馮其庸先生是當(dāng)代中國(guó)著名學(xué)者，無(wú)錫人，上世紀(jì)50年代到北京，先以戲劇評(píng)論馳名，后以《紅樓夢(mèng)》研究名世，為著名“紅學(xué)家”。2005年中國(guó)人民大學(xué)校長(zhǎng)紀(jì)寶成宣布組建國(guó)學(xué)院，聘請(qǐng)年已83歲高齡的馮老任院長(zhǎng)。馮老對(duì)中國(guó)傳統(tǒng)文化有六七十年的學(xué)術(shù)底蘊(yùn)，他善詩(shī)能文，揮灑丹青，晚年對(duì)中國(guó)字畫(huà)的研究更顯示他非凡的胸襟與學(xué)養(yǎng)。

讓人更為傾心的是，馮老還是一位資深的戲劇專(zhuān)家，他對(duì)昆曲的戲碼、曲牌如數(shù)家珍；對(duì)昆曲的名人、名角更了如指掌。我有幸認(rèn)識(shí)馮老，是因?yàn)槔デ硌菟囆g(shù)家張嫻的那本回憶錄。寫(xiě)書(shū)整整兩年，張嫻曾多次談及她與馮其庸先生和國(guó)風(fēng)蘇昆劇團(tuán)的往日友情。

馮其庸先生比張嫻小8歲，張嫻于上世紀(jì)40年代初結(jié)識(shí)馮先生。那時(shí)正是抗戰(zhàn)艱難時(shí)期，由朱國(guó)梁當(dāng)班主的國(guó)風(fēng)蘇昆劇團(tuán)流落到了馮老的家鄉(xiāng)無(wú)錫前洲鎮(zhèn)。馮老那時(shí)在讀中學(xué)，劇場(chǎng)離學(xué)校很近，馮先生每天下午下課后就趕到劇院看戲，有時(shí)連晚飯也不吃，等看完了晚場(chǎng)再回家吃飯，所以“國(guó)風(fēng)”當(dāng)時(shí)演出的戲，他基本上都看過(guò)，特別是王傳淞、周傳瑛的《訪(fǎng)鼠測(cè)字》，王傳淞、張嫻的《活捉》，張嫻、周傳瑛的《長(zhǎng)生殿·小宴、定情、驚變、埋玉》等戲，印象最為深刻?！皣?guó)風(fēng)”在無(wú)錫前洲的時(shí)間不短，馮其庸天天去看戲，很快就與“國(guó)風(fēng)”班子的人熟悉了，尤其是朱國(guó)梁、王傳淞、周傳瑛、張嫻等主要演員。

1956年，馮老到北京已經(jīng)兩年，一天忽然接到朱國(guó)梁的電話(huà)，告訴他劇團(tuán)到北京來(lái)演出，劇目是《十五貫》，希望馮先生能夠去觀看和指導(dǎo)，因?yàn)橹靽?guó)梁擔(dān)心南昆的語(yǔ)言和曲詞北方人能否聽(tīng)懂，這出昆劇能不能在北京打響。馮老看了彩排十分激動(dòng)，與朱國(guó)梁、王傳淞、周傳瑛說(shuō)：“這個(gè)戲肯定能打響，語(yǔ)言和曲詞不難聽(tīng)懂。”

在京期間，馮老在廣和劇場(chǎng)還觀看了“國(guó)風(fēng)”的《長(zhǎng)生殿》，周傳瑛飾唐明皇，張嫻飾楊貴妃。那日馮老恰好坐在前排，看得十分真切，他評(píng)價(jià)周傳瑛的唐明皇風(fēng)流瀟灑，書(shū)卷氣十足；而張嫻的貴妃從唱念到做絲絲入扣，扮相嫵媚、大雅，嗓音甜美圓潤(rùn)，“嗲”而不俗，加上優(yōu)美的身段，使觀眾感到舞臺(tái)上這兩人的戲真是“如膠如漆”。至今回顧這一情景，馮老還感嘆地說(shuō)：“這樣的楊貴妃，真是‘解語(yǔ)花’，這樣的楊貴妃，唐明皇怎能不‘三千寵愛(ài)在一身’呢！這一場(chǎng)戲，豈止是繞梁三日，對(duì)我來(lái)說(shuō)，是繞梁50年，因?yàn)閺哪菆?chǎng)演出至今，恰好已是50年了?？梢院敛豢鋸埖卣f(shuō)，從這個(gè)楊貴妃以后，我再也沒(méi)有見(jiàn)到過(guò)這樣好的‘楊貴妃’了！”

1975年馮老因事來(lái)杭州，特意看望了傳瑛和張嫻，那時(shí)張嫻60多歲，離開(kāi)北京演出已20來(lái)年了。一場(chǎng)“文化大革命”使大家飽經(jīng)風(fēng)浪，見(jiàn)面后感慨萬(wàn)端。別時(shí)馮老贈(zèng)詩(shī)兩首。

為了給張嫻那本回憶錄增色，馮老特為之作序，但他囑咐要看些張嫻的資料。2007年3月的一個(gè)下午，我趕到北京通州張家灣芳草苑馮老寓所，開(kāi)門(mén)的阿姨熱情地迎我進(jìn)去，馮老得知我的到來(lái)，從廂房邁步進(jìn)入客廳。雖和馮老初次相見(jiàn)，卻絲毫沒(méi)有半點(diǎn)生疏之感覺(jué)，馮老慈眉善目，談笑儒雅，精神極好，待馮老坐定后，談話(huà)很快切入正題。我遵照馮老的囑咐，準(zhǔn)備了不少有關(guān)張嫻的資料，其中包括一些歷史照片和一張光盤(pán)，內(nèi)有《長(zhǎng)生殿·小宴、定情、驚變、絮閣》，雖圖像不十分清晰，有些畫(huà)面依稀難辨，但周傳瑛、張嫻那舞臺(tái)風(fēng)姿一絲不減。當(dāng)我將張嫻的錄音放到馮老耳邊時(shí)，馮老聽(tīng)后脫口而出：“噢！張嫻的聲音還是那么好聽(tīng)?！碑?dāng)他得知這本傳記暫名為《往事如煙》時(shí)，連連搖頭說(shuō)：“勿好！勿好！”我忙解釋說(shuō)：“這好像剛剛出生的孩子，報(bào)了個(gè)戶(hù)口而已，不作數(shù)，請(qǐng)馮老賜個(gè)好名！”。

馮老平時(shí)極忙，不時(shí)有造訪(fǎng)者的電話(huà)，時(shí)間對(duì)馮老極其珍貴，很幸運(yùn)，正因?yàn)轳T老和昆曲的情緣，我才可能零距離與馮老對(duì)話(huà)，聆聽(tīng)他對(duì)當(dāng)代文化藝術(shù)的真知灼見(jiàn)。

不久我收到馮老從北京寄來(lái)的特快專(zhuān)遞，打開(kāi)封口，就看到馮老書(shū)寫(xiě)的序、馮老給書(shū)賜名《夢(mèng)回錄》封面題簽并撰有“讀阿潘所記張嫻回憶錄感賦三絕”，真是讓我喜出望外。

馮老的序回顧了他與浙江昆劇人半個(gè)多世紀(jì)的交往，情深意篤；當(dāng)年看過(guò)的劇目，“一閉眼，當(dāng)時(shí)的聲情依然歷歷在目?！彼f(shuō)：“張嫻的早年是歷盡危難困苦的，但她卻學(xué)得一身好功夫，特別是善于領(lǐng)會(huì)角色，加上她天賦的好嗓音，經(jīng)過(guò)苦練和領(lǐng)悟?qū)W得的好身段，所以她的舞臺(tái)形象會(huì)永遠(yuǎn)留在觀眾的腦子里?！?/p>

他在題《夢(mèng)回錄》中，寫(xiě)下感賦三首：

乞巧雙星萬(wàn)古情，長(zhǎng)生殿卻未長(zhǎng)生，

可憐魂斷梨花下，轉(zhuǎn)叫牽牛笑此盟。

艱難半世一伶仙，藉藉聲華動(dòng)九天，

絕代霓裳羽衣曲，江風(fēng)吹去渺云煙。

猶記當(dāng)年步步嬌，教人一曲一魂銷(xiāo)，

風(fēng)吹雨打云飛盡，賴(lài)有潘郎記舊朝。

讀阿潘所記張嫻回憶錄成賦三絕

丁亥春馮其庸八十又五于京華瓜飯樓

馮老憑借他深厚的國(guó)學(xué)內(nèi)涵，春風(fēng)化雨，折葉堆花，談笑風(fēng)生，溫文爾雅，這投足舉手之間，讓我領(lǐng)悟到中國(guó)傳統(tǒng)文化的深厚底蘊(yùn)和魅力。

Scholar's Passion for Kunqu Opera

By Ah Pan

Feng Qiyong， a prominent scholar of modern times， is best known for his drama criticism in the 1950s and studies of the \"Dream of Red Mansions\"， a classic novel of the Qing Dynasty (1644-1911). In 2005， the 81-year-old Feng was engaged to preside at the College of Chinese Studies when it was established by the Beijing-based China Renmin University.

As a drama critic， Feng is quite knowledgeable about Kunqu Opera， its history， tunes and artists. I came to know Master Feng through Zhang Xian， an eminent Kunqu artist who has been writing her memoir over the past two years. During this period， Zhang Xian chatted with me about Feng and the Guofeng Troupe， an influential Kunqu troupe in the middle of the 20th century.

Zhang Xian came to know Feng Qiyong in the early 1940s when the troupe， headed by Zhu Guoliang， drifted to Qianzhou Town in the suburb of Wuxi in Jiangsu Province. Feng Qiyong， eight years younger than Zhang Xian， was a middle student in town. As the theater was very close to the school， Feng came to watch performances every day. As the troupe stayed in town for quite a long time， Feng became acquainted not only with its Kunqu repertoire， but also with its artists.

In 1956， two years after he had come to Beijing， Feng Qiyong received a call from Zhu Guoliang， learning that the troupe was about to stage Kunqu shows in the capital. Zhu was worried about the possible difficulty the audience in Beijing might have in understanding the dialect used in the \"15 Strings of Coins\". After seeing the rehearsal， Feng Qiyong assured Zhu and his artists that it would be a great success. Feng was right. The success of the play led to the renaissance of the age-old opera.

It was during the troupe's visit that Feng also watched \"Hall of Longevity\". The Kunqu Opera masterpiece brilliantly depicted the intoxicated Lady Yang， a concubine favored by the emperor of the Tang Dynasty (618-907). Zhang Xian acted as Lady Yang. Fifty years later， Feng Qiyong still remembered Zhang's performance vividly. He commented in 2006 that he had never seen another performance better than Zhang's interpretation since 1956.

In order to write a preface for Zhang Xian's memoir， Feng asked for references before setting pen to paper. I tripped to Beijing for this purpose. One afternoon in March， 2007， I visited Feng. Though it was the first time I met with the scholar， we soon chatted like old friends. With sweet smile and in high spirits， the old man chatted in an elegant and academic way. The reference materials I brought to him included a compact disk and some very old photographs. He listened to Zhang's talk recorded on the disk and observed that Zhang's voice remained sweet.

Shortly after I returned to Hangzhou， I received an express mail from Feng. He not only penned a preface and picked a better name for the memoir， but also wrote three short poems in the classical style in memory of his bonding with Kunqu Opera and Zhang Xian's performance.

(Translated by David)