2024-03-21 08:40 
发布于：北京市

春天到，光秃秃的树枝悄然萌生蓓蕾。遥想远古的先民，从冬天的阴晦中走出，面对明媚的春光，该有多么的惊喜。“情动于中而形于言”，在《诗经》中，我们仿佛能够听到他们欢快的歌咏。

梅花开了，柳叶舒了，晴光摇曳，萍藻浮泛，正是大歌唱家黄鹂登场之时。物候触处皆新，黄鹂百转千回，是《诗经》里动人的乐章。据说，唐人戴颙曾于春日携双柑斗酒出游，就为听黄鹂的歌唱。因为鹂声“俗耳针砭，诗肠鼓吹”，可以医治尘俗的听觉而使之高雅，如乐器合奏更能激发诗兴。


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于是，杜甫在江畔独步寻花时，吟出“留连戏蝶时时舞，自在娇莺恰恰啼”；在瞻仰武侯祠时，感慨“映阶碧草自春色，隔叶黄鹂空好音”；还有那“两个黄鹂鸣翠柳，一行白鹭上青天”，写出了春天生机勃发的气息。

而在滁州西涧，春潮带雨的夜晚，韦应物又信步闲吟出“独怜幽草涧边生，上有黄鹂深树鸣”；春到江南，杜牧感受到阔大的气象，直抒“千里莺啼绿映红，水村山郭酒旗风”；连杜丽娘偷闲牡丹亭畔一游，亦觉“梦回莺啭，乱煞年光遍”，喜听“呖呖莺声溜的圆”。山水诗鼻祖谢灵运登楼眺望，更是写下如有神助的名句：“池塘生春草，园柳变鸣禽”。这个在柳树上歌吟的鸟儿，说不定就是黄鹂。只有那独处深闺的思妇，好像不愿听黄鹂唱歌，“打起黄莺儿，莫叫枝上啼。啼时惊妾梦，不得到辽西”。
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仲春之月，“始雨水，桃始华”。《诗经》里的春天，也是从桃花开始的。《周南》云：“桃之夭夭，灼灼其华。之子于归，宜其室家。”夭夭，有人解释为“花笑”；灼灼，火光也，桃花红艳，望之如火。诗句写春天的桃花盛开，繁盛鲜艳，让人想起正当妙龄的女子，进而联想到她出嫁后的和美生活。这就是朱熹所说的“兴”，不过在此应该也有“比”的成分。

闻一多说：“桃花色最艳，故以取喻女子，开千古词赋咏美人之祖。”在《诗经》之后，这样的比喻就更常见了。如晋陆云《赠顾骠骑诗》：“在虞之胄，实惟有姚。颖艳玉秀，华茂桃夭。”唐崔护《题都城南庄》：“去年今日此门中，人面桃花相映红。”宋陈师道《菩萨蛮》词：“玉腕枕香腮，桃花脸上开。”春天，就是这样一个桃花与美人交相辉映的日子。
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水逐桃花去，春随杨柳来。初生的柳叶细长如媚眼，随风飘荡，亦能触动诗兴。有人统计过，柳树在《全唐诗》中共出现了3463次；在《全宋词》里共出现3760次，高居植物出现频率的榜首。不过，《诗经》是个例外，柳树只出现过6次。不过，这毫不影响柳树在诗国春天的地位，因为一句“昔我往矣，杨柳依依”，写活了春日艳阳里青青柳条随风飘拂，如牵人行色，不忍使其离去之状，开出后世无限诗意。

其实，春天不只是黄鹂的歌喉婉转和桃红柳绿，还有那万物灵长的人穿梭其间，吟唱出深情绵绵的恋歌。在雎鸠关关的鸣叫声中，妙龄女子采摘着荇菜初生的嫩叶，忙个不停，或许是路过此地的君子目睹此景，不觉迸出了最早的情诗；春阳遍地，柔桑摇曳，劳作的女子忽然想到将要嫁入夫家、远离父母，又不觉添了几分伤感之情。有女怀春与女心伤悲，仿佛是一对孪生兄妹，千百年来扰动着人的心弦。

三月上巳，日暖风和，草长莺飞，男男女女手持兰草，在水边游赏，真是热闹非凡。男子已经去玩过了，可女孩坚持要他再去；男子当然拗不过女孩的要求，只好陪她前往，一路上有说有笑，临别还以芍药相赠。想来那手执芍药归家的女子，应该是欢喜无尽的。这算是《诗经》中描写春天最美的旋律吧。

这无比动人的春景，在当时作诗之人眼中，可能只是兴发感情或教化的触媒剂而已。不过，两间莫非生意，万物莫不适性。吟咏体味于《诗经》的春天中，我们却可以感受到真乐。所以你要问：春天在哪里？我说：在那含笑的桃花丛，在那摇曳的柳枝头，在那百转千回的黄鹂声中，在那水边谑笑嬉笑的士女脸上。