王闿运诗

2006年3月8日 | 分类: 未分类 | 标签:


释 文[1]
昔寻风云游上京，当前顾盼皆豪英，五侯七贵徧相识，行歌燕市心纵横。九江狂生高伯足[2]，平生见人但张目，单衫侧帽临春风，二十红颜美如玉。行年相校一岁强，俱逞逸足驰康庄，曹刘阮陆不并世，琴歌文酒争轩昂。公车招试等一掷，未抵枭卢要先得，高车谬写夷吾书[3]，大卷浓涂保和策[4]。尚书[5]赐第[6]花氍毹，醉翻酒盏相喧呼，盛胡[7]俳优欢坐隅，徐郎[8]屈膝请为奴。就中龙黄[9]较清稳，当筵未肯汙茵裾，尹刘[10]高名颇相怪，王门长裾事权贵。翩然黄鹤归青冥，重来已见山河改。我随亚相[11]困祁门[12]，君留朱邸谋东巡[13]。清晨夷歌满都市，一炬便烬澄怀园[14]，嗣皇中兴览尧典，手诏毕召诛共鲧[15]。李斯五刑不足惜，彭王藁首谁相问。当时意气论交人，顾我曾为丞相宾，俄罗酒味犹在口[16]，幾回梦哭春花新。君归湖口波浪恶，屡干相侯只萧索，同时得路俱腾骧，往日庸奴又高爵。蜀中二李[17]滇二刘[18]，各怀银印踞方州，郭卿少年拥八驺[19]，张蔡始觉曹郎羞[20]。龙兄兄弟亦豪快[21]，高平甘棠春蔽芾，黄许同称太史官[22]，潘[23]长[24]八坐俨相对。世人见我空逡巡，如君高第亦轮囷，唯馀莫[25]邓[26]守书史，散作东西南北人。前岁娱园[27]访秋竹，招邀太守[28]同明烛，东湖夜水空如烟，相思桂树年年绿。杯酒白刃心胆麤，别君豪气未敢除，人生万年苦作健，别时白面今有鬚。独行昂藏久无趣，西游华山不得去，南踰五岭东渡淮，去年更折恒山树。倦游谢病从文君，移家承水学隐沦，知君一事苦相羡，新得西施能负薪[29]。早春人日桃破萼，花下见君人日作，七年欢笑犹眼前，世上纷纷有哀乐。南方花早春风颠，忆君携手灵台前，马纓红拂绿绒席，牡丹香醉金觥船。东城西馆不复梦，圆明宫柳生荒烟，四春[30]老瘦泣珠箔，管丝风散人凄涟。长堤珂辔往来路，谁信于今走狐兔，沧江寂寂卧对春，与君不得伤心语。庐山雲连南岳峰，名山万里精灵通，休言沉霾两龙剑，犹能吐气作长虹。
丙寅[31]人日，见高大心夔庚申[32]人日见寄诗，忆旧游，作示知者。狷闇仁九兄属录旧作，书此请正。甲辰[33]孟夏晦日。闿运。
——————————————————————————–
[1] 王闿运撰《湘绮楼诗》第七卷收录此诗，文句与手迹小有出入。或曰，闿运晚年主讲于衡阳船山书院，一夜，诵此诗毕，涕泪滂沱，曰：人诋逆臣，我自府主。按，清文宗临死，命肃顺等人为顾命八大臣，後，慈禧联手恭亲王发动“辛酉政变”，肃顺被杀；故曰“人诋逆臣”。闿运尝为肃顺幕客，感激恩遇，诗中所谓“顾我曾为丞相宾”也；故曰“我自府主”。此诗在集中附有自注，多记本事，因迻录于次，称“原注”；更就相关史事稍作笺释，称“伯牛按”。
[2] 伯牛按，高心夔，字伯足。
[3] 原注：余试礼部，赋得“高车高梱”，误以为管子书事也。伯牛按，“高车高梱”，典出《史记·孙叔敖传》，闿运误为《管子》。
[4] 原注：高两应殿试，均以谬误置四等。伯牛按，心夔应试作律诗，两次都错认“元”韵，闿运因撰联嘲之，云：平生双四等，该死十三元。
[5] 原注：协办大学士肃顺。
[6] 原注：在扇子湖。伯牛按，扇子湖在今北京达园宾馆（海淀区福缘门甲1号）西面。
[7] 原注：盛主事康。伯牛按，盛康，盛宣怀之父。
[8] 原注：徐编修昌绪。
[9] 原注：龙编修湛霖、黄学正锡焘。
[10] 原注：尹御史耕雲、刘司业熙载。
[11] 原注：协办曾侯国藩。
[12] 伯牛按，谓咸丰末太平军围困祁门，曾国藩幾乎遇难。
[13] 伯牛按，谓第二次鸦片战争时期，英、法联军进攻北京，清帝逃难至热河。
[14] 伯牛按，谓英、法联军攻入北京，烧毁圆明园。
[15] 伯牛按，谓同治初年，慈禧、恭王发动政变，诛杀肃顺。
[16] 伯牛按，闿运尝请命出使俄罗斯，肃顺不许，而赠以伏特加酒。
[17] 原注：李都转榕、李粮储鸿裔。
[18] 原注：刘知府树堂、知县树义。
[19] 原注：郭巡抚嵩焘。
[20] 原注：张员外世准、蔡郎中毓春。
[21] 原注：龙知县汝霖。
[22] 原注：黄锡彤、许振祎两编修。
[23] 原注：潘副都祖荫。
[24] 原注：都统长善。
[25] 原注：莫举人友芝。
[26] 原注：邓巡道辅纶。
[27] 伯牛按，娱园在南昌府署。
[28] 原注：王知府必达。
[29] 伯牛按，谓闿运之妾莫六雲。
[30] 伯牛按，或曰清文宗有妃嫔五人，居圆明园中，称为“五春”，慈禧所居为天地一家春，其馀四人所居分别为杏花春、武陵春、海棠春和牡丹春。今慈禧独贵，“四春”不免“凄涟”。
[31] 伯牛按，同治五年。
[32] 伯牛按，咸丰十年。
[33] 伯牛按，光绪三十年。

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    Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you’ve probably seen the 2009 documentary film “The September Issue” about Vogue magazine’s Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled “Grace,” co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it’s worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine’s staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won’t hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn’t afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington’s 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She’s also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. “Although it was bleak, I saw beauty in the bleakness.” When she wasn’t outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, “flapping about surreally in their robes like crows on wheels.”At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. “I was a character, rather than a pretty model, and I suppose that’s exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking.”She earned the nickname “The Cod” (to Jean Shrimpton’s “The Shrimp”), danced the twist on Mary Quant’s catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. “Naturally, we were forever being photographed at home, draped among our symbols of ‘with it ness’ as one of London’s most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel’s gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell’s soup can.”At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who’s who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn’t suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film “Betty Blue.” The two sat in dead silence through the opening sequence, a vivid five minute sex scene.”Anna was rigid and unmoving. No sign of any emotion at all,” Coddington writes. “I then realized how much significance Anna places on willpower trumping feelings.”In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington’s narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on “Alice in Wonderland.”She sums up her creative process this way: “For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs.”The book ends with a chapter on then and now. “Fashion has changed so much in my lifetime,” Coddington writes. “Today, I find myself at the collections, asking, ‘Who are all these people?’ Sometimes I think I’m the last remaining person who comes to the shows for the pleasure of seeing the clothes.”At 71, she seldom wears makeup and doesn’t socialize much. But her attempt in the last 100 pages to distance herself from the term “fashionista” is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn’t be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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