先以他們的文學來說吧,最精粹最特殊的古代文學,當然是三十一字母的和歌。寫男女的戀情,寫思婦怨男的哀慕,或寫家國的興亡,人生的流轉,以及世事的無常,風花雪月的迷人等等,只有清清淡淡,疏疏落落的幾句,就把乾坤今古的一切情感都包括得纖屑不遺了。至於後來興起的俳句哩,又專以情韻取長,字句更少──只十七字母──而餘韻餘情,卻似空中的柳浪,池上的微波,不知所自始,也不知其所終,飄飄忽忽,裊裊婷婷;短短的一句,你若細嚼反芻起來,會經年累月的使你如吃橄欖,越吃越有回味。最近有一位俳諧師高濱虛子,曾去歐洲試了一次俳句的行腳,從他的記行文字看來,到處只以和服草履作橫行的這一位俳人,在異國的大都會,如倫敦、柏林等處,卻也遭見了不少的熱心作俳句的歐洲男女。他回國之後,且更聞有西歐數處在計劃著出俳句的雜誌。
其次,且看看他們的舞樂看!樂器的簡單,會使你回想到中國從前唱“南風之薰矣”的上古時代去。一桌七弦或三弦琴,撥起來聲音也並不響亮;再配上一個小鼓──是專配三弦琴的,如能樂,歌舞伎,凈琉璃等演出的時候──同鳳陽花鼓似的一個小鼓,敲起來,也只是冬冬地一種單調的鳴聲。但是當能樂演到半酣,或凈琉璃唱到吃緊,歌舞伎舞至極頂的關頭,你眼看著臺上面那種舒徐緩慢的舞態──日本舞的動作並不複雜,並無急調──耳神經聽到幾聲琤琤琤與冬冬篤拍的聲音,卻自然而然的會得精神振作,全身被樂劇場面的情節吸引過去。以單純取長,以清淡制勝的原理,你只教到日本的上等能樂舞臺或歌舞伎座去一看,就可以體會得到。將這些來和西班牙舞的銅琶鐵板,或中國戲的響鼓十番一比,覺得同是精神的娛樂,又何苦嘈嘈雜雜,鬧得人頭腦昏沈才能得到醍醐灌頂的妙味呢?
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