Weedon Grossmith 自繪 The Diary of a Nobody 插圖
百九十一[1]
王懋竑《白田草堂存稿》二十四卷，是能以義理為考據者，心細眼明，筆舌安詳，稍苦冗衍。詩亦尚議論，板實中偶有清新語，而少腐俗氣，亦難得矣。黃式三《儆居集‧讀子集》卷三〈讀白田草堂集〉：「考核朱子之學未精，如謂《易本義》無邵子之說，《家禮》非朱子作等，皆誤。」
卷三〈盤銘考〉：「《孔疏》謂『沐浴之盤』，非是。〈內則〉記『子事父母』，不過『五日燂湯請浴，三日具沐』，非日日沐浴。洗手之謂『盥』，洗面之謂『頮』。〈內則〉：『鷄鳴，咸盥漱』；『子事父母，面垢，燂潘請靧』。『靧』、『頮』，古今字，是亦非日日頮面者。《大戴禮》武王銘盤曰『盥盤』，當以沃手之器為近。」
〈漢火德考〉：「漢有天下後，仍襲秦舊，為水德。孝文帝時，公孫臣言，當改用土德，色尚黃。其事未行，至孝武帝始用其說。王莽自以黃帝之後，當為土德，而用劉歆說，以漢為火德。後漢重圖讖，以《赤伏符》之文改用火德。班固作志，遂以著之〈高帝紀〉。而後漢人作《飛燕外傳》有『禍水滅火』之語，不知前漢自王莽、劉歆以前，未有以漢為火德者。」按《四庫提要》卷一百四十三即引此文以證《飛燕外傳》之偽，而謂白田「尚以《外傳》為真出伶元」也。
卷六〈恭記聖祖仁皇帝兩事〉：「聖祖嘗問翰林侍讀崔蔚林曰：『朱子之格物，王陽明之格物，二者孰是？』對曰：『朱子不是，王陽明亦不是。』聖祖作色曰：『然則汝說轉是耶？』未幾罷職。」
卷八〈跋歸震川史記〉（考論太僕原本已不可得，今所傳皆非真）。
卷二十一〈和鹿沙自題二安書屋〉：「入門曲折風無力，當牖周遮月小明。」
卷二十三〈秋雨偶作〉：「工夫未到何須說，着力研磨更自疑。莫道文章一小技，晦翁親校簡齋詩。」
〈與近也敏伯〉：「憔悴自憐心未死，昏聾還喜舌猶存。」
〈又和念堂〉：「陶韋詩淡都無色，班馬文高不道香。」自注：「少陵每稱陶、謝，謝非陶比也，韋少不及，要可並言耳。後山詩：『濃薰班馬香』，班馬不以『香』論也。」語似少誤，按牧之語，非後山也。議論却是。
〈偶作〉：「不斷虛空流注想，可容罅隙等閒看？」
卷二十四〈偶閱義山無題詩因書其後〉：「暮雨空林繫所思，孤懷脉脉憶前期。胸中不解分明處，可是無題卻有詩。」「何事連篇刺狡童？鄭君箋不異毛公。忽將腐譜翻新曲，疏義遙知脉絡同〈無題詩〉，鄭、衛之遺音，注家以為寓意君臣，此飾說耳。此與狡童刺忽，指意雖疏，脉絡則一也。」「空望瑤臺只淚垂，此中哀怨竟誰知？靈均憔悴江潭上，千古無人續楚詞『託芳草以怨王孫，假美人以喻君子』，義山自言云爾，然其指意遼絕矣，高唐神女，自其淵源所自，不以誣屈子也。」「春蘭秋菊可同時，萬草千花各自奇。若遇少林胡老子，坐君門外得吾皮〈無題詩〉後來多效之者，然轉入香奩，其趨愈下，若是又義山之所不取也。」按言之雖未明悉，已有見於「無題」與「香奩」之異矣。梁晉竹《兩般秋雨盦隨筆》卷五云：「『無題』與『香奩』，界若鴻溝。義山，『無題』也；冬郎，『香奩』也。『無題』不必盡寫情懷，而『香奩』專作膩語。至『閒情』、『風懷』，則指實事也。」謝佩禾《春草堂詩話》卷一云：「『無題』、『香奩』迥別。歐陽紹洛詩云云，『無題』也；王次回詩云云，『香奩』也。」皆未分疏親切。竊謂「無題」重意境，「香奩」重情事，一泛設而可以旁通，一實寫而衹能真指也。前者可謂為 oblique poetry，後者則 direct poetry（參觀E.M.W. Tillyard, Poetry Direct & Oblique, pp. 3-5）。
百九十二[2]
余一九三六年夏始遊巴黎，行篋未携英文小說，偶於舊書肆見 Diary of Nobody，憶在 Hugh
Kingsmill, Frank Harris 中覩其名，始購歸閱之，歎為奇作，絳亦有同好。一九四○年，此書收入 “Everyman’s Library”，而 V.S.
Pritchett 復作文張之 (見 In My Good Books, pp. 87 ff.)，John
Betjeman 謂 T.S. Eliot 亦喜此書 (T.S. Eliot: A Symposium,
compiled by R. March & Tambimuttu, p. 92)，知者稍多矣。近日圓女方取讀，因復披尋，益驚設想之巧。世間真實情事，胥不能出其範圍，即如 Ch. IV
“The Ball at the Mansion House”: “I said, by way of reproof to him: ‘You never
sent to-day to paint the bath, as I requested.’ Farmerson said: ‘Pardon me, Mr
Pooter, no shop when we’re in company, please!’” 正與 Journal des Goncourt 一八五四年一則 “‘Ne
me parlez jamais habits dans la rue, je ne suis tailleur que chez moi!’ J’entends
le tailleur Armand dire cela à Baschet, qui s’était permis, sur un trottoir, de
lui demander où en était une jaquette commandée depuis une quinzaine de jours.”
正同；Ch. V 記 Blackfriars Bi-Weekly News 誤植 “Pooter”
為 “Porter”，去函更正，則又誤作 “Pewter”，與吳達元見《人民日報》載教授宣言簽名誤作「吳逵元」，去函更正，則又誤作「吳達之」何異？
【Walter
de la Mare, Love: “Introduction”: “Immortal
Mr. Pooter & his Carrie, who was another Angel in House.”】
百九十三[3]
L.P. Smith, The Golden Grove: Selected Passages of
Jeremy Taylor.【George Eliot, The
Mill on the
Floss, Bk. I, ch.
iii: Mr Tulliver: “There’s Jeremy Taylor’s ‘Holy Living & Dying’
among ’em; I read in it often of a Sunday” (Mr Tulliver felt somehow
a familiarity with that great writer because his name was Jeremy”).】
XLV: “We do not always remember how
largely our modern love of nature is of theological origin” etc. 按參觀
Havelock Ellis, From Rousseau to Proust,
p. 66: “The love of the wild in Nature received a powerful impetus from
influences associated with the development of primitive Christianity” etc. 積重思返，Schleiermacher 始持異議：“He agrees with Henriette Herz regarding nature as ‘dead
stuff’ ‘exhausted by chemical processes.’ He has little sympathy for any kind
of religion which consisted of awe at the sublimity of nature or an
appreciation of its beauty — ‘a childish way of thinking’” (R.B. Brandt, The Philosophy of Schleiermacher, p.
131). 吾國古代失職不仕者，始知有山水田園之樂。《後漢書‧李膺傳》載荀爽〈貽膺書〉云：「知以直道，不容於時。悅山樂水，家於陽城」云云，此土典籍中，道登臨游觀，莫早於是，而未見稱引。《水經注》卷十一寫陽城淀風物云：「于時行旅過者，亦有慰於羈望矣」；又寫滱水、南山云：「行李所逕，鮮不徘徊忘返矣」；卷十四寫居庸關云：「曉禽暮獸，寒鳴相和，羈官游子，聆之者莫不傷思矣。」與荀爽語相發明，亦見清暉所娛，多為逐臣、游子、遷客。胡震亨撰〈彭宗孟江上雜疏序〉所謂「宦游」、「客游」[4]，一乏「游晷」，一乏「游資」者，皆後世為然。
XXXI 引 Great Exampler, Pt. III: “Lucifer & many Angels, walking upon
the battlements of heaven, grew top-heavy, & fell into the state of devils.”
又 Holy Dying: “They [the fallen angels] grew vertiginous, & fell from the
battlements of heaven.” 按 pp.
179-80: “The prayer of an unchaste person... strives to climb the battlements
of heaven” (XXV Sermons).
P. 10: “Although the beams of the
sun reflected from a marble, return not home to the body & fountain of
light; yet they that walk below, feel the benefit of a doubled heat” (The Great Exampler, Pt. III, Epist.
Dedicat.). 按 p. 87:
“So have I seen the rays of the sun or moon dash upon a brazen vessel, whose
lips kissed the face of those waters that lodged within its bosom; but being
turned back & sent off with its smooth pretences or rougher waftings, it
wandered about the room, & beat upon the roof, & still doubled its heat
and motion” (Holy Dying).
P. 29: “Such was her death that she
did not die too soon; & her life was so useful and excellent, that she
could not have liv’d too long” (Funeral Sermon
for Lady Carbery). 按 p. 49: “He that hath done all his businesse, &
is begotten to a glorious hope by the seed of an immortal Spirit, can never die
too soon, nor live too long!” (Holy Dying).
P. 49: “Such a man must die, when he
ought to die, & be like ripe & pleasant fruit, falling from a fair tree,
& gathered into baskets for the planters use” (Holy Dying). 按 p. 260: “The death of the righteous is like the
descending of ripe & wholesome fruits from a pleasant and florid tree” (The Great Exampler, Pt. III). 此意即 Christian Günther:
“An Gott” 詩所云： “zu
dem Tode reifer warden” (The Oxford Book
of German Verse, p. 43). 然 Paradise Lost, XI, 537: “Gathered, not harshly plucked, for
death mature” (Poetical Works, “Everyman’s
Lib.,” p. 246)，Rilke 亦發明此意 (J. Bithell, Modern
German Lit., pp. 180-1)，至 Kleist 而大明：“Zum Tode war ich nie so reif als jetzt.” (Penthesilea, 1682); “Ganz reif zum Tod, O
Diana, fühl’ ich mich!” (Ibid.,
2865); “Meine Seele... zum Tod ganz reif geworden ist” (Kleists Werke, hrsg. Schmidt, Bd. V, S. 433). Taylor 論死多，足與 Novalis, Kleist, Hölderlin 相發明【第七百一則】。Shakespeare, Antony
& Cleopatra, V, ii, 296 ff.: “The stroke of death” etc. Keats: “I have
two luxuries to brood over in my walks, your loveliness & the hour of my
death. O that I could have possession of them both in the same minute” (Letters, ed. H.E. Rollins, no. 178 to
Fanny Brawne, vol. II, p. 133); “Ode to a Nightingale”: “Now more than ever
seems it rich to die.” Leopardi, Canti,
XXVII, “Amore è Morte”: “Bella morte, pietosa” (The Poems, ed. G.L.
Bickersteth, p. 298). J.M.
Barrie, Peter Pan, Act. III: “To die
will be an awfully big adventure.” E. & J. de Goncourt, Journal, Éd.
déf., III, p. 119: “Des hommes sont tentés par la mort comme par une dernière
aventure.” Walt Whitman: “Memories of President Lincoln”, St. 14: “Come lovely &
soothing death” etc. Horace Traubel, With
Walt Whitman in Camden, IV, p. 89: “Death is like being invited out to a
good dinner.” 又第二百五十三則。
P. 116: “Upon the most beauteous
face is plac’d one of the worst sinks of the body” (Unum Necessarium). 按 p. 70: “Upon the fairest face is placed one of the
worst sinks of the body, the nose” (Holy Dying).
P. 83 ff. 論
Sickness 語，參觀第二十五則。
P. 124: “He that had an ill memory
did wisely comfort himself by reckoning the advantages he had by his forgetfulness...
Every book is new to an ill memory” (XXV
Sermons). 按 p. 272 註謂此本 Montaigne, Essais,
I, ix，是也。Cicero, De
Finibus, II, 32 載 Themistocles
語：“[Artem] oblivionis mallem; nam nemini etiam quae
nolo, oblivisci non possum quae volo” 早發其意。L.P. Smith, Reperusals
& Re-collections, p. 3 引 Mme de Sévigné:
“C’est un plaisir, que de n’avoir point de mémoire” 及
Montaigne 語，却未及 Taylor 此節，何耶？（此書序言收入 Reperusals & Re-collections, pp. 256 ff.。）
P. 145: “Nothing is more usual, than
to pretend Conscience to all the actions of men... And so Suspicion, & Jealousy,
& Disobedience, & Rebellion, are become Conscience”
(Ductor Dubitantium). 按精微語。Butler 論良心云：“Had it strength, as it has right; had it power, as
it has manifest authority, it would absolutely govern the world” (Sermons, ed. Gladstone, 1897, vol. II,
p. 55) 尚未透此關。
P. 147: “Virtues & vices have
not, in all their instances, a great landmark set between them, like warlike
nations separate by prodigious walls, vast seas, & portentous hills; but
they are oftentimes like the bounds of a parish” etc. (Righteousness Evangelical). 按此即
Leibniz 論 Law of Continuity 所謂 “régions
d'inflexion et de rebroussement” (The
Monadology & Other Philosophical Writings, Eng. tr. by R. Latta, p. 38)。參觀 Morris R.
Cohen, A Preface to Logic, p. 75: “The
actual coexistence of opposites in the twilight zone”。
P. 194 論
Superstitions 有云：“There is no man more miserable in the world, than
the man who fears God as his enemy” (XXV
Sermons). 按 Daniel
Essertier, Les Formes Inférieures de l’Explication
論迷信與魔術最具創見，有云：“L’espoir et l’amour ne sont pas premiers: il a
fallu que la peur s’apaisât d'abord... Primus
in orbe deos fecit timor” (p. 120). 正可發明。
Pp. 251-3 歷舉 “A man is a
bubble” (Lucian, Charon, C. xix)[5],
“Man is the dream of a shadow” (Pindar, Pyth.,
VIII. 95)【cf. Plutarch, Moralia,
“A Letter of Condolence to Apollonius,” §6: “For what is feebler than a shadow?
And a dream of it!” (Loeb, II, p. 12)】, “Our life is but a vapour” (St. James, IV. 14)。按《金剛經》「六如」之說，已得其四矣［《淨飯王湼槃經》：「世法無常，如幻如化，如熱時炎，如水中月」；《稱揚諸佛功德經》卷上：「一切如夢，如水中月，幻化之法」；《說無垢稱經‧方便善巧品第二》：「是身如聚沫，如浮泡，如陽焰，如芭蕉」（《維摩詰所說經‧方便品第二》甚長）；〈聲聞品第三〉：「一切法性，生滅不住，皆虛妄見，如夢如焰。所起影象，如水中月，如鏡中像」；又〈觀有情品第七〉：「菩薩觀諸有情，如幻師觀所幻事，如觀水中月，觀鏡中像，觀芭蕉心，觀水聚沫，觀空中鳥跡」【「空中鳥跡」不如 Heine, Zur
Geschichte der Religion und Philosophie in Deutschland, Buch II: “aber
dieses Glück war wie der Sonnenstrahl, der den Fittich eines vorüberfliegenden
Vogels vergoldet, es schwand eben so schnell” (Sämtl. Werke, Berlin: Verlag von A. Weichert, Bd. VIII, S. 75) 之妙，與「玉顏不及寒鴉色，猶帶昭陽日影來」用意大異矣。】；《月上女經》卷上：「如幻化，亦如陽焰，如水中月」；《方廣大莊嚴經》卷五：「如水中月，如谷中響，如幻如泡。」參觀《大智度論》卷六〈十喻釋論第十一〉。又「六如」者，乃用鳩摩羅什譯本，真諦、玄奘、義淨、菩提流支四譯皆作「九如」，尚有「如燈」、「如星」、「如雲」，詳見《容齋四筆》卷十三。］Henry King, Sic
Vita 一詩立數十喻 (George Saintsbury, Minor Poets of the Caroline Period, vol. III, pp. 236-7)：“the
wind blows out,” “the bubble dies,” “he dew dries up,” “the rose withers,” “the
sun sets,” “the dream is gone,” “the water glides,” “the lightning is past,” “The
snow dissolves,” “the firework is done,” “the shadow flies”，則露、電、泡、影、夢五者，皆在其列。參觀 Harsdörffer:
“Das Leben des Menschen” 一詩擬之 “Ein
Laub... Ein Staub... Ein Schnee... Ein See... Die Blum... Der Ruhm... Ein
Gras... Ein Glas... Ein Traum... Ein Schaum... Ein Heu... Ein Spreu... Ein
Wasserstrom... Ein Wasserblas... Ein Schatten”; Gryphius, Katharina von Georgien, II, “Das Leben” (M. Wehrli, Deutsche Barocklyrik, S. 53-4) 擬 “Dies Leben” 於 “Die
Blumen... Die Tau... Ein Funck... Ein Schiff... Ein Vogel... Der Schatten... Der
Sturmwind... Die Pfeile” (J. Rousset, La litt. de Page baroque en France, p.
275 引); Erasmus, Adagia,
II, iii, 48: “Homo bulla. Proverbium hoc admonet humana vita nihil esse
fragilius, nihil fugacius, nihil inanius” etc. (Richard Crashaw, Poetical Works, ed. L.C. Martin, 2nd
ed., p. xciv 引，參觀 pp. 216 ff. “Bulla”); Ciro di Pers: “Della miseria
e vanità umana”: “È la vita mortale / vana un’ombra che passa, / lieve un’aura
che fugge; / quasi a’ raggi del sole opposta nebbia, / che tosto si dilegua; /
un lampo che, venendo è già sparito; / un fior, che nato appena, / o lo rode la
greggia” ecc. (G.G. Ferrero, Marino e i
Marinisti, p. 957); Keats: “Sleep & Poetry” (“Stop & consider! Life
is but a day” etc., Poems, Everyman’s
Lib., pp. 40-1); Christina Rossetti: “The World. Self-Destruction” & “Days
of Vanity” (Poetical Works, ed. W.M.
Rossetti, Macmillan, pp. 283, 385); Wm. Drummond: “Madrigal I” (a bubble blown
up in the aire); Francis Quarles: “Hos ego versiculos” (rose, blossom, morning,
sun, shade, etc.) (The Oxford Book of 17th-Cent.
Verse, pp. 253, 339-40)。又 Anthologie de la Poésie Baroque française, I, pp. 9-13 論以泡影水鏡喻世事無常；pp. 45-6, Auvray, La pourmenade de
l’âme devote: “Vapeur, fleur, torrent, songe, ombre, et rien tout ensemble”;
G.R. Weckherlin: “Über den frühen Tod Fräuleins Anna Augusta Marggräfin zu
Baden” 詩以 Tag, Stern, Morgenrot, Seufz 等二十七物為喻 (M. Wehrli, Deutsche Barocklyrik,
3te Auf., S. 33-4) 為最多矣。參觀一百十九則，also Paul Fleming: “Bei einer Leichen” (MLR, April 1976, p. 327)。A Midsummer Night’s Dream, I, i, Lysander 以
sound, shadow, dream, lightning 四者喻男女歡愛之促。
百九十四[6]
陳允衡《詩慰》。此選不知用意所在。錢牧齋〈序〉謂：「萬茂先詩曾累寄余，亂後失去。」朱無易之臣〈序〉謂：「拾虞山之偶遺。」然《列朝詩集》漏而未收，或采而未備者，寧止此數家乎？託始於四溟山人，尤不可解。《四溟集選》尾跋語亦不能自圓其說。偶有議論篇什足資考訂耳。
《謝茂秦詩選》錄《四溟詩話》數則揭集首，於茂秦自舉用「天」字、「燈」字因字得句諸例，頗有加勒帛者。
《林初文章詩選》：按《露書》卷三頗稱道初文詩。曹學佺原〈序〉：「士有才而必用，女有色而必售，則知己不見重，而入宮不見妬矣，得乎哉？」
〈昌平道中〉：「春好年年晚，月寒夜夜秋。」
〈渡江詞〉：「不待東風不待潮，渡江十里九停橈。不知今夜秦淮水，送到揚州第幾橋？」
《吳允兆夢暘詩選》：〈看殘梅歌〉：「樹頭花少樹底多。」
《程孟陽詩選》：〈伏日醉歸柬鄒靜長學憲〉評云：「余嘗以佳墨貽客，客曰：『殊不佳。』從傍叩之，乃硯穢耳。余因悟以墨貽人，須并滌一硯貽之。」
《王亦房留詩選》：〈道中雜詩〉評云：「頗覺非友夏能辦。」
〈不寐〉：「霜遲秋養樹，寒早夜攻人。」
〈初秋志感〉：「病身生死介，鄉夢醉醒中。」
〈初冬客懷〉：「貧士驕人猶勝諂，庸流愛我不如憎。」
〈送費元朗下第歸槜李〉：「欲忘難遣事，但較不歸人。」
《程仲權可中詩選》：〈邢子原太僕見存走答〉：「雨鳴山夢寂，花老旅魂禁。」評云：「湯臨川〈生第五子〉詩：『功名吾不免，兒女婦能禁。』『禁』字妙。」
〈將如金閶〉：「息影猶防日，謀餐屢廢朝。」
〈銅井道中〉：「水沉江畫壁，霜淨雁書空。」
〈旌德道中〉：「曉雲排樹出，清溜篆沙流。」
《萬茂先詩選》：〈月夜滕王閣〉：「沙遙微見白，山杳競為蒼。」
〈悼梅梅踞堂外，今薪矣〉：「身殘猶作焰，終報主人恩。」
〈丙子述懷〉：「冬烘遺恨枉縱橫，天網寧須世上名。笑殺坑儒癡獨絕，不將文字作長平。」
【《水田居存詩》卷二〈舟次蘭坊聞徵君萬茂先歿於中途詩以哭之〉第一首：「遺詩人尚妬，旅櫬路何長。」自注：「茂先有詩十卷，托友梓於白門，聞茂先死，遂匿。」】
百九十五[8]
卓爾堪子任《明末四百家遺民詩》十六卷，子任所撰《近青堂詩》附焉。當時搜輯，為事匪難，迄今代遠書亡，賴此一編徵文考信。以予泛覽，四百家中曾覩全集者，纔三十許人，餘或從選本見一鱗片羽，安知非輾轉掇拾者乎？【《淮海英靈集甲集》卷一記子任「于思大腹，從李之芳征閩，摧堅陷陣」，蓋才兼文武者也。《晚晴簃詩滙》卷五謂子任乃漢軍旗人。】
卷一顧夢遊與治〈高座寺送春〉：「門掩飛花後，春魂不可招。如何方以外，亦共黯然銷？老樹興亡代，長干朝暮潮。馳光無繫處，合付最長條。」
卷四葛一龍震甫〈新豐曉行〉：「爰循疲馬路，漸入遠鷄村。」
王貴一象山〈感懷〉：「自是芰荷難作服，可知榆葉不為錢。」
卷五申涵光鳧盟〈劉雲麓避亂來居郡中〉：「同屬壯年吾較老，共居斯世汝初醒。」
劉城伯宗〈杜宇〉：「血染花成色，魂依鳥化音。」
〈春日漫興〉：「不求甚解書嘗讀，亦欲無言麈豈揮。」
卷六韓畕經正〈雨中送春〉：「綠草疎籬映水濱，清溪寂寂四無鄰。一簾細雨仍飛燕，幾日殘花又送春。多病翻愁今夜酒，傷心如別故鄉人。明年客迹知何在，早向天涯慰苦辛。」
卷十李鄴嗣杲堂〈集世說詩五古十九首〉。〈擬懷詩〉：「坐處微涼鄰川借，朝來新霽寺鐘傳。」
徐芳仲光〈晝寢幼女三齡而慧，夏晝倚臥，樓頭捉戶，咿啞不輟，呵之輒曰：『儂開戶為晝，閉戶為夜，未已又開目為晝，閉目為夜』，予聞色喜，而有此詩〉：「閉目聊成夜，開眸遂入晨。晦明彈指事，老壯隙駒身。月解流連明，花知再四春。最憐流浪處，千古夢相因。」
卷十一徐夜東痴〈富春山中弔謝臯羽〉：「生為信國流離客，死結嚴陵寂寞鄰。」
卷十二韓洽君望〈鐵馬〉【劉繼莊《廣陽詩集》卷下亦有此詩】：「急響中宵發，凌空鐵騎行。不知風信至，頓使旅魂驚。當世正多事，吾儕方苦兵。那堪簷宇下，又作戰場聲。」
卷十四陳忱遐心〈閱羅隱詩〉：「餘杭山水役精魂，末世才人眼界昏。憔悴感恩依尚父，可憐尚父事朱溫詩中稱錢鏐為尚父。」按陳即雁宕山樵，作《水滸後傳》者。
卷十六釋圓信〈天目山居〉：「簾捲春風啼曉鴉，閒情無過是吾家。青山個個伸頭看，看我菴中吃苦茶。」參觀 G. Carducci 寫在
Tirolo 遇雨，枯坐逆旅中情景：“Qua e là notavo anche una montagnetta lontanamente cerulea, che pareva rizzarsi su la
punta de’ piedi, e con gran curiosità riguardava per di sopra a le spalle degli altri monti, probabilmente per veder me.” (E.
Grillo, Italian Prose Writers, p.
540)。
釋行悅〈湘上作〉：「稀紅暗綠滿烟蘿，兩岸湘江黛色多。不知鷓鴣何所見，只言行不得哥哥。」按頗有逸趣，東坡〈和陶詩〉云：「前山正可數，後騎且莫驅。」戴石屏〈會稽山中〉云：「若使山中無杜宇，登山臨水定忘歸。」胡仲弓〈郊外即事〉第一首云：「勿聽鷓鴣行不得，雲山深處路尤長。」朱竹垞〈車盤驛題逆旅主人壁〉云：「曲澗層層響，叢篁個個齊。前山行更好，不信鷓鴣啼」，可參觀。
[4]「彭宗孟」原作「彭字孟」，「江上雜疏」原作「江山雜疏」。
沒有留言:
張貼留言