找回密码
 注冊
查看: 2854|回复: 1

不得我命如此矣-憶故人 (作者:陳道)

[复制链接]
发表于 2014-11-17 21:07:17 | 显示全部楼层 |阅读模式
不得我命如此矣
憶故人 (作者:陳道)

1.JPG

我是天空裏的一片雲,偶爾投影在你的波心,
你不必訝異,更無須歡喜,在轉瞬間消滅了蹤影。
你我相逢在黑夜的海上,你有你的,我有我的方向;
你記得也好,最好你忘掉,在這交會時互放的光亮…………
人一生當中,最重要的是在這個世界上有一個能懂你的人,他能進到你的靈魂深處,也能夠住進你的心裡,你們彼此間有著不需要言語的默契,你們彼此靈魂的振動是那麼的和諧、那麼的美,古人把這個精髓稱為靈犀,所以叫做心有靈犀一點通,就是這個道理了;如果再白話一點的來講,我們也可以稱他叫做"知已",一個人一生當中,若是能夠擁有一位懂你、曉你的知已,我想也足堪快慰平生了。
一般來說,古代的琹只為了聽得懂自己琹音的好朋友而演奏的,所以,在鍾子期過逝之後,高山流水便成絶響,伯牙也把琹給砸了,他認為再也沒有操琹的必要了;此外,你知道孔仲尼的知已的是誰嗎?我想絶對不會是他的老婆的,能夠懂他的、理解他的、承繼他的一切,只有那位被他讚譽有加、幾乎視若珍寶,也就是一簞食,一瓢飲,居陋巷,人不堪其憂,回也不改其樂"的清俊少年顏回了,所以顏回(前521年-前481年)在31歲逝世時,孔子傷心欲絶、食不下嚥,就連他被圍困在陳、蔡二國時都沒有這麼難過,那時絶糧都幾乎快要餓死了,也不曾見他掉過一滴眼淚,因為那時他雖遭逢生命的顛簸,可是他的精神仍是完整、獨立而統一的,顏回的早殤彷彿使他的靈魂斫傷了一塊缺角,生命至此再也不能如此地完整了,我想,孔子他是十分想念這位學生的,因為傳說中的憶故人琹曲,便是由此典故而做。
因此,舉凡是想念朋友也好,或在山中思故人也罷,這裡面的故人、朋友"都絶對不能只是我們生活週遭的泛泛之輩以及點頭之交了,他們一定要是你心裡頭那個獨一無二、而且無人能夠取代的知已",否則,若只是尋常思友,那又有什麼好思念成這個樣子,什麼樣子呢?如此的纏綿緋側、空山斷腸、如泣如訴、低迴不止、日夜輾轉難眠,剪不斷、理還亂,所謂抽刀斷水水更流、舉杯消愁愁更愁;而盛唐詩聖杜甫他的生平唯一知已是誰呢?也不是他的夫人喔,而是同時代另外一個更偉大的詩人〈李白〉,我們可以從杜甫的夢李白(其一)中可以一窺全貌:
死別已吞聲,生別長側側。江南瘴癘地,逐客無消息。
故人入我夢,明我長相憶;君今在羅網,何以有羽翼?
恐非平生魂,路遠不可測。魂來楓葉青,魂返關山黑;
落月滿屋樑,猶疑照顏色。水深波浪闊,無使蛟龍得…………
好一個故人入我夢,明我長相憶"啊!原來每晚進入我們大詩人夢中的,並且令他魂牽夢繫,竟是另外一位詩人;至於清代王國維在《人間詞話》中說道:古今之成大事業、大學問者,必經過三種境界:「昨夜西風凋碧樹,獨上高樓,望盡天涯路。」此地一境也。「衣帶漸寬終不悔,為伊消得人憔悴。」此第二境也。「眾裏尋他千百度,驀然回首,那人正在,燈火闌珊處。」此第三境也。
其實人生呢,要得到一個知已陪伴,也是得歷經千辛萬苦、尋尋覓覓,當然也是必需要經過這三個過程的;知道嗎?宋代豪放詞人辛棄疾,我相信在他的心裡,也是有一個專屬的位置,是空留給那個他值得去等待的人,以下我們可以從辛棄疾青玉案"中得知:
東風夜放花千樹,更吹落,星如雨。寶馬雕車香滿路。
鳳簫聲動,玉壺光轉,一夜魚龍舞。
蛾兒雪柳黃金縷,笑語盈盈暗香去。
眾裏尋他千百度,驀然回首,那人卻在,燈火闌珊處………
驀然回首,我們會發現,原來知己一直都在,或許,這樣的人從不曾遠離過我們;總之,若是想要擅彈此曲,我們便要將這首曲子定義為一首詠嘆調……人生不相見,動如參與商",故人總傷別離啊!因此,使得每一個中夜都顯得份外的寂寥,空山月下、淒楚徘徊、往來跺步、思緒難消啊!更難消的是,我的腦海裡總是縈繞著你的委婉與深情,和那絲絲揮也揮不去的離情與愁緒,倘若我心能如此的感受,則聽聞琹音者,將無不被感染進而能夠感同身受,甚至撩動心弦、念往事之悠悠、獨潸然而泪下……由此,我們再看看另一位大詩人王維的詩,其實也就可以知道在王摩詰心裡,他是有多麼思念他的這位好朋友了,王維〈送別〉:
山中相送罷,日暮掩柴扉。
春草年年綠,王孫歸不歸………
至於,當曲子中反覆出現了Do La Re- Sal Sal,Do La Re -Sal Sal……每一句次的表現都要彈的快慢速度不同、或時輕、或時重,要儘量做到氣若游絲,但是仍然一息尚存,這樣做的目的,是要清楚地呈現出思念時情緒低落,以及那牽腸掛肚的感情,但記得一定要維持慢而不散、弱而不虛的狀態,如此才能夠完整地呈現出憶故人曲子當中那份思念的意境。
總之,若想要彈好此曲,所謂是曲為其心"啊!琹者心中一定要有個思念的對象,不管這個對象是朋友、夫妻、家人、親人都好,若是少了這份感懷,曲味一定是不夠濃烈的;至於曲中必需要運用到大量上下滑音以及放合等等大量技巧處,或者在第五段全曲最高潮處,一定要表現出往來纏綿、思緒層層堆疊的細膩感,節奏的處理上要做慢、做緩,右手的音色也要放弱、放輕,如此才能真情流露,並且明確表達出一種思若游絲、肝腸寸斷"的樂曲感覺。
至於全曲當中所有出現的吟猱綽注,皆要儘量做圓,如此圓緩的音感,才能給人一種相思不盡、唸唸不忘的悲涼感慨;宋朝一代大詞人蘇軾的好朋友,名字叫做王詵,他也曾經為憶故人(詞牌名),填上了一闕詞,名字就叫做憶故人─燭影搖紅",當時皇帝宋徽宗看完之後,相當愛不釋手,這闕詞總共只有五十個字,首前片二仄韵,後片三仄韵,所以整闕詞的唱法應該是:
仄仄平平仄仄平,仄仄平,平平仄(韵),平平平仄仄平平,平仄平平仄(韵),
平仄平平仄仄(韵),仄平平,平平仄仄(韵),仄平平仄,仄仄平平,平平平仄(韵)
其中這闕詞是這樣子的,如下:
燭影搖紅向夜闌,乍酒醒、心情懶。尊前誰爲唱陽關,離恨天涯遠。
無奈雲沈雨散。憑闌幹、東風淚眼。海棠開後,燕子來時,黄昏庭院……..
整闕詞傳達出非常深情繾綣、並且感人至深的相思,很適合放在憶故人當中第五段,做為其中所要表現出來兩疊反覆纏綿、幽思深遠的深層凝重覺受。
就當樂曲行進至快要結尾處時,會有一大段起伏劇烈的跌宕表達,此時想要呈現出彈琹者心情的大起大落,將思念的情緒一路衝到了最高點,與此同時,再做一個獨特的技法哽咽聲",以便呈現出思緒迴盪千轉、低鳴嗚咽、始終難以平消,此時,或許彈琹者臉上早泛點點泪光,就算琹音結束,仍然意猶未盡……這不禁又讓人聯想到了蘇東坡悼念亡妻的那闕詞〈江城子〉:
十年生死兩茫茫,不思量,自難忘。
千里孤墳,無處話淒涼。
縱使相逢應不識,塵滿面,鬢如霜。
夜來幽夢忽還鄉,小軒窗,正梳妝。
相顧無言,惟有淚千行。料得年年腸斷處,明月夜,短松岡………
最後,琹曲以緩慢的泛音漸漸收起,而在此結尾處的泛音,需要緩緩處理,以期與開頭處的引子作頭尾呼應,行進至此,樂曲結束,但琹意依舊綿綿延伸………
我將於茫茫人海中,尋找我唯一的靈魂伴侶,
得之我幸,不得我命,如此而已………
或許,你我都曾經眾裡尋他千百度,
但是,曾幾何時驀然回首──那人始終站在燈火闌珊處。
你有思念的人嗎?──我想,我有………………
It Is Destiny That I Shall Not GetIt
I am a cloud in the sky, Projecting on the heart of your wave on occasion,
Do not be surprised, or too elated; In an instant I shall vanish without atrace
You and I meet on the dark night in the ocean, You have your direction, Ihave mine.
Remember if you will, or better yet, Forget the light exchanged in thisencounter......
The most important thing in life is to have a person whounderstands you, someone who can reach deep into your soul, dwell in yourheart. You two have the tacit understanding that needs no speech, with theharmonious reverberations between each others' souls that are so beautiful. Theancients call this consonance, that is, minds think alike. Simply put, we cancall it alter ego It will be a pleasure for life, I think, if one can have an alter ego whocan understand you.
Generallyspeaking, the ancient guqin is only played for the good friend who understandsyour music. After ZHONG Ziqi passed away, high mountains and flowing watersbecame a vanished sound, and BO Ya smashed the guqin because he thought therewas no longer a need for playing the instrument. Moreover, do you know whoConfucius' alter ego was? I definitely wouldn't think it was his wife. It is noother than the handsome young man who knew and understood him and was to carryon his legacy: YAN Hui (521 BC 490 BC), who Confuciusdescribed as: With a single bamboo dish of rice and a gourd cup of drink,living in his mean narrow lane, while others could not endure the distress, Huidid not allow his joy to be affected by it. Consequently, when YAN Hui died atthe age of 31, Confucius was so extremely grieved that he could not eat.Confucius had such a difficult time which exceeded the occasion he had beenstranded in the states of Chen and Cai, where he had almost starved to death.At that time he was not even seen shed a tear because though his life wasjeopardized, his spirit was complete,independent, and unified. YAN Hui's premature death seemed to have severed apart of his soul, that his life would never be complete. I believe, Confuciushad to have missed this protegé ofhis because the guqin piece Remembering An Old Friend is said to be composedbased upon this anecdote.
Thus, no matter it'sthinking of friends or missing old friends in the mountain, the friends, old friends cannever be just common acquaintances. They have to be the unique andirreplaceable alter ego.Otherwise, if it's just thinking of friends, there is no need to be this way:exceedingly sentimental, heart broken, incessantly echoing, tossing and turningday and night. Uncuttable, uncombable, drawing one's sword to stop the wateronly makes it flow even more; drowning one's worries in drinks only makes themworse. Who was DU Fu's only alter ego? It was not his wife but hiscontemporary, the greater poet LI Bai. We can see the whole picture from DUFu's Dreaming of LI Bai.
To part forever makes oneweep; To separate in life makes one grieve. Miasma prevails south of the river;There's no news about the banished one.
In my dreams, you, my oldfriend, come. For you know you are ever in my memory. Surely you are sufferingin the trap. How can you have wings?
It does not seem to be thesoul of your life; The remote road cannot be predicted. Your soul comes fromwhere green maple is abundant. How come your soul is at the dark pass where Iam at.
The beams are filled withsetting moonlight; I wonder if it still shines on your face. Deep is the water,monstrous are the waves; Let no dragons get to you.
What terrific In my dreams you, myold friend, come. For you know you are ever in my memory. Ah, it actually wasanother poet who he was concerned about came into the dream of the great poet.WANG Guowei of the Qing Dynasty stated in his Commentaries on Lyrical Work:Those who have accomplished great achievements and greatacademic work have to go through three stages: First, Zephyr withered the greentrees, climbing up the stairs alone, gazing at the skyline. Second, Regret notthe loosening of my waistband and being weary for thee. Third, searchingthousands of times in a crowd without success, turning around by chance, therethe person is, in the dim lantern light.
In actuality, in order toobtain an alter ego, we need to undergo intensive search and go through thesethree stages. For XIN Qiji , the Unconstrained Poet of the Song Dynasty, Ibelieve there is a special place for someone worth waiting for. We can knowthis from XIN Qiji's Emerald Jade Desk:
The ornamented lanternsradiate a thousand trees in the night, blowing a shower of stars. Lavishcarriages drawn by gallant horses fill the streets with sweet fragrance.
The sounds of the fluteflow, while the moon sheds its full light. Fish and dragon shaped lanternsshine all night.
Butterfly shaped hair pinsand willow-like barrettes, and gold threaded apparel-- that angelic laughterwith subtle scent passed through.
Searching thousands oftimes in a crowd without success, turning around by chance, there the personis, in the dim lantern light.
Turning around suddenly, we will findthe person has always been there, and never has left us. And so, in order toplay it well, we need to define this piece as an aria ---- At no time coming intothe presence, just like Scorpius and Orion that never appear together., Old friends alwayslament parting. Therefore, every midnight seems extremely quiet: barrenmountain in the moonlight, wandering sadly, pacing restlessly, thinkingincessantly. What is even worse, is that my mind is filled with youreuphemistic and deep affection, and the languish and gloomy mood lingers on. IfI can feel this in my heart, the listener is able to empathize and even stir upemotions, or even think about the past and burst into tears ----. Let's take alook at the poem of another great poet WANG Wei, and we will knowhow WANG Mojie misses this friend of his in his Farewell.
After seeing you off inthe mountain, I close the brushwood door.
Spring grass greens everyyear, but will the functionary return.
When the pattern Do La Re - Sal Sal, Do La Re SalSal - repeatedly appears in this piece, the temposhould be different for each phrase with alternate piano and forte inintensity. We have to do it as though there were inspiration like gossamer, butstill breathing. The purpose for doing this is to clearly exhibit thelow-spirited and extremely anxious emotions. However, keep in mind that thetempo should be maintained slow but not scattered, soft but not weak, in orderto completely express the state of nostalgia of this musical piece.
In sum, in order to play thispiece well, The music is its heart. The player has to have someone in mind tothink of, regardless if this person is a friend, spouse, family member or arelative. If this sentiment is lacking, the performance will be tasteless. Asfor places where a great deal of portamento are applied, or in the 5th section where the climax is, the delicatesense of exceeding sentiment and thoughts should be expressed. The rhythm hasto be slow and delayed, the tone color in the right hand has to be playedsoftly and gently in order to clearly deliver the kind of musical sentiment ofattenuated thoughts and a broken heart.
As for all Yin Nao Chuo Zhu that appearthroughout the whole piece, everything has to be round. Only the slow and roundmusical notes can demonstrate the unforgettable sadness and endless lovesickness. WANG Xian, a good friend to the great poet of Song Dynasty's SU Shi,also wrote a prose for Remembering an Old Friend (title of the poem)called Rememberingan Old Friend Shadows of the Candle The then Emperor Hui Zong of Song Dynasty fondled itadmiringly. This prose only comprises 50 characters. The beginning is duallyrhymed and the end is triply rhymed. Thus the way to sing it should be:
Zè zè píngpíngzè zè píng, zè zè píng, píngpíngzè (rhyme), píngpíngpíngzè zè píngpíng, píngzè píng píngzè (rhyme),
píngzè píng píngzè zè (rhyme), zè píng píng, píng píngzè zè (rhyme), zè píng píngzè, zè zè píng píng, píng píng píngzè (rhyme)
The prose is as follows:
In the dead of nightcandle's red shadows flicker, lackadaisical, a morning after. With whomfarewell is sung before the tumbler, pain of separating afar.
Hopeless after the loveaffair. Leaning on the balustrade, in Eurus eyes teary, ensuing the begoniablossoms, when swallows come, twilight in the courtyard.....
The whole prose delivers aninseparable deep feeling and touching lovesick sentiment, thus very suitable tobe placed at the fifth section of Remembering An Old Friend , where the double layered repeated sadnessand the profound sentiment are presented.
While the piece processes tothe end, there will be some drastic ups and downs and an uninhibitedexpression. In this time the music has to exhibit the performer's moodfluctuations and push the reminiscing emotion to the peak sobbing sound Atthis moment, perhaps the tears have long been coursing down the artist's face,----which leads us to the prose Jiang Cheng Zi in which SU Dongpo pays homageto his deceased wife:
A decade the dead and theliving draw apart in the vast and obscure. turning over in mind, hard to beforgotten.
Abandoned grave a thousandmiles away, nowhere to speak dismal,
Coming across, beyondrecognition, dust on the face, silver beards like frost.
Unexpected return to homein the dream last night, by the window of the little room, sight of combinghair and putting on makeup.
Turned and looked,speechless, Only lines of tears coursing down. Year after year will it break
my heart there, themoonlit night, the tiny pines.
Finally, the musical pieceends with lento floating sounds, and the floating sounds in the ending placecannot be rushed, in order to echo with the introduction. The musical pieceends here, but the artistic conception continues still.
In the vast and obscurecrowd, I shall seek my only soul mate.
I f found, I am fortunate,but if not, it's my fate. And that's it -------
Perhaps, you and I both havesearched in the crowd for a thousand times,
But don't know when, yousuddenly turn around --- that person has always been standing in the dimlantern light.
Do youhave someone you are thinking of? ---- I think, I do---------

发表于 2021-2-15 15:08:31 | 显示全部楼层
喜欢忆故人这首曲子
您需要登录后才可以回帖 登录 | 注冊

本版积分规则

手机版|小黑屋|联系本站|广陵散社区-中国古琴论坛

GMT+8, 2024-3-29 05:21 , Processed in 0.015485 second(s), 5 queries , Redis On.

Powered by Discuz! X3.5

© 2001-2024 Discuz! Team.

快速回复 返回顶部 返回列表