《贈從(cong)弟三(san)首》是漢末三(san)國(guo)時(shi)期詩(shi)人(ren)劉(liu)楨的組(zu)詩(shi)作品(pin)。這三(san)首詩(shi)運用比興之(zhi)法,分詠蘋藻、松柏、鳳凰三(san)物,詩(shi)人(ren)以蘋藻、松柏、鳳凰高潔、堅(jian)貞(zhen)的品(pin)性、遠大的懷抱(bao),勉(mian)勵其堂弟堅(jian)貞(zhen)自守,不因外力(li)壓迫而改變本(ben)性,亦以自勉(mian)。全詩(shi)長于比興,文字平實,言(yan)簡意(yi)明,風格古樸。
贈從弟三首⑴
其一
泛泛東流水⑵,磷(lin)磷(lin)水中石⑶。
蘋藻生其涯⑷,華葉紛(fen)擾溺⑸。
采之(zhi)薦宗廟,可以羞(xiu)嘉客⑹。
豈無園(yuan)中葵(kui)?懿此出深澤⑺。
其二
亭(ting)亭(ting)山上(shang)松⑻,瑟瑟谷中風⑼。
風聲一(yi)何盛⑽,松枝一(yi)何勁(jing)!
冰霜正(zheng)慘凄⑾,終歲常端(duan)正(zheng)。
豈不罹凝寒⑿?松柏(bo)有本性⒀。
其三
鳳(feng)皇集南(nan)岳⒁,徘徊孤竹根。
于心有不厭⒂,奮翅凌紫氛⒃。
豈不常勤苦(ku)?羞與(yu)黃(huang)雀群⒄。
何時(shi)當(dang)來儀⒅?將須圣明君。
⑴從(舊讀zòng)弟:堂弟。
⑵泛(fan)泛(fan):水(shui)流貌。
⑶磷(lin)磷(lin):形容石(shi)頭色彩(cai)鮮(xian)明。
⑷蘋(pín)藻:水草名,古人常采(cai)作祭祀(si)之用。
⑸華葉(xie):花(hua)與(yu)葉(xie)。
⑹羞:通“饈(xiu)”。嘉客(ke):佳客(ke),貴賓。
⑺懿(yì):美好。
⑻亭亭:高聳的樣子。
⑼瑟(se)瑟(se):形容風聲。
⑽一何:多么。
⑾慘凄:凜(lin)冽、嚴酷(ku)。
⑿罹(li)(lí)凝寒(han):遭受嚴(yan)寒(han)。罹(li),遭受。凝寒(han),嚴(yan)寒(han)。
⒀本性:固有的性質或個性。
⒁鳳皇(huang):即(ji)鳳凰。
⒂厭(yan):通“饜(yàn)”,滿足的意思(si)。
⒃紫氛:高空,云霄。
⒄黃雀:比喻俗士(shi)或以閑散(san)自適者。《文選》李(li)善注:“黃雀,喻俗士(shi)也。”
⒅來儀(yi)(yi):謂鳳凰來舞而有容儀(yi)(yi),古人以為瑞應(ying)。
其一
山澗里溪(xi)水順暢地(di)向東流(liu)去(qu),溪(xi)水清澈,水中(zhong)的石頭(tou)清晰可見。
蘋藻這些(xie)水(shui)草在(zai)水(shui)邊(bian)默(mo)默(mo)地生長,十分茂盛(sheng),隨著微波輕(qing)輕(qing)蕩(dang)漾。
采集(ji)它們可以用作(zuo)宗廟祭祀(si),可以進(jin)獻給尊(zun)貴的賓客。
難(nan)道沒有菜園中(zhong)的(de)(de)冬(dong)葵這(zhe)種珍貴(gui)的(de)(de)蔬菜可(ke)以(yi)用(yong)來進(jin)獻嗎?這(zhe)是因為蘋藻來自幽(you)遠的(de)(de)水(shui)澤,更加美好(hao)可(ke)貴(gui)。
其二
高高聳立(li)的(de)山上的(de)松樹,在山谷中(zhong)吹來的(de)瑟瑟風中(zhong)挺立(li)。
風刮得(de)是(shi)多么強大,松(song)枝(zhi)是(shi)多么的(de)勁挺!
冰與(yu)霜正下的猛烈(lie)急驟,而松柏卻整年(nian)長久端正挺立。
難道它(ta)不怕遭受(shou)酷(ku)寒(han)的侵逼?松(song)柏(bo)有不懼(ju)嚴寒(han)的本性!
其三
鳳凰在南岳集結(jie),他們在枯敗的竹林處徘徊不(bu)前。
我的(de)心不(bu)滿足,不(bu)氣餒,奮力地(di)展翅凌(ling)駕(jia)于(yu)高空(kong)之上(shang)。
正是為(wei)了不與世俗(su)之輩(bei)同流合污,我才不避(bi)勤苦、投(tou)入搏(bo)擊風云的斗爭生涯的。
問我什么時候降臨:到了明(ming)君臨世(shi)的時候,我就將萬里來歸!
劉楨(zhen)生(sheng)(sheng)逢亂世(shi),遭遇坎坷(ke),但(dan)文(wen)(wen)名(ming)早為鄉梓(zi)所重。除(chu)《太(tai)平御覽》引《文(wen)(wen)士傳》所記(ji)“少以(yi)才學知名(ming),年八、九(jiu)歲能誦《論(lun)語》、《詩(shi)》、賦數(shu)萬(wan)言,警悟辯捷,所問應聲(sheng)而答(da),當其辭氣(qi)鋒烈,莫(mo)有(you)折者(zhe)”,曹植《與楊德祖書》亦謂“公干(gan)振(zhen)藻于(yu)海隅”。他“貧居晏(yan)里(li)鬧,少小(xiao)長(chang)東平。河充(chong)當沖要,淪漂(piao)(piao)薄許京“(謝靈運《擬魏太(tai)子(zi)鄴(ye)中集詩(shi)劉楨(zhen)》詩(shi)),因戰(zhan)亂離開家鄉,漂(piao)(piao)泊到中原的(de)(de)(de)(de)許(今河南許昌)一帶。世(shi)積亂離、風衰(shuai)俗(su)怨的(de)(de)(de)(de)政治社會,使他對(dui)現(xian)實生(sheng)(sheng)活(huo)有(you)深切的(de)(de)(de)(de)體驗,不僅沒有(you)產生(sheng)(sheng)對(dui)人生(sheng)(sheng)、前途的(de)(de)(de)(de)厭倦空幻之感,作(zuo)品(pin)中還充(chong)分(fen)表現(xian)出(chu)積極進取的(de)(de)(de)(de)理想因素。《贈從(cong)弟》詩(shi)三首便寫于(yu)此時(shi)。同時(shi)劉楨(zhen)是(shi)一位很(hen)有(you)骨(gu)(gu)氣(qi)的(de)(de)(de)(de)文(wen)(wen)士。據《典略》記(ji)載,一次曹丕(pi)宴請諸文(wen)(wen)學,席間命夫(fu)人甄氏出(chu)拜,“坐(zuo)中眾人皆伏”,唯(wei)獨劉楨(zhen)“平視(shi)”,不肯(ken)折節。曹操(cao)恨(hen)他“不敬”,差點(dian)砍了(le)他的(de)(de)(de)(de)腦袋。以(yi)這樣的(de)(de)(de)(de)氣(qi)骨(gu)(gu)作(zuo)詩(shi),其詩(shi)自(zi)(zi)能“挺挺自(zi)(zi)持”,“高風跨俗(su)”。《贈從(cong)弟三首》,就(jiu)帶有(you)這樣的(de)(de)(de)(de)氣(qi)骨(gu)(gu)。
劉楨(zhen)(?—217),漢(han)魏間(jian)文學家(jia)。字公(gong)干(gan)。東平國(今(jin)山東東平)人(ren)。“建(jian)安七子”之一。建(jian)安年間(jian),為(wei)(wei)曹操(cao)丞相掾屬(shu),與曹丕兄弟頗相親愛。后(hou)因在曹丕席上平視丕妻甄(zhen)氏(shi),以不敬之罪服(fu)勞役,后(hou)又免罪署為(wei)(wei)小吏。后(hou)染(ran)疾疫而亡。《隋書·經籍(ji)志》著(zhu)錄有(you)(you)作品集(ji)四卷、《毛(mao)詩義問》十卷,皆已佚。明代張溥(pu)輯(ji)有(you)(you)《劉公(gong)干(gan)集(ji)》,收入(ru)《漢(han)魏六朝(chao)百(bai)三家(jia)集(ji)》中。《先秦漢(han)魏晉南北朝(chao)詩》輯(ji)得其詩及斷句二十六首。
劉楨(zhen)在(zai)《贈(zeng)從弟三首》詩(shi)中運用比興之法(fa),分詠蘋藻、松柏、鳳凰(huang)三物(wu),以其高潔、堅貞的品性、遠大(da)的懷抱,激勵堂弟,亦以自(zi)勉。在(zai)古人贈(zeng)答(da)之作中,堪稱創(chuang)格。
第一首(shou)詠(yong)的(de)(de)(de)(de)是(shi)(shi)“蘋(pin)(pin)藻(zao)(zao)(zao)”。蘋(pin)(pin)藻(zao)(zao)(zao)生(sheng)(sheng)于幽(you)澗,“托(tuo)身(shen)于清(qing)(qing)波”,歷(li)來(lai)被視為(wei)潔物(wu),用于祭、享。此(ci)詩(shi)詠(yong)蘋(pin)(pin)藻(zao)(zao)(zao),開(kai)筆先(xian)敘其托(tuo)身(shen)之(zhi)(zhi)(zhi)處的(de)(de)(de)(de)非同凡俗:“泛泛東流水(shui),磷磷水(shui)中(zhong)石。”“泛泛”敘澗水(shui)暢流之(zhi)(zhi)(zhi)狀(zhuang),“磷磷”寫水(shui)中(zhong)見石之(zhi)(zhi)(zhi)貌。這形象地描寫了一派幽(you)涼(liang)、清(qing)(qing)澈的(de)(de)(de)(de)澗流。然(ran)后才是(shi)(shi)蘋(pin)(pin)藻(zao)(zao)(zao)的(de)(de)(de)(de)“出場”:“蘋(pin)(pin)藻(zao)(zao)(zao)生(sheng)(sheng)其涯(ya),華葉(xie)紛(fen)擾溺(ni)”——在幽(you)澗清(qing)(qing)流之(zhi)(zhi)(zhi)上(shang),蘋(pin)(pin)藻(zao)(zao)(zao)出落(luo)得(de)(de)花(hua)葉(xie)繽(bin)紛(fen),隨著(zhu)微波輕輕蕩漾(yang),顯得(de)(de)何其清(qing)(qing)逸(yi)、美(mei)好!“采之(zhi)(zhi)(zhi)薦宗廟,可以羞(進)嘉客。”這兩句寫蘋(pin)(pin)藻(zao)(zao)(zao)的(de)(de)(de)(de)美(mei)好風姿(zi),用的(de)(de)(de)(de)是(shi)(shi)映(ying)襯(chen)筆法。其間流淌(tang)著(zhu)一股喜悅、贊美(mei)之(zhi)(zhi)(zhi)情。接(jie)著(zhu),詩(shi)人忽然(ran)拄筆而問:“豈無(wu)園中(zhong)葵?”回(hui)答(da)是(shi)(shi)深(shen)切(qie)的(de)(de)(de)(de)贊嘆:“懿(美(mei))此(ci)出深(shen)澤!”這兩句,用的(de)(de)(de)(de)又是(shi)(shi)先(xian)抑(yi)后揚的(de)(de)(de)(de)筆法:前句舉“百菜之(zhi)(zhi)(zhi)主”園葵之(zhi)(zhi)(zhi)珍以壓蘋(pin)(pin)藻(zao)(zao)(zao),是(shi)(shi)為(wei)抑(yi);后句贊蘋(pin)(pin)藻(zao)(zao)(zao)之(zhi)(zhi)(zhi)潔更勝(sheng)園葵,是(shi)(shi)為(wei)揚。于問答(da)、抑(yi)揚之(zhi)(zhi)(zhi)中(zhong),愈加顯得(de)(de)蘋(pin)(pin)藻(zao)(zao)(zao)生(sheng)(sheng)于幽(you)澤而高潔脫俗的(de)(de)(de)(de)可貴。以此(ci)收束全(quan)詩(shi),讀來(lai)余韻裊裊。
第二首詠(yong)“松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)”。松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)自古以(yi)(yi)來(lai)為(wei)(wei)人(ren)們所稱頌(song),成為(wei)(wei)秉性(xing)堅(jian)(jian)貞,不(bu)(bu)(bu)(bu)(bu)(bu)向惡勢力屈服的象(xiang)(xiang)征。孔子當(dang)年就曾滿懷敬意地贊美它:“歲寒然(ran)(ran)后(hou)(hou)(hou)知松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)之(zhi)(zhi)后(hou)(hou)(hou)凋也。”這一(yi)(yi)首寫法(fa),與詠(yong)蘋藻又稍有不(bu)(bu)(bu)(bu)(bu)(bu)同,不(bu)(bu)(bu)(bu)(bu)(bu)是先寫背景,后(hou)(hou)(hou)寫主(zhu)體,而是開筆(bi)便讓山上亭(ting)亭(ting)之(zhi)(zhi)松(song)(song)(song)(song)(song)拔聳(song)而起,展現(xian)出一(yi)(yi)種“突兀撐青穹(qiong)”的雄偉氣(qi)象(xiang)(xiang)。然(ran)(ran)后(hou)(hou)(hou)再用(yong)“瑟(se)瑟(se)”谷風加(jia)以(yi)(yi)烘托(tuo),寫得極有聲勢。后(hou)(hou)(hou)面兩句為(wei)(wei)表(biao)現(xian)松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)的蒼(cang)勁,進(jin)一(yi)(yi)步渲染谷風之(zhi)(zhi)凜(lin)烈:“風聲一(yi)(yi)何(he)盛,松(song)(song)(song)(song)(song)技一(yi)(yi)何(he)勁!”前(qian)“一(yi)(yi)何(he)”慨(kai)嘆谷風之(zhi)(zhi)盛,簡直就要橫掃萬木(mu);后(hou)(hou)(hou)“一(yi)(yi)何(he)”敘寫松(song)(song)(song)(song)(song)枝之(zhi)(zhi)勁,更(geng)顯出松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)那(nei)“其奈我(wo)何(he)”的剛挺(ting)(ting)難摧(cui)。詩(shi)(shi)(shi)人(ren)也許覺得,與谷風相(xiang)抗,還不(bu)(bu)(bu)(bu)(bu)(bu)足(zu)以(yi)(yi)表(biao)現(xian)松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)的志(zhi)節,所以(yi)(yi)接著(zhu)又加(jia)以(yi)(yi)“冰霜”的進(jin)襲(xi):“冰霜正(zheng)(zheng)慘(can)凄(qi),終(zhong)歲常端(duan)正(zheng)(zheng)。”前(qian)一(yi)(yi)個“正(zheng)(zheng)”字告(gao)訴(su)人(ren)們,此刻(ke)正(zheng)(zheng)是滴水(shui)成冰、萬木(mu)凋零的凄(qi)寒嚴冬;后(hou)(hou)(hou)一(yi)(yi)個“正(zheng)(zheng)”字又告(gao)訴(su)人(ren)們,再看松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo),它卻依舊端(duan)然(ran)(ran)挺(ting)(ting)立(li)、正(zheng)(zheng)氣(qi)凜(lin)然(ran)(ran),不(bu)(bu)(bu)(bu)(bu)(bu)減(jian)春日青蒼(cang)之(zhi)(zhi)色。《禮記》說:“其在人(ren)也,如松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)之(zhi)(zhi)有心也,故(gu)貫四時不(bu)(bu)(bu)(bu)(bu)(bu)改柯易葉。”正(zheng)(zheng)可拿(na)來(lai)作“端(duan)正(zheng)(zheng)”的注腳。這兩句描(miao)摹(mo)冰霜,辭色峻冷(leng)(leng);展示松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo),意態從容。松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)的堅(jian)(jian)貞志(zhi)節,正(zheng)(zheng)顯現(xian)于(yu)這一(yi)(yi)鮮明(ming)的對照之(zhi)(zhi)中(zhong)。此詩(shi)(shi)(shi)結(jie)尾也是冷(leng)(leng)然(ran)(ran)一(yi)(yi)問:“豈不(bu)(bu)(bu)(bu)(bu)(bu)罹凝寒?”然(ran)(ran)后(hou)(hou)(hou)歸結(jie)到詩(shi)(shi)(shi)人(ren)主(zhu)意之(zhi)(zhi)所在:“松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)有本性(xing)。”吐語沉著(zhu),戛然(ran)(ran)收(shou)筆(bi)。這首詩(shi)(shi)(shi)通篇(pian)以(yi)(yi)松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)為(wei)(wei)喻,贊頌(song)松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)能夠挺(ting)(ting)立(li)風中(zhong)而不(bu)(bu)(bu)(bu)(bu)(bu)倒,經嚴寒而不(bu)(bu)(bu)(bu)(bu)(bu)凋。詩(shi)(shi)(shi)人(ren)并沒有將(jiang)他希望堂弟(di)應如何(he)如何(he),但其勸勉之(zhi)(zhi)言卻又不(bu)(bu)(bu)(bu)(bu)(bu)言而喻。此詩(shi)(shi)(shi)貌似詠(yong)物,實為(wei)(wei)言志(zhi),借松(song)(song)(song)(song)(song)柏(bo)(bo)(bo)(bo)(bo)之(zhi)(zhi)剛勁,明(ming)志(zhi)向之(zhi)(zhi)堅(jian)(jian)貞。全詩(shi)(shi)(shi)由(you)表(biao)及里(li),由(you)此及彼(bi),寓意高遠,氣(qi)壯脫俗(su)。
第三首詠的(de)(de)(de)是“鳳(feng)(feng)(feng)凰(huang)(huang)”。鳳(feng)(feng)(feng)凰(huang)(huang)是傳說(shuo)中(zhong)的(de)(de)(de)“神鳥(niao)”(《說(shuo)文》),生長在南(nan)方(fang)“丹穴山”中(zhong)。《大戴禮記(ji)》說(shuo)它是“羽蟲”之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)“長”,所以(yi)棲(qi)(qi)、食(shi)(shi)也(ye)與凡(fan)鳥(niao)不同:“非梧桐不棲(qi)(qi),非竹實不食(shi)(shi)”(《詩經(jing)·大雅·卷阿》鄭(zheng)玄(xuan)箋)。這就是此(ci)詩開頭所說(shuo)的(de)(de)(de)“鳳(feng)(feng)(feng)凰(huang)(huang)集南(nan)岳,徘徊(huai)孤竹根”之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)意(yi)。詩人(ren)(ren)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)歌詠鳳(feng)(feng)(feng)凰(huang)(huang),不僅因為它有(you)此(ci)神奇(qi)的(de)(de)(de)習性(xing),更矚意(yi)于(yu)(yu)它那(nei)絕(jue)世高(gao)(gao)(gao)(gao)蹈的(de)(de)(de)懷抱(bao):“于(yu)(yu)心有(you)不厭(足(zu)(zu)),奮(fen)(fen)翅凌(ling)紫氛。”——它根本鄙棄(qi)“鳥(niao)為食(shi)(shi)亡”之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)俗,不滿足(zu)(zu)于(yu)(yu)“竹實”之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)食(shi)(shi),而(er)要奮(fen)(fen)展巨翼,掠過九霄的(de)(de)(de)紫霞,高(gao)(gao)(gao)(gao)遠地(di)飛(fei)翔。后一(yi)句(ju)以(yi)鳳(feng)(feng)(feng)凰(huang)(huang)凌(ling)空“奮(fen)(fen)翅”的(de)(de)(de)動態形象,表現它絕(jue)世超俗的(de)(de)(de)高(gao)(gao)(gao)(gao)遠之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)志,運筆(bi)勁健,富于(yu)(yu)陽剛之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)美。據莊(zhuang)子《逍遙游》和宋(song)玉(yu)《對(dui)楚(chu)王問(wen)》,當鹍鵬、鳳(feng)(feng)(feng)凰(huang)(huang)“摶扶搖(yao)而(er)上者九萬里(li)”之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)際,“學(xue)鳩”、鷃(yan)鳥(niao)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)輩曾以(yi)其(qi)井蛙之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)見,對(dui)它們加以(yi)無知(zhi)的(de)(de)(de)嘲問(wen)。宋(song)玉(yu)因此(ci)有(you)“鳳(feng)(feng)(feng)皇(huang)上擊(ji)九千(qian)里(li),絕(jue)云(yun)(yun)霓(ni)、負蒼天(tian)(tian),翱翔乎杳冥之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)上。夫蕃籬(li)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)鷃(yan),豈(qi)能(neng)與之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)料天(tian)(tian)地(di)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)高(gao)(gao)(gao)(gao)哉”之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)語(yu),將這類斗(dou)筲之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)輩一(yi)筆(bi)罵倒。詩人(ren)(ren)大約正有(you)感于(yu)(yu)此(ci),所以(yi)接著兩句(ju)便借鳳(feng)(feng)(feng)凰(huang)(huang)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)口,對(dui)無知(zhi)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)輩的(de)(de)(de)嘲問(wen),作出(chu)了(le)聲震云(yun)(yun)天(tian)(tian)的(de)(de)(de)回(hui)答(da):“豈(qi)不常勤苦,羞與黃(huang)雀群(qun)!”詩人(ren)(ren)仰望云(yun)(yun)空、激(ji)動不已,不禁又悠然神往地(di)追問(wen)一(yi)句(ju):“那(nei)么(me),你究(jiu)竟(jing)什么(me)時(shi)候才能(neng)歸來?”鳳(feng)(feng)(feng)凰(huang)(huang)的(de)(de)(de)回(hui)答(da)干脆利落:“將須(xu)圣明君!”這四句(ju)抒寫(xie)鳳(feng)(feng)(feng)凰(huang)(huang)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)志,詩人(ren)(ren)將其(qi)置于(yu)(yu)“奮(fen)(fen)翅凌(ling)紫氛”之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)后,便造出(chu)了(le)一(yi)種高(gao)(gao)(gao)(gao)天(tian)(tian)傳音的(de)(de)(de)雄奇(qi)境界。絕(jue)世高(gao)(gao)(gao)(gao)蹈的(de)(de)(de)鳳(feng)(feng)(feng)鳥(niao),正凌(ling)空遠去(qu),萬里(li)云(yun)(yun)天(tian)(tian)卻(que)還隆隆地(di)回(hui)蕩著它那(nei)高(gao)(gao)(gao)(gao)傲的(de)(de)(de)鳴(ming)叫(jiao),這壯懷是書寫(xie)在高(gao)(gao)(gao)(gao)天(tian)(tian)白(bai)云(yun)(yun)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)上的(de)(de)(de)。
組詩第一首實是(shi)(shi)以蘋藻(zao)為(wei)(wei)(wei)喻(yu)(yu)勉勵(li)從弟出(chu)身微賤(jian)也要(yao)做一個品質高潔幽雅的(de)人;第二首則(ze)是(shi)(shi)要(yao)其像(xiang)“亭亭山上松”一樣保(bao)持堅(jian)貞本性(xing);第三(san)首以鳳凰(huang)為(wei)(wei)(wei)喻(yu)(yu),鼓勵(li)從弟要(yao)有凌云壯(zhuang)志,將題為(wei)(wei)(wei)贈(zeng)答(da)的(de)詩作(zuo)從勸勉的(de)主題加(jia)以抒寫。
陳祚明評論劉楨(zhen)的(de)(de)詩,用了(le)“翠峰(feng)插空,高(gao)云(yun)曳(ye)(ye)壁”的(de)(de)精妙比喻(yu)(《采菽堂(tang)古詩選》)。《贈從(cong)弟三(san)首(shou)》確實(shi)當得起(qi)這樣的(de)(de)贊美。作(zuo)為(wei)詠物(wu)詩,這三(san)首(shou)對(dui)蘋(pin)藻、松柏、鳳(feng)凰雖然著(zhu)筆(bi)不多,卻都是畫龍(long)點(dian)睛,使它們個個風骨棱然。這正是詩人自(zi)身(shen)高(gao)潔之(zhi)性、堅貞之(zhi)節、遠(yuan)大懷(huai)抱(bao)的(de)(de)寫(xie)照。倘(tang)若他(ta)自(zi)身(shen)沒有(you)這種(zhong)“挺挺自(zi)持(chi)”的(de)(de)氣骨,就不可能將(jiang)這類無情之(zhi)物(wu)鑄造得如此“高(gao)風跨俗”、富有(you)生(sheng)氣。詩人運(yun)筆(bi)也(ye)搖(yao)曳(ye)(ye)多姿、富于變化:詠蘋(pin)藻,則(ze)(ze)映襯(chen)抑(yi)揚、著(zhu)色(se)清淡,正適宜表現它的(de)(de)淡泊高(gao)潔之(zhi)性;贊松柏,則(ze)(ze)辭(ci)氣壯盛、筆(bi)力遒勁(jing),正可與它的(de)(de)抗風傲霜之(zhi)節并驅;歌鳳(feng)凰,則(ze)(ze)筆(bi)勢宕跌,飄(piao)逸多姿,正顯現了(le)鳳(feng)凰奮翅高(gao)舉(ju)的(de)(de)遠(yuan)大志向和瀟(xiao)灑身(shen)影。僅從(cong)詠物(wu)這一點(dian)看(kan),它們繼承了(le)屈原《橘頌》的(de)(de)創作(zuo)經驗,又表現了(le)張戒所(suo)說“詠物(wu)之(zhi)工,卓然天成”(《歲寒堂(tang)詩話》)的(de)(de)妙處。
但從(cong)(cong)(cong)詩(shi)(shi)(shi)(shi)人(ren)(ren)(ren)之(zhi)(zhi)(zhi)(zhi)本意來說(shuo),作此三(san)詩(shi)(shi)(shi)(shi),“本不期于(yu)詠物(wu)”,而在(zai)于(yu)“贈”人(ren)(ren)(ren)。贈人(ren)(ren)(ren)之(zhi)(zhi)(zhi)(zhi)作,自漢末蔚然成(cheng)風,但大多(duo)抒寫朋(peng)友往還之(zhi)(zhi)(zhi)(zhi)事(shi)、夫婦離(li)聚(ju)之(zhi)(zhi)(zhi)(zhi)情(qing)。劉(liu)楨(zhen)之(zhi)(zhi)(zhi)(zhi)贈從(cong)(cong)(cong)弟(di),其(qi)(qi)勖勉(mian)、贊美之(zhi)(zhi)(zhi)(zhi)思(si),全借“詠物(wu)”發(fa)之(zhi)(zhi)(zhi)(zhi),實在(zai)是破了(le)(le)常格。一(yi)詩(shi)(shi)(shi)(shi)一(yi)詠,詩(shi)(shi)(shi)(shi)面上看似處處詠物(wu),其(qi)(qi)精光射(she)處,卻在(zai)在(zai)都與從(cong)(cong)(cong)弟(di)相(xiang)關(guan):從(cong)(cong)(cong)弟(di)出(chu)身寒(han)門,詩(shi)(shi)(shi)(shi)人(ren)(ren)(ren)即以(yi)(yi)蘋藻(zao)之(zhi)(zhi)(zhi)(zhi)出(chu)于(yu)幽澗為喻,贊其(qi)(qi)不墜高(gao)(gao)潔之(zhi)(zhi)(zhi)(zhi)性;從(cong)(cong)(cong)弟(di)身罹亂(luan)世,詩(shi)(shi)(shi)(shi)人(ren)(ren)(ren)即以(yi)(yi)松柏(bo)之(zhi)(zhi)(zhi)(zhi)抗凝(ning)寒(han)為喻,勉(mian)其(qi)(qi)常懷堅貞(zhen)之(zhi)(zhi)(zhi)(zhi)節;從(cong)(cong)(cong)弟(di)無(wu)意于(yu)仕進,詩(shi)(shi)(shi)(shi)人(ren)(ren)(ren)又以(yi)(yi)鳳鳥之(zhi)(zhi)(zhi)(zhi)高(gao)(gao)翥為喻,贊美他不與世俗同流之(zhi)(zhi)(zhi)(zhi)志。三(san)首(shou)詠物(wu)詩(shi)(shi)(shi)(shi),正是這(zhe)樣,在(zai)“贈從(cong)(cong)(cong)弟(di)”這(zhe)總題(ti)目下融匯(hui)成(cheng)一(yi)片,寄托了(le)(le)詩(shi)(shi)(shi)(shi)人(ren)(ren)(ren)對從(cong)(cong)(cong)弟(di)的(de)深情(qing)勉(mian)勵和殷殷期望。“其(qi)(qi)情(qing)真(zhen),其(qi)(qi)味(wei)長(chang),其(qi)(qi)氣勝”,在(zai)建(jian)安詩(shi)(shi)(shi)(shi)人(ren)(ren)(ren)眾(zhong)多(duo)贈人(ren)(ren)(ren)之(zhi)(zhi)(zhi)(zhi)作中(zhong),真(zhen)可卓然獨立(li)、難與并能了(le)(le)。
南朝·劉勰《文心雕龍·隱秀》:“格剛(gang)才(cai)勁(jing),而并長于(yu)諷喻。”
現代(dai)·易健賢:“詩題(ti)贈人(ren),在很大程(cheng)度上卻是(shi)自喻自勵。”