趙瑩

在閱讀海飛過往的作品時，總能發(fā)覺他在脈絡(luò)把握上的精妙之處。他寫“燒腦”的小說架構(gòu)，不僅是融合推理、言情、家國等元素，亦是以細致的方式展現(xiàn)人與人之間的情懷。

浙籍小說家海飛新作《戰(zhàn)春秋》的人物中心不再同以往作品一般聚焦于男性角色，而是以更多的筆墨描摹女性諜者的形象，像里面出現(xiàn)的西施、鄭旦等人，都呈現(xiàn)出濃厚的悲劇色彩。眾所周知，西施是越國用來迷惑吳王夫差的棋子，但是這位女性人物的心路歷程始終是一團迷霧。所以，海飛另辟蹊徑，不多言兵家攻占之術(shù)，而是從這些小人物入手，編織出了一個跌宕起伏、動人心魄的春秋諜戰(zhàn)故事。這也是作者構(gòu)建“海飛諜戰(zhàn)世界”系列小說以來，涉足“古代諜戰(zhàn)”的開篇之作。

小說主要圍繞“句踐滅吳”這一著名歷史事件展開。作為《國語》（春秋時期左丘明所撰的一部國別體著作）中的壓軸之作，自然具有傳奇色彩。句踐以敗國之君的身份，苦心孤詣多年，最后反敗為勝，定格在“是故敗吳于囿，又敗之于沒，又郊敗之”的歷史畫面中。但是除卻隱忍、堅毅的特質(zhì)，句踐本人卻有急功近利、寡義無情的一面。《戰(zhàn)春秋》就很全面地豐盈了句踐的形象。在消滅吳國之后，范蠡遠走他鄉(xiāng)，文種留于朝堂，最終被句踐賜死，令人不勝唏噓。在這樣的敘事主線下，一系列驚心動魄的“間諜”與“反間”情節(jié)陸續(xù)上演。小說中，田充與越國女子紫蘇的相遇就是徹頭徹尾的悲劇，他作為臥底負責(zé)打探越國的消息，結(jié)果愛上了善解人意的紫蘇。沒成想被范蠡等人發(fā)現(xiàn)了行蹤，為了保護紫蘇及其腹中的孩子，他必須構(gòu)陷叔護，叛離國家。可是，他的兒子田桑還是死了，紫蘇也瘋了。這種糾葛始終存留文中，海飛以這些二度創(chuàng)作的情節(jié)展開，展現(xiàn)了特定年代家國命題下的無奈與傷痕。

不過，在我看來，本部小說最吸睛的角色卻是句踐的妻子——越后幽羊。她的容貌在多年“階下囚”的日子里失去了光彩，但她的心機在多年苦難的浸淫下愈發(fā)莫測。可以說，越后才是諜報鏈的頂端人物，不管是美貌動人的西施，還是負責(zé)傳遞消息的鄭旦，都是她這盤復(fù)國大計中的棋子。從一開始西施不愿離開家人前往吳國做內(nèi)應(yīng)開始，陰謀就悄然伏下了。在幽羊的授意下，越國人假扮吳國人殺害了西施的父親，西施為報父仇，殫精竭慮接近吳王，于是這出大戲終于拉開了帷幕。直到故事的最后一刻，西施的弟弟施夷青被砍成血人后，幽羊仍不肯放過，為他補上了致命的一劍，利用他的死亡激勵所有的將士，完成最后的復(fù)國之戰(zhàn)。海飛利用史書字縫中的細節(jié)，將歷史罅隙以沉穩(wěn)冷靜的話語加以補充，最終繪就了楚楚動人卻又蒼涼肅殺的畫面。

當(dāng)然，越后真的心狠手辣、作惡多端嗎？我想也不盡然。小說中的人物因為立場不同，他們各自為戰(zhàn)，卻因命運的交匯有著相同的際遇，比如紫蘇和田充、鄭旦和甘紀(jì)，甚至是西施與夫差，在故事里“越級打怪”之余，也隱藏著情感線的設(shè)計，這在原本緊張的劇情氛圍中注入了浪漫主義的色調(diào)，使得人物關(guān)系、明線暗線更加變幻莫測。

在開闊的創(chuàng)作空間中，海飛正以全新的視角演繹著他心目中的朝代與角色，用自己的文字訴說著生命悲歡。西施在一步步成長為諜者的過程中，遭遇重重困難，首先就得從顏王后和蕓王妃的打壓下獲得夫差的注意。當(dāng)然，“宮斗”只是她前進路上的一小步，她還需要擺脫伍子胥的監(jiān)視，將自己摘除在外。這時借由叔護的事件，她成功地讓夫差對伍子胥產(chǎn)生了嫌隙。所以，諜者是一門高級的學(xué)問，想要在亂世中成功潛伏，光有外表遠遠不夠，內(nèi)在的智慧和同伴的配合也很重要。

在閱讀海飛以往的作品時，總能發(fā)覺他在脈絡(luò)把握上的精妙之處。他寫“燒腦”的小說架構(gòu)，不僅是融合推理、言情、家國等元素，亦是以細致的方式展現(xiàn)人與人之間的情懷，像甘紀(jì)為護鄭旦情愿自斷一臂，隱于鄉(xiāng)野，卻在吳國即將淪陷、明知死局不可破的情況下，選擇和自己的君主死在一起;還有一心為國的伍子胥，作為典型的復(fù)仇者形象，他在書中一直是激進而剛毅的，為國一夕白頭，甚至死后要將頭顱掛在吳國都城的城門上，眼睛始終望向越國的方向。由此，這場不斷“逆轉(zhuǎn)”的間諜大戰(zhàn)告一段落，然而那些溫情的、動人的情緒卻生長與延續(xù)著，從未改變。這樣的寫法為古代諜戰(zhàn)小說創(chuàng)作加入了新思考，讓人常讀常新。

More than the Rebirth of King

A Brief Review of Hai Feis New Novel，

By Zhao Ying

， or ， is a historical fiction recently released by Hai Fei， a Shaoxing-born fictionist living in Hangzhou， capital city of Zhejiang Province. Despite its masculine title， the new novel spends perhaps more words than necessary to describe the female characters such as Xi Shi the Beauty and Zheng Dan， both sent by the King of the State of Yue to his rivals as honey-traps. The novels tragedy colors are spiced up by a well-crafted espionage war sizzling with the captivating subtlety of emotional ups and downs of women. In a noticeably feminine perspective， the author seems to have created a new narrative style in his “espionage” series that has already garnered an impressive fan base. The epic settings drawing on the historical events of the Spring and Autumn era （770-476BC） render a spectral sense of mystery to the plotting， with warcraft only used sparingly where necessary to highlight the mentality of the seemingly small characters.

The plot is set in the backdrop of the legend of Goujian， whose spectacular comeback story is arguably the best illustration of the maxim “a man can be destroyed， but not defeated”. After losing the battle in 496 BC， the king put aside his self-esteem and served for three years as the servant of the King of Wu until he was eventually allowed to return to his native state. Hai Feis new novel， however， strives to present the legendary ruler in a fuller picture by exploring his lesser-known sides – his kingly cruelty and recklessness that eventually led to his estrangement with Fan Li and the tragic death of Wen Zhong， a strategist and one of the most devoted and talented advisors to Goujian.

In the authors reconstruction of the historical intricacy of the turbulent warring years， the catastrophic love between the commander Tian Chong and Zisu， the girl he knew he should stay away from but fell in love at first sight， constitutes a stirring chapter that brings the novels espionage charm into full play. In desperation， Tian Chong had to cross the ultimate moral line to try protecting the girl and their child. The result of the betrayal is their son becoming a child never born and the nervous breakdown of Zisu.

In my opinion， the most compelling character in the novel is Youyang， the wife of Goujian. Her feminine beauty waned in the three years of humiliated life after her husband lost the battle as well as his pride， but in the darkest years in life her heart became a piece of stone. Years of suffering honed her scheming and manipulating skills to perfection， and she is depicted in the novel as the invisible， cold-blooded mastermind behind a series of political intrigue that eventually changes the life of people she loved or hated and the fate of the state. Trying her best to restore the pride of her husband， she has to suffer from the pain of self-betraying.

The author is a master of weaving the minor details vaguely revealed by historical documentation into a thrilling drama that contains new， non-mainstream perspectives without sabotaging historical truth. In the novel， the fate of individuals， regardless of social status and gender， is the most important motif， running throughout the narrative to create spell-binding tension and sensation.

The author strives to put romance and warcraft in juxtaposition. His bold way of storytelling fills the plotting with the beauty of romanticism. His mastery of narrative framework design is fully shown in the new novel. Like an architect， he plays with historical materials effortlessly， focusing on emotional collision and the unfathomable abyss of human nature， and avoiding making conclusions.

Fairly speaking， it takes a lot of brain work to follow the flow of the novel. However， the cinematic sensation achieved by the author through the stunning power of words is easy to get on the part of the reader. The novel is more than about the rebirth of a king. It is about the joys and sorrows of life， and the fickleness of human hearts.