司馬一民

在淅淅瀝瀝的春雨中穿行于杭州孩兒巷，經(jīng)過陸游紀(jì)念館時(shí)，自然而然想到了“賣花歌”。

孩兒巷，杭州城里的一條老巷，東連中山北路，并與仙林橋直街相對;西接延安路，并與武林路南段連接?？雌饋砗芷匠５囊粭l巷子，如果你了解了它的來歷，就會覺得不平常了。因?yàn)?00多年前一首“賣花歌”，使孩兒巷出名了，流傳后世。

北宋時(shí)，孩兒巷叫保和坊磚街巷;南宋時(shí)，巷內(nèi)多泥孩兒鋪，故又名泥孩兒巷，后來省略了一個(gè)“泥”字，就叫孩兒巷，一直延續(xù)到今。

所謂的“賣花歌”，其實(shí)是南宋詩人陸游于淳熙十三年（公元1186年）住在孩兒巷時(shí)寫的一首詩——《臨安春雨初霽》。讓我們先來吟誦這首詩：

世味年來薄似紗，

誰令騎馬客京華。

小樓一夜聽春雨，

深巷明朝賣杏花。

矮紙斜行閑作草，

晴窗細(xì)乳戲分茶。

素衣莫起風(fēng)塵嘆，

猶及清明可到家。

霽，雨后或雪后轉(zhuǎn)晴。矮紙，裁短的紙。草，草書。細(xì)乳，沏茶時(shí)水面呈白色的小泡沫。分茶，宋元時(shí)煎茶，注入沸水后用箸攪茶乳，使茶水波紋變成各種形狀。

這首詩大意為：近年來對入世做官的興味已淡薄如紗，誰叫我辭家作客在紛擾的京城？在小樓上聽得下了一夜的春雨，明天早上巷子里就會有人叫賣杏花。無聊地在短紙上斜寫著草書，還在窗前玩分茶游戲。不要感嘆潔白的衣服已被京師的塵土污染，現(xiàn)在出發(fā)還來得及在清明節(jié)前回到我清靜的家。

其中，“小樓一夜聽春雨，深巷明朝賣杏花”兩句，既朗朗上口，又繪聲繪色，流傳甚廣。可見絕妙好文原來簡單至絕，這正是寫詩作文的極高境界。

有人說，這首詩中的“小樓”一聯(lián)，典型地表現(xiàn)了江南二月的都市之春。小樓聽雨，深巷賣花，形象生動(dòng)，富于韻味。還有人說，這一聯(lián)不著意于對偶，十四字一氣貫注，自然圓轉(zhuǎn)，常受人稱道。另有人說，“小樓”一聯(lián)語言清新雋永，寫得形象而有深致，雖然用了比較明快的字眼，但用意還是要表達(dá)自己的郁悶與惆悵……見仁見智。傳說這兩句詩后來傳入宮中，深為宋孝宗所稱賞，可見一時(shí)傳誦之廣。

其實(shí)，陸游寫這首《臨安春雨初霽》，并非為了寫出什么名句，而是排遣自己的情感，寫出他當(dāng)時(shí)的心境。淳熙十三年（公元1186年），此時(shí)他已六十二歲，在家鄉(xiāng)山陰賦閑了五年。雖然他光復(fù)中原的壯志未衰，但對偏安一隅的南宋朝廷無奈。這一年春天，陸游又被起用為嚴(yán)州知府，赴任之前，先到臨安去覲見皇帝，住在孩兒巷里等候召見，寫下了這首名作。

無事而作草書，晴窗下品著清茗，表面上看，閑適恬靜，然而在這背后，正藏著詩人無限的感慨與牢騷。陸游有為國家收復(fù)中原的宏愿，而嚴(yán)州知府的職位與他的志向不合，頗感報(bào)國無門。中原淪陷，久未收復(fù)，而詩人卻在寫寫草書品品茶中消磨時(shí)光，還不如回鄉(xiāng)躬耕。他捺不住心頭的怨憤，寫下了結(jié)尾兩句：“素衣莫起風(fēng)塵嘆，猶及清明可到家?！?/p>

杭州是陸游當(dāng)年常來常往的地方，到了杭州，他曾住在孩兒巷（磚街巷）。陸游在《跋松陵集》云：“淳熙十六年四月二十六日，車駕幸景靈宮，予以禮部郎兼膳部檢察賜公卿食……時(shí)寓磚街巷街南小宅之南樓?！笨梢姰?dāng)時(shí)陸游確實(shí)住在孩兒巷。另外，陸游還有《夜歸磚街巷書事》詩紀(jì)事：

近坊燈火如晝明，

十里東風(fēng)吹市聲。

遠(yuǎn)坊寂寂門盡閉，

只有煙月無人行。

誰家小樓歌惱儂？

馀響縹緲縈簾櫳。

苦心自古乏真賞，

此恨略與吾曹同。

歸來空齋臥凄冷，

燈前病骨巉巉影。

獨(dú)吟古調(diào)遣誰聽？

聊與梅花分夜永。

坊，街坊。明田汝成《西湖游覽志》：“自觀橋而南至眾安橋，其街之東為懷遠(yuǎn)坊、安國坊、延定坊，西為保和坊、純禮坊、澄清坊。……保和坊俗稱磚街巷?！?/p>

此詩作于宋孝宗淳熙十六年（1189）初春，陸游65歲，住在杭州磚街巷。上一年十一月，陸游“再召入見，上曰：‘卿筆力回斡甚善，非他人可及。除軍器少監(jiān)。”（《宋史》本傳）雖然受朝廷重用，但陸游收復(fù)中原壯志難酬，居住于鬧市卻感到寂寞，聽歌更激起煩悶情緒，在凄冷的空齋里，只有獨(dú)自借梅花以寄情。

800多年來，因?yàn)殛懹蔚摹杜R安春雨初霽》，孩兒巷這條杭州城里的小巷出名了，以至于近年有“孩兒巷陸游故居之爭”。2004年，孩兒巷改造時(shí)，有人反對拆除老建筑98號，認(rèn)為此是陸游故居，提出把孩兒巷98號辟為“陸游紀(jì)念館”，介紹陸游在杭州生活和活動(dòng)的情況，以紀(jì)念這位偉大的愛國主義詩人，使杭州又多一處人文景觀。另有專家反對，理由是陸游第四次來杭時(shí)，確實(shí)居住在孩兒巷之南，但現(xiàn)在的孩兒巷98號在巷子的北側(cè);文獻(xiàn)上記載陸游住過的是座“小宅”，而孩兒巷 98號則是座前后多進(jìn)的大宅院;如果就憑陸游曾在孩兒巷居住過而草率地將孩兒巷98號劃稱為“陸游故居”實(shí)在是張冠李戴。其實(shí)，南宋的建筑，現(xiàn)在在杭州地面上已經(jīng)沒有了。后來經(jīng)專家認(rèn)定孩兒巷98號是著名的清代古宅，雖然不是陸游的故居，但陸游多次來杭都住在孩兒巷，而且98號是至今所發(fā)現(xiàn)的最接近歷史風(fēng)貌的孩兒巷建筑，因此專家認(rèn)為它是陸游紀(jì)念館的首選，于是杭州就把孩兒巷98號定為陸游紀(jì)念館。雖然陸游未必住過這個(gè)古宅，但畢竟陸游在孩兒巷居住過，有了這個(gè)淵源，為陸游設(shè)個(gè)紀(jì)念館，也順理成章。紀(jì)念館不等于故居，陸游是否曾經(jīng)住過孩兒巷98號已經(jīng)不再重要，重要的是在這條巷子里，曾經(jīng)有位詩人在這里住過，并留下了千古傳唱的“賣花歌”。

“小樓一夜聽春雨，深巷明朝賣杏花”的詩句，讓無數(shù)人對陸游筆下的深巷小樓心向往之。但往事越千年，經(jīng)歷了滄海桑田般的變化，今天我們已經(jīng)不可能看到陸游當(dāng)年居住過的“小樓”、街巷和“近坊燈火如晝明，十里東風(fēng)吹市聲”的景象了。然而，陸游依然是杭州人的驕傲，因?yàn)橛兴脑娢脑?。順便提醒一下，在撰寫介紹“陸游紀(jì)念館”文章時(shí)，千萬別有“陸游曾居住于此”的文字，這既是對杭州的尊重，更是對陸游的尊重。

（作者系杭州市政協(xié)智庫專家、杭州文史專家）

Walking through Hangzhous Haier Alley in the rustling spring rain， one cannot help but think of the “flower-selling song” when passing by the Lu You Memorial Hall.

Nestled in Hangzhous downtown area， Haier Alley， or Haier Xiang in pinyin， went by the name of Baohefang Brick Alley （Baohefang Zhuanjie Xiang） during the Northern Song dynasty （960-1127）. In the Southern Song dynasty （1127-1279）， it became known as Clay Figurine Alley （Ni Haier Xiang） as the alley was lined with clay figurine shops. Overtime， Ni （clay） was dropped from its name， and the alley has since been called Haier Alley.

At first glance， this alley seems no more different from other old alleys. But on closer inspection， you will find Haier Alley quite extraordinary， all thanks to a“flower-selling song” more than 800 years ago.

The “song” is in fact not a song， but a poem written by the Southern Song poet Lu You in Linan （present-day Hangzhou） in 1186.

Just Clearing up after Spring Rain in Linan

（Linan? Chunyu Chuji）

In recent years， my interest in affairs worldly became like a veil thin，

why still ride up to the capital and be a guest then？

All night I listen to the spring rain in the room，

tomorrow morning deep in the alley theyll sell apricot flowers in bloom.

Bored， on paper cropped I cursively write，

and play with tea-making by the window bright.

Fret not my robes white will be tainted by the imperial dust，

for I shall return home for the Qingming festival fast.

The second stanza is so well-known in China that even toddlers can recite it. Haier Alley， in turn， is immortalized in these two lines.

Born in Shanyin （present-day Shaoxing） during the last years of the Northern Song dynasty， Lu You （1125-1210） is one of the most highly regarded and prolific Chinese poets. He is renowned for penning close to 10，000 poems and numerous prose writings.

Lu is particularly noted for the passionate patriotism expressed in his poems. During his career， he had made unremitting efforts in driving out the invaders and reclaiming the territories lost to the Jin dynasty（1115-1234）， in stark contrast to the imperial court， which was controlled by a peace faction at the time. As a result， Lu often fell into disfavor with the establishment and had never attained any real success in his career as an imperial official.

When he wrote the poem “Just Clearing up after Spring Rain in Linan” （Linan Chunyu Chuji）， Lu was already 62 years old， having been dismissed five years earlier and staying at his hometown since then. He went to Hangzhou not for vacation， but because he was recalled， waiting at Haier Alley for an audience with the emperor before he formally took office. While Lus commitment in regaining Northern Songs territories was still unwavering， he had by then grown increasingly disillusioned with the imperial court. While brewing tea and writing cursive script nonchalantly seemed quite natural for someone of Lus age， such tranquility belied his discontent and indignation. Hence the last stanza of the poem， which betrayed his frustration： “Fret not my robes white will be tainted by the imperial dust， for I shall return home for the Qingming festival fast.”

Lu You had travelled frequently to and from between his hometown and Hangzhou， and he stayed at Haier Alley for a number of times， which had been spoken of in his other poems and essays. A small alleyway has thus gained fame. Nevertheless， in 2004， a controversy emerged. When Haier Alley was ready for renovation， some argued against the demolition of the building at No. 98， believing that it was Lus old residence in Hangzhou， which should therefore be turned into a memorial. Others objected to the idea， contending that Lu was indeed put up at the southern section of Haier Alley， but not possibly at No. 98， which was in the northern section and much larger than Lus description. It would be too presumptuous to simply designate No. 98 as “Lu Yous Old Residence”.

The technicalities are not incorrect： the building at No. 98 was later found to be of the Qing era （1616-1911）; no above-the ground architecture from the Southern Song period can now be found in Hangzhou. On the other hand， although No. 98 is not Lus former residence， the building is the closest to the original appearance of history ever discovered. Coupled with the fact that Lu did stay nearby， it is only fitting to designate such an architecture as Lu You Memorial Hall.

A memorial hall to Lu You does not necessarily mean it has to be his old residence. What matters more is that he used to stay at this alley and left behind a “song” that has been sung for ages and will be sung for generations to come.