李嬌儼

不久前，500萬字的《夏承燾日記全編》（以下簡(jiǎn)稱《日記全編》），在歷時(shí)12年的整理后終于付梓出版。全書據(jù)日記原稿重新整理，收錄了夏承燾從1916年至1985年近70年（中間有數(shù)年日記佚失）的日記。其中不僅有他曾在浙江走過的萬里路，也有他曾讀過的萬卷書，還有那個(gè)值得被銘記的大師輩出的時(shí)代。

夏承燾， 是20世紀(jì)最為杰出的詞學(xué)家之一，現(xiàn)代詞學(xué)的開拓者。他的一系列詞學(xué)研究著作，堪稱中國(guó)詞學(xué)史上的豐碑。夏承燾生于溫州永嘉，在杭州執(zhí)教多年。每到清明，在淳安縣羨山夏公墓前，不斷有人手捧獻(xiàn)花，前來祭掃。這里正是被稱為“一代詞宗”的夏承燾（1900——1986）的墓地。

改變

整理完《夏承燾日記全編》，夏承燾再傳弟子、本書的主編吳蓓，也養(yǎng)成了記日記的習(xí)慣。

“讀完所有日記后，我驚嘆于夏先生的堅(jiān)持。能夠數(shù)十年如一日地去記錄自己的生活而不間斷，不是尋常人能做到的。”吳蓓說。

在長(zhǎng)達(dá)半個(gè)世紀(jì)的歲月中，夏承燾位居?xùn)|南詞壇祭酒，治詞授業(yè)之余，與海內(nèi)外詞家、學(xué)人聲氣相通，其中有老輩的陳衍、朱祖謀、冒廣生、夏敬觀，也有同輩的龍榆生、唐圭璋、錢仲聯(lián)、鄧廣銘，更有晚輩的朱生豪、琦君、吳熊和等。

因此，保留了原稿全貌的《日記全編》，可以說反映了夏承燾個(gè)人生活、讀書撰述、朋交游覽、教書育人以及當(dāng)時(shí)社會(huì)等的方方面面，是考察20世紀(jì)文化生活、知識(shí)分子心路歷程、學(xué)術(shù)升沉進(jìn)退的絕佳文本，并提供了多重思維角度。

提到《日記全編》背后的整理出版過程，吳蓓說，這項(xiàng)工作在很大程度上改變了她的人生軌跡。

天風(fēng)閣為夏承燾的室名之一。1984年至1997年間，吳蓓的父親、夏承燾的弟子吳戰(zhàn)壘，與師母吳無聞、同門吳熊和合作，在浙江古籍出版社籌備出版了《天風(fēng)閣學(xué)詞日記》三編，但其中僅選鈔了與“學(xué)詞”有關(guān)的部分，并不完整。吳戰(zhàn)壘一直心心念念想出《夏承燾全集》，將日記的所有內(nèi)容呈現(xiàn)給世人。

由于種種原因，這項(xiàng)愿望最終沒能在吳戰(zhàn)壘手中完成。幾十年來，夏承燾、吳無聞、吳戰(zhàn)壘先后逝世。2010年，出版《日記全編》的擔(dān)子，最終落在了此前從未參與過這項(xiàng)工作的吳蓓身上。

“整理日記是我父親的遺愿，我一定會(huì)完成它。但接到那一大堆夏先生手稿后，我才發(fā)現(xiàn)太難了。”吳蓓告訴記者，搜集齊手稿就幾經(jīng)波折，理清手稿、復(fù)印、拍照也是一個(gè)大工程，識(shí)字錄稿對(duì)于初識(shí)夏先生字體的人都是一個(gè)難關(guān)，校稿的周期也很長(zhǎng)。出版社編輯任務(wù)繁重，也把這項(xiàng)難度大的工作排到了后邊。

此外，這是一部當(dāng)代人的日記，其中涉及的許多人還在世。從歷史的角度看，當(dāng)代的人事，或許要經(jīng)過更長(zhǎng)時(shí)間的沉淀，編輯者才可以取得比較妥當(dāng)?shù)奶幹?，讀者也可以更為冷靜、客觀地看待。

12年后，凝聚了三代學(xué)人心血的《日記全編》終于出版。與《天風(fēng)閣學(xué)詞日記》相比，新書增加了約360萬字，補(bǔ)充了1916年至1928年、1966年至1985年、中間原遺失的1933年等數(shù)十年日記，以及以前曾刪削的內(nèi)容。

承載詞學(xué)大家一生的文字里，有太多東西值得研究了。吳蓓說，本以為出版完《日記全編》，很多事情可以放下，但是沒想到一個(gè)個(gè)研究課題在腦海里接連蹦出。未來的數(shù)年，都還會(huì)圍繞著《全集》以及日記后續(xù)的研究工作做安排，爭(zhēng)取讓一代詞宗的“寶藏人生”閃爍更大的光芒。

“如果有時(shí)間和精力，其實(shí)我更想編一部電視連續(xù)劇，讓大家看看夏先生的精彩人生，和那個(gè)傳奇的歷史年代?！眳禽硇φf。

樂游

當(dāng)筆者把編電視劇的想法轉(zhuǎn)述給夏承燾之子吳常云時(shí)，電話那頭傳來了十分爽朗的笑聲。

“父親是一個(gè)非常謙和的人。晚年時(shí)，他也能和年輕學(xué)生打成一片。他主張多讀書，但要‘樂讀，不要‘苦讀，學(xué)生們總說他講課時(shí)笑容可掬?！眳浅Ｔ苹貞浀健?/p>

聽了這番描述，一個(gè)親切可愛的老先生的形象馬上映入腦海。這樣的人寫日記，文字間也溢滿了風(fēng)趣。如果有一部電視劇講述日記里的故事，它的基調(diào)也一定是樂觀的，讓我們可以捕捉日常生活中的美好。

一代大儒馬一浮在夏承燾日記中出現(xiàn)多次?！跋南壬鸀槿酥t遜，而馬先生的個(gè)性卻是卓爾不群，特立獨(dú)行?！眳禽碚f，這兩個(gè)人碰在一起，總有一絲幽默詼諧藏于其間。

1931年，二人共同好友設(shè)宴，這兩位常通書信的“網(wǎng)友”才在宴會(huì)上第一次碰面。日記里說，夏承燾對(duì)馬一浮的初印象是“修髯岸然……談學(xué)撝謙，而不多發(fā)論議”。

兩個(gè)多月后，這個(gè)“第一印象”在馬一浮家中被打破了。某天，夏承燾前往延定巷卅二號(hào)拜訪馬一浮。兩人切磋學(xué)問，馬一浮先是大發(fā)議論，認(rèn)為民國(guó)名僧蘇曼殊在佛學(xué)上造詣不深，隨后又就宋詞音律說宋代詞人吳文英作的詞不可歌唱：“次談及詞律……翁謂……夢(mèng)窗詞恐不可唱?！?/p>

沒想到，這一舉動(dòng)不乏“班門弄斧”的嫌疑。夏承燾曾專攻詞律，對(duì)此不以為然。他馬上舉了個(gè)例子來反駁，他不說“我以為”，他只是說從張炎的詞題來看，夢(mèng)窗詞本來是可以唱的。白胡子的馬一浮先生只好在旁“唯唯”點(diǎn)頭。

當(dāng)然，日記里的馬一浮也有謙虛的一面。1952年的元宵節(jié)，夏承燾去蘇堤看望馬翁，并贈(zèng)詞一首，其中有贊馬一浮可“坐替雷峰”的詞句，馬翁連連搖頭稱“不敢當(dāng)”。

在日記中，夏承燾還稱贊陳寅恪“不愧一代大師”，感嘆與同在一校的錢穆“愛而不見”，擔(dān)心胡適“恐不肯作答”自己寄去的信……

與諸多近代大師的交往，打開了夏承燾通往詞學(xué)高峰的大門。1929年冬，由龍榆生介紹，夏承燾開始給當(dāng)時(shí)的詞學(xué)大師朱祖謀寫信。不久，他收到了來自老前輩的一封親筆信，信中對(duì)夏承燾的治學(xué)給予了肯定，還說“宏著有寫定者，尚盼先睹也”。這封信讓夏承燾深受感動(dòng)，立刻被他恭錄進(jìn)自己的日記里。

翻閱日記，我們又看到，夏承燾津津有味地讀著西洋小說《小婦人》《基督山恩仇記》《巴黎圣母院》，他的小說之魂隨即被點(diǎn)燃，忍不住沖動(dòng)寫了篇小說《偷表記》（后改名為《秘密上帝》）;他還曾想編一本《黃漢奸詩鈔》，讓此等賣國(guó)求榮者遺臭萬年……FD729EA9-C798-4257-BCB3-514545E92FA6

繼續(xù)往下讀，我們還能看到，日記中有十年浸潤(rùn)經(jīng)史的堅(jiān)持與魄力，也有對(duì)人生前路的彷徨與猶豫;既有可青史留名的大人物的雪泥鴻爪，也有仿若你我的小人物的家長(zhǎng)里短……五百萬字匯成了平凡卻又不凡的一生，足夠我們細(xì)細(xì)品鑒。

山水

古人常云“讀萬卷書，行萬里路”，這也是夏承燾的治學(xué)理念。雁蕩山，正是他游歷山水的開始。

溫州有許多詩人活動(dòng)過的地方，東晉開始就見詩人足跡。十四歲那年，夏承燾報(bào)考孫怡讓創(chuàng)辦的溫州師范學(xué)校。入學(xué)后，他的大部分自修時(shí)間都用于讀經(jīng)、讀詩文集子，并開始了舊體詩的創(chuàng)作。同時(shí)，他也喜歡訪求名勝，登臨山水。

十五歲游平陽的南雁蕩，十六歲登樂清的北雁蕩。游覽雁蕩山水的少年夏承燾，揮毫一筆，留下了“游蹤雖未半天下，已勝當(dāng)年謝客兒”的詩句。

“前路千峰初放晴，夕陽好處是歸程”。多年后，夏承燾游經(jīng)雁蕩顯勝門處，路過真際寺時(shí)，又以抒情的筆調(diào)，再度融入自己的感時(shí)情緒，描摹著雁蕩的清空美景。

桐廬，也是夏承燾心中一處山明水秀之地。日記中寫，1925年開始，夏承燾在嚴(yán)州第九中學(xué)任教。這里是一個(gè)美麗的風(fēng)景區(qū)，嚴(yán)子陵釣臺(tái)也位于其中。“好山只覺浙西多，又向桐君招手過”，桐廬的美景，曾經(jīng)醞釀他無數(shù)的詩情。

在這里，夏承燾寫下了一首《浪淘沙》：“萬象掛空明，秋欲三更，短篷搖夢(mèng)過江城?？上訕菬o鐵笛，負(fù)我詩成。杯酒勸長(zhǎng)庚，高詠誰聽，當(dāng)頭河漢任縱橫。一雁不飛鐘未動(dòng)，只有灘聲?！边@首詞被視為夏承燾的代表作之一。在日記里初出現(xiàn)時(shí)，題目即是“桐廬”，后來改為“過七里瀧”。“在我父親彌留之際，他讓我母親給他吟誦的就是這首詞?！眳浅Ｔ普f。

在國(guó)家蒙難、時(shí)世離亂之際，人們或許更會(huì)意識(shí)到名山秀水的可貴?？箲?zhàn)時(shí)期，夏承燾再次路過桐廬，他對(duì)著桐江的碧波不住感慨?！耙恍窃谒廊槐?，世外今何夕？故人出處幸相忘，容我五更伸腳過桐江?！币皇住队菝廊?· 自杭州避寇過釣臺(tái)》，道出了隱匿于桐廬山水背后的哀愁。

雁蕩為家，桐廬寄情，夏承燾的大半生卻是在西子湖畔度過的。日記中記載，三十歲時(shí)，他到之江大學(xué)任教，直到1976年才離開杭州。

剛到之江大學(xué)時(shí)，他住在錢塘江邊秦望山的月輪峰上，與六和塔為鄰。小樓一秀，俯臨大江。江聲帆影，常在心目。

美景自然催生詞情。夏承燾寫了多首《望江南》，來勾勒眼前所見?！扒厣胶?，面面面江窗。千萬里帆過矮枕頭，十三層塔管斜陽，詩思比江長(zhǎng)。”此地山水帶來了美好的心境，夏承燾的治詞生涯，也由此跨出了重要的一步。

他說，自己把游歷和讀書一樣看待，正是希望自己的詩詞文章，能夠得到江山之助。這番志向，也不斷被傳遞給后一輩。

“叮”，筆者的微信上收到了吳常云發(fā)來的一幅水墨畫，只見一匹神清骨峻的駿馬呈奔跑狀，似乎要越出畫面，畫右上角落有夏承燾款的一句杜詩 ：風(fēng)入四蹄輕。何不就像這匹馬兒一樣，馳騁萬里，飽覽之江大地大好河山？

In Remembrance of Xia Chengtao and His Sparkling Life Stories

By? Li Jiaoyan

Not long ago， the Complete Collection of Xia Chengtaos Diaries （hereinafter referred to as the Diaries） of five million Chinese characters was finally published after 12 years compiling and editing. The whole set has been reorganized based on the original manuscripts， a collection of Xias diaries from 1916 to 1985 （some were lost）. It is a record of the thousands of miles he covered in Zhejiang， the piles of books he read， and an era of masters that is worth to remember.

Xia Chengtao （1900-1986） is one of the 20th-century masters of Chinese ci poetry， and the pioneer of modern ci poetry， and his works are a monument to Chinese ci poetry. Born in Yongjia， Wenzhou， Xia came to Hangzhou and taught here for many years. Every Qingming Festival， crowds of people go to pay their respects at Xias tomb in Chunan county， with flowers in their hands.

After compiling the Diaries， Wu Bei， the books editor-in-chief and also Xias apprentice， grew her own journal-keeping habit. “When finished reading Mr. Xias full diary collection， I was astonished at how he kept recording his life uninterrupted， which common people are just incapable of，” said Wu.FD729EA9-C798-4257-BCB3-514545E92FA6

Since the Diaries preserve Xias original manuscripts in the entirety， they pretty much reflect all aspects of his personal life and the social landscape back then. Therefore， the whole set is considered an excellent text for examining the cultural and academic life of the 20th century and a source of multiple perspectives for thinking.

Looking back at the whole editing and publishing of the books， Wu Bei said that this project has changed her life to a great extent.

Between 1984 and 1997， Wu Zhanlei （Wu Beis father and one of Mr. Xias disciples）， Wu Wuwen （Mr. Xias wife） and Wu Xiong （another of Mr. Xias disciples）， published Diaries on Ci Poetry Learning at Tianfengge （Tianfengge is the name of Xias study） with Zhejiang Ancient Books Publishing House， which is only a small selection of Xias manuscripts. But Wu Zhanlei was denied the chance ever after to publish a whole collection of his teachers diaries. In 2010， this unfulfilled cause was passed on to his daughter， who had never been involved before.

“However determined I am， when I got this giant mountain of manuscripts， I realized this is too difficult for me，” Wu Bei told me. Collecting the whole manuscripts was full of twists and turns， let alone all the sorting out， copying， photographing of the collected manuscripts， and recognizing Mr. Xias handwriting.

Moreover， this is a collection of contemporary diaries， and many of the people involved in it are still alive — from a historical perspective， it is necessary for the editors and readers to take some time and ruminate before they could look at such literature calmly and objectively.

About 12 years later， the Diaries containing the wisdom and effort of three generations of scholars， was finally published. Compared with the Diaries on Ci Poetry Learning at Tianfengge， the new collection adds about 3.6 million characters， including the diaries of 1916-1928， 1933 （previously missing） and 1966-1985， as well as contents that had been removed before.

In the next few years， Wu will continue to arrange her research work around the Diaries in order to make the sparkling life of Mr. Xia， the Ci grandmaster， shine even brighter. “Actually I would prefer to make a TV series about his wonderful life and that legendary historical era，” Wu Bei said， laughing.

When I phoned Wu Changyun， son of Xia Chengtao， and conveyed the idea of making a TV series to him， a very cheerful laughter came from the other end of the phone.FD729EA9-C798-4257-BCB3-514545E92FA6

“My father was a very modest person. Even as an old man， he was still able to mingle with young students. He advocated reading， but‘happy reading， not‘hard reading， and students always say he wore a big smile in giving lectures，” Wu Changyun recalled.

Hearing this description， the image of a kind， lovely old gentleman immediately came to my mind. If there is a TV series telling his stories， it is surely an optimistic one， where the beauty of everyday life is captured.

There is a great Zhejiang scholar named Ma Yifu （1883-1967） appearing several times in Xias diaries. “Mr. Xia was a humble man， while Mr. Ma was somewhat peculiar.” When these two people met， said Wu， there was always a touch of humor and wit exchanged between them.

Xias interactions with many modern masters such as Chen Yinque （1890-1969） led to his prime in his study of ci poetry. In the winter of 1929， introduced by Long Yusheng （1902-1966）， Xia Chengtao began to write letters to Zhu Zumou （1857-1931）， a then great master of ci poetry. Soon， he received Zhus personal response， in which Zhu affirmed Xias scholarship and said， “I am looking forward to seeing the first masterpiece of yours.” Xia was so touched by Zhus letter that he immediately wrote this anecdote into his diaries.

Looking through Mr. Xias diaries， we could see his great interest in Western novels， his perseverance and courage as well as his uncertainty and hesitation. He presents his ordinary yet extraordinary life in his five-million-character journal for later generations to peruse.

As an ancient saying goes， “read ten thousand books， travel ten thousand miles”， which is also the philosophy of Xia Chengtao. Yandang Mountain was the beginning of his travels， and he repeatedly wrote poems about this beautiful mountain since he was fifteen years old. Later he visited Tonglu， and was also captivated by the majestic sceneries there.

However， it was at West Lake in Hangzhou that Xia spent most of his lifetime. According to his diaries， at the age of thirty， he went to Hangchow University to teach， and did not leave Hangzhou until 1976.

When he first arrived at Hangchow University， he lived by the Qiantang River， adjacent to the Liuhe Pagoda. Watching the beautiful scenery， he felt an urge to write poems about what he saw before his eyes. And he thus was filled with a happy state of mind， and his research career subsequently took an important step forward.

Xia viewed his travels as important as his studies， precisely because he hoped that his poems and articles could be enhanced in the company of the rivers and mountains. This ambition of his has been continuously passed on to future generations.FD729EA9-C798-4257-BCB3-514545E92FA6