Monday, August 18, 2025

There Are Too Many Overweight Biographies

There Are Too Many Overweight Biographies

Whatever happened to Plutarch's blessed brevity?

Is biography necessary? Sigmund Freud didn't think it was, or at least thought it wasn't primary when it came to understanding a person's true nature. Mark Twain felt that a biography is "but the clothes and buttons of a man—the biography of the man himself cannot be written." Marcel Proust, in Contre Sainte-Beuve, set out all the shortcomings of standard biography, "which consists, if you would understand a poet or a writer, in greedily catechizing those who knew him, who saw quite a lot of him, who can tell us how he conducted himself in regard to women, etc.—precisely, that is, at every point where the poet's true self is not involved." George Orwell, who held that all autobiography "is only to be trusted when it reveals something disgraceful," wished to have no biography written about himself, a wish quickly flouted after his death. Henry James burned many of his letters to discourage future biographers, which didn't stop Leon Edel from producing a five-volume biography of James. 

Americans seem to specialize in lengthy biographies. This began with Mark Schorer's 1961 biography of Sinclair Lewis, which weighed in at 867 pages. Ron Chernow's new biography of Mark Twain is 1,174 pages. Robert Caro's still unfinished biography of Lyndon Johnson, which currently runs to more than 3,000 pages, is in its fifth volume and is only now dealing with the bulk of Johnson's presidency. Sam Tanenhaus's biography of William F. Buckley Jr. is 1,140 pages and took, we are told, no less than 30 years to write. If this trend continues, biographies of the future may be longer and take longer to write than the lives they purport to describe.

The most famous, and most successful, biography ever written is James Boswell's The Life of Samuel Johnson. Johnson owes much of his continuing fame to it. Boswell knew that in Johnson he had a grand subject. He admired the man, but not to the point of uncritical adulation. The perfect mating of subject to author is what makes Boswell's biography the great work it is—this and the fact that the Samuel Johnson was himself a figure of great fascination. 

Plutarch, born around 40 C.E., was not the first biographer, but he is preeminent among the biographers of antiquity. Montaigne, writing 15 or so hundred years after Plutarch's death, greatly admired him. Montaigne wrote: "Now the most appropriate historians for me are those who write men's lives, since they linger more over motives than events, over what comes from inside more than what happens outside. That is why, of historians of every kind, Plutarch is the man for me."

Parallel Lives is Plutarch's best-known work, one comparing Greek and Roman figures. It features biographies that generally run between 20 and 25 pages long. Good as they are, no one has wished them longer. At the opening of his "Life of Timoleon," the Corinthian general and statesman, Plutarch sets out his purpose: "It was for the sake of others that I first commenced writing biographies; but I find myself proceeding and attaching myself to it for my own; the virtues of these great men serving me as a sort of looking-glass, in which I may see how to adjust and adorn my own life." He then goes on to explain his method, which is "by the study of history, and with familiarity acquired in writing, to habituate by my memory to receive and retain images of the best and worthiest characters. I am thus enabled to free myself from any ignoble, base, or vicious impressions contracted from the contagion of ill company that I may be unavoidably engaged in; by the remedy of turning my thoughts in a happy and calm temper to view these noble examples." 

Apart from mere curiosity, isn't this what we all look for in reading biographies: stories of lives lived more grandly than our own, of the struggle on the part of biographical subjects against all that puts itself in the way of their achieving a good and significant life? In reading biography, we also hope to gain some further insight into that mystery of mysteries, human nature, about which the best biographies often supply substantial hints. 

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I have not myself written a biography, though I have published a volume titled Essays in Biography (2012). In my early thirties I signed on to write a biography of John Dos Passos, who was still alive. I wrote to Dos Passos to ask if I might have his cooperation in writing his biography. He replied instantly, saying that he would help me in any way he could, on the condition that I "put my liberal ideology in mothballs" and pledge never again to use the word "explicate." Alas he died soon thereafter, and I, for a complex of reasons, decided not to write the book. 

Three facts in Dos Passos's life stand out. First, he was born out of wedlock to wealthy parents—a bastard, in other words, but an upper-class bastard. Second, during the Spanish Civil War, when he discovered that the Soviets endorsed killing, he radically changed his politics, from far left to deeply conservative. Third, in his trilogy U.S.A. (1937), he wrote a great American novel—and, given its wide coverage of so many American social classes and his skillful deployment of modernist technique, perhaps the great American novel. I have no regrets about not writing his biography, for I am fairly certain that in my early thirties I was unprepared to write a good one, of Dos Passos or of anyone else. 

Biography has no Poetics. No Aristotle-like figure has come along to lay down the law on how a biography ought to be written. Such law would set out what criteria ought there to be for who is or isn't qualified as a subject. It would take up the question of whether chronology is always the best organizing principle for biography, and how important should one consider domestic, not to say, sexual life, in the formation of character. These and so many other questions about biography have never received anything like serious consideration, or even discussion. The genre has been left to proceed on its own without a strong theoretical foundation. 

At a minimum, a biography ought to report what the world at large thinks or thought about the subject of the biography, what his or her family and friends thought about him or her, and what he or she thought about him- or herself. But that minimum doesn't cover anything like all that is needed to write a good biography. A good biography needs somehow to get inside its subject, discover what impressed him, what disappointed him, what pleased, what frustrated him. Through imagination, the great novelists can decipher and display personality and character, and touch on human nature. The biographer, like the detective in the old Dragnet television show, is restricted to "just the facts, ma'am." He hopes that the facts, brought together and smoothly elided one into the other, like a giant puzzle, will end in supplying the truth of the life he is writing about.

The model of the modern biography is thought to be Richard Ellmann's James Joyce (1959). The book won all the awards of its day: the Pulitzer Prize, the National Book Award, et alia, and the plaudits of Frank Kermode, Christopher Ricks, and other formidable critics of the time. Even now it continues to maintain its literary prestige as a serious book on a serious subject written by a serious author. The book's influence has also been notable. The success of Richard Ellmann's James Joyce, Lyndall Gordon wrote in the New Statesman, "ensured the dominance of monumental biography for the rest of the century and well into ours." Muriel Spark, novelist and short-story writer, has argued that "biographical writing which adheres relentlessly to fact" distorts the subject, "because facts strung together present the truth only where simple people and events are involved, and the only people and events worth reading about are complex."

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Zachary Leader's Ellman's Joyce: The Biography of a Masterpiece and Its Maker, is an example of a new trend in publishing: accounts of the writing and publication of other books. Princeton University Press has recently brought out Joseph Luzzi's Dante's Divine Comedy: A Biography and Alan Jacob's Paradise Lost: A Biography. Now we have the first biography to have a biography written about it. Leader has previously written biographies of Kingsley Amis and of Saul Bellow (the latter in two volumes that take up 1,680 pages). In the final paragraph of his Ellmann's Joyce, he writes: "This book is an attempt to show how and why long biographies ought to be written, in the process honoring both James Joyce and the admirable scholar/artist who was its author." This, Leader's most recent biography, is a mere, a breezy, 449 pages.

The first half takes up the life of Richard Ellmann, whom I knew at Northwestern University, though he left in 1968, or four years before I myself began teaching there. I found him a most congenial fellow, haimish and with a pleasing sense of humor. Dick grew up in the Middle West, in Michigan, under strong Jewish immigrant parents. His lawyer father advised him on how to lead his life, through stern letters all his days. They didn't approve of his marriage to the gentile Mary Donoghue. In his correspondence with his parents, Dick always referred to his wife as Joan, her middle name, the name Mary being too goyishe for his parents to tolerate. He made his bones on biographies of two other Irishmen, Yeats and Wilde. After the success of James Joyce, he climbed the cursus honorum of academic life, departing Northwestern for Yale and thence to Oxford. Leader recounts his childhood, adolescence, military service during World War II, and academic life. The one piece of gossip in his account is Ellmann's love affair with the English literary scholar and novelist Barbara Hardy, though not much is said about this apart from Ellmann's desire to keep it secret. He died in 1987 at 69, of motor neuron disease. 

I read Ellmann's biography not long after it was first published and came away with the overriding impression that James Joyce was not a man I should have liked to have known. "A man of small virtue, inclined to extravagance and alcoholism" is the way Joyce described himself to C.G. Jung. He was a serious boozer, a philanderer who feared cuckoldry, a man who incurred debts he had no intention of ever repaying. Above all, Joyce believed that the artist has no need to live, as others do, within the bounds of what passes for moral decency. In his introduction to James Joyce, Ellmann, who never doubts his subject's greatness as an artist, writes: "This kind of greatness can be perceived in his life, too, though camouflaged by frailties." 

Leader recounts how Ellmann, with diplomatic grace, acquired a cache of some hundred crucial letters from Mrs. W.B. Yeats that Joyce sent to his long-suffering brother Stanislaus. He provides accounts of Ellmann chasing down friends and acquaintances of Joyce's for what information they had of him that might be useful to his biography.

And yet one is sometimes left to wonder about the validity of Ellmann's interviews. "Talk to six Dubliners," the critic Hugh Kenner wrote, "and you'll get six different highly circumstantial versions. This fact is of especial import for the biographer of Joyce, much of whose early life we must get at through oral testimony. Since in general Prof. Ellmann's notes record no contradictions, we must assume he's resolved them all with what we're forced to trust all through James Joyce, his sense of what will fit his narrative."

In rereading Ellmann's James Joyce, I came away thinking that, yes, when it comes to information, one can have too much of a good thing. Mid-book, to cite one of many such examples, we come upon the following passage:

[Joyce] told Herman Gorman of his laborious excursions to reach one of his pupils, a Captain Dehan, who commanded a boat that used to come every fortnight to Trieste from Ban. "On these days," Gorman says, "Joyce would leave his house, walk across the Piazza Giambattista Vico, walk through the tunnel of Montuzza, take an electric train to the gate of the Free Port, enter and take a horse tram to the Punto Franco, make signals to the ship until a small boat was sent out for him, board the boat and be taken to the ship, climb aboard and have a search for the Captain, look for a quiet spot to give the lesson, give it (the Captain was intensely stupid), then look for the sailor to take him back to the Punto Franco, enter the horse tram, and ride to the gate of the Free Port, board the electric tram which would take him to the mouth of Montuzza tunnel, walk back through it, cross the Piazza Giamattita Vico and so reach his house. For this exhausting exertion he received payment amounting to thirty pence [62c]."

He neglects here only to tell us whether Joyce stopped along the way, up or back, to relieve himself. Add to anecdotes like this the endless endnotes and hundreds of asterisk footnotes at the bottom of the biography's pages, and one begins to wonder whether, as the posters from World War II had it, this trip were necessary. 

Ellmann took six years to write his biography, the same amount of time Joyce took to write Ulysses. Joyce said that since he spent six years writing his novel, it was only reasonable if it took readers six years to read it. Ellmann calls Joyce "the major prose stylist of his century," a conventional view at the time he published his doorstopper. T.S. Eliot called Joyce "the best living prose writer" and thought Ulysses "a book to which we are all indebted, and from which none of us can escape." Virginia Woolf, on the other hand, escaped it. She thought the novel "a mis-fire," saying, "Genius it has I think; but of the inferior water. The book is diffuse. It is brackish. It is pretentious. . . . It is entirely absurd to compare him to Tolstoy." Indeed, for all its virtues, there's almost no one alive today who would rank Ulysses alongside the great Russian novels, or those of Dickens, George Eliot, Balzac, or Proust, as a work of art. 

Which raises the question: Can any biography, lashed as the genre is to facts, hope to qualify not merely as artful but as true art? The only such biography I can think of is Boswell's, and this is because the subject contributed quite as much to it as did the biographer. 

No, the most that biographers can hope, as I suppose the creators of the monumental biographical tomes of our time hope, is to be definitive, which is to say authoritative, conclusive, complete, surpassing the work of previous biographers and waving off future biographers because they have done the job, a job that cannot be improved upon.

The biographer of the current day sets out to know the character of his subject in the most intimate manner, as the great novelists of the 19th century knew theirs. Lashed to facts as biography is, that goal cannot really be achieved. And so the novel remains, and always will remain, the more truth-bearing form. 

Friday, August 15, 2025

讀《錢鍾書手稿集·中文筆記》第一冊札記【王培軍】

 讀《錢鍾書手稿集·中文筆記》第一冊札記

王培軍

 

余之校讀此書,自庚子二月九日起,至八月十一日訖,凡六閱月,用時亦云多矣。當時以讀《宋史》爲日課,日三四卷,至晡,則以餘力校此。校讀之時,隨手有所識,一時所見,或訂其誤,或補其所未及,亦未必有可取,棄之則似頗可惜,姑擇其稍可觀者,并檢群書爲參證之,寫成一篇。或於世之喜讀錢箸者,不無參考也。本書所據之本,即商務印書館2011年印本,所引他書,則版本、頁碼,皆括注於後,俾讀者之覈也。

 

6頁,札葉德輝《郋園詩鈔》:“(《觀畫百詠》)卷三稱葉小鸞爲‘吾家二十五世祖姑’,《歲寒集》贈王佩初第二首,稱葉元禮爲‘吾家二十六世祖’,湖南蠻子攀附吳儂,真堪絶倒。”

 

按,葉先世本吳縣人,道咸間始遷湖南,錢先生語似過也。《碑傳集補》卷五十三許崇熙《郋園先生墓志銘》:“先生姓葉氏,諱德輝,字奂份,號直山,一號郋園,長沙湘潭人。先世居吳縣洞庭西山,宋元以來名卿間出。”(上海人民出版社,第六册1857页)《碑傳集三編》卷四十一汪兆鏞《葉郋園事略》:“葉德輝,字煥彬,先世江蘇吳縣洞庭山人,自宋石林先生後,代有聞人。”(上海人民出版社,第四冊1378頁)繆荃孫《書林清話序》:“葉煥彬吏部,宋石林先生之裔,世居洞庭東山,封公於道咸之交,避粵寇之亂,貿遷湖南,而卜居於會城長沙。”(《書林清話》卷首,《郋園先生全書》本;此序中華書局本《書林清話》不載,今人輯《繆荃孫全集》亦失收)葉昌熾《緣督廬日記》光緒二十二年八月七日:“煥彬本吾郡洞庭西山人,其祖遊幕楚南,遂入湘潭籍。”(廣陵書社本,第四冊2439-2440頁)皆可證也。葉本人《郋園六十自述》云:“先世江蘇吳縣洞庭山人。洞庭葉姓,自宋少保石林先生啟族後,代有聞人,世系家譜已詳,茲不贅述。”“余於湖南無縣籍,業師徐峙雲先生湘潭人,介余捐二百金入學宮,歸縣籍。”(華東師範大學出版社本《葉德輝文集》,268、269頁)蓋非向壁虛造。參觀《葉德輝年譜》(學苑出版社2012年版)所引《光緒乙酉科湖南鄉試硃卷》、《吳中葉氏族譜》。

 

10頁,札張蔭桓《三洲日記》:“(光绪十五年)八月初九日:‘近日中國多信西醫。記新莽時,使太醫與巧屠共刳剥王孫慶,量度五臟,以竹筳導其脈,知所始終,云可以治病。此則西醫之權輿。’按《湘綺樓日記》同治八年正月十八日亦引此,謂是‘英吉利剖視人之法’。”

 

按,此事後著於《管錐編》:“桓譚《桓子新論·言體》第四:‘王翁之殘死人,觀人五藏,無損於生人,生人惡之者,以殘酷示之也。’按即指《漢書·王莽傳》中記翟義黨王孫慶捕得,莽‘使大醫尚方與巧屠共刳剥之,量度五藏,以竹筳導其脈,知所終始,言可以治病’。莽既爲人唾駡,刳尸亦成口實。世事如車輪轉,清末西學東來,醫理有解剖之科,於是抱殘守缺之士,欲“不使外國之學勝中國,不使後人之學勝古人”(紀昀《紀文達公遺集》卷一二《與余存吾太史書》論戴震“通人之蔽”語),時復稱道莽之此舉,‘殘酷’下策一變而爲格致先鞭焉。如王闿運《湘綺樓日記》同治八年正月十八日引《漢書》而論之曰:‘此英吉利剖視人之法’;張蔭桓《三洲日記》光緒十五年八月九日曰:‘近日中國多信西醫,記新莽時云云,此則西醫之權輿。’甚矣物論之更盛迭貴而難久齊也!”(第三冊969-970頁)

 

又按,古之解剖之事,亦不僅此。俞正燮《癸巳類稿》卷四《持素脉篇》:“邵博《聞見後錄》云:無爲軍醫張濟,善用針,得決於异人,云能解人,而視其經絡,則無不精,因歲饑疫,人相食,凡視一百七十人,以行針無不立驗。……宋范鎮《東齋紀事》、鄭景望《蒙齋筆談》,並云:世傳歐陽希範五藏圖,慶曆間待制杜杞,招降廣南賊歐陽希范、蒙幹等數十人,盡磔之,剖腹刳其腎腸,使醫與畫人一一探索,繪以爲圖。”(黃山書社本《俞正燮全集》,第一册196-197頁)呂思勉《醫籍知津》十四《解剖學》:“人死則可解剖而視之,見於《靈樞·經水篇》。《漢書·王莽傳》載莽誅翟義,捕得其黨,使太醫尚方與巧屠共刳剥之,量度五藏,以竹筳導其脈,知所終始,可以治病。莽最泥古,其所爲必有所據。《讀書志》載楊介《五藏存真圖》,謂崇寧間泗州刑賊於市,郡守李夷行遣醫並畫工往,親決膜,摘膏肓曲折圖之,盡得纖悉,介以校古書,無少異者。《賓退錄》亦載廣西戮歐希範及其黨,凡二日,剖五十有六腹。宜州推官靈簡皆詳視之,爲圖以傳於世。又《聞見後錄》載無爲軍醫張濟善用針,得訣於異人,能親解人而視其經絡,因歲饑疫,人相食,凡視一百七十人,以行針,無不立驗。又程式嘗解剖倭人,見《醫彀》。何一陽從軍南征,亦嘗解剖賊腹,見《赤水玄珠》。清時王清任乘兵亂之際,輾轉就積屍考視臟腑,用力尤勤,具見所著《醫林改錯》中。可見解剖一事,數千年來,原未嘗絶迹,特必乘兵荒刑戮之際,而不能公然行之於平時,故能與其事者太少,遂不能互相考求,日臻精密耳。”(《中國文化思想史九種》,上冊40-41頁)魯迅、周作人等輕中醫,以爲中醫之解剖者,只有《醫林改錯》作者一人,殊非事實也。

 

21頁,札謝堃《春草堂詩話》:“卷十三摘朱海蕉圃五七言聯,皆侘傺語,……又謂其《妄妄錄》盛行於時。按《霞外攟屑》卷五謂《妄妄錄》有影射江艮庭、汪容甫者,惜余迄未得見也。”

 

按,《中文筆記》第三冊511-512頁札《霞外攟屑》云:“朱蕉圃海《妄妄錄》卷三‘鬼公子’條,汪近濤潮似指江䲔濤先生聲,末云得之奴言,奴言何可信耶?卷七‘報怨鬼’條,汪蓉圃仲似指汪容甫先生中,恐亦無稽(徐星北則謂實有其事,以賭記時憲書,先生不勝,足蹙之,病死)。卷五‘鬼小脚’條云:仁和張曉窗樹楨憙妓纖趾,手握鼻嗅舌䑛之,終夕不勌。徐旋卿言隨園宜興冶游亦如此。”《中文筆記》第十一冊375頁亦札之,而更簡(其所摘事,見上海古籍出版社1982年本《霞外攟屑》上冊279-280頁)。據平步青云,朱海另著有《釵燕圓傳奇》。《妄妄錄》中編排江聲、汪中之篇,錢先生所“惜迄未得見”者,錄於後。卷三《鬼公子》云:“汪近濤(潮),吳門布衣,好奇愛古,苦攻《尚書》。年六十,猶獨居小樓,下帷數載,《尚書》之學名噪士林。雖親故往來,匆匆書一小劄,或命家僮購魚鹽薪米賬,字必從許氏《說文》,市儈視之茫然,家童奔走數十次,仍以口授而購得也。嘗爲畢秋帆制軍招致楚中,時同幕錢梅溪(泳)將應壬子順天試,先辭歸里門。於其行,主人祖餞,同幕各陪席。近濤舉觴令曰:‘予三宿而出晝,王不留行。’蓋以四書、藥名上下貫成,而譏梅溪之去耳。同坐腹誹其奸,亦不作隱刺語,惟家九榆明經(叔鴻)則曰:‘可以止則止,當歸。’梅溪曰:‘老而不死,桑寄生。’近濤愧汗,面發頳,思報復以語而不得,甚啣結之。酒散歸舍,枯坐無寐,忽見二短豎搴簾進,曰:‘公子來。’未及詢答,一少年鮮衣炫服,靴聲橐橐踵至,似若識爲制軍戚而忘其姓名,遂不暇訊。少年拱手即坐,曰:‘今夜月色甚佳,聞先生困於觴政,殊不樂,敢邀玉於敝齋,尚有斗酒,不必謀諸婦也。’固辭不可,遂拉出户,撥花徑,折廊腰,抵一小院。先有數僕同小優伶三五輩伺門外。方登榻,即命彈唱,繁弦聒耳,清歌繞梁,几上珍饈羅列,金樽玉斝,交錯而進。少年頤指氣使,雖邀客至,惟與小優伶作褻謔語,絶不顧客。近濤落寞座上,益自色沮神喪,起辭。少年曰:‘足下乃桑寄生,我當留其勿行也。’捺之坐,酌以巨斗,强飲盡,出金豆一囊,謂伶曰:‘若輩歌一曲,獻二觥,先生盡爾酒,許自取金豆二觥爲賞。’小伶各噭然應,爭獻酒。近濤醉不能飲。伶初則跪勸,繼而攀肩捺手,灌入其口,酒翻襟袖。少年笑噱不禁,伶益肆無忌憚,以其鬚倒插鼻中,指撚作嚏,涕淚交下。而近濤見黃金粲粲,心羨涎饞,自言公子曷不使我獻小伶酒一斗,便得金豆,少則有數百枚也。方醉不勝,而又啣公子訕笑爲桑寄生,氊如針刺。又重公子勢炫,足恭踧踖,不敢稍吐氣。方懊恨間,小伶私以金豆三五枚揣其袖,囑飲一杯。近濤利其金,勉量復飲。他伶竊覘見,亦以豆私納。苦量竭,飲稍遲,伶怒曰:‘我獻若酒,不邀先生賞,乃與若金,猶不飲作驕態耶!’近濤恐少年聞,正惶急,少年又出金錠擲伶曰:‘爾以我酒欲邀先生賞,獨不知謀窮措大破家私,計左矣。今我代與賞,先生不飲則鞭爾背。’近濤爲其奚落,益窘,猶幸袖中金豆公子尚未覺也,因又勉飲間,巡邏更夫擊柝過,見近濤危坐溷石上,神惘若痴,呼之不應。大怪,奔告閽者,扶歸書室,袖中羊屎索索落地。近濤將俯拾,眾笑而阻之。良久神始清,而其奚奴失所在,四處偵尋,又得於溷後,亦昏瞀若失。眾詢之,言見公子拉主人飲,因隨伺門外,遂具述前狀。近濤所恥告人者,皆得之於奴。”卷七《報怨鬼》云:“汪蓉圃(仲),揚州貢生,能詩博古,詡詡以名士聞天下。而不修士行,蠅營鼠鑽,惟利是圖。顧善詆人傲物,不知者不敢測其涯涘。士大夫每强與友,以其揖讓公卿間,慮毀名耳。平生有三恨:恨天使人必衣食而後生,未百年而即死;恨父母不爲生兩翅,得翱翔雲漢,不爲生四足,可日行萬里;恨古人徒留文章翰墨,無精靈出現與之談笑。有三畏:雷電,雞鳴,兒啼。妻有豔色而才,謂婦人有才則無德,箠楚火烙,無所不至。寒冬以雪沃其背,夏則逼處烈日中,凌虐而死。純乎乖僻,偽爲狂狷。甲寅夏,謁某大僚於杭州。獨遊西湖,流連時久,城門已閉,無處栖宿,將訪青樓。問津間,忽有一人引至茅茨竹舍中。三五女鬟,臨門迓進,酒核既具,笙歌迭陳。汪固見慣司空,略不以綺羅驚豔。偶見壁間懸一敗琴,金徽玉軫,殆於剝落。乞諸鴇兒,全不吝惜,大喜所費纏頭無幾,獲此古琴可售千金也。酒酣,集茵庭下,枕琴對月而眠。諸女鬟繞坐左右,檀板再敲,清謳復起。忽有數人洶洶排闥而入。汪故隨一僕,與拒,即被毆仆。搶攘至內,鴇妓四遁。汪以大僚故交,恐嚇之,若弗聞,但言:‘含怨三年,今日邂逅,必少報也。’搜取脂粉鈿釵,羅裙繡襖,脅作女子妝。收拾狼籍杯盤,眾共噱飲。使以侑酒,不肯,拳足交加,命危如卵。乃靦然裝扮,歌筵舞席,故習見聞,曲意順情於鞋杯口盞,雖眾皆鬚眉如戟、腥臭不可近,無可奈何,勉之而已。眾喜,爭呼爲汪姑娘。汪嬌聲應之。有笑曰:‘足想見其三五少年時也。宜各有賞,勿被笑作窮漢。’各出白銀擲之地,汪納之袖,復勸酒。一人大怒曰:‘爾出入冠裳,不知領賞當叩頭謝耶!’眾和之,揎臂唾誶,將以蔴索拴之。又一人曰:‘名士名妓,與俗不同。即解琴絃繫之,琴亦可小作謔,以報宿怨也。’用力拴縛,覺絃切肌膚。嬌鳴乞憐間,聽鄰雞喔喔,恍如夢醒,知身臥溝洫而不能舉動。迨天既明,僕亦甦,見主人穿綵紙裙襖,面塗糞土,臥一廁板,蛛網遍纏身體,乃扶救而回。”(文物出版社,57-59页、134-136頁)

 

29-30頁,札裴景福《河海崑崙錄》:“卷二(光緒)三十一年九月初五日:‘見田野間鷹掣鷄、犬逐兔、鼱鼩襲狗、孤豚咋虎、蜻蛉啄蚉䖟、螻蟻食蜻蛉、黃雀啄螳螂、螳螂捕鳴蟬,始悟《中庸》惟多一“不”字:“萬物並育而相害,道並行而不相悖。”’按已是讀《天演論》人語。”

 

按,此爲《管錐編》論《老子》一節所本:“余讀鮑照《登大雷岸與妹書》:‘栖波之鳥,水化之蟲,智吞愚,强捕小,號噪驚聒,紛牣乎其中’;又杜甫《獨立》:‘空外一鷙鳥,河間雙白鷗。飄飖搏擊便,容易往來游。草露亦多濕,蛛絲仍未收。天機近人事,獨立萬端憂。’高天大地,皆伏殺機,魚躍鳶飛,莫非强食;《中庸》曰:‘萬物並育而不相害’,此則有見於‘萬物並育而相害’,庶幾稍窺‘達爾文新理’者乎!”(第二冊435頁)

 

44頁,札唐彦謙《鹿門集》:“此爲第三過。唐末詩人中,以彦謙七律最爲格調高朗、情意婉摯,五古時能淡朴蒼老。鄭貽序謂‘與施肩吾、薛能爲詩友,二君皆以爲不逮’,誠然。《逢韓喜》之‘裊裊花驕客,蕭蕭雨淨春’,與《歲除》之‘索索風搜客,沉沉雨洗年’一機杼也,而下聯爲妙。《松》云:‘誰云山澤間,而無梁棟材。’《七夕》云:‘而予願乞天孫巧,五色紉針補袞衣。’七絶用‘而’字,絶尟見。《拜越公墓》:‘越公已作飛仙去,猶得潭潭好墓田。老樹背風深拓地,野雲依海細分天。’《任潛謀隱》:‘江邊秋日逢任子,大理索詩吾欲忘。爲問山資何次第,祗餘丹訣轉淒涼。’《過浩然先生墓》:‘人間萬卷龐眉老,眼見堂堂入草萊。行客須當下馬拜,故交誰復裹鷄來。’七律此等起法,姚姬傳、魯通甫、朱伯韓皆好學之。”

 

按,《逢韓喜》、《歲除》及七律三首,皆元戴表元詩也。此事前人有指出者。沈宗畸《鹿門集跋》:“右唐彦謙《鹿門集》三卷、拾遺一卷、續補遺一卷,從上虞羅叔言參事鈔得。……卷上有《憶孟浩然》一首,卷中有《過浩然先生墓》、《贈孟德茂》二首,案彦謙生年,距浩然父子尚百餘歲,何由與之贈答,恐羼入他人之作,否則僞作也。”(中國書店本《晨風閣叢書》,415頁)朱緒曾《開有益齋讀書志》卷五《剡源集逸稿》:“元戴表元剡源逸文十三首、古詩五十七首、律詩二百七十七首,皆世傳三十卷所未收也。錢塘朱文游家舊鈔何義門校本,黃蕘圃補錄於刻本之上。近上海郁氏新刻《剡源集》,惜未得蕘圃所錄。仁和勞季言購得蕘圃稿,另鈔以贈余。……唐彦謙《鹿門集》多誤收剡源之作,與三十卷詩同者六十二首,開卷《逢韓喜》、《夜坐示友》、《梅亭》、《歲除》與剡源無異。尤可駭者,《剡源集·過應浩然先生墓》,此昌國應傃之後人,應氏爲四明耆舊,故云‘人間萬卷龐眉老,眼見堂堂入草萊’。又《戊子歲晚贈應德茂》云:‘平生萬卷應夫子,兩世知名窮布衣。’則德茂爲應浩然之子。袁桷《清容居士集》有《題應德茂遊吳紀事》二絶句,其爲姓應無疑。今《鹿門集》前詩題《過浩然先生墓》,去一‘應’字,以爲孟浩然;後詩題《贈孟德茂》,注‘浩然子’,第七句仍作‘平生萬卷應夫子’,不知何解?唐茂業雖是唐人,集名‘鹿門’,似與孟襄陽夜歸鹿門相涉,然茂業爲懿宗咸通年進士,去開元幾一百五十年,何能有眼見‘入草萊’及‘故交裹雞’之語,而與其子‘船上酒香魚肥’,贈以詩乎。浩然是應非孟,其爲是唐作、非孟作明矣。”(上海古籍出版社,123-124頁)是也。今人鄭騫、王兆鵬等亦有考證(王文《唐彦謙四十首贋詩證僞》,所考尤確,見《中華文史論叢》第52輯),可參觀。

 

又按,《容安館札記》第三八九則云:“戴表元《剡源文集》(《青鶴》第三卷第十四期徐沅《白醉揀話》考定《剡源集》誤入唐彦謙詩甚詳,共五七律十二首)。卷二十九《夜坐》:‘愁鬢丁年白,寒鐙丙夜青。不眠驚戍鼓,久客厭郵鈴。洶洶城噴海,疎疎屋漏星。十年窮父子,相守慰飄零。’按此乃唐彦謙詩,見《全唐詩》。同卷《丁亥歲除前二日書》‘索索寒搜客’一律,亦見彦謙詩,題作《歲除》。”(第一冊603頁)《青鶴雜誌》中《白醉揀話》“剡源集誤入唐彦謙詩”條云:“元戴帥初《剡源集》,道光間郁泰峰據朱竹垞、曹秋岳兩家藏本刊入《宜稼堂叢書》中,亦稱善本。但律詩內多有以唐彦謙詩誤入集中,五律如《丁亥歲除前二日書事》、《晦亭》《全唐詩》唐彦謙集作《梅亭》、《夜坐示友》、《聞應德茂先離棠溪有作》、《逢翁舜咨》即唐彦謙《逢韓喜》詩,七律如《乙亥歲毘陵道中》、《東湖第三溪》、《過殷(按當作應)浩然先生墓》、《越城待旦》、《次韻任起潛謀隱之作》、《過清涼寺王參預墓下》、《次韻寄陳達觀少府兼簡叔高》,計誤入者有十二首。顧俠君《元詩選》,亦誤列《越城待旦》一首。戴帥初爲元代鉅子,必非襲前人詩篇以爲己作者,當是偶寫唐詩,而編者誤以列入耳。名人詩集,此類甚多。”錢先生蓋誤從之,亦智者之一失也。

 

又按,《談藝錄》(補訂本)云:“唐彥謙有《和陶淵明貧士》七首,並未能劣得形似。”(89頁)亦非是,《和陶淵明貧士》亦戴集中詩也;其題作《自居剡源、少遇樂歲、辛巳之秋、山田可擬上熟、吾貧庶幾得少安乎、乃和淵明貧士七首、與鄰人歌而樂之》,見《剡源集》卷二十七。

 

 

 

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汪辟疆撰、王培軍箋證《光宣詩壇點將錄箋證》,中華書局2008年版

 

又按,錢先生所云《過浩然先生墓》等詩“七律此等起法”,指第一句末字用仄,此亦晚清同光體詩人所喜爲者。《中文筆記》第一冊379頁札姚華《弗堂類稿》云:“七言近體第一句末字什九用仄,以爲振絶。”是也。《槐聚詩存》中《吳亞森忠匡出紙索書余詩》:“吳生好古親風雅,翰墨淋漓乞滿家。”《酷暑簡拔翁》:“墨巢老子黃陳輩,毒熱形骸費自持。”即此起法。

 

109-110頁,札《枝山文集》:“卷二《朱性父詩序》云云,……‘别號縱横’,則同卷《近時人別號》此文亦見枝山所作《前聞記》(《紀錄彙編》卷二〇二)云:‘道號別稱,古人間有之,非所重也。余嘗謂爲人如蘇文忠,則兒童莫不知爲東坡;爲人如朱考亭,則蒙稚亦能識爲晦厂。嵬瑣之人,何必妄自標榜?近世蓋惟農夫不然,自餘人未嘗無別號,而其所稱,非庸淺則狂怪,又重可笑。“蘭”、“菊”、“泉”、“石”之類,爾稱汝謂,一坐百犯。又兄“山”則弟必“水”,伯“松”則仲叔必“竹”、“梅”。近者襁褓嬰孺亦且有之。如無錫大家乳媼負一孺子,其族子且年長,謂人曰:“此吾友梅叔也。”’云云。按此與盜自稱‘守愚不敢’何異?舒鐵雲懷王仲瞿詩有云:‘後世好標榜,稱謂日日新。走卒號居士,達官署山人。我愛王仲瞿,其人毋他殊。既不取別號,亦不畫小照。’《文史通義》卷三《繁稱篇》所謂‘造私肊之山川,構空中之樓閣,其風實熾于前明。夫盜賊自爲號,將以惑眾;娼妓自爲號,將以媚客。逸囚改名,懼人知也;出婢更名,易新主也’云云,可參觀。(《桐江續集》卷三十《王一初名字說》:‘然古庶人無字,近世雖執事圂圊者亦有字。……妾婦則飛燕、太真,盜賊則綠林、長白。僧有號,道有號。而近世標榜特多,謂醉翁又六一居士,謂涪翁又山谷道人,鉅公名士可也。今則巫醫卜祝,皆立齋顏菴匾,下至負担之夫亦有之。’)”

 

按,譏此事者,明人又有楊慎,《升庵合集》卷二百五《姓名》“別號”條云:“幼名冠字,長而伯仲,沒則稱謚,古之道也,未聞有所謂别號也。杜甫、李白倡和,互相稱名;張仲、吉甫雅什,但聞舉字。近世士夫多稱别號,厥名與字,瞢然不知;傳刻詩文,但云張子、李子,或云某庵某齋,當時尚不諳其誰何,後此安能辨其甲乙?慎所著詩篇,多舉交遊之字,或書其名于下,庶乎觀者俾言與事諧,情景相對,不知者或以爲輕之,異哉!又近日民風漓猾,白衣市井,亦輒稱號。永昌有鍛工戴東坡巾,屠宰號一峰子。一善謔者見二人並行,遥謂之曰:‘吾讀書甚久,閱人固多,不知蘇學士善鍛鐡,羅狀元能省牲,信多能哉!’相傳以爲笑。”(據光緒八年刻本)在清則趙翼《陔餘叢考》卷三十八“別號”條亦云:“達官貴人之有别號,葢始於宋之士大夫,亦謂之道號,如長樂老、六一、老泉、半山、東坡之類。相習成風,遂至販夫牙儈,亦莫不各有一號。宋人小說載某官拿獲一盜,責其行劫,盜輒曰:‘守愚不敢。’詰之,則守愚者其别號也。盜賊亦有別號,更何論其他矣。近有人譏别號詩曰:‘孟子名軻字未傳,如今道號却紛然。子規本是能言鳥,又要人稱作杜鵑。’可爲一笑也。”(上古本,下冊758頁)又王應奎《柳南隨筆》卷三云:“別號古人所無,不知起于何時。或云自寒泉子、樗里子始,至唐而漸衆,至宋而益多。近則市井屠沽,皆有菴、齋、軒亭之稱。若止有字而無號,吳次尾所謂如此大雅之士,吾不數見也。嘗見祝希哲《前聞記》載江西一令訊盜,盜對曰:‘守愚不敢。’令不知所謂,問之左右,一胥云:‘守愚者,其號耳。’則知今日賊亦有號矣。此等風俗,不知何時可變也?”(中華書局本,58頁)皆可補錢先生之未及。

 

117頁,札《何義門先生集》:“卷十二《馮己蒼謂作江韻詩皆愚物,偶和王荊公韻爲一篇,希不見哂於馮氏也》。徐松《義門先生小集跋》:翁覃溪言義門爲人短小麻鬍,綽號‘袖珍曹操’。幼時頗魯,因游道院,見蝴蝶飛而心開。”

 

按,疑此本鄧之誠《骨董瑣記》。《瑣記》卷七“袖珍曹操”條云:“徐松跋《義門小集》云:何義門生於順治十八年二月二十七日,初字潤千,一號無勇。因哭母更字屺瞻,印章作峐瞻,又有髯字紅文圓印。晚年號茶仙。爲人短小麻鬍,綽號‘袖珍曹操’。”(北京出版社本,198頁)《中文筆記》第三冊摘《骨董瑣記》,有此條(612-613頁)。錢先生於摘《瑣記》後云:“於近人筆記中,亦爲殫見軼聞,終嫌稗販處太多。”“殫見軼聞”四字,殊爲美評。《郭曾炘日記》丙寅十二月廿三日、丁卯正月廿八日云“大都從抄撮來,毫無義例”、“多習見之書”、“可採者殊無多”云云,蓋別有懷抱,着眼不同。《義門小集跋》見徐松《星伯先生小集》(《清代詩文集彙編》第536冊,714頁)。

 

153頁,札蔣學鏞《樗菴存藳》:“按竹汀薄謝山事,亦世所不知。竹汀亦薄望谿,集中《書望谿集後》一首,亦出矯誣,觀《穆堂初稿》卷四十三附望谿復札并按語、《別稿》卷四十三《書方靈臯曾祖墓銘後》按雖題“書後”,實爲致望谿書函,故曰“大作”、卷四十四《文禁》第八條,又《蕉軒隨錄》卷九可知。《樗庵文》卷一《與陳生論錢氏祫禘考書》斥其‘支離謬亂’,即爲竹汀發。”

 

按,錢大昕記李紱輕方苞事,爲一公案。皖桐學者辯之者非一。竹汀之文,題爲《跋方望溪文》,非“書望谿集後”也,見《潛研堂文集》卷三十一;其文云:“望溪以古文自命,意不可一世,惟臨川李巨來輕之。望溪嘗攜所作曾祖墓銘示李,纔閱一行,即還之。望溪恚曰:‘某文竟不足一寓目乎!’曰:‘然。’望溪益恚,請其說。李曰:‘今縣以桐名者有五:桐鄉、桐廬、桐栢、桐梓,不獨桐城也。省桐城而曰桐,後世誰知爲桐城者?此之不講,何以言文!’望溪默然者久之,然卒不肯改。其護前如此。金壇王若霖嘗言:‘靈皋以古文爲時文,以時文爲古文。’論者以爲深中望溪之病。偶讀望溪文,因記所聞于前輩者。”(據上海古籍出版社本,564-565頁)“又《蕉軒隨錄》卷九可知”云云,指方濬師《蕉軒隨錄》卷九“古文不宜減字换字”條:“家望溪侍郎嘗以所撰《大父馬溪府君墓誌銘》就正於李穆堂先生,先生書其後云:‘篇首三句“家於桐”及“副憲公遷金陵”似俱未穩。散體文自明嘉靖以後僞體盛行,謬爲減字換字法以示新異,而文理實未可通。相沿至今,賢者不免。桐城止言桐,則嘉興有桐鄉,嚴州有桐廬,南陽有桐栢,四川有桐梓,後之讀是文者,烏知其非桐鄉、桐廬、桐柏、桐梓耶?此減字法必不可用也。副使道易以副憲,則世俗于副都御史亦有此稱,後之讀是文者,烏知其非副都御史耶?此換字法必不可用也。’又云:‘金陵古無此地,秦始置縣,旋改秣陵。自秦至今千六百年,惟唐初曾復此名,亦二年即改,不可用也。’按:今《望溪文集》刊本已改爲‘苞先世家桐城,明季曾大父副使公以避寇亂之秣陵,遂定居焉’云云。愚意‘秣陵’二字仍不若改稱江寧爲得耳。”(中华书局本,329页)其詳如是。《中文筆記》第三冊41頁、第十四冊130-131頁札《蕉軒隨錄》,均及此條,第三冊按云:“按可見竹汀《書望溪集》之誣。”第五冊329頁札《蕉軒隨錄》,僅及卷一的一條。皆不及《蕉軒續錄》。《蕉軒隨錄》凡十二卷,刻於同治十一年(1872);《隨錄》凡二卷,刻於光緒十七年(1891)。錢先生當時所獲讀者,必僅爲《隨錄》。至《中文筆記》第二十冊始札《蕉軒續錄》,凡二紙(200-201頁),蓋晚年事也。而《續錄》卷一有“錢竹汀跋望溪集之謬”一條,專爲方苞事辯者,錢先生筆記仍未及:“李巨來督部書望溪侍郎《大父馬溪府君墓誌銘》後文,予已載入《隨録》九卷中。近閲錢竹汀《潛研(二字原誤倒,今乙)堂文集》跋侍郎文云:‘望溪以古文自命,意不可一世,惟臨川李巨來輕之。望溪常攜所作曾祖墓銘示李,纔閲一行,即還之。望溪恚曰:“某文竟不足一寓目乎?”曰:“然。”望溪益恚,請其説。李曰:“今縣以桐名者有五:桐鄉、桐廬、桐柏、桐梓,不獨桐城也。省桐城而曰桐,後世誰知爲桐城者?此之不講,何以言文?”望溪默然者久之,卒不肯改,其護前如此。金壇王若霖言靈皋以古文爲時文,以時文爲古文,論者以爲深中望溪之病。偶讀望溪文,因記所聞於前輩者。’云云。此一則謬之極矣。《穆堂文集》與侍郎論文辨難者不一而足,桐城之議見於集中,且尚有論及所稱副憲官階、金陵地名者(已見九卷,不具録),何錢於李集絶未寓目耶?跋中既曰‘偶讀望溪文’,何又不知《馬溪府君墓誌》起首一句即云‘苞先世家桐城’耶?末以王若霖之言謂中侍郎作文之病,是猶王昶忌隨園先生名,作《蒲褐山房詩話》拉吴嵩梁爲證也。錢之經學、史學,較王爲勝,不應輕率落筆如此。吁,可怪矣。”(同前,515-516页)蓋錢先生晚年讀書,精力已不如前,《續錄》之筆記,亦僅卷一而止。 

 

又按,蕭穆《敬孚類稿·補遺》卷一《書錢辛楣跋方望溪文後》,亦辯此事,亦錢先生未見者。《中文筆記》第十三冊78頁札《敬孚類稿》,爲晚清刻本,《補遺》三卷,爲據上海圖書館藏稿本輯出,黃山書社1992年印行。蕭氏《書後》云:“望溪先生與臨川李穆堂侍郎交最厚,其論文彼此多有不合,或面質證,或以書往還,或細評于本文之後,大抵穆堂持論多名通,望溪時拘守己見,然二公生平固彼此相重也。穆堂嘗自定其集曰《穆堂初稿》、《穆堂類稿》、《穆堂別稿》各五十卷,凡其精華所萃,則編爲《類稿》爲正集,嘗請望溪特序之,其傾倒於望溪者亦至矣。《別稿》卷三十九有《書方靈皋曾祖墓銘後》一篇有云:‘篇首三句“家於桐”及“副憲公遷金陵”似俱未穩。如桐城止言桐,則嘉興有桐鄉,嚴州有桐廬,南陽有桐柏,四川有桐梓,後之讀是文者烏知其非桐鄉、桐廬、桐柏、桐梓邪?此減字法必不可用也。副使道易以副憲,則世俗於副都御使亦有此稱,後之讀是文者烏知其非副都御使耶?此換字法必不可用也。大作於此二者未檢點甚多,宜將全集逐一查改乃佳。又金陵,古無此地,秦始置縣,旋改秣陵,自秦至今千六百年,惟唐初曾復此名,亦二年即改,且後敘太母之葬又稱江寧,則金陵何地,江寧又何地耶?換字法之弊,其不可用,有如此者。’據此則望溪曾以曾祖墓銘寄示穆堂,穆堂細閱,不過將篇首三句論其未穩書於本文之後如是,蓋以書往還,非面示也。乃閱其全篇細評還之,非纔閱一行即還之也。今錢辛楣《潛研堂集》有《跋方望溪文》乃云:‘望溪常攜所作曾祖墓銘示李,纔閲一行即還之。望溪恚曰:“某文竟不足一寓目乎?”曰:“然。”望溪益恚,請其説。李曰:“今縣以桐名者有五”云云。又述金壇王若霖嘗言靈皋以古文爲時文,以時文爲古文。論者以爲深中望溪之病。偶讀望溪文,因記所聞於前輩者。’由前所記,則辛楣實未見穆堂諸稿,妄聽前輩之言,爲此謬說;由後述王若霖之言,是又不知王氏生平亦傾倒於望溪,且王氏文學在當時爲傑出,然與望溪相較不免又大有間。王氏號爲知言,豈無自知之明乎?觀望溪《送王篛林南歸序》,兩人之風誼畢見矣。錢氏生平頗有以耳爲目之病,又素不喜方氏之學,今偶閱其集,又不欲深求,別無可疵,遂假昔人訛言以成此文,而不知自蹈於郢書燕說也。”(黃山書社本,469-470頁)

 

不僅此也,姚永樸《起鳳書院答問》卷四答甘尚仁問,亦辯及此事:“桐城在春秋時爲桐國,即使望溪果單言桐,亦不過如今人稱江蘇爲吳、浙江爲越、山西爲晉、陝西爲秦耳,並非省去城字而第言桐字也。況望溪集惟有《大父馬溪府君墓志銘》凡四言桐城,一言皖桐,未嘗單言桐。其曾祖副使公葬繁昌,集中未有志,不知竹汀何所據而云然也。《穆堂類稿》中有與望溪《論周官》、《論三禮》、《論史記》、《論八家文》各書,其論《周官書》尾并附一跋,云:‘靈皋覆札云:“所駁數條皆至當不易,服甚感甚,所望於益友,正如是耳。《地官》呈教,祈破工,必爲我發其疵病之伏藏者,極知無暇,而不得不爲是懇懇,惟鑒之。”蓋方君之虛懷若此,真古之學者也。’據此,則李公之直,方公之虛,皆可爲後進法,必不如竹汀之所云也。”(華夏出版社,97-98頁)與前引蕭、方書合觀之,竹汀之誣,不待言也。

 

154页,札籍忠寅《困齋文集》、《詩集》:“亮儕雖爲吳至父蓮池弟子,古文未有門徑,留學日本,更濡染報章濫調,實無足觀。《擬潘安仁秋興賦》云:‘落落秋螢之火,難燭大千;纖纖野馬之塵,莫填滄海。’二語可諷。”

 

按,亮儕此聯,實本《聊齋志異·自序》:“松落落秋螢之火,魑魅爭光;逐逐野馬之塵,魍魎見笑。”(據《鑄雪齋抄本聊齋志異》上冊,上海古籍出版社本)錢先生自負“月眼”(《中文筆記》第一冊561頁云“余前評越縵,真月眼也”),此却失之眉睫。

 

162頁,札陸次雲《北墅緒言》:“卷三《跳月記》。此文以選入《虞初新志》,遂傳誦於世。《新志》錄雲士文,亦以此爲最佳。後半‘是時也,有男近女而女去之者,有女近男而男去之者,有數女爭近一男,而男不知所擇者,有數男競近一女,而女不知所避者,有相近復相捨、相捨仍相盼者,目許心成,籠來笙往,忽焉挽結。於是妍者負妍者,媸者負媸者,媸與媸不爲人負,不得已而後相負者,媸復見媸終無所負,涕洟以歸,羞愧於得負者’云云,洵足當高江村評所謂‘眼花繚亂,天花亂墜’八字。”

 

按,此文見《虞初续志》卷六,非《新志》也。《新志》所錄次雲文,卷七、卷九、卷十一、卷十二各一篇,卷十二篇,凡六篇,并無《跳月記》。又高评作“筆舞墨歌,天花亂墜”,亦非“眼花繚亂”也。

 

180頁,札《墨憨齋重訂傳奇十種》:“《精忠旗》第四折王氏:‘賤妾見中原男人都是脆弱,及侍太子,始知人間有男子耳。’”

 

按,此語本於《晉書·后妃傳下》:“洛陽敗,(惠帝羊皇后)沒于劉曜。曜僭位,以爲皇后。因問曰:‘吾何如司馬家兒?’后曰:‘胡可並言?……妾生於高門,常謂世間男子皆然。自奉巾櫛以來,始知天下有丈夫耳。’”

 

187頁,札潘諮《林阜間集》:“卷五《遊戲餘草》,《萬里游》序略云:‘諮少喜爲長韻詩,興來快意而已。前後《萬里游》,後篇爲一友所失,今獨存此。言詩者多以無體疑之,竊不謂然。若只論長短,則世有數百韻詩,已歷千載。或廣其韻,謂爲無體,恐未然矣。譬如未有六體,倘於波戈橫直之外,思創一法,原非智者不能。若只論大小,一豎一點,盡二丈絹,亦惟其力所能爲而已。原詩千四百韻,今刪去若干韻。’云云。按詩今存一千一百六十四韻,共一萬五千六百九十六字,多於姚梅伯《雙鴆篇》(六千四百九十一字)一倍有奇,但不知較之韋端己《秦婦吟》(僅一千六百餘字),孰为长短?以詩論,則凌亂支離,拆之不成片段,而亦無碎金屑玉可拾。”“宋人《鬼董》卷一載王氏女作《妾薄命歎》(五言中雜七言十七句),共二千五百三十四字。”“《開元天寶遺事》記李白謂:‘天后任人,如小兒市瓜,不擇香味,惟揀肥大者。’‘市瓜擇肥’,可對‘買菜求益’。今人推韋端己《秦婦吟》,祗以其長,識見如此,選詩必采少白此篇,以及畢秋帆、湯海秋七律百韻,方密之、李太青、陳石遺五律三百韻矣。”

 

按,此錢先生箴砭俗見也。“買菜求益,市瓜擇肥”云云,亦其喜用語。此節後補入《談藝錄》。《談藝錄》(補訂本)第620頁云:“覩記所及,吾國古人五七言長篇無過潘少白諮《林阜間集·詩集》卷五《萬里游》,自序稱:‘原有前後篇,後篇已失去,此其前篇,原千四百韻,刪節存之。’其詩今得一千一百六十四韻,共一萬一千六百四十字。姚梅伯燮《復莊詩問》卷十有《雙酖篇》一千七百七十一字;宋人《鬼董》卷一載王氏女《妾薄命歎》,五言中雜七言三十四句,都二千六百五十八字,厲氏《宋詩紀事》、陸氏《補遺》均未採擷。韋端己《秦婦吟》不足一千七百字,尚少於《孔雀東南飛》百餘字、姚梅伯《詩問》卷五《椎埋篇》八十餘字也。然長如《萬里游》,讀之竟亦無須如坡所言歷‘一小時’。說詩者苟如‘買菜求益,市瓜揀肥’(《開元天寶遺事》記李太白語:‘小兒市瓜,不擇香味,唯揀肥大者’),則此等篇什固可以澒耳嵬眼矣。”所計字數,《萬里游》此作一萬一千六百四十字,《雙酖篇》作一千七百七十一字,《妾薄命歎》作二千六百五十八字,與《筆記》皆不同,蓋後來又經重數者。

 

又此亦見《容安館札記》第七八九則:“唐人記敘之什,莫長於韋端己《秦婦吟》,絮煩不殺,支蔓失剪,起處隻字不及秦婦身世,而婦自言乞漿逢翁,却轉述是翁鄉貫、家業甚備,已屬詳略失當。更可議者,通首盡記婦語,正津津頌贊周寶(見《觀堂集林》卷二十一《秦婦吟跋》)德政,忽然便止(“避難徒爲闕下人,懷安却羨江南鬼。願君舉棹東復東,詠此長歌獻相公”),幾同曳白,與少陵取別、香山下淚之皆落到自身者大異,則端己與此婦陌路相逢,如何了局收場,令人悶損,殆類《文心雕龍·附會篇》引《周易》所謂“臀無膚”者。晚唐小家僅知求工字句,至謀篇之大、章法之完,概乎未知。三篇相較,亦可覘唐詩之盛衰也。又按皮相之徒,侈稱《秦婦吟》篇幅之長,冠冕古詩。以余覩記所及,宋人《鬼董》卷一載王氏女《妾薄命歎》五言中雜七言十七句,都二千五百三十四字,厲氏《宋詩紀事》、陸氏《宋詩紀事補遺》皆未採錄;姚梅伯《復莊詩問》卷五《椎埋篇》一千八百餘字,卷十《雙酖篇》六千四百九十一字;潘少白《林阜間集·詩集》卷五《萬里游》自序稱‘原有前後篇,後篇已失去,此其前篇,原千四百韻,刪節存之’云云,尚得一千一百六十四韻,共一萬五千六百九十六字。端己之作,不足一千七百言,瞠乎其後矣。《北齊書·楊愔傳》:‘取士多以言貌,時致謗言,以爲愔之用人,似貧士市瓜,取其大者。’《開元天寶遺事》記李太白謂:‘天后任人,如小兒市瓜,不擇香味,惟揀肥大者。’竊謂‘市瓜擇肥’可對‘賣菜求益’,長篇鉅集,適足澒庸耳而嵬俗眼耳。如《晚晴簃詩匯》卷二謂乾隆‘《御製詩》五集,四百三十四卷,共四萬一千八百首;登極前之《樂善堂集》,歸政後之《餘集》,又《全韻詩》、《圓明園詩》皆別行,不與此數’(《浪跡叢談》卷十謂‘五集,四百三十四卷,四萬二千七百七十八首;《樂善堂全集》三十卷更在前焉’);卷四十六謂吳慶(按當作農)祥《梧園集》多至一百三十四卷(《隨園詩話》卷十六:‘本朝詩集,未有多如吾鄉吳慶伯先生者,所著古今體詩一百三十四卷,他文稱是。欲梓而存之,非二千金不可。著述太多,轉自累也’)。其爲倚馬之才耶,其爲汗牛之載也!”(第二冊2488-2489頁)

 

又《談藝錄》(補訂本)第648頁云:“《晚晴簃詩匯》卷三四韓畾下《詩話》謂韓有《天樵子集》,‘嘗自述生平始末爲一詩,長數萬言。’是其字數又倍於潘少白之《萬里游》,吾國五七言詩當無長逾此者,惜余未得而讀之。韓,清初大興人。所睹近人長篇,如寶廷《西山紀游行》二千九百二十二字,康有爲《六十自述》二千三百五十字;皆鋪敘拖沓,了無警拔可擷。然苟計字酬縑,則洵多文爲富矣。”按“畾”字誤(《錢鍾書集》本同,見512頁),應作“畕”。畕字見《說文解字》。朱彝尊輯《明詩綜》卷八十上、陳維崧輯《篋衍集》卷四、王士禛輯《感舊集》卷七、沈德潛輯《清詩別裁集》卷八、陳田《明詩紀事》辛籤卷十六、及楊鍾羲《雪橋詩話》卷一併有此人,均作“韓畕”。《雪橋詩話》卷一第一條云:“宛平韓畕,字經正,號石耕。……初,畕之來南,天下猶無事,既遘喪亂,乃敘次其流寓之由,爲詩一篇,幾數萬言。”(人民文學出版社點校本,第一冊10頁)《晚晴簃詩匯》當本之。《中文筆記》第三冊79-137頁、第十一冊393-450頁札《晚晴簃詩匯》,皆不及此事。

 

又按,潘諮《萬里游》序所云“一豎一點,盡二丈絹”云云,是比於字畫。字畫以大眩俗,古亦多有之。俞正燮《癸巳存稿》卷十一有《大字大畫大符大碑大塔大佛大樹大梨大韭大材大玉》一篇,奇文也;姑錄大字大畫事:“《晉書·衛恒傳》云:‘漢靈帝時,袁術將師宜官,大則一字徑丈,小則方寸千言。’《王羲之傳》云:‘子敬嘗書壁爲方丈大字,觀者數百人。’按古人大字多以燈影取之。《鐵圍山叢談》云:宋元符末,蔡京‘自取大筆如椽臂,張兩幅素,書“龜山”二字,米芾、賀鑄及一惡客俱愕然相視’。是前此所少也。《春渚紀聞》云:‘政和二年,襄邑民家紫姑書紙字徑丈,更請大書,乃黏襄表二百幅,用麻皮十斤縛作筆,徑二尺許,濡墨就麥場,一人繫筆於項,不覺騰踔往來,成一“福”字,端麗如顏書。令持往宣德門,賣錢五百貫。官捕具奏,令就後苑再書驗之。乃書一“慶”字,與“福”字相稱。’案襄表幅方二尺,二百幅連方,可方二丈八尺,此字之最大者矣。《老學庵筆記》云:‘乾道八年天申節,知光州滕瑞進自書“聖壽萬歲”四字,約二丈餘,用絹褙,投進以貢諛,降一官。’其字蓋五尺餘,亦可言大。《梁溪漫志》云:‘東坡教葛延之書,言世人寫字,能大不能小,能小不能大,我則不然,胸中有箇天來大字,世間縱有極大字,焉能過此?從吾胸中天來大字流岀,則或大或小,惟吾所用,若能了此,便會作字也。’此實想像之言,非能有此運筆。蘇集有《題崔白大圖幅徑三丈》詩云:‘往來不遣鳳銜梭,誰能鼓臂投三丈。’是大絹本畫也。南宋張邦基《墨莊漫錄》云:‘梓州織八丈闊幅絹進宮禁,前世織工所不能爲。’此絹之最大者。《圖繪寶鑑》夏文彦撰云:‘戚文秀畫《清濟貫河圖》,一筆長五丈,貫于波浪之中,與衆豪不失次序,超騰回摺。’郭若虛《圖畫見聞志》亦同。蓋亦絹本。《梁溪漫志》云:‘常州太平寺壁,有徐友畫《清濟貫河》,一筆紆繞,長數十丈。’《畫鑒》則云:‘尋其端末,長四十丈,波浪起伏活動。’而楊萬里詩云:‘壁如雪色一丈許。’林景熙《白石樵唱·太平院壁閒畫》云:‘萬頃波濤生素壁’,又云:‘毫端分寸千萬里’。郭畀《客杭日記》云:‘入常州,到太平寺,觀壁上畫水,中作一筆,繞之不斷,立視久之,洶涌生動,奇筆也。’俱不言畫筆長短。《常州府志》則云:‘畫在寺之彌陀殿壁,筆起西北隅,縈繞數千丈。’其說不同。今以一筆所蓄之墨細注壁上,至百尺,墨竭不能見畫矣,豈能數十丈又數千丈耶?千蓋十譌,丈亦尺譌也。《唐書》云:‘僧懷義殺牛取血,畫大像,首高二百尺,張天津橋南。’此當連縫絹帛爲之,古今最大之畫也。”(《俞正燮全集》第二冊,431-432頁)

 

 

 

图片

王培軍《錢邊綴瑣》,浙江大學出版社2014年版

 

又按,《宋書·劉穆之傳》:“高祖書素拙,穆之曰:‘此雖小事,然宣彼四遠,願公小復留意。’高祖既不能厝意,又稟分有在,穆之乃曰:‘但縱筆爲大字,一字徑尺,無嫌。大既足有所包,且其勢亦美。’高祖從之,一紙不過六七字便滿。”字大足以藏拙,字多自可充才,此所以長詩大字,可以駭俗也。

 

234頁,札《許丁卯詩》:“《咸陽城東樓》頸聯‘溪雲初起日沉閣,山雨欲來風滿樓’,爲世傳誦。按段茂堂《經韻樓集》卷八《與阮芸臺書》謂:‘“閣”字當作“谷”,方不合掌,而意始通。’大是。茂堂此書極爲李蓴客所稱(見《越縵堂日記》光緒三年十二月二十三日)。”

 

按,段校非是。《與阮芸臺書》云:“近讀唐詩,校得三事,爲先生陳之。有承譌千年而莫之省者,如許丁卯‘溪雲初起日沈閣,山雨欲來風滿樓’,下句誠佳絶,而‘日沈閣’何解乎?以‘閣’對‘樓’,不亦複乎?疑之數十年,今已老矣,乃知‘閣’是‘谷’之譌。”(上海古籍出版社《經韻樓集》,197頁)其實此字之校,羌無所據,只是懸揣。據《全唐詩》卷五三三,此詩‘日沉閣’下有小字注云:“南近磻溪,西對慈福寺閣。”盖作者原注也。‘日沉閣’之‘閣’,正指此。雖然,云樓、閣作對,有合掌之嫌,固是已。詩家作對,求工固是,但若不能拓開,使有波瀾,必易相複,而至於合掌。如唐人“魚躍練川拋玉尺,鶯穿絲柳織金梭”,對則工矣,不害爲劣詩。蘇軾“泥上偶然留指爪,鴻飛那復計東西”,以“泥上”對“鴻飛”,以“留指爪”對“計東西”,雖不工,而一氣貫注,疏蕩生動,以視“魚躍鶯穿”之板,有雲泥之別也。

 

260-261頁,札《明文授讀》:“周容(字鄮山,鄞人)《裁衣者說》:‘崇禎初,京師尚恬熙也,共矜體貌。有厲成者,以裁衣名著,非赫然右職不能得。若此十餘年,資以裕,借例參選,得司庫。冠(原誤作官,據《春酒堂文存》改)帶將就道,羣工醵錢是餞。酒酣,合座起曰:“衣非翁剪莫當意,是必有道,敢以請。”成曰:“審官資。凡人初登右職,其氣盛,盛則體仰,衣須前贏於後。久之漸平矣。又久之,心營遷擢,思下人,衣乃前殺於後。”衆悅服。一年少者起曰:“近日人情多意外。吾鄉有初登右職,未習也,意自下。已而得勢,遂生驕。是與翁言反矣。且人不自爲體,以所接之人之體爲體。今日而接當塗,衣宜前殺;明日而接冷曹,衣宜前贏。或一日而當塗與冷曹先後接焉,衣將奈何?或一座而冷曹與當塗參伍接焉,衣又將奈何?”成大笑曰:“若言是也。予行矣,不可以宜於時矣。”’(按前一段,亦見《野獲編》卷二十六‘裁縫問答’、《寄園寄所寄》卷十二引蔣伊《臣鑒錄》亦見《歸田瑣記》卷七、郝蘭臯《曬書堂集》卷五《記裁衣者賀方春述其師武靈源語》。《履園叢話》卷十二‘成衣’(‘今京城內外成衣者,皆寧波人也。昔有人持匹帛命成衣者裁剪,遂詢主人之性情、年紀、狀貌,並何年得科第,而獨不言尺寸’)。”

 

按,《中文筆記》第三冊518頁札《霞外攟屑》卷七“裁衣者說”條云:“《歸田瑣記》卷七引蔣伊《臣鑒錄》,《寄園寄所寄》卷十二《插菊寄·笑談門》引《座右編》載嘉靖中京師縫人,《明文授讀》卷十三周容《裁衣者說》,《野獲編》卷二十六《裁縫問答》。”知其所據,亦有《霞外攟屑》也。徐一士1935年作《裁縫與官》(收入《一士譚薈》;按《中文筆記》第十五冊543頁札《一士譚薈》,不及此條),專談此事,亦引周容《裁衣者說》(徐氏據《春酒堂文集》;按,此文見《春酒堂遺書·文存》卷一),并《歸田瑣記》、《履園叢話》及獨逸窩居士《笑笑錄》引《敝帚齋餘談》,而不及《寄園寄所寄》、郝懿行《曬書堂集》。《敝帚齋餘談》亦沈德符著,所載同於《野獲編》。徐氏亦不提《霞外攟屑》,皆可怪也。

 

285頁,札《明文授讀》:“卷十四何喬遠《蕃薯頌》:‘度閩海西南,有呂宋國。國度海而西,爲西洋,多産金銀。閩人多賈呂宋。其國有朱薯,被野連山,不待種植,夷人率取食之。其莖葉蔓生,如瓜蔞、黃精、山藥、山蕷之屬,而潤澤可食。其根如山藥、山蕷,如蹲鴟者,皮薄而朱,可熟食,亦可生食。夷人恡,不與中國人,中國人截取其蔓,入吾閩十餘年矣。初入吾閩時,值吾閩饑,得是而人足一歲。其種也,不與五穀爭地,瘠鹵沙崗,皆可以長。即大旱不糞治,亦不失徑寸圍。泉人鬻之,斤不直一錢,二斤而可飽矣。’云云。按是,則天主教、鴉片、梅毒而外,尚有蕃薯亦於明朝入中國也。喬遠崇禎時爲南司空,此文不知何時所作,亦未見有人引用。惟周亮工《閩小紀》謂蕃薯‘萬歷中閩人得之外國’一條,據其文詞,蓋襲取此文。(《棗林雜俎》中集考番薯,曾及喬遠此文。)”

 

按,楊憲益有《番薯傳入中國的記載》(收入《譯餘偶拾》),僅據《閩小記》。錢先生或即緣楊而發。萬國鼎有《中國種甘薯小史》(收入《五穀史話》),引及何喬遠《閩書》,而亦不及此《頌》。此在農史專門學者,蓋亦未經引用之材料也。明清人則黃叔璥《臺海使槎錄》(見農業出版社《中國農學遺產選集·糧食作物》上編621頁)亦及之,不僅《棗林雜俎》也。

 

又按,《容安館札記》第五七四則:“(梁運昌《秋竹齋詩存》)卷八《番囗詩》五古,有序略云:‘俗呼地瓜,產於呂宋,禁其種,不得傳中國。國初吾閩長樂諸生陳姓者父子,客呂宋,截其藳藤二尺,囗破籃底,如繩約狀,遂得攜歸,至家種之。既已藩衍,乃獻之金撫軍。撫軍頒其種於十郡,令陳氏爲種蒔師,故當時號爲“金軍門”。’按梁氏說未確,黃梨洲《明文授讀》卷十四何喬遠《番薯頌》略云云。周櫟園《閩小紀》謂‘萬曆中閩人得蕃薯於外國’一條,蓋襲此文。何氏於崇禎時爲南司空。”(第一冊625頁)

 

289-290页,札《明文授读》:“卷五十五沈一貫《搏者張松溪傳》:‘其徒曰:“吾師嘗觀矛師,曰:‘刺則刺矣,而多爲之擬,心則歧矣,尚得中耶?’”余聞而憬然。因憶往時嘗問王忠伯:“邊人何伎而善戰?”忠伯言:“邊人無伎,遇虜近三十步,始發射,短兵接,直前攻刺,不左右顧者勝。瞬者不可知,傍觀死矣。”今張用此法。’按此貍首善射之旨,《莊子》所謂‘痀僂承蜩’,《尹文子》所謂‘如魚見餌’,《傳燈錄》所謂‘如貓補鼠’者也。”

 

按,此錢先生爲學心法也。《中文筆記》第一冊654頁札《續傳燈錄》:“卷二十二:‘黃龍晦堂誨善清云:子見猫兒捕鼠乎?目睛不瞬,四足據地,諸根順向,首尾一直,擬無不中。求道亦然。’”《中文筆記》第十五冊503頁札《五燈會元》卷十七,並及此事。《容安館札記》第一六五則:“《續傳燈錄》卷二十二黃龍云:‘子見貓兒捕鼠乎?目睛不瞬,四足據地,諸根順向,首尾一直,擬無不中。求道亦然。’(按《禮記‧射義》‘以貍首爲節’,皇侃謂:‘舊解云:貍之取物,則伏下其頭,然後必得,言射亦必中,如貍之取物矣。’正是黃龍語意。黃梨洲《明文授讀》卷五十五沈一貫《搏者張松溪傳》云云。皆即《莊子‧達生篇》痀僂承蜩、梓慶削木,《關尹子‧一宇篇》魚見食之旨。)”(第一冊241頁)第七九七則:“閱《三國演義》。……此回寫關公斬顏良事(‘奮然上馬’云云),視《三國志·關張馬黃趙傳》增飾無多,而精采愈出。《朱子語類》每有罕譬而喻、語妙天下者,如卷五十二云:‘讀書理會義理,須是勇猛,徑直理會將去。正如關羽擒顏良,只知有此,不知有別人,直取其頭而歸。若使既要砍此人,又要砍那人,非唯力不給,而其所得者不可得矣。’用意即如《續傳燈錄》卷二十二黃龍論求道如‘貓兒捕鼠,諸根順向’,而能近取譬,疑本之當時說書人。”(第三冊2546頁)《談藝錄》(補訂本):“治學之際,攝心專揖,則忘我矣。《關尹子·一宇》謂:‘道無人無我。如魚見食,即而就之,魚釣斃焉,不知我無我。逐道者亦然。’《五燈會元》卷十七泐潭善清章次記黃龍祖心曰:‘子見貓兒捕鼠乎。目睛不瞬,四足據地,諸根順向,首尾一直,擬無不中。子誠能如是,心無異緣,六根自靜,默然而究,萬無一失也。’按《禮記·射義》:‘以狸首爲節’,皇侃謂舊解云:‘貍之取物,則伏下其頭,然後必得。言射亦必中,如貍之取物矣。’黃龍語是其的解。皆喻此境。”(中華書局本,280-281頁)《槐聚詩存·蘇淵雷和叔子詩韵相簡、又寫示寓園花事絶句、即答、仍用叔子韵、淵雷好談禪》:“指名百體慚捫象,順向諸根好學狸。”自注:“《禮記·射義》‘狸首爲節’皇侃疏引舊解,即《續傳燈録》卷二十二黃龍論求道如‘猫兒捕鼠、諸根順向’之旨。”(三聯書店1995年本,103頁;此詩亦見《容安館札記》第四百一則第二冊949頁,小注同)

 

298-299頁,札《復初齋集外詩》、《集外文》:“葉鞠裳《緣督廬日記鈔》卷五光緒……十五年五月初七日記覃谿身後蕭條,幼孫不肖,家業蕩盡事甚詳。”

 

按,《骨董瑣記》卷七“翁覃溪後人”條:“《安般簃詩》辛集《蕭寺又一首,傷同年黃在同》詩,有‘郈成分宅君真篤’句,自注云:翁覃溪先生家中落,只餘一老曾孫婦,君賜恤甚至。此詩作於光緒辛卯。又《翁文恭同治庚午日記》云:本家覃溪翁之孫婦陳年五十八,住兵馬司後街,稱爲四太太。”(北京出版社,201頁)

 

306頁,札周吉父暉《金陵瑣事》:“卷下:‘山人黃白仲之璧,自負其才,傍無一人。宋西寧延爲記室。偶過內橋,聞乞兒化錢之聲悲切,遂謂之曰:“如此哀求,能得幾何?若叫一聲太史公爺爺,當以百錢嘗汝。”乞兒連叫三聲,白仲探囊中錢,盡以與之,一笑而去。乞兒問人云:“太史公是何物,值錢乃爾?”’”

 

按,此事亦見馮夢龍輯《古今譚概·癡絶部》、許自昌《樗齋漫録》卷八,皆作“山人某”,蓋故隱其名。張岱《快園道古》卷十五亦載之,或本於馮書也。

 

446頁,札齊學裘《見聞隨筆》:“卷二十四‘俞理初’。謂理初過荆溪訪齊,款留小飲,‘自言苦無書讀,《四庫全書》、《道藏》、內典皆在胸中,國初以來家世、科墨,背誦如流。爲齊刻二小印甚工’。按戴文節《習苦齋筆記》云:‘余識理初,年六十矣,口所談者皆游戲語,遇於道則行無所適,東南西北無可無不可。至人家,談數語,輒睡於客座間。’云云。此二事未見有引者,王立中與蔡元培合作《理初年譜》亦不及。”

 

按,此二事,周作人《關於俞理初》(收入《秉燭談》)引之,周文作於1936年。周引《習苦齋筆記》云:“理初先生,黟縣人,予識於京師,年六十矣。口所談者皆游戲語,遇於道則行無所適,東南西北無可無不可。至人家,談數語,輒睡於客座。問古今事,詭言不知,或晚間酒後,則原原本本,無一字遺。予所識博雅者無出其右。”鄧之誠《骨董瑣記》卷七“俞理初著述”條亦引之,首句作:“予識理初先生於京師,年六十矣。”《骨董瑣記》於1926年印行,故不能襲周也。《習苦齋筆記》頗不經見,《中文筆記》中未見其筆記,《管錐編》、《談藝錄》及《容安館札記》等亦未見徵引,疑錢先生未讀此書,乃從《骨董瑣記》轉引耳。

 

499頁,札《全漢三國晉南北朝詩》:“吳聲歌曲。《冬歌》:‘何必絲與竹,山水有清音。’”

 

按,此左思名句也。見丁書晉詩卷四、逯書晉詩卷七。《梁書·昭明太子傳》:“性愛山水,於玄圃穿築,更立亭館,與朝士名素者遊其中。嘗泛舟後池,番禺侯軌盛稱‘此中宜奏女樂’。太子不答,詠左思《招隱詩》曰:‘何必絲與竹,山水有清音。’侯慚而止。”(中华书局本,168页;亦见《南史》)可證。不摘於左思(496-497頁)下,而摘於此,蓋失記也。

 

500頁,札《全漢三國晉南北朝詩》:“(鮑照)《擬行路難十八首》(晉宋七言最佳之作)第一首:‘奉君金巵之美酒,瑇瑁玉匣之雕琴。七彩芙蓉之羽帳,九華蒲萄之錦衾。’此山谷《送王郎》所本,前人未指出。”

 

按,此事前人已指出。宋趙與峕《賓退錄》卷四:“鮑明遠《行路難》首云:‘奉君金巵之美酒,瑇瑁玉匣之瑤琴,七綵芙蓉之羽帳,九華蒲萄之錦衾。’黄魯直《送王郎》:‘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。’正用其體。”(中華書局本,73頁)明郭子章《豫章詩話》、謝榛《詩家直說》亦皆言之。後來《談藝錄》(補訂本)云:“《送王郎》云云,天社未注句法出處。胡仔《苕溪漁隱叢話》前集卷二十九謂仿歐公《奉送原父侍讀出守永興》:‘酌君以荆州魚枕之蕉,贈君以宣城鼠鬚之管’等語。孫奕《示兒編》卷十謂顧況《金璫玉佩歌》云:‘贈君金璫大霄之玉佩,金鎖禹步之流珠,五嶽真君之祕籙,九天文人之寶書’,山谷仿作云云;晁無咎仿作《行路難》云:‘贈君珊瑚夜光之角枕,玳瑁明月之雕牀,一繭秋蟬之麗縠,百和更生之寶香。’按胡孫二說皆未探本。鮑明遠《行路難》第一首云:‘奉君金卮之美酒,瑇瑁玉匣之雕琴,七彩芙蓉之羽帳,九華蒲萄之錦衾’,晁作亦名《行路難》。歐黃兩詩又皆送人遠行,蓋均出於此,與顧歌無與。宋趙與時《賓退録》卷四謂黃詩正用鮑體,明謝榛《四溟山人集》卷二十三《詩家直說》及郭子章《豫章詩話》卷三亦謂本鮑詩而加藻潤,是矣。”(中華書局本,7頁)據此,知其早年札記,闇合於古人也。

 

512頁,札《劉賓客文集》:“《馬嵬行》:‘貴人飲金屑,倏忽蕣英暮。’則是楊妃吞金死,非自經也,與《新唐書》、《長恨歌》異。按《隨園隨筆》卷二十三亦云此。”

 

按,此說不足據。蔣禮鴻《義府續貂》(增訂本)“楊妃飲金屑”條:“《隨園隨筆》卷二十三云:‘楊妃縊死,新舊《唐書》、《通鑑》均無異詞;惟劉禹錫《馬嵬》詩云:“貴人飲金屑,倏忽舜英暮。”似貴妃之死乃飲金屑,非縊也。’案:《通鑑》魏明帝景初二年:‘初,〔公孫淵〕兄晃爲〔淵叔父〕恭任子,先淵未反,數陳其變,欲令國家討淵。及淵謀逆,帝不忍市斬,……遣使齎金屑飲晃及其妻子,賜以冠衣,殯斂於宅。’又晉惠帝永康元年:‘相國倫矯詔遣尚書劉弘齎金屑酒,賜賈后死於金墉城。’是則魏、晉故事,貴近、后妃賜死例飲金屑,云飲金屑,猶云賜死。夢得詞人,援故實以爲言,固非實飲金屑也。由詞義學者言之,則爲詞義之擴大耳。隨園之說,一何固哉!”(中華書局本,155頁)

 

531頁,札《湖海文傳》:“朱筠《與賈雲臣論史記書》論‘史記’由來已舊,非某書名,而爲某類書名,今之《史記》原名《太史公書》。”

 

按,朱書見《笥河文集》卷八,爲乾隆二十一年(1756)作,蓋最早發此說者。錢大昕《廿二史考異》之“太史公書”條(《考異》之撰,始乾隆三十二年),必本於此。《中文筆記》第二冊406頁札光聰諧《有不爲齋隨筆》:“錢辛楣《考異》言《史記》元稱《太史公》,歷引諸書,漏引《法言·問神篇》、《君子篇》、《晉書·劉殷傳》(‘一子授《太史公》,一子授《漢書》’)、《魏書·崔鴻傳》(‘談、遷著成《太史》’),《後漢·班彪傳》‘司馬遷著史記’是泛言作史,故下文又云‘《太史公書》’。《漢書·五行志》引‘史記成公十六年’云云,出《周語》,謂之‘史記’,亦是泛言。顏注誤爲司馬遷撰,其實《魯、晉世家》皆無此文。《周本紀》云:‘太史伯陽讀史記’;《陳杞世家》云:‘孔子讀史記’;《十二年表》云:‘孔子西觀周室,論史記舊聞’;《老子列傳》云:‘史記周太史儋見秦獻公’。劉知幾云:‘遷因舊目,名之《史記》。’上句是而下句失攷。”又云:“《復堂日記》卷八論此書云:‘樸至充博,兼綜四部,此之謂細心讀書。擬之其鄉,在《援鶉》之上。’”《管錐編》論《史記·太史公自序》云:“《考證》:‘錢大昕曰:“案《太史公》以官名書,桓譚、《漢·志》、《後漢·范升傳》、《楊終傳》俱稱《太史公》,無稱《史記》者。”’按光聰諧《有不爲齋隨筆》卷甲謂錢氏漏引《法言·問神》及《君子》篇、《晉書·劉殷傳》、《魏書·崔鴻傳》等,《後漢書·班彪傳》‘司馬遷著史記’是泛言作史,故下文又云‘《太史公書》’。光氏復引《周本紀》、《陳杞世家》、《十二諸侯年表》、《老、韓列傳》及《漢書·五行志》以駁《史通》言‘遷因舊目,名之《史記》’,謂其‘上句是而下句失考’。光氏書甚贍核,而知者無幾,聊發其幽潛云爾。”(第一冊,394頁)“光氏復引《周本紀》”云云,頗誤讀,蓋《周本紀》、《陳杞世家》等及《漢·五行志》,皆錢大昕《廿二史考異》所舉者,光氏復述之而已,錢先生殆未细勘《考異》也。

 

 

 

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王培軍《四庫提要箋注稿》,上海大學出版社2019年版

 

又按,錢大昕《廿二史考異》卷五“太史公自序”條:“按子長述先人之業,作書繼《春秋》之後,成一家之言,故曰《太史公書》。以官名之者,承父志也。以虞卿、呂不韋著書之例言之,當云《太史公春秋》,不稱《春秋》者,謙也。班史《蓺文志》《太史公》百三十篇,馮商所續《太史公》七篇,俱入《春秋》家,而班叔皮亦稱爲《太史公書》,蓋子長未嘗名其書曰《史記》也。桓譚云:‘遷著書成,以示東方朔,朔皆署曰《太史公》。’署之者,名其書也。或者不察,以‘公’爲朔尊遷之稱,失之遠矣。《周本紀》云‘太史伯陽讀史記’,《陳杞世家》云‘孔子讀史記’,《儒林列傳》云‘孔子因史記作《春秋》’,《十二諸侯年表》云‘孔子西觀周室,論史記舊聞’,又云‘左邱明因孔子史記,具論其語,成《左氏春秋》’,《老子列傳》云‘史記周太史儋見秦獻公’云云,《天官書》云‘余觀史記,考行事’,此篇云‘史記放絶’,又云‘紬史記石室金匱之書’,皆指前代之史而言。班史《五行志》所引‘史記’,亦非《太史公書》。《楊惲傳》‘惲始讀外祖《太史公記》’,初不云《史記》。又考《漢書·宣元六王傳》‘東平王宇上疏求《太史公書》’,‘大將軍王鳳言《太史公書》有戰國策(按策字衍)縱橫權譎之謀’;《揚雄傳》‘太史公記六國,歷楚、漢,訖麟止,不與聖人同’;《敍傳》‘東平思王以叔父求《太史公》、諸子書,大將軍白不許’;《後漢書·竇融傳》乃賜融以外屬圖及《太史公·五宗、外戚世家》、《魏其侯列傳》;《范升傳》‘難者以《太史公》多引《左氏》,升又上《太史公》違戾五經、謬孔子言及《左氏春秋》不可錄三十一事’;《陳元傳》‘博士范升等議奏《左氏春秋》不可立及《太史公》違戾凡四十五事’;《楊終傳》‘受詔刪《太史公書》爲十餘萬言’,皆不云《史記》。《史記》之名,疑出魏、晉以後,非子長著書之意也。《後漢書·班彪傳》有司馬遷著《史記》之語,此范蔚宗增益,非東觀舊文。”

 

又按,劉師培《左盦集·外集》卷八《古學出於官守論》:“三代之時,以尊祖敬宗爲重典,故以先例爲最重,載之文字謂之法,藏之故府謂之書,是即一代之政典,亦即一代之史册也。故當此之時,有官史而無私史。《史記·周本紀》云:‘周太史伯陽讀史記曰:“周亡矣。”’又《陳杞世家》云:‘孔子讀史記至楚復陳,曰:“賢者楚莊王,輕千乘之國而重一言。”’又《十二諸侯年表》:‘孔子西觀周室,論史記舊聞,興於魯而次《春秋》。《三國志·蜀·秦宓傳》:‘書非史記、周圖,孔子不采。’魯君子左丘明,故因孔子史記,具論其語,成《左氏春秋》。’《六國表》:‘秦既得意,燒天下《詩》、《書》,諸侯史記尤甚,爲其有所刺譏也。《詩》、《書》所以復見者,多藏人家,而史記獨藏周室,以故滅。惜哉。獨有秦記,又不載日月,其文略不具。’《老莊申韓列傳》:‘史記周太史儋見秦獻公曰:“始秦與周合而離,離五百歲而復合,合七十歲而霸王者出焉。”’《太史公自序》:‘談爲太史公,執遷手而泣曰:“余死,汝必爲太史。自獲麟以來,四百有餘歲,而諸侯相兼,史記放絶。余甚懼焉。”卒三歲而遷爲太史令,紬史記石室金匱之書。’然則史記乃古代史官紀載之通名,故子長之書,仍稱《史記》。山陽丁氏壽昌曰:《漢·藝文志》稱《太史公書》,不稱《史記》,觀馮商續《太史公》可見。稱爲《史記》,或始於漢以後。又云:《東平王蒼傳》亦言‘求《太史公書》’,是東漢不稱《史記》。夫子長之書稱《史記》,自是後人所題,然史記之名,則春秋前已有之,蓋列國之史,撰記列國之事也。《抱朴子·論仙篇》亦稱《太史公書》。《史記·燕世家》云:‘今王喜立。’此必沿燕史記舊文,而失於改易,六國史記原文見於史遷書者,此爲最顯。至於《竹書紀年》,即魏史記,然多後人竄易,非其原文。《周書》有《史記解》。此皆列國之史記也。非惟列國有之也,即上古亦然。《史記·大宛列傳》贊引《禹本紀》,言河出崑崙,與《爾雅·釋地》同,疑《釋地》即用《禹本紀》。足證史册之書,起原甚古,且足證古代記事之書,皆史官所記,此亦古學出於史官之一證也。”(凤凰出版社本《劉申叔遺書》,下冊1488頁)

 

又按,此一大節,實剽自劉寶楠。寶楠《愈愚錄》卷四“史記”條:“《周本紀》:‘周太史伯陽讀史記曰:“周亡矣。”’《陳杞世家》:‘孔子讀史記至楚復陳,曰:“賢哉楚莊王,輕千乘之國而重一言。”’又《十二諸侯年表》:‘孔子西觀周室,論史記舊聞,興於魯而次《春秋》。《三國志·蜀·秦宓傳》:‘書非史記、周圖,仲尼不采。’魯君子左丘明,故因孔子史記,具論其語,成《左氏春秋》。’《六國表》:‘秦既得意,燒天下《詩》、《書》,諸侯史記尤甚,爲其有所刺譏也。《詩》、《書》所以復見者,多藏人家,而史記獨藏周室,以故滅。惜哉,惜哉。獨有秦記,又不載日月,其文略不具。’《老莊申韓列傳》:‘史記周太史儋見秦獻公曰:“始秦與周合而離,離五百歲而復合,合七十歲而霸王者出焉。”’《太史公自序》:‘談爲太史公,執遷手而泣曰:“余死,汝必爲太史。自獲麟以來,四百有餘歲,而諸侯相兼,史記放絶。余甚懼焉。”卒三歲而遷爲太史令,紬史記石室金匱之書。’然則史記乃自古史官紀載之通名,故子長之書,仍稱史記。丁氏壽昌曰:《漢·藝文志》稱《太史公書》,不稱《史記》,觀馮商續《太史公》可見。稱爲《史記》,或始於漢以後。又云:《東平王蒼傳》亦言求《太史公書》,是東漢不稱《史記》。案子長之書稱《史記》,自是後人所題,而史記之名,則春秋前已有之,蓋列國之史,撰記列國之事也。《燕世家》:‘今王喜立。’此必沿燕史記舊文,而失改易。六國史記原文見於史遷書者,此最明顯。至於《竹書紀年》,即魏史記,然多後人竄易,非其原文。《周書》有《史記解》。”此條後又有“禹本紀”一條云:“《史記·大宛列傳》:‘太史公曰:《禹本紀》言河出崑崙。’案此文見《爾雅·釋地》云:‘河出崑崙虚。’又云:‘自《釋地》以下至九河,皆禹所名也。’疑《釋地》皆用《本紀》文。王伯厚據《三禮義宗》引《禹受地記》,王逸注《離騷》引《禹大傳》,疑即《禹本紀》。”(據《北京圖書館古籍珍本叢刊》本,第69冊738-739頁)此與前引師培文,字句幾全同,所異者不過數字。近人傳云師培書多竊其父祖著述,據此一事觀之,亦非不可能也。寶楠所徵引之篇,唯多《六國表》一事,其他皆錢大昕所引者,蓋亦暗本《考異》。所引丁氏“《東平王蒼傳》亦言求《太史公書》”,且大謬,求《太史公書》者爲西漢東平王宇耳,東漢之東平王蒼無此事,寶楠亦未能正之,師培更無論矣。而《有不爲齋隨筆》中所增數事,補錢氏之所不及,實屬難能,錢先生許之爲“贍核”,亦是也。

 

又按,陳垣《書十七史商榷第一條後》:“《漢志》稱司馬遷書爲《太史公》,不稱《史記》也。《漢書》所稱‘史記’,皆謂古史所記,不專指司馬遷書。司馬遷書所稱‘史記’,如《周本紀》言太史伯陽讀史記,《十二諸侯年表》言孔子論史記舊聞,《陳杞世家》言孔子讀史記,亦皆指古史。錢竹汀《史記考異》五《太史公書》條曾詳論之;《漢書考異》二又曾歷舉班書《五行志》所引‘史記’凡十餘條,多不見於司馬遷書,知‘史記’二字,在班志以前,爲古史通名,東漢以後,始以爲司馬遷書之專名也。”(《陳垣全集》第七冊,684-686頁;此文刊於1946年10月16日《大公報·文史週刊》第一期)援菴之訂王鳴盛,亦全本錢氏《考異》,而亦不知有朱氏《與賈雲臣書》、光氏《有不爲齋隨筆》也。

 

543頁,札陸以湉《冷廬雜識》:“王羲之、獻之、靖之、悅之四世以‘之’字名。王廙之、胡之、茂之、裕之、瓚之、秀之,及彪之、臨之、納之、准之、輿之、進之,六世同名。二事已見《隨園隨筆》十八、又《弇州四部稿》卷一六二。《孔氏雜說》卷一已發此緒。”568頁,札《隨園隨筆》:“卷十六‘避諱可笑’:以至父名晉,子不得舉進士;父名臯,子不得於主司高姓門下登科;父名龜,子爲主司,黜歸姓者;父名岳,終身不聽樂。宜乎孫休八子,有图片之名;梁之四公子,有仉䨲之號矣。六朝避諱苛嚴,而王羲之四代同名,王彪之六代同名,何也?”

 

按,“何也”云云,非袁枚語,乃錢先生所加。蓋其於此有疑,不能解也。此事近人多有討論,而以陳寅恪之說,最爲新奇。陳垣《史諱舉例》卷五“南北朝父子不嫌同名例”:“晉王羲之子知名者五人:曰玄之,凝之,徽之,操之,獻之。徽之子楨之,獻之嗣子靜之。祖孫父子,皆以之爲名,不以爲嫌也。”“此南北朝風也,或者不察,則以爲異也。”(《陳垣全集》,第七冊86-87頁)此陳垣之說也。陳寅恪《天師道與濱海地域之關係》:“六朝人最重家諱,而‘之’‘道’等字則不在避之列,所以然之故雖不能詳知,要是與宗教信仰有關。”《魏書司馬叡傳江東民族條釋證及推論》:“陶侃後裔亦多天師道之名,如綽之、襲之、謙之等。又襲之、謙之父子名中共有‘之’字,如南齊溪人胡廉之、翼之、諧之三世祖孫父子之例,尤爲特證。吳氏《晉書斠注》轉疑其有誤,蓋未思晉代最著之天師道世家琅邪王氏羲之、獻之父子亦同名‘之’也。”《崔浩與寇謙之》:“此傳(指《北史·寇讚傳》)載謙之之名少一‘之’字,實非脫漏,蓋六朝天師道信徒之以‘之’字爲名者頗多,‘之’字在其名中,乃代表其宗教信仰之意,如佛教徒之以‘曇’或‘法’爲名者相類。東漢及六朝人依《公羊春秋》譏二名之義,慣用單名。故‘之’字非特專之真名,可以不避諱,亦可以省略。六朝禮法最重家諱,如琅邪王羲之、獻之父子同以‘之’字爲名,而不以爲嫌犯,是其最顯著之例證也。”(三聯書店本《金明館叢稿初編》,9頁、93頁、121頁)此陳寅恪之說,一再言之,蓋亦自喜其新創也。而胡適不同意。胡適《與楊聯陞書》(1956年3月7日)云:“寅恪曾說,凡名有‘之’字尾的,往往是信奉天師道的人家。我頗不以爲然,晉、宋、齊、梁間人許多道教徒皆不用‘之’字尾,而有‘之’字尾的人往往不是奉天師道的人家。(寇謙之則是反天師道的!)”“王莽以下,三百多年中,人皆單名,至晉猶然。從單名變雙名是漸變的。漸變的歷程中,單名加一‘之’字尾是一個很早的步驟,其起原似是大家人家子弟的‘小名’,‘羲之’‘獻之’等於‘阿羲’‘阿獻’,其音在當時略如‘羲的’‘獻的’。此類‘之’字只是詞尾,無詞性可說。……如‘之’尾之名,皆起於家常‘叫名’,是慣常或親昵的小名。晉人二名,以‘之’字尾之名爲最大多數,其‘之’字尾上之字往往不是動詞,故不可看作止詞,只可看作無意義的尾聲,如‘羲之’,‘彪之’,‘劉牢之’,‘劉驎之’,皆只是‘阿彪’‘阿驎’而已。(二名之風漸開,在四世紀。即王羲之時代。其時之二名,‘之’字尾外,尚有‘子’尾,如司馬道子、劉涓子。)”(胡適紀念館編《論學談詩二十年:胡適楊聯陞往來書札》,297-298頁;另300頁、303頁、330頁、336頁、345頁,亦讨论及之,可以參觀)

 

又按,蕭遙天《中國人名的研究》第56-60頁論魏晉人名用“之”字,舉例尤夥,其中有云:“幾年前曾讀王瑤先生一篇論魏晉文人生活的文章,他疑這是天師道組織中用於名字的暗記。”(國際文化出版公司,69頁)而亦不以爲然。王本陳寅恪說,其《中古文學史論·文人與藥》云:“顧愷之被人稱作癡絶,大概也是服食的原因。(凡姓名末字爲‘之’字者,多爲天師道,詳見陳寅恪先生《天師道與濱海地域之關係》一文。)”(商務印書館本,171頁)蕭氏誤記耳。

 

550頁,札《韋江州集》:“蘇州詩中可見身世,詳見《西溪叢話》卷下。”“《李元賓集》有代人上韋蘇州二書,刺韋褊急躁露,《池北偶談》錄之。又《茶香室續鈔》卷三。”

 

按,此據《四庫提要》。《提要》卷一百五十《韋蘇州集》:“應物京兆人,新、舊《唐書》俱無傳。宋姚寬《西溪叢話》載吳興沈作喆爲作補傳,稱應物少游太學云云。”“李觀集有上應物書,深言其褊躁。”《池北偶談》卷十九“韋蘇州”條:“李元賓集有代人上韋蘇州書二篇,刺韋褊急躁露,殊不類其爲人,今錄於左。”《提要》蓋本《池北偶談》也。二書見《李元賓文集》外編卷一,題爲《代彝上蘇州韋使君》、《代李圖南上蘇州韋使君論戴察書》。陳沆《詩比興箋》卷三以爲此韋使君亦非詩人韋蘇州,《提要》誤也。

 

553頁,札《孟浩然集》:“《示孟郊》一首,謂‘高深意’世不能知,勸其‘保靜節’,可救《懊惱吟》之躁進。”

 

按,此誤。《示孟郊》:“當時高深意,舉世無能分。鍾期一見知,山水千秋聞。爾其保靜節,薄俗徒云云。”所指爲此。《懊惱吟》爲孟郊詩。惟二孟時代不相及,孟浩然卒於740年,孟郊生於751年,即浩然卒後之第十一年,浩然固不得識郊,故《示孟郊》非浩然作也。此事前人已經指出。陸遊《渭南文集》卷三十一《跋孟浩然詩集》云:“此集有《示孟郊》詩,浩然開元、天寶間人,無與郊相從之理,豈其人偶與東野同姓名邪?”嚴羽《滄浪詩話·考證》亦云:“孟浩然有《贈孟郊》一首。按東野乃貞元、元和間人,而浩然終於開元二十八年,時代懸遠,其詩亦不似浩然,必誤入。”《全唐詩》卷一百五十九錄此詩,題下注亦云:“按浩然與郊,年代邈不相及,詩題疑有謬誤。”《四庫提要》卷一百四十九《孟浩然集》云:“洪邁《容齋隨筆》嘗疑其《示孟郊》詩,時代不能相及。”《容齋隨筆》中無此事,館臣誤記,而謂二人不相及,則不虚也。

 

553頁,札《高常侍集》:“《思益堂日札》卷六攷定集中《重九》七律乃宋程俱詩,俱自注引高《九日》七古云云,可證。”

 

按,《四库提要》早考此事,《思益堂日札》本之。《提要》卷一百四十九《高常侍集》:“又《九日》一詩,見宋程俱《北山集》,毛奇齡選唐人七律,亦誤題適作,此本不載,較他本特爲精審。”是也。

 

580頁,札《越縵堂日記》:“三十二冊。五年四月二十七日論曹籀釋‘中’爲男私象形字,頗有據,惜未能援古義作證。《逸周書·武順解》云:‘人有中曰參,無中曰兩,男生而成三,女生而成兩。五以成室。’”

 

按,此處所摘《日記》,原文作:“曹籀《籀書》二卷,……有釋中字者一首,以中爲男子之私,象形字,人尤以爲怪異。余謂此實有據,惟籀不能援引,其所言多妄耳。”後來《管錐編》論《周易》泰卦,即略本之:“《逸周書·武順解》:‘人有中曰參,無中曰兩,……男生而成三,女生而成兩’,謝墉注:‘皆下體形象’;曹籀《古文原始》據此遂謂《說文》‘中、和也’之‘和’字乃‘私’字之譌。則非人面之‘人中’,而如《通志·六書略》五《論象形之惑》所釋‘厶’、‘了’二字,略同西方舊日惡謔之‘人中’。”(第一冊16頁)《籀書》凡八卷,并無釋中字之篇,曹說惟見《古文原始》,越縵蓋誤記。

 

595頁,札《周書》:“卷十八:(王羆)‘性儉率,嘗有臺使,爲設食,使乃裂其薄餅緣。羆曰:“耕種收穫,其功已深。舂爨造成,用力不少。乃爾選擇,當是未飢。”命左右撤去之。’”

 

按,《癸巳類稿》卷十三《書朝野僉載後》:“此書止三卷,似從《太平廣記》所載復錄出者。其記英公爲鄉人設餅,兼及宇文朝王羆事,極可爲世法。王羆事載《周書》。客裂餅緣,止是未饑,正當命左右撤去,不與食。又割瓜皮太厚投地,真輕薄人作達體態。惜兩《唐書·英公傳》皆不載。又《唐闕史》有一條云:鄭澣爲河南尹,一從孫來謁,求一尉,澣召與會食,有蒸餅,鄭孫去其皮而食之。鄭大嗟,怒曰:‘皮之與中,何以异也。仆嘗病澆態譌俗,驕侈自奉,謂子力田敝衣,必知艱難,奈何浮澆甚於綺紈乳臭兒!’因引手請所弃者,鄭孫錯愕失據,器而奉之,鄭盡食之。遂揖出,贈五縑,遣之歸。其事亦佳。兩《唐書》亦不載。《獨醒雜志》亦有一事云:王荆公子婦之親蕭氏子至京師謁公,公約之飯,惟啖胡餅中間少許,留其四旁。公顧取自食之,其人愧甚而退。安石此事可喜,幾與王羆、李勣、鄭澣同,而《宋史·安石傳》亦不載。或王雱生嫁其婦龐氏,安石憎龐氏親,因誣之,非實事。史惟記羆事,其傳李勣、鄭澣者,以此事爲非要,不知此事可知風俗及其人識度,若遇左丘明、司馬遷、班固必謹記之矣。”(《俞正燮全集》第一冊,645-646頁)焦循《里堂家訓》卷上:“唐人高彦休《唐闕史》載鄭澣一事云:‘尚書鄭澣尹正圻南日,有從父昆弟之孫來謁者,力農自贍,未嘗干謁,拜揖甚野,冠帶亦古。鄭公之子弟僕御多笑其疎質,公心獨憐之。將致書於郡守與一尉,將行之前一日,召甥姪與之食,會有蒸餅,鄭孫搴去其皮,然後食之。公大嗟,怒曰:“皮之與中,何以異耶?僕常病澆態譌俗,思得以還淳返樸,故憐子力農弊衣,謂必能知稼穡之艱難,奈何浮囂有甚綺紈乳臭兒耶?”因引手索所棄餅表。按:餅表謂所搴去餅外之皮也。鄭孫錯愕失據,器而承之,公則盡食所棄,斥歸鄉里。’又曾敏行《獨醒雜志》云:‘王荆公在相位,子婦之親蕭氏子至京師謁公,公約之飯。酒三行,初供胡餅二枚,蕭啖餅中間少許,留其四旁。公顧取自食之,其人愧甚而退。’余見今市井兒食餅,頗有如是者,或共食必檢擇其善者,余每見,深惡之。錄此二條,以戒後人。”(《焦循雜著九種》,上冊7-8頁)

 

599頁,札《北齊書》:“卷三十三:‘武成生齻牙,問諸醫。鄧宣文以實對,武成怒而撻之。問之才,之才拜賀曰:“此是智牙,生聰明長壽。”’”

 

按,中國人言及智齒,此爲最早。西方則亞里士多德《動物志》也(吳壽彭譯《動物志》:“人類最後生成的齒,是稱爲‘智齒’(wisdom teeth)的臼齒;無論男女,智齒均在二十歲時茁生。曾見有些特例,八十高齡的老婦,在生命正將終了的時候却茁生了智齒,這智齒的情況是很痛苦的;男人也曾有相似的實例。”商務印書館本,66頁)。

 

620頁,札周煇《清波雜志》:“卷八:‘故人相逢,不吉則凶。’卷九:胡安定云:嫁女須勝吾家,娶婦須不若吾家。庶幾欽戒,必能執婦道。”

 

按,《管錐編》論《史記·陳涉世家》:“《西京雜記》卷二記公孫弘起家爲丞相,舊交高賀從之,怨相待之薄,曰:‘何用故人富貴爲!’揚言弘之矯飾,弘歎曰:‘寧逢惡賓,不逢故人!’則微時舊交,正復難處,富貴而相忘易交,亦有以哉。”(第一冊,294-295頁)《圍城》:“父親捻着鬍子笑道:‘鴻漸,這道理你娘不會懂了——女人念了幾句書最難駕馭。男人非比她高一層,不能和她平等匹配。所以大學畢業生才娶中學女生,留學生娶大學女生。女人留洋得了博士,只有洋人才敢娶他,否則男人至少是雙料博士。鴻漸,我這話沒說錯罷?這跟“嫁女必須勝吾家,娶婦必須不若吾家”,一個道理。’”(人民文學出版社,34頁)

 

 

 

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王培軍、莊際虹校輯《校輯民權素詩話廿一種》,鳳凰出版社2016年版

 

又按,張珮綸《澗于日記》光緒十五年五月二十一日:“‘嫁女須勝吾家者,娶婦須不若吾家者。’安定胡翼之說,世皆以爲名言。余與菊耦閱《清波雜志》及之,因謂菊耦:‘君善持論,試窮此理,以爲當否?’菊耦曰:‘此矯世之言也,非聖賢之言也。夫其所見似與世之求援繫者稍異,然充類盡致,則貴家之女將無可嫁之士,而貧士囗可以乞丐之女爲妻矣。豈理也哉?夫嫁女須勝吾家,娶婦須不若吾家,第以防其驕而已。其婦女平日若教以三從四德,何至入門而驕其尊章,傲其夫婿哉。不清其源、治其本,而於姻戚之家,斤斤計較其貧富貴賤,所見似高而實陋耳。’余曰:‘是吾平日之論,不知何以卿與吾闇合也。試暢言之。聖如孔子,嫁兄女南容,嫁女公冶,一勝於孔氏,一不若孔氏,有何嫁娶之分耶?蹶父嫁女於韓侯,一爲內臣,一爲外臣,門戶相敵,形諸歌詠,有何若不若之別耶?且充嫁女須勝吾家言之,則無論何家淑媛,止可適王侯將相之家,斷無適寒士之理。其時李文定以兄女與孫明復,安定、泰山並開講席,不知何以爲此言也?陋而且隘、不曉事之腐儒從而尊之,但有聯姻高門者即加指目,而世之名公鉅卿,無非肉眼,愛女失時,紛紛於榜下選壻,風氣嚻然,良可鄙笑。陽託於安定之說,曰嫁女須勝吾家也,而其弊乃至於此。’菊耦曰:‘“勝”之一字,包孕無窮,或其德勝,或其才勝,均可。而娶婦以承宗祧,正宜講求門第族望,詎可草草。今安定專就勢分論之,殆非古人婚嫁之法耳。’”(《中國史學叢書》本,第二冊728-730頁)菊耦名經璹,佩綸之繼配、李鴻章之愛女也(參見陳灨一《睇嚮齋秘錄》“張佩綸之工媚”條),而佩綸此論,心勞日拙,使人“如見其肺肝”,可發一噱也。

 

622頁,札葉紹翁《四朝聞見錄》:“甲集:‘胡紘謁考亭於武夷,先生待學子惟脫粟飯,胡不悅,退而語人曰:‘此非人情,只鷄樽酒,山中未爲乏也。’”

 

按,此事亦載《宋史·胡紘傳》(中華書局本,第三四冊12023頁)。《中文筆記》中無《宋史》筆記,蓋未通讀也。《管錐編》僅兩引《宋史》,《槐聚詩存》亦一用《宋史》事,當是“伐材語”。

 

640頁,札《隱秀軒集》:“《潛邱劄記》譏伯敬號‘至性’,而丁母憂歸,枉道游武夷山作記。”

 

按,閻若璩《潛邱劄記》卷一:“竟陵鍾伯敬集,有《遊武夷山記》,攷其時,乃丁憂去職,枉道而爲此。予謂伯敬素稱嚴冷,具至性,能讀書,不應昧禮至此。昔二蘇兄弟居喪,禁斷詩文,再期之内,不著一字,陸文安稱爲知禮。何伯敬嚴冷,反不及二蘇之放曠者與。登山何事,聞訃何時,而竟優游爲之邪?予尤怪譚友夏撰《墓銘》,不爲隱避,不爲微詞,反稱其哀樂奇到,非俗儒所能測。噫,三年之喪,天下之通喪也,豈不俗人之所能免與。”(據《清代詩文集彙編》本,第141冊35頁)《中文筆記》第三冊札《潛邱劄記》,有此條(307頁)。錢基博《中國文學史》:“鍾譚者,鍾惺、譚元春也。惺貌寢,羸不勝衣,……其文集不見,睹所爲《遊武夷山記》,……考其時,乃惺丁憂去職,枉道而爲此。昔蘇氏軾轍兄弟去喪,禁斷詩文;再期之內,不著一字。而惺素稱嚴冷,具至性,何乃不如二蘇之放曠者歟?況登山何事,聞訃何時,而竟優遊爲之耶?顧譚元春撰《墓銘》,不爲隱避,不爲微詞,反稱其哀樂奇到,非俗儒所能測。噫!三年之喪,天下之通喪也,豈不俗人之所能免歟?”(中華書局本,下冊888、892頁)即本閻若璩語。

 

652頁,札《傳燈錄》:“卷十四:丹霞天然禪師,天寒焚佛取暖。參觀《野獲編》卷八。又《舊雜譬喻經》卷下(四十六):‘有五道人逢雨雪,過一神寺中宿。舍中有鬼神形象,國人所奉事者。四人言:“今夕大寒,可取是木人燒之用炊。”一人言:“此是人所事,不可敗。”便置不破。鬼自相語:“正當啖彼一人,是一人畏我,餘四人惡,不可犯。”’”

 

按,《艾子雜說》:“艾子行水(疑是於字)塗,見一廟矮小,而裝飾甚嚴。前有一小溝,有人行至,水不可涉,顧廟中,而輒取大王像横溝上,履之而去。復有一人至,見之,再三歎之曰:‘神像直有如此褻慢!’乃自扶起,以衣拂飾,捧至坐上,再拜而去。須臾,艾子聞廟中小鬼曰:‘大王居此爲神,享里人祭祀,反爲愚民之辱,何不施禍患以譴之!’王曰:‘然則禍當行於後來者。’小鬼又曰:‘前人以履大王,辱莫甚焉,而不行禍,後來之人敬大王者,反禍之何也?’王曰:‘前人已不信矣,又安敢禍之?’艾子曰:真是鬼怕惡人也。”(《叢書集成》本)

 

659頁,札《隨園詩話》:“卷九謂鄭板橋詩不工,大奇!板橋固非作手,然《詩話》所采纖兒細子之什,板橋脚指夾筆,當可辦也。”

 

按,是也。《容安館札記》第三四九則:“梁玉繩《瞥記》卷七:‘《十國春秋》:羅隱曰:“我脚間夾筆,可敵數輩。”’”(第一冊561頁)《管錐編》:“《廣記》卷一八四《韋貽範》(出《北夢瑣言》)羅隱曰:“是何朝官!我腳夾筆,亦可敵得數輩”;狂語也,元嘉則實解腳夾筆矣。”(第二冊698-699頁)袁枚《小倉山房詩集》卷八《車中雜憶古人作五六七言詩》之十六:“爭怪江東羅處士,脚間夾筆敵朝官。”(上海古籍出版社本,180頁)亦用此語。

 

【王培軍  上海大學中文系教授】

 

(本文原刊《中國文化》2023年秋季號)

 

 

 

 

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