一代词宗夏承焘_婉约派的一代词宗是谁?
台湾作家琦君忆起父亲在她牙牙学语时便把她带到一个年轻人面前，告诉她：“这个年轻人将来学问不可限量，你的学业就托付给他了。
”这个20岁出头的青年叫夏承焘，当时才从温州师范毕业，任教于琦君家乡的瞿溪中学。
十多年后，琦君放弃报考北大，就读之江大学，得以受教于夏承焘门下。
此时的夏承焘，已经完成了堪比“词史”的《唐宋词人年谱》，而《白石歌曲旁谱辩》《白石歌曲�律》对词乐的开创性研究也已使他誉满学界。
他上课时笑容可掬，一口字正腔圆的永嘉官话。
他用铿锵有节奏的乡音高声朗诵《文心雕龙・神思》篇。
说来奇怪，经他一吟，原本艰涩的骈文显出韵律之美，竟然琅琅上口，不知不觉就会背诵了。
他讲辛弃疾词《破阵子》时，放下书本就引吭嘌唱，似匝地风雷激荡于教室中。
夏先生常常说诗词就在万事万物之中，他信口吟道：“短发无多休落帽，长风不断任吹衣”。
吟时长衫飘飘，如神仙中人。
他带着学生去九溪等处游玩，在茶亭把盏赋词：“若能杯水如名淡，应信村茶比酒香。
”学生问起他的字“瞿禅”的含义，他说：只因我很瘦，双目瞿瞿，且对新鲜事物都怀惊喜之情。
至于禅，却是不谈的，一谈就不是禅了。
其实禅并非一定是佛法，禅就在圣贤书中、诗词中，也在日常生活中。
他赠诗勉励病中学生，曰：“禅机拈出凭君会，未有花时已是春。
”并解释说杜甫热爱人生，能入不能出，故有“风定花犹落”；俞曲园性豁达，故有“落花春犹在”之诗。
但我更乐观些，所以是“未有花时已是春”，生命应当永远美好，充满希望。
他待学生亲切平易，第一堂课上来，不谈学业，先就聊天：“你们喜欢之江大学吗？我就喜欢。
这里人情款切，学风淳厚，风景幽美。
一面是秦望山，一面是西湖，一面是钱塘江。
之江的风景据说占世界大学第四位，希望你们用功读书，将来使之江大学的学术地位也能升到世界第四位甚至更高。
”他主张读书要乐读，而另一位任铭善老师却非常严肃，总怪夏承焘对学生太宽容，不够严厉。
夏先生笑说：“你是教人为学的道理，我是讲娱乐人生的道理。
心情本来就不一样的。
逼着他们背和作，就不是娱乐了。
”他对学生的帮助也是不遗余力。
学生来家中问学，每次都悉心指点，出门一律送到门口。
有一次，一个学生来访，夏先生正好生病，就在病榻之上写了条子，让学生去找胡士莹辅导。
学生生病了，他亲自带到懂中医的陆维钊家中，按脉开方。
三年困难时期，学生偶尔谈到山中缺油，夏先生嘱其回去时来家中，结果拿了一大包香肠让学生带回家。
抗战时在浙大龙泉分校，夏先生在雁荡山上偶见进步学生史鹏携带共产主义宣传材料，便嘱其要小心收藏。
“文革”中有人来外调史鹏之事，夏先生始终咬定史鹏是进步青年。
来人只好悻悻而退。
他赏识之江大学的学生朱生豪，评价朱是“不易才”，“聪明才力，在余师友之间，不当以学生视之。
” 夏先生在教学上轻松洒脱，对学生热忱帮助，治学却十分严谨。
他常说，自己很笨，“笨”这个字很有意义，头上顶着竹册，就是教人要用功，用功是人的根本，所以“笨”字从竹从本。
他在1939年11月17日的日记中自述道:“少年颇能读书，自十七八以后非疾病罕离书本。
自在严州以后，始妄意著作，勤苦尤甚。
”上世纪50年代初，他因为新中国的新气象而奋发，说：“我五十多岁了，应该自信发愤工作，以后一年的工作，可以抵以前的十年。
”整个五六十年代，无论是逢年过节，还是严寒酷暑，全年无歇。
除夕春节，等亲友散去，他马上就抓紧写作，像《词风格论》《词的兴起》《杜诗论纲》等文都是在年节间隙写成。
杭州夏天近四十度高温，彼时没有空调，夏先生挥汗如雨，著述不停。
就是生病高烧，不能工作，也“蒙被歌唱自宽”，并“枕上自作白话诗二首”。
勤奋执著如此。
夏先生出身贫寒之家，他说:“历史上凡是占有学问界、事业界最高席位者，十之七八是穷人出身。
凡能在贫贱困厄中磨炼出人格光辉者，则贫贱困厄在他人为忧患，在彼却为幸运”，并云:“高原陆地，不生莲花;卑湿污泥，乃生此花。
在忧患中悟得人生真义，此所谓转烦恼为菩提。
” “文革”中，夏承焘遭到磨难，身体也越来越差，于七十年代末离开了杭大，去北京养病。
1984年，中国韵文学会成立，夏先生捐赠4万元，用以设立“夏承焘词学奖”。
谈起此事，夏先生深沉地说:“我已垂垂老矣，要做的事已来不及做了，我寄希望于中国韵文学会，希望后来人都超过我。
”夏承焘在新旧词学之交，一面继承历代词学之长，一面对传统词学作了多方面的开拓与创新，借鉴科学的研究方法与现代理念，结合其深厚的传统学养与扎实的考订功夫，在词人年谱、词论、词史、词乐、词律、词韵以及词籍笺校诸方面均取得突破性成果。
他以史治词，构筑起超越前人的严整的词学体系，实现了现代词学的科学化、系统化与理论化。
早在30岁前后，夏先生考证词人行实，积年累月而成的《唐宋词人年谱》十种十二家，开创词人谱牒之学。
《唐宋词论丛》“对唐宋词之声律，刻析入微，前无古人”，收入《月轮山词论集》中的论文从文学艺术和音乐声律两方面结合起来研究词学，建立了新的完整的词学理论体系。
他还以大学问家的身份，普及词学知识，在《浙江日报》《文汇报》香港《大公报》上撰写了许多深入浅出的知识性和鉴赏性文章。
他还开创了以日记治词，《天风阁学词日记》从十余岁记起，除了“文革”被迫中断之外，每日必记，积累了六七十余册。
《天风阁学词日记》是他治词一生的实录，“具有词学文献之价值”。
其诗词总数达1000余首，时间跨度60年。
他在《论词绝句》的最后一首写道：“兰畹花间百辈词，千年流派我然疑。
吟坛拭目看新境，九域鸡声唱晓时。
”这新境新声正可用来评价他的诗词创作。
写诗“于昌黎取炼韵，于东坡取波澜，于山俗取造句”，诗作被选入《石遗诗话》；夏先生写词师承常州词派朱祖谋，又欲“合稼轩、白石、遗山、碧山为一家”，兼收并蓄，再造新体。
□ Virtue and Academic Virtuosity of Confucian Masters in Hangzhou University (II) By Wang Shu Hangzhou University, which became part of present—day Zhe—jiang University in 1998, used to be a key university of liberal arts in China. For a long time after the founding of the People’s Repub—lic of China in 1949, Hangzhou University prestigiously ranked side by side with Beijing University as two centers of Chinese clas—sical studies and Confucianism. During these years, the Chinese Department of Hangzhou University boasted preeminent scholars such as Wang Jiawu, Xia Chengtao, Hu Shiying, Jiang Liangfu and Sun Xizhen (names arranged in the order of age). During that time, someone came up with a pithy and humorous comparison to describe the two universities in terms of the strength and wealth of Confucian studies: Beijing University is like a landlord whereas Hangzhou University is like a rich farmer. The portraits of the five professors are high on the walls of the conference room of the Chi—nese Department of Zhejiang University. Wang Shu, a graduate of Hangzhou University and specialist of modern Chinese literature, has written a series of essays in commemoration of these masters. These stories are to run from the April issue on. The following fea—ture is in honor of Master Xia Chengtao (1900—1986). Xia Chengtao is a legendary master of Ci studies. Xia never had a college education, but the self—made scholar successfully established himself as a master of Ci studies and began to teach at Zhijiang University (one of the 13 Chinese universities established, financed and operated by a religious organization in America) in 1930 when he was 30 years old. He taught in Hangzhou University after the founding of the People’s Republic in 1949. Xie was a native of Wenzhou, a port city in southern Zhejiang Province. After graduating from Wenzhou Normal School in 1918, Xie taught in a number of middle schools. It was while teaching in Yanzhou Middle School that Xia read up all the poetry books in the school li—brary and started his research project on Chinese Ci poetry, his life—long passion. Ci is a special form of poetry. It evolved, flourished and culminated in the Song Dynasty (960—1279). After a mediocre period during the Ming Dynasty, it flourished again in the Qing Dy—nasty (1644—1911). Ancient scholars of Ci studies usually focused on writing annotations and editing collections, but they rarely stud—ied the history of Ci poetry; nor did they conduct systematic study of theories of Ci poetry. Though ancient scholars wrote numerous books of Ci poetry, there lacked good studies. It was not until the 20th century that studies of Ci poetry had a new opportunity to go ahead. Xia was a leading scholar of the ancient Ci studies in the 20th century. The two breakout books he wrote on Ci while teach—ing at Yanzhou Middle School established him as a leading scholar in this field. That was why he came to work as a professor at Zhi—jiang University to teach Chinese Ci Poetry. Xia is widely recognized as a scholar with unique understanding and knowledge of poets’ lives and careers and their works. A pro—lific writer, he penned nearly 30 books on Ci, which cover a broad range of Ci studies. In particular, the Ten Chronicles of 12 Ci Poets he published in 1955 broke a brand new ground for Ci studies. Xia was the first scholar in China who recreated chronicles of Ci poets and studied their poems by comparing their life stories with their poetic creations. His studies corrected many mistakes made in the past studies and clarified many points. Moreover, Xia was a diligent diary writer. He began to keep a diary as a teenager. The diary writ—ing was interrupted only by the Cultural Revolution (1966—1976). His diaries spanned decades. These journals were about his studies and researches of Ci poetry. Scholars now consider these journals as records that document his career as a scholar of Ci studies. In some reminiscences of his students at Zhijiang University, Xia usually came to classes dressed in a long blue gown. He smiled a lot and spoke a heavily accented mandarin. Many students struggled to understand his pronunciation, but strange enough, the mandarin he spoke in a special way sounded melodious for reading poems and essays aloud. The hidden beauty of these poems could be appreci—ated better in his pronunciation. Xia’s teaching style was lovely. He loved to interact with students. The first class he gave at the beginning of a term was usually a casual chat. Sometimes he took students to the nearby Nine Creeks, a quiet, zigzagging valley with bubbling streams and wooded peaks. Xia Chengtao commented on Zhu Shenghao (1912—1944), a student of Zhijiang University, say—ing that the young scholar was a genius. The professor considered him a friend. Zhu Shenghao is widely recognized as the best trans—lator of Shakespeare’s plays in China. Over a period of 60 years, Xia wrote about 1,000 poems. He is generally considered one of the best Ci poets of the 20th century. While writing and teaching, he contributed to newspapers. His newspaper writings focus on the appreciation of ancient Chinese Ci poems. □。