蘊玉懷珠飽學之士

清人有《乾嘉詩壇點將錄》，以《水滸》108將分擬詩苑名家，意在“借說部狡獪之筆，為記室評品之文”；民國汪辟疆有《光宣詩壇點將錄》，流布甚廣，而今網上有一篇《“五四”以來詞壇點將錄》，為詞學家劉夢芙所作，點將錄中將長年在浙江安吉縣執教和生活的鄭德涵先生列在其中。

鄭德涵(1916-1999)字君量，號廑廬、查庵、頤一老人，浙江平陽人，出身于學者型官宦之家。其父鄭汝漳(1884-1962)，字孟特，早年留學日本攻法政，歸國后曾任浙江省司法長官，以清廉謹慎著稱。工于詩，有《抱一廬詩存》行世。鄭德涵先生幼承庭訓，打下國學功底。青少年時入國學大師章太炎在蘇州創辦的國學講習會，后該會遷至上海更名為太炎文學院，鄭先生當時是院中年齡最小的學生。據湖州書畫院名譽院長、鄭先生生前好友吳迪庵回憶：“太炎先生及夫人湯國梨對先生關懷備至，視同子侄輩行。”章太炎一生弟子甚多(魯迅亦是其一)，而鄭先生可謂章大師的“關門弟子”。

《“五四”以來詞壇點將錄》中，將鄭先生比作“地隱星白花蛇楊春”，稱其“學識淹貫，古文、音韻、訓詁無所不通，兼精書、畫、琴藝，于金石、古泉、集郵亦得其精奧。有《廑廬詞剩甲稿》計八十二闋，成于1937年秋至1945年秋，以甲稿中諸作而言，功力才情已不在其師(詞學大師龍榆生)之下，深切處或有過之。

鄭先生畢生在中學任教。早年曾執教于嘉善、杭州等地，新中國成立前夕應安吉資深教育家、孝豐中學校長潘大坤先生之邀，來安吉任教直至退休。他雖非安吉籍人，然其大半生扎根安吉，可謂本地最后一位名宿。鄭先生通音律，能奏古琴，這于填詞善莫大矣。而今的詞人能粗懂平仄就很不錯了，雅人深致如鄭先生者少之又少。

《廑廬詞剩甲稿》所收詩詞清麗雅致，朗朗上口：

一片清商起蘆荻，紅樓隔雨淡疑無。巡檐飄網蛛終去，抱柱迎潮愿豈虛。

愁易結，意難舒，答終日弄瓊琚。即今何物憑相慰，夢里殷勤一紙書。

——《鷓鴣天》

春云濃淡山青赭，雨過泉奔瀉。幾家村舍散西東，掩映高低綠樹一叢叢。

子規凄共山靈雨，不為愁人住。野花簇簇不知名，只傍幽途仄徑伴伶俜。

——《虞美人》

鄭先生在詞學上除其師從龍榆生外，相互切磋、唱和的還有馬一浮、黃賓虹、夏承燾、吳湖帆、蘇步青、張振維等大師或名家。

吟詞之外，鄭先生在古錢幣方面亦堪稱國內屈指可數的專家。他在一組詠古泉詞的小序中說：“余癖泉逾五十年。”在一件事上能有長達半個世紀的執著，除見其癖好之深，更可推想其鉆研功夫之非同尋常。1996年，浙江省教育電視臺“點燃光明”節目組曾拍攝專題片——《寧靜的泉源》，介紹他在古泉上的精深造詣。除詞學和古錢幣外，鄭先生在書法、繪畫、篆刻上亦成績不俗，常有獨得之妙。吳迪庵說他“書工甲骨、大小篆；畫法蒼潤華滋，有類黃賓虹大師之作；印法古而獨樹一。”2002年安吉吳昌碩紀念館曾舉辦“鄭德涵先生書畫遺作展”，頗獲好評。其實在書畫方面，鄭先生更以精于鑒賞而見長。也許他本人無意于當一個“創作家”，而以其雍容沉潛之心態、無關功利之素心、廣閱千劍之歷練，鍛就了一流鑒賞家的眼光和識力。讀比寫重要，文學、書畫皆然。另外，無論是書畫還是詞學，無論是創作還是鑒賞，鄭先生都是堅定不移的“正統派”，“野狐禪”種種根本不入其法眼，當然過分的“正統”多少也制約了他。

對創新和突破的認知

筆者雖在青少年時曾聽過鄭先生的課，且對這位安吉名宿的詞學造詣、傳統學養和多種才藝不勝敬佩，但我最看重的倒并不是其學問素養之精深，而是他作為一個蘊玉懷珠的飽學之士，那種自甘淡泊的處世風范和謙以自牧的平和心態，且能幾十年一以貫之，這恐怕也是他在建國后各種政治運動中得以安然自保之緣由。余生也晚，自識得鄭先生后，他在我眼里總是一派藹藹然、謙謙然之溫潤風范，令人如沐春風。吳迪庵說他“淡于名利，不善經營”，其實他于填詞、古泉、書畫、音律等浸染如此之深，區區世俗之名韁利索豈能牽絆住其審美心智?私忖鄭先生對各門藝術更多抱一種“玩賞”心態，而不將其視為“名山事業”，像安吉先賢吳昌碩那樣發憤圖強、一意精進。鄭先生業余玩賞“玩”出了專業水準和名家境界，關鍵是起點高、底氣厚、積淀深、韌性足、俗氣脫、心態平。在《清平樂·小園閑步獨成》中他流露了這樣的心跡：“種瓜種豆平生，老來更畏浮名。披卷遙知千載，青門不戀東陵。”能如此無意于名利，方成“名宿”!據說鄭先生晚年多有書畫篆刻類弟子，有人動輒以“曾師從鄭德涵先生”自榜。其實，作為最后一代名宿，鄭先生身上許多東西，我們這一代人是根本學不到或幾乎無法學的。名宿已逝，斯人不再，文脈誰承?

我輩黯然……

鄭先生和其父兩代人皆深受傳統文化之熏陶，善詩詞，且諳書法繪畫，深得中華千年文脈之傳。然到了鄭先生兒孫兩代，似已不復再有傳人。其長子是本縣計算機方面的第一代行家，其外孫女是留美生物學博士。實用科技日興而傳統人文日衰，鄭家四代人的兩種取向，多少折射了時代風氣的大相徑庭。另鄭先生生前富收藏(尤其是古錢幣)，惜死后多散佚。

鄭先生于1999年除夕之夜駕鶴西歸。30年前曾是孝豐國營副食品商店的某女營業員告訴我：鄭老師和夫人(錢重引女士)那時常到店里買東西。她印象最深的是買杏元餅干時，鄭老師總是將“杏”字念為“xing”，而本地土話中“杏”的發音在“eng”和“ang”之間……如今這種餅干在市場上似早已絕跡，愿此文如一塊小小的杏元餅干，為鄭先生之靈一饗。

A Modest Versatile Scholar

By Fan Yizhi

When it comes to describing Zheng Dehan (1916-1999)， a scholar who spent half of his life in Anji County， Zhejiang Province， one may use a lot of the word's hough? For example， though Zheng Dehan was not born in Anji， the county is more than glad to claim him as a literary celebrity and regard him as a cultural heritage. And though few in China know about him， a scholar of Ci * recently lists Zheng as one of the country's top Ci masters in the modern era in an article posted online. And though， a middle school teacher by career， Zheng came to Anji County in the late 1940 and taught at a local middle school till he retired， he was honored by local admirers as a literary master.

Zheng came from a family of scholars. His father studied law in Japan and later became the magistrate in Zhejiang. Zheng Dehan grew up among books. He was the youngest student in the Chinese Academic Studies Seminar initiated and sponsored by Zhang Taiyan (1869-1936)， a famous scholar of ancient Chinese studies in the early 20th century.

Zheng was a master of Ci. He was also a master of sound and its rhythm and he played Guqin zither. This knowledge of musical temperament helped him to compose refined poems to given tunes. His best Ci poems were written between 1937 and 1945. His Ci-poem pals included many modern masters and celebrities in the 20th century China.

Zheng was more than a Ci master. He was a painter， calligrapher， Guqin player， seal engraver， philatelist and a numismatician.

A leading numismatician in the country， Zheng Dehan was into numismatics for over fifty years. In 1996， Zhejiang Education Television produced a documentary on his collection and knowledge of currencies used in ancient China.

As a scholar and teacher， Zheng kept a very low profile， keeping himself away from fame and wealth. He was gentle and genial， and devoted to studies of ancient things for his lifetime. That was probably how he was able to protect himself well and remained unscathed in the political storms that plunged the country into chaos and damaged so many people's lives.

As the last master with profound knowledge of traditional Chinese studies in the county， Zheng was able to teach his disciples. Some of them made self-advertisement that they had learned painting， calligraphy and seal engraving from Zheng. But alas， how much have they learned from Zheng's life philosophy， his spirit， and his well cultured personality?

Though Zheng and his father were masters steeped in traditional Chinese culture， Zheng's children and grandchildren have diverted to different professions. It is simply because of the time and new cultural trends. His eldest son was one of the first computer experts in the county. His granddaughter is a Ph. D. from a US university. It is a pity that Zheng's collection is partly gone today.

* Ci， a type of ancient poetic style， originating in the Tang Dynasty (618-907) and then fully developed in the Song Dynasty (960-1297)

(Translated by David)