扬州漫·腾冲精华热点

扬州漫·腾冲

（中华新韵）

天宜居士

中缅疆陲，

天南锁钥，

极边第一名城。

拜国殇墓地，

忆将士出征。

反攻战、八十年后，

残垣断壁，

早已无踪。

敬安澜、倾城公祭，

情动苍穹。

英雄怀旧，

复活还、唯见熙雍。

入美丽村庄，

炊烟袅袅，

水碧山葱。

地热温泉犹酷，

天然浴、身悦心宁。

看今朝腾越，

已然闲逸繁荣。

（作者简介:天宜居士，本名夏金峣，贵州人，欧洲大学工商管理博士。北京大学未名湖文学社签约作家。)

点评：

当代词人天宜居士的这首《扬州慢·腾冲》，以中华新韵为韵系，择取姜夔自度曲《扬州慢》为词牌，以滇西重镇腾冲为书写对象，贯连抗战历史与当代风貌，是一首典型的当代怀古纪游词。现逐句解析与综合鉴赏。

一、逐句专业解析

上片：

中缅疆陲，天南锁钥，极边第一名城。

开篇三句以地理定位统领全篇。腾冲地处云南省西部，与缅甸山水相连，国境线长150公里，是中国通往南亚、东南亚的重要门户。“天南锁钥”四字精准点出腾冲在西南边防中的战略地位——历代皆派重兵驻守，明代还建造了石头城，史称“极边第一城”。“锁钥”一词兼有军事屏障与交通枢纽的双重含义，暗示了这座边城在历史上既为兵家必争之地，又是南方丝绸古道上的商贸重镇。起拍三句由远及近、由宏观至具体，以工稳的四言对仗与五言收束，为全词奠定了沉雄的地理叙事基调。

拜国殇墓地，忆将士出征。

“国殇墓园”是全词的核心意象。墓园位于腾冲县城西南叠水河畔、来凤山北麓，是为纪念抗日战争时期中国远征军第二十集团军在腾冲战役中阵亡将士而修建，也是中国规模最大、保存最完整的抗日战争时期正面战场阵亡将士陵园。“拜”字郑重肃穆，“忆”字则将视角从当下拉回历史纵深。“将士出征”一笔带过远征军入缅作战的壮阔场景——1942年2月，中国远征军出师缅甸支援盟军作战，自此开启了滇西抗战的悲壮篇章。两句以极简笔墨涵盖了祭拜与追忆两重行动，用词克制而情感凝重。

反攻战、八十年后，残垣断壁，早已无踪。

“反攻战”特指1944年中国远征军发起的滇西大反攻。1944年5月，为收复滇西失土、打通滇缅公路，中国远征军发起反攻，经过127天血战，于9月14日全歼守敌，腾冲成为抗战中首座光复的县城。词人在此以一“后”字拉开八十年的时空距离，继而以“残垣断壁，早已无踪”六字作结，形成巨大的今昔反差。当年“全城一片焦土”的惨烈景象，如今已了无痕迹。此处不说“已无踪迹”而说“早已无踪”，一个“早”字蕴含了时间的漫长与沧桑的深沉，语淡而味厚。

敬安澜、倾城公祭，情动苍穹。

“安澜”即戴安澜将军。戴安澜于1942年参加中国远征军，出师缅甸支援盟军作战，在坚守东吁战斗中鏖战十二昼夜，予日军以沉重打击；同年5月在北撤途中遭日军伏击身负重伤，壮烈殉国。其灵柩运抵腾冲时，县长张问德率全县父老乡亲二十万人沿街跪迎。词人以“倾城公祭”四字浓缩了这一撼人心魄的历史场景，“情动苍穹”则以浪漫笔法将人间悲情推向天地之间，与杜甫“天地为之久低昂”异曲同工。一个“敬”字，既是对先烈的虔诚礼赞，也是对民族精神的崇高致敬。

下片：

英雄怀旧，复活还、唯见熙雍。

过片以“英雄怀旧”承上启下，将视角从历史追忆转向现实观照。“复活还”三字极具匠心——既可解读为英雄精神的重生，也可理解为词人假设英烈重返人间。“熙雍”一词源自《诗经·周颂·雝》中的“有来雝雝”，本义为和谐、和乐之貌，此处用以形容腾冲今日的繁荣安乐。设想英烈归来，所见不再是战火硝烟，而是一片祥和盛世，这是一种饱含深情的告慰，也是全词情感的重要转折点。

入美丽村庄，炊烟袅袅，水碧山葱。

三句转入对腾冲当代风貌的具象描绘。“炊烟袅袅”以动态写宁静，炊烟是人间烟火的经典意象，暗示百姓安居乐业的日常生活；“水碧山葱”以色彩写生态，腾冲森林覆盖率高达77%，99座火山雄峙，88处温泉喷珠溅玉，山水的碧绿葱茏正是其生态底色的真实写照。三句由“入”字领起，如镜头缓缓推进，从村庄到炊烟再到山水，层次分明，色调温暖。

地热温泉犹酷，天然浴、身悦心宁。

此三句聚焦腾冲最具特色的地热资源。腾冲地热温泉早在明清时期就享有“一泓热海”之盛誉，是腾越十二景之一，素有“天然地热博物馆”和“温泉世界，养生天堂”的美誉。“犹酷”二字以当代口语入词，为古典词境增添了一抹鲜活的时代气息。“身悦心宁”则以身心双写的笔法，将温泉沐浴的体验提升为一种精神层面的安宁，与上片“情动苍穹”的激越形成鲜明对照。这一“动”一“宁”之间，正是战争与和平、悲壮与安详的深层映照。

看今朝腾越，已然闲逸繁荣。

结拍以“看今朝”三字总揽全篇，“腾越”为腾冲古称，“闲逸繁荣”四字以散文化笔法作结，似脱口而出而实含千钧之力。从“天南锁钥”的军事重镇，到“残垣断壁”的战争废墟，再到“闲逸繁荣”的现代边城，腾冲八十年间的沧桑巨变，最终凝结在这四个平实的字中。以“已然”作结，语气笃定而从容，既是历史结论，也是时代注脚。

二、综合鉴赏

（一）章法布局：今—昔—今的环形结构

全词以时间为经、空间为纬，构建了一个“今—昔—今”的环形叙事结构。上片从地理定位入手，迅速转入历史追忆，由“拜国殇墓地”到“忆将士出征”再到“反攻战”，层层深入，将读者带入那段血火交织的历史深处。下片以“英雄怀旧”为枢纽，骤然折返现实，以村庄、炊烟、山水、温泉等一系列和平意象铺展出一幅安宁繁荣的当代画卷。这种结构使全词在短短的篇幅内完成了从历史悲壮到现实安详的情感穿越，今昔对比产生巨大的审美张力。值得注意的细节是，全词在时空跳转中始终有一个“我”在场——上片是“拜”与“忆”的行动主体，下片是“入”与“看”的观察主体，词人游走于历史与现实之间，充当了记忆的守护者和盛世的见证人。

（二）历史记忆的文学重构

这首词最突出的艺术成就在于以词体形式完成了对腾冲抗战历史的文学重构。词人并未正面描写战争的惨烈场景，而是通过“国殇墓地”“将士出征”“残垣断壁”“倾城公祭”等高度凝练的意象，以侧笔勾勒历史的轮廓。这种写法继承了姜夔《扬州慢》以“废池乔木，犹厌言兵”写扬州浩劫的含蓄传统，以不写之写传递出更深沉的悲怆。尤为可贵的是，词人对“八十年后”的“早已无踪”并未作悲凉之叹，而是以“熙雍”“繁荣”作结，将悲壮记忆转化为前行力量，体现了当代词人面对历史时更为通达的精神姿态。

（三）词牌选择与格律特色

选择《扬州慢》作为词牌，本身就具有深层的互文意味。姜夔原词写扬州在金兵劫掠后的荒凉景象，其小序云“感慨今昔，因自度此曲。千岩老人以为有《黍离》之悲也”。天宜居士以同一词牌写腾冲的战争记忆与和平新生，既是向姜夔致敬，也是在新的历史语境下赋予这一词牌以新的情感内涵。《扬州慢》双调九十八字，前后片各四平韵，前片第四、五句及后片第三句、第八句皆上一、下四句法。本词“拜国殇墓地，忆将士出征”“入美丽村庄，炊烟袅袅”等句均符合上一下四的句式规范，在格律上保持了词体的法度与严谨。同时，词作采用中华新韵，以普通话语音为标准，使古典词牌获得了更广泛的当代读者基础。

（四）意象系统的多重意蕴

全词的意象可归为两大系统：历史意象群与和平意象群。前者包括“疆陲”“锁钥”“国殇墓地”“残垣断壁”“公祭”等，色调沉暗，语感凝重；后者包括“炊烟”“碧水”“山葱”“温泉”“天然浴”等，色调明亮，语感温润。两大意象群在下片的“英雄怀旧，复活还、唯见熙雍”处交汇——英雄的目光穿透历史烟云，所见的正是今日的“熙雍”之景。这一交汇点的设置，使全词的意象体系形成了从对立到统一、从悲壮到欣慰的情感曲线，完成了主题的最终升华。

（五）当代怀古词的价值与启示

在当代旧体词创作中，如何平衡古典格律与现代经验、如何处理历史记忆与现实关怀的关系，始终是核心课题。天宜居士的这首《扬州慢·腾冲》提供了一个值得关注的样本：词人坚守了《扬州慢》的词牌规范与姜夔开创的艺术精神，同时将笔触伸向当代边城的日常生活，以“犹酷”“看今朝”等带有当代口语色彩的语汇，打破了古典词境与现实生活之间的隔膜。更重要的是，全词在“悲壮—欣慰”的情感转换中传递了一个深刻的时代命题：对英烈最好的告慰，不是沉溺于悲情，而是建设好他们用生命捍卫的土地。这种将历史记忆转化为当下力量的精神姿态，使这首词超越了一般的纪游怀古之作，获得了更为深邃的思想价值。

Man Tengchong, Yangzhou

(Chinese New Romance)

A paradise of paradise

China and Myanmar,

The sky-south key,

The first city on the far side.

The Bastille Cemetery,

I remember the soldiers going on the battlefield.

The counter-offensive, 80 years later,

Broken walls,

He has long since disappeared.

Jing An Lan, the public inspector of the city of Luang,

Love moved the sky.

Hero nostalgia,

I would like to see Xie Yong when I am resurrected.

Entering a beautiful village,

The smoke was coming from the cookstove,

The water is green and the stalks green.

Geothermal hot springs are cool,

Take a natural bath and enjoy your body and mind.

See how it goes over this day,

Already idle and prosperous.

(Introduction: Tian Yisheng, real name Xia Jinji, a native of Guizhou, PhD in Business Administration at European University.) Peking University does not have a signed writer for the unnamed HKU literary society. )

Comments:

The poem "Yangzhou Slow and Tengchong" by contemporary poet Tian Yizhi, based on the new Chinese rhythm as the rhyme, chose Jiang Gui's self-dirged song "Yangzhou slow" as the notation, and wrote the object of Tengchong, a major town in western Yunnan. It connects the history of the resistance to war with the contemporary landscape, and is a typical contemporary greeting poem. I will now analyze and appreciate it sentence by sentence.

I. Professional Analysis by sentence

Previous film:

In the border region of China and Myanmar, the Tiannan key is the first city on the frontier.

The opening three sentences dominate the whole story with geographical positioning. Tengchong is located in western Yunnan Province, sharing a 150-kilometer border with Myanmar, and serves as a crucial gateway for China to South and Southeast Asia. The four words "Sun-South Key" accurately indicate the strategic position of Tsinghua in the southwest border defense - historically, heavy troops were stationed at Tsinghwa, and the Ming Dynasty also built a stone city, known in history as "the first city on the extreme side." The word "lock key" means both a military barrier and a transportation hub, suggesting that the border town was historically both a battlefield for soldiers and a major trading town on the ancient Southern Silk Road. The first three sentences range from far and near, from macro to specific, and are bound by a steady four verses and five words, laying the tone of a majestic geographical narrative.

In the Tomb of the War of the Nation, I remember the soldiers who went to war.

The "graveyard of the nation's war" is the central image of the word. The cemetery is located southwest of Tengchong county town, along the Dieshui River and at the northern foot of Laifeng Mountain. It was built to commemorate the soldiers of the Chinese Expeditionary Force's 20th Army Group who fell during the Battle of Tengchong in the Second Sino-Japanese War. It is also the largest and best-preserved war cemetery on the main front of the Second Sino-Japanese War in China. The word "bye" is solemn and solemn, while the word "remember" draws the perspective from the present back to the depth of history."The deployment of troops" briefly alludes to the grand scene of the Chinese Expeditionary Force entering Myanmar to fight—In February 1942, the Chinese Expeditionary Force marched into Myanmar to support the Allied forces, thereby inaugurating the tragic yet heroic chapter of the resistance in western Yunnan.The two sentences cover both the act of worship and the act of remembering in a very simple manner, with a controlled word and a heavy emotion.

Eighty years after the counter-offensive, the ruins were gone.

The term "Counteroffensive" specifically refers to the major counteroffensive launched by the Chinese Expeditionary Force in western Yunnan in 1944. In May 1944, to recapture the lost territories in western Yunnan and reopen the Burma Road, the Chinese Expeditionary Force launched a counteroffensive. After 127 days of fierce combat, they completely annihilated the enemy defenders on September 14, making Tengchong the first county town liberated during the War of Resistance against Japan. The phraser here opens the space-time distance with the word "after," and concludes with the words "broken walls, long gone," forming a huge contrast between the past and the present. There are no trace of the tragic sight of "the whole city being scorched soil." Here, we don't say "no trace" but "already no trace." A word "early" implies the longness of time and the deepness of the past, and the words are bland and tasteful.

I saluted Anlan and poured down the city as a public offering, and my love touched the sky.

"An Lang" is General Dai An Lang. Dai Anlan joined the Chinese Expeditionary Force in 1942 and departed for Myanmar to support Allied operations. During the defense of Toungoo, he engaged in fierce combat for twelve consecutive days and nights, inflicting heavy losses on the Japanese forces. In May of the same year, on the way to the north, he was seriously wounded by an ambush by the Japanese army and martyred. When his coffin arrived in Tengchong, County Commissioner Zhang Xuede led 200,000 fathers, old people and villagers from all over the county to kneel down the street to greet him. The renowned poet condensed this breathtaking historical scene with the words "The offering of a fallen city," and "Love moved the heavens" used romantic writing to push the grief of mankind between the heaven and the earth, in a similar way to Du Fu's "The heavens are so long ago." A word of "salute" is not only a pious praise for the martyrs, but also a noble salute to the spirit of the nation.

The next film:

A hero is nostalgic, resurrected, and only wishes Xie Yong.

The film is based on "heroic nostalgia," which shifts the perspective from historical remembrance to realistic observation. The word "resurrection" is a very ingenious one - it can be interpreted both as the rebirth of the hero spirit and as the phrase's assumption that the hero returns to earth. The word "Xi Yong" comes from the word "Hawaii" in the Psalm of Chow Yun. It means harmony and harmony, and is used here to describe the prosperity and well-being that is rushing into today. Imagine that the heroic hero returns and sees no longer the smoke of war but a peaceful world, which is a heartfelt reassurance and an important turning point in the whole word of emotion.

I entered a beautiful village with a smoke coming from the cookstove and a green water.

The three sentences move on to a figurative depiction of the contemporary landscape of Tangshan. "Stirring smoke" describes serenity in motion, and smoke is a classic image of fireworks on earth, implying the daily life of people living in peace and happiness. "Water and green mountains" writes about the ecology in color, and Tengchong Forest Coverage is as high as 77%, 99 volcanoes stand in confrontation, and 88 hot springs are sprayed with jade, and the green and green landscape is a true reflection of its ecological background. The three sentences begin with the word "in," as the camera slowly advances, from the village to the cooking smoke to the landscape, with clear layers and warm tones.

Geothermal hot springs are cool, natural bathing and peace of mind.

These three sentences focus on the most characteristic geothermal resource. Tengchong geothermal hot springs enjoyed the reputation of "a hot sea" as early as the Ming and Qing Dynasties, and are one of the twelve landscapes of Tengzhou, known as "natural geothermal museum" and "hot spring world, wellness paradise." The word "juicy" is used in contemporary colloquial language, adding a vivid epoch to the classical idiom. "Body happiness and mind peace" uses the penmanship of both body and mind to elevate the experience of hot spring bath to a spiritual level of peace, in stark contrast to the exhilaration of the above "love moving the sky." Between this "motion" and "peace," there is a deep reflection of war and peace, of sadness and serenity.

Look at the leap now and the idle prosperity already.

The conclusion of the film takes up the whole story with the words "Look at the present," "Tianyue" is the ancient name of Tangshan, and the words "idle prosperity" are closed by the sparse cultural brushwork, which seems to escape from speech but contains a great deal of power. From the military stronghold of the "Sun-South Key," to the "broken walls" of the war ruins, to the modern side city of "idle prosperity," the tremendous changes that have taken place over the past eight decades are finally contained in these four simple words. To conclude by saying "already," with a firm and relaxed tone, is both a historical conclusion and a footnote to the times.

II. Comprehensive appreciation

(1) Chapter layout: present-past-present circular structure

The whole word takes time as the longitude and space as the latitude, creating a circular narrative structure of "the present-the-past-the-present." The film begins with geographical positioning and quickly moves into historical remembrance, from the Tomb of the Bastille to the Battle of the Heroes to the Counter-offensive, going deeper, taking the reader into the depths of that blood-and-fire historical period. With "heroic nostalgia" as the hub, the next film suddenly returns to reality, displaying a peaceful contemporary landscape with a series of peaceful images of villages, cooking tobacco, landscapes, hot springs and other places. This structure allows the whole word to complete an emotional transition from the tragic past to the serene reality in a short space of time, and the contrast between the past and the present creates a great aesthetic tension. The notable detail is that the whole word always has an "I" in the space-time transition - the actor in the previous film was "bye" and "remember," The following film is the subject of "in" and "see" observation, as the phraser wanders between history and reality, acting as the guardian of memory and a witness to the greatness of the world.

(2) Literary reconstruction of historical memory

The most prominent artistic achievement of this word lies in the literary reconstruction of the history of the Great War in the form of a phrase. The poet did not depict the tragic scene of the war head on, but instead sketched the contours of history with scrawled images such as "graves of national sorrow," "soldiers marching," "broken walls," and "public offerings of the city falling." This style of writing inherits the implicit tradition of Jiang Zhu's "Yangzhou Slow" to write about the devastation of Yangzhou by "abandoning the pond of trees, and I loathe speechless soldiers," conveying deeper sorrow by not writing about it. Especially valuable is that the poet did not lament the "long absence" of "eight decades later," but ended with "Xi Yong" and "prosperity," transforming the tragic memory into the force for progress, reflecting the more sophisticated spiritual posture of contemporary poets in the face of history.

(3) The choice of a slate and the character of a note

Choosing "Yangzhou Slow" as a wordplay in itself has a deep intertextual meaning. Jiang Zhu wrote about the desolate scene of Yangzhou after the pillage of the Golden Army, and his preliminary remarks stated“I feel nostalgic about the past because I spent this song. The old man of Thousand Rocks thought there was a tragedy in Quentin.”。Tian Yizhi wrote the war memory and the new birth of peace with the same card, both to pay homage to Jiang Zhu and to give this card a new emotional meaning in the new historical context. "Yangzhou Slow" is in double play with 98 characters. Each front and back stanza has four flat lines. The fourth and fifth sentence in the front stanza and the third and eighth sentence in each latter stanza are first and second sentence. The sentences "By the graveyard of the country mourning, remembering the soldiers who went to war," "In a beautiful village, the smoke is rising," all conform to the sentence norms of the preceding two and four, and maintain the grammatical precision and rigor of the word. At the same time, the dictionaries adopted the new Chinese rhyme and took the Mandarin voice as the standard, giving classical dictionaries a broader contemporary reader base.

(iv) Multiple implications of the image system

The term image can be grouped into two systems: the historical image group and the peaceful image group. The former include "frontiers," "key keys," "graveyards of national mourning," "broken walls," "public offerings," etc., with dark colors and heavy words. The latter includes "cooking smoke," "blue water," "green onions," "hot springs," "natural baths," etc., with bright tones and a warm sense of language. The two groups of imagery meet in the next film, "Hero Nostalgia, Resurrection, and Seeing Xi'an" - the hero's gaze penetrates the historical clouds and sees exactly what the "X'an" is today. The setting of this meeting point allows the whole word's imagery to form an emotional curve from opposing to unified, from sorrow to relief, completing the final sublimation of the theme.

(v) The value and implications of contemporary ancient words

In the creation of contemporary old-fashioned words, how to balance classical rhythm with modern experience, and how to handle the relationship between historical memory and practical concerns, have always been the core topics. Tian Yisheng's "Yangzhou Slow and Tangshan" provides a sample that deserves attention: the songwriter adheres to the standard of "Yangzhou slow" and the artistic spirit pioneered by Jiang Zhu. At the same time, he extended his brushes to the daily life of contemporary side towns, breaking the barrier between classical vocabulary and real life with words such as "Jekyll" and "Look at Today." More importantly, the whole word carries a profound zeitgeist proposition in its "sorrow-relief" emotional transition: the best comfort to the heroes is not to indulge in grief, but to build the land they defended with their lives. This spiritual gesture, which translates historical memory into present-day power, allows the word to acquire a deeper intellectual value beyond the ordinary exploration of ancient times.