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FEATURESDrinking by West Lake: Feng Zikai and Zheng Zhenduo 豐子愷與鄭振鐸的西湖酒事Chen Xing 陳星
The Hangzhou-based writer and Feng Zikai specialist Chen Xing discusses an occasion when the editor who first published Feng's work, Zheng Zhenduo (鄭振鐸, 1898-1958), and the artist met at West Lake in the late 1940s. Feng Zikai (丰子恺, 1898-1975) was in the thrall of West Lake from an early age. In the 1910s, he had started his artistic career even as a student at Zhejiang First Normal College (Zhejiangsheng diyi shifan xuexiao 浙江省立第一師範學校) in Hangzhou (see Educating Through Aesthetics in Features), frequenting the Lake with his art class on sketching expeditions. Feng would go on to become an artist renowned for his particular form of modern lyrical and socially engaged art which he called manhua 漫畫 (not to be confused with the general modern understanding of this Sino-Japanese word as 'cartoon'). With this success, and supported by income from his writing and translation work, Feng in the 1930s established a studio at Tianjia Garden (Tianjia Yuan 田家園) on the northern shore of West Lake, opposite Solitary Island (Gu Shan 孤山) with the Bai Causeway in sight. During those years, and before the Japanese invasion, he divided his time between his home in the Jiangnan township of Shimen Wan 石門灣 and Hangzhou, travelling between the two by boat. At the time, one of his visitors noted that the walls of his rented West Lake house were covered with poems by Tao Yuanming 陶淵明, the famous recluse. When in residence at West Lake Feng would frequently visit his mentor, the philosopher Ma Yifu (马一浮, 1883-1967), the monk Hongsan 弘傘 and his former art teacher the noted artist Jiang Danshu (姜丹書, 1885-1962), a man also known for his poetry and for his mastery of the Chinese lute (guqin 古琴). Following the depredations of war and the destruction of his home and library in Shimen Wan, Feng Zikai would return from years of internal exile in West China with his family to live for a time in Hangzhou. It is there that, in 1948, he met again with Zheng, his former editor and now a major figure in the progressive cultural world that supported the Communist Party of China, which itself was engaged in a titanic civil war with the Nationalists. The encounter of the two men by West Lake in the dying days of Republican China and their night of drinking at Feng's rented rooms was informal and relaxed; it measured in the everyday practice of two men of culture an experience of the Lake that goes back over a millennium, combining as it did wine, poetry, art, conversation, the landscape and a life-long emotional bond. The two met on the eve of the Communist Party takeover of China, an event that would radically transform the lives of both men. Chen Xing's new critical biography of Feng Zikai was published in November 2011: 陈星著，《丰子恺评传》，山东画报出版社，2011. In this essay 'CT' stands for 'Chen-tuo' (Zhengduo), Zheng Zhenduo's personal name.—The Editor 丰子恺的漫画成名作《人散后，一钩新月天如水》在朱自清、俞平伯等合办的《我们的七月》上发表后，立即引起了郑振铎的注意。郑振铎其实一向很少关心中国现代画家的作品，但在读了丰子恺的这幅漫画后，却以为："虽然是疏朗的几笔墨痕，画着一道卷上的芦帘，一个放在廊边的小桌，桌上是一把壶，几个杯，天上是一钩新月，我的情思却被他带到一个诗的境界，我的心上感到一种说不出的美感，这时所得的印象，较之我读那首《千秋岁》（谢无逸作，咏夏景）为尤深。实在的，子恺不惟复写那首古诗的情调而已，直已把它化成一幅更足迷人的仙境图了。"（《子恺漫画》郑振铎序）自此，郑振铎便记下了丰子恺的名字，并将丰氏的漫画陆续刊发在《文学周报》上，最后还帮助他出版了第一部漫画集《子恺漫画》（1925年12月文学周报社）。  Fig.1 主人醉倒不相勸 客反持杯勸主人 丰子恺还是郑振铎的酒友，人们如今读到的丰子恺散文代表作之一的《湖畔夜饮》（作于1948年）就是写他与郑振铎在西湖边丰宅内的夜饮。文中记述了他与来访的郑振铎在湖畔小屋里喝酒的情形。此文所记，明显是文人的酒相。 郑振铎到来之前，丰子恺就已经与四位来西湖游春的朋友在家里喝过酒了。"酒阑人散，皓月当空。湖水如镜，花影满堤。我送客出门，舍不得这湖上的春月，也向湖畔散步去了。柳荫下一条石凳，空着等我去坐。我就坐了，想起小时在学校里唱的春月歌：'春夜有明月，都作欢喜相。每当灯火中，团团清辉上。人月交相庆，花月并生光。有酒不得饮，举杯献高堂。'觉得这歌词温柔敦厚，可爱得很！又念现在的小学生，唱的歌粗浅俚鄙，没有福份唱这样的好歌，可惜得很！回味那歌的最后两句，觉得我高堂俱亡，虽有美酒，无处可献，又伤感得很！三个'得很'逼我立起身来，缓步回家。不然，恐怕把老泪掉在湖堤上，要被月魄花灵所笑了。"丰子恺发完了这段小醉微醺后的感慨后回到家中，就听说郑振铎来过了。次日上午，他到葛岭饭店去找郑振铎，不巧没有碰上。于是丰子恺留了一张名片，邀他正午或晚上来家里共饮。可是这天郑振铎根本就没有回旅馆，而是到了晚上八时径直再访丰家。此时，他俩各自都已在晚餐时有一斤酒下肚。  Fig.2 看花攜酒去酒醉插花歸 此时的丰子恺与郑振铎已有十年未曾见面，老友相逢，他们早已忘了肚里还装有一斤酒。丰子恺说："我们再吃酒！"郑振铎回应："好，不要什么菜蔬。"夜饮之中，他们尽情话旧。丰子恺发现，郑振铎的豪饮，丝毫不减当年。于是他想到了一件旧事："我和CT共饮，另外还有一种美味的酒肴！就是话旧。阔别十年，身经浩劫。他沦陷在孤岛上，我奔走于万山中。可惊可喜，可歌可泣的话，越谈越多。谈到酒酣耳热的时候，话声都变了呼号叫啸，把睡在隔壁房间里的人都惊醒。谈到二十余年前他在宝山路商务印书馆当编辑，我在江湾立达学园教课时的事，他要看看我的子女阿宝、软软和瞻瞻──《子恺漫画》里的三个主角，幼时他都见过的。……CT用手在桌子旁边的地上比比，说：'我在江湾看见你们时，只有这么高。'她们笑了，我们也笑了。这种笑的滋味，半甜半苦，半喜半悲。所谓'人生的滋味'，在这里可以浓烈地尝到。……我说：'《花生米不满足》、《瞻瞻新官人，软软新娘子，宝姐姐做媒人》、《阿宝两只脚，凳子四只脚》等画，都是你从我的墙壁上揭去，制了锌板在《文学周报》上发表的'。"至于另一件"旧事"，丰子恺说在他们尝到了"人生的滋味"后又默默地干了两杯。于是他又回忆说在二十余年前的一天，他在上海日升楼前遇见郑振铎。郑氏切切地希望丰子恺能与他一起去喝酒。于是他俩就走到了新世界对面的晋隆西菜馆的楼上，点了两客公司菜，外加一瓶白兰地。吃完后算帐的时候，郑振铎对丰子恺说："你身上有钱吗？"丰子恺说有，并掏出五元钱付了帐。第三天，郑振铎到江湾来看丰子恺，并摸出十元钱要还给丰子恺。他的理由是："前天要你付帐，今天我还你。"丰子恺坚持不收，以为"帐回过算了，何必还我？更何必加倍还我呢？"但郑振铎坚持要还。正在二人推挪之际，坐在一旁的刘薰宇一把就抢过了这张钞票，说："不要客气，拿到新江湾小店里去吃酒吧！"于是大家赞成，号召了夏丏尊、匡互生、方光焘等七八个人，在小酒店里大吃一顿，待这张十元钱钞票吃完的时候，全体皆已烂醉。  Fig.3 草草杯盘供语笑 昏昏灯火话平生 丰子恺对于酒的痴迷是出了名的。这在白马湖期间就已表现出来了。而在立达学圆时期，要一次能喝五斤绍兴黄酒才能入会的"开明酒会"，丰子恺也是其中的成员之一。还有一则趣闻值得一提。丰子恺是一个嗜酒的人。他后来拔牙后，牙医易昭雪特意关照他暂时不得饮酒，否则对伤口不利。这使丰子恺痛苦万分。为了过酒瘾，丰子恺居然想出了一个偷酒吃的办法。他用一根服药用的带有橡皮头的玻璃管，吸几滴酒，然后注射到喉头，再吞咽下肚。这样的吃法，酒液不会触及拔牙后留下的创口，又能暂时解脱酒瘾，虽不够滋味，却也聊胜于无。丰子恺偷酒吃的事，后来还是被易昭雪知道了。但他除了苦笑，也奈何不得。 丰子恺爱喝酒，对此道亦有着他独特的见解。有一次，他与一位学生谈到《论语》中"唯酒无量，不及乱"时说："古代人吃酒，是用音乐伴奏的，'乱'是指乐章的末尾，'不及乱'就是叫吃酒的人不要拖到音乐的末章，酒还不停止。依我看，不妨把'不及乱'解释为'不要吃得糊里糊涂'更为确切。" 丰子恺与像郑振铎这类朋友喝酒，应该也是如此。"人生的滋味"便也就在此中了。
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