《容安馆札记》656-660则_視昔犹今_新浪博客

《容安馆札记》656-660则

六百五十六

呂留良《何求老人集》言敦源校錄、《東莊詩集》風雨樓叢書。誤字過多，思之不適。合本稍善，勘正亦少，又僅至《夢覺集》之半而止耳。晚村詩風格出入黃太沖、吳孟舉間，修詞敷藻，故當視南雷為潔適，而較黃葉為粗獷。膽大為文，意新語險，時時足使二家駭汗走僵也。七言歌行如《倀倀集》之《黃九煙以奇才吟見贈歌以答之》、《真進士歌》、《看宋石門畫輞川圖依太沖韻》、《題如此江山圖》皆頹放肆詭，酷類九烟。左仁、周貽樸合輯《九烟先生遺集》卷三之《姑山草堂歌》、《楚州酒人歌》、《六月六日登洞庭西山縹緲峯放歌》、黃槆輯《黃九烟先生別集‧芻狗齋詩集》之《假黃九烟歌》、《罵人歌》可比勘，隱開易哭庵晚年詩體如《數斗血歌》、《和樊山禳天韻自述》之類矣。五古却有極簡歛淡摯之作，如《萬感集》之《東莊雜詩》之第三、四、七首、《零星集》之《集飲丁叟水檻》、《詩留別州來》、《欬氣集》之《坐雨有感》是也。【趙撝叔《悲菴詩賸‧舟泊石門憶事有作》第三首："洛閩正學偽殷頑，講習堂餘水一灣。空腹高談焉取信，敬觀禹鼎識神奸（世宗憲皇帝洞燭呂留良之奸）"；《呂留良逆惡昭著而近人以其學遵程朱輒有恕詞甚矣小人不善之可揜也續述舊聞以示來者》："諸生棄却作遺民，三窟中容兩截人。叵奈質疑存姓氏，不曾抹殺呂光輪（留良為諸生名光輪，李岱雲選《本朝考卷質疑集》錄一首，題為'質勝文則野'四句，上書'浙江顏學院科試石門縣學一等四名呂光輪'）"；"清獻過從求道學，梨洲絕交緣買書。取友必端非易事，南雷差幸勝三魚（留良師事梨洲，後梨洲入江南，留良往山陰買祁氏書，梨洲屬求衛湜《禮記集說》，留良得之，慝不與。梨洲大怒，遂削其籍。陸清獻從留良講學推重，甚至《三魚堂集》中有《與留良書》及《祭文》，當抽燬。聞陸《集》已重刊，不知已刪去否）"；"妙道真工闢陸王，良知盡絕喪天良。如何言不因人廢，此論吾嗤魏邵陽（留良痛斥良知之學，以闢陸、王，而宗程、朱，故人恕之，以為理學正傳。然理學大儒，合之謀反大逆，言行不相顧，不應至斯極也。往居都下，見書攤上有鈔本留良論學書數篇，邵陽魏君源加墨其上，言留良人當誅，言不可廢。余不謂然，取歸摧燒之）。"】【《樵隱昔寱》卷十三《國朝學案小識書後‧三》謂："邵念魯《學校論》詆'偽程、朱'，乃指呂留良，觀《南江文集》卷十念魯《行狀》可知。楊開基《陸清獻公年譜》原本中，'呂晚村'三字皆剜去。"戴名世《南山全集》卷五《九科大題文序》："何以始於乙卯、丙辰也？曰：以晚村呂氏之選，終於壬子、癸丑也。（中略）近日呂氏之書，盛行於天下。其為學者分別邪正，講求指歸。由俗學之講章而推而溯之，至於程、朱之所論著；由制義而上之，至於古文之波瀾意度。雖不能一一盡與古人比合，而挽瀾廓清，實有與艾氏相為頡頏者。"徐豫貞《逃葊詩草》卷三《題呂晚邨東莊詩鈔後》："故應此老扶疎筆，學得誠齋樸妙詞。"】【鈕玉樵《觚賸續編》卷一："呂晚村中年以後屏黜風騷，精研理學，然其少時每一點筆，輒成佳句，五言一聯云：'病嫌賓客滿，貧覺子孫多。'" 王爾綱《天下名家詩永》卷八呂留良五首，評云："晚村羽翼聖經，功在理學，發為吟咏，復精詣如許，所謂實至光輝，源遠流長也。超唐軼宋，已見一斑"；卷二錢謙益評亦引晚村稱李西涯詩真雅。】【蔡文甫《紅蕉詩話》卷三云："己酉七月，憲皇帝搜宗人丞蔡嵩家，得顧小厓《皇城草》十一章，疑含譏刺，將加罪，又發《金管集》得《聖祖仁皇帝挽詞》第四首云：'何人不解君臣義，罕喻君臣一線情。深淺豈真關貴賤，小［冷］窗搖筆淚縱橫。'睿覽大慟。或曰《輓詞》後接《六賢贊》，呂留良與焉。石門父子戮尸，株連查嗣庭、汪景祺，顧恐得罪，入京時刊易他名，原本尚有存者（顧事及詩見《援鶉堂筆記》四十六，同卷記《查夏重集‧癸亥挽呂徵君詩》，即為留良作）。】【《新齊諧》卷二十四《時文鬼》。《閱微草堂筆記》卷時、卷十八。】【王夫之《搔首問》極詆留良。】【查初白《敬業堂詩集》卷四《輓呂晚村徵君》："屠龍餘技到雕蟲，賣藝文成事事工。晚就人誰推入室，蚤衰君自合稱翁。才今漸少衣冠外，名果難逃出處中。身後有書休論價，也應少作愧楊雄。"】【陸以湉《冷廬雜識》卷六《齊少宗伯［召南］》條云："宗伯之從兄周華，性怪詭，為逆犯呂留良訟寃，錮刑部獄數年。乾隆元年恩赦出，至湖北為道士。子某迹至武當山，迎之歸，年逾六十，乖僻如故。自作詩文，署地輿字，隱以配呂之天蓋樓，宗伯戒之不聽。會熊中丞至台 ，周華突出獻書，有狂悖語，劾奏，置周華極典，宗伯坐是落職。"】【成永健《毅齋詩稿》卷八《讀晚村先生梅花詩跋後》七絕。】【周篔《采山堂詩集》卷四《寄呂晚村》："藻鑒誰能定，因時屢廢興。陽秋季野得，月旦子將能。白帢憎衰世，青雲謝友朋。唯應巖壑裏，長嘯覓孫登。"】【《錢湘靈先生詩集》（抄本）第二冊《得雪客周大書述酒間石門呂晚村論八股頭文字推讓余第一以詩代意却寄》、《語水呂晚村自金陵訪余常州值歸南村有子之喪比來見所留寄所刻朱子遺集雜文及序余和陶詩悵然追記》、《病中有述并似中丞弟（八月吳門太史來為說晚村正命畢吳孟舉邪言詎妄四千金否藏之密牘□一兌四千金言其不）》、《六月十六日□後園能客集山張□成因追話晚村而作》。】【《雪橋詩話餘集》卷六："倪會宣恆宮聲弟園日記有云：'有呂友住石門，晚村因自號焉。見其所選《十二科闈墨》，彈時太甚，過於有為，非純德之士也。後其人果遭身後之禍。'"】【徐倬《蘋村類稿》卷上《晚邨致書云張叔祥善□種樹屬其為余營築余謝之即……答晚邨》七古。】【方中通《陪集》第一種《陪古》卷三《陪翁訓子語》："《趙氏醫貫》得呂晚村，始不偏枯。勿謂古今人不相若也。"】【蔣薰《留素堂詩删後集》卷一《呂用晦見寄一刺自稱釋弟耐可戲譎之》："無可無不可，那得有可耐？阿難會分身，作佛世情在。"】

〇《萬感集‧見釣者》："我來行吟一問之 ，太息老漁不解詩。我向君身覓佳句，君坐詩中自不知。"按此兼用簡齋《將至杉木鋪望野人居》及放翁《漁翁》詩意（第四百五十六則、六百十六則），尚不惡。《零星集‧詩別州來》云："檐柳爾何聞，臨風亦蕭屑。柳情豈有殊，人意換悽悅。"亦從鄭都官《十日菊》之"自緣今日人心別，未必秋香一夜衰"，孔朝散《八月十六夜翫月》之"只恐月光無好惡，自憐人意有盈虧"脫胎。若《夢覺集‧宿何商隱萬蒼山樓》云："夢裡分明曾海外，醉中奇絕只山南"；《喜張佩璁過留廓如樓》云："大擔子頭見崛強，小車兒上試倘佯"；《零星集‧訪周雪客留飲》云："微坳宋硯輕留墨，軟皺宣爐靜吐烟"，則於東坡、康節、放翁，不啻如蟲應聲，如賊偷語東坡《過嶺寄子由》云："夢裏似曾遷海外，醉中不覺到江南"；康節《小車吟》云："大子中消白日，小車兒上看青天"；放翁《書室明暖終日婆娑其間戲作長句》云："重簾不捲留香久，古硯微凹聚墨多"，豈鈔宋詩人熟處難忘耶？

〇《萬感集‧春去與子度》："春自全身潛引去，花殊強項不同歸。"按用李泰伯《雨中作》云："花淫得罪隕，鶯辯知時逃"句法。唐人如劉禹錫《和僕射牛相公春日閑坐見懷》之"階蟻相逢如偶語，園蜂速去恐違程"；《晝居池上亭獨吟》之"靜看蜂教誨閑想鶴儀形"；宋人如葛天民《上巳呈嚴叟》之"楊柳稍傳鶯割據，茆茨敢望燕商量"；楊誠齋《和蕭伯和韻》之"睡去恐遭詩作祟，愁來當遣酒行成"；明人倪鴻寶詩集中多用此法，如顧予咸選《倪文正公遺稿》卷一《再至飛來有記》之"召鶴僧持節，埋花蝶掛冠。松巢新竹攘，山法野雲干"；《夾溝起陸馬上作》之"野外山綿蕞，花間鳥滑稽"；《飲臨清馬太學園亭》之"籐抝掣松肘，風尖錯鳥喉。火攻螢下策，水遁月陰謀"、卷二《九日山行便謁禹廟》之"樹有異形石勒相，山無一縫白登圍"；《家居即事》之"攀花檻諫無春盡，卧月轅留到曉前"皆是也。葉紹本《白鶴山房詩鈔》卷一《久雨短述》云："病花欲覓千金獺，密樹新頒五斗螺"，則妥貼矣。【陳仁錫編《沈石田先生集》七言律二《病中夜雨起坐》云："楓生赧色知霜辱，蕉負爭心共雨喧"；《與客夜話》云："春過寂憐花致事，雨來忙見草承恩。"】【嚴遂成《海珊詩鈔補遺》卷上截句："野外朝儀蜂出使，沙中偶語燕新婚。"】

〇《萬感集‧子度歸自晟舍以詩見示》。按此詩述有明詩派，甚不與何、李、王、李、鍾、譚，以及當時之雲間、西陵兩派。《倀倀集‧寄晦木次旦中風雨樓本作"太沖"》第五首云："閑抄宋律還時派"；《零星集‧次韻和俞邰飲遙連堂》第一首云 ："江西嫡派問東萊"；《再過州來柳浪》云："信手摩卷帖，繙吟宋人詩。宋詩亦何好？頗類此景奇。脫落聲律塵，澡以氷雪姿。風雅理未息，漢唐或在兹。"而《晚村文集》卷一《答張菊人書》乃謂："人遂以某為宗宋詩，嗜時文，其實皆非本意"云云，非飾詞而何？陳梓《陳一齋先生文集》卷五《亡友遺言》："程載韓曰：'詩當以唐為宗，晚村偏執抝，謂宋詩絕頂，余最不服。'"可見其平時持論矣。

〇《倀倀集‧同黃九烟晦木復仲高旦中萬貞一飲西湖舟中招謝文侯畫象》。按見第六百四十七則論湯睡菴詩。

〇《倀倀集‧真進士歌》："謹具江山再拜上，崇禎夫婦伴緘貺。"自注云云。按當時屈悔翁、賀子翼、李元仲、周同谷等詩中皆及此事，詳見第一百七十二則論《弱水集》。然具狀者乃八股文，而晚村僅罵進士，一若未登甲科，即八股亦不足為害者，則我障所致，其識見尚在傅占衡、傅青主之下。《西游補》第四回云："一班無耳、無目、無舌、無鼻、無手、無腳、無心、無肺、無骨、無筋、無血、無氣之人，名曰'秀才'，百年只用一張紙，蓋棺卻無兩句書"云云，斯為窮極根株矣。《晚村文集》卷一《答張菊人書》謂："喜論四書章句，因從時文中辨其是非離合，人以為某嗜時文，非其本意"；卷五《古處齋集序》謂："三百年來，詩文無作者，病坐科舉業"，蓋學舉業者以套為事，詩、古文亦以是法為之。陳梓《陳一齋先生文集》卷五《諸先生遺言》載姚蟄菴云："晚村先生是個英雄。他有偏霸手段，卻不遇時。選時文、刻先儒書，不過是借徑耳"，可相印證。然載蟄菴又曰："晚村云：'非時文不足明道。'先師戲曰：'我若為相，當廢八股。'晚村曰：'我當叩閽復之。'"則謂之酷嗜時文，亦不為過。一齋謂："沈石長不許從游者胡服，必改明衣冠，然又授以舉業，與不改何異！晚村氣節是尚而選時文，病正類此"云云，甚中肯綮。一齋此《集》，知者不多，中涉晚村數事，可與秦篤輝《平書》卷五論晚村為古今第一妄人、《樵隱昔寱》卷十三《國朝學案小識書後‧三》考陸清獻與晚村交誼同資考論。《王砥齋山史二集》卷五《著述》條《唐鑑》條所稱"□□□"疑亦指晚村。陸稼書《問學錄》、張楊園《言行聞見錄》中，皆采記晚村論學語，《清儒學案》卷五、卷十擷取之。【《柳南隨筆》卷四："范彪西《與王阮亭書》云：'近日時文選家，竟指文成為異端，狎侮前哲，訕謗學官。先生謂其無羞惡之心，某更謂其失為下不倍之道也。'此論蓋指呂留良而言。"】【《越縵堂文集》卷六《書沈清玉先生殘本後》云："《張楊園傳》後附記云：'清獻之婿曹宗柱述清獻與石門投分最契，不啻一人，及石門事敗，乃改修年譜，盡滅去之。'《黃梨洲傳》云：'石門呂留良與先生素善，延課其子，既而以事隙。相傳晚邨以金託先生買祁氏藏書，先生擇其奇秘難得者自買，而以其餘致晚邨，晚邨怒。又晚邨欲刻劉蕺山遺書，致刻資三百金，先生受金不刻，而嗾姜定庵刻之，附晚邨名於後，晚邨慍甚，輒於時文中陰詆先生為"偽學"，且遷怒陽明，而先生亦詆之為"紙尾之學"。'"】【《三魚堂日記》卷上："柯寓匏言：'晚村曾有書來，惟恐薦舉之及。'"又云："晚村從程、朱矣，而亦不免傲僻者，則消融未盡也"；卷下："陳祖法言：'梨洲居鄉，甚不滿於眾口。為呂晚村買舊書於绍興，多以善本自與。晚村第七子甚慧，不減無黨'；又云："呂無黨言：'晚村與梨洲不合，因爭高旦中之《墓志》。'"】

〇《倀倀集‧看宋石門畫輞川圖依太沖韻》"其中亭榭"一句凡四十三字，古詩中無此長句，唯《倒鴛鴦》院本第二折中俳體，則一句長至四十九字。詳見第五百九十七則。

〇《倀倀集‧吳孟舉示書畫用太沖韻》："吳中骨董真弇固"；"更有香熏灰渲作。"按王士性《廣志繹》卷二《姑蘇人》條云 ："姑蘇人聰慧好古，亦善倣古法為之，書畫之臨摹，鼎彜之冶淬，能令真贋不辨"；《野獲編》卷二十六云："吳門新都諸市骨董者，如幻人之化黃龍，如板橋三娘子之變驢，又如宜君縣夷民改換人肢體面目"；又云："骨董自來多贋，而吳中尤甚，文士皆借以餬口"；孫子瀟《天真閣集》卷五《吳趨吟‧之十‧贋骨董》云："青天明月不可假，其餘紛紛多贋者"，皆可參證。【邵子湘《青門簏稿》卷十一《跋祝京兆贋卷》："吳閶俗媮薄，好為贋物，凡法書名畫金石刻佳者，往往亂真"；《青門賸稿》卷二《吳趨吟‧之四‧贋骨董》。】【方中發《白鹿山房詩集》卷三《虎丘歌》："重陰老樹山門道，列市摩挱誇玩好。舊題漫識漢唐年，贋者苦多真者少。"《兩般秋雨盫隨筆》卷六《骨董鬼》條，又《燕臺小樂府》條自引所作《贋骨董》詩，則諷斥古董販之搗鬼，不限吳中矣。】

〇《倀倀集‧題如此江山圖》："怙終無過楊維楨，戴良王逢多不仕。悲歌亦學宋遺民，蝍蛆甘帶屬嗜屎。劉基從龍亦不惡，幸脫氈裘近簪珥。胡為犁眉覆瓿詩，亡國之痛不絕齒。"按論劉、王語，同於《列朝詩集》甲前一、甲前四、《明詩綜》卷二。同，所謂誠意"志之所存，與原吉無異"也，而用意大異，錢褒而呂貶。余讀戴叔能《九靈自贊》，至"歌黍離麥秀之音，詠剩水殘山之句"（乾隆辛卯年刊《九靈山房集》卷十八，《列朝詩集傳》甲前四《九靈傳》亦稱引此數語），嘆為咄咄怪事，元主中國才八十年，政苛少恩，叔能山野之士，乃忘族類之異，厲氷蘗之操，愚暗極矣！吾鄉雲林解云："世中華民，安能奉元詔"（尤長鏜《清賢紀》卷二），倪迂真不迂也。又按郎仁寶《七修類稿》卷四亦記此卷首"錄嘉禾周鼎跋云：'如此江山者何？有所感而言也。'不費詞而無窮之感係焉。使倒言之曰：'江山如此'，則直致之詞，無他感興矣。昔嘗有亭，而為是名，遐想作亭之人，何如其為人哉！必宋亡遺民，有為而作。越若干載，垂斯亭而觴詠者，為一笑居士廬陵張昱光弼。'于時元社既屋，膻胡之遺污我江山者，前之日如此，今之日不如此矣"云云，亭在杭州吳山天聖觀。明平顯《松雨軒集》卷三《如此江山亭卷》："我亦浙人久為客，敝盡鸘裘歸不得。合當載酒續登吟，同倚闌干弄秋色。"《劍南詩稿》卷三《劍門城北回望劍關諸峯青入雲漢感蜀亡事慨然有賦》云 ："陰平窮宼非難禦，如此江山坐付人"，用《晉書》卷百二十《李特載記》所謂"劉禪有如此之地，而面縛於人。"【《困學紀聞》卷十三："鄧艾取蜀，行險徼幸，閻伯才《陰平橋》詩云：'魚貫羸師堪坐縛，爾時可歎蜀無人'（翁注：'老泉《權書‧心術篇》已言此意'）。"】張光弼詩，錄入《明詩別裁》卷一。

〇《倀倀集‧寄黃九烟》："聞道新修諧俗書，文章買賣價何如？"自注："時在杭州，為坊人著稗官書。"按張山來《尺牘偶存》卷一《與黃九烟》云："偶閱《一夕話》，見所謂'廋詞'者，其別名處云：'中央四圍滿天到，十處烽烟一處安。'參詳其意，似是先生姓名"；又云："向欲選《外史》一書，如《毛穎傳》之類。想此種文字，大作必多"，可參觀。

〇《倀倀集‧東坡洗兒詩牧齋作轉語和韻皆機言也因作正解和之》。按楊月湖、張船山皆有和作。余《和徐南屏東坡生日招集珏巢為乃郎湯餅會詩》有云 ："坡昔浴兒篇，大巧乃甘拙。錢呂各翻案，楊張語尤達。"

〇《倀倀集‧送太沖東歸》第二首："肯抱人間不哭孩"；《耦耕詩》第七首："甜桃肯颺山梨醋，菱角難磨芡實圓"；《零星集‧又自和種菜詩》："颺却甜瓜下苦瓜。"按"菱角"句本放翁《書齋壁》詩，此外皆出於程、朱《語錄》，見第三十四則論關漢卿《魯齋郎》、第三百三十則論洪景伯《試夏守真筆》。

〇《夢覺集‧管襄指示近作有夢伯夷求太公書薦子仕周詩戲和之》。按詩中"明夷有綱宗，密室別傳受"等句，顯為譏訶黃太沖而作。《鮚埼亭集》卷十一《梨洲先生神道碑文》云 ："徐公延公子百家參史局，公以書答，戲之曰：'昔聞首陽二老，托孤于尚父，遂得三年食薇，顏色不壞。今吾遣子從公，可從置我矣！'" 則太沖實有其事，非出毀誣，且衹託諸夢幻（"此夢真太奇，古無今豈有"），亦為忠厚矣。

〇《夢覺集‧遊慈相寺》。按見第二百十五則。

〇《零星集‧讀薇占桐江隨筆再次原韻奉答》。按見第六百十一則論誠齋《江天暮景有歎》詩、第六百三十三則論牧齋《寄懷金道隱》詩。

六百五十七

   《復堂日記》卷八記以以《送春詩》課士得賀汝珩一卷云："我與鶯花同作達，人如木石可長生。"【參觀七百三則論 R.A. Schröder  (L. Forster, Penguin Book of German Verse, p. 417)；又七一七則論姜白石《長亭怨慢》。】按戴敦元《戴簡恪公遺集》卷四《餞春》第三首頸聯云："春與鶯花都作達，人如木石定長生。"復堂為此生所賺矣！簡恪立朝，甚著風骨，而篇什靡音俗藻，殊不稱為人。僅此二句，及卷三《秋試後慰友人用舊韻》第二首頸聯"曾憐枯樹無生意，錯道春風不世情"，又卷四《題春閨曲後次舊韻》第三首"一簾風雨花辰，纔盼春來又送春。轉為雲英減惆悵，縱饒嫁也不如人"差有致耳。【凌霞《天隱堂文錄》卷下《戴金溪先生遺事》謂"其面白多痘痕，目銳入鬢，嚴九能戲之曰：'吾子面有殺氣，後恐斷頭。'殊不知後為刑部之徵也。"】

卷五《落花》詩云："便賸芳菲都似客，不須搖落已成秋。"下句佳，上句"客"字湊。

《畫豬》云："成家何如養春豕，惜墨不嫌多肉似。烝涉心忘獻白頭，負塗名誤儕烏鬼。董龍鷄狗亦可憐，幾見鳴吠登雲天？性卑甘伴拖腸鼠，終始陬維配元武。"詩不工而題甚罕見。吾家梅溪《履園叢話》卷二十一謂時文不列品，如豬之不入畫。【"時文"語可參觀史悟岡《華陽散稿》卷下《蓼圃周太史八股序》。】惜未覩郭若虛《圖畫見聞志》卷五："唐明皇召吳道子、韋無忝、陳閎同製《金橋圖》，狗、馬、牛、羊、豬、之屬，韋無忝主之"云云， 此詩也。【嚴元照《柯家山館遺詩》卷四《題畫豬‧并引》云："為歙縣程秀才洪溥作也，秀才生於亥，故畫以求題"云云，簡恪所題，當亦此圖。元照集中為戴刑部金谿作詩詞甚夥。】參觀第四百三十三則論仇山村《金淵集》卷二《草蟲圖》所引 Journal des Goncourt, Éd. définitive, T. VII, p. 5; J. Volkelt, System der Ästhetik, Bd. I, S. 445 Hegel, Ästhetik, II^ter Teil, II Absch., 1^ter Kap.  "Die Degradation des Tierischen" (Aufbau-Verlag, 1955, S. 433 ff.)。【王詠霓子裳《函雅堂集》卷九《題畫豕為王旭莊舍人》（五律）。】【焦袁熹《此木軒文集》卷一《繆虞臯贈予新製樂一卷題詞》："夫畜類之中，體碩以肥，有若豬者，智識情想，繄其獨無也。欲從而抒寫之，代為之詠歌，肖似其音氣，則有必不可能者矣。雖以冠代才人，亦必技窮而止矣。"】【張潮《幽夢影》卷上："龔半千曰：'物之不可入畫者，豬也，阿堵物也。'"】

六百五十八

 "The realism I allude to may crop out even in spite of the author's opinions... Balzac was politically a Legitimist," etc. etc. So wrote Engels to Margaret Harkness in April 1888 (Marx-Engels, Über Kunst und Literatur, Berlin, 1952, pp. 122-3).Cf. Marx's saying "sie wissen es nicht, aber sie tun es" prefixed as a motto by G. Lukács to his Ästhetik; cf. his The Historical Novel, tr. H. & S. Mitchell, p. 31: "Scott ranks among these great writers whose depth is manifest mainly in their work, a depth which they often do not understand themselves, because it has sprung... out from a truly realistic mastery of the material in conflict with their personal views & prejudices." Marx to Maxim Kovalevsky: "A writer must distinguish between what an author in fact says & what he thinks he is saying" (S.S. Prawer, Karl Marx & World Literature, p. 374).Freud's distinction between "l'effetto tragico" or "senso" or "contenuto segreto deIIa leggenda" & "la morale" or "ideologia" of a tragedy has been compared to Engels's distinction à propos of Balzac's realism (Francesco Orlando: "Letteratura et psicoanalisi" in Letteratura italiana, Einaudi, vol. IV, 1985, p. 569).In short, Engels had an inkling of what modern critics call "intentional fallacy", and confirmed what Hugo had proclaimed as early as 1852 at Balzac's funeral that the novelist "à  son insu, qu'l le veuille ou non", was "de la forte race des écrivains révolutionnaires" (Oeuvres choisies, éd. Hatier, I, p. 1034). The whole passage has become one of the "squashed quotatoes" (see James Joyce, Finnegan's Wake, New York, 1937, I, p. 183) in the ponderous jargon-riddled writings of trade-Marxist critics; they find it a very present help when they want to "annexer tous ceux a qui ils ne peuvent dénier toute valeur", to borrow Gide's apt description of the tactic of Catholics in dealing with...(see Journal, 13 Mars & 2 Novembre, 1930, Éd. "Bibliothèque de la Pléiade", pp. 972-3, 1014). Recently, F.W.J. Hemmings has salvaged an early article of Zola's published in Le Rappel, 13 May 1870, in which Zola echoed Hugo & anticipated Engels by calling Balzac "ce démocrate sans le savoir [qui] a réclamé la liberté du peuple en croyant demander des cordes pour le garrotter" (PMLA, June 1956, p. 353).Baudelaire in 1864 spoke of "une est-ce de critique" paradox to "traître le monarchie Balzac nommé de subversion"(Oeuv. comp., Pléiade, p. 1173).B. Croce, La Poesia, 5^a ed., p. 117: "Verso quello stesso che dicono di se i creatore della opere... guardinghi perché non di rado s'ingannano e ingannano coi fini che si propongono a cui credono ma che, contradicono col fatto, al quale soltanto bisogna tener fiso l'occhio della mente, perché la poesia ha per unico fine se medesima"; pp. 306-7: "... le intenzioni e i fini dei poeti rimangono de necessità affatto estranei alla poesia, e... non importa quel che il poeta si propone o vuol fare o crede di fare, ma unicamente quel che esso fa, ancorché inconsapevole e in contrasto col fine professato: questo è force il più gran merito De Sanctis nella metodologia della critica letteraria... 'Le immagini ch'egli [Tolstoi] ha create hanno loro propria vita, independentemente dalle intenzione dell'autore' (P. Kropotkin, Ideali e realtà nella lett. russa, trad. ital., p. 120)..."De Sanctis, a propos of Manzoni: "Spettacolo interessante e molto istruttivo è la lotta fra l'ispirazione e la teoria, fra la spontaneità artistica e la riflessione critica... Così è avvenuto a Manzoni, cosi a Dante e cosi a Tasso. La loro genialità li salvò dalle loro teorie" (Gli scrittori d'Italia, a cura di L. Russo, II, p. 27).That there is often some discrepancy between the actual meaning of the work itself & the intended meaning of the author is a well-known fact in literary history. In his notes to Wordsworth's Lyrical Ballads, Blake, for example, writes...[16]: "I do not know who wrote these Prefaces: they are very mischievous, & direct contrary to W's own practice" (A. Gilchrist, Life of William Blake, "Everyman's Library", p. 339). See De Sanctis's eloquent conclusion to his essay Schopenhauer e Leopardi(1858): "Perchè Leopardi produce l'effetto contrario a quello che si propone. Non crede al progresso, e te lo fa desiderare; non crede alla libertà, e te la fa amare. Chiama illusioni l'amore, la gloria, la virtú, e te ne accende in petto un desiderio inesausto... È scettico, e ti fa credente; e mentre non crede possibile un avvenire men tristo per la patria comune, ti desta in seno un vivo amore per quella e t'infiamma a nobili fatti" Saggi critici, ed. L. Russo, II, p. 159; cf. also p. 183 on Ariosto's "intenzione" in Orlando Furioso). This idea appeared first in Alessandro Poerio's poem "A Giacomo Leopardi" written in 1834: "Ed il tuo disperar così si adorna / e trasfigura di beata luce / che al ver, cui chiami errore, altrui conduce" (Poeti minori dell'Ottocento, a cura di L. Baldacci, I, p. 323). And De Sanctis was fond of saying: "si fa a distinguere il mondo intenzione e il mondo effetto" (L. Russo, ed., Gli scrittori d'Italia, I, p. 103). D.H. Lawrence, Studies in Classic American Literature, New York, 1923, p. 3: "The artist usually sets out — or used to — to point a moral & adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's & the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it"; "The Novel"; "Oh, give me the novel! Let me hear what the novel says. / As for the novelist, he is usually a dribbling liar" (Reflections on the Death of a Porcupine & Other Essays, Philadelphia, 1925, p. 123).Nietzsche: "Die Autor hat den Mund zu halten, wenn sein Werk den Mund auftut" (Menschliches, Allzumenschliches, Bd. II, Abt. i,, §140, Werke, K. Schlechta, I. S. 790).Oscar Wilde: "The Critic as Artist": "When the work is finished it has, as it were, an independent life of its own, & may deliver a message far other than that which was put into its lips to say"[18] (Frank Kermode, Romantic Image, p. 46: "This is a perfectly logical anti-intentionalist position").An excellent example is Don Quixote whose intension is to ridicule chivalry & whose effect the creation of an "amiable humorist" (cf. S.M. Tave, The Amiable Humorist, pp. 152 ff.).Other examples are Milton's exaltation of the Devil in Paradise Lost "without knowing it" (see H.J.C. Grierson,Cross-currents in Eng. Lit. of the 17^th Cent., pp. 256-7); Alfieri's sympathy with tyrants in his tragedies (see Croce, Europ. Lit. in the 19^th Cent., p. 7-8).Cf. Wolfgang Kayser, Das sprachliche Kunstwerk, 4^teAuf. Bern, 1956, S. 217 ff. on the "Idee" of a work in two senses: "die Sinneinheit der dichterischen Welt" vs. "eine verstandesmässig erfassbare, moralische These" (S. 221), citing as example Eurico, Madame Bovary, Der Grüne Heinrich, etc. René Wellek & Austin Warren, Theory of Literature, "Peregrine Books", p. 42: "The meaning of a work of art is not exhausted by or equivalent to its intension" etc. (also pp. 148-9).M. Kinkead-Weekes: "Clarissa Restored?" (RES, May 1959, pp. 156 ff.) shows how, annoyed & alarmed by "a distortion of the..."...to drive its message home in terms the crudest reader could understand. Cf. Paul Léautaud, Journal Littéraire, II, P. 313: "[Dans la novella pièce un Divorce] Bourget mettait en opposition le mariage indissoluble et l'unison libre, toutes ses sympathies allant au premier. Le public, lui, applaudissait la seconde. Dans L'Émigré, il met en scène ce cas de l'officier catholique... et celui de l'officier qui ne connaît que la discipline.... Celui qu'il approuve, c'est le premier, bien entendu. Le public, lui, applaudait la second.... Ca devient comique, ce grand écrivain conservateur et moralisant qui ne réussit qu'à faire applaudir les thèses contraires à celles qu'il veut soutenir."Goethe: "Bilde, Künstler! Rede nicht!" (G. Büchmann, Geflügelte Worte, S. 140).Claude-Edmonde Magny, Les Sandales d'Empédocle, p. 30: "Il y a deux parts dans un livre, comme dans toute oeuvre d'art: d'abord le message conscient de l'auteur, ce qu'il a en expressément l'intention d'y mettre...; ensuite la vérité qu'il y révèle comme à sou insu..."Byron, Don Juan, IV. 5: "Some have accused me of a strange design / Against the creed & morals of the land, / And trace it in this poem every line: / I don't pretend that I quite understand / My own meaning when I would be very fine" (Variorum ed. By T.G. Steffan & W.W. Pratt, II, p. 365; cf. Notes in IV, p. 106).Northrop Frye, Anatomy of Criticism, p. 5: "When Ibsen maintains that Emperor & Galilean is his greatest play & that certain episodes in Peer Gynt are not allegorical, one can only say that Ibsen is an indifferent critic of Ibsen." Cf. Henri Peyre, Le Classicisme francais, pp. 106 ff. on the mistake of Brunetière & Bray et cie who have relied too much on the "les préfaces et les déclarations theoriques des écrivains... qui protestent de la pureté de leurs intentions morales et de l'utilité didactique de leurs [oeuvres]... La préface de Phèdre de Racine affirme si gravement ses intentions pieusementjansénistes est sur tant 'un chef-d'oeuvre diplomatique' (J. Cousin)" etc.; cf. Wellek, A History of Modern Criticism, vol. IV, pp. 249-50 on Dobrolyubov's adumbration of the "intentional fallacy", the discrepancy or even contradiction between an author's actual world-view as revealed in his work & his conscious intentions & explicit theories (illustrated by the case of Gogol).Wellek: "La teoria letteraria e la critica di Benedetto Croce": "[A propos of Luigi Russo's view that Verga's novels are 'un grido di protesta, un grido di libertà della miseria par tanta povera gente oppressa'] Verga può non essere profeta di un nuove ordine sociale (Russa sa che Verga era una conservatore... e non un rivoluzionario) ma segnala la necessità fatale del cambiamento. Traspare la concozione marxista di un significato 'oggettivo'" (Letteratura italiana, ed. Alberto Asor Rosa, vol. IV, p. 394).】【參觀七五○則。】

六百五十九

康海《康對山先生全集》十五卷，康熙時馬逸姿校刻本。德涵此《集》，其子梣編定，以體分類，而一體之中，先後顛倒，殊不便於知人論世，亦無從訂正次序。德涵詩、文皆氣懈詞率，匪特不得追踵李、何，并未足比肩邊、徐，僅與王敬夫伯仲。早作抗志希古者，每似"鸚哥嬌"體，時落凡俗，不能舉體雅則。晚年益頹然不衿飾，俚蕪無復致，格亦與《渼陂集》同概。《渼陂續集》卷中《康公神道碑》謂其"早年喜《嘉祐集》，在館閣時倡文必秦、漢"云。今《集》中文之刻意復古者，尚有虎賁中郎之觀；其太模擬秦、漢者，於八家絕無影響。詩更村言黔調，雅道掃地。卷七《贈李獻吉往寧夏餉軍》第二首云："君詩清且新，予詩蕪而雜。"王麟洲《序》（《王奉常集‧文部》卷六《康對山集序》）謂文多"曼衍無當"，於情實"不無蕪譌"，"五、七言古、律間，多率意之作。又慕少陵直攄胸臆，或用時人名號、爵里，或韻至便押，不必麗於雅故"云云。文章得失，蓋寸心自知，而亦後世相知者矣。余取卷九《聞故人楊用之有書付鄉縣親友責望賤子因成小詩自見》（"故人念我長孤曠，遠將携我雲霄上"至"丈夫磊落苟如爾，粉胸繡臆安能誑"）、《扶風西原逢張丞邦彥馮秀才顯庸携酒相進因與痛飲樹下》（"主人愛客知客意，遠出郊原待其至"至"英雄馬竇今安在，唯有秋風吹客衣"）兩七古，雖乏警語，而抒寫疎落，得少陵皮毛；卷十五《憶昔》（"憶昔承明侍從朝，先皇端拱似神堯。萬家簫鼓傳雙闕，三殿風雲護九韶。劍佩緩歸青瑣夕，蠻夷通欵越裳遥。可憐湖上龍飛後人事官曹漸寂寥"）一七律七子體，《然燈紀聞》所謂"空殼子"、"大帽子"者，然飽滿有頓挫。卷二十一《與彭濟物書》（"瑾之用事也，蓋嘗數以崇秩誘我矣。當是時，持數千金壽瑾者，不能得一級，而彼自區區於我，我固能談笑而却之"）按江文通《報袁叔明書》略師子長之《報任安》，《與交友論隱書》頗仿叔夜之《絕山濤》，德涵是作，亦欲兼此二者，《集》中第一首文字，遠勝王敬夫《渼陂集》卷七《與劉德夫》之學《報任安書》而氣詞沓，然較之文通，終成傖夫，遑論司馬與嵇哉！（《列朝詩集傳》丙十六《王廷陳傳》云："文尤長於尺牘，皇甫百泉稱其《與顧中丞監察書》若嵇康之《絕山宰》，《寄余懋昭、舒國裳》二劄即楊惲之《報會宗》。"）【楊惲《報孫會宗書》、魏長賢《復親故書》（《全北齊文》卷四）（《北史》卷五十六）皆學子長。】【李開先《中麓閒居集》卷十《對山康修撰傳》云："自李西涯為相，詩文取絮爛者，人材取軟滑者。……對山崛起而橫制之，天下始知有秦、漢之古作。……其於書也，覽而不誦，……蓋悉其意而遺其辭。嘗曰：'經籍，古人之魄也，有魂焉；吾得其魂而已矣。'……又嘗謂：'古人言以見志，其性情狀貌，求而可得。此孔子所以於師襄而得文王也。要之自成一家，若傍人籬落，拾人咳唾，效顰學步，性情狀貌灑然者無矣，無乃類諸譯人乎？君子不作鳳鳴，而學言如鸚鵡，何其陋也'"云云，倘亦因傴為恭之論。"學言鸚鵡"云云，可與《青藤書屋文集》卷二十《葉子肅詩序》所謂"今之為詩者，不免於鳥之為人言"云云參觀。王敬夫《渼陂續集》卷下《刻太微後集序》謂今世名士之文學先秦兩漢，詩學漢魏盛唐者，"學力或歉，模放太甚"，"掇其句，泥其故"云云，亦與德涵語相發。蓋二人退居田里後，過從最密，議論亦相同也。《孫月峯先生全集》卷九《與呂甥玉繩論詩文書‧之二十九》："《太華》果歷下集中第一，然而非孟堅語。《康長公》、《于肅愍碑》、《管韓二子序》似未肯以彼易此也。"】【《四友齋叢說》卷十五謂："康滸西得罪，雖出罣誤，亦由其持身不嚴，心跡終是難明"；又云："對山小時即任誕不羈，所娶尚夫人甚賢。對山每日游處狹斜，與夫人大不洽，即遣之歸。而夫人每日三餐，遣婢進其舅姑，對山悔悟，復為夫婦如初"；卷十八記："陸儼山至關中，詣對山，共談舊事，即取琵琶鼓二、三曲，欷歔久之"；又記"對山常與一妓女同跨一蹇驢，令從人賫琵琶自隨，游行道中，傲然不屑"；卷二十三論對山文"學《史記》之紆徐委曲，不知峻快斬絕"，故"謂《范增論》後數句忙殺東坡"；又云："對山之文，天下慕向。刻集一出，殊不愜人意。王槐野云：'對山之文有甚奇者，編次之人將好者盡皆刪去。'"】【李中麓《四時悼內小序》云："對山嘗簡予云：'內亡而出入不便，尋芳訪友之樂，不得自遂。'"】

〇卷十五《留別太微》云："嵇康徒作形神論，魏野終非翰墨臣"；《望希夷峽》云："夫子若無驢背笑，陳橋誰識大風歌"；卷十六《送王世英》云："德化應如程伯子，恢宏真似許清臣"，皆使宋人事入詩。七子復古，大言勿讀唐以後書，而何、李已不能自固其藩，篇什中時時闌入唐、宋人事，況其他乎？漁洋《詩問》卷下答劉大勤問律詩忌用唐以後事，云："自何、李、李、王以來，不肯用唐以後事，似不必拘泥"云云；《傳燈紀聞》云："取材於《選》，取法於唐，未盡善"云云，蓋未深考。《少室山房筆叢》卷三十六云："何仲默每戒人用唐、宋事，而有'舊井潮深柳毅祠'，用唐小說，亦大鹵莽"【詳見第七百六則】；陳臥子、李舒章、宋轅文稟七子遺教，撰《皇明詩選》，於此事遂煞費張致。如卷九吳國倫《登赤壁有感》："風流蘇學士，所至癖登臨"，轅文評曰："實事不嫌宋人"（《四溟山人全集》卷十二《朱仙鎮弔岳武穆》七律殆亦此類耶？）；卷十李夢陽《秋懷》："幾時重起郭將軍"，轅文評曰："郭將軍豈謂忠武耶"；《秋望》："只今誰是郭汾陽"，轅文評曰："此詩《空同集》不錄，或以為結用唐人故耳。然如汾陽公亦自不妨"（按《中麓閒居集》卷十《李崆峒傳》載此詩，首句作"漢邊牆"，可塞吳修齡之口）；何景明《得獻吉江西書》："買田陽羨定何如"，臥子評曰："雖用後事，然不甚覺"；何景明《登樓觀閣》："種桃無複問玄都"，轅文評曰："用唐事，殊有頹放之態"；卷十一唐順之《上張相公》："酋長西羌識姓名"，臥子評曰："似後事，然亦無傷" ，足見其詩律不嚴，隨意出入矣。以余所覩七子中，以《邊華泉集》中此類最夥，如卷三《■》云："后山元苦節，同甫舊多才"；《解印後病中書懷》云："已破槐南夢，何湏澤畔吟"；卷四《雪菴》云："偶然同卲子，不是學袁安。數在梅花得，春從太極看"；卷五《再次燕泉》云："暮雨懶通巫峽夢，朝雲嫌入義山詞。翻慙綵筆留真賞，未有豪門紫玉巵按韓熙載事"；卷六《和翁家訓四章》云："蘭臺望重桓公雅，藝苑名過趙子昻"；《送羅尹赴博羅司成》云："看雲細和東坡句，捧日常懸北闕心"；《送灤江王大理北上》云："范老威名留紫塞，于公陰徳在金陵"；《送杭世恩水部》云："携鶴未須誇趙抃，載書聊復似張華"；《文侍御宗嚴出按中州》云："西臺御史桓公雅，南國詩人陸務觀"；《再至居庸》云："鎖鑰還須寇丞相，長城不用李將軍"；《中元登先墓》云："柳子敢忘丘墓想，王生真廢蓼莪篇"；《坐中》云："子卿心事羝須乳，太史文章鱷竟移"；《和泛池》云："白雪可須推郢調，黃州真屢夢坡仙。"其次則王敬夫《渼陂先生集》卷三《張方伯畫圖歌》云："世上紛紛游蕩子，飽食不覽霍光史。漫道臯夔不讀書，用心只學羲之字。更有山東老學究，一部論語分前後。藏心未有五車餘，赤手何由補天漏"；卷五《秋聲》云："寫神舊有歐陽賦，愧我無能向短篇"；《西歸留別吳守》云："敢言獨樂歸司馬，且著斑衣戲老萊"；《續集》卷上《閱張太微鑷白詩有感遂為長歌》云："又不見六一公游神筆硯忘雷霆，年未半百蒼顏鶴髮稱醉翁"；《五君子詠》（魏仲先、陳圖南）；《燕山行》云："囊琴常依趙抃鶴，路人爭避桓典驄"；"謝安仍為蒼生起，寇準方資鎖鑰功"；《次韻與湘崖子》云："圖中河洛聞新說，袖裏參同諳古文"；《畫六首為湘涯子賦》云："老眼摩挲認畫圖，不知赤壁定西湖。千秋感慨應憐我，兩地風流總是蘇"；《赤壁圖》云："坡老躭秋興，蘭槳破夜濤"；《雪夜》云："青綾曾內直，白戰向誰論"；《送郡守夏道亨辭官歸》云："羞看傀儡棚頭戲，漫卷羲皇架上書"，可謂連篇累牘者，即如迪功《贈別獻吉》、《寄獻吉》兩首中，亦尚有"何如李白在潯陽"，"一掬那傳少陵淚"（周文萃編《徐昌穀全集》卷九、卷十）等句也。又按范德機《木天禁語》云："《事文類聚》事不可用，多宋事也。摘用《史記》、《西漢書》、《東漢書》、《新、舊唐書》、《晉書》字樣，集成聯對"云云，已以宋為界，七子特加嚴謹，上推之於唐耳。【范德機《木天禁語》云："《事文類聚》事不可用，多宋事也。"謝茂秦引此語而評之曰："復引蘇、黃之詩以為式教，以養生之訣繼以致病之物，可乎？"（《四溟山人全集》卷二十一《詩家直說》 ，參觀卷二十二駁許彥周教人熟讀義山、山谷以救淺易鄙陋云："譬諸醫家用藥，稍不精潔，疾復存焉，彥周之謂也。"）又云："趙子昂曰：'作詩但用隋、唐以下故事，便不古也；當以隋唐以上為主。'此論執矣。隋唐以上泛用則可，隋唐以下泛用則不可，學者自當斟酌"（卷二十二）。】

〇卷十六《讀中山狼傳》："平生愛物未籌量，那計當年救此狼。笑我救狼狼噬我，物情人意各無妨。"按三、四句即王敬夫《中山狼》院本狼答東郭生所謂"我本是個禽獸，怎麼責我忘恩負義"之意。《中山狼傳》見《東田集》卷五，觀卷七《狻猊圖》詩云："平生不識負嵎虎，末路乃遭當道狼。仰天長嘯重展玩，安得借我懸中堂。"又卷十《有感》云："性資愚拙，賦命迍邅。平日交游，中道改路。甚之有擠之井而下石者。因賦短章，用柬同志。"蓋馬氏之作，所以自寓感慨也。當時似甚傳誦，王敬夫有《中山狼》院本，《國色天香》卷九錄此《傳》入上欄，李元玉新編《一捧雪》第五折嚴世蕃家演劇即譜馬氏文 。《四友齋叢說》卷十五謂"空同賴康滸西營救，得免於死。後滸西得罪，空同議論稍嚴刻，馬中錫作《中山狼傳》以詆之"，則似此《傳》為空同發矣，頗出附會。至德涵為空同作詩不少，玩其語氣，皆在身遭貶棄以前，極口推重（如卷十《懷李獻吉》："李生當代傑，文賦似班揚。有志摧奸宄，無能立廟廊"云云；卷十一《贈李獻吉往寧夏餉軍》第一首云："李杜有遺音，惟君可方駕"），於大復泊如也。迨廢居田里，大復以提學至閩中，交誼遂篤。大復既歿，嘉靖三年德涵作《何仲默集序》（卷二十七），隻字不及空同，有曰："弘治時，上興化重文。一時能文之士，凡予所交與者，不可勝計。予顧獨以仲默為難能，毎見仲默之作，歎曰：'嗟乎！文其在兹乎！'其所論著，可以上薄屈、宋、賈、董，有相如、子長之風，顧世無知之者"云云，蓋毫不為空同地，渾忘嘗以班、揚、李、杜推之，想見康、李之隙末矣！惟卷二十七《渼陂先生集序》嘉靖十一年作、卷二十二《太微山人張孟獨詩集序》追記弘治時文章復盛，歷舉六子之名，乃復列空同於作者耳。

Juan Ramón Jiménez, Platero & I, Eng. tr. by Eloïse Roach. Poèmes en prose, I suppose; à laBaudelaire, of course. All the marks of the Beast are there. Watery-syrupy concoctions of sensibility, sentimentality & sophisticated simplicity. The elegiac pieces (Nos. 133, 135, 136, 138) on the dead ass's soul in Heaven are at the very heart of the tradition inaugurated by Laurence Sterne's gushing over, or, in the words of Irving Babbitt, "lavishing a disproportionate emotion upon" a donkey (Rousseau & Romanticism, pp. 144-6; see Also sprach Zarathustra, IV^ter Teil, "Die Erweckung" & "Das Eselsfest", Alfred Kröner Verlag, S. 452 ff.). Nietzsche who proudly declares: "Ich bin der Antiesel par excellence" (Ecce homo, Werke, "Taschen-Ausgabe", Alfred Kröner, Bd. XI, S. 313), speaks somewhere of the "onolatry" of 19^th-century leaders. One has only to compare the ironical rhetoric of Agrippa of Nettesheim's Encomium asini & the philosophical humour of Giordano Bruno's Cabala del cavallo pegaseo with the emotional rant of Coleridge's "To a Young Ass" or Victor Hugo's "Le crapaud" (La Légende des siècles, 53) & L'Âne, an interminable dialogue between the ass & Kant, to see Nietzsche's point. Jiménez's word "assography" (p. 92) might very well be adopted to cover all writings of this kind.

            Literary reminiscences here & there, e.g. p. 21: "The swallows are back... chattering tirelessly in their fluty chirping. They would tell the flowers all they had seen in Africa, about their two trips across the sea, how they sometimes lay on the water with one wing as the sail, or on the masts of the ships; they would talk of other sunsets, other dawns, other starry night..." 

a passage which loudly rings a bell. See Gautier's poem, "Ce que disent les hirondelles" (Émaux et Camées, éd. Charpentier, pp. 159 ff.) which might have owed a hint to Tasso's beautiful sonnet "Tu parti, o rondinella, e poi ritorni" (Rime, Parte III, no. iii, Poesie, a cura di F. Flora, ed. Riccardo Ricciardi, p. 762), and from which Oscar Wilde had already helped himself in "The Happy Prince." Jiménez seems to be quite well-acquainted with French poetry, e.g. No. 48 on Ronsard (pp. 79-80).

            I like best No. 60 "The Stamp" (pp. 99-100) & No. 101 "Echo" (pp. 156-7) — rather small pickings from such a large bundle on poor Platero's back. The book is profusely illustrated with drawings by Jo Alys Downs; in some of them, Jiménez presents a profile curiously like that of the egregious Mr. Pooter in The Diary of a Nobody, e.g. pp. 23, 110, 124, 173, 202.

---

《手稿集》 頁下腳重引此節。

"會"原作

"行吟"原作"吟詩"。

"似曾"原作"分明"。

"遙連堂"原作"遙遠堂"。

"王士性……條"數字重見於《手稿集》 

"劍關"原作"劍閣"。

 1915-56），名益藩，又字一帆，浙江崇德人。 為其一九四一年寓居上海婚後齋號。此詩當作於一九四二年徐氏長子出生後，《槐聚詩存》未收。又夏承燾《天風閣學詞日記》一九五一年九月卅日曾記："聞徐南屏已入瘋人院，其夫人在上海清心女學教書，數孩皆寄養南京房東家，滿頭瘡疥，情甚可愍。"

 "集"字。

"二老"原作"二公"，"從公"原作"從我"。

 "容安館札記"，鈐"錢鍾書印"白文印、"默存"、"槐聚"朱文印。

 此處殆脫一"及"字。

psicoanalisipsicanalisi

 此處字跡漫漶不辨。

 此處字跡漫漶脫落，引文不確。

 此處字跡漫漶不辨。

AlessandroAlssandro

 此節引文兩見於《手稿集》 頁書眉、頁邊。

 此處字跡漫漶不辨。

T.G. SteffanG.T. Steffan

 "傷"原作 

 "詩家直說"原作 "詩家直指"。

 "李元玉"原作 "李玉元"。

《容安馆札记》661-665则

西林太清夫人聽雪小照

六百六十一

Heraclitus, Fr. 45: "They understand not how that which is a[t] variance with itself agrees with itself. There sits attunement of opposite tensions, like that of the bow & the harp" (Hippocrates & Heraclitus, tr. W.H.S. Jones, "The Loeb Classical Library", vol. IV, p. 485). This metaphor for "the unity of the opposite" (what Plotinus called "l'harmonie qui résulte des contraires", Ennéads, III. ii. 16, tr. E. Bréhier, "‎Collection des universités de France", III, p. 45;  cf. 第七五一則) or dialectic (see Jonas Cohn,Theorie der Dialektik, S. 6 on Heraclitus with whom "Widerspruch und Widerstreit selbst muss Erkenntnismittel werden"). Which reminds one of《老子》七十七章"天之道，其猶張弓", can now be supplanted by giving the "tenor" a "vehicle" perhaps unknown to the pre-Socratic Greeks. Morris R. Cohen, A Preface to Logic, p. 76: "Felix Adler has used the figure of the scissors to denote the fact that the mind never operates effectively except by using both unity & plurality like the two blades which move in opposite directions. Professor Marshall, in his Principles of Economics, has used the same figure to denote the mutual dependence of the economic factors of supply & demand. At other times the action of our jaws in mastication, or the necessity of applying a brake when you are going down hill, have appealed to me as representative figures" (cf. Cohen, Reason & Nature, p. 165 on "Theory of Polarity": "... like blades of scissors accomplishing the same task by moving in opposite direction"). Cf. Jeremy Taylor: "Isidore [Orig., Lib. VI, cap. xiv] in contemplation of a Pen observ'd that the nib of it was divided into two, but yet the whole body remained one: Credo propter mysterium; he found a knack it [sic.], & thought it was a mystery" (The Golden Grove, ed. L.P. Smith, p. 143). Incidentally Sydney Smith used a similar figure when speaking of marriage: "It resembles a pair of shears, so joined that they cannot be separated; often moving in opposite directions, yet always punishing anyone who comes between them" (Lady Holland, A Memoir of Sydney Smith, new ed. N.D., ch. 11, p. 234). The Italians highlight another aspect of the simile: "Gli avvocati... sono come le lame delle forbici; si scagliano l'un contro l'altro, ma non si feriscono mai; chi ne tocca è il povero cliente che sta in mezzo" Dino Provenzal, Perché si dice così?, p. 53). Cf. Allan Wade on not including in his edition of Yeats's letters the correspondence between Yeats & Sturge Moore: "To have included Yeats's letters alone in the present collection, had that been possible, would have been, in Henry James's phrase, like trying to cut with one blade of a pair of scissors" (The Letters of W.B. Yeats, p. 15). See第七六九則Nietzsche, Menschliches, Allzumenschliches, Bd. II, Abt. i, §79: "Wir fördern mitunter die Wahrheit durch eine doppelte Ungerechtigkeit, dann nämlich, wenn wir die beiden Seiten einer Sache, die wir nicht im Stande sind zusammen zu sehen, hintereinander sehen und darstellen, doch so, daß wir jedesmal die andre Seite verkennen oder leugnen, im Wahne, Das, was wir sehen, sei die ganze Wahrheit" (Werke, hrsg. K. Schlechta, I. 768). Pascal's thought is frequently dialectical, e.g. Pensées, §353: "On ne montre pas sa grandeur pour être à une extrémité, mais bien en touchant les deux à la fois et remplissant tout l'entredeux"; §567: "Les deux raisons contraires. Il faut commencer par là sans cela on n'entend rien, et tout est hérétique. Et même à la fin de chaque vérité il faut ajouter qu'on se souvient de la vérité opposée" (Oeuvres, ed. L. Brunschvieg, XIII, pp. 267-8; XIV, p. 14). Cf. Goethe quoted in  又七六九則 

The Oxford Dictionary of Quotations^nded., 1954, p. 21 gives Émile Augier's play Le Mariage d'Olympe, I. i as the locusof the phrase "la nostalgie de la boue". Good for old Augier, pedestrian & prosaic, to have hit upon this expressive formula! But I find in Heraclitus, Fr. 54: "To delight in mud (bόrboro chaίrein)" (op. cit., p. 487); probably a boldly literal statement, especially as Fr. 53 runs: "Pigs wash in mud and barnyard fowl in dust."

六百六十二

When trying — without success — to track down Henry James's remark, "Tennyson was not Tennysonian", of which The Oxford Dictionary of Quotations, 2^nd ed., p. 268 gives The Middle Years as thelocus, I recall Marx's famous disclaimer recorded in Engel's letter to Conrad Schmidt, Aug. 5, 1890: "Ganz wie Marx von den französischen 'Marxisten' der letzten 70^er Jahre Jahre sagte: 'Tout ce que je sais, c'est que je ne suis pas Marxiste'" (Marx-Engels, Ausgewählte Schriften, Dietz Verlag 1955, II, p. 457). The "Marxist" can retort to Marx: "So much the worse for you! You would be one if you could." If it is true that "a science which hesitates to forget its founders is lost" (A.N. Whitehead, The Organization of Thought, Educational & Scientific, p. 115), a school of thought, in order to be a going concern, cannot afford to remember too well the ipse dixit of the dead and gone master. While bolstering up the prestige of the old sage & carefully preserving the patina of his ancient saws, it has to move with the times & accommodate modern instances. In other words, for Marxism to be a living force, it must be dead to Marx's own exhortations; or rather if Marxism is to live long, Marx must be safely dead, though his corpse is kept with all the reverence due to the loved one & prepared with all the mummifying skill of the mortician. Close attachment to his teachings would be a kind of spiritual and intellectual Mezentian union. Unfortunately, however, no school of living thought, qua school, can completely shake off its dead founder; it is therefore always a haunted house. New wine is put into the old bottle, but the cask will always savour of the first fill.Charles Maurras, Bons et Mauvais Maîtres: "Ainsi Hugo vaut mieux que l'hugolisme" (Oeuvres Capitales, III, p. 334).Frank Binder, Dialectic, p. 16: "He [Gorgias] would have never found a school, since it is the mediocrity of the pupil & not the eminence of the master that is multiplied."G. Ryle,Dilemmas, ch. 1: "So too Plato was, in my view, a very unreliable Platonist. He was too much of a philosopher to think that anything that he had said was the last word. It was left to his disciples to identify his footmarks with his destination.

            In repudiating his French disciples, Marx therefore shows much less wisdom than Nietzsche in Also sprach Zarathustra, I, xii, 3: "Allein gehe ich nun, meine Jünger! Auch ihr geht nun davon und allein! So will ich es. Geht fort von mir und wehrt euch gegen Zarathustra! Und besser noch: schämt euch seiner!... Man vergilt einem Lehrer schlecht, wenn man immer nur der Schüler bleibt" (Werke, Alfred Kröner, Bd. VI, S. 114). Croce also says: "I meri ascoltatori del mònito,... che ripetono combinano meccanicamente o various superficialmente le opere originali dei capiscuola, non apportano niente alla storia viva della poesia, e la stasi che ne consegue à rotta soltanto, in poesia come in filosofia, e dappertutto, dal cosiddetto 'scolaro infedele', dal fedelissimo scolaro infedele, da colui che ha qualcosa di proprio da dire, il solo degno del maestro, che con la sua forza voleva suscitare forza e non già dar luogo a inerzia" (La Poesia, 5^a ed., p. 180); again: "È certamente assai penoso per chi ha posto certe definizioni e certi concetti e segnato le correlative metodiche, vedere le sue formole, di cui conosce, con la forza, il limite, e che vuol serbare vive e plastiche, in continuo sviluppo di ulterion determinazioni, vedere irrigidite in mano a gente che le adopera come se fossero mazze, picconi, accette, e simili grosse e pesanti strumenti da stroncare ed abbattere. [quoting Marx's boutade, he goes on] È l'atteggiamento che è tratto a prendere l'indagatore e espositore di verità in presenza del meccanico uso che si fa delle verità da lui ritrovate, e che anche lo porta e rifiutare ogni aggettivo tratto dal suo nome o il suo nome ridotto all'astratto con una terminazione in 'ismo'" (Ib., p. 310; cf. R.P. Blackmur, quoted in 第七百二則Tucker: "Nobody was less of an epicure than Epicurus himself"(Judith S. Neaman & Carole G. Silver, A Dictionary of Euphemisms, Unwin Paperbacks, 1984, p. 85).Cf. the Chinse zenists（《五燈會元》卷二神秀稱能大師"得無師之智"；卷十三龍牙云："江湖雖無礙人之心，為時人過不得，江湖成礙人去；祖佛雖無謾人之心，為時人透不得，祖佛成謾人去"；卷十四道楷云："若得心中無事，佛祖猶是冤家"；《僧寶傳》卷二十九佛印云："昔雲門說法如雲雨，絕不喜人記錄其語，見必罵逐曰：'汝口不用，反記吾語，異時裨販我去。漁獵文字語言，正如吹網欲滿，非愚即狂'"；王陽明《傳習錄》徐愛《序》云："門人有私錄先生之言者，先生聞之，謂之曰：'聖賢教人，如醫用藥，皆因病立方，酌其虛實、溫涼、陰陽、內外，而時時加減之，初無定說。若拘執一方，鮮不殺人矣'"）

            André Gide, Journal, "Bibliothèque de la Pléiade", p. 1292: "... 'Je ne suis pas marxiste', s'écriait Marx lui-même, prétend-on. J'aime cette boutade. Elle veut dire: 'Je vous apporte une méthode nouvelle, et non point une recette, ni un système clos qui dispense désormais l'homme de tout effort de pensée. Ne vous en tenez donc pas à mes paroles, mais passez outre.'" That this is not what Marx means, nay, is the very opposite of what he means, can be seen from the context of the boutade in Engel's letter. Julien Benda is nearer the mark when he quotes it as pointing the moral of "les déformations que fait l'humanité anonyme des idées" (Du Style d'Idées, p. 162), and wisely adds: "Et pourtant ce qui constitue l'histoire des idées, en tant qu'elle est action et passion collective, ce n'est la pensées de Kant ou de Descartes que vingt solitaires lisent, c'est précisément la simplification qu'on font les manuels" etc.

            For similar remarks: Wilkes to George III on Sergeant Glynn: "The fellow is a Wilkite which Your Majesty knows I never was" (Jest Book, ed. Mark Lemon, "Golden Treasury Series", §530); Swinburne to John Morley: "All I say is that Christ was not a Christian, & certainly would not (me judice) have been if born within the Christian era" (C.Y. Lang, The Swinburne Letters, IV, p. 147); Mark Twain, Notebook: "If Christ were here now, there is one thing he would not be — a Christian" (Clifton Fadiman & Charles van Doren, The American Treasury, p. 983); É. Gilson: "Platon lui-même n'est nulle part, mais le platonisme est partout. Disons plutôt qu'il y a partout des platonismes" (Philosophie au moyen âge, 2^e éd., 1944, p. 268); cf. George Soutar's epigram which damns the barrenness of the Popian school [2]: "Pope has written nothing since his death" (Nature in Greek Poetry, p. xi); Böhm's book Faust der Nichtfaustische(mentioned in W. Kaysor, Das Sprachliche Kunstwerk, p. 220 [3]). Cf. 一百八十二則  Rolfe, Hadrian the Seventh, p. 23; 六百八十四則on Keat's Letters, I, p. 252.

六百六十三

太清西林春《天游閣集》五卷。詞旨纖俗，閨中人繡餘學語，填匡湊字，聊賢於博奕，往往拙劣可哂。如卷五《辛丑七夕先夫子下世三周年矣清風閣看初日有感》云："當年舊句難忘却，可也靈魂憶我耶"；又《戲答蘇嫗》云："老嫗從容含笑道，苔階路滑向須扶。愛人若輩應如此，畢竟今吾非故吾"，皆似唱本體，而王幼遐、冒鶴亭、況夔生等，乃艷說"男中成容若，女中太清春"，蓋非特腦脂遮目，抑亦勢利薰心矣。陳雲伯攀附揑造，為太清所斥（見第二百四十四則），固咎由自取。然就詩論，雲伯儘非高手，為太清師則綽乎有餘。使太清果能求教通人，所造當不至是，惜其僅知與太素惡詩唱隨耳。【《詞學季刊》第二卷第四號影印《西林太清夫人聽雪小照》，皤然嫗矣，尚矜飾作態，殊不能想見當年風韻。第一卷第四號謂太清本鄂爾泰曾孫女，西林覺羅氏，幼經變故，養於榮邸包衣人顧氏，遂被選為側福晉。】

〇趨炎好色，人之常情。若乃好死人不可見之色，趨前朝不復熱之炎，以乞兒向火之心，作過門大嚼之態，秀才味酸，清客扯淡，兼莫須有與無聊賴，則冒鶴亭之於《天游閣集》是矣！胡漱唐《退廬詩集》卷三《答冒鶴亭》七律自注云："鶴亭好談掌故，所輯顧太清遺事，不啻楊妃傳也"云云，語含嘲諷。今觀卷四太清詆陳雲伯詩後鶴亭有考訂，且云："雲伯處處摹仿隨園，裝腔作調，到老不脫脂粉之氣，實實可詆。"蓋未嘗以溺以自鑑醜態也。《集》中附識，企羨揣想，涎流津出，如卷一《東山苗道士寄小猴》、卷五《戲答蘇嫗》按語是。尤可嗤鄙者，卷三《春游詩》按語云："聞太清游西山，馬上彈鐵琵琶，手白如玉，琵琶黑如墨，見者謂是一幅王嬙出塞圖也。"太清婢學夫人，意度矜貴，力爭上流，與阮雲臺、許滇生、錢衎石家眷屬交往，寧作此角妓行徑？即令有之，事隔百許年，雖尚及見之，而能憶之，且為鶴亭鑿鑿言之乎？《日知錄》卷二十五《湘君》條云："甚矣人之好言色也！太白，星也，而有妻；河伯，水神也，而有妻；常儀，占月官也，而《淮南子》以為嫦娥；小孤山訛為小姑；杜拾遺訛為十姨。"本亭林之意，若鶴亭者，科以覬覦貴人閨閣，意淫鬼交，亦非過耳。Kierkegaard "Like Leporello learned literary men keep a list, but the point is what they lack; while Don Juan seduces girls & enjoys himself — Leporello notes the time, the place, & a description of the girl" (Kierkegaard, selected by W.H. Auden, p. 20)Yeats亦嘲學究："Old, learned, respectable bald heads / Edit & annotate the lines / That young men, tossing on their beds, / Rhymed out in love's despair / To flatter beauty's ignorant ear" ("The Scholars", Collected Poems, Macmillan, 1934, p. 158)Hugh Kingsmill "Poor Casanova, the hero of those sprightly academics who spend their lives letting I dare not wait upon In any case I could not" (Michael Holroyd,Hugh Kingsmill, p. 154)E.A. Freeman  "chatter about Harriet"  (Oxford Dict. of Quotations, 2^nd ed., p. 211)。初不知尚有博雅之士以風流厚誣古人，借而自補平生未足之心者為之詠。《閱微草堂筆記》卷十一狐女詩曰："深院滿枝花，只應蝴蝶採。喓喓草下蟲，爾有蓬蒿在。"若夫《孽海花》第三回，褚愛林傳言太清與龔定庵遇合事，則《孟心史叢刊》三集《丁香花》條已辨其誣，余不復贅。

六百六十四

 西方古詩文中，每有"好內"、"好外"之爭，所謂 "Dubbio amoroso" Achilles Tatius, II. 35-8 即其一例，"Loeb Classical Library"  Stephen Gaselee  pp. 182-3  Pseudo-Lucian,Amores, ad fin.; "Ganymede and Helen"; Arabian Nights  P. Mathers  The Thousand Nights & One Night, Revised ed., 1937, vol. II, pp. 599 ff. "Girls or Boys?" 諸書。近世學術著作，則 Hans Licht,Beiträge zur antiken Erotik, S. 25-33 其尤昌言無諱者也。E.R. Curtius, Europäische Literatur und Lateinisches Mittelalter, 2^te Aufl., 1954, p. 126  "Ganymede and Helen" 一詩源流謂："Die Vergleichung der Liebesarten ist ein hellenischer topos" (Christ-Schmidt, Geschichte der griechischenLitteratur, 6^te Auf. II I, 22A. 2) 比類比附，復舉 Anthologia Palatina, V 64 & 115, Gespräch zwischen Goethe und Riemer 1808 (Biedermann V 74)。參觀二百十則論 The Deipnosophists, Bk. VIII. 605。竊謂梁簡文帝《桃花曲》："但使新花艷，得間美人簪。何須論後實，怨結子瑕心"；李頎《鄭櫻桃歌》："美人姓鄭名櫻桃，……娥娥侍寢專宮掖"；羅虬《比紅兒詩》云："一舸春深指鄂君，好風從度水成紋。越人若見紅兒貌，繡被應羞徹夜薰"；《山中一夕話》卷二《禁男風告示》："雖云寬不如緊"云云：《杏花天》第一回傅貞卿謂花俊生"如兄才貌情趣"云云；《清賢紀》卷四論倪雲林"豈肯舍此娟娟，趣彼渾渾"云云；《品花寶鑑》第二十三回姬亮軒論"坐船、坐車"云云，此物此志也。George Soulié de Morant, Bijou-de-ceinture 一書每襲《品花寶鑑》，第八章袁爽秋論外勝於內，却未以舟車為喻，而以桃之甘而軟喻女，以蘋果之甘而脆喻男 (p. 76)。而以《野叟曝言》第六十回四姨娘所唱歌"怎還似偷鷄的貓兒，要尋那小夥兒"云云，最為盡致。

 Colin MacInnes, City of Spades, p. 145  M^r Vial  Johnny "You've lovely finger-nails""My toenails also have been much admired" Inman Barnard, Cities & Men, p. 191: "A charming but impulsive New York lady who sat next General Boulanger, remarked: 'You have beautiful hands, General.' This elicited the reply: 'But you should see my feet, Madame.'" Jules Renard,Journal, éd. NRF, p. 704: "Vous ne pourrez pas me dire quelle était la couleur de ma robe la première fois que vous m'avez vous dire quelle était la couleur de votre pantalon."

六百六十五

戴望《謫麐堂遺集》文二卷、詩二卷。子高文雅歛，琢飾經術，欲為東漢人整齊安重之格，動成疲弛。詩與當時譚復堂、潘鳳洲等同宗尚，蓋從明詩入手，上攀漢、魏、盛唐。近體勝古體，五律每似徐昌穀之學盛唐，七律每學義山，調亮韻饒，非隔靴搔癢者。如文一之《記言遺族弟百禮》、詩一之《歷歷》、《自江寧歸杭州雜詩四十首》、詩二之《雜感五首》、《和周十二》、《別緒》則皆為龔定盦體。先君藏《復堂師友箋存》，中有周涑人一札云："戴子高《自江寧至杭州四十首雜詩》章法甚好，漁洋《歲暮懷人》尚不及其團卓也"云云，蓋未知其師承所在。《復堂日記補錄》同治二年十一月廿一日謂："子高於詩志識，而才力薄，未堪深論"，其言頗允。

   〇《補遺》僅《景祐六壬神定經跋》一篇，殊為未盡。【《媿生叢錄》卷二："謝湘谷先生言子高有《上曾文正書》最佳，今其《集》中不載。"】《復堂師友箋存》中有子高書三通，皆月旦人倫，平章學術，可以增補。又有"十五團欒月"五律一首，即詩二《別儀》，字句小異；《抽思》五古四首即詩一《泉州碧山巖宴集有作》之第二、三、四、五首，字句小異，當是刻《集》時脫落題目，誤以上屬《泉州碧山巖宴集》，遂使詞意與題義乖刺耳；《高門寓樓坐雨》一首云："鬱鬱高樓迥，悠悠短晝眠。枯田春水外，猛雨落花前。夢裏華胥國，愁中利天。人生無一可，撫劍思茫然"，則《集》中所無。

〇施均甫撰《墓表》云："時兵事大定，文治聿修，自公卿以至將帥咸慕儒術，皆將稱道程、朱以蹤孔、孟。而君所講習，又與世違異。"【按《澤雅堂文集》卷六《戴子高墓表》字句與此本大異，無許語。】按子高丁卯正月六日金陵與復堂書云："自設書局，名士麕集，然多考據之經學、江西宗派之詩、桐城之文章，下者為理學家言。"又按均甫《澤雅堂詩集》卷六《哭戴子高十首》，最足以考見生平，如第六首云："佳耦招不來，怨耦推不去。勃谿一室中，久絕生人趣。孔門三出妻，古義今不據。決絕棄家鄉，隱忍對親故。……豈無小星詩，衾綢歌在御。旁生與側挺，亦足慰遲暮。吁嗟龍宮方，獨步不傳療妬。"即《復堂文續‧亡友傳》所云："娶凌氏，強婦人也，不能事姑君。與異居，終其身。妻父凌教諭堃，子高則曰：'吾友教諭之學'，不識為妻父"云云是也。第七首云："開閣上相尊，接席經生重。六年任校讎，頗獲量才用。……雄雷震大厦，驚飈折隆棟。四海哭曾侯，無似斯人慟"，自注："曾侯薨，君哭之哀，疾遂亟。"徵之詩一《贈太傅曾文正公挽詞四首》、詩二《上湘鄉相國二首》、《送曾相國移督直隸二首》，一則曰："九京誰可作，一藝愧相知"；再則曰："幸得見顏色，遂使忘疎賤"；三則曰："扣角自慚非國士，摳衣竊喜拜元侯"，亦非偃蹇不屑者。而劉申叔作《子高傳》謂其"尤嫉視湘軍諸將帥，方張汶祥刺馬新貽，先生適居金陵，聞報拍案稱善，目汶祥為英傑。嗚呼！此可以觀先生之志"云云，不知何本？"湘軍將帥"語意尤含混。

〇子高與復堂書數稱劉開生，戊辰八月初十日書有云："東南人物，無過毘陵。毘陵人士，眾首開老"；又云："所著書高寸許，文之波瀾意度，擬之味經先生，幾有'有若似夫子'之歎。"《遺集》文一《故禮部儀制司主事劉先生行狀》云："孫某某開孫懌（此字疑'愷'之誤）最有名"；又云："客游金陵，與開孫玉遇，德量淵然，有黃憲、郭泰之風"；詩二《贈武進劉開孫》云："曠世得見君，自愧非匹儔。"《中和月刊》第二卷趙椿年《覃研齋師友小記》記開孫事頗詳，謂："原名愷，改名翰清，道光丙午舉人，充曾惠敏使俄參贊。曾文正《復郭意城書》、李文忠同治十一年與文正會奏《派遣幼童出洋事實摺》、薛庸菴《敘文正幕僚》、陳頌南《籀經堂集》、張嘯山《舒藝室雜著》（乙編卷上）皆及其人"云云，獨遺却子高此《集》及張德彝《四述奇》（開孫隨曾惠敏使英、法，充參贊官，見光緒六年正月十四日日記；為使署同僚撰《惠敏叔澄夫婦六十壽序》，全文見五月初五日日記），何也？【馮夢華《蒿叟隨筆》卷五下記趙惠甫述曾文正軼事、《郭嵩燾日記》。】子高所謂"著書高寸許者"，亦未知行世否？

〇楊葆光《蘇盦文錄》卷一《書戴子高箑》云："頃嘯山翁寓書，以足下箑索字，且曰稱謂勿用'大人'字，何足下之好古也！惲子居戒弟子勿稱'大人'，嘗謂：'不願以此施之於人，尤不願人以此施之於我。'其言良矣"云云。此亦子高遺事，可與念劬廬叢書中《復堂日記補錄》所記子高事並傳（如同治五年正月十三日載："子高竊余前年所得陳奐碩父傳校《管子》走蘇州，咄咄怪事"）。【張嘯山《舒藝室雜著》甲編下《書戴氏注論語後》："注文簡古，頗有漢儒遺意。然公羊解經已多乖刺，邵公申傳益覺煩苛，劉申受乃述之以說《論語》，自鳴其專門之學，君復踵而加厲。凡古書題某氏注，多出自其門人尊師之詞，亦有後人題者，今自稱戴氏，失未思爾。"《楹聯偶記‧代作挽戴子高》云："漢宋本無爭，笑眾口傳聞實誤；瑕瑜不相掩，到此時毀譽皆空"；又云："赤舌燒城，再入輪迴須慎口；青雲沒地，博通載籍豈虛生。"魏繇《邵陽魏季詞先生遺集‧復初文錄‧書曾文正公逸事》記："子高不好洋務，言輒與公忤，公笑謝之。"】

---

bόrboroborbὀro

GeorgeJames

KayserKaysorKunstwerkKunst

 孟森《心史叢刊‧丁香花》："冒氏於詩後忽綴一語曰：'此亦長安俊物也。'驟見之不知為何意，意其賞此猴耳。既而按定公《己亥雜詩》，太平湖丁香花之下一首為憶北方獅子貓，詩云：'繾綣依人慧有餘，長安俊物最推渠。故侯門第歌鐘歇，尚辦晨餐二寸魚。''長安俊物'字出此。冒氏蓋以與定公注射也。幸而太清自詠小猴，設亦有詠獅子貓詩，則將謂與定公所憶同是一貓矣。"

《戲答蘇嫗》按語云："太清僮名段八，婢名石榴，與此嫗皆附驥傳矣。"

"杭州"原作"蘇州"。

《容安馆札记》666-670则

"Osculum infame" from Compendium Maleficarum (1608)

六百六十六

          José María Arguedas & Ruth Stephen, The Singing Mountaineers: Songs & Tales of the Quechua People (1957). The songs leave me cold, but the tales are a quite good read. They have to a striking degree the characteristics of all genuine folktales, impassive innocence & artless restraints: not only the improbable impossibilities related without the least suggestion of starry-eyed wonder, but love & death, violence & catastrophe are observed with dry eyes & touched on, as Thomas Edwards said of the editing of texts, with a dry finger (cf. Austin Dobson, Later Essays, p. 24). The clean & chaste freedom from emotion is different from practised self-control or reasoned fortitude (Spinoza's Acquiescentia, Goethe's Entsagung, De Vigny's Abnégacion or Nietzsche's Amor fati), both of which imply a mind seasoned by experience; in short it is neither sophisticated "dead pan" nor disciplined "stiff upper lip." It is rather a blithe imperturbability which combines invincible ignorance of the laws of things & men with tranquil incuriosity about the riddle of the universe or the meaning of existence. In such a book of life there are no marks of exclamation or interrogation. Folklorists, I am sure, will have no difficulty in fitting these hitherto unknown tales into Stith Thompson's types or showing them to belong to Jung's "archetypes des unbewussten." There are of course many familiar motifs & stock situations. For instance, in the amusing tale "The Head of the Town & the Demon", we read that people calling on the Demon must first kiss his buttocks, which will then expel a filthy fart & let loose a huge quantity of fecal matter in the form of gold & silver (pp. 114, 116). This naturally recalls the osculum infame or sub cauda osculatur as an act of homage to the Master of the Sabbat (see Montague Summers, The History of Witchcraft & Demonology, p. 137). The Devil's answer to his follower: "Ed egli avea del cul fatto trombetta" [1] (Dante, Inferno, XXI, 139, Opere, ed. E. Moore & P. Toynbee, p. 31; the vigorous drawing "Der mit Gestand entweichende Teufel" given in E. Fuchs, Illustrierte Sittengeschichte, Ergänzungsband I, S. 156 might serve as an illustration of Dante's line); the donkey is the first story of Il Pentamerone, which, at the word "Arri, cacauro!" lets out "diarree d'oro e torbidi di gemme", an "evacuazione preziosa" (G. Basile, Il Pentamerone, I. 9, tradotta di B. Croce, p. 18); cf. Brüder Grimm, Haus- und Kindermärchen, "Tischen deck dich, Goldesel und Knüppel aus dem Sack" (Die Kinderbuch Verlag, S. 186); & the goose in the forty-first story, which "schizza flussi di scudi" (Ib., V. I, p. 472); & the scatological association of money (see Ernest Jones, Papers on Psychoanalysis, ed. 1918, pp. 676-7; Freud said: "Es ist bekannt, dass das Geld, welches der Teufel seinen Buhlen schenkt, sich nach seinem Weggehen in Dreck verwandelt.... Ja, schon in der altbabylonischen Lehre ist Gold der Kot der Hölle." See also 第五百二十四則 a propos of the catchphrase "Fall into a heap of shit & come out with a gold watch"). According to Luther, the devil expresses his scorn by exposing his rear parts… and man can completely defeat him by farting into his nostrils & telling him where his kiss is welcome (E.H. Erikson, Young Man Luther, pp. 61-2, 79). There is the famous story of the old Lapp woman who, confronted suddenly by a bear, whipped up her skirt to show the animal her private parts in order to shame it into immediate flight" (New Statesman, 10 April 1964, p. 556). Cf. La Fontaine's "Le Diable de Papefiguière" (Contes et Nouvelles, Garnier, pp. 319 ff.) in which Perrette scared away the devil by showing him her crack: "Elle fait voir... Et quoi? chose terrible. / Le diable en eut une peur tant horrible" etc. (p. 325).

六百六十七

《袁海叜詩集》觀自得齋叢書本。七古及近體詩學杜，亦衹得其皮毛，然尚非如七子之撏撦。所摹追乃在少陵蒼老之格，亂頭粗服，以率求真，亦異於七子之務雄濶也。風骨不堅，肌理不密，舍卷三《客中除夜》（"今夕為何夕，他鄉說故鄉。看人兒女大，為客歲年長。戎馬無休歇，關山正渺茫。一杯柏葉酒，未敵淚千行"）【戴復古《石屏詩集》卷四《九日》："今日知何日，他鄉憶故鄉"；趙長卿《南歌子》："此日知何日，他鄉憶故鄉"】、卷四《京師得家書》（"江水一千里，家書十五行。行行無別語，只道早還鄉"）兩名作外，卷二《大醉率爾三首》、卷三《村居懷京下一二友生》、《望南邨》第一首、卷四《閒步》第二首（"半雨半晴天氣，半開半落山花。半醉半醒游客，半村半郭人家"）尚可諷詠，餘皆鱗所之而矣。

〇李滄溟詩中好用"風塵"二字，人呼為"李風塵"；海叜詩中好用"老夫"二字，當稱"袁老夫"矣。

〇李、何、李、王雖肌理不密，尚骨卓力渾，乍視之，頗有健鶻盤空，大魚跋浪之觀。海叟筆致槎枒，却不衿拔。

〇卷四《浦口竹枝》云："浦口荷花生紫煙，花時日日醉沙邊。更將荷葉包魚蟹，老死江南不怨天。"按陳仁錫編《沈石田先生集》七絕《題畫》云："秋林黃葉獨行人，短髪蕭騷兩鬢銀，老到江南窮不死，也勝騎馬踏京塵。"頗兼海叟詩與宋盧秉《題驛舍》云："青衫白髮病參軍，旋糶黃粱置酒樽。但得有錢留客醉，也勝騎馬傍人門"（《宋文鑑》卷二十八）。

〇附錄引陸深《金臺紀聞》載："太祖嘗欲戮一人，皇太子懇釋之。召海叟問，對曰：'陛下刑之者，法之正；東宮釋之者，心之慈。'太祖怒，以為持兩端，下之獄。"又《明良記》載："一日，有父訟子者，帝已察其非罪，命付太子。太子論子得死，帝諭太子誤決獄，太子言：'子致父訟，雖冤死無赦。'帝問廷臣，莫有答者。忽班中一人對曰：'陛下所論，乃申天下之仁；太子所論，乃廣天下之孝。皆是也。'帝問：'對者為誰？'曰：'監察獄史袁凱。'"姚宏緒《松風餘韻》嘗謂海叜遺事記載多可疑，此其一也。按《金臺紀聞》一節，采入《紀錄彙編》卷一百三十二，而卷一百三十所采徐禎卿《剪勝野聞》亦載海叟此事，又在陸書之前。《史記‧魏其武安侯列傳》略云："魏其之東朝，盛推灌夫之善，武安又盛毀灌夫所為橫恣，於是上問朝臣：'兩人孰是？'御史大夫韓安國曰：'魏其言是也，丞相言亦是。唯明主裁之。'武安怒曰：'與長孺共一老禿翁，何為首鼠兩端'"云云，海叟即師韓長孺故智耳。袁子才《小倉山房尺牘》卷四《答唐靜涵又一書》、《隨園隨筆》卷二十七《兩歧語自佳》稱引海叟答明太祖語及大覺禪師答李林甫語，蓋不知即《史記》所謂"兩端語"，亦正宗門傳授機鋒也。《六祖大師法寶壇經‧付囑第十》云："忽有人問汝法，出語盡雙，皆取對法，來去相因。究竟二法盡除，更無去處。"《全唐文》卷五百十二李吉甫《杭州徑山寺大覺禪師碑》云："嘗有設問於大師曰：'今傳舍有二使，郵吏為刲一羊。二使既聞，一人救，一人不救，罪福異之乎？'大師曰：'救者慈悲，不救者解脫。'"《南部新書‧己》："有江西廉使問馬祖云：'弟子吃酒肉即是，不吃即是？'師云：'若吃是中丞祿，不吃是中丞福'"《傳燈錄》卷六、《五燈會元》卷二本此作馬祖所道，隨園所道亦即此事，而說為李林甫與大覺。後世嘲弄禪門，亦每用此法。趙南星《清都散客笑贊》云："鷂子追雀，雀投入一僧袖中，僧以手搦定曰：'阿彌陀佛，我今日吃塊肉。'雀閉目不動，僧只說死矣。張手，雀飛去，僧曰：'阿彌陀佛，我放生了你罷。'"咄咄夫《增補一夕話》卷四云："一僧與婦同舟，目之不已。婦怒，命僕打之。僧乃閉目而坐，婦又命打。僧曰：'如今何罪？'婦曰：'汝閉目，乃想我，更不好。'"此其例。明太祖雖出身皇覺寺，未習纏誦，宜其不解耳。辯證法實亦不外乎此，參觀 Goethe: "Über Wahrheit und Wahrscheinlichkeit der Kunstwerke": "...Wortspiele dieser Art  selbst ein Bedürfnis des Geistes anzeigen, der, da wir das, was in uns vorgeht, nicht geradezu ausdrücken können, durch Gegensätze zu operieren, die Frage von zwei Seiten zu beantworten, und so gleichsam die Sache in die Mitte zu fassen sucht" (G.F. Senior & C.V. Bock,Goethe the Critic, p. 18); Jonas Cohn, Theorie der Dialektik, S. 284  "Bipolar" 之 "Gebietsabgrenzung"及 "Gegenseitige Anerkennung"，正 George Orwell, Nineteen Eighty-Four, p. 37 所言 "'Reality control', they called it: in Newspeak, 'doublethink'.... to hold simultaneously two opinions which cancelled out...." Marx 嘲法國憲法云："Jede dieser Freiheiten [Press-, Rede-, Assoziations-, usw Freiheit] wird nämlich als das unbedingte Recht des französischen Citoyen proklamiert, aber mit der beständigen Randglosse, dass sie schrankenlos sei, soweit sie nicht durch 'die gleichen Rechte anderer und die öffentliche Sicherheit' beschränkt werde... Jeder Paragraph der Konstitution enthält nämlich seine eigene Antithese, sein eignes Über- und Unterhaus in sich, nämlich in der allgemeinen Phrase die Freiheit, in der Randglosse die Aufhebung der Freiheit" (Der Achtzehnte Brumaire des Louis Bonaparte, Diez, S. 26-7)，不知此正其所謂"辯證"，亦即 Julien Benda, Du Style d'Idées, p. 140: "Un mode de penser qui conduit fatalement à des affirmations totalement vaines, souvent risibles est la volonte de concilier à tout prix des notions qui par définition, s'excluent l'une l'autre. Ces moeurs, qui reviennent à proclaimer qu'une chose est en meme temps un cercle et un carré, s'observent éminemment dans la vie politique, l'orateur ne pouvant avouer aux masses, sous peine d'impopularité que tel advantage qu'il leur propos comporte logiquement le sacrifice de tel autre auquel elles tiennent aussi. Ainsi Casimir-Périer clame 'L'ordre, sans sacrifice pour la liberté'" (按可與納粹口號 "Geordnete Meinungsfreiheit"  New Statesman, 21 March 1959, p. 389 又 28 March 1959, p. 433 所嘲美國外交政策口號 "elastic rigidity", "firm elasticity", "united in flexible rigidity" )Rudolf Metz, Die Philosophischen Strömungen in Grossbritannien, Bd. II, S. 332: "Er [Bosanquet] Bradleys schroffes Entweder-Oder überall in ein milderes Sowohl-als-auch verwandelt hat"; Molière, La Bourgeois Gentilhomme, I, ii: Jourdain: "Vous avez raison tous deux"; Addison, The Spectator, No. 122: "That much might be said on both sides." 僧遭打事，正六祖所謂"更無去處"，其事可參觀《東軒筆錄》卷十二："馮京帥太原，以書詫於王平甫曰：'并門歌舞妙麗，吾閉目不窺，但日與和甫談禪耳。'平甫答曰：'所謂談禪者，直恐明公未達。蓋閉目不窺，已是一重公案。'"《圖書集成‧神異典第七十六》載《笑禪錄》："問藥山如何不被境惑？曰：'聽他何礙！一長者妓席閉目叉手，酒畢妓重索賞，長者云："我不曾看。"妓曰： "看的何妨，想的獨很。"'"錢秉鐙《田間文集》21《髠殘石溪小傳》："一日同藿溪及予同赴城南齋，予亦僧服，過小巷，有壯婦，塗粉狼藉，叉手當門目之。既過，師曰：'世間有如此穢物，人偏好之，不可解也！'予嬈之曰：'我過未見有物，汝如何自獨見之？'師指罵曰：'忒欺心！'三人相與絕倒。"

 〇何大復《海叟集序》云："李、杜歌行、近體誠有可法，而古作尚有離去者，未可盡法之也。故景明學歌行、近體，有取於二家，旁及唐初、盛唐諸人，而古作必從漢、魏求之。"按《漁洋詩問》卷上云："滄溟先生論五言，謂：'唐人無五言古詩，而有其古詩。'此定論也。至虞山錢氏，但截取上一句，以為滄溟罪案，滄溟不受也"云云，未免曲為開脫。滄溟之論五古，正同大復之論歌行，蓋此說自弘正七子已然矣。滄溟語見《滄溟集》卷十五《選唐詩序》。

〇補《雷震田父耕牛謠》："雷哥哥。"按參觀第一百七則所舉"風爹"、"雪公"、"frate sol

六百六十八

Émile Henriot, Maîtres d'hier & contemporains, 1955, pp. 320-1: "Louÿs recommandait à son nouvel ami [Claude Farrère] de refaire son livre en le recopiant.... Pratiqué par les écrivains soucieux de la forme, ce travail à la main est en effet la condition essentielle de la décantation de l'oeuvre et du perfectionnement du style." The word "décantation" is a very happy one. Cf. an equally felicitous use of the word in Lanfranco Caretti, Filologia e critica, 1955, p. 8: "[A propos of what he calls 'l'apparato sincronico' in the establishment of the definitive text of a Greek or Latin author] Quando noi, infatti, provvediamo alla ricostruzione di un archetipo, ci fondiamo sull' ipotesi di lavoro che la serie delle varianti risultanti dalla tradizione ci conservi celato il testo originale da scoprire, l'unico testo originale, mescolato alle varie corruzioni e interpolazioni. Questo giustifica l'opera, per così dire, di decantazione che noi compiamo per separare l'unica lezione valida delle incrostazioni parassitarie." Henriot also quoted from Joseph Caillaux's Mes Mémoires the sentence, "Il [Poincaré] m'abbandone pour s'agglutiner à M. Clemenceau", and comments: "S'agglutiner sonne assez bien..." (Éd. "Bibliothèque de la Pléiade", p. 123).

            Noel Coward, Present Indicative (Doubleday Doran & Co.), p. 50: "M^rs Astley-Cooper draped scarves over all mirrors because she said she could find no charm in her own appearance whatever." Judging from an entry in Gide's Journal, Fin Février 1903, "c'est Schwob étendant des papiers devant ses miroirs" (op. cit., p. 132), Marcel Schwob, who was notoriously ugly and was said to look like "un oeuf dur sans coquille" (Jules Renard, Journal, éd. NRF, p. 101), seems also to have suffered from this kind of inverted Narcissism — what Oscar Wilde describes in the Preface to Dorian Gray as "the rage of Caliban seeing his face in a glass."【Paul Claudel: "Gide est fasciné par les miroirs. Son Journal n'est qu'une série de poses devant lui-même" (R. Mallet, Paul Claudl et André Gide, Correspondance, p. 250).】Cf. Lucilius's epigram in The Greek Anthology quoted in 第七三八則 a propos of L'Adone, V. 26; Tasso,Aminta, I. i, Dafne: "... e già non dico / allor che fuggirai le fonti, ov' ora / spesso ti specchi e forse ti vagheggi: / allor che fuggirai le fonti, solo / per tema di vederti crespa, e brutta" (Poesie, ed. F. Flora, pp. 620-1). Cf. 李漁《憐香伴》第二齣闕里侯"惡影不將燈作伴，怒形常與鏡為仇"；《清異錄》卷下《居室門》："王希默簡淡無他好，惟以對鏡為娛，整飾眉髩；以杜甫有'勳業頻看鏡'之句，作'策勳亭'。"

There is a very amusing conversation in Octave Mirbeau's Le Journal d'une femme de chambre (p. 266). M^me de Rambure asked Sartorys, who was a notorious passive sodomite, how he succeeded in inducing the nuns to part with their jewellery. "Je me livre sur elles à des pratiques anti-naturelles," he answered. La baronne Gogsthein chipped in: "Qu'appelez-vous des pratiques anti-naturelles?" "Cela dépendde quel côté Sartorys place la nature," Maurice Fernancourt replied for him. There is a moral to this scabrous joke, to wit, "everything has two handles," as Epictetus said (Enchiridion, XLIII; Epictetus, tr. W.A. Oldfather, "The Loeb Classical Library", vol. II, p. 527). Cf. Bordeu's reply to Mlle de L'Espinasse's skittish inquiry about sodomy: "Tout ce qui est ne peut être ni contre nature ni hors de nature." Cf. Bishop William Warburton: "Orthodoxy is my doxy; heterodoxy is another man's doxy" (Oxford Dictionary of Quotations, second ed., p. 559); Feuerbach: "Nachgelassene Aphorismen": "Was ist der Unterschied zwischen Volk und Pöbel? Wenn der Pöbel glaubt oder thut, was den Herrschenden gefällt oder nützlichscheint, so ist der Pöbel Volk, im entgegensetzen Falle das Volk Pöbel" (Sämtliche Werke, hrsg. W. Bolin & Fr. Jodl, Bd. X, S. 316; G.A. de Caillavet & R. de Flers, L'Habit vert, I. ii: "Démocratie est le nom que nous donnous au peuple chaque fois que nous avons besoin de lui"); Eduard Engel, Deutsche Kunst, 22^te  bis 24^te Aufl., S. 179: "All dies Geschwätz von Objektiv und Subjektiv bedeutet, wenn irgend etwas, nur dieses: Objektiv ist meine Meinung, subjektiv jede andre; ich besitze die objektive ewige Wahrheit, ihr alle seid in schnöder Subjektivität befangen. Es erinnert an die schöne Erklärung von Egoismus: 'Dieser Mensch ist der verkörperte Egoismus! Über eine unterhalte ich mich miss ihm, und nicht ein einzig Mal spricht er von mir.'" One thinks also of vulgarity defined as "other people's behaviour" & sentimentality as "other people's feelings." This is a rather chastening thought to all who claim to be "revolutionaries" & "progressives"; at the same time let all those who are stigmatised as "counterrevolutionaries" & "reactionaries" derive what consolation they can from it. On whose side then is history? Alas! History, une fille mille fois violée, like Nature, is "double-barrelled" and can too play Sartorys's "fore-and-after" game — of course in her fashion.

            In 第六百四十九則, a propos of Croce's sharp distinction between "poetry" & "oratory" or "eloquence", I quoted J.S. Mill & the Yeats's who corroborated Croce by insisting on "solitude" &"intimacy" as the mark of the finest literature. When one soliloquizes in solitude or talks in intimacy, one does not raise one's voice; loud theatrical declamation is definitely ruled out. Saintsbury, too, while objecting to "the absence of quiet" in Ruskin, borrows the famous words of Goethe's poem to praise Pater: "On the apex of English prose, there is Rest" (A History of English Prose Rhythm, p. 420; "Wandrers Nachtlied", ii: "Ueber allen Gipfeln / Ist Ruh"). Cf. Angelus Silesius, Der Cherubinischer Wandersmann: "Wir beten: es gescheh, mein Herr und Gott, dein Wille; / Und sieh, er hat nicht Will, er ist ein ewge Stille" (F.J. Warnke, European Metaphysical Poetry, p. 190); Hegel's fine passge in his Ästhetik, I^ter Teil, 3^tes Kap. on "die heitere Ruhe und Seligkeit", "als den Grundzug des Ideals an die Spitze stellen" & "Heiterkeit & stille" of the gods (Aufbau-Verlag, 1955, S. 184).【Cf. S. 467 from...Carducci had perhaps the Goethean phrase in mind when he spoke of Foscolo as one who "ricercava le cime quiete della poesia... trasportava nella serenit omerica e pindarica il dubbio e il dolore moderno..." (Del rinnovamento letterario in Italia, quoted in Walter Binni, ed., I Classici Italiani nella Storia della Critica, II, p. 361). This applies, it seems, not only to the beautiful, but also to the good. Malebranche, for instance, said: "La raison parle bas,il faut de l'attention pour l'entendre... mais les sens, devenus insolents... mais si agréablement et si vivement, que l'esprit séduit et dominé suit aveuglement tous les désirs qu'ils inspirent" (Médit. Chrét., quoted in André Lalande, Vocabulaire technique et critique de la philosophie, 7^e éd, p. 969); Heidegger puts the matter in a paradox: "Das Gewissen redet einzig und ständig im Modus des Schweigens. So verliert es nicht nur nichts an Vernehmlichkeit, sondern zwingt das an- und aufgerufene Dasein in die Verschwiegenheit seiner selbst" (Sein und Zeit, I, 3^te Auf., S. 273). One also remembers "the still small voice" of the Lord in the Bible (I Kings, XIX.11); and it is only in the case of a scoundrel like Sampson Brass that the still small voice can loudly "sing comic songs with him" (see Old Curiosity Shop, ch. 66). Even the highest voluptuous happiness is quiet, e.g., in Tasso's beautiful poem "Tacciono i boschi e i fiumi": "Amor non parli o spiri, / Sien muti i baci e muti i miei sospiri" (Poesie, "Rime", Parte III, no. 68, ed. F. Flora, p. 791). All this comes home to a person living in an age of admass media when the people are governed, educated, entertained — in short, "softened up" & stupefied — with unrelenting noise, & when all thoughts & feelings have to issue in vociferous verbal diarrhea, & when even oratory & eloquence degenerate into roaratory & yelloquence, or to borrow the Abbé Galiani's pun on the logical forms of certain arguments in poems & speeches, the raisonnements become mere résonnements (quoted in Sainte-Beuve, Causeries du Lundi, II, p. 436). Cf. Meister Eckhart, Sermon, VIII: "The word lies hidden in the soul in such a way that one does not know it or hear it. Unless room is made in the ground of hearing, it cannot be heard; indeed, all voices & sounds must go out, & there must be absolute silence there & stillness" (James M. Clark, Meister Eckhart, p. 162); Wm. Watson: "The Mystery of Style": "Serenity based upon strength", "Passion plus self-restraint" (Excursions in Criticism, pp. 106, 107).【Jean Paul,Vorschule der Ästhetik, §11: "Der rechte Genius beruhigt sich von innen; nicht das hochauffahrende Wogen, sondern die glatte Tiefe spiegelt die Welt" (Werke, Carl Hanser Verlag, III, S. 578, 581).Aristotle,Nicomachean Ethics, Bk. VII, ch. 14: "This is why God always enjoys a single and simple pleasure; for there is not only an activity of movement but an activity of immobility, & pleasure is found more in rest than in movement."】【Cf. infra 第六百八十九則

            T. Sturge Moore: "I had always understood that Chesterton & Belloc were the two buttocks of one bum. Now I learn that you are as strongly for the one as against the other?!!" (Ursula Bridge, ed., W.B. Yeats & T. Sturge Moore: Their Correspondence, p. 20). Cf. a piece of dialogue in Tennessee Williams'sCat on the Hot Tin Roof, "Pelican Plays", p. 95: "'That half-ass story!' 'What's half-ass abut it?' 'Something's left out of the story.'"

Sturge Moore on a TLS review of his Armour for Aphrodite: "... with several drops of malignity in the mush" (Op. cit., p. 148). Cf. Paul Léautaud, Journal Littéraire, II, p. 41: "Vallette me dit qu'il y aurait quelques jolies lignes à écrire sur Hérold [his predecessor as dramatic critic of the Mercure de France], des fleurs recouvrant des épines"; Kathleen Tillotson's characterization of Arnold's description of Carlyle in the lecture on Heine: "the bunches of snakes tied up with flower" (quoted RES, Feb 1959, p, 108).

六百六十九

《五燈會元》卷一云："世尊在靈山會上，拈花示眾。眾皆默然，唯迦葉尊者破顏微笑。世尊曰：'吾有正法眼藏，湼槃妙心，實相無相，微妙法門，不立文字，教外別傳，密付囑摩訶迦葉'"云云 。按此事意趣殊妙，而未詳所出。《景德傳燈錄》卷一初無記載，宋釋志磐《佛祖統紀》卷五《摩訶迦葉傳》註文引《梅谿集》云："荊公謂慧泉禪師曰：'世尊拈花，出自何經？'泉云：'藏經所不載。'公曰：'頃在翰苑，偶見《大梵王問佛決疑經》三卷，有云："梵天王在靈山會上，以金色波羅花獻佛，請佛說法，世尊登座，拈花示眾，人天百萬，悉皆罔措"云云'。"《梅溪集》未識誰作，王龜齡《集》中無其文也。釋智昭《人天眼目》卷五逕曰荊公云云，不言《梅溪集》。Suzuki, Essays in Zen Buddhism, I, p. 153 謂是古天竺遺說，即引《五燈會元》為注，實未探本。近覩西方著述，每援此典，如 R.G. Collingwood, The Principles of Art, p. 243: "There is a story that Buddha once, at the climax of a philosophical discussion, broke into a gesture-language as an Oxford philosopher may break into Greek: he took a flower in his hand, &d looked at it; one of his disciples smiled, and the master said to him, 'You have understood me.' It is therefore not true that vocal language has an exclusive function in the ex-pression of thought." 又 Allan Wade, ed., Letters of W.B. Yeats, p. 715: "Do you remember the story of Buddha who gave a flower to some one, who in his turn gave another a silent gift & so from man to man for centuries passed on the doctrine of the Zen school? One feels at moments as if one could with a touch convey a vision — that the mystic vision & sexual love use the same means." Nikos Kazantzakis, The Odyssey: A Modern Sequel, 中之Prince Motherth 即釋迦也，其臨終時，諸子求囑付："Master, before you die, grant us your wisest word!' / Then the serene face shone with a faint smile... / but he spoke not.... I've gone beyond the Word, cut through thought' foolish nets, / and fling you, for profound reply, a wordless smile" (Bk. XXIV, ll. 842-5, 863-4, tr. K. Friar, pp. 763, 764). 皆即 W.M. Urban, Language & Reality, p. 230: "Linguistic communication is imbedded in & presupposes behavioral communication.... e.g., the 'language' of eyes, gestures, etc." 至理妙道至男歡女愛無俟言說，已見第百九十八則論 Balzac, Contes Drolatiques, Éd. Louis Conard, I, p. 136，第二百四則論 Max Scheler, Die Wissensformen und die Gesellschaft, S. 63。至 Yeats 論愛染而舉根器相觸(touch)，未盡欲界中彼此通郵之道，兩情交悅，兩心相印，尚有如《楞嚴經》卷八真鑑疏中偈所謂"四王㣼利同一道，燄摩執手兜率笑。化樂相視他暫視，此是諸天真快樂"（按本之《長阿含經》之三十《世紀經‧㣼利天品第八》："人及龍、鳥相觸，阿須倫相近，四天王、㣼利、焰摩亦如是，兜率天執手，化自在天熟視，他化自在天暫視成陰陽"；《瑜珈師地論》卷五："男女展轉，二二交會，不淨流出，熱惱方息。欲界諸天，雖行淫行，無此不淨，然於根門，有風氣出。時分天，唯互相抱；知足天，唯相執手；樂化天，相欲而笑；他化自在天，眼相顧視，熱惱便息"）是也。蓋適與西方所謂"quinque lineae amoris"（相視、共語、偎依、接吻、媾歡）（詳見 E.R. Curtius, Europäische Literatur und Lateinisches Mittelalter, 2^te Auf., S. 501-2）相反，諸天之所謂極境，正人間之初榥而已。Paradise Lost, VIII. 615-7, Adam: "Love not the Heavenly Spirits, and how their love / Ex-press they — by looks only, or do they mix / Irradiance, virtual or immediate touch?" 622-9, Raphael: "Whatever pure thou in the body enjoy'st / (And pure thou wert created) we enjoy / In eminence, & obstacle find none / Of membrane, joint, or limb, exclusive bars. / Easier than air with air, if Spirits embrace, / Total they mix, union of pure with pure / Desiring, nor restrained conveyance need / As flesh to mix with flesh, or soul with soul" (參觀 A. Gilchrist, Life of W^m Blake, "Everyman's Lib.", p. 337記 Blake 言Milton 現形："wished me to expose the falsehood of his doctrine taught in the P.L., that sexual intercourse arose out of the Fall"; Sturge Moore, Art & Life, p. 207: "An amusing example of [Blake's] ineffectual reading. The famous passage [P.L., IV. 771 ff.] actually illustrate the opposite opinion"; Fr. Schlegel, Literary Notebooks, ed. Hans Eichner, §1489, p. 152: "Sollen sich denn nicht auch die Geister Küssen, umarmen, befruchten, Eins werden?" p. 273 注引 J. Böhme, Morgenröte im Aufgang: "... die Geister Gottes in sich fein lieblich einander gebören, und ineinander auf steigen, als ein liebliches Holsen, Küssen und von einander essen" (Sämtl. Werk., ed. K.W. Schiber, II, S. 120). 吾國詩人寫相視莫逆之境最夥者為孫子瀟，如《天真閣外集》卷一《記遇》第三首云："廋詞竟被全猜著，眉語偏乘不備來"；《寒夜》云："星眼暗擡人不覺，風情略透語無痕"；《新年詞》第二首云："眼波敏捷迴身溜，眉語聰明對面通"；《無題》第一首云："眼波頻遣魂搖蕩，眉語能通思款深"；卷二《意中人》第二首云："語出眉梢須領會，波生眼角定分明"；《新病》云："極檢點時惟手札，最分明語在眉尖。"然眉挑目語，雖賦情聊勝，終含意未申。按古羅馬詩中數詠眉語：Ovid, Amores, I. iv. 19: "verba superciliis sine voce loquentia dicam"，又 II. v. 15 略同；Propertius, III. 7: "tecta superciliis si quando uerba remittis"。意大利古謠因云："Non mi mandar messaggi, ché son falsi; / Non mi mandar messaggi, ché son rei. / Messaggio siano gli occhi quando gli alsi, / Messaggio siano gli occhi tuoi a' miei" [8] (L.R. Lind, Lyric Poetry of the Italian Renaissance, p. 44: "Strambotti siciliani", I). 而晁元禮《洞仙歌》則云："眼來眼去，未肯分明道。有意於人甚不早"；又《少年游》云："眼來眼去又無言，教我怎生團？又不分明，許人一句，縱未也心安"（《全宋詞》卷六十六）。至若孫惟信《晝錦堂》詞云："嬋娟。留慧盼，渾當了、匆匆密愛深憐"《絕妙好詞》卷二；石子章《八聲甘州》云："不承望空溜溜了會眼兒休"，則用意又異，非復眼意心期，而幾同鵁鶄之睛交，如 Emerson 詩 "The Initial Love" 所謂 "And kiss, & couple, & beget, / By those roving eye-balls bold" 矣！詳見第五百五十九則論方子漁《繡屏風館詩集》卷四《惆悵詞》。

雜書：李肇《國史補》記韋應物"所居焚香掃地而坐。"按崔峒《題崇福寺禪師院》云："僧家竟何事，掃地與焚香。"李羣玉《龍安寺佳人阿最歌》："願掃琉璃地，燒香過一生。"

〇崔珏《美人嘗茶行》云："明眸漸開轉秋水"，而《有贈》第二首云："一眸春水照人寒。"易實甫《丁卯之間行卷》卷二《滬上冶游詩詞序》云："肌似雪而偏溫，眼雖波而未冷"，可作轉語，用心已異唐人矣（參觀第二百四十八則）。

〇李頻《春閨怨》云："紅妝女兒燈下羞，畫眉夫婿隴西頭。自怨愁容長照鏡，悔教征戍覓封侯。"按太襲王昌齡《閨怨》。

〇李洞《贈徐山人》云："瓦礫變黃憂世換，髭鬚放白怕人疑。"按《續列仙傳》鍾離真君授呂洞賓黃白秘方，云："三千年後還本質。"洞賓曰："誤三千年後人，不願為也"云云，即上句之意。

〇尉遲匡《塞上曲》云："夜夜月爲青塚鏡，年年雪作黑山花"（《雲溪友議》卷中）。按蘇郁詩亦云："關月夜懸青塚鏡，塞雲秋薄漢宮羅"（《雲溪友議》卷下）。

〇李義山《贈歌妓》第二首云："只知解道春來瘦，不道春來獨自多。"馮《注》卷五說之云："爾只解道'我春來消瘦'，何不解道'我春來獨自'歟？"頗為得之，蓋言傷別憔悴，即《古詩十九首》："相去日已遠，衣帶日已緩"；《讀曲歌》："逋髮不可料，憔悴為誰睹。欲知相憶時，但看裙帶緩幾許"；《焦氏易林》卷二"師之噬嗑"，又卷五"臨之大過"、卷七"無妄之恒"、卷十五"巽之乾"皆云"失信不會，憂思約帶"（卷五"蠱之謙"，"信"作"期"，參觀卷六"復之節"云："簪短帶長，幽思窮苦"，卷八"恒之咸"作"幽思苦窮"）之旨也。李清照《鳳凰臺上億吹簫》云："今年瘦，非干病酒，不是悲秋"；孫花翁《燭影搖紅》云："絮飛春盡，天遠書沉，日長人瘦"（《絕妙好詞》卷二）；趙汝茪《如夢令》云："歸未，歸未，好個瘦人天氣"（《絕妙好詞》卷三）；姚梅伯《賣花聲》云："春痕顦顇到眉姿，只道寒深耽病久，諱説相思"（《國朝詞綜續編》卷十五），皆此意。孫、趙較義山為含渾，然仍點眼。清照語尤蘊蓄耐尋味，以二"非"逼出"是"來，却又不說是何，參觀 Burton, Anatomy of Melancholy 舉 "leaness" (Ovid: "fecit amor maciem") 為 "Symptoms of Love" 之一 ("Everyman's Lib.", III, p. 133)《兒女英雄傳》三十四回長姐兒見安公子下場，金鐲子落地；四十回長姐兒知安公子赴烏里雅蘇臺，"衣裳的腰褙，肥了就有四指"，雖成笑枋，亦此意也；宋劉學箕《賀新郎》："手展流蘇腰肢瘦，歎黃金、兩細香消臂。"

   〇孫花翁《望遠行》云："量減才慳，自覺是、歡情衰謝。但一點難忘，酒痕香帕，如今雪鬢霜髭，嬉遊不忺深夜。怕相逢、風前月下。《浩然齋雅談》卷下載"按張亨甫《思伯子堂詩集》卷二十三《乙未九月將去福州述舊絕句》第十三首云："何曾兩廡愛孤豚，漸覺中年百感存。只合落花風裏坐，看人兒女自銷魂" （句法參觀羅隱《偶興》云："逐隊隨行二十春，曲江池畔避車塵。如今贏得將衰老，閑看人間得意人"），余最喜誦之，以為道得我意中事出 ，勝於花翁此詞。李易安《臨江仙》云："誰憐憔悴更凋零，試燈無意思，踏雪沒心情" ；《南歌子》云："舊時天氣舊時衣，只有情懷，不似舊家時"，亦皆不似亨甫詩之能令人惘惘不甘、忽忽有失也。《一瓢詩話》稱張伯起詩"而今老去春情薄，漠漠寒江水自流" ，更不足道。

〇《四友齋叢說》卷三十七極稱王實甫《西廂‧混江龍》之"繫春心情短柳絲長，隔花陰人遠天涯近"數句，以為"雖李供奉復生，不能有以加之。"按周草窗《拜星月慢》云："幾千萬、絲縷垂楊，繫春愁不斷"；吳融《淛東筵上》云："見了又休真似夢，坐來雖近遠於天"，歐公《瑞鷓鴣》全取之；朱淑真《生查子》云："人遠天涯近。"【歐陽修《千秋歲》："夜長春夢短，人遠天涯近。"】實甫後來居上矣（按實甫語見《西廂記》第二本第一折）！楊恩壽《續詞餘叢話》卷二謂下句即《詩經‧蒹葭》章之意。

   〇《夷堅志》壬七《王彥齡舒氏詞》條載其詞云："此事憑誰知證，有樓前明月，窗外花影。"按此本曹組《憶瑤姬》，見《花草粹編》卷十一，"知"字作"執"。

〇朱希真《樵歌》卷上《念奴嬌》云："嬾共賢爭，從教他笑，如此只如此。雜劇打了，戲衫脫與獃底。"按《花菴中興以來絕妙詞選》卷四吳禮之《瑞鶴仙》云："我直須、跳出樊籠，做個俏底"，與此正貌異心同。"俏"者，"俐"也，"乖"也。《樵歌》卷中《憶帝京》云："管教沒人嫌，便總道、先生俏"，又倪君奭《夜行船》："年少疎狂今已老，筵席散、雜劇打了"（《隨隱漫錄》卷三），劉後村《水調歌頭》："莫是散場優孟，又似下棚傀儡，脫了戲衫還"，《念奴嬌》："戲衫拋了，下棚去"，皆可以參觀。又按 The Greek Anthology, B. IX, 49: "Hope & Fortune, a long farewell. I have found the haven. I have no more to do with you. Make game of those who come after me" (tr. W.R. Paton, "The Loeb Classical Library", vol. III, p. 27)  Bk. IX, 134-5 (vol. III, pp. 69-71); Bk. IX, 172 (vol. III, p. 89)。後來如Apuleius, Metamorphoseon, Lib. XI. 15 僧正 (Sacerdos) 謂 Lucius云："Eat nunc et summo furore saeviat et crudelitati suae materiem quaerat aliam"；又 Le Sage, Gil Blas, Liv. IX, ch. 10: "Je veux... écrire sur la porte de ma maison ces deux vers latins en lettres d'or: Inveni portum. Spes et Fortuna, valetc. / Sat me lusistis; ludite nunc alios!" (Éd. "Classiques Garnier", p. 517) 無不師其意。Lenau: "Aus": "Ob jeder Freude seh ich schweben / Den Geier bald, der sie bedroht; / Was ich geliebt, gesucht im Leben, / Es ist verloren oder tot. // ... // Ich will nicht länger töricht haschen / Nach trüber Fluten hellem Schaum, / Hab aus den Augen mir gewaschen / Mit Tränen scharf den letzten Traum"亦此旨，而沉摯淒黯，異於作達。皆即朱希真詞所謂"雜劇打了，戲衫脫與獃底"也。希真不以世路風波為言，而托之逢場作戲。E.R. Curtius, Europäische Literatur und Lateinisches Mittelalter, 2^te Aufl., S. 148-150 及 Jean Jacquot: "Le Théâtre du monde de Shakespeare à Calderôn" (Revue de la litt. comp., Juillet-Sept. 1957, pp. 341-372) 所考論 "mimus vitae", "theatrum mundi" 已見第四百十六則論《容齋隨筆》卷十四。

〇陸天隨《病中秋懷寄襲美》云："雙燕歸來始下簾。"按《六一詞‧采桑子》云："垂下簾櫳，雙燕歸來細雨中"，殆本此耶？情生文，文生情，人多知之。事與景生文，而文亦生事、生景，則談藝者尟道。【G. Picon, La Littérature du XX^e siècle, in R. Qeuneau, ed., Histoire des Littératures, "Pléiade", t. III, p. 1320: "Rhétorique?  C'est dire que la poésie est fondée sur le langage, non sur une expérience."】古詩寫景記事，固有如鍾記室所云"即目"、"所見"者，然已往往承襲，浸至倚聲，則更循文而不徵實 (Entdinglichung)，乃古有此言，而不必今覩其事 (nicht in der Sache, sondern in der Sprache)  Hugo Friedrich, Die Struktur der modernen Lyrik von Baudelaire bis zur Gegenwart, 1952, S. 532。參觀 E.R. Curtius, Europäische Literatur und Lateinisches Mittelalter, 2te Aufl., S. 192 論中世紀詩中每道橄欖樹及師子等，非目驗其物："Aber das Naturgefuhl... hat hier nichts zu suchen... Alle diese exotischen Bäume und Tiere sind... allerdings aus dem Süden bezogen worden, aber nicht aus Gärten und Menagerien, sondern aus der antiken Poesie und Rhetorik." 吳程九《笏菴詩》卷十一《尋詩》云："尋詩偶步逐春行，景物新奇眼倍明。笑矣乎開風正過，鱗之而長水方生。南華莫悔曾經讀，爾雅還愁未識名。最愛放翁多巧句，不須屬對倩飛卿。"舍景物而掉書袋，固不待言，頸聯所寫，當時果眼見此二物耶？抑止見其一，憑空生出語言眷屬耶？春郊景物，舍花若柳，而獨言竹，豈非得"鱗之而"三字後，花柳成語無可屬對，遂以李陽氷"笑"字之說（見第三百五十九則論《攻媿集》卷七十八《跋文與可竹》），合之李白《笑歌行》首句耶？此詩非《笏菴集》中上乘，然可借以明因文生景，而非即景成文之理。Mallarmé, Divagations, p. 246: "... poëte, qui cède l'initiative aux mots"，此之謂歟？（"鱗之而"謂水，郭景純詩云："潛波渙鱗起。"劉希夷《秋日》云："魚鱗可憐紫，鴨毛自然碧。吟詠秋水篇，渺然忘損益"，正謂水。）Marjorie Fleming 詠猴云："His noses cast is of the roman / He is a very pretty weoman / I could not get a rhyme for roman / And was obliged to call it weoman" (The Oxford Dictionary of Quotation, 2^nd ed., p. 208)，雖稚騃語，正亦道出老於文字者伎倆也。【Henri Davray: "Ils cherchent des sentiments pour les accommoder à leur vocabulaire" (Ezra Pound, A.B.C. of Reading, p. 90 引】【H. Weber, La création poétique au 16^e siècle en France, I, 116: "Pour Ronsard comme pour la plupart de ses amis, la fureur poétique naît le plus souvent de l'enthousiasme qu'ils éprouvent à la lecture des poétes anciens... elle jaillit plus rarement du contact direct avec la vie."】【《詩人玉屑》卷十七引《西清詩話》、《高齋詩話》、《漁隱叢話前集》卷三十四、《梅墅續評》論荊公句"殘菊飄零滿地金"，歐公戲曰："秋英不比春花落，為報詩人仔細看。"漁隱謂二家集中無此詩荊公謂此緣讀《楚詞》不熟，不知"餐秋菊之落英"也。《梅墅》謂"落"乃"初"、"始"之意，荊公誤解云云，亦賦物而不觀物，以古書障目之一例，所謂循聲而不責實也。詳見第七六一則。】【陸農師《埤雅》卷十七云："蓋菊不落華，蕉不落葉。"格物之學，智過乃師矣！】【《四溟山人全集》卷二十二云："意落於某韻，意隨字生，豈必先立意哉！"卷二十四云："因字得句，句由韻成，所謂詞後意也。"】【湯賓尹《睡菴文集》卷一《蒹葭館詩集序》云："情之所不必至，而屬對需之；景之所不必有，而押韻又需之。"】【Baudelaire: "Le soleil": "Trébuchant sur les mots comme sur les pavés / Heurtant parfois des vers depuis longtemps rêvés."

〇陸天隨《丁香》云："殷勤解却丁香結，縱放繁枝散誕春。"按抵龔定菴（《續集》卷三）一首《病梅館記》。鄭子尹《巢經巢文集》卷三《梅垓記》云："府君蓄盆梅一。一日先孺人撫而言曰：'凡物皆有全量。使夭閼不盡其性者，皆人為害之也。'因出植籬間"云云，與定庵《記》相發明。又按《荊公集》卷三十四《出定力院作》云："江上悠悠不見人，十年塵垢夢中身。殷勤為解丁香結，放出枝間自在春。"太蹈襲矣！

〇袁珏生《恐高寒齋詩》卷下《壬子四月續開實錄館》第一首："詩惜虞山後勝前"，自注："昔人評王覺斯書入國朝後遜於前，錢牧齋詩入國朝後勝於前。"按下語不曉何本，上語見王砥齋《山史初集》卷一云："王宗伯於書道，天分既優，用工又博，合者直可抗跡顏、柳。晚年為人，略無行簡，書亦漸入惡趣。三百年來書，當以東吳生為最，愈看愈佳。宗伯則久之生厭。"

〇劉賓客《金陵懷古》云："從而今四海為家日，故壘蕭蕭蘆荻秋。" 杜司勳《題曲屏》云："今日聖神家四海，戍旗長捲夕陽中"，用意相同。參觀第七八九則論少陵《過先主廟》。王棨《江南春賦》遂云："今日併為天下春，無江南兮江北。"《全唐文》卷七百七十，又卷七百六十七陳黯《送王棨序》，又卷八百十七黃璞《王郎中傳》皆稱引此二句。則開高季迪《登金陵雨花臺望大江》云："從今四海永為家，不用長江限南北"；楊孟載《祁陽行》云："天下於今皆樂土，何須更覓武陵溪"；彭甘亭《白登》云："今日一家中外合，春風不隔兔毛河"（《小謨觴館詩集》卷一）。參觀張炎《念奴嬌‧夜渡古黄河》云："笑當年底事，中分南北。"

〇劉賓客《竹枝詞》云："東邊日出西邊雨，道是無晴却有晴。"巧語也！楊發《翫殘花》云："低枝似泥幽人醉，莫道無情似有情。"遂極有韻致，非徒口角玲瓏矣！其意則賓客《柳花詞》所謂"無意似多情"耳。

〇昌黎《送無本師歸范陽》云："無本於為文，身大不及膽。吾嘗示之難，勇往無不敢"云云，思路甚創。《全唐文》卷八百二沈光《李白酒樓記》云："嗚呼！太白觸文之強，乘文之險，潰文之毒，搏文之猛"，即從韓語化出。

〇《全唐文》卷八百七十李從謙《夏清侯傳》，言竹簟也，亦《毛穎傳》、陸龜蒙《管城侯傳》、司空圖《容城侯傳》之體，而巧立名目，語意纖仄，如"碧虛郎"、"凌雲處士"、"卓立卿"、"凝秋叟"之類，蓋輯自《清異錄》卷三之類，如卷一"虛中子"、"甘銳侯"、卷三"淨君"、"涼友"。《王子年拾遺記》已肇此風（如"書倉"、"針神"、"舌耕"等），唐人如王仁裕《開天遺事》繼之。其它詩文如樊宗師以竹、柏為"青士"、"蒼官"；鮑溶以淚為"眼泉"；施肩吾以茶為"滌煩子"，酒為"忘憂君"；《朝野僉載》記養豬致富為"烏金"。宋人偽書踵事增華，《雲仙雜記》是矣。《清異錄》尤蔚為大觀耳。

〇《全唐詩》采《貴耳集》卷下載黃巢五歲《詠菊花》云："颯颯西風滿院栽，蕊寒香冷蝶難來。他年我若為青帝，移共桃花一處開。"按此詩不見南宋以前記載。以洪景廬《唐人萬言絕句》之買菜求益，而亦未采及黃巢隻字，其為偽託，不問可知。朱孟震《續玉笥詩談》謂有作道聽錄者以此詩附會為明太祖作。【《七修類稿》卷三十七《清暇錄》載："黃巢下第，有《菊花》詩云：'待到秋來九月八 ，我花開後百花殺。衝天香陣透長安，滿城盡帶黃金甲！'我太祖亦有《詠菊花》詩：'百花發，我不發；我若發，都駭殺。要與西風戰一場，遍身穿就黃金甲。'"按黃巢此詩見《貴耳集》，云兒時作。《夷白齋詩話》載此詩，亦云明太祖詠菊作。】《鏡花緣》第一回嫦娥請百花仙子發個號，百花齊放，百花仙子答曰："開百花於片刻，聚四季於一時；，真是戲論"云云第四回武后云："即便朕要挽回造化，命他百花齊放，他又焉能違拗"云云，蓋本之《卓異記》，可為此詩註脚。《羯鼓錄》唐明皇所謂"此事不喚我作天公，可乎？"霸道蠻做，古今強暴，真如一轍（來集之《倘湖樵書初編》卷一《草木各物仰遵朝旨》條亦舉明皇、武后二事）。【清康熙時張瀾《萬花臺》院本寫武后於九月命桃、梨再放（第三齣）。】

〇周紫芝《竹坡詩話》云："有數貴人遇休沐，携歌舞燕僧舍者。酒酣，誦前人詩：'因過竹院逢僧話，又得浮生半日閒。'僧笑曰：'尊官得半日閒，老僧卻忙了三日。'一日供帳，一日燕集，一日掃除也。"按參觀 Samuel C. Chew, Byron in England, p. 63: "... the kind of Sunday which, Ruskin said, spoiled for him 3/7 of the week, Saturday by anticipation, Sunday itself, & Monday by remembrance." Publilius Syrus, §62: "Bona nemini hora est, ut non alicui sit mala" (Nobody has a good time without its being bad for someone) (Minor Latin Poets, "Loeb", p. 22). Emerson: A Modern Anthology, ed. A. Kazin & D. Aaron, p. 167: "I decline invitations to evening parties chiefly because beside the time spent, commonly ill, in the party, the hours preceding & succeeding the visit, are lost for any solid use..."

〇戎昱《苦哉行》第一首云："彼鼠侵我廚，縱貍授粱肉。鼠雖爲君却，貍食自須足。冀雪大國恥，翻是大國辱"云云。按參觀 Aristotle, Rhetoric, 1393b 所引 Stesichorua 寓言：鹿侵馬地食草，馬乞援於人，人曰："汝啣勒出我胯下，我執槍以逐鹿，事乃有濟。"馬允之，遂俯首受馭("Loeb Classical Library", tr. J.H. Freese, p. 275; 亦見 J.M. Edmonds, Lyra Graeca, II, p. 16) 。又《全唐文》卷六百八十二牛奇章《譴貓》謂"貓蠹踰鼠"，舉漢之更始、晉之羅沖為比，謂"防盜而亂，則踰於盜"；卷八百六十七楊夔《蓄貍說》謂野貍捕鼠，"攫生搏飛，舉無不捷"，而"野心思逸，罔以子育為懷"，如侯景之於梁武，疋磾之於劉琨。《郁離子‧构櫞篇》（《誠意伯文集》卷三）："趙人患鼠，乞貓於中山。月餘，鼠盡而鷄亦盡，子曰：'盍去諸？'父曰：'吾之患在鼠，不在乎無鷄。'"Machiavelli, Il Principe, cap. 13 論此最深切："[Le arme ausiliarie] sono per chi le chiama sempre dannose; perchè perdendo, rimani disfatto, e vincendo resti loro prigione" (Opere, a cura di Mario Bonfantini, p. 44).【Germ. "den Teufel mit Beelzebub austreiben."】【唐蘇拯《獵犬行》："狡兔何曾擒，時把家鷄捉。"參觀第六七四則劉賓客《養鷙詞》 Leszek Kołakowski: "If you use one devil to cast out another, you will still be left with one."】【Cf. Dryden, The Hind & the Panther, ch. III, the parable told by the Hind of the Pigeons inviting the Buzzards to be their King against the chickens (Poems, ed. John Sargeant, pp. 148 ff.).】【Rivarol: "Si un troupeau appelle des tigres contre ses chiens, qu i pourra le défendre contre ses nouveaux défenseurs" (Ste-Beuve, Causeries du Lundi, vol. V, 74).

---

 黃國彬譯但丁《神曲‧地獄篇‧第二十一章》："於是，魔首把屁眼當喇叭吹響。"

"野聞"原作"紀聞"。又《管錐編‧全上古三代秦漢三國六朝文‧三四‧全後漢文卷一四》亦作《剪勝紀聞》（三聯書局   

"卷下"原作"卷三"。

此處頁數原留空未標。

 Cassell's Dictionary of Slang: "double-barrelled: adj.... [late 19C] used of a woman enjoying simultaneous vaginal and anal intercourse."

 此見《手稿集》 頁眉，下文不知何指。

 前一"世尊"原作"世祖"，"付囑"原作"密付。

 mandar"原作"mandamessaggi"原皆作"messagimessaggio"原皆作"messagio

"掃地焚香"原作"焚香掃地"。

 自注："兩歲來會城，遂絕水閣燕游之樂。"

 參觀《槐聚詩存‧一九五九年‧偶見二十六年前為絳所書詩冊、電謝波流、似塵如夢、復書十章》第二首："少年情事宛留痕，觸撥時時夢一溫。秋月春風閑坐立，懊儂歡子看銷魂。"

"凋零"原作"飄零"。

 王世懋《藝圃擷餘》引文小異，"老去"作"秋老"。

HenriHenry

《唐詩紀事》卷三十九《全唐詩話》卷三引此詩，題皆作《金陵懷古》。《劉賓客文集》卷二十四題為《西塞山懷古》，"而今"作"今逢"。

"九月八"原作"八月八"。

"養鷙詞"原作"養鷙行"。

《容安馆札记》676-680则

Aubrey Beardsley (1872-98)  Cinesias 向 Myrrhina 求歡一節插圖

(The Lysistrata of Aristophanes, London, 1896)

六百七十六

《潛夫論》議論佳而文朴僿，蓋《論衡》之流。《務本篇第二》云："今賦頌之徒，苟為饒辯屈蹇之辭，競陳誣罔無然之事，以索見怪於世。愚夫戇士，從而奇之。此悖孩童之思，而長不誠之言者也。"按即柏拉圖及中世紀道學家非詩之說，參觀 J.E. Spingarn, Literary Criticism in the Renaissance, pp. 4-5

〇《愛日篇第十》云："治國之日舒以長，故其民閒暇而力有餘；亂國之日促以短，故其民困務而力不足。所謂治國之日舒以長者，非謁羲和而令安行也；所謂亂國之日促以短者，非謁羲和而令疾驅也。"仲長統《昌言論‧理亂篇》："夫亂世長而化世短"；李長吉《相勸酒》云："羲和騁六轡，晝夕不曾閑。彈烏崦嵫竹，抶馬蟠桃鞭"，正其意。餘見第二百四十八則論墨憨齋主人《山歌》卷五。又按《大雅‧既醉》："其類維何？室家之壼。"《十駕齋養新錄》卷一曰："'壼'，《傳》訓為'廣'，《國語》叔向引此章而云：'壼也者，廣裕民人之謂也。'夫古人先齊家而後治國；父子之恩薄，兄弟之志乖，夫婦之道苦，雖有廣厦，常覺其隘矣"云，殊有妙義。亦可謂：治國之境寬以廣，亂國之境促以迫。《詩‧正月》所以歎局天蹐地，《節南山》所以難蹙蹙靡騁也。叔向語見《周語下》。

〇《鹽鐵論‧大論第五十九》："是猶遷延而拯溺，揖讓而救火也。"按《宋文憲公全集》卷三十七《燕書》"趙成陽堪宮火"一篇，即敷陳"揖讓救火"，以資笑枋。

〇荀悅《申鑒‧政體第一》云："睹孺子之驅鷄也，而見御民之方。孺子驅鷄，急則驚，緩則滯。方其北也，遽要之，則折而過南；方其南也，遽要之，則折而過北。迫則飛，疎則放。志閑則比之，流緩而不安則食之。"按南要之北，北要之南，《唐音癸籤》卷十七謂韋蘇州詩"驅鷄嘗理邑"、許丁卯詩"遯跡驅鷄吏"皆用此，其意可參觀第二百三十二則論《二程遺書》卷十八伊川論學者扶東倒西語。急、緩二語，可參觀《全後漢文》卷七十四蔡邕《連珠》"琴緩張則撓，急張則絕"；《佛說四十二章經》："沙門思悔欲退。佛問之曰：'汝昔為何業？'曰：'愛彈琴。'佛言：'絃緩如何？'曰：'不鳴矣！''絃急如何？'曰：'聲絕矣！''急緩得中如何？'曰：'諸音普矣！'《雜阿含經》卷九之二五四，又《出曜經》卷六，《真鋯》襲之。"劉賓客《調瑟詞》即本此意。

〇《牡丹亭》第十折《驚夢》云："裊晴絲吹來閒庭院，搖漾春如線。"奇語也！下文云："遍青山啼紅了杜鵑。"花作鳥啼，春如絲漾，思路字法，正爾同揆。《李笠翁偶集》卷一《貴顯淺》云："以游絲一縷，逗起情絲，費如許深心！聽歌《牡丹亭》者，百人之中，有一二人解否？"是也。以情為絲，自吳子華以來，已成常語，蓋自"思緒"推類而得，實本之《楚辭‧九章‧悲回風》云："糺思心以為纕兮，編愁苦以為膺"，王注："膺，絡胸。"見第六百二十二則。至以情絲牽合游絲，少陵《白絲行》衹云："落絮游絲亦有情，隨風照日宜輕舉"而已。王涯《春閨思》始云："愁見游空百丈絲，春風挽斷更傷離。"皎然《效古》則申言之曰："萬丈游絲是妾心，惹蝶縈花亂相續。"呂勝幾《謁金門》詞曰："俊雅風流不見，定被鶯花留戀。千尺遊絲舒又罥，繫人心上綫"（《歷代詩餘》卷十一）；程過《謁金門》詞曰："愁似游絲千萬縷，倩東風約住"（《歷代詩餘》卷十二）。【劉文成《踏莎行‧詠游絲》云："弱不勝烟，嬌難著雨、如何綰得春光住"；張埜《水龍吟‧詠游絲》云："縈回不下，似欲繫，春光住"（《歷代詩餘》卷三十六、七十五）。】金星軺注《青邱詩集》卷一《長相思》云："長相思，思何長！愁如天絲遠悠揚，搖風曳日不可量。未能絆去足，唯解結離腸。"一反義山《春光》詩所謂"幾時心緒渾無事，得及游絲百尺長？"【周紫芝《太倉稊米集》卷三十八《吳傳朋作游絲書為作數語書軸尾》自注乃云："'游絲'二字，前人語中無及此者，唯歐陽公有'游絲寂無事，百尺拖清光'之句。"亦寡陋之至矣。】又按臧晉叔《負苞堂文選》卷三《玉茗堂傳奇引》云："此案頭之書，非筵上之曲"云云，又譏若士"逞汗漫之詞藻"，六字定讞。若士詩文詞曲，造語用字，無不鹵莽滅裂，英雄欺人。（周櫟園《書影》卷二："徐文長知湯義仍先生特深，然評其《感士不遇賦》，既以'四裔語譯字生'譏之，又云：'此不過以古字易今字，以奇譎語易今語。如論道理，卻不過只有些子。'其推之雖力，其詬之也，亦甚不少矣。"沈際飛評選《玉茗堂集‧賦集》卷一《廣意賦》評："却似象胥，不漢語而數夷語。"皆可參觀。）【楊恩壽《詞餘叢話》卷二記程雨蒼謂："《牡丹亭》疵纇尤多，如'沉魚落雁鳥驚喧，羞花閉月花愁顫'，'魚雁'而單提'鳥'，'花月'而單提'花'；'閒凝眄，生生燕語明如剪，嚦嚦鶯聲溜滴圓'，下二句主聽，與上三字不貫。"】笠翁此節，暢論曲文之詞采與詩文之詞采非但不同，且要判然相反，因舉若士造語雖"費經營"而"欠明爽"云云，亦謂不易搬演也。二說已逗 "The long divorce between the stage & literature" (New Statesman, 25 Oct. 1958, p. 563) 之意，亦即 Fritz Hochwälder  "Theater ist keineswegs Literatur. Es kann zur Literaur werden... Von Anfang und in Zeiten höchster Blüter was echtes Theater immer dein Zirkus zugewandter als dem Seminar, der Clownerie näher als der Studierstube. Manchmal also endet das Theater als Literatur. Wo es als Literatur beginnt, lebt as meist nicht lang als Theater" ("Ueber mein Theater" in German Life & Letters, Jan. 1959, p. 111) Dictionary of World Literature, ed. J.T. Shipley, p. 174, art. "Drama & Theater" Eric Bentley, The Playwright as Thinker, ("Meridian Books"), p. 308  Aristotle, Lessing, H.D. Traill ("of every drama... it may... be affirmed that... they are, to the extent to which they are literary, undramatic, &, to the extent to which they are dramatic, unliterary")

〇金星軺輯注《青邱先生詩集》卷十七《宮女圖》云："小犬隔花空吠影，夜深宮禁有誰來？"《列朝詩集傳》謂"有為而作，觀國初昭示諸錄，及高帝手詔豫章侯罪狀可知。"徐釻《本事詩》引《堯山堂外記》謂："張尚禮作《宮怨》詩云：'庭院沉沉晝漏清，閑門春草共愁生。夢中正得君王寵，却被黃鸝叫一聲。'高帝以其能摹寫宮闈心事，下蠶室死。"此事正與青邱相類。《靜志居詩話》謂："青邱《題畫犬》云：'莫向瑤階吠人影，羊車半夜出深宮。'不類明初掖庭事，二詩或是刺庚申君而作。"《明詩紀事》甲籤卷七遍引三家之說。按金氏所輯青邱《遺詩‧紅蕉仕女》云："憑仗小厖休吠影，深宮那得外人來？"豈青邱三用此意耶？竹垞所引《畫犬》詩見卷十八。諸君似皆不知青邱作意，本之王涯《宮詞》云："白雪猧兒拂地行，慣眠紅毯不曾驚。深宮更有何人到？只曉金階吠晚螢。"又卷九《百花洲》云："豈唯世少看花人，縱來此地無花看"；卷十《約諸君范園看杏花》云："休言亂後少花看，得到花前人亦寡。"卷十三《牧》云："但知牛背穩，莫笑馬蹄忙"；《遺詩‧牧童》云："誰知牛背穩，不似馬蹄忙。"【卷十四《清明呈館中諸公》云："白下有山皆繞郭，清明無客不思家。"按黎延瑞《芳洲集》卷一《思歸》云："清明寒食能多雨，白下長干又一年"；張伯雨《貞居先生詩集補遺》卷上《湖上雅集》云："花先寒食清明過，人自長干白下來"；高得暘《節菴集》卷四《暮春有感》云："寒食清明節，長干白下春。"】【吳鎮松厓《題青邱梅詩後》云"雪滿山中高士臥，梅花典故美成知。竹垞但說吟松好，忘却香篝素被詞。"自注："周美成《詠梅》詞：'更可惜、雪中高士，香篝薰素被"'，正用其意。朱竹垞乃為此句似松不似梅，誤矣！"（《小匏菴詩話》卷五引。）】

六百七十七

Dante's passage on vocabula pexa and vocabula hirsuta in De vulgari eloquentia, Lib. II, cap. 7 (Opere, ed. E. Moore & P. Toynbee, p. 395) has been embroidered upon by Edith Sitwell in her gushingly hypersensitive A Poet's Notebook, pp. 19 ff. Curious enough, no one has noticed that there is in European literary criticism a long tradition of "the word made flsh", to adopt St. John's phrase. Demetrius in his treatise On Style already mentioned the fact that "musicians are accustomed to speak of words as 'smooth', 'rough', 'well-proportioned', 'weighty'" etc. (tr. W. Rhys Roberts, "The Loeb Classical Library, p. 411). Dionysius of Halicarnassus went so far as to speak of "words smooth & soft as a maiden's cheek" (On Literary Composition, tr. W. Rhys Roberts, p. 234). The Italian theorist Sperone Speroni [4], to whom Du Bellay was heavily indebted, studied "la 'testura della parole'"; to quote De Sanctis's summary: "La parola ebbe una sua personalità, fu isolata dalla cosa; e ci furono parole pure e impure, belle e brutte, aspre e dolci, nobili e plebee" [5] (Storia della Letteratura Italiana, a cura di B. Croce, riv. da A. Parente, II, p. 145). Joubert, too, repeatedly observed: "Quand on entend parfaitement un mot, il devient comme transparent; on en voit la couleur, la forme; on sent son poids; on aperçoit sa dimension, et on sait le placer" (Pensées,"Libraire Académique", Tit. XXII, 10); "Les beaux mots ont une forme, un son, une couleur et une transparence" (Ibid., Tit. XXIV, iv, 7). When Aldo Capasso criticises Pascoli and Mario Praz criticies D'Annunzio for their "amor sensuale della parola" (Walter Binni, I Classici Italiani nella storia della critica, II, pp. 648, 670), or when Charles Maurras takes Renée Vivien & the Comtesse de Noailles to task for their "sensualité verbale": "Les vocables reçoivent ce poids matériel, cette valeur physique, ce goût de chair qui... deviennent sensibles au toucher" etc. (Le Romantisme féminin, pp. 153 ff.), they apparently fail to see that the so-called "decadent" or "romantic" sensibility of these poets has a respectable classical ancestry. Incidentally, Edith Sitwell who makes great play with the word "texture" and with feminine adhesiveness clings like a vine to such towers of strength as Dante, Blake, Wagner & others, might very well have included Sperone Speroni among her means of literary support. [6] Cf. Croce, La Poesia, 5^a ed., p. 52: "Amare e cercare le espressioni poetiche come cose o (che qui è lo stesso) come persone" etc. & p. 256: "... una libidine esercitata sulle parole delle poesie altrui è quella del D'Annuzio... le sue appropriazioni... erans mosse... dal piacere di mettere nel suo 'harem', e possedere nella loro carnalità, certe immagini e certe parole..."; June E. Downey, Creative Imagination, pp. 62-6 on words as "things-in-themselves", & Gautier's famous passage on words as "des pierres précieuses qui ne sont pas encore taillées et montées" in his essay on Baudelaire; MLR, Jan. 1959, p. 85: "After all, no writer can write well unless he feels that words are good to eat. The phrase is Bagehot's"【Walter Bagehot writes in his essay on "Bishop Butler": "You often see that writers, — Gibbon, for instance, — believe that their words are good to eat, as well as to read; they had a pleasure in rolling them about in the mouth like sugar-plums, & gradually smoothing off any knots or excrescences" (Literary Studies, ed. R.H. Hutton, III, p. 126)】; E. Bullough, Aesthetics, pp. 142-3: "... painters... assumed two entirely different relations to [colour], according as whether they view it, so to speak, aesthetically or pictorially. As artists they displayed the same attitude which they would assume towards a work of Art; as painters they treated it with a kind of objective detachment as a mere, almost indifferent, instrument. The same dualism of attitude will, I think, be found in all arts. The architect or sculptor will feel a thrill of purely aesthetic enjoyment at the beauty of a finely grained stone & will lovingly caress the surface of a beautiful marble; the literary artist will gloat over the sonorousness & rhythm of a word; but each will, when the occasion arises, treat the same object of his delight as part of a completed whole with apparent indifference & will ruthlessly discard it from an unwanted place... The indifference of his professional attitude is not the indifference of the heedless layman, but the higher detachment which removes the medium from the grossly practical function of a 'materialisation' of his vision into an integral part of it." Marcel Aymé, Le Confort intellectuel, p. 26: "Moins respectueux qu'amoureux de la langue, ils commencent à la caresser et à l'aimer pour elle-même sans se montrer très attentifs à son contenu." Cf. Wordsworth, The Prelude, 1805 text, V, 575-581: "Thirteen years / Or haply less, I might have seen, when first / My ears began to open to the charm / Of words in tuneful order, found them sweet / For their own sakes, a passion & a power; / And phrases pleas'd me, chosen for delight, / For pomp, or love." Walter Muschg, Die Zerstörung der deutschen Literatur, 3^teAuf., S. 156 on Josef Weinhebers: "Die Sprache ist ihm ein Weib, das er körperlich um wirbt und besitzt will [e.g. 'Ode an die Buchstaben', 'Hymnus aus die deutsche Sprache'].... Auch in den Aufsätzen und Vorträgen geht Weinheber immer vom 'sinnenhaften Wesen das Wortes' aus.... Er behauptet, die Lyrik stehe  der plastik näher als der Musik, weil sie 'im Gefühl des Körperhaften, Gestaltigen begründet' sei" usw. V.-É. Michelet: "De qu'il n'y a pas d'amour sans désir, de même qui aime les idées doit aimer aussi les mots qui en sont la forme materielle" (Les Nouvelles Littéraires, 19 août, 1948).【Hugo: "Suite de la Réponse à un acte d'accusation": "Car le mot, qu'on le sache, est un être vivant"】【Sartre: "Les poètes sont des hommes qui refusent d'utiliser le langage... l'attitude poétique... considère les mots comme des choses et non comme des signes" ("Qu'est-ce que la littérature?" quoted in F. Jeanson, Sartre par lui-même p. 109).

六百七十八

陳弢菴《滄趣樓詩集》卷三《滄趣樓雜詩》云："敢嫌池淥照鬑鬑，庭樹親栽盡出檐。障得驕陽偏礙月，故知人事不能兼。"按《巢經巢詩集》卷二《庭樹》云："昔余種樹時，意使蔽庭日。蔭成繞檐戶，乃覺似居室。隨時各含花，無心復結實。夜涼壁上影，靜共人抱膝。雖辭晝閒日，永礙初上月。人事寧可兼，此得彼亦失。窅然發深心，陰陰亂蟲唧。"陳詩意全取之鄭也。Cf. Johnson,Rasselas, ch. 29, ed. G.B. Hill, p. 107: The Princess: "...the position so often uttered by the mouth of Imlac, — That nature sets her gifts on the right hand & on the left. Those conditions, which flatter hope & attract desire, are so constituted, that, as we approach one, we recede from another... No man can taste the fruits of autumn while he is delighting his scent with the flowers of the spring."【魚與熊掌、揚州鶴。】【《吳會英才集》卷二方子雲《青溪消夏詞‧之二》："交牀羅合瀹朱溪，午夢初回聽鳥啼。不礙風來偏障日，綠楊一樹石闌西"；《宋詩紀事》卷四十八晁公武《夏日過莊嚴寺》："最憐林葉深深處，遮盡斜陽不礙風。"】

〇洪稚存《北江詩話》卷一自記少作詞云："燕子平生真恨事，不見梅花。"《梧門詩話》楊鶴賓手錄本卷二稱引之，郭伽《爨餘叢話》卷二謂："語雖纖仄，意亦巧矣。"然宋人已逗此意，李邴《漢宮春‧梅》詞早云："無情燕子，怕春寒、輕失花期。"【《樊榭山房集》卷七《庭梅二月朔始花》："可是春人易惆悵，疏花明月不同時。"】樊雲門《樊山集》卷五《洪北江詞燕子云云陳藍洲酷愛此語因畫梅一枝著玄鳥其上以為可以補恨余謂洪詞誠隽而傷於直不若史悟岡游仙詩云海棠無福見芙蓉語（《隨園詩話‧補遺》卷二稱之）較婉麗藍老何不寫此詩為海棠種福耶戲書四絕句為湊》。《樊山續集》卷二十二《清平樂》云："春色惱人無一可，燕子梅花相左。"按《巢經巢詩集》卷二《柏容種菊盛開招賞》云："却恨與梅不相見，異時獨立長悲辛。回頭一笑百感失，梅花突出蒼江濱。金支鐵幹各心照，共識百鍊氷霜身。又怪梅花底入室，乃是坡老筆奪真。"機杼相似，善於截搭。《雲仙雜記》卷二引《金城記》黎舉云："欲令梅聘海棠，但恨時不同耳！"見第七百十七則。蕭泰來《霜天曉角‧詠梅》云："原沒春風情性，如何共、海棠說。"

【《汪穰卿遺著》卷八："甲申曾忠襄及陳伯潛學士與法使議和，語時陳偶微哂，法使問，陳曰：'吾自笑耳，不煩相問也。'法使曰：'吾歐俗凡人語正事而無端竊笑，謂之慢，且為人疑，以為必有故也。'陳曰：'吾華乃無此俗。'法使不復語。余按《禮經》所載，史傳所記，古人於言笑動作咸有定規，稍有踰越，則為人譏誚。今人都不講此，反為外人所責，可恥也。"】

〇施愚山《蠖齋詩話》自比其詩於"人間築室，一磚一木，累積而成"，漁洋之詩"如華嚴樓閣，彈指即現。"《談藝錄》第一一四至一一五頁論"渠儂大是被眼謾"，引《烟畫東堂小品》於一及《嘯亭雜錄》卷八為證。按田同之《西園詩說》云："詩中篇無累句，句無累字，即古人亦不多覯。唯阮亭先生刻苦於此，每為詩閉門障窗，備極修飾，無一隙可指，然後出以示人，宜稱詩家，謂其語妙天下也"云云，是《麓堂詩話》所記"青面成詩"之類也，"彈指"云乎哉！愚山語，與屠長卿《鴻苞集》卷十《論詩文》云："杜甫之才大而實，李白之才高而虛。杜是造建章宮殿千門萬戶手，李是造清微天上五城十二樓手。杜極人工，李純是氣化"，詞意酷肖。曹子建《公讌》詩："朱華冒綠池"，王船山《古詩評選》批云："如雕金堆碧，作佛舍莊嚴爾。天上五雲宮殿，自無彼位。"Edward Young, Conjectures on Original Composition: "A genius differs from a good understanding, as a magician from an architect; that raises his structure by means invisible, this by the skilful use of common tools" (E. D. Jones, ed., English Critical Essays: 16^th, 17^th & 18^th Centuries, "The World's Classics", p. 279). 正復巧合。

六百七十九

Aristophanes, Eng. tr. B.B. Rogers, "The Loeb Classical Library"; Fr. tr. Hilaire Van Daele, "Collection des Universités de France." Cf. supra 百四十七則a, , 二百二十則, 六百二十九則. Fun, verve, buffoonery, riotous & inexhausible; yes. Slapstick and slap-and-tickle sublimated by poetry; granted. But a deep thinker? a serious moralist? No in capital letters! His personalities are vigorous and amusing; but his attacks on ideas are curiously feeble & ineffective, & the reductio ad absurdum of the views of Socrates, Plato & Euripides is of a kind which reveals the fundamental triviality & vulgarity of his mind. Even "peace" became a dirty word — as it has recently become since the Stockholm Appeal — associated with Trygaeus's coprophagous beetle & Lysistrata's hot pants, with the retention of faeces (The Peace, l. 151 ff.; "Loeb ", II, p. 17 & "Collection", II, p. 105) & the abstention from coitus (The Lysistrata, l. 124 ff.; "Loeb", III, p. 17 & "Collection", III, p. 125). Incidentally, the plot of The Lysistrata is not watertight; paedophily & pederasty being the order of the day among the Greeks, a Greek husband has a second string to his bow or carries a & will not be so hard put to it by the "General Love-strike" called by women (the phrase is Eric Linklater's, in his Impregnable Women, p. 172). Cf. 第七六七則 on Erika Mitterer's bitter poem "Klage der deutschen Frauen." Plutarch's strictures on Aristophanes's lack of verisimilitude & strain of vulgarity (Moralia, "Loeb Class. Lib.", vol. X, tr. H.N. Fowler, p. 465-7) are eminently just.

            The Clouds, l. 482 ff. Socrates: "Is your memory good?" Strepsiades: "Two ways, by Zeus: If I'm owed anything, I'm mindful, very: But if I owe (Oh! dear), forgetful, very" (Loeb, II, p. 311). Miles Gloriosus, III, iii, 14 on woman's memory, & the French proverb: "Mémoire du mal a longue trace, mémoire du bien tantôt passe."

., l. 975. "And then with their hand they would smooth down the sand whenever they rose from their seat, / To leave not a trace of themselves in the place for a vigilant lover to view" ("Loeb", p. 353). Droysen translated the line as follows: "Und standen sie auf, so verwischten sie gleich in dem Sande die Spur, zu verhindern / Dass Liebenden nicht der Natur Abbild unreine Begierden erregte" (quoted in Hans Licht, Beiträge zur Antiken Erotik, S. 85). Cf. a piece of comic ribaldry in Quevedo, Vida del Buscón, Bk. II, ch. 4: "The villain was there [in gaol] for sodomy... and scarcely dare we break wind for fear of exciting him with a reminder of the backparts" (The Choice Humorous & Satirical Works, ed. Charles Duff, "Broadway Translations", p. 98).

The Lysistrata, ll. 158 f. Cléonice: "Mais quoi, si nos maris nous laissent là, ma bonne?" Lysistrata: "Selon le mot de Phérékratès, il nous faudra 'écorcher une chienne écorchée'" (note: masturbari) ("Collection", III, p. 126).Cf.《醒世姻緣》第  回戴奶奶："我就浪的荒了，使手也不要你。"

Ibid., ll. 900 ff. ("Loeb", III, p. 89 ff. & "Collection", III, p. 160 f.) a very entertaining scene of "cock-teasing" between Myrrhina and Cinesias which deserves to have more than it actually has imitations in later farces and droll stories.

., l. 1039. "We can't live with such tormentors, no, by Zeus, nor yet without you" ("Loeb", III, p. 101); "Collection", III, p. 166 gives a number of parallel passages in Greek poets. Cf. Ovid, Amores, III, xi: "Sic ego non sine te, nee tecum / vivere possum"; Martial, XII, xivii: "nec tecum possum vivere nec sine te."

The Thesmophoriazusae, ll. 40 ff. Agathon's servant: "All people be still... Let Ether be lulled" etc. ("Loeb", III, p. 135). Cf. "閉門覓句"; Alfred de Vigny, Journal d'un Poète, la Pléiade, II, p. 1025: "solitude où l'on ne me parle pas" etc.

., ll. 148 ff. Agathon: "I choose my dress to suit my poesy" etc. ("Loeb", III, p. 145). Cf. Sainte-Beuve: "On a voulu plaisanter sur la toilette que Buffon faisait avant de se mettre à écrire; il croyait que le vêtement de l'homme fait partie de sa personne" (Les Grands Écrivains français, études classées et annotées par Maurice Allem, VII, p. 78). Cf. E.E. Kellet.

The Ecclesiazusae, ll. 7 ff. Praxagora: "Thou [the lamp] only knowest it, & rightly thou, / For thou alone, within our chambers standing, / Watchest unashamed the mysteries of love" etc. ("Loeb", III, p. 249; "Collection", V, p. 15). Cf. Petronius, Poems, XXVII: "sit torus et lecti genius secretaque lampas, / quis tenera in nostrum veneris arbitrium" (Satyricon etc., "Loeb", p. 356); Ariosto, Terza Rima, cap. VIII: "Né più debb''io tacer di te, lucerna, / che con noi vigilando, il ben ch'io sento, / vuoi che con gli occhi ancor tutto discerna. / Per te fu duplicato il mio contento; / né veramente si può dir perfetto / uno amoroso gaudio a lume spento" (George Kay, The Penguin Book of Italian Verse, p. 156); 李白《寄遠》第七首："何由一相見，滅燭解羅衣"; V. de Sola Pinto & A.E. Rodway, The Common Muses, pp. 250-1: "The London Prentice": "Some may peep in and spy, Love, / Let's blow the candle out. / ... And we'll kiss one another, / Let's blow the candle out."

Ll. 1076 ff. Youth: "Detested kites, you'll rend me limb from limb" etc. ("Loeb", III, p. 347; "Collection", V, p. 66). Cf.《醒世姻緣》第   the tug of war between 's two concubines.

袁潔《蠡莊詩話》卷七云："《隨園詩話》擇焉不精甚夥。方公扶南有《春及草堂集》行世，《過周公瑾墓》云：'周郎年少領元戎，談笑能收赤壁功。大帝君臣同骨肉，小喬夫婿是英雄。行間老將醇皆醉，坐上清歌曲未終。何事不如張子布，墓前飛過白頭翁。'推為絕唱。隨園謂其中年改為'大帝誓師江水綠，小喬卸甲晚粧紅'，晚年又改為'小喬粧罷胭脂濕，大帝謀成翡翠通'，愈改愈謬。今《集》中原詩具在，何嘗改易！不知此語，聞自隨園，遽信為實。"按息翁詩見《春及堂二集》，《江北懷古三十首》第一首也（梁退庵《楹聯叢話》卷四論周瑜祠聯，極稱《桃符綴語》所載"大帝君臣"云云"落落大方"，不知其逕摭取息翁詩句）。子才所記，固屬厚誣，然所謂"存得幾句好詩，亦須福分"，則所慨深而所見亦真。《詩人玉屑》卷八《煅煉》門廣載古人論詩不厭改諸則，《陵陽室中語》至謂："賦詩十首，不如改詩一首。"然《蔡寬夫詩話》則又以用功之過為病，且曰："有意為之，輒不能盡妙，詩尤然。"【《板橋詞鈔‧自序》："為文須千斟萬酌，以求一是，再三更改，無傷也。然改而善者十之七，改而謬者十之三。乖隔晦拙，反走入荊棘叢中去，要不可以廢改，是學人一片苦心也。"】蓋詩文不厭改，然痛改至於手滑，苦思至於途迷，則求工反拙。西諺云："The better is the enemy of the good" ( H.J. Jones, Samuel Butler, II, p. 334: "One of Voltaire's Contes en vers, 'La Bégueule, conte moral', begins: 'Dans ses écrits, un sage Italien / Dit que le mieux est l'ennemi du bien', & the article 'Art dramatique' in the Dict. philos. ends with this quotation: 'Il meglio è l'inimico del bene.' Cf. Shakespeare's sonnet 103: 'Were it not sinful then, striving to mend, / To mar the subject that before was well?'")，此之謂也。Pliny, Historia naturalis, XXXIV. 19  Callimachus "semper calumniator sui nec finem habentis diligentiae, ob id catatexitechnus appellatus, memorabili6 exemplo adhibendi et curae modum"("The Loeb Classical Library", vol. IX, p. 194)； XXXV. 36  Appelles  Protogenes 賴有一端："quod manum de tabula sciret tollere, memorabili praecepto nocere saepe nimiam diligentiam" (op. cit., p. 320)，大可參觀。Eugène Delacroix,Journal, 8 mars 1860: "Il y a deux choses que l'expérience doit apprendre: la première, c'est qu'il faut beaucoup corriger; la seconde, c'est qu'il ne faut pas trop corriger"; Félix Davin: "Introduction aux Études philosophiques": "Le Chef-d'oeuvre inconnu nous montre l'art tuant l'oeuvre" (La comédie humaine, éd. Bib. d. l. Pléiade, T. XI, p. 218); Vasari: "lo stento e la troppa diligenza alcuna fiata toglia la forza et il sapere a coloro, che non sanno mai levare le mani dall'opera, che fanno" (Vita di Luca della Robbia, quoted in L. Pareyson, Estetica, p. 104); Kathleen Coburn, The Notebooks of S.T. Coleridge, vol. I, §35: "Poetry, like schoolboys, by too frequent & severe correction, may be cowed into Dullness!" 正相印可。Frank Kermode, Romantic Image, p. 117 Alfred Poizat, Le symbolisme de Baudelaire à Claudel Mallarmé "Il y a, dans toute oeuvre d'art, un point de perfection, qu'il ne faut pas dépasser, sous peine de la détruire.... Balzac, dans le Chef-d'oeuvre inconnu, a déviné et décrit cette maladie du style, qui arrive a détruire une oeuvre, primitivement belle"，言之尤明切，惜其不知 Pliny 書中已道此，亦未及 Henry James, The Madonna of the Future Zola, L'oeuvre 二作均寫求工而至於空，求妙而至於渺之情狀耳。Katharine Gilbert & Helmut Kuhn, A History of Esthetics, Revised Ed., p. 90  Pliny Appelles 語與 Demetrius, On Style, IV. 222 記 Theophrastus  "Here is an almost romantic appreciation of the beauty of the unfinished & the suggestive" 云云，則謬以千里。Theophrastus 《談藝錄》第三七三頁嘗引而論之  Pliny, Hist. nat., XXXV. 36 論Timanthes 所謂 "atque in unius hujus operibus intelligitur plus semper, quam pingitur" (op. cit., p. 316) 相發明耳。焦弱侯《筆乘》卷三載鄭善夫論少陵云："不說到盡，不寫到真，可想而不可道。杜病在求真求盡"云云，蓋少陵《八哀詩》稱張九齡云："詩罷地有餘，篇終語清省"，《寄高適岑參三十韻》云："篇終接混茫"，而自運却未然也。Servius, Ad Aen., I. 683: "Artis poeticae est non omnia dicere" ( T.R. Glover, Greek Byways, p. 185 引); Dante, Purg.. XXXIII, 139-142: "Ma perchè piene son tutte le carte / ordite a questa cantica seconda, / non mi lascia più ir lo fren dell'arte"; Muratori, La perfetta poesia, Lib. II, cap. 10: "Oltre all' eloquenza in parlare... dovrebbe ancora studiarsene un altra, che può chiamarsi eloquenza in tacere"; Burke, A Philosophical Inquiry into the Sublime & the Beautiful, Pt. II, Sect. xi: "The spring is the pleasantest of the seasons; & the young of most animals, though far from being completely fashioned, afford a more agreeable sensation than the full grown; because the imagination is entertained with the promise of something more. In unfinished sketches of drawing, I have seen something which pleased me beyond the best finished" (Ed. J.T. Boulton, p. 77); cf. Lamb: "On the Genius & Character of Hogarth" on "Gin Lane" suggesting "something beyond the sphere of composition" & quoting for comparison Shakespeare's description of the painting of Trojan War in "The Rape of Lucrece", st. 204 (Lucas ed., Works, I, p. 74) 皆此意。Timanthes 畫 Iphigenia 待死，傍觀者皆悲涕，其父自掩其面(patris ipsius voltum velavit) (op. cit., p. 314)，使人想象得之，庶幾 Theophrastus 所言之境界矣【Thackeray, The English Humourists 引 Spence 記 Lord Bolingbroke 悼  云："'I have known him these 30 years, & value myself more for that man's love than' — Here," Spence says, "St John sank his head, & lost his voice in tears." 而論之曰："The sob which finishes the epitaph is finer than words. It is the cloak thrown over the father's face in the famous Greek picture, which hides the grief & heightens it" (Everyman's Lib., p. 176) Tacitus, Annalium, XIII. 45 記 Poppaea Sabina 半露其面云："modestiam praeferre et lascivia uti; rarus in publicum egressus, idque velata parte oris, ne satiaret adspectum, vel quia sic decebat" (The Histories & the Annals, "The Loeb Classical Library", IV, p. 80)，又第六百八十九則、六百九十一則。【《太平廣記》《張萱》（《畫斷》）："皆綃上幽閑多思，意逾餘于象。" 】【顏魯公《張長史十二意筆法記》（《全唐文》卷三百三十七）云："損謂有餘，子知之乎？豈不謂趣長筆短，常使意勢有餘，點畫若不足之謂乎"云云，妙解！可以移論詩文圖畫。Schopenhauer, Die Welt als Wille und Vorstellung, Die Ergänzungen, Kap. 34: "Les secret d'être ennuyeux, c'est de tout dire... Denn sie lassen der Phantasie nichts zu thun übrig... Ganz befriedigt durch den Eindruck eines Kunstwerks sind wir nur dann, wann er etwas hinterlässt, das wir, bei allem Nachdenken darüber, nicht bis zur Deutlichkeit eines Begriffs herabziehn können" (Sämtl. Werk., hrsg. E. Grisebach, II, S. 478-9); Parerga und Paralipomena, Kap. XIII, §282: "Hier findet das Hesiodische πλεον ήμισυ παντός seine rechte Anwendung. Ueberhaupt, nicht Alles sagen: le secret pour être ennuyeux, c'est de tout dire"(Sämtl. Werk., hrsg. P. Deussen, V, S. 570).】【Margaret M. McGowan: "La Fontaine's Technique of Withdrawal" (French Studies, Oct. 1964, pp. 322-3, e.g. "je ne décrirai point ni..."; "je laisse àpenser quels ils pouvoient être" etc).】【Odette de Mourgues, O Muse, fuyante proie, pp. 115 ff.

 〇希臘人畫重形似，却未可以東坡詩所謂"見與兒童鄰"斥之。然 Pliny 稱Timanthes 所繪能不落跡象，耐人思索，蓋謂巧傳題義，使人解會，指情事之曲折，非指神韻，詳見七九二則。Timanthes 之畫 Iphigenia 及巨人 (p. 314)、Neacles 之畫尼羅河 (XXXV. 37, p. 364)，皆不過如吾國畫深山有古寺者，衹畫暮色蒼茫，一僧拾徑入山；畫踏花歸去馬蹄香者，衹繪一人騎馬，數蝶翻飛，巧思而未為高格也。

〇希臘人論畫，匪特求其似真，并欲亂真，以至於奪真，庶幾如張彥遠《歷代名畫記》所謂"形似"之外求"氣韻"："有生動之可狀，須神韻而後全。"故畫屋而瞻烏爰止 (Hist. nat., XXXV. 7, p. 276 )；畫葡萄而飛禽爭啄；畫馬則馬見而長嘶 (XXXV. 36, pp. 308-10, 330)；畫蛇則鳥見而息響(XXXV. 38, p. 350)，蓋出人入天。參觀二二六則《鴻慶居士集》卷二《題東坡畫枯木》、七四○則。【《全唐文紀事拾遺》卷三十二溫憲撰《程修己墓志銘》："李宏慶嘗有鬥鷄，為其對傷首。異日，公圖其勝者，而其對壞籠怒出，擊傷其畫"；卷四十八歐陽炯《蜀八卦殿壁畫奇異記》稱黄筌云 ："白鷹見壁上所畫野雉，連連掣臂，不住再三，誤認為生類焉"；《續齊諧記》景山畫鰿魚，羣獺競赴；《歷代名畫記》卷八："高孝珩於壁畫蒼鷹，鳩雀不敢近"；道略集《雜譬喻經》卷八："畫師繪己絞死像於壁，蠅鳥啄之，木師謂為實死，破戶欲以刀斷繩"；《圖畫見聞志》卷二："厲歸真畫一鷂壁間，自是雀鴿無復棲止"；卷四："易元吉畫鷂子一只，舊有燕二巢，自此不復來止"；《華陽散稿》卷上《記天荒》："段玉畫墨葡萄在其上隅，垂蔓於棟，有鼠懸其上，貍以為真也，每循棟攫之。"】Pliny 論 Protogenes 所謂 "cum in pictura verum esse, non verisimile vellet" (XXXV. 36, p. 336)，此語殊妙，當與 Longinus, On the Sublime, XXII: "For art is only perfect when it looks like nature & Nature succeeds only by concealing art about her person" ("The Loeb Classical Library", tr. W. Hamilton Fyfe, p. 193); Quintilian, Institutio Oratoria, IV. ii. 127: "perire artem putamus, nisi apparent, cum desinat ars esse, si apparet" (("The Loeb Classical Library", vol. II, p. 118) 合觀，亦即彥遠云云也。Hegel 極嗤此說，謂不啻蛆與象競走 (dass bei blosser Nachahmung die Kunst im Wettstreit mit der Natur nicht wird bestehen können, und das Ansehn eines Wurms erhält, der es unternimmt, einem Elefanten nachzukriechen" (Ästhetik, Berlin Aufbau-Verlag, 1955, p. 85)，亦舉 Zeuxis畫葡萄而鳥來啄；Rösel 畫金甲蟲而猴來嚙為例，而笑曰：畫而以欺猴鳥 (sie sogar Tauben und Affen getäuscht) 為極詣，亦卑之不足道矣 (eine so niedrige Wirkung)。Boccaccio, Il Decameron, VI. 5: "[Giotto] ebbe uno ingegno di tanta eccellenzia, che niuna cosa dà la natura... che egli... non dipignesse sì simile a quella, che non simile, anzi più tosto dessa paresse, in tanto che molte volte nelle cose da lui fatte si truova che il visivo senso degli uomini vi prese errore, quello credendo esser vero che era dipinto" (ed. Hoepli, p. 388) 即希臘以來古說也。【Vasari, Lives, "Everyman's Lib.", I, p. 85.

Hist. nat., XXXV. 36 記 Zeuxis 以集腋成裘之法畫Helen，召美女五人，各擷取其妙相模寫，合於一體 (inspexerit virgines eorum nudas et quinque elegerit, ut quod in quaque laudatissimum esset pictura redderet) (p. 308)。按 Cicero, De Inventione, II, 1 載此事更詳，所謂人無兼美，故必捃摭而會萃之 (neque enim putavit omnia, quae quaereret ad venustatem uno in corpore se reperire posse ideo, quod nihil simplici in genere omnibus ex partibus perfectum natura expoliuit) ("The Loeb Classical Library", p. 168). Xenophon[15], Memorabilia, III. 10 記 Socrates 謂 Parrhasius 云："When you copy types of beauty, it is so difficult to find a perfect model that you combine the most beautiful details of several, & thus contrive to make the whole figure look beautiful" ("The Loeb Classical Library", tr. E.C. Marchand, p. 233); Aristotle, Politics, III, vi, 5: "The superiority... of the works of the painter's art over the real objects, really consists in this, that a number of scattered good points have been collected together into one good example" ("Loeb", p. 223); Shakespeare, A Winter's Tale, V. i. 13-6 (Croce, Aesthetic, tr. by D. Ainslie, p. 171 謂 Aristotle 之 mimesis 及 Apollonius 之 imagination 實皆此意). Kenneth Clark, The Nude, p. 10 考論其說，而駁之甚明快。然此實男女愛戀中常事也，Catullus, lxxxvi, 5-6: "Lesbia formosa est: quae cum pulcherrima tota est, / tum omnibus una omnis surripuit Veneres". 又 Girolamo Benivieni: "Canzona dello Amore celeste e divino": "From many fairs / That thought from matter tears / Is shaped a type, wherein what nature rends, / For sense asunder, into one image blends" (見 J.B. Fletcher, Literature of the Italian Renaissance, pp. 111-2), 正即 Stendhal, De l'amour, Liv. I, ch. 2 論 "la première cristallisation" 所謂 "on se plaît à orner de mille perfections une femme de l'amour de laquelle on est sûr" etc. (Éd. "Le Divan", I, pp. 32 f.).

〇彥遠《名畫記》卷一雖云："自古善畫者，莫非衣冠貴胄、逸士高人。"然而閻立本見役，至有兒子一勿習丹青之誡（《名畫記》卷九）【《顏氏家訓‧雜藝第十九》謂書法"不宜過精，為人所役"，鼓琴"不可令有稱譽，見役勛貴，處之下坐"，謂即繪事也】；文衡山待詔亦傳"翰林何來畫匠"之嘲（《四友齋叢說》卷十五）。Pliny, XXXV. 7 謂畫非搢紳之藝業 (non est spectata honestis manibus) (p. 274)。中西正復類似，詩人貴而畫人賤，至文藝復興時尚然 (Samuel C. Chew, The Virtues Reconciled, p. 6)。【《顏氏家訓‧雜藝篇》記："顧士端父子尤妙丹青，常被元帝所使，每懷慙恨。劉岳為陸護軍畫支江寺壁，與諸工雜處。向使三賢都不曉畫，豈見此恥乎！" 《宣和畫譜》卷十一及《聖朝名畫評》皆記李成不應孫四皓之召，曰："吾本儒生，奈何入戚里賔賓館，與畫史冗人同列乎？"葉盛《水東日記》卷四："范啟東聞之前輩云：'士大夫游藝，必審輕重，學文勝學詩，學詩勝學書，學書勝學畫。'"】彥遠《名畫記》又云："真畫一劃，見其生氣。"可參觀 Pliny, XXXV. 36 記 Apelles 遠訪Protogenes 未晤，不留姓名，於畫板作一劃 (lineam duxit) 而去，Protogenes 歸見之，曰： "此必出 Apelles 手 (dixisse Apellen venisse) (p. 320)。"【Matthew Prior: "Protogenes & Apelles" 一詩即賦其事，而變一劃為一圈 (A circle regularly true) (Literary Works, ed. Wright & Spears, pp. 463-5)。】東坡《跋戴嵩牛》謂有牧童云牛不掉尾而鬥，嵩畫誤，因歎："耕當問奴，織當問婢"，可參觀 Pliny, XXXV. 36 記Apelles 與補履匠事(pp. 322-4)

---

 此則脫落。

"二字"原作"二人"。

"卷十四"原作"卷十五"。

SperoneSperon

plebeeplebe

Sperone SperoniSperon1 Sperone

the springspring

"梅"原作"桃"。

《談藝錄‧二七》（香港中華書局  年補訂本  頁；北京三聯書局  年補訂重排版 276-7 

《談藝錄‧六○》（香港中華書局  年補訂本  頁；北京三聯書局  年補訂重排版  

 黃國彬譯但丁《神曲‧煉獄篇‧第三十三章》："不過，詩歌的第二篇已寫到末尾，╱供我使用的紙張已全部寫滿：╱藝術之韁啊，不容我繼續發揮。"

"逾"原作"餘"。

 叔本華引文作πλεον"，赫西俄德原文則作"πλέον

卷二一○》"卷四十八"誤作"卷四十二"（三聯書局  年版， 

XenophonXenophonon

"向使"原作"豈使"。

《容安馆札记》681-685则

Keats Fanny Brawne

六百八十一

元遺山《種松》云："百錢買松羔，植之我東墻。汲井涴塵土，插籬護牛羊。一日三摩挲，愛比添丁郎。昨宵入我夢，忽然變昂藏。昂藏上雲雨，慘澹含風霜。起來月中看，細鬣錯針芒。惘然一太息，何年起明堂？鄰叟向我言，種木本易長。不見河畔柳，顧盼百尺強。君自作遠計，今日何所望？"按白樂天《栽松》第一首云："栽植我年晚，長成君性遲。如何過四十，種此數寸枝。得見成陰否，人生七十稀"；又《種荔枝》云："紅顆珍珠誠可愛，白鬚太守亦何癡。十年結子知誰在，自向庭中種荔枝"（一作戴叔倫《荔枝》）；《東溪種柳》云："松柏不可待，楩柟固難移。不如種此樹，此樹易榮滋"；李端《觀鄰老栽松》（一作耿湋詩）云："雖過老人宅，不解老人心。何事殘陽裏，栽松欲待陰"；施肩吾《誚山中叟》："老人今年八十幾，口中零落殘牙齒。天陰傴僂帶嗽行，猶向巖前種松子"；王荊公《酬王濬賢良松泉》第一首："我移兩松苦不早，豈望見渠身合抱"；東坡《種松得徠字》："我今百日客，養此千歲材自注：時去替不百日。茯苓無消息，雙鬢日夜摧。古今一俯仰，作詩寄餘哀"；朱竹垞卷十七《曝書亭偶然作‧之六》云："雨裏芭蕉風外楊，水中菡萏岸篔簹。衰翁愛植易生物，不願七年栽豫章。"參觀《埤雅》卷十三引諺"白頭種桃"，《爾雅翼》卷十作"頭白可種桃。"又《曲洧舊聞》卷三引諺："頭有二毛好種桃，立不踰膝好種橘"（吳欑《種藝必用》［《永樂大典》一萬三千一百九十四"種"字］亦引此諺）。F.C.S. Schiller,Our Human Truths, p. 132: "The quality of vital activities depend upon the time-scale of life. For a life that lasted for centuries it would be worthwhile to plant groves of sequoias , whereas the shorter life would have to be content with radishes."

Hyder E. Rollins, ed., Letters of John Keats, I, p. 232: "... it is a false notion that more is gained by receiving than giving — no, the receiver & the giver are equal in their benefits — The flower, I doubt not, receives a fair guerdon from the Bee -— its leaves blush deeper in the next spring — and who shall say between Man & Woman which is the most delighted?" 按此事終古聚訟。Hesiod, Melampodia, iii: "... Teiresias saw two snakes mating on Cithaeron and... when he killed the female, he was changed into a woman, & again, when he killed the male, took again his own nature. This same Teiresias was chosen by Zeus & Hera to decide the question whether the male or the female has most pleasure in intercourse [Hans Licht, Sexual Life in Ancient Greece, tr. J.H. Freese, p. 242: "... since he had experienced both"]. And he said: 'Of ten parts a man enjoys one only; but a woman's sense enjoys all ten in full.' For this Hera was angry & blinded him" (Hesiod, tr. H.G. Evelyn-White, "The Loeb Classical Library", p. 269). Casanova "Tiresias, who was once a woman, has given a correct though amusing decision. The most conclusive reason is that if the woman's pleasure were not the greater nature would be unjust. Nature has given to women this special enjoyment to compensate for the pains they have to undergo. What man would expose himself, for the pleasure he enjoys, to the pains of pregnancy & the dangers of childbed? But women will do so again & again" (The Memoirs of G. Casanova, tr. Arthur Machen, The Casanova Society, 1922, XI, p. 134). 可謂強詞奪理。Rudolf Haym, Die Romantische Schule, 4^te Aufl. S. 576 論 Fr. Schlegel 小說 Lucinde 有云："Der höchste Grad dieser [Liebes] Kunst zeigt sich als 'bleibendes Gefühl harmonischer Wärme' und welcher Jüngling das hat, 'der liebt nicht mehr bloss wie ein Mann, sondern zugleich auch wie ein Weib.' Als die witzigste und darum schönste unter den Situationen der Freude wird es gepriesen, wenn Mann und Frau im Liebesspiel die Rollen tauschen, um so das Männliche und Weibliche zu vollenden." 殆以為顛鸞倒鳳、覆雨翻雲，真能轉陰換陽，合兩儀為太極耶？信癡人語矣！咄咄夫《增補一夕話》卷四："夫問妻曰：'男女交合，男快活？抑女快活？'妻曰：'是男。譬如人在浴盆中洗澡，畢竟是人快活。難道是浴盆快活不成？'夫曰：'不然。譬如消息在耳朵內轉動，畢竟是耳朵快活。難道是消息快活不成？'"孫兆溎《花箋錄》卷十八載韓承烈所撰《耳鼓》中有《鎖吉翥》一則記鎖善淫，而具偉甚，無所施技，因從道士學太陰脫胎法，化為女身，道士喻之曰："美食在盤，嗜之甘者口耳，於匕箸何與焉！"皆可佐 Teiresias 瞽叟張目。徐學謨《歸有園麈談》云："男子好色，如渴飲漿；女子好色，如熱乘涼。"句整韻諧，而羌不識意義所在。馮猶龍《笑府》云："婦臨產創甚，與夫誓曰：'以後不許近身。'及生一女，議名，妻曰：'喚做招弟罷。'"可證 Casanova 

〇遺山《放言》云："長沙一湘纍，郊島兩詩囚"；《別周卿弟》云："苦心亦有孟東野，真賞誰如高蜀州。"按世人衹知《論詩絕句》之"東野悲鳴死不休，高天厚地一詩囚"耳。

〇《唐音癸籖》卷四云："用'元氣'二字最多者劉長卿"，舉《登揚州栖靈寺塔》："盤梯接元氣，半壁棲夜魄"、《登東海龍興寺高頂望海簡演公》："元氣遠相合，太陽生其中"、《送杜越江佐覲省往新安江》："色混元氣深，波連洞庭碧"、《岳陽館中望洞庭湖》："疊浪浮元氣，中流沒太陽"、《自鄱陽還洞庭道中寄褚徵君》"元氣連洞庭，夕陽落波上"等詩為證。按當云："以'元氣'二字寫景者，長卿最多。"則語意圓切矣。後來如陳簡齋《感懷》之"青青草木浮元氣"、《登岳陽樓》之"日落君山元氣中"，即從長卿來，而顧氏注不知引長卿《洞庭湖》之"疊浪浮元氣"，可謂失之眉睫。元遺山詩中，用"元氣"二字尤多，其描狀景物者，如《亭》云："宿雲淡野川，元氣浮草木"；《南湖先生雪景乘騾圖》云："異色變慘澹，元氣開洪濛"；《游承天懸泉》："太初元氣未凝結，更欲何處留胚胎"；《太室同希顏賦》："元氣有遺形"等，亦得之簡齋，施注亦未詳也。《別李周卿‧之二》云："風雅久不作，日覺元氣死"；《蕭仲植長史齋》："是公技進不名技，元氣淋漓隨咳唾"；《嘯臺感遇》："豈知大人先生獨立萬物表，太古元氣同胚胎"，則非寫景。又按《全金詩》卷三十四劉昂霄《趙村晚望》云："天地浮元氣，山河半夕陽"，甚似遺山。卷三十李獻能《榮陽古城登覽寄裕之》、卷三十四田紫芝《夜雨寄元敏之兄弟》、卷四十三李汾《陜州》、《再過長安》、《汴梁雜詩》、李獻甫《圍城》、《驟雨》、《資聖閣登眺》諸七律，波瀾意度皆極類遺山，肌理稍懈耳。概風氣化移，同聲而非獨詣，《甌北詩話》卷八之言，未見其全也。他如卷三十三張本《九日月中對菊‧之五》云："一書草就渾衣臥，恨殺東方不肯明"，卷四十四李俊民《和王季文襄陽變後》云："蛟龍不是池中物，燕雀休嗤壟上人"【施注已引】，與遺山詩句為暗合乎？為蹈襲？亦耐尋味。

   〇施注甚陋，尋常詩句皆當面錯過。如卷三《曲阜紀行》第九首："所得不毫髮，咎責滿八區"，施不知其本昌黎《寄崔二十六立之》："歡華不滿眼，咎責塞兩儀"；卷二《贈鶯》："獨愛黃栗留，婭姹如稚女。笑啼啼又笑，宛轉工媚嫵"，施不知其本歐公《啼鳥》之"黃鸝顏色已可愛，舌端啞咤如嬌嬰"，及蘇子美《雨中聞鶯》之"嬌騃人家小女兒，半啼半語隔花枝"；卷三《赤壁圖》："事殊興極憂思集，天澹雲閑今古同"，施注："'事殊'，杜句按見《渼陂行》"，而不知"天澹"句之出小杜《宣州開元寺水閣》詩（亦正如卷十《和白樞判》之以老杜之"白日放歌須縱酒"，對小杜之"清朝有味是無能"）；卷四《常山妷》詩："回頭却看元叔綱，鼻涕過口尺許長"，施不知其本王子淵《童約》之"目淚下落，鼻涕長一尺"；卷五《南湖先生雪景乘騾圖》："一旦拂衣去，學劍事猿公"，施注："李白詩：'少年學劍術，凌轢白猿公'"，而不知其用長吉《南園》第七首之"見買若耶溪水劍，明朝歸去事猿公"；卷九《四哀詩‧李長源》："同甲四人三横霣，此身雖在亦堪驚"，施不知其用簡齋《臨江仙》詞之"二十餘年成一夢，此身雖在堪驚"；《寄答仰山謙長老》："一鳥不鳴山更幽"，施不知其逕取荊公《鍾山即事》結句；卷九《外家南寺》："白頭來往人間偏，依舊僧房借榻眠"，按施不知其用荊公《和惠思歲二日絕句》第一首："為嫌歸舍兒童聒，故就僧房借榻眠"；卷十《同嚴公子大用東園賞梅》："佳節屢從愁裏過"，施不知其用老泉《九日和韓魏公》之"佳節已從愁裏過"；《贈馮內翰》第一首："扶路不妨驢失脚"，施注引陳希夷墮驢事，全不相干，此自用山谷《老杜浣花溪圖》之"兒呼不蘇驢失脚"，《誠齋集》卷百十四舉為山谷句樣者也；卷十四《贈寫真田生‧之二》："情知不是裴中令，一片靈臺狀亦難"，施不知其用裴晉公《自題寫真》之"一點靈臺，丹青莫狀"（《全唐文》卷五三八）；卷十四《論詩‧之三》："鴛鴦繡了從教看，莫把金針度與人"，施不知其本《五燈會元》卷十四惟照語，改"君"字為"教"字。此類尚多，皆《談藝錄》所未及也。【《鷗陂漁話》卷一："朱梓廬《壺山吟稿》有《題遺山墓碑搨本》詩，自注云：'碑陰有魏初、姜彧記云："彧與初嘗先辱先生教誨，又聞先生之言曰：'某身死之日，不願有碑誌也。墓頭樹三尺石，書曰："詩人元遺山之墓"，足矣！'彧與初適按部河東，得拜先生墓下，因買石刻之，時至元十九年。"'施北研《附錄》佚此。"】【"身無鳧舄將焉往，手有牛刀恐亦難。"按陳德武《白雪遺音‧望海潮‧和韻寄別葉睢寧》云："纔試牛刀，俄驚鳧舄。"】【《媿生叢錄》卷二："《贈張文舉御史》詩：'會有先生引鏡年'本《文選》王融《三月三日曲水詩序》善注，施注誤。"】

   〇遺山《病中病因食豬動氣而作》："杯杓歸神誓，垣墻任佛踰"，施無注。按閩、粵有肴名"佛跳墻"，蓋砂罐燉鷄也。觀遺山語，則此謔由來舊矣！周櫟園《書影》卷六引李子田云："俗云：'姨娘懷裏，聞得娘香。'此語甚俚，然元遺山《哭姨母隴西君》詩云：'竹馬青衫小小郎，阿姨懷袖阿娘香'【按見《遺山集》卷十二《姨母隴西君諱日作》第一首】，則其語亦遠矣。"可參觀。

〇遺山《張主簿草堂賦大雨》云："厚地高天如合圍"；《論詩三十首》云："高天厚第一詩囚。"按陳簡齋《友人惠石兩峯》云："暮靄朝曦一生了，高天厚地兩峯閒。"簡齋好用"了"字，第四百五十六則論《簡齋集》卷十《清明》詩，已略舉其句中用"了"字諸例，其句尾用"了"字者，舍"暮靄"句外，尚有如《送善相僧超然》："鼠目向來吾自了"、《題向伯共過峽圖》："柱天動業須君了"、《送客出城西》："殘年正爾供愁了"等。蓋少陵《洗兵馬》云："整頓乾坤濟時了"，山谷《病起荆江亭即事》仿之云："十分整頓乾坤了"，爾後遂成詩家樣子句。遺山《十二月十六日還冠氏》之"一瓶一缽平生了"、《出都》之"從教盡剗瓊華了"、《寄答商孟卿》之"書來且只平安了"、《追錄洛中舊作》之"人間只怨天公了"、《追懷曹徵君》之"因君錯怨天公了"、《晉溪》之"乾坤一雨兵塵了"、《元都觀桃花》之"一杯盡吸東風了"、《贈李春卿》之"丹房藥鏡平生了"，厥例尤多。簡齋《十月》云："涼風又落宮南木，老雁長雲行路難"；《重陽》云："老雁孤鳴漢北州"；遺山《雨後丹鳳門登眺》云："老雁叫雲秋更哀"；《寄答商孟卿》云："老雁叫羣江渚深"，他人詩中亦少見。【遺山弟子王惲《秋澗大全集》卷十四《中秋月》："一杯儘吸清光了，洗我平生芥蔕腸"；《南城納涼晚歸》："一杯粥了從髙卧，須信閒身等策勲"；《八月十一日夜坐》："大家但使康強了，未害窮愁老此生"；《送蕭四祖北上》："中原有幸經綸了，天外高鴻本自冥"；卷十六《和郝子貞見贈之二》："薄田粗足充飢了，衰俗無依奈物輕"；卷卅二《獅猫》："夢裏鼠山京觀了，午欄花影淡離離。"】【《養一齋詩話》卷八舉遺山複句，補甌北之遺，亦及以"了"字煞尾句太多。】

【《全唐文》卷八九六羅隱《論甲子年事》："歷歷見趙家之遺臺老樹。"遺山《出都》第二首："老樹遺臺秋更悲"等句用此，北研未注。】

【又卷二十三《壬子寒食》："兒女青紅笑語嘩，秋千環索響嘔啞。今年好個明寒食，五樹來禽恰放花。"（簡齋《清明》第一首："街頭女兒雙髻鴉，隨蜂趁蝶學夭邪。東風也作清明節，開遍來禽一樹花。"）】

【吳景旭《歷代詩話》卷六十二謂遺山詩"養和懲往失，扶老念時須"本之宇文叔通《和高子文秋興》："散步雙扶老，棲身一養和。"按詩見《中州集》卷一，遺山有註。張師錫《老兒詩》亦云："養和屏作伴，如意拂相連。"皮日休《五貺詩‧之四‧烏龍養和》（"壽木拳數尺，天生形狀幽。……料君携去處，烟雨太湖舟"）；張雨《貞居先生詩集》卷五《自笑》："已裁斑竹將扶老，更剪蟠枝作養和"；《太平廣記》卷三十八《李泌》（《鄴侯外傳》）："採怪木蟠枝，持以隱居，號曰'養和'。"似又非屏。】

〇遺山《贈蕭漢傑》："射虎將軍右北平，短衣憔悴宿長亭。"按王漁洋《題尤展成新樂府》第二首云："旗亭被酒何人識，射虎將軍右北平。"《精華錄訓纂》卷六下衹引《史記》李廣事而已，不知其用遺山語。漁洋《居易錄》甚稱遺山詩者。又遺山《寄答飛卿》："古來獻玉猶難售，此日聞韶本不圖。"按嚴又陵《見十二月初七日邸鈔作》"平生獻玉常遭刖，此日聞韶本不圖"全本之。

〇遺山《論詩》云："詩家總愛西崑好，獨恨無人作鄭箋。"按袁伯長《清容居士集》卷四十八《書鄭潛庵李商隱詩選》云："其源出於杜拾遺，晚自以不及，故別為一體，直為訕侮，非若為魯諱者。使後數百年，其詩禍之作，當不止流竄嶺海而已也。桷往歲嘗病其用事僻昧，間閱《齊諧》、《外傳》諸書，籖於其側，冶容褊心，遂復中止。"胡孝轅《唐音癸籤》卷三十二云："唐詩有兩種不可不注。今杜詩注如彼，而商隱一集迄無人能下手。始知實學之難。友人屠用明嘗勸予為義山集作注"云云。袁、胡二事，皆馮注所未道者。

   〇《清容居士集》卷三《車行》云："隆如龜戴殼，縛如蠶裹繭。禪趺恣掀簸，尸寢作瞑眩。初疑肝膽傾，漸覺手足顫。兩耳傳鳴雷，雙眸瞥飛電。縈迴蟻旋磨，局促蟲負版。氣奔驚七還，心嘔復三咽。揩摩髀消肉，舍棄足成趼。"按黃石牧《堂集》卷三十五《騾輿》云："或恣其擺蕩，如遭篩米農。大箕納肉軀，簸揚輕以鬆。或縱其欹側，亘作高低容。如眾舴艋去，而被風浪衝。或為上下顛，掀如杵臼舂。（中略）危坐擁茵褥，支體相撞摏。橫陳彌摯曳，頂踵摩成癰。攪亂心肺肝，顛倒在一胸"；李分虎《香草居集》卷五《詠驘車》云："俛首褰簾帷，盤膝倚包裹。頗似老衲參，又若新婦坐。（中略）傍有圉人軀，時作醉尉呵。（中略）轉側不暫寧，偃仰詎能臥。（中略）目昏五色花，頭眩百轉磨。"宣統二年《小說時報‧蓴鄉漫錄》云："京中驢車，乘時極顛簸，曾重伯戲作一聯云：'兩塊鼈裙搓麵餅，一雙鴿蛋滾湯圓。'上句言女，下句言男也。"

【《遺山集》卷十一《惠崇蘆雁》第三首："江湖牢落太愁人，同是天涯萬里身。不似畫屏金孔雀，離離花影淡生春。"按溫飛卿《更漏子》首章："驚塞雁，起城烏，畫屏金鷓鴣。"《白雨齋詞話》說之曰："此言苦者自苦，樂者自樂。"甚有悟心。遺山此作，實得溫詞之旨。《山谷內集》卷七《睡鴨》云："山鷄照影空自愛，孤鸞舞鏡不作雙。天下真成長會合，兩鳧相倚睡秋江。"《賓退錄》卷十亦謂題畫作，正復同意。】

 〇吳復編樓卜瀍注《楊鐵厓古樂府》卷九《買妾》云："買妾千黃金，許身不許心。使君聞有婦，夜夜白頭吟。"按此意同曹鄴《古詞》所謂"郎妻自不重，於妾欲如何"，而措詞稍婉。《唐詩歸》卷三十四選鄴此詩，伯敬評以為"深於妬妬，亦有至理"；友夏以為"機警女郎之言，斷得惡少年心服。"

 【《鐵厓逸編》卷二《濮州娘》云："朱鬕氏按指劉福通掠女婦，擇白腯者一狎，即付湯火，熬膏，為攻城火藥。"按周櫟園《書影》卷二引《雜志》云："常開平每出師，夜必御一婦，曉輒斷其頭以去。"二事殊類。】

〇《鐵厓逸編》卷五《題履元陳君萬松圖》自跋云："子昭工畫仕女花木，予懼其情過粉黛，則氣乏風雲，故書此詩以遺之。"按元遺山《王都尉山水》："自是秦樓畫眉手，不能辛苦作荊關"，亦有此意。

   〇白香山詩詞意多複，如《紫薇花》云："獨立黃昏誰是伴？紫薇花對紫薇郎"《白氏文集》卷十九，而《紫薇花》又云："紫薇花對紫微翁"；《浩歌行》云："欲留年少待富貴，富貴不來年少去"，而《短歌行》又云："彼來此已去，外餘中不足。少壯與榮華，相避如寒燠"，不勝一一舉。《問劉十九》云："綠蟻新醅酒，紅泥小火爐。晚來天欲雪，能飲一杯無？"世所傳誦，而《招東鄰》云："小榼二升酒，新簟六尺牀。能來夜話否？池畔欲秋涼"，亦同一機杼也。

〇香山《時世粧》云："烏膏註唇唇似泥，雙眉畫作八字低。妍媸黑白失本態，粧成盡似含悲啼"；《代書詩一百韻寄微之》云："風流誇墜髻，時世鬥啼眉。"按《全後漢文》卷四十一載《風俗通》佚文，亦道"愁眉"、"啼粧"。又《唐書‧五行志》、蘇老泉《吳道子畫五星贊》皆道"烏唇"。又徐鉉《徐公文集》卷三《夢游‧一》："檀的慢調銀字管"；《二》："含詞忍笑膩于檀。"

〇香山《松聲》云："南陌車馬動，西鄰歌吹繁。誰知兹檐下，滿耳不為喧。"按末五字庶幾與淵明夢中神遇。此乃有聲而亦無聲，非《琵琶行》所謂"無聲勝有聲"也。阮圓海《詠懷堂詩‧戊寅詩‧緝汝式之見過谷中》："坐聽松風響，還嫌谷未幽。"

〇《詩人玉屑》卷二十引東坡《跋李王所書》六言詩，其詞云："空林有雪相待，野路無人獨還。"按此顧況《歸山》絕句（一作張繼）。後山《東禪》云："邂逅無人成獨往，殷勤有月與同歸"，天社無注，當以此二語參之。

〇《詩人玉屑》卷十九黃玉林云："唐皇甫冉《問李二司直》詩云：'門外水流何處？天邊樹遶誰家？山絕東西多少？朝朝幾度雲遮？'此蓋用屈原《天問》體。荆公《勘會賀蘭山主》絕句：'賀蘭山上幾株松？南北東西共幾峯？貿得住來今幾日？尋常誰與坐從容？'全用其意。此體甚新，詩話未有拈出者。"按王無功《在京思故園見鄉人問》中段云："殷勤訪朋舊，屈曲問童孩：衰宗多弟姪，若個賞池臺？舊園今在否？新樹也應栽？柳行疏密布？茅齋寬窄裁？經移何處竹？別種幾株梅？渠當無絕水？石計總生苔？院果誰先熟？林花那後開？羇心祗欲問，為報不須猜"云云，截去首尾，便成此體（《唐詩歸》卷一鍾亦欲刪去末二句），求之《天問》，稍遼遠矣。《陳止齋集》卷二《懷石天民》於無功之作擬議以成變化（見第四一四則）。李端《逢王泌自東京至》前四句云："逢君自鄉至，雪涕問田園：幾處生喬木？誰家在舊村？"云云，亦此體。明凌雲翰《柘軒集》卷一《畫七首‧之四》云："問訊南屏隱者：草堂竹樹誰栽？昨夜幾時雨過？山禽幾個飛來？"《燉煌曲子詞‧南歌子》二首，前一首云："斜影珠簾立，情事共誰親？分明面上指痕新，羅帶同心誰綰？甚人踏裰裙？蟬鬢因何亂？金釵為甚分？紅妝垂淚憶何君？分明殿前直說，莫沉吟。"（後一首則逐事答云："自從君去後，無心戀別人。夢中面上指痕新。羅帶同心自綰，被猻兒踏裰裙。蟬鬢朱簾亂，金釵舊股份。紅妝垂淚哭郎君，信是南山松柏，無心戀別人。"）《樂府羣珠》卷四無名氏《朱履曲‧偷期》第一首云："因甚麼蓬鬆鬀髻？因甚麼氣喘微微？脊梁上都是土和泥？因甚麼眼皮兒慢？因甚麼主腰兒低？因甚麼裩襠兒上濕？"（第二首逐句答云："貪春色蓬鬆鬀髻，蹴秋千氣喘微微，靠蕭牆惹下這土和泥，貪針指眼皮兒慢，身子瘦主腰兒低，恰纔採紅花惹下些露濕。"）王次回《疑雨集》卷四《臨行口占為阿鎖下酒》："問郎燈市可曾遊？可買香絲與玉鈎？可有繡簾樓上看，打將瓜子到肩頭？"

六百八十二

Plotin, Ennéades, tr. Bréhier ("Collection des Universités de France"), V. viii. 2: "Considérons... des beautés naturelles.... N'est-ce pas dans tous les cas une forme, venue du générateur à l'engendré, comme dans les arts, disions-nous, elle vient des arts à leurs produits?" (V, pp. 136-7).  Plato, The Sophist, 265e: "... things people called natural are made by divine art, & things put together by man out of those as materials are made by human art" ("The Loeb Class. Lib.", tr. H.N. Fowler, p. 449). 即 Thomas Browne,Religio Medici, P. I, §16: "In brief, all things are artificial; for Nature is the art of God" (Paul Shorey,Platonism Ancient & Modern, p. 197 所言可印證). E.R. Curtius 謂 Macrobius 始言 "das Dichtwerk ist dem Kosmos vergleichbar... eine grosse Ähnlichkeit zwischen... dem deus opifex und dem poeta" (Europäische Literatur und Lateinisches Mittelalter, 2^te Aufl., S. 441-2)，不知 Plato 等已發其意。Milton C. Nahm, The Artist as Creator 考論 "The great analogyof the srtist to God" (pp. 55 ff.)，亦失引此，并未及 Macrobius 

Enn., I. vi. 8: "Enfuyons-nous donc dans notre chère patrie... Comme Ulysse, qui échappa, dit-on à Circé la magicienne et à Calypso" etc. (I, p. 104); V. ix. 1: "Ils se plaisent en cette région de vérité qui est la leur, comme des hommes, revenus dune longue course errante, se plaisent dans une patrie bien gouvernée" etc. (V, pp. 161-2). 按此可補余 "The Return of the Native"  Proclus, Elements of Theology, Prop. 33, 35, 146 僅言 "revert to the beginning", "revert upon the cause" 等 (Eng. tr. E.R. Dodds, pp. 37, 39, 129)，未以歸家返國為喻也。參觀 Seneca, Epistulae morales, LXV. 16: "Animum, qui gravi sarcina pressus explicari cupit et reverti ad illa, quorum fuit"; LXXIV. 12: "Sursum illum vocant initia sua" ("The Loeb Classical Library", I, p. 452; II, p. 206)；又 Emily Bronte: "The Prisoner": "Then dawns the Invisible; the Unseen its truth reveals; / My outward sense is gone, my inward essence feels: / Its wings are almost free — its home, its harbour found, / Measuring the gulf, it stoops & dares the final bound"；又 Journal des Goncourt, 5 Avril, 1864 (Édition définitive, II, p. 149): "En littérature, on commence à chercher son originalité laborieusement chez les autres, et très loin de soi… plus tard on la trouve naturellement en soi… et tout près de soi"；又《朱子語類》卷三十一論"回也，三月不違仁"云："橫渠內外賓主之說極好，譬如一屋子，是自家為主，朝朝夕夕時時只在裏面。顏子或有出去時節，便會向歸。其餘是賓，或一日一至，或一月一至"；卷一百十八舉"萬物皆備於我"一章："今之為學，須是求復其初，真做到聖賢地位，方是全得本來之物而不失。人之為學，正如說恢復相似，且如東南亦自有許多財賦，許多兵甲，儘自好了，如何必要恢復？只為祖宗元有之物，須當復得；若不復得，終是不了"；卷一百二十四："陸子靜說'良知良能'，不可謂不是。但說人便能如此，不假修為存養，此却不得。譬如旅寓之人，自家不能送他回鄉，但與說云：'你自有田有屋，大段快樂，何不便回去？'那人既無資送，如何便回去得？"他如 Virgil, Aeneid, IV. 347: "Hic amor, haec patria est"; Propertius, II. xi. 25-6: "tu mihi sola domus, tu, Cynthia, sola parentes, / omnia tu nostrae tempora laetitiae" 均相發明。又按 V. p. 162 Bréhier 註云："chez lui [Plotin], le retour d'Ulysse à Ithaque est le symbole de l'initiation à la vie divine"。據 H. Weber, La Création poétique au 16^e siècle en France, I, p. 133 論 "la théorie de la vérité cachée"，記 "Dorât explique qu'Ulysse est l'homme à la recherche de la sagesse et du bonheur symbolisés par Pénélope et Ithaque"。餘見第七百一則論 Heine: "An meine Mutter"、第七五一則論《老子》"反者道之動"。

 , II. ii. 1: "C'est un mouvement qui revient sur lui-même, mouvement de la conscience, de la réflexion et de la vie; jamais il ne sort de son cercle...【et de plus il [le mouvement] doit être celui qui est】le mouvement circulaire" (II, p. 21); IV. iv. 16: "Placez le Bien au centre, l'intelligence en un cercle immobile et l'âme en un cercle mobile et mû par le désir" (IV, p. 117). 按參觀 Plato, Laws, 898a: "... the motion which moves... always round some center, being a copy of the turned wheels... has the nearest possible kinship & similarity to the revolution of reason" ("The Loeb Classical Library", tr. R.G. Bury, II, p. 345)。又 Proclus, Elements of Theology, Prop. 146: "In any divine procession the end is assimilated to the beginning, maintaining by its reversion thither a circuit without beginning & without end" (tr. E.R. Dodds, p. 129). 又 Hegel, Phänomenologie des Geistes, "Vorrede": "Es [das Wahre] ist das Werden seiner selbst, der Kreis, der sein Ende als seinen Zweck voraussetzt und zum Anfange hat... "; Logik, II Teil, iii Absch., 3 Kap.: "Vermöge der aufgezeigten Natur der Methode stellt sich die Wissenschaft als ein in sich geschlungener Kreis dar, in dessen Anfang, den einfachen Grund, die Vermittlung das Ende zurückschlingt; dabei ist dieser Kreis ein Kreis von Kreisen" (Sämtl. Werk., Jubiläums-Ausgabe, hrsg. H. Glockner, Bd. V, S. 351; Enzyklopädie, Einleit., §6: "ein sich in sich selbst schließender Kreis" (Bd. VI, S. 24); Croce, La Poesia, 5^a ed., p. 29: "Ma l'azione, giunta a compimento, si rivolge su sé stessa, par che torni indietro, si rifà sentimento, e col sentimento ricomincia un nuovo ciclo, costante nel suo ritmo già segnato, eppure crecente su sé stesso con incessante arricchimento e perfezionamento.... È singolare che, mentre si accetta e si celebra insigne scoperta la 'circulatio sanguinis' nell'organismo fisiologico, si ri lutti all'idea della circolarità spirituale, che... da un grande filosofo italiano venne elevata e principio di spiegazione dello spirito e della storia come 'corso' e 'ricorso'"【參觀 , June 1961, pp. 174-5】又 Filosofia, Poesia, Storia, pp. 71 ff. 論 "se la vita dello spirito sia da considerare sotto il simbolo della 'cuspide' o sotto quello del 'circolo'" 亦論此而無此明暢); Schelling 論 "die Kreis-linie" (見 E.D. Hirsch, Jr., Wordsworth & Schelling, p. 70 引 又第七五○則。【Ronsard: "Hymne du Ciel": "[l'esprit de 1'Éternel] De tous côtés t'anime et donne mouvement, / Te faisant tournoyer en sphere rondement, / Pour être plus parfait; car en la forme ronde. / Gît la perfection qui toute en soi abonde / ... De toi-même tout rond, comme chose éternelle, / Tu n'as en ta grandeur commencement, ni bout" etc. (p. 34); Coleridge's letter to Joseph Cottle: "The common end of all narrative, nay, of all Poems is to convert a series into a Whole: to make those events, which in real or imagined History move on in a strait Line, assume to our Understandings a circular motion— the snake with it's Tail in it's Mouth" (Collected Letters, ed. E.L. Griggs, III, p. 545). 又六百九十九則論 The Pentamerone, p. 422.】【《莊子‧寓言篇第二十七》："始卒若環，莫得其倫，是謂天均"；《孫子‧勢篇》："渾渾沌沌，形圓而不可敗也。"】【Hugo, Littérature & Philosophie Mêlées, ed. Albin Michel, p. 241: "Le cercle, symbole mystérieux, éternité et zéro, tout et rien."F. Schlegel,Literary Notebooks, ed. H. Eichner, §566 (p. 70): "Alle Bildung und Poesie ist cynlisch. Die alte cyklisirt, die moderne cyklisirend" (cf. §578, p. 68: "Der Gang der modernen Poesie muss cyklisch d.h. cyklisirend sein, wie der die philosophie").

 Enn., IV. ii. 18: "Quant au langage, on ne doit pas estimer que les âmes s'en servent, en tant qu'elles sont dans le monde intelligible.... chacun est comme un oeil; rien de caché ni de simulé; en voyant quelqu'un, on connaît sa pensée avant qu'il ait parlé" (IV, p. 85); IV. ix. 5: "Dans le monde intelligible, toutest transparent" (IV, p. 235). 按參觀 Karl Vossler, The Spirit of Language in Civilization, tr. Oscar Oeser, p. 32: "When Dante wrote the Paradiso, he realized that here no language could be adequate. The angels & the blessed light."

 , V. iii. 17: "un contact intellectuel" etc. (V, p. 73). Cf. Eckhart, Sermon, XVI & XXIV on "the soul receiving a kiss from the Godhead" & "the kiss exchanged between the unity of God & the humble man" (James M. Clark, Meister Eckhart, pp. 203, 242).

Xenophon, Oeconomicus, viii. 19 ("The Loeb Classical Library", tr. E.C. Marchant, p. 437): "Yes, no serious man will smile when I claim that there is beauty in the order even of pots & pans set out in neat array, however much it may move the laughter of a wit."  T.R. Glover, Greek Byways, p. 159譯為："The wit might laugh, but no serious person, when I say that there is a rhythm (εὔρυθμον) even in pots marshalled in order"，精彩始出。John Dewey, Art as Experience, pp. 175 ff. 論空間藝術亦有"韻節"，至曰："The separation of rhythm & symmetry & the division of the arts into temporal & spatial... is based on a principle that is... destructive of esthetic understanding" (p. 183); 又 T.M. Greene, The Arts & the Art of Criticism, p. 220: "strictly speaking, natural rhythm characterizes only temporal events. But the time factor may be introduced by the observer in the process of passing a number of static objects successively in review and in noting recurrent similarities & differences"，不知數千年前早有人拈，而作美學史者，無不錯過。參觀 Leonardo da Vinci 論畫與樂通 (R.J. Clements, Michelangelo's Theory of Art, p. 53); 又 Wordsworth: "Airey-Force Valley": "... how sensitive / Is the light ash! that, pendent from the brow / Of yon dim cave, in seeming silence makes / A soft eye-music of slow-waving boughs." 參觀百十一則論 Jaeger, Paideia, I, . 125-6.【A. Lalande, Vocabulaire technique et critique de la philosophie, 7^eéd., p. 935 引 L. Boisse: "... le rythme est l'âme de la durée."

六百八十三

E.H. Warmington, Remains of Old Latin (The Loeb Classical Library). 頗有璣羽可拾。Ennius 與 Lucilius 尤所謂句重語奇者也。

Ennius, Annals, fr. 141-2: "Vulturus in silvis miserum mandebat homonem. / Heu! Quam crudeli condebat membra sepulchro!"(vol. I, p. 50). 按可補第一百六十七則論 The Notebooks of Leonardo da Vinci, I, . 69

Annals, fr. 352: "et simul erubuit ceu lacte et purpura mixta"(vol. I, p. 128). 按衹似德國成語所謂 "wie Milch und Blut"，或意語所謂 "Essere sangue e latte" Propertius, II. iii. 12: "utque rosae puro lacte natant folia." Antoine de Baïf, Amours de Méline, II. 5: "Cette délicate joüe / En son vermeil verdelet, / Semble une rose qui noüe / Sur un blanc etan de lait" (H. Weber, La Création poétique au 16^e siecle en France, I, 267  尤後來居上，氷寒於水矣。【Giles Fletcher: "His cheeks as snowy apples sopped in wine, / Had their red roses quenched with lilies white, / And like to garden strawberries did shine / Washed in a bowl of milk."

Annals, fr. 499-500: "Quomque caput caderet, carmen tuba sola peregit et pereunte uiro raucus sonus aere cucurrit" (vol. I, p. 186), 注引 Statius, Thebaid, XI. 56: "iam gelida ora tacent; carmen tuba sola peregit" 為比。按參觀 Ariosto, Orlando Furioso, XXIX. 26: "Quel fe' tre balzi; e funne udita chiara voce, ch'uscendo nominò Zerbino" ("Biblioteca classica Hoepliana", p. 315)，蓋皆本之 Iliad, X. 10。其他如 Ovid, Metam., V. 104; Spenser, Faerie Queene, IV. viii 紛紛祖構，要以Ennius, Statius, Ariosto 三家為妙。Orl. Fur., XLII. 14 (p. 447): "[Brandimarte dying] E dirgli: 'Orlando, fa che ti raccordi / Di me ne l'orazion tue grate a Dio; / Né men ti raccomando la mia Fiordi...' / Ma dir non poté: 'ligi', e qui finio"；又XV. 84 (p. 144): "Immantinente al suo destrier [Orrilo] ricorse, / Sopra vi sale, e di seguir non resta; /Volea gridare: Aspetta, volta, volta! / Ma gli avea il duca già la bocca tolta" 可參觀，文心幻變，筆舌玲瓏，得未曾有。又按 Silius Italicus, Punica, IV, 378-9 寫獅鬥云："脛爪已膏齒牙，尚肆搏擊"(illi dira fremunt, perfractaque in ore cruento ossa sonant, pugnantque feris sub dentibus artus) ("The Loeb Class. Lib.", I, 196)，思致略同。Cf. Shakespeare, I Henry IV, V. iv (& my marginalia to Complete Works, ed. G.L. Kittredge, p. 578).

Ennius, Satires, fr. 12-3: "caepe maestum"(I, p. 386).  Naevius, Comedies, fr. 20: "Cui caepe edundod oculus alter profluit" (II, p. 80); Lucilius, Satires, fr. 216: "flebile caepe simul, lacryniosaeque ordine tallae" (III, p. 66); fr, 218: "lippus edenda acri assiduo ceparius cepa" (III, p. 68) 皆可參觀。以雪涕而曰傷心 (maestus, flebilis)，刻劃洋蔥可謂曲善體會矣。明人汪廷訥《獅吼》第廿一折云："婦人手如乾薑，定配侯王。我娘子手不是薑，怎麽半月前打的耳巴，至今猶辣？"Antony & Cleopatra, I. ii: "indeed the tears live in an onion that should water this sorrow"; Beauty & the Beast: "These wicked creatures rubbed their eyes with an onion to force some tears when they parted with their sister" (I. & P. Opie, The Classic Fairy Tales, Granada, 1980, p. 187).

Caecilius, fr. 130-1: "limassis caput" (I, p. 514). 按 Livius Andronicus, Tragedies, fr. 25-6: "limavit caput" [19] (II, p. 12) 皆言接唇也。今法國俚語以 "limer" 字為兩具交接，參觀第五百八則。

Naevius, Comedies, fr. 74-9: "Quasi pila / in choro ludens datatim dat se et communem facit. / Alii adnutat, alii adnictat, alium amat alium tenet. / Alibi manus est occupata, alii pervellit pedem; / anulum dat alii spectandum, a labris alium invocat, / cum alio cantat, at tamen alii suo dat digito litteras"(II, pp. 98-100). 按活畫出勾蜂引蝶、多多益善之風騷婦人，遠勝於 The Celestina, tr. L.B. Simpson, p. 88一節，而尚不如 Camille Desmoulins 語，詳見第六百三十一則眉。Gottfried Keller Die Leute von Seldwyla  "Die drei gerechten Kammmacher" 一篇寫一女使求婚者三人相安無事，喻曰："So gibt es Virtuosen, welche viele Instrumente zugleich spielen, auf dem Kopfe ein Glockenspiel schütteln, mit dem Munde die Panspfeife blasen, mit den Händen die Gitarre spielen, mit den Knieen die Zimbel schlagen, mit dem Fuss den Dreiangel und mit den Ellbogen eine Trommel, die ihnen auf dem Rücken hängt" (Sämtl. Werk., Berlin: Aufbau-Verlag, 1958, Bd. VI, S. 237) La Celestina, VII: "que uno en la cama y otro en la puerta, y otro que suspira por ella en su casa, se precia de tener... y a todos muestra buena cara, y todos piensan que son muy queridos. Y cada uno piensa que no hay otro" (Éd. Aubier par P. Heugas, "Collection Bilingue des Classiques Étrangers", p. 292).】【陳曇《鄺齋雜記》卷五："鑼鼓三，譚姓，開平人，其技以手肘鳴鑼，以足趾搥鼓，以口吹竹，以手彈絲。又能一足擊鼓，一足鳴鈸，口吹喇叭。蓋合鼓吹一部，集眾人之能而身兼之。"慵訥居士《咫聞錄》眷一："談三，開平人，瞽目。……身坐席上，先吹打一會，口吹鎻，肘敲大囉，右足撞鋍，順擊教鑼，左足敲鼓搖板。"】

Naevius, Unassigned Fragments, fr. 7-8: "retritum rutabulum"(II, p. 140), "Naevius obscenam viri partem describens."  Eric Partridge 未知此，可補 Dict. of Slang, 4^th ed., p. 645 "poker", "burn one's poker"; p. 1151 "red hot poker" 

Pacuvius, Plays, fr. 47-8: "Nam canis, quando est percussa lapida, non tam illum adpetit. / Qui sese icit, quam illum eumpse lapidem, qui ipsa icta est, petit"(II, p. 178).  Orlando Furioso, XXXVII. 78 等實出於此，宜補第五百三十一則。

Lucilius, Satires, fr. 302: "hunc molere, illam autem ut frumentum vannere lumbis" [23] (III, p. 92). 按 fr. 361: "Crisabit ut si frumentum elunibus vannat"(III, p. 112) 體物極妙。 molerePartridge, Dict. of Slang, 4^th ed., p. 355: "Grind" James Reeves, The Idiom of the People, p. 156 載英國古民謠 "The Miller & the Lass" "She swore she'd been ground by a score or more / But never been ground so well before." F. Nork, Mythologie der Volkssagen und Volksmärchen, S. 301-2: "In der symbolischen Sprache bedeutet aber Mühle das weibliche Glied (μνλλος, wovon mulier), und der Mann ist der Müller, daher der Satyriker Petronius molere mulierem für: Beischlaf gebraucht. Der durch die Buhlin der Kraft beraubte Samson muss in der Mühle mahlen (Richter XVI. 21.), welche Stelle der Talmud wie folgt eommentirt: Unter dem Mahlen ist immer die Sünde des Beischlafs zu verstehen... Wie Apollo war auch Zeus ein Müller (Lycophron, 435)... insofern er als fchaffendes, Leben gebendes Prinzip der Fortpflanzung der Geschöpfe vorsteht... jede Vermählung eine Vermehlung."  F. Sacchetti, Il Trecentonovelle, CCVI, Opere, Rizzoli, pp. 707 ff.: "un poco leggiadro, secondo mugnaio", "considerando al macinare che avea a fare la seguente notte", "hai macinato sette volte" ecc. vannere之喻，他書未見。

Lucilius, Sat., fr. 995-6: "... mercede quae conductae flent alieno in funere praeficae, multo et capillos scindunt et clamant magis"(III, p. 332). 乃知王得臣《麈史》卷下記京師風俗可笑，有云："家人之寡者，當其送終，即假倩媼婦，使服其服，同哭諸途，聲甚淒惋。仍時自言曰：'非預我事'"；《癸巳類稿》卷十三《哭為禮儀說》所云云，古羅馬亦有其俗。【Don Quixote, II, Cap. 7: "al modo de las endechaderas" ("Clásicos Castellanos", V, p. 141, note pp. 141-2); Beaumont & Fletcher,The Maid's Tragedy, V. iv: Calianax: "My daughter dead here too! And you have all fine new tricks to grieve; but I ne'er knew any but direct crying" (Selected Plays, "Everyman's", p. 152).

Lucilius, Sat., fr. 1074: "Sicuti te quem aequae speciem vitae esse putamus"(III, p. 348). 按似指人言。J.W.H. Atkins, Literary Criticism in Antiquity, II, p. 13 "... his work... was allied to comedy, both being mirrors of life"，頗穿鑿無據。故 E.R. Curtius 所徵引，亦每近附會，如 S. 483  (dilatatio)  (abbreviato)  Quintilian Quintilian 此節乃論誇大過情與抑損失實，觀VIII. iv. 1 ("Loeb", III, p. 262) 所舉四例可知也。

Lucilius, Unassigned Fragments, fr. 1182: "Haec inbubinat at contra te inbulbitat ille" [27] (III, p. 384), "Bubinare est menstruo mulicrum sanguine inquinare. Inbulbitare est puerili stercore inquinare." 按前一事，李笠翁《鳳求凰》第六折所謂"猩紅滿褲襠，特來包染硃砂棒"是也；後一事，《山中一夕話》卷二《禁男風告示》所謂"屎蒙麈柄"是也 。《弁而釵》第四風翰林謂趙生曰："閉其上竅，便無穢物出"；《品花寶鑑》第二十三回姬亮軒謂孫嗣徽曰："瘦寬肥緊麻多糞，如遇糞車，也可坐得，大木耳一個，水泡軟了作帽子，亦即車墊"；又第四十回奚十一與得月事，皆可參觀。

六百八十四

H.E. Rollins, ed., Letters of John Keats.

"I am certain of nothing but of the holiness of the Heart's affections & the truth of Imagination — What the Imagination seizes as Beauty must be truth" (I, p. 184). Cf. "The excellence of every Art is its intensity, capable of making all disagreeables evaporate, from their being in close relationship with Beauty & Truth" (I, p. 192); "I never can feel certain of any truth, but from a clear perception of its Beauty" (II, p. 19). Surely, the famous sententious line in the "Ode on a Grecian Urn" — "Beauty is truth, truth beauty" — means no more than this. These obiter dicta leave us in the dark— and I'm afraid that Keats was not himself very clear on the point, whether the beautiful makes the truth true or merely shows it to be true; in other words, an equivocation similar to the pragmatist attempt to identify the useful with the true. The nature of truth and the test f truth are two problems, not one. The laborious exegeses if many critics (e.g. Kenneth Burke's explanation of Keats's line in dialectical terms in A Grammar of Motives, pp. 447 f.) seem to me quite wide of the mark. That beauty is the shining-forth of truth is a doctrine as old as Plato (cf.Symposium, 211a: "...the beautiful presented to him in the guise of a face or of hands" etc., tr. W.R.M. Lamb, "The Loeb Classical Library", p. 205), cf. Shaftesbury, Characteristics, ed. J.M. Robertson, I, p. 94: "For all beauty is truth"; Fr. Schlegel, Literary Notebooks, ed. Hans Eichner, §124, p. 30: "Das Schöne ist eben so wohl angenehme Erscheinung des Wahren und des Rechtlich-Geselligen als des Guten"; §1818, p. 181: "Das Schöne ist eben zugleich gut und wahr"; & Hegel, Ästhetik, Berlin: Aufbau-Verlag, 1955, S. 145-6: "So ist Schönheit und Wahrheit einerseits dasselbe... Das Schöne bestimmt sich dadurch als das sinnliche Scheinen der Idee." (Aufbau-Verlag, 1955, S. 212).Cf. E. Cassirer, The Philosophy of the Enlightenment, tr. F.C.A. Koelln & J.P. Pettegrove, p. 314 on Shaftesbury's "The truh of the universe speaks, as it were, through the phenomenon of beauty; it is no longer inaccessible, but acquires a means of ex-pression...." Cf. also 

On Shakespeare's "negative capability", that is, to be "capable of being in uncertainties, mysteries" etc. (I, p. 193). To Rollins's note should be added the very informative article in Studies in Philology, Jan. 1958, pp. 77 ff., in which similar views of Coleridge, Hazlitt & Shelley are quoted; Lamb held the same view: "He [Wordsworth] does not, like Shakespeare, become everything he pleases, but forces the reader to submit to his individual feelings" (H.C. Robinson, On Books & Their Writers, ed. Edith Morley, I, p. 17); cf. also II, p. 213: "Dilke was a man who cannot feel he has a personal identity unless he has made up his mind about everything. The only means of strengthening one's intellect is to make up one's mind about nothing — to let the mind be a thoroughfare for all thoughts." Flaubert expresses himself also very strongly on this point: "L'ineptie consiste à vouloir conclure" (Correspondance, éd. Louis Conard, II, p. 239); "Aucun grand génie n'a conclu et aucun grand livre ne conclut, parce que l'humanité elle-même est toujours en marche et qu'elle ne conclut pas" (IV, p. 183); "La rage de vouloir conclure est une des manies les plus funestes et les plus stériles qui appartiennent à l'humanité" (V, p. 110). Cf. the German epigram: "Denken ist schwer — darum urteilen die meisten." Cf. 第五百四十四則 第六百九十六則Robert Musil's "Essayismus" & "Möglichkeitssinn" in Der Mann ohne Eigenschaften, Kap. 4, but for the schizoid lengths to which they are pushed, have something in common with "negative capacity". This Letter to Richard Woodhouse has a great influence on Hofmannsthal as he confesses to Stefan Grass in a letter: "Der schöne Brief von Keats... der Brief mit den merkwürdigen Klagen über das Chamäleondasein des Dichters ('he has no identity', etc.). Dieser Brief hat mich sehr entlastet" usw. (Briefe, Bd. II, p. 254; cf. "Gespräch über Gedichte": "Dass sich sein Dasein, für die Dauer eines Atemzugs, in dem fremden Dasein aufgelöst hatte. Das ist die Wurzel aller Poesie" — Gesam. Werke, Frankfurt am Main, Bd. II, Prose, p. 89; "Der Dichter und und diese Zeit": "Es... nimmt seine Farbe von den Dingen, auf denen er ruht" — p. 244).Cf. Baudelaire, quoted towards the end.

"Poetry should be great & unobtrusive, a thing which enters into one's soul, & does not startle it or amaze it with itself, but with its subject — How beautiful are the retired flowers!" etc. (I, p. 224). This is the opposite of Marino's theory of "far stupir" (cf. infra 第七百三則) and an anticipation of T.S. Eliot's view of "poetry which should be essentially poetry, with nothing poetic about it, poetry standing naked in its bare bones, or poetry so transparent that we should not see the poetry, but that which we are meant to see through the poetry" (quoted in F.O. Matthiessen, The Achievement of T.S. Eliot, 2^nd ed., 1947, p. 90; cf. R. Johnson's interesting article "Jiménez, Tagore & 'La Poesía Desunda'" in MLR, Oct. 1965, pp. 541-2, where Eliot's passage has been overlooked). Cf.  Coleridge, The Notebooks, ed. Kathleen Coburn, II, §2728: "Modern poetry characterized by the Poets ANXIETY to be always striking — The same march in the Greek & Latin Poets/Claudian... observe in him the anxious craving Vanity! every Line, nay, every word stops, looks full in your face, & asks & begs for Praise..." This parallels Keats's remarks: "How they would lose their beauty were they to throng into the highway crying out, 'Admire me, I am a violet! Dote upon me I am a primrose!'" Cf. Wordsworth's sonnet "Not Love, not War": "The flower of sweetest smell is shy and lowly."

"It is a great Pity that People should by associating themselves with the finest things, spoil them — Hunt has damned Hampstead & Masks & Sonnets & Italian tales — Wordsworth has damned the lakes... Peacock has damned satire"(I, p. 252); II, p. 11: "Hunt does one harm by making fine things pretty, & beautiful things hateful — Through him I am indifferent to Mozart." How profoundly true — especially in political causes: Lamennais: "Les républicains sont fait pour rendre la république impossible"; New Statesman, 22 March 1958, p. 387: "Rien n'ébianle plus nos croyances que le spectacle de ceux qui les partagent: le plus grand obstacle à la propagation du communisme, c'est [sic.] les communistes mêmes [sic.]." Cf. 第一百八十二則 第六百六十二則Cf. Coleridge to John Thelwall: "It is not his Atheism that has prejudiced me against Godwin, but Godwin who has, perhaps, prejudiced me against Atheism" (Collected Letters, ed. E.L. Griggs, I, p. 221).】【Veronica Hull, The Monkey Puzzle, p. 189: "The trouble with revolution is one's co-revolutionaries."】【Yossarian in Joseph Heller's bitterly hilarious novelCatch-22, p. 435 says: "Between me and every ideal I always find Scheisskopfs, Peckems, Korns & Cathcarts. And that sort of changes the ideal."】【F. Rolfe, Hadrian the Seventh, "The Phoenix Library", p. 23: "As for the Faith, I found it comfortable. As for the Faithful, I found them intolerable." Cardinal de Retz: "L'on a plus de peine, dans les partis, à vivre avec ceux qui en sont qu'à agir contre ceux qui y sont opposés" (Gaëtan Picon, L'usage de la Lecture, p. 29).[31]Alphonse Daudet: "O politique, je te hais. Tu sépares de braves coeurs faits pour être unis; tu lies au contraire des êtres tout à fait dissemblables" (A. Albalat, Souvenirs de la vie littéraire,  nouv. éd., p. 10). Paul Léautaud,Journal Littéraire, II, p. 190 on Rémy de Goncourt: "Son emballement tardif jour Stendhal a dégoûtéValéry. 'J'ai renoncé a lire Stendhal depuis ce jours-là.'"】【Yeats to T. Sturge Moore: "When a man is so outrageously in the wrong as Shaw he is indispensible [the Academic Committee of English Letters], if it were for no other purpose than to fight people like Hewlett, who corrupt the truth by believing in it" (Ursula Bridge, W.B. Yeats & T. Sturge Moore: Their Correspondence, p. 19).】【Emerson: "Yes, they adopt whatever merit is in good repute, & almost make it hateful with their praise"(Emerson: A Modern Anthology, ed. A Kazin & D. Aaron, p. 175). Through inflation, the currency is depreciated.

"... for axioms in philosophy are not axioms until they are proved upon our pulses: We read fine things but never feel them to the full until we have gone the same steps as the Author... no man can set down Venery as a bestial or joyless thing until he is sick of it & therefore all philosophizing on it would be mere wording"(I, p. 279); cf. II, p. 81: "Nothing ever becomes real till it is experienced — Even a Proverb is no proverb to you till your life has illustrated it." Cf. 第五則 à propos of a remark of Saint-Évremond & 第一百四十一則 à propos of a remark of Kierkegaard.

"The Duchess of Dunghill" (p. 321). Cf. Proust, Sodome & Gomorrhe, II, ch. 3 (À la recherche du temps perdu, Bib. d. l. Pléiade, II, p. 1090): "Que vous di alliez faire pipi chez la comtesse Caca, ou caca chez la baronne Pipi, c'est la même chose." Cf. "La Contessa di civillari" & "Don Meta" in Il Decameron, VIII. 9 (ed. Hoepli, p. 532); M. Bandello, Le Novelle, I. 35: "il tributo... a la contessa di Laterino" (Laterza, II, p. 53).【Moss Hart & George S. Kaufman, The Man Who Came to Dinner: "Lord Bottomley" & "Lady Fanny" (16 Famous American Plays, "Modern Lib.", p. 865).】【又下頁 E. Partridge, Dict. of Slang, p. 665: "the Countess (Duchess) of Puddledock."】【Swinburne's La Soeur de La Reine (in Cecil Y. Lang , ed., New Writings by Swinburne, 1965), Act. II, sc. Iv, an usher announces: "Milady duchesse de Fuckingstone... miss Sarah Butterbottom... milady marquise de Mausprick... milord Shittingbags... milady Cunter" etc.

"A Poet is the most unpoetical of any thing in existence; because he has no Identity; he is continually filling some other Body" etc. (I, p. 387, cf. supra I, 193).Cf. Baudelaire: "Les Foules": "Le poète jouit de cet incomparable privilège, qu'il peut à sa guise être lui-même et autrui. Comme ces âmes errantes qui cherchent un corps, il entre, quand il veut, dans le personnage de chacun. Pour lui seul, tout est vacant" etc. (Petits Poèmes en Prose, Oeuv. Comp., Bib. d. l. Pléiade, p. 95).

The Masterly analysis of the occupational schizophrenia of the parson (II, p. 63) beginning with "A Parson is a lamb in a drawing room & a lion in a vestry." Rollins in the footnote quotes the English proverb "A lamb in the house & a lion in the field"; cf. James Joyce, Ulysses, p. 452: "Street angel & house devil" & the French adage "Lion au logis, renard dans la plaine", or the German one "Hausteufel, Gassenengel."【Epictetus, Discourses, IV. v: "The proverb about the Lacedaemonians, 'Lions at home, but at Ephesus foxes,' will fit us too: lions in the schoolroom, foxes outside" ("The Loeb Class. Lib.", II, p. 345); Nicholas Breton: "A Sweet Lullaby": "Although a lion in the field, / A lamb in town thou shalt him find."】

On claret: "then you do not feel it quarrelling with your liver — no it is rather a Peace maker & lies as quiet as it did in the grape" (II, p. 64). Cf. Rilke, From the Remains of Count C.W., II. x: "Im Halse des Erstickten ist die Gräte so einig mit sich selber wie im Fisch."

"Our bodies every seven years are completely fresh-materialed... we are like the relic garments of a saint, the same & not the same" etc. (II, p. 208). Cf. Jane Austen's Letters, ed. R.W. Chapman, 2^nd ed., p. 148: "But seven years I suppose are enough to change every pore of one's skin, & every feeling of one's mind." Also《列子‧天瑞篇》："損盈成虧，隨世隨死。往來相接，間不可省，疇覺之哉？亦如人自世至老，貌色智態，亡日不異；皮膚爪髮，隨世隨落。" Jean-Baptiste Chassignet: "Mais tu ne verras rien de cette onde première / Qui naguère coulait; l'eau change tous les jours, / Tous les jours elle passe, et la nommons toujours / Mesme fleuve, et mesme eau, d'une mesme manière. // Ainsi l'homme varie, et ne sera demain / Telle comme aujourd'hui du pauvre corps humain / La force que le temps abrévie et consomme: / Le nom sans varier nous suit jusqu'au trépas."《肇論‧物不遷論第一》："人則謂少壯同體，百齡一質，徒知年往，不覺形隨。是以梵志出家，白首而歸。鄰人見之曰：'昔人尚存乎？'梵志曰：'吾猶昔人，非昔人也。'鄰人皆愕然"（ 柳宗元《戲題石門長老東軒》："坐來念念非昔人"）；劉勰《新論‧惜時篇》："夫停燈於缸，先驗焰非後焰，而明者不能見；藏山於澤，今形非昨形 ，而智者不能知。" Cf. Spinoza, Ethics, Pt. IV,  Prop. 38, Schol. (Selections by J. Wild, p. 327) on the body which dies but does not become a corpse. Cf. Francisco de Quevedo's Sueños: "Vous êtes tous les morts (muertes) des vous-mêmes... Ce que vous appelez vivre; c'est mourir en vivant (morir viviendo)" (J. Rousset, La Littérature de l'âge baroque en France, p. 117); & his sonnet "¡Ah de la vida!": "Ayer se fue; mañana no ha llegado; / Hoy se está yendo sin parar un punto: / soy un fue, y un será, y un es cansado. / En el hoy y mañana y ayer, junto / pañales y mortaja, y he quedado / presentes sucesiones de difunto" (Eleanor Turnbull, Ten Centuries of Spanish Poetry, p. 308); Hugo von Hofmannsthal: "Terzinen über Vergänglichkeit": "Und dass mein eignes Ich, durch nichts gehemmt, / Herüberglitt aus einem kleinen Kind / Mir wie ein Hund unheimlich stumm und fremd. / Dann: dass ich auch vor hundert Jahren war // Und meine Ahnen, die im Totenhemd, / Mit mir verwandt sind wie mein eignes Haar // So eins mit mir als wie mein eignes Haar" (Leonard Forster, The Penguin Book of German Verse, p. 395). Cf. Hume, Treatise, Bk. I, Pt. iv, Sct. 6: "Of Personal Identity" (ed. L.A. Selby-Bigge, I, pp. 251 ff.): "If any impression gives rise to the idea of self, that impression must continue invariably the same, through the whole course of our lives... But there is no impression constant & invariable. Pain and (p. 251) pleasure, grief & joy, passions & sensations succeed each other, & never all exist at the same time... when I enter most intimately into what I call myself, I always stumble on some particular perception or other, of heat or cold, light or shade, love or hatred, pain or pleasure (p. 252)... The mind is a kind of theatre... There is properly no simplicity in it at one time, nor identity in different" (p. 253). Cf. 七六六則 on André Gide. George Herbert: "Giddinesse" [35]: "Oh what a thing is man! how farre from power, / From settled peace & rest! / He is some twentie sev'rall men at least / Each sev'rall houre" (Works, ed. E.F. Hutchinson, p. 127); J.-B. Chassignet [36], Mépris de la vie, sonnet v: "Le nom sans varier nous suit jusqu'au trépas, / Et combien qu'aujourd'hui celui ne sois-je pas / Qui vivais hier passé, toujours même on me nomme" (J. Rousset, Anthologie poesie baroque fr., p. 199); L. Pirandello, Uno, Nessuno e Centomila, Lib. II, cap. 5: "Riconoscete forse anche voi ora, che un minuto fa voi eravate un altro... non solo, ma voi eravate anche cento altri, centomila altri... Vedete piuttosto se vi sembra di poter essere cosí sicuro che di qui a domani sarete quel che assumete di essere oggi" (Opere, II, Tutti i Romanzi, a cura di C. Alvardo, p. 1310).

"And in latin there is a fund of curious literature of the middle ages" (II, p. 212). Though Keats here writes out of hearsay, his interest in mediaeval Latin should have earned him a tribute from Remy de Gourmont (cf. Le Latin mystique, p. 19 on the attitude of les cuistes scandalisés towards le latin d'église) & E.R. Curtius (cf. Europäische Literatur und lateinisches Mittelalter, 2^te Aufl., S. 22-3).

On the Paradise Lost as "a corruption of our language" with a baneful seductiveness "against" which he "stood on guard" (II, p. 212). I think this is the germ of T.S. Eliot's famous "Milton I" (On Poetry & Poets, pp. 138 ff.) on the "bad influence" of Milton's "rhetorical style". (J.M. Murry quoted Keats's remark in his attack on the Miltonic style, cf. L.P. Smith, Milton & His Modern Critics, p. 19.) In his scathing criticism of Eliot's palinode with regard to Milton (RES, May 1959, p. 212), James Sutherland has failed to see that Eliot took his cue from Keats.

In a footnote on II, p. 263, Rollins quotes Fanny Brawne's letter to Brown on Dec. 29, 1829: "I fear the kindest act would be to let him [Keats] rest for ever in the obscurity to which unhappy circumstances have condemned him. Will the writings that remain of his rescue him from it?" So this is her honest, well-considered opinion of the achievement of her lover, a man "who [she] had often heard called the best judge of poetry living" (F, Edgecumbe, ed., Letters of Fanny Brawne to Fanny Keats, p. 63). My high opinion of the woman, formed after reading her letters to Keats's sister, has come down with a resounding bump.

六百八十五

《西青散記》敘事狀物，峭折而不塞澀，學竟陵每有出藍之嘆。好作勸善語，卷一十二月六日稱引《文昌惜字訓》，卷二記胡達湖道《太上感應篇》（參觀《華陽散稿》卷下《文昌清錄序》），蓋其著眼所在，欲以情趣、事趣兼道學、理學者也。（《華陽散稿自序》皆言"趣"，卷下《竹谿曹隱君傳》記其論《西青散記》曰："此勸善之書"；《冷廬雜識》卷一稱此書"諷世之語，隽而不腐。"）《散記》卷二記儲證園語云 ："風流近優，儒雅近腐，此非佳人之鐵圍山耶？"第一句固未然，第二句正自不免。所載詩遠遜詞，四言及五、七古尤瘖吃不成語。余《談藝錄》三○五頁 ，又一百三十則所標舉外，卷四梧岡自記赴試道中七律有云："野水風摩微皺活，暮山雲抹小尖平"，差有致。又卷二載張夢覘《瘞落花》絕句云："夕陽庭院春濃夜，黃透胭脂病已來"，尚見心思，正可與卷三雙卿《和白羅詩九首》所謂"苦黃生面喜紅消"參勘耳。梧岡詞筆亦在詩上，如卷二《惜餘春》、《蝶戀花》二闋，皆讀之使人惘惘不甘。于辛伯《燈窗瑣話》卷四所稱"記得深深深夜語，生生死死千千句"（謂與汪端光─《無題》"並無歧路傷離別，正是華年算死生"皆描摹兒女心口曲肖【洪亮吉、張船山集中皆及汪氏】），即《蝶戀花》結句也（《華陽散稿》卷下《小鳳別紀》載《免鬚詞》亦佳）。餘見第一百二十四則、第一百七十七則。【程魚門《勉行堂集》多可與梧岡《散稿》參證：《詩集》卷一《邊葦間所藏合璧硯余偶得之為作長歌》、卷二《和史廣文悟岡懷隱三首》、《懷人詩十八首‧第三‧史震林公度》、《第十七‧山陽周振采白民》、卷四《和史梧岡無題三首》、《仲夏同史梧岡邊葦間周白民等集晚甘園》、卷六《偶過東城懷邊葦間成七絕句》、卷十三《途次懷人詩十二首‧第三‧史廣文梧岡》、《文集》卷三《淮陰蘆屋記》（邊壽民）。段若膺《經韻樓集》卷九《蔡一帆先生傳》謂其"詩集不傳，今惟於史悟岡丈《西青散記》得《句容唐潘王三烈婦詩》。"】【清季俗書程麟趾《此中人語》卷三《悟岡老人詩詞記》："悟岡有《書畫同珍》二卷。" 

〇《西青散記》卷一清華君下壇詩云："琅玕消息近來聞，玉冷空山墮小雲。滄海西頭裙自浣，翠微深處被親薰。人離月殿分鸞守，草滿芝田赴鶴芸。香篆若能通御座，萬枝真降一齊焚。"按楊掌生《夢華瑣簿》記何芰亭獲盜，贜中有竹簡，上刻乩仙七律，謂"似玉溪生《錦瑟》、《碧城》之作"，即此詩，不知其出《散記》也。

〇《西青散記》卷一載玉勾詞客吳震山婦安定君詩云 ："日日薰香禮覺王，不任操杵不縫裳。誰言鹿苑無生訣，未及龍宮不死方。"按《列朝詩集》丁六屠長卿《游仙》云："一緉芒鞋四海忙，何如回首覓靈光。為言鹿苑無生訣，即是龍宮不死方。"才婦乃作賊耶？《散記》冠以玉勾詞客一《序》，嘗檢曹震亭《香雪文鈔》卷有《西青散記序》，悟岡不取以弁首，未識何故？

〇《華陽散稿自序》云："做無趣之夢，串無趣之戲，豈不負有趣之天，虛有趣之地乎哉？搭不三不四之人，作不深不淺之揖，喫不冷不熱之餅，說不痛不癢之話，小人之描畫君子，雖為無禮，不為無趣也。"按劉同人《帝京景物略》卷四《首善書院》條云："御史倪文煥等詆鄒元標、馮從吾二先生為偽學，有疏曰：'聚不三不四之人，說不痛不癢之話，作不深不淺之揖，啖不冷不熱之餅'（《蒿菴閒話》卷一記此數語，據同卷"利瑪竇"、"元君"兩則，則取之《景物略》也；《茶餘客話》卷九引此數語，據卷十五引"史公度震林《劄記》"金沙人奇吝事，則本之《散記》矣）"，悟岡疑逕取諸《景物略》。【朱竹垞《明詩綜》卷七十一馮元颷《首善書院感舊作》（七古長篇）後詩話亦詳記此事 ，且云："崇禎初，文煥伏法。宮保［徐光啟］率［湯］若望等借院修曆，署曰'曆局'。久之，西洋人踞其中，更為天主堂，至今不改矣。 "】劉、于之書，筆致力求幽隽，竟陵派中一大著作。悟岡所見，必紀曉嵐未刪之原本。生平為文，倘亦得力於此耶？蒲留仙《聊齋文集》卷三《帝京景物選略小引》亦極賞劉、于文之"無讀不峭，無折不幽"，為削繁棄贅，是於紀書外又一節本也。留仙文如《逸老園記》、《龍泉橋碑記》（卷二）、《募建龍王廟序》（卷三）亦刻意仿之。【《譚友夏合集》卷七《答劉同人書》；《書影》卷五載王敬哉作《于司直傳》；又顧夢游作于遺詩《序》；吳景旭《歷代詩話》卷四十五、五十一、七十三、八十引《帝京景物略》，紀氏刪本所無；順治八年刻《倪文正公遺稿》卷二《遊西山》，唐九經評云："詩已刻劉同人《帝京景物略》之中所錄佳句"云云，亦紀本所刪略也；程穆衡《據梧齋詩集》卷三《游右安門外中頂即事成長句》："糍糰虎鬚草橋市"，自注："《帝京景物略》"；《錢湘靈先生詩集抄本》第六冊《閒思》七律稱劉同人文筆，又記其臨歿自見生魂事；杜濬《變雅堂詩集》（汪燊刻本）卷一《吳門追憶昔命袁中郎先生及受命未及任之劉同人兼書所慨》；李世熊《寒支初集》卷二《閱帝京景物略》二首。】

【呂洞賓《題詩紫極宮》云："宮門一閑人，臨水憑欄立。無人知我來，朱頂鶴聲急。"此《散記》諸詩句樣也。】

---

 "卷十七"前脫"《曝書亭集》"四字，"雨裏"原作"雨外"。

"徐學謨"原脫"學"字，"歸有園麈談"原作"太室麈談"。

"資聖閣"原作"資望閣"。

"滿"原作"塞"。

 後皆收入補訂本《談藝錄》（香港中華書局    頁以下；北京三聯書局  年補訂重排版  頁以下）。

"張文舉"原作"張文卿"。

"懷袖"原作"懷裏"。

"盡吸"原作"吸盡"。

"卷二十三"原作"卷十三"。

 見《錢鍾書英文文集》（北京：外語教學與研究出版社，）350-367  Philoiblon (《書林季刊》), I (1947), pp. 17-26。

 原文脫落"

 Warmington 英譯（下引Remains of Old Latin 同）："A vulture did craunch the poor man in the forest. / Ah! In what a cruel tomb buried he his limbs!"

 "And she blushed withal like milk and crimson mingled."

 "And when his head was falling, the trumpet finished alone its tune; and even as the warrior did perish, a hoarse blare sped from the brass."

 Barbara Reynold 英譯 （下引 Orlando Furioso 同）: "These words he uttered just before the end; / 'Remember me, Orlando, when you pray'; / And he continued, 'To you I commend / My Fiordi...' but the 'ligi' could not say."

 "He flung himself as quickly as he could / Upon the saddle of his thoroughbred. / He would have liked to shout 'Come back! Come back!' / But of his mouth he felt a grievous lack."

 "Weepy onion."

 "Rub heads."

 "Press... cheek to..."

 "As though she were playing at ball, give-and-take in a ring, she makes herself common property to all men. To one she nods, at another she winks; one she caresses, another embraces. Now elsewhere a hand is kept busy; now she jerks another's foot. To one she gives her ring to look at, to another her lips blow a kiss that invites. She sings a song with one; but waves a message for another with her finger."

 "Worn-down poker."

 "For when a dog is struck by a stone, it attacks not so much him who strikes it as that same stone by which it was struck."

 "That he grinds, but she winnows out as it were corn with her loins."

 "She'll jerk as though she were winnowing corn with her buttocks."

 "... keeners, who, hired on pay, weep in another's funeral-crowd, tear their hair and cry out much more than others do."

 "Just as you, whom we believe to be the very-likeness of the righteous life."

 "She stains you, but on the other hand he soils you."

"卷二"原作"卷三"。

obiterobter

 引文見第百八十二則。

 引文當即第四百十六則所補"云云略而未詳者（見《手稿集》 頁夾縫），英譯："In a party it is more difficult to agree with those who belong to it, than to act against those who are opposed to it."

 引文已見第四百六十六則，惟頁數有異。英譯："O politics, how I hate you! You separate honest hearts which were made to be united. And on the contrary you knit together individuals who are in every respect unlike each other."

 原文脫落"their

"昨形"原作"後形"。

GiddinesseGidinesse

J.-B. ChassignetJ.-P. Chassignet

"卷二"原作"卷一"。

《談藝錄‧三》："史震林《華陽散稿》卷上《記天荒〉有曰：'當境厭境，離境羨境'，參觀卷下《與趙闇叔書〉。尤肅括可亂釋典楮葉矣"（香港中華書局   頁；北京三聯書局  年補訂重排版  

 按此有誤。"悟岡老人"、"《書畫同珍》"云云，當指鄒梧岡（聖脈）言。

"吳震生"原作"吳震山"。

"卷七十一"原作"卷六十六"。

 即今北京南堂。

《容安馆札记》686-690则

Roger Peyrefitte, Les Ambassades

六百八十六

 W.L. Schwartz , The Imaginative Interpretation of the Far East in Modern French Literature, p. 200  George Soulié de Morant, Bijou-de-ceinture，近始獲覩其書，蓋 Harold Acton Acton 固好男風者也，所作Peonies & Ponies, p. 231: "boys of a specialized, somewhat equivocal type, like Bijou-de-ceinture" 即指此書主角。de Morant 譯著頗多，余嘗見所譯《西廂》，以拘泥執著為信，而望文生義，誤謬叢生。此書筆致亦殊平鈍，實以《品花寶鑑》為藍本。Bijou-de-ceinture其人，為像姑時則杜琴言，為名伶時則頗似梅蘭芳。 大臣者，蓋借袁爽秋之名（觀 pp. 212 ff.），而作用略等《寶鑑》中之華公子與徐度香。至《寶鑑》中之梅子玉、奚十一，乃以 Roé-sing   親王當之。他如     L'Ânc-amoureux 好通文一節，全取之《寶鑑》第二回孫嗣徽混名"起陽狗腎"、"蟲蛀千字文"；pp. 93-94 妻妾磨鏡、人間三光 (les trois objets les mieux polis sur la terre) 二謔，全取之《寶鑑》第八回，易姑嫂為妻妾，減去"老斗銀包"一"光"為"三光"；pp. 101-4 寫兩鄉曲少年聽戲，為老婦訛詐事，本之《寶鑑》第三回魏聘才三樂園聽戲，買老頭兒玉器事；pp. 115-9 寫三書生在三樂飯館受窘事，本之《寶鑑》第八回李元茂失銀事；p. 137 Roé-sing  Bijou-de-ceinture於門事，本之《寶鑑》第十三回田春航在戲園門口候蘇蕙芳；pp. 140-1 Bijou-de-ceinture  大臣命為狎媟態，試 Bijou-de-ceinture 事，全取之《寶鑑》第十回徐度香設計，使杜琴言試梅子玉；pp. 161-164   親王有木匣代炕几，及為 Lon Sou-lann 踢暈於地，全取之《寶鑑》第十九回奚十一有西洋好法兒木桶，及為杜琴言踢傷小便之處pp. 116-7 Lann-tann  Le petit Tchang  Lou Sou-lann 所弄，全取之《寶鑑》第十三回蘇蕙芳弄潘三、張仲雨，第十九回蕙芳弄潘三。他如 p. 36  Bijou-de-ceinture 童年為塾師奸，歸訴于父，父笑而引古小說語曰："A-t-on jamais élévé des arcs-de-triomphe aux hommes vertueux, comme on le fait pour les veuves fidèles à la mémoire du mari défunt?" 本之《隨園詩話》卷四春江公子詩云："但有烈女祠，而無貞童廟。"譯文殊未切情事，當云："garçons purs... filles chastes"P. 192  Roé-sing 血漬扇上，畫師補枝葉作桃花，則又牽引李香君故事矣。Pp. 225-9 寫八國聯軍統帥好內，而其參謀長好外，Bijou-de-ceinture 自薦於參謀長，因得而左右統帥，設想最奇，惜僅出之口述，未能侔色揣稱，亦作者才力之儉也。Peter Fleming, The Siege at Peking 一書敘聯軍事最佳，獨未及賽金花，亦不詳此節情事。又按西書記載義和團事，無及賽金花者。《中和月刊》第四卷載蘿蕙草堂主人《梅楞章京筆記》謂賽金花實未與德帥通，由翻譯葛麟德之導，改裝入內一看而已，為沈藎、鍾廣生戲草稿，寄上海《游戲報》、《新聞報》登載，遂流布丹青。賽金花之妖艷，見吉同鈞《樂素堂詩存》卷一。林紓《畏廬詞‧子夜歌》："己未六月為高子益招至西站，小園樹影中見某校書，即庚子亂中為某大酋載入西苑者也。"Roger Peyrefitte, Les Ambassades, p. 14: "... Soulié de Morant, ancien consul en Chine,... s'employait à faire connaître en France ce curieux procédé de guérison [l'acupuncture]." Gustave Cohen, Ceux que j'ai connus, p. 21: "Il [Maeterlinck] vante les merveilles de l'acuponcture chinoise..." 連類記之。【Baron de Charlus  Duc de Guermantes  "Si je me rappelle, mon petit Mémé!... Tu nous menaçais d'aller passer définitivement ta vie en Chine tant tu étais épris de ce pays" (Sodome & Gomorrhe, II, À la recherche du temps perdu, "La Pléiade", II, p. 718).

            C. Hayward, The Courtesan, p. xii-xiii: "In case one is inclined to wonder how... the belief is still current that a courtesan's profession is to experience pleasure, the answer is that her lovers always do & that it is a natural & flattering illusion for them to believe that she reciprocates their enjoyment.... Insensibility is an essential characteristic of her profession." 按 Havelock Ellis, Studies in the Psychology of Sex, vol. VII, pp. 269-270 亦言妓女之 "frigidity", "hallowness of physical emotion"，無此了當也。Wayland Young: "Sitting on a Fortune" 尤鑿鑿有據，一妓至云："Sandra would be no good on the game. She likes men & she enjoys sex" (Encounter, May 1959, p. 21)，殊耐尋味，故曰："To the English whore, England is a country of women as frigid as she is, or frigider, but who don't even try to pretend" (p. 30; cf. p. 20: "If you pay her enough, she pretends to come" [i.e. "to 'grunt & groan'" — p. 21])。餘參觀第六百三十三則論《渾如篇‧不問了》。【《歸田詩話》卷上："晏叔原詞云：'舞低楊柳樓心月，歌罷桃花扇底風。'此二句，勾欄中多作門對。"】

六百八十七

周櫟園《書影》卷一載其父坦然作《觀宅四十吉祥相》（徐芳《懸榻編》有《宅相四十吉祥編序》）【《堅瓠四集》卷一《宅相》條載《戒庵漫筆》空青先生《風水論》："陽宅有三十六祥：居家尚理義，一也；……六婆不入門，五也；……家僮無鮮衣惡習，二十四也"（李詡《戒菴老人漫筆》卷六《論堪輿》條引空青先生《風水論》）】，其五云："婦女不識字"，自注："世家大族，一二詩章不幸流傳，必列於釋子之後、娼妓之前，豈不可恥！"同卷又引徐世溥云："太史採詩之職廢，而民間女未聞有詩者，自非托於貴族，書於驛，拾於道，失身於倡家而贈送遠人。微是四者，雖有《谷風》之怨，《死麕》之貞，無由得傳。"同卷又云："宛丘王氏，十五歸余。詩二百餘首，小詞數十首，余欲傳之，輒欲自焚。曰：'吾懼他日列狡獪瞿曇後，穢跡女士中也。'蓋自來刻詩者，方外之後緊接名媛，而貞婦烈女、大家世族之詩，類與青樓泥淖並列。姬每言之，輒以為恨。予嘉其志，不敢付梓，並其名字亦不忍露也。"櫟園父與妾所見脗合乃爾！魏惟度《詩持》第二集卷七林氏《晚春》詩，評云："吾閩女子能詩十有五六，余不敢入選，緣周櫟園先生有言：'選閨閫之詩，多列釋子之後、娼妓之前，殊為失體。'故得林氏詩，隨手增入，恐落卷後也"云云，尤支吾矛盾，令人笑來。林氏已在同卷釋大依後矣！【Victor Hugo, Littérature & Philosophie Mêlées, éd. Albin Michel, p. 32: "... Et en effet, la défense assaisonne... Je ne voudrais donc pas qu'on défendît aux femmes d'écrire; ce serait en effet le vrai moyen de leur faire prendre la plume à toutes"Schiller: "Die berühmte Frau" 亦嘲婦人有詩名者，託為慰友之詞，云："汝婦與一人通而已，吾則與世人共有吾婦，吾如名妓之夫而已"("Dich schmerzt, da sich in deine Rechte / Ein Zweiter teilt? — Beneidenswerther Mann! / Mein Weib gehört dem ganzen menschlichen Geschlechte. / ... / Mich kennt man nur als Ninons Mann" — Werke, hrsg. L. Bellermann, 2^te Auf., I, S. 93) "Ein starker Geist in einem zarten Leib, / Ein Zwitter zwischen Mann und Weib, /... / Ein Mittelding von Weisen und von Affen!" (S. 96)【劉將孫《養吾集》卷七《沁園春》自序："大橋名清江橋，有無聞翁賦《沁園春》、《滿庭芳》二闋，書被亂所見女子。後有螺川楊氏和二首，又自序生楊嫁羅，復云：'觀者毋謂弄筆墨非好人家兒女，當諒此情'，又云：'便歸去，懶東塗西抹，學少年婆。'"】【《北夢瑣言》卷十一引《義山雜纂》云："婦人識字即亂情，尤不可作詩，詩思不出二百里。"按《義山雜纂‧不如不解條》："婦人解詩，則犯物忌"，與《瑣言》所取不同。】【《太平廣記》卷四百二十九引《河東記》申屠澄妻虎精，每曰："為婦之道，不可不知書，倘更作詩，反似嫗妾耳！"】【王百穀《丹青志》："閨秀一人，仇氏英之女。必也律之女行，厥亦牝鷄之晨也。"】【G.-C. Lichtenberg,Aphorismen, hrsg. A. Leitzmann, F §376: "Die Frauenzimmer sind in Persien von der Poesie ausgeschlossen. Sie sagen, wenn die Henne krähen will, so muss man ihr die Kehle abschneiden" (Bd. III, S. 197; S. 462, Vgl. Chardin, Voyages en Perse). Carducci  Annie Vivanti 詩集作序云："Nel mio codice poetico c'è questo articolo: Ai preti e alle donne è vietato far versi" (P. Pancrazi, Scrittori d'oggi, VI, p. 295 。】【《碧鷄漫志》卷二論李易安云："本朝婦人，當推詞釆第一。作長短句，能曲折盡人意，輕巧尖新，姿態百出，閭巷荒淫之語，肆意落筆。自古搢紳之家能文婦女，未見如此無顧籍也。今之士大夫學曹組諸人鄙穢歌詞，閨房婦女夸張筆墨，無所羞畏" 云云。】【澹歸《徧行堂文集》卷四《見山詩集序》："嗚呼！道人吟詠，直寄興耳。聽俗士之去取，劣得數章，位置於羽流、閨秀之間，亦不雅矣！"；卷一五《閩中趙蓴客以梵雅一冊見貽先得我心題此却贈》："已落貴人才子後，可堪閨秀羽流間！"自注："選詩者置僧詩於羽流之後、閨秀之前，蓋別無頓放處。"】【王貞儀《德風亭初集》卷十《寄題山陰女史胡慎容紅鶴山莊集後》："氣粗語大尚編集，背後傾毀當面憐。不道真才近來少，烏絲玉版原贋鎸。 又見第七四八則。】

    〇《觀宅四十吉祥相》之二十四云："凡夢皆可告人。"按《尺牘新鈔三集》卷十四周文煒《與人》云："古人驗心於夢。（中略）予有《四十吉祥相》，其一為'凡夢俱可告人。'"同時陳確菴律此尤嚴，《聖學入門書》卷上云："夢寐之中，持敬不懈。程子曰：'人於夢寐間，亦可卜所學之淺深。'省察至此，微乎！微乎！"卷下云："夢行善事為一善，夢行不善為一過。"蓋即《楊龜山集》卷三十《游執中墓志》所謂："其學以誠意為主。晝驗之妻子，以觀其行之篤與否也；夜考之夢寐，以卜其志之定與未也"（呂祖謙《東萊文集》卷二十亦記此四語）。然尚不知夢可告人，未必心無妄會。【Fulbert, Castitatis gradus 分六等 (sex gradibus consummatur perfectio casta)：(dum vigilas) 見色、聞聲不起邪心等分為五級，而以眠無褻夢為最高之境，非基督垂祐不能臻："Ultimus, in somnis nullo phantasmate ludi: / Hoc sibi nemo rapit, sed Christi gratia prsestat" (Remy de Gourmont, Le Latin mystique, p. 196) Freud "Die ethischen Gefühle im Traume", "Uberdetermination", "Verschiebung" (Die Traumdeutung, 6^te Auf., 345 ff., 208 ff.)，又六百十六則論卷五十四《孤學》，又 Alice Meynell: "The Lady of The Lambs": "Her dreams are innocent at night; / The chastest stars may peep" (The Oxford Book of English Verse, p. 1056) Meynell: "Renouncement": "I must stop short of thee the whole day long. / But when sleep comes to close each difficult day, / When night gives pause to the long watch I keep, / And all my bonds I needs must loose apart, / Must doff my will as raiment laid away, — / With the first dream that comes with the first sleep / I run, I run, I am gathered to thy heart" 9p. 1055) 已以妙筆先發 Freud  censor 之旨矣（又七六三則）。《潛夫論‧夢列第二十八》有云："人之性情，好惡不同，此謂性情之夢也。"其理甚精，而未申說，可以焦袁熹《此木軒雜著》卷五釋之，其言曰："明祖始造鈔，未就，夢神告以用秀才心肝，寤思未得，曰：'將殺士子為之耶？'賴高后解之，用后言，取太學積課簿，搗而為之，遂成。危哉爾時士子也！非后言，則刳心之慘，其必不免。不曰由神啟之乎？是何神之喜於毒人，而有是夢也？余以為不然。夫夢者，心神之變，從其所熟之道而出。明祖之用殺，積於心腑，深且熟矣！故神若啟之，寤而不自喻焉。如漢之文帝，必無是夢矣（明祖夢事，見《寄園寄所寄》卷六引《初政錄》）。"【按《碧里雜存》："此乃工匠造鈔不成，懼而妄奏云：'前代造鈔，皆取賢人心肝。'高皇信之"云云，非高皇夢也。】【《大智度論》卷六十六《釋聞持品第四十五上》："夢中心為睡所覆，故非真心所作。"（適與此反。）】《潛夫論‧夢列第二十八》所謂"性情之夢"，焦氏之言得之矣。Owen Feltham:"On Dreams": "Dreams are notable means of discovering our own inclinations. The wise man learns to know himself as well by the night's black mantle, as the searching beams of day. In sleep, we have the naked & natural thoughts of our souls... It was the wise Zeno that said, he could collect a man by his dreams. Claudian: 'Omnia quae sensu volvuntur vota diurno, / Tempore nocturno, reddit arnica quies' etc. 'Day thoughts, transwinged from th' industrious breast, / All seem re-acted in the night's dumb rest' etc." (Resolves). Thoreau, A Week on the Concord & Merrimack Rivers: "Dreams are the touchstones of our characters... For in dreams we but act a part which must have been learned & rehearsed in our waking hours, & no doubt could discover some waking consent thereto. If this meanness has not its foundation in us, why are we grieved at it? In dreams we see ourselves naked & acting out our real characters, even more clearly than we see others awake. But an unwavering & commanding virtue would compel even its most fantastic & faintest dreams to respect its ever wakeful authority; as we are accustomed to say carelessly, we should never have dreamed of such a thing. Our truest life is when we are in dreams awake" (Thoreau,Walden & Other Writings, Modern Library, p. 403).【漢語"做夢也想不到"謂外事也（如發財、遭禍、奇遇），非謂內心也。】

 〇《書影》卷一："虞山先生嘗為余言：丙戌年在都門，於灰燼中檢出宋刻唐詩數冊，乃宋人趙氏所彙集，分門別類，無體不備。自序言其家藏唐人詩集千家，彙成此書，計全書可五百餘冊。虞山所得，不過天文等一二類。其書是明仁宗東宮所閱，上有監國之寶。後先生絳雲樓災，並此數冊，亦不可得見矣。"按吳槎客《拜經樓詩話》卷一云："宋趙孟奎分類唐歌詩一百卷，昔人未見著錄。明葉文莊《涇東稾》中有《書唐歌詩殘本後》，謂僅得實存二十七卷。余在吳門書肆見汲古舊藏宋槧不全十冊，趙序云凡一千三百五十三家四萬七百九十一首。"又《拜經樓詩集》卷七《宋槧分類唐歌詩為嚴久能茂才作》序云："趙氏《自序》謂與雪林子李龏同輯，刊於咸淳中。"

六百八十八

Roger Peyrefitte, Les Ambassades. One of the two best, liveliest novels on diplomacy & the foreign service, the other being Hugh Thomas's The World's Game; both are exposures of the mystique of theCarrière by career-men. The only trouble with Peyrefitte is that he is a "man's man" who poses also as a lady-killer, a pervert who pretends to be on occasions a "convert"; the Françoise episode in this book is as little convincing as the Edwige episode in Jeunes Proies. Incidentally, Edwige confessed to have read Les Ambassades at seventeen & regarded the book as "son épée de chevet" (Jeunes Proies, p. 77).

P. 14: "... et vous verrez... que nous [les diplomates] avons des croix à porter, ailleurs que sur nos poitrines." Cf. the quatrain quoted in Ugo Nanni, Enciclopedia delle ingiurie, p. 18: "In tempi men leggiadri e più feroci / I ladri li appendevano alle croci; / In tempi men feroci e più leggiadri / Si appendono le croci in petto ai ladri."

P. 44: "Avouz que nous exerçons un métier de seigneur" etc. Cf. Hugh Thomas, The World's Game, p. 25: "Diplomacy retains, for many, its ancient glamour" etc.

            Pp. 185-6: "Il y avait,... à Athènes et au Pirée, des 'bals pour hommes'. Correspondant aux 'bains pour hommes'." Cf. R.v. Krafft-Ebing, Psychopathia Sexualis, Authorised English Adaptation of the 12^th  German Edition, by F.J. Rebman, pp. 590 ff. for a description of "The Woman-haters' Ball".

            P. 241: "La femme d'Elémir Bourges, qui était fièra d'être née en Bohème, disait que la Tchécoslovaquie n'était pas un nom de pays, mais un nom de maladie." Cf. 第一百五十七則 a propos de Chesterton's Autobiography, pp. 185-6.

P. 267: A note in De Marcella's translation of Meleager: "J'ai tranformé ici Diophantos en Diophanta et Alexis en Alexa" etc. This is an old face-saving formula: "Ces amours étranges dont sont pleines les élégies des poètes anciens... sont donc vraisemblables et possibles. Dans les traductions... nous mettions des noms de femmes à la place de ceux qui y étaient... Les beaux garçons devenaient de belles filles" (Gautier, Mlle de Maupin, éd. Fasquelle, p. 161). Cf. Paul Léautaud, Journal littéraire, V. p. 295 reporting Gide: "Tout le monde sait l'histoire d'Aziyadé, de Loti. Quand Loti apporta le volume à Calmann, ce n'est pas un nom de femme qu'il avait pour titre. Les Calmann représentèrent à Loti le scandale que ce serait s'il ne changeait pas son 'héros' en une héroïne. C'est alors seulement que Loti changea son personnage et en fit une femme"[7]; also Justin O'Brien's article "Albertine the Ambiguous" (PMLA, Dec. 1949, pp. 933 ff.) on the transposition of sexes in Marcel Proust's novels & the significance of the readily feminised formes of masculine names like Gilberte, Albertine & Andrée, etc. Cf. Proust himself makes M. de Charlus say in Sodome & Gomorrhe, I: "... la petite personne [dont la silhouette m'aura amusé], dont nous ne parlons au féminin que pour suivre la règle (comme on dit en parlant d'un prince: Est-ce que Son Altesse est bien portante?)..." (À la recherche du temps perdu, " Pléiade", II, 610); La Prisonnière: "M. de Vaugoubert ... mettait tous les noms d'hommes au féminin" (III, 26); Le Temps retrouvé (III, 910). Edmund Wilson, The Triple Thinkers, p. 199: "J.J. Chapman saw the importance of pederacy in Plato: Diotima is an odious creature, being a man in disguise." Peyrefitte himself spoke of this rôle travestie in La Fin des ambassades (p. 16): "Dans ses livres, il [de Beauséant] cultivait la contradiction... On ne savait plus s'il était... mysogine ou gynolâtre, s'ils peignait des filles sous le nom de garçons ou des garçons sous le nom des filles." Cf. 第二百五十七則。Cf. E.W. Lane, The Manners & Customs of the Modern Egyptians, "Everyman's", p. 375, note: "Here, in accordance with a rule observed in most modern Arab songs, the masculine gender is applied to the beloved object, who is, nevertheless, a female, as will be seen in several subsequent verses. In translation, I therefore substitute the feminine gender." Byron's touching lines on Thurza were occasioned by the death of the choirboy John Edlestone whom he passionately loved when a student at Cambridge; "by using a woman's, he was able to give full release to his feelings" (Leslie A. Marchand, Byron, I, pp. 396-7).

            P. 272: "Peut-âtre estimait-il qu'une ambassadrice est toujours belle, comme celui qui estimait jadis qu'une duchesse a toujours trente ans pour un bourgeois." The reference is to Stendhal, De l'amour, Liv. 1, ch. 1: "Une duchesse n'a jamais que trente ans pour un bourgeois, disait la duchesse de Chaulnes; une jolie femme de la Haye qui ne pouvait se résoudre à ne pas trouver charmant un homme qui était duc ou prince" (Éd. "Le Divan", I, p. 29).

La fin des ambassades, like almost all sequels, is inferior to its predecessor as a novel, but mush more interesting as a human document. It is a livre de bonne foi  mauvaise conscience as well, the sense of guilt as a collaborateur, some very good descriptions of life in occupied France & fine analysis of the state of mind of the collaborateur, all reminiscent of what I myself witnessed in Shanghai during 1941-6. The "mass of seated information" on "the tragedy of France" often gives the novel the appearance of an anecdotal history "without tears". The satire of the résistance de Septembre is clumsy & blunt in comparison with that in Jean Dutourd's Au Bon Beurre^e, Ptie., ch. 3, 4 & 5, (pp. 246 ff.). P. 293 on Maître V., a French lawyer who gladly offered his services to the Gestapo: "Malgre une profession qui le metait en contact avec le public, tous ses goûts l'en éloignaient. Vivant dans un monde clos, il en avait brusquement abordé un autre avec une âme candide comme il avait dit, ou au moins avec une parfaite inconscience. Ces de la même façon que des hommes de science, des hommes d'esprit, des hommes du monde, aussi étrangers à la politique, avaient apporté un concours actif et parfois désordonné, voire imprudent, à la collaboration.... Dans leurs salons ou dans les salons des autres, dans leurs bibliothèques, dans leur cabinets de travail, ils s'étaient construits un idéal, qui ne pouvait soutenir l'éprouve de la réalité. Il's étaient, à leur insu, des émigrés de l'intérieur." This is really preposterous! The term innere Emigration innerer Verbannung, despite the loathsome rush with which opportunists after the war laid claim to it, stands for "a deeply tragic reality" (cf. Wm. K Pfeiler, German Literature in Exile, pp. 17, 46). People like Maître V. who could live in such luxueuse installation(p. 292) & give such a magnificent repast to the Germans (pp. 299-305), are certainly the last persons to be so labelled.Albert Samain, Carnets Intimes: "Il y a une jouissance d'ironie que je rencontre chez beaucoup d'êtres autour de moi et qui m'échappe complètement, c'est l'ironie qui consiste à chercher dans toute situation pathétique, à laquelle on assiste, le coté ridicule qu'elle peut présenter, ou simplement le détail drôle qui peut s'y glisser... se plaisir à constater que notre humaniste, poignantes, est la proie des nécessités physiques ou matérielles me semble misérable et meprisable" (La Petite Illustration, 12 août 1939, Couverture, p. 2).

            P. 187: "Dans les vitrines, les portraits du maréchal étaient autant plus grands que le manque de marchandises y laissait plus de place." Cf. Ten Eventful Years, II, 599: "A butcher shop in Lyons hung the photographs of Henri Petain & Pierre Laval at window & placed beneath them a sign: vendu."

            In his Romanticism & the Modern Ego (1945), pp. 163-4, Jacques Barzun speaks of "self-consciousness", "mauvaise honte" or "the systematic distrust of one's own perceptions & desires" as "the first striking trait of the modern ego" & quotes for example the dedication of Ezra Pound's Personae: "This book is for Mary Moore of Trenton, if she wants it." (Cf. James Sutherland, English Satire, p. 149: "The strange idea... that the poem should carry within itself some ironical prophylactic to the laughter of irreverent readers, is one that had never, I imagine, occur to anyone until the present century.") I have just come across a fine example in Françoise Sagan's Un certain sourire, p. 14: "...lorsqu'il m'avait écrit: 'Je trouve cette déclaration ridicule, mais je crois que je t'aime', j'avais pu lui répondre sur le même ton et sans mentir: 'Cette déclaration est ridicule, mais je t'aime aussi.'" This seems the logical conclusion of Flaubert's "pudeur": "Haubert's "pudeur": "C'est cette pudeur-là qui m'a toujours empêché de faire la cour à une femme; en disant les phrases po-é-tiques qui me venaient alors aux lèvres, j'avais peur qu'elle ne se dise: 'Quel charlatan!'" (à Louise Colet, Corr., éd. Conard, II, p. 461).

            Paul Léautaud, Journal littéraire, I. p. 34: "La seule foi qui me reste, et encore! c'est la foi dans les Dictionnaires." Cf. Marcel Aymé, Le Confort intellectuel, p. 43: "Auriez-vous la religion des dictionaires?"New Statesman & Nation, 5 Jan. 1957, p. 24: "O.E.D.ipus [complex]."

 Paul Léautaud, Journal littéraire, I. p. 81: "On n'est pas beau après l'amour." Cf. Greek Anthology, Bk. V. 77, Rufinus (Loeb, I, p. 167): "If women had as much charm when all is over as before, men would never tire of intercourse with their wives, but all women are displeasing then." Worthy of a place beside the old Latin proverb: "Omne animal post coitum triste est" (quoted in H. Ellis, Studies in the Psychology of Sex, II, p. 247). Cf. 第八十六則 on Martial, V. LXXIII; 第一百十五則 on Ovid, Amores, II. xix. 25-6; 第二百十三則 a propos of Theocritus, X; 第一百五十則 on Baudelaire, Journ. int., p. 140.Shakespeare,Sonnets, no. 129: "Past reason hunted, and no sooner had / Past reason hated"; Heine: "Verschiedene": "Clarisse", ii: "Überall, wo du auch wandelst, / Schaust du mich zu allen Stunden, / Und je mehr du mich misshandelst, / Treuer bleib ich dir verbunden. // Denn mich fesselt holde Bosheit, / Wie mich Güte stets vertrieben; / Willst du sicher meiner los sein, / Musst du dich in mich verlieben" (Werke und Biefe, AUfbau-Verlag, 1961, Bd. I, S. 251-2); Schopenhauer, Die Welt als Wille und Vorstellung, Ergänzungen, Kap. 44: "Die Liebe des Mannes sinkt merklich, von dem Augenblick an, wo sie Befriedigung erhalten hat" (Sämtl. Werke, hrsg. E. Grisebach, II, S. 639).

 Paul Léautaud, Journal littéraire, I. p. 58: "Comme elle [Georgette] m'aimait! Jusqu'à imiter mon écriture! Signe certain de l'amour, ce penchant à prendre certaines façons de quelqu'un." Cf. Goethe, Die Wahlverwandtschaften, I^ter Teil, 12^tes Kap.: "Sie [Ottilie] legte das Original und die Abschrift vor Eduard auf den Tisch.... Er sah sie an, er besah die Abschrift. Die ersten Blätter waren mit der grössten Sorgfalt, mit einer zarten weiblichen Hand geschrieben... Aber wie erstaunt war er, als er die letzten Seiten mit den Augen überlief: 'Um Gottes willen!' rief er aus, 'was ist das? Das ist meine Hand!' Er sah Ottilien an und wieder auf die Blätter, besonders der Schluss war ganz, als wenn er ihn selbst geschrieben hätte. Ottilie schwieg... Eduard hob seine Arme empor: 'Du liebst mich!' rief er aus, 'Ottilie, du liebst mich!' und sie hielten einander umfasst" (Goethes Werke, in zehn Bänden, hrsg. R. Buchwald, Weimar, 1958, Bd. VII, S. 215).【毛奇齡《曼殊別誌書塼》："才把筆，即能畫字。其字每類余，見者輒謂予假為之。"】

            For the classicists, poetry is essentially a matter of technique & craftsmanship, yet they talk vociferously of "inspiration" & "divine rage". Alice Meynell seems to have had an inkling of this paradox when she said in The Points of Controversy that the 18^th century "kindled artificial fires" & "invented the art of raving." The point has been completely missed by Milton C. Nahm's laborious & stuffy study of the theory of inspiration, The Artist as Creator. Only classicists who refused to talk cant would admit like Baudelaire that "L'orgie n'est plus la soeur de l'inspiration: nous avons cassé cette parenté adultère... L'inspiration est décidément la soeur du travail journalier" (L'Art Romantique, VI, "Conseils aux jeunes littérateurs", quoted in Ch. Braibant, Le Métier d' Écrivain, p. 96; cf. similar mistrust of "inspiration" in Flaubert & Gide on pp. 97 & 102) (Oeuv. comp., "Bib. de la Pléiade", p. 946); Baudelaire's views on "la rationalité du génie" (Réne Lalou, Défense de l'Homme, pp. 61-2) is of course derived from Poe'sPhilosophy of Composition (see P. Mansell Jones, The Background of Modern French Poetry, p. 45) & recalls Novalis's theory "Gemeinschaftlicher Wahnsinn hört auf Wahnsinn zu sein und wird Magie, Wahnsinn und Regeln und mit vollem Bewusstsein" (Schriften, hrsg. Kluckholm, II, S. 336). Pope is one of such classicists. G. Tillotson, Pope & Human Nature, p. 136: "... he referred to the writing of poetry as a craft, as a professional & technical matter, clear of hieratic mystery. In his poetry as a whole he did not speak of inspiration but of words & lines: not of poetry but of 'song', 'sing-song', 'verse', 'numbers', 'rhyme', the product of that 'unweary'd mill'.... When he did suggest that poetry took its rise in quarters more mysterious than the fingers, it was often to mock at the poet whose inspiration was bogus"; p. 139: "The poet used the same instrument as a clerk did. He was a technician as a gardener was... or as a schoolmaster... or as a miller... or as a sailor" etc. Cf. Luigi Russo, La Critica letteraria contemporanea, 3^aed., 1953, I, p. 9: "'Se la poesia ha da essere arte, ciò che dicesi forma é e ha da essere della poesia almenotre quarti.' E, in forza di cotesto principio, il Carducci supera ancora la bassa concezione romantica dell'arte-genio, dell'arte ispirazione estemporanea, dell'arte dono liberale di Apollo. 'L'ispirazione è una delle tante ciarlatanerie che siamo costretti ad ammettere e subire per abitudine'. E altrove ancora ribadisce: 'Quella che i più credono o chiamano troppo facilmente ispirazione, bisogna farla passare per il travaglio delle fredde ricerche e tra il lavoro degli istrumenti critici, a provar s'ella dura.'" Cf. Katharine E. Gilbert & H. Kuhn, A History of Esthetics, p. 173: "But [Castelvetro] will not tolerate the Platonic doctrine that the source of poetry is divine madness. For it is through conscious artistry, through hard study & not through irrational genius, that poetry comes into being. He will not even admit that Plato himself seriously meant to assert so unintellectual a spring for the origin of poetry (Poetica d'Aristotele, p. 67)", & W. Kayser, Das Sprachliche Kunstwerk, 4^te Aufl., S. 190-1.In Novalis's novel Heinrich von Ofterdingen, Klingsohr, the master, thus advises Heinrich, the poet-aspirant: "Begeisterung ohne Verstand ist unnütz und gefährlich... Der junge Dichter kann nicht kühl, nicht besonnen genug sein... Die Poesie will vorzüglich, fuhr Klingsohr fort, als strenge Kunst getrieben sein"; Fr. Schlegel (Athenäum) says: "Je mehr die Poesie Wissenschaft wird, je mehr wird sie auch Kunst" (both quoted in Walter Silz, Early German Romanticism, pp. 31-2; Novalis from Schriften, Jena, 1923, IV, pp. 166-8, Schlegel from Athenäum, München, 1934, I, p. 71) — very anticipatory of Poe & Baudelaire. Wordsworth says in the 1800 Preface to Lyrical Ballads: "For all good poetry is the spontaneous overflow of powerful feelings: & though this be true, poems to which any value can be attached were never produced on any variety of subjects but by a man who, being possessed of more than usual organic sensibility, had also thought long and deeply."Renoir: "Soyez d'abord un bon ouvrier; cela ne vous empêchera pas d'avoir du génie."

            The Notebooks of S.T. Coleridge, ed. Kathleen Coburn, vol. I, §432. 22: "Heart the husband, the Tongue the wife — every word that comes not from the heart is therefore a Son of a Whore." Coburn in her notes pointed out that this epigram, like all others in the same entry, is an adaptation of one by Fr.v. Logau (Sinngedichte, III, §24, ".Ehestand des Herzens und der Zunge") This epigram has crept into Lessing'sSinngedicht: "Das Herz und Zung ist wie vermählt, / Die zeugen Kinder ungezählt./ Wann beide sie nicht eines sind, / Wird jedes Wort ein Hurenkind" (Lessing, Auswahl in drei Bänden, Veb, Bd. I, S. 556).

            I, §662: "Learning without philosophy a Cyclops"; Coburn in her notes referred to Table Talk. But this is derived from Kant, Anthropologie, §59: "Es giebt aber auch gigantische Gelehrsamkeit, die doch oft cyklopisch ist, der nämlich ein Auge fehlt: nämlich das, der wahren Philosophie, um diese Menge des historischen Wissens, die Fracht von hundert Kameelen, durch die Vernunft zweckmässig zu benutzen" (Kant, Werke, hrsg. E. Cassirer, Bd. VIII, S. 116). Cf. Joubert, Pensées, "Libraire Académique", Tit. XVIII. §93: "Que de savants forgent les sciences, cyclopes laborieux, ardents, infatigables, mais qui n'ont qu'un oeil!" My coinage: "His learning is encyclopeandic." Cf. Nietzsche, Die Geburt der Tragödie, Kap. 14: "Denken wir uns jetzt das eine grosse Cyklopenauge des Sokrates auf die Tragödie gewandt, jenes Auge, in dem nie der holde Wahnsinn künstlerischer Begeisterung geglüht hat..." (Werke, hrsg. K. Schlechta, I, S. 78).

六百八十九

段若膺《經韻樓集》卷一《執熱說》引少陵《課伐木作詩示宗武》、《熱毒簡崔評事十六弟》，謂其"得左氏、毛公正解：'觸熱'、'苦熱'之意。鄭箋、《孟子》趙注、朱注、《左傳》杜注皆云'濯手'，轉使義晦。凡為熱水所湯者，不可以冷水浸激之。今注云云，不切事情。"【《大雅‧桑柔》毛傳云："濯，所以救熱也"；鄭箋云："當如手執熱物之用濯。"】按黃生《義府》卷上早謂："鄭箋、趙注並誤'執'如'執友'之'執'，固持也，謂熱不可解。周興嗣《千字文》'執熱願涼'、杜甫詩'爾曹輕執熱'皆得本意。"王鳴盛《蛾術編》卷八十二亦云："《左傳》：'《詩》云："誰能執熱，逝不以濯。"禮之於政，如熱之有濯，濯以救熱，何患之有？'玩此文，無執持熱物之意。周興嗣《千字文》'執熱願涼'、杜甫《北風》詩、《在大云寺贊公房》詩、《夏夜嘆》詩、《毒熱簡崔評事十六弟》詩、《大雨》詩、《多病執熱奉懷李尚書之芳》詩、張敦實《積薪賦》、韓愈《答張籍書》、陸龜蒙《讀襄陽耆舊傳》詩皆作'甚熱'解。朱子自作《游百丈山》詩：'執熱倦煩跼'，亦言'甚熱'也。然《墨子‧尚賢中篇》：'《詩》曰："誰能執熱，鮮不以濯。"古者國君之不可不執善，譬猶執熱之有濯也，將休其手。'則趙解由來久矣。"【《晉書‧劉喬傳》劉弘典《與東海王越書》曰：："《詩》云：'誰能執熱，逝不以濯。'若誠濯之，必無灼爛之患。"】王氏考釋最為詳備（謂朱子作詩與作注違異，可參觀《蛾術編》卷七十五論朱子《白鹿洞賦》"肦黃卷以置郵"、 《和劉抱一詩》"木瓜更得瓊琚報"皆用毛、鄭說），黃氏解"執"字最妙，然此意實發之於竟陵派。《唐詩歸》卷十九杜甫《課伐木》："爾曹輕執熱"，鍾評云："考亭解《詩》'誰能執熱，逝不以濯'，'執'字作'執持'之'執'，今人以水濯手，豈便能執持熱物乎？蓋熱曰'執熱'，猶云熱不可解，此古文用字奧處。'濯'即'洗濯'之'濯'，浴可解熱也。杜詩屢用'執熱'字，皆作實用，是一證據，附記於此焉。"【仇注杜詩《夏夜嘆》引鍾惺語，《執熱奉懷李尚書》詩引邵長蘅語："執，囚也，囚困於熱。"】

〇杜甫《無家别》："日瘦氣慘悽。"《唐詩歸》卷十七鍾評云："日何以瘦？"按《蘇文忠公詩集》卷二《夜行觀星》云："小星鬧若沸"，紀文達勒帛之，批云："似流星。"豈得為解事乎！【黃山谷《勞坑入前城》："雲黄覺日瘦，木落知風饕。"】【黃淳耀《陶菴詩集》卷五《白日》云："白日公然瘦，青天不復髙。" 用字即本少陵。】【王霖《弇山詩鈔》卷四《涿州》："照影頹唐寒日瘦，吹物騷屑朔風輕。"】【《雪橋詩話餘集》卷六："黃香鐵《舟遇楊柳青》云："城根日色作旱瘦，絲絲慘綠垂河檉。高駝如山影在地，馱媒歸去搖空鈴。"】參觀 Dante, Inferno, I. 60: "La dove il sol tace"; V. 28: "in loco d'ogni luce muto"" (Opere, ed. E. Moore & P. Toynbee, pp. 1 & 7) [12]; G. Pascoli: "Il Gelsomino notturno": "La Chioccetta per l'aia azzurra / va col suo pigolio di stelle"; "Nozze": "A cobbola giuliva / parve un picchierellar trito di stelle / nel ciel di sera, che ne tintinnava" (L. Russo, Antologia della critica letteraria, III, p. 433 ；又第三十五則、六百九十則、六百九十七則、七七○則論《詩‧大序》"聲成文"。宋景文《玉樓春》云："綠楊煙外曉寒輕，紅杏枝頭春意鬧。" （李笠翁《窺詞管見》第七則云："此語殊難著解。爭鬥有聲之謂'鬧'，桃李爭春則有之，紅杏'鬧'春，予實未之見也。'鬧'字可用，則'吵'字、'鬥'字、'打'字皆可用矣！"劉公勇《七頌堂詞繹》云："一'鬧'字卓絕千古。"）參觀 Swinburne: "Ave atque vale": "For whom all winds are quiet as the sun, / All waters as the shore"; W.B. Rands: "The Thought": "Up to where, in the blue round, / The sun sat shining without sound" (The Oxford Book of English Verse, p. 904); D.G. Rosetti, The House of Life,  Pt. I, xix: "'Tis visible silence, still as the hour-glass." 【庾肩吾《八關齋夜賦四城門‧第一賦韻‧南城門老》："已同白駒去，復類紅花熱"（《全梁詩》卷七）。】【李賀《天上謠》："銀浦流雲學水聲"；《昌谷讀書示巴童》："蟲響燈光薄。"】【杜荀鶴《春宮怨》："風暖鳥聲碎，日高花影重。"】【《全宋詞》卷一百五十八盧祖臯《清平樂‧柳邊深院》："燕語明如剪。"】【鍾伯敬《隱秀軒詩》宇集三《七月十二日宋獻儒招集止山烏龍潭新居》："天淵一氣何時已，風日同香不可尋。"】【嚴遂成《海珊詩鈔》卷五《滿城道中》："風隨柳轉聲皆綠，麥受塵欺色易黃。"勝於García Lorca: "Verde viento, verdes ramas" (Romance Sonámbulo)，因此衹言風吹綠樹而色綠也 (S. Burnshaw, ed., The Poem Itself, "Pelican Books", p. 238)。】【《秋崖先生小稿》卷三十八《燭影搖紅‧立春日柬高內翰》："笑語誰家簾幕，鏤冰絲、紅紛綠鬧"，亦以聲與色相通。歐陽詹《歐陽先生文集》卷一《春盤賦‧以裁紅暈碧巧助春情》，"裁紅暈碧"即秋崖之"紅紛綠鬧"。】【陸機《擬西北有高樓》："佳人撫琴瑟，纎手清且閑。芳草隨風結，哀響馥若蘭。"晏幾道《臨江仙》："風吹梅蘂鬧，雨細杏花香。"毛滂《浣溪紗》："水南梅鬧雪千堆"；《散餘霞》："牆頭花口寒猶噤。"】【劉長卿《秋日登吳公臺上寺遠眺》："寒磬滿空林"；溫庭筠《郭處士擊甌歌》："玉晨冷磬破昏夢"；陸龜蒙《三宿神景宮》："鼓鏗動涼磬"；孟郊《秋懷》第十二首："商氣洗聲瘦，晚陰驅景勞"；羅隱《秋霽後》："淨碧山光冷，圓明露點勻"；《夜泊毘陵無錫縣有寄》："濁浪勢奔吳苑急，疎鐘聲徹惠山寒"；王令《春人》："柳芽嚼雪噴盡寒，桃花燒風作春暖"；黎簡《五百四峯堂詩鈔》卷五《寄黃藥樵》："牆頭暮鴉飛不起，鴉背松聲冷於水"；卷十一《惜家園松樹家人析為薪》："枝疎鳥影滑，丸轉上下鳴"；《十月中旬薥茶已開》："深紅硬綠小春看"；卷十八《春游寄正夫》："鳥拋軟語丸丸落，雨翼新風汎汎涼"；卷二十二《晚涼》："涼有蟬聲不假風，晚雲淡薄帖晴空"；姚燮《復莊詩問》卷二十三《游頭陀巖諸勝》第四首："泉澀澗語苦，風細磬聲瘦"；方中通《續陪》卷一《陪句》："入峽風聲瘦。"】【宋釋仲仁《梅譜‧口訣》云：鬧處莫鬧，閑處莫閑。老嫩依法，新舊分年"（《佩文齋書畫譜》卷十四）；趙孟堅《彜齋文編》卷二《有許梅谷求畫墨梅又賦長律》："鬧裏相挨如有意，靜中背立見無聊。"】【李慈銘《白華絳跗閣詩》卷巳《叔雲為予畫湖南山桃花小景題一絕句》："當年同賦尋春句，幾度谿頭放釣舲。山氣花香無著處，今朝來向畫中聽"；李世熊《寒支初集》卷一《劍浦陸發次林守一》："月涼夢破鷄聲白，楓霽烟醒鳥話紅"；曾異撰《紡授堂詩集》卷四《十四夜坐梅》："花重鴉聲白，月來人影香"；卷七《木侍居雜詩‧之四》："鶯花相與狂，清磬發花光。晝眠深欲醒，似覺磬聲香。"】

〇《留松閣新詞合刻》鄒祇謨《麗農詞》卷上《鵲橋仙》。按此明人董斯張作，見《歷代詩餘》卷二十八及王述菴《明詞綜》卷五所謂"輕暖輕寒，不晴不雨，辜負韶光九十。落花飛絮兩無情，仗千尺游絲作合。"不解何以羼入？

〇《茶餘客話》王錫祺刻二十二卷本卷十一云："作詩有甘苦獨喻，人不能知之境，如病中聞耳鳴，難以語人。亦有人人共覺其非，而自不知之苦。如睡熟鼾聲，如何得知？"按妙喻也。《鏡花緣》八十回云："燈謎不顯豁、貼切，謂之'脚指動'，惟自己明白，傍人不得知也"，可相參證。《隋書》卷七十七李士謙曰："陰德，猶耳鳴"，已先發之矣。

〇《茶餘客話》卷十二："孫藩使太翁爾周宰浙時，獨行杭州城外荒村中。一望土冢累累，見粉牆一家，即往索茶。一小婢舉竹椅出，令坐，捧苦茶一盞飲之。須臾去，呼之不出。見門上一聯云：'兩口居山水之間，妻忒聰明夫忒怪；四面皆陰燐所聚，人何寥落鬼何多。'"按高鵬年《湖墅小志》謂親見王仲瞿門聯如是 。舒鐵雲《瓶水齋詩集》卷十四《松毛場訪仲瞿紅桕山莊因感雲門氏之化愴然有作》自註云："《茶餘客話》載某至西湖，見一處門聯云：'兩口居碧水丹山，妻太聰明夫太怪；四面皆青燐白骨，人何寥落鬼何多。'正仲瞿居處也。"與《客話》所載詞句小異，而較工整。張公束《寒松閣談藝瑣錄》卷一亦云仲瞿門聯如此，"兩口居"作"室中有"，"四面皆"作"門外皆"。孫子瀟《天真閣集》卷二十六《桃花莊歌》則云："仲瞿榜門云：'借他紅粉三千樹，伴我青山十八年。'"阮氏之書成於乾隆中葉，孫翁宰杭州，時必更早，所過粉牆人家，或尚非仲瞿寓廬也。蔡澄《鷄窗叢話》記歸玄恭門聯云："一身寄安樂之窩，妻太聰明夫太怪；四境接幽冥之宅，人何寥落鬼何多。"則此乃舊聯，仲瞿以前，正不妨有人已挪用耳。【鍾駿聲《養自然齋詩話》卷四："王庵者，嘉興王仲瞿曇別墅也。在湖墅西偏，下泥橋之東，水木明瑟，遠山如畫，其旁義塚纍纍。少時訪［陸］夢芝［煦］於此，見佛殿外懸有仲瞿先自撰楹聯云：'一家居綠水丹山，妻太聰明夫太怪；此地有青燐白骨，人何寥落鬼何多。'"】

〇第六百四十九、六百六十八則引西方談藝之說，又七百三則論 Marino，言詩文以靜為高境。既而思之，此意首發於李文饒《會昌一品集‧外集》卷三《文章論》云："鼓氣以勢壯為美，勢不可以不息，不息則流宕而忘返，亦猶絲竹繁奏，必有希聲窈妙，聽之者悅聞，如川流迅激，必有洄洑逶迤，觀之者不厭。從兄翰常言：'文章如千兵萬馬，風恬雨霽，寂無人聲'，蓋謂是矣。"惲南田《甌香館集》卷十一《畫跋》引山谷論文云："蓋世聰明，驚彩絕艷，離却'靜'、'淨'二語，便墮短長縱橫習氣。"亦此意也。鍾、譚論詩，頗標厥旨，《詩歸》鍾《序》云："察其幽情單緒、孤行靜寄於喧雜之中，而乃以其虛懷定力，獨往冥游於寥廓之外"；譚《序》云："彼號為大家者，終其身無異詞，終其古無異詞，而反以此失獨坐靜觀者之心" ；《古詩歸》卷三唐山夫人《安世房中歌》："粥粥音送細齊人"，譚評云："與《大雅》'有聞無聲'同一靜想"；卷五《練時日》："相放震澹心"，譚云："六字不可言 ，惟靜者默吟知之"；《唐詩歸》卷十五鍾評太白云："讀太白詩，當於雄快中察其静遠精岀處，有斤兩，有脈理"；同卷《尋陽紫極宮感秋作》："靜坐觀眾妙，浩然媚幽獨"，譚評云："取太白詩，貴以幽細之語，補其輕快有餘之失，如此等句，即妙矣"；卷二十八鍾評元相云："看古人輕快詩，當另察其精神靜深處，如微之'秋依靜處多'、樂天'淸泠由本性'、'曲罷秋夜深'等句，元、白本色，幾無尋處矣。然此乃元、白詩所由出，與其所以可傳之本也"；友夏《東坡詩選》卷七評《書王定國所藏烟江疊嶂圖》云："坡結句之妙，亦只是議論挽束得有味耳。含不盡於言外，息羣動於無聲，如管絃之乍停。瀑布之不收者，未有也。"即Hölderlin: "An die jungen Dichter" 詩中所謂："zur Stille der Schönheit"（Sämtliche Werke, Stuttgarter Hölderlin-Ausgabe, I, S. 253;  Wolfgang Kayser, Das sprachliche Kunstwerk, 4^te Auf., S. 231-2  Hegel, Ästhetik 語，見第六百六十八則引）。【Ch. Fr. Hebbel: "Schönheitsprobe": "Wie lässt die echte Schönheit sich erproben? / Wohl einzig an dem selbstbewußten Frieden, / Der sie umfließt, weil sie sich wie geschieden / Von allen Kämpfen fühlt, die sie umtoben" (Werke, hrsg. Th. Poppe, I, S. 153).】近代西人中，Attilio Momigliano 主張最相近，故或稱為 "il critico del silenzio e delle assorte pause" (Luigi Russo, La Critica letteraria contemporanea, 3^a ed., III, p. 113)，如云："Noi sentiamo la poesia soltanto quando tutto tace dentro di noi...  La sua voce non può risuonare che nel silenzio, quand il mondo della realtà è svanito e quello delle nostre impressioni dorme"; "In quest 'isolamento,... in questa sensibilità in cui la nostra persona stessa si annulla, consiste l'impressione dell'arte" (Ib., p. 107); [in Cavalcanti] "figurazioni tutte chiuse in un meditativo silenzio"; [in Verga] "mormora una vena dolce e mesta di sentimento che si allarga nel silenzioso paesaggio notturno"; [in Ariosto] "il trapassare del paesaggio dalla solitudine deserta al tumulto, e da questo al più tranquillo silenzio; il risonar subitaneo di una nota gioconda, dolente, incantata, eroica in .mezzo ai luoghi riposati o silenti" (Ib., p. 113); [in St. Francis of Assissi's Fioretti]: "Risuonano [le linee] in un grande silenzio interiore" (Ib., p. 114)，蓋以我靜心，遇詩中靜境，與鍾、譚識趣全合，故或言其 "He shows his reader... how to be alone, one might say, with the book before him" (Horatio Smith, ed., Columbia Dictionary of Modern European Literature, p. 549)，神秘宗所謂 "Dès que l''âme s'enflamme d'amour pour lui [L'Être], elle se dépouille de toutes ses formes... elle ne doit rien garder pour elle, ni bien, ni mal, afin de la [sic.] recevoir seul à seul" (Plotin,Ennéades, VI. viii. 34, tr. E. Bréhier, T. VI, 2^e Ptie., p. 107); "s'affranchir des choses d'ici-bas, s'y déplaire, fuir seul vers lui seul" (Ib., VI. ix. 10, p. 188)，藝也，而通於道矣！《列朝詩集傳‧丁十三‧胡梅傳》引曹能始為作詩序，有云："白叔之為詩，避俗套如湯火，驅使己意，如石工之硺碪巖，篙師之下灘瀨，所未免者，有斧鑿痕及喧豗聲耳"，亦正合鍾、譚之旨，參觀 Northrop Frye, Anatomy of Criticism, p. 27: "However disciplined by taste & skill, the experience of life is, like literature itself, unable to speak.... The reading of literature should, like prayer in the Gospels, step out of the talking world of criticism into the private & secret presence of literature. Otherwise the reading will not be a genuine literary experience, but a mere reflection of critical conventions, memories, & prejudices." 又按 H.J.C. Grierson,Rhetoric & English Composition, p. 18: "Mill's famous [dictum] is identical with Kebel's distinction in De Poeticae vi medica between oratory which is always consciously addressed to an audience, & poetry which is the utterance of the poet's feelings when he is, s to say, speaking to himself without any consciousness of a listener."James Joyce, A Portrait of the Artist as a Young Man, N.Y., 1916, p. 240: "I used the wordarrest. I mean the tragic emotion is static. Or rather the dramatic emotion is. The feelings excited by improper art are kinetic, desire or loathing"; p. 243: "It means certainly a stasis & not a kinesis." Father Thomas Gilby, Poetic Experience: An Introduction to Thomist Aesthetic, p. 108: "It is of the essence of Beauty that with the knowledge of it desire is at rest."】【Gottfried Keller, Der grüne Heinrich, III. i: "Gott halt sich mäuschenstill, darum bewegt sich die Welt um ihn" (Sämt. Werke, Aufbau, IV, 375).】【Pascoli: "Cantano come non sanno / cantare che i sogni nel cuore, / che cantano forte e non fanno rumore" (L. Russo, Gli scrittori d'Italia, II, p. 937; M. Fubini, Critica e Poesia, p. 86).】【E. Mörike: "Trägst du der Schönheit Götterstille nicht, So beuge dich! denn hier ist kein Entweichen!"】【E.B. White,The Second Tree from the Corner: "As in the sexual experience, there are never more than two persons present in the act of reading — the writer, who is the impregnator, & the reader, who is the respondent" (The Peguin Book of Modern Quotations, p. 239).

〇周文萃編《徐昌穀全集》卷四《在武昌作》云："洞庭葉未下，瀟湘秋欲生。高齋今夜雨，獨臥武昌城。重以桑梓念，凄其江漢情。不知天外雁，何事樂南征。"《皇明詩選》卷八稱之曰："八句竟不可斷。"《池北偶談》卷十八、《香祖筆記》卷五尤嘆賞為"絕調"。按太白《秋夕書懷》云："北風吹海雁，南渡落寒聲。感此瀟湘客，凄其流浪情" ；韋蘇州《新秋夜寄諸弟》云："高梧一葉下，空齋秋思多"；《聞雁》詩云："故園渺何處，歸思方悠哉。淮南秋雨夜，高齋聞雁來。" 禎卿之詩，蓋出於此耳。可補《談藝錄》三五三頁 。【商盤《質園詩集》卷九《旅夜》："西山雲乍領，東湖月正明。寂寥虛館夢，身在豫章城。重以友朋念，凄然砧杵情。蕭蕭新白髮，一夕枕邊生。"】

〇山谷《送王郎》云："："酌君以蒲城桑落之酒，泛君以湘纍秋菊之英，贈君以黟川點漆之墨，送君以陽關墮淚之聲。酒澆胸次之磊塊 ，菊制短世之頹齡，墨以傳萬古文章之印，歌以寫一家兄弟之情。"《談藝錄》八頁謂仿鮑明遠《行路難》第一首 ，是矣而未盡。明遠妹令暉代葛沙門妻郭小玉作第二首云："君子將遙役 ，遺我雙題錦。臨當欲去時，復留相思枕。題用常著心，枕以憶同寢。"山谷善兼兄妹兩作機杼，遂突過顧逋翁、歐陽永叔矣。

〇《柳南隨筆》卷三："家露湑翁精於論詩，嘗語予曰：'作詩須以不類為類乃佳。'予請其說。時適有筆、硯、茶甌並列几上，翁指而言曰：'筆與硯類也，茶甌與筆、硯即不類。作詩者能融鑄為一，俾類與不類相為類，則入妙矣！'予因以社集分韻詩就正，翁舉'小摘園蔬聯舊雨，淺斟家釀詠新晴'一聯云：'即如"園蔬"與"舊雨"、"家釀"與"新晴"，不類也，而能以意聯絡之，是即不類之類。子固已得其法矣。'"【Cf. Quintilian, Inst. Orat., VIII. iii. 74: "The more remote the simile is from the subject to which it is applied, the greater will be the impression of novelty & the unexpected which it produces."】按同書卷二云："邑馮竇伯詩有'珠圓花上露，玉碎草頭霜'之句。一友嘆為工絕，予不以為然。友請其說，予曰：'律詩對偶，固須銖兩悉稱，然必看了上句，使人想不出下句，方見變化不測'"云云，可相參證。Johnson: "Wit, you know, is the unexpected copulation of ideas, the discovery of some occult relation between images in appearance remote from each other" (Rambler, no. 194, "Everyman's Library", p. 284); "[Metaphysical conceit is] a kind of discordia concors" (Lives of the English Poets, ed. Hill, I, p. 20); "A simile may be compared to lines converging at a point, & is more excellent as the lines approach from greater distance" (Ib., II, p. 130) (J.E. Brown, The Critical Opinions of Samuel Johnson, 1926, p. 267). R. Wellek, A History of Modern Criticism, I, p. 3: "It dates back to Aristotle's view that in a riddle it is possible to join together absurdities by metaphor (Poetics, XXII)【H.S. Butcher, Aristotle's Theory of Poetry & Fine Arts, p. 83】, or to Longinus' analysis of a poem by Sappho, which speaks of 'uniting contradictions in the feelings' (X, 24), as Allen Tate has pointed out.... Anticipations could be seen in concettist theories, in Gracian's theories of agudeza... as a 'splendid concordance, a harmonious correlation between 2 or 3 extremes, expressed in a single act of the understanding.'" Gaetano Mariani: "La tecnica dell'analogia nella poesia secentistica e in quella contemporanea": "Nel 1891 Mallarmé scriveva: 'La littérature a quelque chose de plus intellectuel... les choses existent, nous n'avons pas à les créer; nous n'avons qu'à en saisir les rapports; et ce sont les fils de ces rapports qui forment les vers et les orchestres.' E Ungaretti: 'la poesia moderna si propone di mettere in contatto ciò che è più distante. Maggiore è la distanza, superiore è la poesia. Quando tali contatti danno luce, è toccata poesia'" (La Critica stilistica e il barocco letterario: Atti del secondo congresso internazionale di studi italiani, 1958, p. 273); Pierre Reverdy, Le Gant de crin, 1926, p. 34: "Plus les rapports des deux réalités seront lointains et justes, plus l'image sera forte, plus elle aura de puissance émotive et de réalité poétique" 即此意也。餘見第五百七十一則、六百四十妻則、七百三十八則、七百三十九則（論皇甫湜《答李生書》）。馮竇伯詩，病尚不盡如東漵所言。"珠圓"句五字中，正反轉折有二意。"玉碎"句衹一意，以"碎"字道破。正未可謂為"銖兩悉稱"也。

〇《全唐文》卷五百二十八顧逋翁《右拾遺吳郡朱君集序》云："如新安江水，文魚彩石，歷歷可數，其杳敻翛颯，若有人衣薜荔而隱女蘿"云云，形容詩文中含蓄、消納、吞吐、隱見之境，殊妙於語言。【參觀劉侗、于奕正《帝京景物略》卷五《黑龍潭》云："文石輪輪，弱荇縷縷，空鳥沄沄，水有光無色，內物悉形，外物悉影。"】司空表聖《詩品》正所未及，惟《委曲》云："似往已迴，如幽匪藏"，稍露此意耳。【《四溟山人全集》卷二十三《詩家直說》云："作詩不宜逼真，如朝行遠望青山，佳色隱然可愛，妙在含胡，方見作手。"董其昌《容臺別集》卷四《畫旨》："攤燭作畫，正如隔簾看月，隔水看花，意在遠近之間，亦文章法也"；又云："畫欲暗不欲名，明者如觚稜鈎角是也，暗者如雲橫霧塞是也。"】【陳仁錫《冒宗起詩草序》："嘗論文字如美人，浮香掠影，皆其側相，亦須正、側俱佳。今文字曰媚曰薄，可斜視不可正觀，如美人可臨水不可臨鏡（《無夢園文集‧馬集》卷三）。"】Martial  "頗黎蓋蒲桃，紗縠映婦體，澄水見文石"，隔而不隔，最耐玩味 (Martial, VIII, xlviii, 5-8: "condita perspicua vivit vindemia gemma / et tegitur felix nec tamen uva latet: / femineum lucet sic per bombycina corpus, / calculus in nitida sic numeratur aqua" [our vineyard blooms shut in  transparent glass, & the fortunate grape is roofed and yet unhid. So shine a woman's limbs through silk, so is the pebble counted in pellucid water] — "The Loeb Class. Lib.", II, p. 52)Robert Herrick 詩最喜賦此，而大備於《水晶中蓮花》一首 ("The Lilly in a Christall": "You have beheld a smiling Rose / When Virgins hands have drawn / O'er it a Cobweb-Lawne; / And here, you see, this Lilly shows, / Tomb'd in a Christal stone, / More faire in this transparent case / Than when it grew alone; / And had but single grace. // … // You see how Amber through the streams / More gently strokes the sight / With some conceal'd delight, / Than when he darts his radiant beams / Into the boundless aire.... // Put Purple Grapes or Cherries in- / To glass, & they will send / More beauty to commend / Them, from that clean & subtle skin / Than if they naked stood.... // ... // So though y'are white as Swan or Snow, / And have the power to move / A world of men to love: / Yet when your Lawns & Silks shall flow, / And that white cloud divide / Into a doubtful Twi-light; then, / Then will your hidden Pride / Raise greater fires in men." — Poetical Works, ed. L.C. Martin, pp. 75-6; cf. p. 516, commentary)，然皆未喻之於藝。Montaigne, Essais, III, v: "Les vers de ces deux poètes [Virgil & Lucretius on the naked figure of Venus] traitant ainsi reservéement et discrettement de la lasciveté comme ils font, me semblent la descouvrir et esclairer de plus pres. Les dames couvrent leur sein d'un reseu, les prestres plusieurs choses sacrées; les peintres ombragent leur ouvrage, pour luy donner plus de lustre" (Éd. "Bibliothèque de la Pléiade", p. 846).  Vida, De Arte Poetica, Bk. II: "But if the bard such images pursues, / That raise the blushes of the virgin muse. / Let them be slightly touch'd & ne'er expressed, / Give but a hint & let us guess the rest" (tr. Christopher Pitt; A. Charmers, English Poets, XIX, p. 644)，尚限於刻劃色相狎媟，未擴而充之。【參觀 Tasso, Gerus. Lib., XVI. 14: "quanto si mostra men, tanto è più bella" (Opere, a cura di F Flora, "Collana Riccardo Ricciardi", p. 387).】Verlaine, Art Poétique: "C'est des beaux yeux derrière des voiles" (Oeuvres poétiques complètes, "Bib. de la Pléiade", p. 226;  Geothe, West-östlicher Divan, Buch Hafis: "Wink": "Das Wort ist ein Fächer! Zwischen den Stäben / Blicken ein paar schöne Augen hervor, / Der Fächer ist nur ein lieblicher Flor, / Er verdeckt mir zwar das Gesicht, / Aber das Mädchen verbirgt er nicht, / Weil das Schönste, was sie besitzt, / Das Auge, mir ins Auge blitzt." (Ges. Werke, "Tempel-Klassik", II, S. 368)  Verlaine 語參證】【Le P. Bonheurs, Entretien d'Ariste et d'Eugène,V: "... il est je ne-cey-quoy comme de ces beautéz convertes d'un voile, qui sont d'autant plus estimées, qu'elles sont...^] à la veuë auxquelles l'imagination ajoûte toujoûrs quelque chose") 遂與逋翁印可矣。The Notebooks of S.T. Coleridge, ed. Kathleen Coburn, I, §528: "The sunny mist, the luminous gloom of Plato" (§1558 )。又參觀第三百四十九則中世紀詩人以寓言為 ，與此尚隔一塵。又第二百五十三、六百十三則、六百八十則。【Hugo von Hofmannsthal, Der Tod des Tizian: "Das ist die grosse Kunst des Hintergrundes / Und das Geheimnis zweifelhafter Lichter. / Das macht so schön die halbverwehten Klänge, / So schön die dunklen Worte toter Dichter. / Darum umgeben Gitter, / Den Garten, den der Meister liess erbauen, / Darum durch üppig blumendes Geranke / Soll man das Aussen ahnen mehr als schauen" (R. Müller-Freienfels, Psychologie der Kunst, II, S. 94 論含蓄隱晦引) (Gesammelte Werke: Gedichte und Dramen, ed. H. Steiner, Frankfurt, 1963, p. 17). Nietzsche, Menschliches, Allzumenschliches, Bd. II, Abt. ii, §105: "Die wirklichen Gedanken gehen bei wirklichen Dichtern alle verschleiert einher, wie die Ägyptierinnen: nur das tiefe Auge des Gedankens blickt frei über den Schleier hinweg — Dichter-Gedanken sind im Durchschnitt nicht so viel werth, als sie gelten: man bezahlt eben für den Schleier und die eigene Neugierde mit" — Werke, hrsg. K. Schlechta, I, 920.Antonio: Darum umgeben Gitter, / Den Garten, den der Meister liess erbauen, / Darum durch üppig blumendes Geranke / Soll man das Aussen ahnen mehr als schauen. Paris: Das ist die Lehre der verschlungnen Gänge. Batista: Das ist die grosse Kunst des Hintergrundes / Und das Geheimnis zweifelhafter Lichter. Tizianello: Das macht so schön die halbverwehten Klänge, / So schön die dunklen Worte toter Dichter / Und alle Dinge, denen wir entsagen. Paris: Das ist der Zauber auf versunknen Tagen / Und ist der Quell des grenzenlosen Schönen, / Denn wir ersticken, wo wir uns gewöhnen(Gesammelte Werke, Gedichte-Dramen I, S. Fischer Taschenbuch Verlag, Berlin, 1979, S. 254).Rapin, Réflexions sur la poétique: "C'est un grand talent que... de laisser penser aux autres ce qu'il faut, pour les occuper"; De Méré: "Je trouve... que vous ne laissez rien à deviner" (A. Soreil, Introduction à l'Histoire de l'Esthétique française, p. 67 

〇眼花撩亂口難言之境，第五十二則論 Catullus, LI 已引中西著述詳言之矣 

《古詩歸》卷一周武王《几銘》，鍾評不誤，已見第九十則論《賴古堂集》矣。李玉洲《貞一齋詩說》云："《詩歸》以誤字為奇妙，如張曲江《詠梅》'馨香今尚爾'誤作'聲香'，乃云'生得妙'，豈不可笑？（按見《唐詩歸》卷五《庭梅詠》鍾評，原詩見《曲江文集》卷五）"則伯敬誠無辭自解。蓋誤以《心經》"聲香味觸"附會，自作《春事》五律亦云："聲香能幾日"（詳見第三十五則）。王覺斯《擬山園初集》五律卷一《宿觀音寺》云："聲香還未去，幽趣復何尋"，七言律卷四《水花影》："欲拾芳鈿如可得，聲香宛在水中央"；朱議霶《朱中尉詩集》卷三《寄躬菴》："試看背巖下，蕭蕭綴古梅。聲香俱不事，風骨必須推"；阮圓海《詠懷堂集‧辛巳詩》卷上《張兆蘇移酌根遂宅》第二首云："香聲喧橘柚，星氣滿蒿萊"，當是為《詩歸》所誤，以矢橛作沙糖矣！【又見本冊末。 】【［補六百九十則］《隱秀軒詩‧地集》二《三月三日新晴與客步看所在桃花》："數步即花事，聲香中外行"；《地集》三《城南古華嚴寺》："數里聲香中，人我在空綠"；《黃集》三《春事》："聲香能幾日，花柳已今年。"按之《地集》二《降自孔子崖循黃華洞止焉》："粲粲黃華洞，聲光夕陽間"；《地集》三《游梅花墅》："修廊界竹樹，聲光變遠邇"；《七月十五夜登鷄鳴寺》："皎然聲影下，悲歡如迪嘗"；《黃集》三《靈谷寺看梅》："雪霜非在地，香色欲為村"；《黃集》四《瓶中梅影映壁上畫梅影》 ："雪月來誰識？香光借亦親"；《宇集》一《春暮看桃花宿王氏山莊作》："曾經詠賞心尤戀，未接香光魂早通"；《宇集》二《二月三日重過靈谷寺看梅》："風雨半春留好日，香光二月出深寒"；《宙集‧秦淮隔舟》："香光成密感，心耳效微誠"；《盈集‧秦淮燈船賦》："聲光雜兮"；《辰集》二《梅花墅記》："竹樹表裏之，流響交光，分風爭日。予詩所謂'修廊界竹樹，聲光變遠邇'"；《辰集》三《岱記》："亭之聲光相亂"等，則"聲"與"香"乃二事之合稱。圓海之"香聲"，則進一解矣。】賀黃公《載酒園詩話》卷一指摘《詩歸》十餘則，有云："少陵《客居》'徐步示小園' ，鍾評：'"示"字妙。'檢《集》，則'視'字之誤"，蓋亦"聲香"之類。【《全金詩》卷二十七龐鑄《花下》云："若為常作莊周夢，飛向幽芳鬧處栖。"王灼《虞美人》："枝頭便覺層層好，信是花相惱；船一棹百分空，了如今醉倒鬧香中"（《全宋詞》卷一百五十五），是其先例，亦如 Ezra Pound 誤以"聞"字從"耳"，乃云："To define it ideogramically, we may start with the 'Listening to Incense.' This displays a high state of civilization" (Guide to Kulchur, 見 Earl Miner, The Japanese Tradition in British & American Literature, p. 134 Samuel Butler, Hudibras, Part III, Canto iii. 13-6: "Sets up Communities of senses, / To chop and change intelligences; / As Rosicrucian virtuosi's / Can see with ears, & hear with noses" (ed. A.R. Waller, p. 283).】【《靈芬館雜著》續編卷三之《聽香圖記》："耳可使視，目可使聞。嗚呼，此道也！仲尼氏允蹈之，列禦寇能言之。"】【《楞嚴經》卷四之五："由是六根互相為用。……無目而見，……無耳而聽，……非鼻聞香，……異舌知味，……無身有觸"；《湼槃經》："如來一根，則能見色、聞聲、嗅香、別味、知法，一根現爾，餘根亦然"（又《法華經‧法師功德品》）。】【《寓簡》卷七《玄沙示眾》條引《楞嚴》，又《古之真人》條引《列子》。】【《國史補》："趙辟彈五絃，人或問其術，辟曰：'吾之於五絃也，始則神遇之，終則天隨之。方吾浩然，眼如耳，目如鼻，不知五絃為辟，辟之為五弦也"（《太平廣記》卷二百五）；《石門文字禪》卷十八《泗州院栴檀白衣觀音贊》："龍本無耳，聞以神；蛇亦無耳，聞以眼；牛無耳，故聞以鼻；螻蟻無耳，聞以身。六根互用乃如此。"】【《揅經室一集》卷一《釋磬》："《說文》'聲'字所以從'殸'得音者，'殸'有'耳'聞之義。'聞'屬於'耳'，古人鼻之所得，目之所得，皆可借聲聞以概之。（中略）'馨，香之遠聞者，從"香"，"殸"聲，"殸"，古文"磬"。'（中略）《詩‧椒聊》次章'遠條且'毛傳曰：'言聲之遠聞也。''聲'字與'馨'字音義相近，漢人每相假借，故漢《衡方碑》亦借'聲'為'馨'矣（《全後漢文》卷一百一《衡方碑》：'有□有聲（中略），耀此聲香'，上既言'聲'，故知字必'馨'）。"】【王之望《好事近》詞："驚我雪髯霜鬢，只聲香相識"，"香"字必為"音"之訛。】【《全三國文》卷二十五王廣《子貢畫贊》："吐口敷華，發音揚馨"（《御覽》四百六十四），與"華"相對，必為"馨"而非"聲"。】然《古詩歸》卷五《古歌》云："故地多颷風" ，鍾評："'故'字疑是'胡'字。"又未嘗處處望文穿鑿也。【焦袁熹《此木軒詩》卷五《戲題絕句‧之四十九》云："鼠嚙蟲穿翻嘆佳，鍾譚謬種惑提孩。勸君莫便相嘲誚，都大聰明兩秀才。"自注："鍾、譚不過時文家見識，攻之太過，反成其名。"】東坡《上神宗皇帝萬言書》云："夫人言未必盡然，而疑似則有以致謗。"《古詩歸》卷二屠門高《琴引》，鍾評："此歌雖有脫誤難讀者，然其可讀語輒入妙，誤書思之，便是一快。不必思而得之也"；卷十惠遠《東林雜詩》，鍾評："其字句似生，意義似脫，正文士不能措手處"；卷十三竟陵王子良《侍皇太子釋奠讌》，譚評："以下似有缺者，其實正此為佳"；同卷范雲《之零陵郡次新亭》："滄流未可源"，鍾評："妙在'未可'二字之下，似有脫誤"；《唐詩歸》卷十一王昌齡《送狄宗亨》，譚評："從何處拆開，何處運思，鈍漢以為脫誤，妙甚"；卷十八杜甫《游龍門奉先寺》，譚評："今人自無慧心，於古人語言不解處，即疑其脫誤，妄者遂下筆改之，悍哉"；卷二十杜甫《觀公孫大娘弟子舞劍器行序》，鍾評："每文字簡妙處，似有脫文，而解人讀之了然。"諸若此類，亦如貪財終盜、好色終淫，有由來矣！《唐詩歸》卷十二高適《燕歌行》："戰士軍前半死生，美人帳下猶歌舞"，鍾評："豪壯中寫出暇整氣象"云云，則不辨菽麥，謬之尤甚者。此兩句即少陵"朱門酒肉臭，路有凍死骨"之類耳。吳景旭《歷代詩話》卷七十九引吳逸一云 ："讀《詩歸》，知鍾、譚善索隱，每取奇於句字之間，至於全章旨意，却不理會"云云。竊謂若鍾之評此二語，是於句字尚有未理會者；若鍾之評張衡《同聲歌》（《古詩歸》卷四，詳見第六百四十六則論《抱朴子》），譚之評岑參《還高冠潭口留別舍弟》（《唐詩歸》卷十三），是於全章旨意理會錯也。【《戴東原集》尾段玉裁《戴氏年譜》末記戴云："《水經注》'水流松果之山'，鍾伯敬本'山'譌作'上'，遂連圈之，以為妙景，其可笑如此！'松果之山'見《山海經》。"】【《尺牘新鈔三集》卷四錢陸燦《與鄧生》一書，皆指摘《詩歸》，有云："劉瑗《左右新婚詩》'蛾眉參意畫'，俗本誤刻作'叄'字，評云：'三意畫，居然聰明人。'後學承譌，吳人至有賦'三意眉'者。"按余所見本，正作"參"字，亦無此評，豈曾改正耶？】【《帝京景物略》卷一："崇國寺梵字碑有二，……梵語乃不可識，矧可解以不識解，生人齊遬。"按劉侗、于奕正乃竟陵派，此一語可移目鍾、譚評詩。】【《唐詩歸》卷五張九齡《彭蠡湖上》："一水雲際飛"，鍾評："若俗筆，則曰：'一雲水際飛'矣！"按王之渙《涼州詞》："黃河遠上白雲間"，句法正同。《拜經樓詩話》卷四、《詩集》卷八力斥《圍爐詩話》據《唐詩紀事》作"黃沙"之非，引李白、尉遲匡詩為證，尚未悟及此也。】【《唐詩歸》卷四宋璟《奉和聖制送張說巡邊》 ："以智泉寧竭，其徐海自清"，鍾評："此等句，李于鱗輩定以為不莊"；卷六劉眘虛《積雪為小山》："以幽能皎潔，謂近可循環"，鍾評："全在虛字上見他骨力。"按此竟陵五律句樣也。正如卷十二常建《夢太白西峯》："恬目緩舟趣，霽心投鳥羣"；《第三峯》："山暝學栖鳥，月來隨暗蛬"；《張天師草堂》："萬壑應鳴磬，諸峯接一魂"，乃竟陵意匠模式也。阮圓海五古亦然。】

〇鍾評識力遠過於譚，可取者多。《列朝詩集傳》丁十二謂："鍾才優於譚"，毛稚黃《詩辨坻》卷四《竟陵詩解駁議》："鍾、譚去鍾益不逮"，是也。《王船山遺書》卷六十四《夕堂永日緒論內編》乃謂："譚若不與鍾為徒，可分文徵仲一席"，□殆非…… 。《古詩歸》卷六無名氏《李陵錄別詩》、卷七魏武帝《短歌行》皆有蔡敬夫評，語殊無謂。（敬夫評《短歌行》云："去'呦呦鹿鳴'四句舊詩，以'明明如月'接'沉吟至今'，何如？"與謝茂秦意相合，《四溟山人全集》卷二十一《詩家直說》云："《短歌行》全用《鹿鳴》四句，不如蘇武'鹿鳴思野草，可以喻佳賓'點化為妙。'沉吟至今'可接'明明如月'，何必《小雅》哉！《藝文類聚》載此詩，去其半，尤為簡當，意貫語足。"）

〇《列朝詩集傳》丁十二《袁小修傳》云："小修嘗語余：'杜之《秋興》、白之《長恨》、元之《連昌宮詞》，皆千古絕調，文章之元氣也。楚人不知，妄加評竄。吾與子當昌言擊排，點出手眼，無使後生墮彼雲霧"云云【亦見《初學集》卷七十九《答唐訓導汝諤論文書》】，蓋指《唐詩歸》卷二十二僅選《秋興》一首（"昆明池水漢時功" ，《瀛奎律髓》止選"聞道長安似弈棋"一首，顧俠君《寒廳詩話》謂《萬首》以前選家皆同《律髓》），卷二十八僅選《琵琶行》而言。觀《譚友夏全集》卷八《東坡詩選序》、《袁中郎先生續集序》，知中郎之子述之化於竟陵，然乃叔《答須水部日華書》（中央書店本《珂雪齋近集》卷二）、《蔡不瑕詩序》、《花雪賦引》（卷三），於中郎詩幾如陽明之論朱子有"晚年定論"之意，是亦已不能堅守公安壁壘矣！《珂雪齋近集》三《花雪賦引》謂："伯敬論詩，極推中郎。其言出，而世之推中郎者益眾。"《游居杮錄》卷三記"同年鍾伯敬來訪，彼此一見歡甚"；卷十論伯敬選雷太史（按即雷思霈）詩過求精，言外致不云之意。蓋公安、竟陵始合終離，牧齋所述，或可信耳。【《列朝詩集傳》丁十二引金陵張文寺云："伯敬入中郎之室，而思別出奇"，可與小修《花雪賦引》印證。】《珂雪齋近集》卷一《東游日記》云："近日學詩者，纔把筆，即絕口不言長慶，如《琵琶行》使李、杜為之，未必能過"云云，則為《藝圃擷餘》而發，當與卷二《答王天根書》參看，非言竟陵也。餘見第三十七則、第二百九則、第六百一則、第六百八十九則。

---

"杜琴言"為"琪官"之誤。

卷四二九》引文"尖新"誤作"光新"（三聯書局   

 原文脫落"鎸"字。

"人"原作"入"。

"葉文莊"原作"葉文正莊"。

I ladri li appendevano alle crociS'appendevon li ladri in su le croci

AziyadéAzizadé

Manners & CustomsCustoms & Manners

magnificentmagnicent

"肦"原作"月分"。

"不復"原作"不敢"。

 黃國彬但丁《神曲‧地獄篇》譯文："太陽不作聲的地方"；"眾光喑啞的場所"

"煙"原作"陰"。

"高鵬年"原作"高彭年"。

"終其古無異詞"原作"終其古無異詠"。

 此處重複"不可言"三字。

RussoRussi

"凄其流浪情"原作"凄其江漢情"。

 原文一、二句與三、四句倒置。

 補訂本已收，見《談藝錄‧八九》（香港中華書局    頁；北京三聯書局  年補訂重排版  

"胸次"原作"胸中"。

《談藝錄‧二》（香港中華書局    頁；北京三聯書局  年補訂重排版 11-12 

"遙役"原作"遠役"。

 即下文，見《手稿集》 

 此處二字漫漶不辨。

 此處所引為摘節，全段重引於下，見《手稿集》 

 John Head, Jr. "Antonio: Hence tall and slender gratings stand about / The garden that the Master planted here, / Through which sweet, flowering vines trail in and out, / That one may feel the world — not see, nor hear. Paris: This is the lore of alleys without end... Batista: The wonder of the background's sombre depth, / The secret art uncertain lights can lend... Tizianello: The half lost sweetness of a distant note, / The beauty of the words some poet wrote / In ages passed...! This lesson we should learn / From what we cannot see, but yet discern! Paris: And therein lies the magic of the Past, / And boundless Beauty's never parched well... / Art's great soul stiffles there where voices dwell!"

 第五十二則並此節下文皆已刪去。

 卷首題"容安館札記"，鈐"錢鍾書印"白文印、"默存"朱文印。

 即下文，見《手稿集》 

"壁上"原作"壁中"。

"徐步"原作"徐行"。

"颷風"原作"悲風"。

"歷代詩話"原作"列代詩"。

"聖制"原作"聖旨"。

 此處脫落。

"昆明池水"原作"昆明時水"。

Evernote helps you remember everything and get organized effortlessly. Download Evernote.