿・小宴、定情、惊变、埋玉》等戏，印象最为深刻。“国风”在无锡前洲的时间不短，冯其庸天天去看戏，很快就与“国风”班子的人熟悉了，尤其是朱国梁、王传淞、周传瑛、张娴等主要演员。
1956年，冯老到北京已经两年，一天忽然接到朱国梁的电话，告诉他剧团到北京来演出，剧目是《十五贯》，希望冯先生能够去观看和指导，因为朱国梁担心南昆的语言和曲词北方人能否听懂，这出昆剧能不能在北京打响。冯老看了彩排十分激动，与朱国梁、王传淞、周传瑛说：“这个戏肯定能打响，语言和曲词不难听懂。”
在京期间，冯老在广和剧场还观看了“国风”的《长生殿》，周传瑛饰唐明皇，张娴饰杨贵妃。那日冯老恰好坐在前排，看得十分真切，他评价周传瑛的唐明皇风流潇洒，书卷气十足；而张娴的贵妃从唱念到做丝丝入扣，扮相妩媚、大雅，嗓音甜美圆润，“嗲”而不俗，加上优美的身段，使观众感到舞台上这两人的戏真是“如胶如漆”。至今回顾这一情景，冯老还感叹地说：“这样的杨贵妃，真是‘解语花’，这样的杨贵妃，唐明皇怎能不‘三千宠爱在一身’呢！这一场戏，岂止是绕梁三日，对我来说，是绕梁50年，因为从那场演出至今，恰好已是50年了。可以毫不夸张地说，从这个杨贵妃以后，我再也没有见到过这样好的‘杨贵妃’了！”
1975年冯老因事来杭州，特意看望了传瑛和张娴，那时张娴60多岁，离开北京演出已20来年了。一场“”使大家饱经风浪，见面后感慨万端。别时冯老赠诗两首。
为了给张娴那本回忆录增色，冯老特为之作序，但他嘱咐要看些张娴的资料。2007年3月的一个下午，我赶到北京通州张家湾芳草苑冯老寓所，开门的阿姨热情地迎我进去，冯老得知我的到来，从厢房迈步进入客厅。虽和冯老初次相见，却丝毫没有半点生疏之感觉，冯老慈眉善目，谈笑儒雅，精神极好，待冯老坐定后，谈话很快切入正题。我遵照冯老的嘱咐，准备了不少有关张娴的资料，其中包括一些历史照片和一张光盘，内有《长生殿・小宴、定情、惊变、絮阁》，虽图像不十分清晰，有些画面依稀难辨，但周传瑛、张娴那舞台风姿一丝不减。当我将张娴的录音放到冯老耳边时，冯老听后脱口而出：“噢！张娴的声音还是那么好听。”当他得知这本传记暂名为《往事如烟》时，连连摇头说：“勿好！勿好！”我忙解释说：“这好像刚刚出生的孩子，报了个户口而已，不作数，请冯老赐个好名！”。
冯老平时极忙，不时有造访者的电话，时间对冯老极其珍贵，很幸运，正因为冯老和昆曲的情缘，我才可能零距离与冯老对话，聆听他对当代文化艺术的真知灼见。
不久我收到冯老从北京寄来的特快专递，打开封口，就看到冯老书写的序、冯老给书赐名《梦回录》封面题签并撰有“读阿潘所记张娴回忆录感赋三绝”，真是让我喜出望外。
冯老的序回顾了他与浙江昆剧人半个多世纪的交往，情深意笃；当年看过的剧目，“一闭眼，当时的声情依然历历在目。”他说：“张娴的早年是历尽危难困苦的，但她却学得一身好功夫，特别是善于领会角色，加上她天赋的好嗓音，经过苦练和领悟学得的好身段，所以她的舞台形象会永远留在观众的脑子里。”
他在题《梦回录》中，写下感赋三首：
乞巧双星万古情，长生殿却未长生，
可怜魂断梨花下，转叫牵牛笑此盟。
艰难半世一伶仙，藉藉声华动九天，
绝代霓裳羽衣曲，江风吹去渺云烟。
犹记当年步步娇，教人一曲一魂销，
风吹雨打云飞尽，赖有潘郎记旧朝。
读阿潘所记张娴回忆录成赋三绝
丁亥春冯其庸八十又五于京华瓜饭楼
冯老凭借他深厚的国学内涵，春风化雨，折叶堆花，谈笑风生，温文尔雅，这投足举手之间，让我领悟到中国传统文化的深厚底蕴和魅力。
Scholar's Passion for Kunqu Opera
By Ah Pan
Feng Qiyong, a prominent scholar of modern times, is best known for his drama criticism in the 1950s and studies of the "Dream of Red Mansions", a classic novel of the Qing Dynasty (1644-1911). In 2005, the 81-year-old Feng was engaged to preside at the College of Chinese Studies when it was established by the Beijing-based China Renmin University.
As a drama critic, Feng is quite knowledgeable about Kunqu Opera, its history, tunes and artists. I came to know Master Feng through Zhang Xian, an eminent Kunqu artist who has been writing her memoir over the past two years. During this period, Zhang Xian chatted with me about Feng and the Guofeng Troupe, an influential Kunqu troupe in the middle of the 20th century.
Zhang Xian came to know Feng Qiyong in the early 1940s when the troupe, headed by Zhu Guoliang, drifted to Qianzhou Town in the suburb of Wuxi in Jiangsu Province. Feng Qiyong, eight years younger than Zhang Xian, was a middle student in town. As the theater was very close to the school, Feng came to watch performances every day. As the troupe stayed in town for quite a long time, Feng became acquainted not only with its Kunqu repertoire, but also with its artists.
In 1956, two years after he had come to Beijing, Feng Qiyong received a call from Zhu Guoliang, learning that the troupe was about to stage Kunqu shows in the capital. Zhu was worried about the possible difficulty the audience in Beijing might have in understanding the dialect used in the "15 Strings of Coins". After seeing the rehearsal, Feng Qiyong assured Zhu and his artists that it would be a great success. Feng was right. The success of the play led to the renaissance of the age-old opera.
It was during the troupe's visit that Feng also watched "Hall of Longevity". The Kunqu Opera masterpiece brilliantly depicted the intoxicated Lady Yang, a concubine favored by the emperor of the Tang Dynasty (618-907). Zhang Xian acted as Lady Yang. Fifty years later, Feng Qiyong still remembered Zhang's performance vividly. He commented in 2006 that he had never seen another performance better than Zhang's interpretation since 1956.
In order to write a preface for Zhang Xian's memoir, Feng asked for references before setting pen to paper. I tripped to Beijing for this purpose. One afternoon in March, 2007, I visited Feng. Though it was the first time I met with the scholar, we soon chatted like old friends. With sweet smile and in high spirits, the old man chatted in an elegant and academic way. The reference materials I brought to him included a compact disk and some very old photographs. He listened to Zhang's talk recorded on the disk and observed that Zhang's voice remained sweet.
Shortly after I returned to Hangzhou, I received an express mail from Feng. He not only penned a preface and picked a better name for the memoir, but also wrote three short poems in the classical style in memory of his bonding with Kunqu Opera and Zhang Xian's performance.
(Translated by David)