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亦苏

花与墙的随感

苏子被贬惠州时用香草美人的手法作过一首《蝶恋花》的词，写暮春景色与伤春之情，此时的苏子是淡泊的，每个字符之间无不跳跃着他眉间的舒展和豁达，以超脱的态度轻化悲愁之情，也许是苏子天生的性情所致，胡适奉拜他以神的姿态呈现在人的面前。

“花褪残红青杏小。燕子飞时，绿水人家绕。枝上柳绵吹又少，天涯何处无芳草？

墙里秋千墙外道。墙外行人，墙里佳人笑。笑渐不闻声渐悄，多情却被无情恼。”

抛开词的点评不说，单由意境来讲已十分美妙。传说苏子作此词曾让侍妾朝云来唱，朝云歌喉将啭，已泪满衣襟。“奴所不能歌是‘枝上柳绵吹又少，天涯何处无芳草’”，作为知已的朝云会明是用屈原的《...

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\\n1. \\n苏子被贬惠州时用香草美人的手法作过一首《蝶恋花》的词，写暮春景色与伤春之情，此时的苏子是淡泊的，每个字符之间无不跳跃着他眉间的舒展和豁达，以超脱的态度轻化悲愁之情，也许是苏子天生的性情所致，胡适奉拜他以神的姿态呈现在人的面前。 \\n“花褪残红青杏小。燕子飞时，绿水人家绕。枝上柳绵吹又少，天涯何处无芳草？ \\n墙里秋千墙外道。墙外行人，墙里佳人笑。笑渐不闻声渐悄，多情却被无情恼。” \\n抛开词的点评不说，单由意境来讲已十分美妙。传说苏子作此词曾让侍妾朝云来唱，朝云歌喉将啭，已泪满衣襟。“奴所不能歌是‘枝上柳绵吹又少，天涯何处无芳草’”，作为知已的朝云会明是用屈原的《离骚》“何所独无芳草兮”来暗比苏子安慰。苏子反而大笑，他的旷达恰是“吾政悲秋”之感，嘲笑自己多情。唯有一肚子的不合时宜而美人可识他，生活虽然贫苦，却依然充满诗情画意，心念相通，或许是苏子在丧妻潦倒之后稍许的欣慰。 \\n惠州这座位于广东省东南部的岭南小城，被喻为半城山色半城湖之称，濒临珠江三角洲东北端，南临南海大亚湾，风光俱是无限好，只是在北宋那个朝代尚且荒野，几年离索生活，我不知他给苏子带来的是什么，而公元前一九零六年朝云去逝后，它却把苏子晚年的感情全部带去。后往海南，我想苏子在海南岛南端，马岭附近的一个美丽的海湾处一对拔地而起的高十多米、长六十多米的青灰色巨石上所题天涯和海角的时候，心中想的该是朝云，那个痴情女子，一生追随，天之边缘，海之尽头，相执老死。 \\n最初记住此词源因“墙里秋千墙外道，墙外行人，墙里佳人笑”一句。年幼时并不知词里寓意，只觉涌动中的美好。一丝怀古情节也由此打开，羡慕着穿了裙带，款了莲步，轻盈优雅的少女们庭院内荡着秋千欢笑的场景。第一次触摸到古代时节的生活节奏情趣，对雕栏花窗，芭蕉红裳，粉黛台楼莫名喜爱，也由衷生起对自然山水之爱，感同身受，默默冥化，那份思绪已抹除不去。 \\n&nbsp; \\n2. \\n生活在北方，很难见到雅致精髓的南方特色的地域景观。翻开一些古色古香的书卷画册中才略微自笑不言一番，以至于时而痴迷，废寝忘食，并把画册书籍当作宝贝似的珍藏。每每夜晚不眠，于灯光下拿出赏悦片刻，再走出屋头，仰面望月，星朗璀璨，天幕浩瀚，由此俱发来的诗意皆收在目中，想一两个句子，摆三四个动作，偶尔也会忧伤多愁。 \\n旧院子盖西厢房的时候，三奶奶家新娶进门的婶婶从娘家带来许多花种菜种。进入她家院门先见砖墙镂花，里面郁郁葱葱缀满花色。尚且记得的有红的美人蕉，低矮的芍药丛，大蓬的地雷花。那本是一个菜园，花与菜同盟而载，像一幅洒了几个花瓣的水墨油彩画。 \\n婶婶问我要不要花的时候，我已经垂涎已久盘算再三，碍于腼腆却实不好意思开口。听到她的答言欢呼一声飞也似的蹿回家中取来铲子盆子到园中乱镢一通。我以猪的姿态把她家地拱个一遍，拔花时却小心翼翼不肯碰断一根根须。妈说都已仲春，油彩花快要开败了怕是移不活了，不要糟蹋了它们。我不听，固执的自顾自忙碌，每天空闲时间必来流连忘返，功夫不负有心人，它们没有辜没我，不但株株康健，而且绚丽多彩。特别是雨后的芭蕉，一夜之间高出半个头颅。叶子青绿透脉，围墙外的白羊总是跷着胡子想偷喵上一把，嫩嫩美美的嚼上一顿美味。 \\n墙壁单独贮立，在阳光下显出落寞孤独。夕阳黄昏一瞥斜视，似乎总觉少些许什么。是惆怅还是回忆？有时候还真说不清楚。我还是喜欢墙壁下可以有点色彩的影子，娇俏的身姿。 \\n新院子落成刚两载，粉了沙与水泥的墙上历两岁春秋却已灰迹斑斑绿苔驳驳。风雨声仿佛潜在夜间降临，日光里便不被注意墙里的变化。生活中琐碎的细节已无暇顾及，家人种瓜种豆的操劳无极，一年又一年盼望甜蜜之中总是忽略掉了内质的变化。等到发现时猛然一惊，带有欣喜，就像映目的那扇南墙，它悄悄的磨砺时光，每年夏秋给我以无限的美感。 \\n&nbsp; \\n3. \\n朱淑真在《春归》五首里写有一句：“梅豆初肥酒味新。”妈妈不知道此诗，她却和着此诗的意境与时节把梅豆种好，春来发在南墙下，夏映墙头满辉荫。 \\n新宅子过大，空出小半个地方。妈妈收拾了草垛木栏，圈起三边，依墙而建小园。初时只种蔬菜，供四时之需，备客来之新。继后也植小麦，小片成方。院子里也留一角空地，未有覆盖地平，赤裸裸的黄土朝天，邻着西墙，只种些清灵的瓜儿。角边一株樱桃树护栏。每当夏季归家，望着一屏墙外伸展开来的梅豆叶子，中间零星淡白紫色小花，细小瘦弱青白浓紫小豆荚，架满南墙，摇曳巴掌大风态，斜斜织就一张凉衫似翠网，酷暑炎热顿在心头荡然无存，剩下微波起伏的沙沙音，耳边无请风自来。 \\n乡间的夜晚多静谧。月光星光交衬，天庐下一片太平祥和。除了几声狗吠，没有别的响动打破凡尘。夜色下的墙上汪着一池幽幽的湖，并且盖着一层黝黝的黑，墙上枝头是白杨树的墨点，它算是会唱歌的情种，借着风呜呜咽咽低诉不停，如失了伴侣落了单的孤狼对月倾怀。 \\n若是来一场雨这一切又是不一个样子。雨点暴且急，雷音滚滚轰鸣，一阵雷动一阵，由远及近，由朦胧至狂烈，由断续至重复，直打到震耳欲聋，久久不息。雨似倾盆，一泻千里。人躲在屋子里不敢出来，静待雨歇。默默无声思付着入地多深，田里如何？大赞雨的及时劈波透彻，雷远了，该是蛙声迭浪冲天到处喧腾。 \\n&nbsp; \\n4. \\n花与墙的中间断然少不了蜘蛛与蛛丝。想到这里记起一个成语叫蛛丝马迹。清人夏敬渠《野叟曝言》七十九回写“蛛丝虫迹，屋漏蝙涎，不即不离，有意无意，其妙如何。”若想人的感情也如这般，那该成为佳话流传。 \\n蜘蛛这个小东西，与花关系密切，与墙关系也密切。总见它在角落里攀附吐丝结网，纤细却禁风，飘摇摇摆，紧人神经，扰人担心。林微因有篇《蜘蛛与梅花》，末段结尾这样写道： \\n“午后的阳光仍然斜照，庭院阒然，离离疏影，房里窗棂和梅花依然伴和成为图案，两根蛛丝在冬天还可以算为奇迹，你望着它看，真有点像银，也有点像玻璃，偏偏那么斜挂在梅花的枝梢上。” \\n这篇文章也适合在午后的阳光下阅读，继而淡淡思考，不管收获与闲适，总有感念。而在秋日的花萎藤枯的荒凉之墙下，蜘蛛代表着生命力从模糊视线中渐清晰眼帘。梅豆有被摘完的一天，墙壁在白耀的强光下也会明净几分，而一年四季之后，顺时变化着的盈盈一切，该有多少的物是人非呢？ \\n 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花与墙的随感 1. 苏子被贬...","firstImageWH":[960,720],"content":"&nbsp;花与墙的随感 \\n1. \\n苏子被贬惠州时用香草美人的手法作过一首《蝶恋花》的词，写暮春景色与伤春之情，此时的苏子是淡泊的，每个字符之间无不跳跃着他眉间的舒展和豁达，以超脱的态度轻化悲愁之情，也许是苏子天生的性情所致，胡适奉拜他以神的姿态呈现在人的面前。 \\n“花褪残红青杏小。燕子飞时，绿水人家绕。枝上柳绵吹又少，天涯何处无芳草？ \\n墙里秋千墙外道。墙外行人，墙里佳人笑。笑渐不闻声渐悄，多情却被无情恼。” \\n抛开词的点评不说，单由意境来讲已十分美妙。传说苏子作此词曾让侍妾朝云来唱，朝云歌喉将啭，已泪满衣襟。“奴所不能歌是‘枝上柳绵吹又少，天涯何处无芳草’”，作为知已的朝云会明是用屈原的《离骚》“何所独无芳草兮”来暗比苏子安慰。苏子反而大笑，他的旷达恰是“吾政悲秋”之感，嘲笑自己多情。唯有一肚子的不合时宜而美人可识他，生活虽然贫苦，却依然充满诗情画意，心念相通，或许是苏子在丧妻潦倒之后稍许的欣慰。 \\n惠州这座位于广东省东南部的岭南小城，被喻为半城山色半城湖之称，濒临珠江三角洲东北端，南临南海大亚湾，风光俱是无限好，只是在北宋那个朝代尚且荒野，几年离索生活，我不知他给苏子带来的是什么，而公元前一九零六年朝云去逝后，它却把苏子晚年的感情全部带去。后往海南，我想苏子在海南岛南端，马岭附近的一个美丽的海湾处一对拔地而起的高十多米、长六十多米的青灰色巨石上所题天涯和海角的时候，心中想的该是朝云，那个痴情女子，一生追随，天之边缘，海之尽头，相执老死。 \\n最初记住此词源因“墙里秋千墙外道，墙外行人，墙里佳人笑”一句。年幼时并不知词里寓意，只觉涌动中的美好。一丝怀古情节也由此打开，羡慕着穿了裙带，款了莲步，轻盈优雅的少女们庭院内荡着秋千欢笑的场景。第一次触摸到古代时节的生活节奏情趣，对雕栏花窗，芭蕉红裳，粉黛台楼莫名喜爱，也由衷生起对自然山水之爱，感同身受，默默冥化，那份思绪已抹除不去。 \\n&nbsp; \\n2. \\n生活在北方，很难见到雅致精髓的南方特色的地域景观。翻开一些古色古香的书卷画册中才略微自笑不言一番，以至于时而痴迷，废寝忘食，并把画册书籍当作宝贝似的珍藏。每每夜晚不眠，于灯光下拿出赏悦片刻，再走出屋头，仰面望月，星朗璀璨，天幕浩瀚，由此俱发来的诗意皆收在目中，想一两个句子，摆三四个动作，偶尔也会忧伤多愁。 \\n旧院子盖西厢房的时候，三奶奶家新娶进门的婶婶从娘家带来许多花种菜种。进入她家院门先见砖墙镂花，里面郁郁葱葱缀满花色。尚且记得的有红的美人蕉，低矮的芍药丛，大蓬的地雷花。那本是一个菜园，花与菜同盟而载，像一幅洒了几个花瓣的水墨油彩画。 \\n婶婶问我要不要花的时候，我已经垂涎已久盘算再三，碍于腼腆却实不好意思开口。听到她的答言欢呼一声飞也似的蹿回家中取来铲子盆子到园中乱镢一通。我以猪的姿态把她家地拱个一遍，拔花时却小心翼翼不肯碰断一根根须。妈说都已仲春，油彩花快要开败了怕是移不活了，不要糟蹋了它们。我不听，固执的自顾自忙碌，每天空闲时间必来流连忘返，功夫不负有心人，它们没有辜没我，不但株株康健，而且绚丽多彩。特别是雨后的芭蕉，一夜之间高出半个头颅。叶子青绿透脉，围墙外的白羊总是跷着胡子想偷喵上一把，嫩嫩美美的嚼上一顿美味。 \\n墙壁单独贮立，在阳光下显出落寞孤独。夕阳黄昏一瞥斜视，似乎总觉少些许什么。是惆怅还是回忆？有时候还真说不清楚。我还是喜欢墙壁下可以有点色彩的影子，娇俏的身姿。 \\n新院子落成刚两载，粉了沙与水泥的墙上历两岁春秋却已灰迹斑斑绿苔驳驳。风雨声仿佛潜在夜间降临，日光里便不被注意墙里的变化。生活中琐碎的细节已无暇顾及，家人种瓜种豆的操劳无极，一年又一年盼望甜蜜之中总是忽略掉了内质的变化。等到发现时猛然一惊，带有欣喜，就像映目的那扇南墙，它悄悄的磨砺时光，每年夏秋给我以无限的美感。 \\n&nbsp; \\n3. \\n朱淑真在《春归》五首里写有一句：“梅豆初肥酒味新。”妈妈不知道此诗，她却和着此诗的意境与时节把梅豆种好，春来发在南墙下，夏映墙头满辉荫。 \\n新宅子过大，空出小半个地方。妈妈收拾了草垛木栏，圈起三边，依墙而建小园。初时只种蔬菜，供四时之需，备客来之新。继后也植小麦，小片成方。院子里也留一角空地，未有覆盖地平，赤裸裸的黄土朝天，邻着西墙，只种些清灵的瓜儿。角边一株樱桃树护栏。每当夏季归家，望着一屏墙外伸展开来的梅豆叶子，中间零星淡白紫色小花，细小瘦弱青白浓紫小豆荚，架满南墙，摇曳巴掌大风态，斜斜织就一张凉衫似翠网，酷暑炎热顿在心头荡然无存，剩下微波起伏的沙沙音，耳边无请风自来。 \\n乡间的夜晚多静谧。月光星光交衬，天庐下一片太平祥和。除了几声狗吠，没有别的响动打破凡尘。夜色下的墙上汪着一池幽幽的湖，并且盖着一层黝黝的黑，墙上枝头是白杨树的墨点，它算是会唱歌的情种，借着风呜呜咽咽低诉不停，如失了伴侣落了单的孤狼对月倾怀。 \\n若是来一场雨这一切又是不一个样子。雨点暴且急，雷音滚滚轰鸣，一阵雷动一阵，由远及近，由朦胧至狂烈，由断续至重复，直打到震耳欲聋，久久不息。雨似倾盆，一泻千里。人躲在屋子里不敢出来，静待雨歇。默默无声思付着入地多深，田里如何？大赞雨的及时劈波透彻，雷远了，该是蛙声迭浪冲天到处喧腾。 \\n&nbsp; \\n4. \\n花与墙的中间断然少不了蜘蛛与蛛丝。想到这里记起一个成语叫蛛丝马迹。清人夏敬渠《野叟曝言》七十九回写“蛛丝虫迹，屋漏蝙涎，不即不离，有意无意，其妙如何。”若想人的感情也如这般，那该成为佳话流传。 \\n蜘蛛这个小东西，与花关系密切，与墙关系也密切。总见它在角落里攀附吐丝结网，纤细却禁风，飘摇摇摆，紧人神经，扰人担心。林微因有篇《蜘蛛与梅花》，末段结尾这样写道： \\n“午后的阳光仍然斜照，庭院阒然，离离疏影，房里窗棂和梅花依然伴和成为图案，两根蛛丝在冬天还可以算为奇迹，你望着它看，真有点像银，也有点像玻璃，偏偏那么斜挂在梅花的枝梢上。” \\n这篇文章也适合在午后的阳光下阅读，继而淡淡思考，不管收获与闲适，总有感念。而在秋日的花萎藤枯的荒凉之墙下，蜘蛛代表着生命力从模糊视线中渐清晰眼帘。梅豆有被摘完的一天，墙壁在白耀的强光下也会明净几分，而一年四季之后，顺时变化着的盈盈一切，该有多少的物是人非呢？ \\n 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