游鐘山
朝代:宋代|作者:王(wang)安石
終日(ri)看(kan)山不厭(yan)山,買山終待老山間。
山(shan)花(hua)落盡山(shan)長在(zai),山(shan)水空流山(shan)自閑。
這(zhe)(zhe)首(shou)(shou)詩(shi)是王安石《游鐘(zhong)山》四(si)首(shou)(shou)七言絕(jue)句之(zhi)(zhi)(zhi)一,短短二十(shi)八字(zi)之(zhi)(zhi)(zhi)內,便重復出現了八個“山”字(zi),如此回(hui)環反復,讀(du)之(zhi)(zhi)(zhi)朗朗上(shang)口(kou),匠心獨運,這(zhe)(zhe)樣(yang)的詩(shi)作在(zai)古(gu)典詩(shi)詞中是極(ji)少(shao)見的。唐代羊(yang)士諤的一首(shou)(shou)《亂后曲江》,“憶(yi)昔曾游曲水(shui)濱,春來長有探(tan)春人。游春人盡空池在(zai),直至(zhi)春深不似春。”詩(shi)中五疊“春”字(zi),讀(du)來已是傳神至(zhi)極(ji),毫無矯揉(rou)造作,為復而(er)復之(zhi)(zhi)(zhi)嫌疑。而(er)王安石的這(zhe)(zhe)首(shou)(shou)《游鐘(zhong)山》更是出奇制(zhi)勝,獨絕(jue)無二。
八個“山”字(zi)平均分配于(yu)四句之中,這顯然是詩(shi)(shi)(shi)人(ren)巧心謀(mou)篇(pian)布(bu)局,以顯出漸次的(de)(de)層次感。但又(you)并非一(yi)成不(bu)變,毫無錯落,前兩(liang)句中每一(yi)個“山”字(zi)都寫在了七言的(de)(de)不(bu)同(tong)位置上,而后(hou)兩(liang)句又(you)處于(yu)相同(tong)之處。形式上既有參差,又(you)有對(dui)稱,堪稱一(yi)絕。古典詩(shi)(shi)(shi)歌(ge)有“詩(shi)(shi)(shi)避重(zhong)字(zi)”的(de)(de)說(shuo)法,一(yi)因(yin)格律,二因(yin)詩(shi)(shi)(shi)作篇(pian)幅短小,要表意染境(jing)本已不(bu)易,若再(zai)反復用(yong)字(zi),反而會有追求(qiu)詞(ci)藻,詩(shi)(shi)(shi)作空洞,而不(bu)能達意的(de)(de)問題。但王安石的(de)(de)這首(shou)(shou)《游鐘山》在詩(shi)(shi)(shi)意的(de)(de)表達上,不(bu)僅(jin)沒(mei)因(yin)反復用(yong)字(zi)而大(da)打折(zhe)扣,而且句意如(ru)疊字(zi)一(yi)樣,環環相扣,更(geng)有以山自擬的(de)(de)深意暗含其中。即(ji)使(shi)不(bu)深究詩(shi)(shi)(shi)境(jing),全當(dang)一(yi)首(shou)(shou)普通的(de)(de)歸隱山水(shui)詩(shi)(shi)(shi)來看(kan),這也是佳作一(yi)篇(pian)。
“終日(ri)(ri)看(kan)山(shan)(shan)不厭山(shan)(shan)”,歸隱(yin)后(hou)的王(wang)安(an)(an)(an)石常(chang)騎著毛驢悠(you)游鐘(zhong)山(shan)(shan),但日(ri)(ri)日(ri)(ri)與(yu)山(shan)(shan)為(wei)伴,以山(shan)(shan)為(wei)景,卻(que)未曾厭膩。一(yi)(yi)寫鐘(zhong)山(shan)(shan)秀(xiu)美,二寫山(shan)(shan)之變幻。山(shan)(shan)川看(kan)似亙古不移,但若像王(wang)安(an)(an)(an)石這樣(yang)細細賞來,也會(hui)看(kan)見鐘(zhong)山(shan)(shan)的日(ri)(ri)新(xin)月異,花草樹木、鳥獸蛇蟲,每(mei)一(yi)(yi)日(ri)(ri)、每(mei)一(yi)(yi)時、每(mei)一(yi)(yi)刻都在改變。因為(wei)喜(xi)愛而想要(yao)“買山(shan)(shan)終待老山(shan)(shan)間”,而事實上王(wang)安(an)(an)(an)石最(zui)后(hou)確實安(an)(an)(an)葬于鐘(zhong)山(shan)(shan)南(nan)麓。
“山(shan)(shan)花落盡山(shan)(shan)常在”,寫(xie)的不(bu)正是禪家緣起(qi)性(xing)空(kong)的核心(xin)思想嗎(ma)?以山(shan)(shan)花喻世間(jian)一切有(you)(you)為(wei)法(fa),生(sheng)(sheng)滅不(bu)止變(bian)化不(bu)休,如山(shan)(shan)花一般,年年歲歲有(you)(you)開(kai)有(you)(you)落。再以鐘山(shan)(shan)喻法(fa)性(xing)本空(kong),因為(wei)性(xing)空(kong)才(cai)能緣起(qi),無(wu)空(kong)便無(wu)有(you)(you),有(you)(you)從空(kong)中生(sheng)(sheng),正若(ruo)皮之不(bu)存毛(mao)將焉附,山(shan)(shan)若(ruo)不(bu)存,山(shan)(shan)花何在?與此同時(shi),緣起(qi)才(cai)知(zhi)(zhi)性(xing)空(kong),正是見證(zheng)了山(shan)(shan)花的生(sheng)(sheng)生(sheng)(sheng)滅滅,才(cai)知(zhi)(zhi)道山(shan)(shan)的不(bu)移不(bu)亂。“山(shan)(shan)水空(kong)流山(shan)(shan)自閑”,山(shan)(shan)間(jian)流水潺潺,不(bu)分(fen)晝夜(ye)不(bu)知(zhi)(zhi)疲憊,無(wu)有(you)(you)盡時(shi)不(bu)明(ming)始日,但一動不(bu)如一靜,流是空(kong)流,唯有(you)(you)閑,才(cai)是灑脫(tuo)自性(xing)。全詩看似在寫(xie)鐘山(shan)(shan),實則是在寫(xie)詩人的心(xin)。
其實(shi),對(dui)于這(zhe)樣一首精妙(miao)的(de)(de)山(shan)水詩(shi)(shi),或許(xu)不(bu)解(jie)(jie)而解(jie)(jie)才(cai)是最佳的(de)(de)賞(shang)析(xi)方(fang)式(shi)。無(wu)(wu)須(xu)通曉歷史背景,無(wu)(wu)須(xu)得知(zhi)詩(shi)(shi)人(ren)心境,甚至(zhi)無(wu)(wu)須(xu)深究其中(zhong)(zhong)禪(chan)意,或是根(gen)本不(bu)知(zhi)詩(shi)(shi)人(ren)是何許(xu)人(ren),亦無(wu)(wu)礙無(wu)(wu)障。畢(bi)竟詩(shi)(shi)中(zhong)(zhong)所提就只有(you)山(shan)水,本就無(wu)(wu)所謂(wei)時(shi)代無(wu)(wu)所謂(wei)背景,于是讀者便(bian)可以自(zi)心自(zi)解(jie)(jie),在這(zhe)首看似簡單的(de)(de)山(shan)水詩(shi)(shi)中(zhong)(zhong)見自(zi)己、見眾生,見心中(zhong)(zhong)所有(you)的(de)(de)諸般萬象(xiang)。山(shan)花到底只是山(shan)花,還是禪(chan)家的(de)(de)緣起(qi)性空,還是詩(shi)(shi)人(ren)已拋下的(de)(de)榮華富貴……答案(an)只在我們各自(zi)的(de)(de)心中(zhong)(zhong),如此賞(shang)析(xi),豈(qi)不(bu)是和鐘山(shan)一樣,自(zi)在清閑。