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功名富贵有时也调皮也气人,有些人钻营一世也只能够着着别人裤脚,有些人郎郎落落地站着,却已获得相看两不厌的尊重。容若一向柔情细腻,这阕《采桑子》却写的十分简练壮阔,将边塞秋景和旅人的秋思完美地结合起来。仅用寥寥数十字写透了天涯羁客的悲苦,十分利落。上阕写秋光秋色,落笔壮阔,&ot;六曲屏山和梦遥&ot;点出边塞山势回环,路途漫长难行,遥应了&ot;绝塞&ot;一词,亦将眼前山色和梦联系起来,乡思变得流水一样生动婉转,意境深广。下阕更翻王维诗意,道出了:&ot;不为登高。只觉魂销。&ot;这样仿佛雨打残荷般清凉警心的句子。轻描淡写地将王维诗意化解为词意,似有若无,如此恰到好处。结句亦如南雁远飞般空旷,余意不尽。大雁有自由飞回家乡,人却在这深秋绝塞路上渐行渐远。愁情沁体,心思深处,魂不堪重负,怎么能不消散?在词刚兴起的时候,又称&ot;诗余&ot;,被认为是小道,其实词有词的,诗有诗的好处,意境可以互通互美。文学之道百转千回,本就没有什么大小之分。&ot;不为登高。只觉魂销&ot;一句,词中有诗的意境。也非是用词这种格式流水潺潺地表达,换另一种都不会如此完美。&ot;青山隐隐水迢迢,秋尽江南糙木凋&ot;是杜牧诗中意境;&ot;遥知兄弟登高处,遍cha茱萸少一人。&ot;是王维诗中景象。而今,这一切尽归容若。容若此词,看似平淡,其实抬手间已化尽前人血骨。山花子欲语心情梦已阑,镜中依约见春山。方悔从前真糙糙,等闲看。环佩只应归月下,钿钗何意寄人间。多少滴残红蜡泪,几时干?【见春山】司马相如是最有艳福的文人。《西京杂记》里赞他老婆:&ot;文君姣好,眉色如望远山,脸际常若芙蓉,肌肤柔滑如脂。&ot;古典美女容貌上的优点,卓文君一不小心占全了。刘歆在《西京杂记》里对卓文君的容貌的宣传太到位,他将女子眉毛比做远山的比喻又实在太精辟,导致后世文人顺着前辈的思路走下去,孜孜不倦地研发了&ot;眉若远山&ot;&ot;眉若春山&ot;&ot;春山翠&ot;&ot;春山远&ot;等词。久而久之,&ot;春山&ot;便成了女子双眉的代名词。女性画眉所用的&ot;黛&ot;是用一种叫石黛的青黑色矿石,加入麝香等香料制成的。所以红楼里又有&ot;眉色如黛&ot;的说法。人的五官很有意思。唇齿是亲人间相依,眉目却是情人间的挑弄,必定要不安于室才有吸引力。如果一个女人生得双目无神,双眉刻板,那她一定没有什么男人缘,因为首先,她的眉目就不会生情,再好的容貌也退为平庸,不会开出情花。你若看有人被赞&ot;面若桃花&ot;,那她的眉目一定撩人。可惜任卓文君才貌兼备,司马相如却依然在娶到她之后,得陇望蜀地想纳妾,气得卓文君说出&ot;闻君有两意,故来相决绝&ot;的狠话,这才把他那点花花肠子吓回去。话说回来,世事仍是公平的,有司马相如那样不知惜福的男人,就一定有张敞和容若那样温柔解意的男人。这是上天对女人的补偿。据《汉书。张敞传》记载:京兆尹张敞和妻子情深,妻子化妆时,他就为妻子把笔画眉,被长安人笑为&39;张京兆眉怃&39;,后来汉宣帝亲自过问这件事,张敞对曰:&ot;臣闻闺房之内,夫妇之私,有过于画眉者。&ot;张敞的回答既巧妙又在情理之中,汉宣帝明理爱才,当然不会难为张京兆,自此又多了一段流传千古的佳话。张京兆画眉实际上是画情,正因为如此,才为后人追慕。唐玄宗有首婉约的小令《好时光》--宝髻偏宜宫样,莲脸嫩,体红香。眉黛不须张敞画,天教入鬓长。莫倚倾国貌,嫁取个有情郎。彼此当年少,莫负好时光。连皇帝都发了画眉意,可见,两情浓处眉山目水相映,真是动人心意的韵事。元邵亨贞《沁园春》中写:&ot;扫黛嫌浓,涂铅讶浅,能画张郎不自由。&ot;大约是诗人效仿张郎给夫人画眉,却不得法反被嗔怨的自嘲。张潮更是性情中人,直接道:&ot;大丈夫苟不能干云直上,吐气扬眉,便须坐绿窗前,与诸美人共相眉语,当晓妆时,为染螺子黛,亦殊不恶。&ot;他的话倒和硬派男人迅翁说的&ot;无情未必真豪杰&ot;不谋而合。容若的恋人双眉也是极出色的。他心中念念不忘,词中就时有流露。容若不少描写恋人双眉的句子,都极出色,并不如他自责的&ot;糙糙,等闲看。&ot;此阕就是写容若做梦,梦中见到恋人对镜描眉,醒来后无限惆怅难过。惟有台前红烛,滴残红泪,似解心意。从&ot;环佩&ot;和&ot;钿钗&ot;的用典来看,这首词所写的女子不是卢氏,而是早年被送入宫的恋人。因为王昭君和杨贵妃都是宫门中人。

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