《三重门》中两首填词的玩味 作者:孤雁南回

       在《磊落》影印件的78、79页分别有两首填词《少年游》“忘情”与《苏幕遮》“绝情”。其两首词的出台背景,是“林雨翔”的大学表哥“约文”某“貌陋但慧心”之才女同学,致使该女同学因误会“不幸怀春”,遂熬夜先作《少年游 忘情》。后因自觉其妙(实因春怀的太露骨)而不舍,故又重填《苏幕遮 绝情》相赠表哥。

 
  “她越看越觉得好,舍不得给人”是《磊落》中对《少年游》难舍之情的描述,然而,倘若略具文识,粗看之下便会哂之不已。因其所填,不仅格、律均出,即其要求的四平韵也未达到。看上去只像是个凑足五十个字的文字游戏。
  词牌名《少年游》,经查现有的存作,凡有三种用格,分别为50字式、51字式与52字式。
  50字式:上片25字,七五计12字,四四五计13字;下片同上片。
  51字式:上片26字,四四五计13字,四四五计13字;下片25字,四四五计13字,七五计12字或七五计12字,七三三计13字。
  52字式:上片26字,四四五计13字,四四五计13字;下片26字,四四五计13字,四四五计13字或四四五计13字,七三三计13字。
 
  从《三重门》所作的《少年游》词牌总字数恰为50字,但格式却是杂乱的紧,似是完全不懂填词规则的涂鸦胡闹。请看下面的原文。
 
  一、少年游●忘情
 
  待到缠绵尽后,愿重头。(十一“尤”韵,编者注,下同)
  烟雨迷楼,不问此景何处有,除却巫山云。(忽变十二“文”韵)
 
  两心沧桑曾用情,天凉秋更愁。
  容颜如水,春光难守,退思忘红豆。(仄韵二十六“宥”)
 
  其不仅格律全然不正,即其字意读起来也觉是“乱”,难道因此可下断语:《三重门》作者显然是个不通词作?
  那么,我们再来探究一下“她”的后作(即:才女赠给表哥的那首)。
  词牌名《苏幕遮》的律式笔者引入到原作之下,好对比参照:
 
  二、苏幕遮●绝情
 
  断愁绪,空山居,天涯旧痛,尽染入秋意。(四“寘”)。
  (仄平平,平仄『仄』,中仄平平、中仄平平『仄』。)
  缘尽分飞誓不续,时近寒冬,问他可寻觅?(十二“锡”)
  (中仄平平平仄『仄』。中仄平平、中仄平平『仄』。)
 
  渺苍穹,淡别离,此情已去,愿君多回忆。(十三“职”)
  (仄平平,平仄『仄』,中仄平平、中仄平平『仄』。)
  我愿孤身走四季,悲恨相续,漠然无耳语。(六“语”及六“御”)
  (中仄平平平仄『仄』。中仄平平、中仄平平『仄』。)
 
  要求是两片计62字式,各31字,均为三三四五,七四五。各四仄韵。《磊落》中的原文,除韵有出入外,其它基本合律。因古今的字音变化太大,今人在押韵时,并非苛求如上注之严格。如考虑到这一层,则后首从文学水准来说,明显高于前者。为何作者“才女”会认为前作是“越看越好”?
  更为重要的,是从《绝情》基本合律可证明“才女”不是一个不通格律的“胡作”者。由此可见,所谓“越看越好”不可能是乱说的,那么,《忘情》好在哪?
 
  还是从韵脚谈起。
  前面已释,因字音之变,故无论诗词,近代已非严格执行古韵,但对于填词而言,其韵脚关乎乐唱上口,故现今一般不会随意改变。然而其原作《绝情》中,最后“漠然无耳语”却使用上声之“六语”。其虽合《苏幕遮》的“八仄”韵的要求,但其与“绝”情相差甚远,是否是误用呢?可以肯定,在一个基本合律的词作中,不可能出现“误用”!
  原来“语”还可入去声之“六御”----语[告也],“漠然无相告”是否更体现一个绝情之“绝”字?
  不要以为这是过度解读,因为小韩当年声称:在《三重门》内,挖了“坑”,多年以后总会有人掉落……
  实际上,《绝情》之作,本就为了“告之”《忘情》是个“坑”。下面笔者将其原文行序略变,其作如下:
 
  少年游●忘情
 
  两心沧桑曾用情,天凉秋更愁。(七五)
  待到缠绵尽后,愿重头、烟雨迷楼。(六七)
 
  不问此景何处有,除却巫山云。(七五)
  容颜如水,春光难守,退思忘红豆。(四四五)
 
  其字意顺畅了许多,且与律也基本相吻合。不仅如此,更能显示出“缠绵尽后”之“颠鸾倒凤”的猥琐心态,体现了少女怀春及宣示着被始“乱”终弃的结局。
  “越看越好,舍不得给人”极尽挖苦“才女”自恋之能事,如此驾驭文字能力,加之对填词格律的娴熟与变通,非十年左右的浸淫,是断难可以轻易为之。《三重门》的作者是谁?

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