学文网清人有《乾嘉诗坛点将录》，以《水浒》108将分拟诗苑名家，意在“借说部狡狯之笔，为记室评品之文”；民国汪辟疆有《光宣诗坛点将录》，流布甚广，而今网上有一篇《“五四”以来词坛点将录》，为词学家刘梦芙所作，点将录中将长年在浙江安吉县执教和生活的郑德涵先生列在其中。
郑德涵(1916-1999)字君量，号廑庐、查庵、颐一老人，浙江平阳人，出身于学者型官宦之家。其父郑汝漳(1884-1962)，字孟特，早年留学日本攻法***，归国后曾任浙江省司法长官，以清廉谨慎著称。工于诗，有《抱一庐诗存》行世。郑德涵先生幼承庭训，打下国学功底。青少年时入国学大师章太炎在苏州创办的国学讲习会，后该会迁至上海更名为太炎文学院，郑先生当时是院中年龄最小的学生。据湖州书画院名誉院长、郑先生生前好友吴迪庵回忆：“太炎先生及夫人汤国梨对先生关怀备至，视同子侄辈行。”章太炎一生弟子甚多(鲁迅亦是其一)，而郑先生可谓章大师的“关门弟子”。
《“五四”以来词坛点将录》中，将郑先生比作“地隐星白花蛇杨春”，称其“学识淹贯，古文、音韵、训诂无所不通，兼精书、画、琴艺，于金石、古泉、集邮亦得其精奥。有《廑庐词剩甲稿》计八十二阕，成于1937年秋至1945年秋，以甲稿中诸作而言，功力才情已不在其师(词学大师龙榆生)之下，深切处或有过之。
郑先生毕生在中学任教。早年曾执教于嘉善、杭州等地，新中国成立前夕应安吉资深教育家、孝丰中学校长潘大坤先生之邀，来安吉任教直至退休。他虽非安吉籍人，然其大半生扎根安吉，可谓本地最后一位名宿。郑先生通音律，能奏古琴，这于填词善莫大矣。而今的词人能粗懂平仄就很不错了，雅人深致如郑先生者少之又少。
《廑庐词剩甲稿》所收诗词清丽雅致，朗朗上口：
一片清商起芦荻，红楼隔雨淡疑无。巡檐飘网蛛终去，抱柱迎潮愿岂虚。
愁易结，意难舒，答终日弄琼琚。即今何物凭相慰，梦里殷勤一纸书。
――《鹧鸪天》
春云浓淡山青赭，雨过泉奔泻。几家村舍散西东，掩映高低绿树一丛丛。
子规凄共山灵雨，不为愁人住。野花簇簇不知名，只傍幽途仄径伴伶俜。
――《虞美人》
郑先生在词学上除其师从龙榆生外，相互切磋、唱和的还有马一浮、黄宾虹、夏承焘、吴湖帆、苏步青、张振维等大师或名家。
吟词之外，郑先生在古钱币方面亦堪称国内屈指可数的专家。他在一组咏古泉词的小序中说：“余癖泉逾五十年。”在一件事上能有长达半个世纪的执著，除见其癖好之深，更可推想其钻研功夫之非同寻常。1996年，浙江省教育电视台“点燃光明”节目组曾拍摄专题片――《宁静的泉源》，介绍他在古泉上的精深造诣。除词学和古钱币外，郑先生在书法、绘画、篆刻上亦成绩不俗，常有独得之妙。吴迪庵说他“书工甲骨、大小篆；画法苍润华滋，有类黄宾虹大师之作；印法古而独树一。”2002年安吉吴昌硕纪念馆曾举办“郑德涵先生书画遗作展”，颇获好评。其实在书画方面，郑先生更以精于鉴赏而见长。也许他本人无意于当一个“创作家”，而以其雍容沉潜之心态、无关功利之素心、广阅千剑之历练，锻就了一流鉴赏家的眼光和识力。读比写重要，文学、书画皆然。另外，无论是书画还是词学，无论是创作还是鉴赏，郑先生都是坚定不移的“正统派”，“野狐禅”种种根本不入其法眼，当然过分的“正统”多少也制约了他。
对创新和突破的认知
笔者虽在青少年时曾听过郑先生的课，且对这位安吉名宿的词学造诣、传统学养和多种才艺不胜敬佩，但我最看重的倒并不是其学问素养之精深，而是他作为一个蕴玉怀珠的饱学之士，那种自甘淡泊的处世风范和谦以自牧的平和心态，且能几十年一以贯之，这恐怕也是他在建国后各种***治运动中得以安然自保之缘由。余生也晚，自识得郑先生后，他在我眼里总是一派蔼蔼然、谦谦然之温润风范，令人如沐春风。吴迪庵说他“淡于名利，不善经营”，其实他于填词、古泉、书画、音律等浸染如此之深，区区世俗之名缰利索岂能牵绊住其审美心智?私忖郑先生对各门艺术更多抱一种“玩赏”心态，而不将其视为“名山事业”，像安吉先贤吴昌硕那样发愤***强、一意精进。郑先生业余玩赏“玩”出了专业水准和名家境界，关键是起点高、底气厚、积淀深、韧性足、俗气脱、心态平。在《清平乐・小园闲步独成》中他流露了这样的心迹：“种瓜种豆平生，老来更畏浮名。披卷遥知千载，青门不恋东陵。”能如此无意于名利，方成“名宿”!据说郑先生晚年多有书画篆刻类弟子，有人动辄以“曾师从郑德涵先生”自榜。其实，作为最后一代名宿，郑先生身上许多东西，我们这一代人是根本学不到或几乎无法学的。名宿已逝，斯人不再，文脉谁承?
我辈黯然……
郑先生和其父两代人皆深受传统文化之熏陶，善诗词，且谙书法绘画，深得中华千年文脉之传。然到了郑先生儿孙两代，似已不复再有传人。其长子是本县计算机方面的第一代行家，其外孙女是留美生物学博士。实用科技日兴而传统人文日衰，郑家四代人的两种取向，多少折射了时代风气的大相径庭。另郑先生生前富收藏(尤其是古钱币)，惜死后多散佚。
郑先生于1999年除夕之夜驾鹤西归。30年前曾是孝丰国营副食品商店的某女营业员告诉我：郑老师和夫人(钱重引女士)那时常到店里买东西。她印象最深的是买杏元饼干时，郑老师总是将“杏”字念为“xing”，而本地土话中“杏”的发音在“eng”和“ang”之间……如今这种饼干在市场上似早已绝迹，愿此文如一块小小的杏元饼干，为郑先生之灵一飨。
A Modest Versatile Scholar
By Fan Yizhi
When it comes to describing Zheng Dehan (1916-1999), a scholar who spent half of his life in Anji County, Zhejiang Province, one may use a lot of the word's hough? For example, though Zheng Dehan was not born in Anji, the county is more than glad to claim him as a literary celebrity and regard him as a cultural heritage. And though few in China know about him, a scholar of Ci * recently lists Zheng as one of the country's top Ci masters in the modern era in an article posted online. And though, a middle school teacher by career, Zheng came to Anji County in the late 1940 and taught at a local middle school till he retired, he was honored by local admirers as a literary master.
Zheng came from a family of scholars. His father studied law in Japan and later became the magistrate in Zhejiang. Zheng Dehan grew up among books. He was the youngest student in the Chinese Academic Studies Seminar initiated and sponsored by Zhang Taiyan (1869-1936), a famous scholar of ancient Chinese studies in the early 20th century.
Zheng was a master of Ci. He was also a master of sound and its rhythm and he played Guqin zither. This knowledge of musical temperament helped him to compose refined poems to given tunes. His best Ci poems were written between 1937 and 1945. His Ci-poem pals included many modern masters and celebrities in the 20th century China.
Zheng was more than a Ci master. He was a painter, calligrapher, Guqin player, seal engraver, philatelist and a numismatician.
A leading numismatician in the country, Zheng Dehan was into numismatics for over fifty years. In 1996, Zhejiang Education Television produced a documentary on his collection and knowledge of currencies used in ancient China.
As a scholar and teacher, Zheng kept a very low profile, keeping himself away from fame and wealth. He was gentle and genial, and devoted to studies of ancient things for his lifetime. That was probably how he was able to protect himself well and remained unscathed in the political storms that plunged the country into chaos and damaged so many people's lives.
As the last master with profound knowledge of traditional Chinese studies in the county, Zheng was able to teach his disciples. Some of them made self-advertisement that they had learned painting, calligraphy and seal engraving from Zheng. But alas, how much have they learned from Zheng's life philosophy, his spirit, and his well cultured personality?
Though Zheng and his father were masters steeped in traditional Chinese culture, Zheng's children and grandchildren have diverted to different professions. It is simply because of the time and new cultural trends. His eldest son was one of the first computer experts in the county. His granddaughter is a Ph. D. from a US university. It is a pity that Zheng's collection is partly gone today.
* Ci, a type of ancient poetic style, originating in the Tang Dynasty (618-907) and then fully developed in the Song Dynasty (960-1297)
(Translated by David)