明刊本《梅花草堂集》
六百五十一[1]
Jack Reynolds, A Sort of Beauty, p. 233, The White Leopard: “Last night American
say very pewty. He say my face not so good, but my ass number one ass in the
world. He say any girl haff face good like my ass, she must be most pewty girl
ever liff — Miss Uni-worse.” Cf. Georges Berr & Louis Verneuil, Miss France, Acte III, sc. ii, M. Guérin:
“Moi!... M. France père! J’ai donné
à la France la plus belle
femme du monde!... Miss Monde!... Miss Terre!... Mon oeuvre!” & Roger
Peyrefitte[2],
Jeunes Proies, p. 213: “Ce pays de
meurt-de-faim [Greece].... peut produire encore, par un sursaut de la race, une
‘Miss Europe’ ou un ‘Mr Univers.’”
Lanfranco Caretti,
Filologia e critica, pp.
18-9: “Il faticoso ricupero di quei materiali, gli ‘scartafacci’, è realemente
utile alla comprensione più piena dell’opera d’arte; quelle più antiche lezioni,
benche abbandonate dall’autore o riassorbite nelle
nuove stesure, possano essere fruttuosamente reinserite nel circuito vitale
dell’opera per meglio mostrarne la genesi, l’ideazione prima, i tentavi e i
modi, dell’ esecuzione.” But cf. Thraliana,
ed. Katharine C. Balderston, I, p. 464, a propos of Pope’s ms. of the Iliad with all its “old Intended Verses,
Sketches, emendations &c.”: “... how very little effect those glorious
Verses at the end of the 8th Book of the Iliad have upon one; when
one sees ’em all in their Cradles & Clouts: and Light changed for bright —
& then the whole altered again, & the Line must end with Night — &
Oh Dear! thus — tort’ring one poor Word a
thousand Ways. Johnson says ’tis pleasant to see the progress of such a
Mind: true; but ’tis a malicious Pleasure, Such as Men feel when they watch a
Woman at her Toilet & see by Degrees
a purer Blush arise. &c.” Cf. 六百三十五則 (Marcel Proust, Temps retrouvé,
II, p. 29; Van Wyck Brooks, Opinions of
Oliver Allston, p. 246).
六百五十二[3]
張大復《梅花草堂集》。明季小品皆出自眉山蘇氏，公安、竟陵無論矣。元長尤傾倒，至畫象以供（卷七〈容安館供奉東坡先生小象告文〉），推為古今一人，其文可與三教聖人之書並傳（卷一〈蘇長公編年集小序〉）【第七二六則論董其昌《《容臺集》》卷二（至以王陽明為蘇學）；馮夢禎《快雪堂集》首有朱鷺〈別序〉云：「先生最喜蘇文忠，為五百年獨知之」；陳眉公《晚香堂小品》卷十一〈蘇長公小品敘〉：「古今文章大家以百數，語及長公，……其人已往，而其神日新；其行日益遠，千古一人而已。……古今文人，一人而已」；王衡《緱山先生集》卷九〈李茂實稿題詞〉記茂實稱子瞻不去口，以為古今一人：「以秦漢為秦漢者，非秦漢也；以子瞻為秦漢，乃真秦漢也」云云，可參觀】。運以八股之機調，綴以《世說》之詞藻，則與鍾、譚為近，而於三袁為遠。若夫紆徐搖曳以取致，又其鄕先生歸太僕之遺教，視三袁之爽利，鍾、譚之峭仄，皆不侔。苦心思不新異，韻致遂亦乏短，東吳不能與西楚抗衡者以此（卷十六〈聞譚友夏沈去疑各解省喜而有作〉云：「西楚已聞懸大呂，東吳復聽奏金鏞」），轉遜《梅花草堂筆談》之耐人尋諷。此《集》在清為呈燬禁書，當是因卷四有〈東征獻獲記〉[4]、〈東征獻伏記〉，卷十五有〈邉捷〉七律，二文一詩耳。二〈記〉采入黃梨洲《明文授讀》卷二十四。
〇卷五〈病居士自傳〉云[5]：「好書及色，然病腎水竭，目昏昏不能視。」按謂因目病而不能讀書品論頭足耳。若意中有張湛「損讀」之方、盧仝「好色喪明」之句，則焉曰「然而」？當曰「以是」矣！觀卷六〈沈親傳〉[6]、卷十六〈懷人詩十一首〉，接識二美，各歌二韻，想見少年好冶遊，目盲之後，故習未除矣。
〇卷十四〈與湯臨川先生書〉第二首云：「乃至傖夫小技，不堪瓿覆，而先生輒借噓雲之義，許以靈秀蜷媚、夭矯凌突之龍，他年腐語消落，玄晏獨存，其為光寵，何可云喻！敝鄉俞氏女，年十三，偶讀先生所演杜麗娘事，適感心疾，把玩四年，手不停批，能以細楷注先生之所不欲言，翼麗娘之所未嘗言，大是奇事，惜乎十七竟夭！某得觀其手澤，曾用副墨托閩中謝耳伯送上，不知必達否？」按此〈書〉前半指《玉茗堂文集》沈際飛選本卷一〈張元長噓雲軒文字序〉，後半即《玉茗堂詩集》卷十〈哭婁江女子〉所云云也。觀《梅花草堂筆談》卷七「俞娘」條，知謝耳伯以副本付浮沉，未嘗示臨川。臨川詩稱「俞二娘」，而《筆談》稱「俞三娘」，《集》卷十三〈題耳受錄〉又稱「俞四娘」，不識何從！卷十六〈醉後題秋花館贈俞一〉自注云：「俞有女繡，醉甚先寢。」當是又一人耳。
〇卷十六〈小寒食〉：「雨絲風片堪消遣，花落鶯啼亦等閒。」按卓人月〈秦淮詩〉云：「雨絲風片有時有，雲黛烟鬟無日無」，《瓶水齋詩話》極稱之。夏存古〈滿庭芳〉詞（中華書局本卷七）云：「聽風絲雨片，落月鳴禽。」[7]王漁洋〈秦淮雜詩〉第一首云：「十日雨絲風片裏，濃春煙景似殘秋」，乃為世詬病惠定宇《漁洋精華錄訓纂》卷五上云：「『雨絲風片』見湯若士樂府」【《柳南隨筆》卷五謂：「《牡丹亭》『雨絲風片』，新城〈秦淮雜詩〉用之，亦是一敗闕」】，不知元長、人月、存古已先用《牡丹亭》語入詩詞矣。惠氏《漁洋菁華錄訓纂補》：「何堂曰：『卓人月〈秦淮竹枝〉：「雨絲風片」云云』；沈大成曰：『元微之〈景申秋〉詩：「雨柳枝枝弱，風光片片斜」，「風片」本此。』」漁洋雖本臨川，實亦承人月。「雨絲風片」語甚尖新，見《牡丹亭》第十折〈驚夢〉。同折尚有「雨香雲片」，則指柳、杜幽媾後斷雲零雨，雖「雨香」有出處（參觀《唐音癸籤》卷十六引楊升菴、陳晦伯說，按升菴語見《升庵全集》卷五十七），未為工妥，視吳梅村〈西江月〉之「臂枕餘香猶膩，口脂微印方鮮。雲蹤雨跡故依然，掉下一牀花片」，靈鈍相去何止三舍！杜樊川〈偶游石盎僧舍〉云：「梅纇暖眠酣，風緒和無力」，乃是「風絲」【張九齡〈自始興谿夜上赴嶺〉云：「深林風緒結」，《詩歸》卷四鍾評云：「『風緒』奇矣，『結』字尤奇」】；元遺山〈沁園春〉云：「拈將詩筆，猶有神通，……看薄批明月，細切清風」，庶幾「風片」也。《樂府羣珠》卷三馬九臯〈折桂令〉亦云：「細切清風，薄批明月。」《湛然居士集》卷一〈和移剌繼先韻〉第三首：「細切清風非異事，更將明月𠜱來薄」；〈和南質張學士敏之見贈〉第四首：「道人受用本無盡，明月薄𠜱細切風。」
六百五十三[8]
A. Lytton Sells, The Italian Influence in English Poetry,
p. 269 論 Michael Drayton “Celestial Numbers” 等詩用意本之 A. Minturno: “Eran le Gratie tre care sorelle... / Ma per favor de le
migliori Stelle, / Perchè dieci le Muse aime e dilette, / Le Gratie quattro e l’alte Dee sien sette,/Una in terra s’aggiunge a
tutte quelle.” 按 Minturno
實取希臘詩中常語敷說而已。The
Greek Anthology, tr.
W.R. Paton (“The Loeb Classical Library”), Bk. V. 70: “With thee, my beloved,
the Graces are four” (vol. I, p. 163); Bk. V. 95: “Four are the Graces, there
are two Aphrodites, and ten Muses” (vol. I, p. 173); Bk. V. 146: “The Graces
are Four” (vol. I, p. 199); Bk. IX. 66: “A tenth Muse [i.e. Sappho]” (vol. III,
p. 35); Bk. IX. 506: “the tenth Muse [i.e. Sappho]” (vol. III, p. 281).
〇Roy
Pascal, The German Novel, p. 127: “We
can best understand an experimental subject by submitting it to extreme tests....
We say: ‘So-and so is a typical grandmother,’ and we mean that she combines in
an extraordinary degree, exceptionally the various qualities which are usually
present only partially in the grandmothers we know. Only the exception is the
type.” 按參觀 T.M. Raysor, ed., Coleridge’s Shakespearean Criticism, vol. II, p. 133: “I appealed
confidently to my hearers whether the closest observation of the manners of one
or two old nurses would have enabled Shakespeare to draw this character of
admirable generalisation [in Romeo &
Juliet]? Surely not. Let any man conjure up in his mind all the qualities
& peculiarities that can possibly belong to a nurse, & he will find
them in Shakespeare’s picture of the old woman: nothing is omitted. This effect
is not produced by mere observation”; Hazlitt, Essays on the Fine Arts (Collected
Works, A.R. Walker & A. Glover, IX, p. 339): “Instead of its being true
in general that the ideal is the
middle point, it is to be found in the extremes;
or, it is carrying any idea as far as
it will go. Thus, for instance, a Silenus is as much an ideal thing as an Apollo, as to the principle on which it is done, viz., giving to every feature & to
the whole form the utmost degree of grossness & sensuality that can be
imagined”; “On Certain Inconsistencies in Sir Joshua Reynolds’ Discourses” (Complete Works, ed. P.P. Howe, VIII,
141): “Ideal expression is not neutral expression, but extreme expression”;
E.F. Carritt, The Theory of Beauty on
“universality” vs. “generality”, pp. 79-90.
〇New Statesman Profiles, p. 215: “His [i.e. Auden’s] beside reading is
Tolkien, & Saintsbury’s History of
English Literture”; Stuart Gilbert, ed., Letters of James Joyce, p. 195: “Also it would perhaps be well to
send a copy (press) [of Ulysses] to
Professor George Saintsbury. I am oldfashioned enough to admire him though he
may not return the compliment. He is however quite capable of flinging the tome
back through your window, especially if the 1922 vintage has not matured to his
liking”; Havelock Ellis, Fountain of Life,
p. 292: “Saintsbury’s History of English
Prose Rhythm a delightful book by an author with a wonderfully large &
miscellaneous appetite for literature.” 至Edith
Stilwell, The Pleasure of Poetry，稱引
Saintsbury 尤多，故 H.J.C. Grierson, Rhetoric & English Composition, p. 92: “To the fine ear of
Saintsbury, or of a poet like Miss Edith Stilwell, the essential quality of a
poem may be conveyed by the interplay of vowel & consonant; see her
delightful A Poet’s Notebook.”
〇Henry
de Montherlant, Carnets, p. 35: “A
table, je la fais asseoir à côté de moi (et non en faca), car ainsi, ne la
voyant pas, elle m’agace moins.” 按Katharine C. Balderston, ed., Thraliana, I, p. 522: “The King of Prussia seating Marshal
Lowendahl at his Table, used this Expression: Monsieur de Mareschal mettez vous à mon côté, je n’aime pas de vous voir vis a vis de moi.”
〇Richard
Hoggart, The Uses of Literacy, p. 28:
“You don’t look at the mantelpiece when you poke the fire” [Partridge, Dict. of Slang, 4th ed., p.
1228: “... when (or while) you’re
poking...”]. This is really a debunking of Shakespeare’s lines: “Lovers can see
to do their amorous rites. / By their own beauties, or, if love be blind, / It
best agrees with night” (Romeo &
Juliet, III, ii, 8-9). But cf. Propertius, III, vi, 11-2: “Non iuvat in
caeco Venerem corrumpere motu: / si nescis, oculi sunt in amore duces.”[9]
Ronsard, Amours Diverses, XIV: “Amour
hait la clarté , le jour m’est odieux” etc. (Oeuv. comp., La Pléiade, I, p. 296).
〇Philostratus,
Love Letters, 9 , To a Boy: “What
possessed the roses? Before they came to you they were beautiful... but when
they arrived they straightway withered & expired. The cause is not
altogether clear to me, for they would not tell me anything. But it is easy to
guess that they could not endure the rivalry with you” (“The Loeb Classical
Library”, p. 433). Cf. 第四百六十二則; Robert Herrick, The Weeping Cherry: “I saw a Cherry weep, & why? / Why wept it?
but for shame, / Because my Julia’s lip was by, / And did out-red the same...”
(Poetical Works, ed. L.C. Martin, p.
12); Shakerley Marmion, Cupid &
Psyche: “Nor rose nor lily durst their silks unfold, / But shut their
leaves up like the marigold” (G. Saintsbury, ed., The Caroline Poets, II, p. 11); Nathaniel Whiting, Albino & Bellama: “The sea-born
planet popped out her lamp, / And t’ see herself outshin’d by her, did rage” (Ibid., III, p. 440); “閉月羞花”。The Arabian Nights go one better: the behind of a beautiful maid or
boy has this effect on the love-smitten, e.g., tr. J.C. Mardrus, IX, p. 186: “Et
une croupe, heu! lourde, tendre et ferme à la fois et nonchalante, et ronde de
tous les côtés sans exception! Si elle se balance, elle fait envie au rameau du
bân! Si elle se tourne, les antilopes et les gazelles se cachent! Si elle se
découvre, elle rend honteux le soleil et la lune!” Cf. also the hackneyed theme
in Petrarchan love-poetry “Gelosia del sole” (see H. Weber, La Création poétique au 16e
siècle en France, I, p. 304). Petrarca, Rime,
Trionfi, e Poesie latine, Riccardo Ricciardi, p. 291, Rime no, 219: “I’ gli ò veduti alcun giorno ambedui / levarsi
inseme, e ’n un punto e ’n un’ora / quel far le stelle et questo sparir lui”
[i.e. il sole fa sparir le stelle, e Laura il sole]; Robert Heath: “On
Clarastella walking in her Garden”: “Here a rose in crimson dye / Blushes
through her modesty; / There a pansy hangs his head / ’Bout to shrink into his
bed” (The Oxford Book of 17th-cent.
Verse, p. 719); Anonymous: “Beauty extoll’d”: “For if my Empress appears, /
Swans moulting die, Snow melts to tears: / Roses do blush & hang their
heads, / Pale Lilies shrink into their beds” (Ib., p. 892).
【〇Henry
Tonks: “The bill is presented after the pleasure. The pleasure of conception is
followed by the pain of gestation & the agony of birth. Certain delightful
natures desire to have the pleasure without the bill. Religion wants us to pay the bill without having
the pleasures... Others like myself would like to pay the bill first & then
have the pleasures” (Joseph Hone, The
Life of Henry Tonks, p. 279).
Cf. Maurice Donnay, La Douloureuse: Philippe: “Lorsque nous
avons faille, il arrive toujours un moment où, sous forme de souffrances, de
ruine, de maladie, de remords, et de mort même nous payons l’addition.” André:
“La Douloureuse!” Philippe: “Oui, la Douloureuse; c'est le mot exact dans la
plupart des cas.” E. Hemingway, The Sun
Also Rises, ch. 14 (“The Modern Library”, p. 153): “I had been getting
something for nothing. That only delayed the presentation of the bill. The bill
always came... You paid some way for everything that was good... Either you
paid by learning about them, or by experience, or by taking chances, or by
money.”】已見四百八十五則。
〇Ernest
Jones, Sigmund Freud: Life & Work,
II, p. 260: “[quoting from Freud’s paper ‘The Future Prospects of
Psycho-analytic Therapy’] ‘It was really not agreeable to be operating on
people’s minds while colleagues, whose duty should have been to assist, took a
pleasure in spitting into the field of operation & while at the first signs
of blood or restlessness in him the patient’s relatives threatened one.’ All
that a gynaecologist may do in certain Eastern countries is to feel the pulse
of an arm which is stretched out to him through a hole in the wall. ‘And his
curative results are in proportion to the inaccessibility of their object; our
opponents in the West
wish to restrict our
access over our patients’ minds to something similar.’”[10]
Cf. Magnus Hirschfeld,
Curious Sex Customs in the Far East, Eng. tr. O.P. Green, p. 166: “Formerly [in India]
sick women could not be seen at all; they merely put out their arms to have
their pulse felt; or their tongue to be looked at, through small openings of the
door of the zenana. Or wooden & ivory dolls were brought to the doctor upon
which the afflicted parts of the female body were marked with ink.” Allan M.
Laing, Louder & Fnnier, p.57: “...
a Victorian lady of rather advanced years... had had a serious fall & went
to consult her doctor... She slowly unwrapped a small parcel she had with her,
revealing a girl doll-baby, completely clothed. Delicately lifting the skirt,
the lady put her finger on one of the doll’s bare knees, & indicating a
definite spot, said: ‘There, doctor, is where I hurt my knee.’” Cf. the comedy
of Dr Aziz’s falling in love with the wily landowner’s daughter
Naseem, in Salman Rushdie, Midnight’s
Children, 1981, pp. 21-28.
六百五十四[11]
王季重謔菴《悔謔》第十五則云：「季賓王笑謔菴腹中空，謔庵笑賓王腹中雜，賓王曰：『我不怕雜，諸子百家，一經吾腹，都化為妙物。』謔庵曰：『正極怕兄化[12]，珍羞百味未嘗不入君腹也。』」按參觀 Encounter, No. 41, p. 80: “As to the literary endproducts of their gobbling up
slices of life: ‘Life, passed through them, no longer is the same: / As meat
digested, takes a different name.” Schopenhauer, Parerga und Paralipomena, §247: “Die Gelehrten aber... studieren zu dem Zweck, lehren und schreiben
zu können. Daher gleicht ihr Kopf einem Magen und Gedärmen, daraus die Speisen
unverdaut wieder abgehn” (Sämtliche Werke,
hrsg. Paul Deussen, Bd. V, S. 523), 實本之
Epictetus, Discourses, Bk. III, ch.
21: “Those who have learnt precepts & nothing more are anxious to give them
out at once, just as men with weak stomachs vomit food... Away with you, look
for someone else to disgorge your vomit on” (“The Loeb Classical Library”, II,
pp. 123-5).【Schiller 譏 Schlegel 兄弟乍讀一書，即搬弄入文，曰：「腸肚短」(Was sie gestern gelernt, das wollen sie heute schon lehren; / Ach, was
haben die Herrn doch für ein kurzes Gedärm!) (Die Sonntagskinder, in Werke, hrsg. Ludwig
Bellermann, 2te Auf., Bd. I, S. 193). 蓋如《鏡花緣》第十四回無腸國人「食物皆直通過」，「未曾吃物，先覓大解之處」也，亦相發明。】【《韓詩外傳》卷九：「小人之聞道，入之於耳，出之於口，苟言而已，譬如飽食而嘔之，其不惟肌膚無益，而於志亦戾矣。」】【Du Bellay, La Deffence,
Liv. I, ch. 7: “Immitant les meilleurs aucteurs
Grecz, se transformant en eux, les devorant, et apres les
avoir bien digerez, les convertissant en sang et nourriture...” (Éd. H. Chamard,
p. 42) 亦以食喻讀書。】【Montaigne, Essais, I, 24 (Pléiade, p. 161): “Que ce
qu’il viendra d’apprendre, il le lui fasse mettre en cent visages et accommoder
à autant de divers sujets, pour voir s’il a encore bien pris et bien fait
sien... C’est témoignage de crudité et indigestion que de regorger la viande
comme on l’a avalée. L’estomac n’a pas fait son opération, s’il n’a fait
changer la façon et la forme à ce qu’on lui avait donné à cuire.” 】【Pope to Cromwell: “I was mightily pleas’d to
perceive... that you had Track’d my Muse backwards as far as France. You see it
is with weak Heads as with weak Stomachs, they immediately throw out what they
receiv’d last” (Pope, Correspondence,
ed. George Sherburn, vol. I, p. 98).[13]】【Pope to Cromwell: “... you had Track’d my Muses
steps backwards so far as France [Voiture’s poem]. You see it is with weak Heads
as with weak Stomachs, they immediately throw out what they receiv’d last. And
what they read, floats upon the Surface of the Minds, like Oil upon Waters,
without incorporating” (Pope, Corr.,
ed. G. Sherburn, I, 98).】
〇Encounter, No. 46, p. 22-3: “Sergey Mikhalkov, The Portraits: An Oriental Fable: “One-handed
& one-eyed / The powerful Khan Akhmet / Wanted to be portrayed / So he
ordered a portrait. / ... / The first portrait aroused / His anger &
dismay: / The artist had presented his Khan in a wrong way! // His hands are on
a bow and / In his eyes a stern look! / ‘I have one eye, one hand, / The
painter is a crook!’.... / The other painter the great Khan / Condemned in
stronger terms: / ‘I see through your crafty plan.... / You stress that only
one / Eye & one hand has / Your ruler Akhmet Khan!’ // ... Another
trembling painter is / Brining the last portrait. // As Akhmet Khan does
sideways stand / Not showing his full face, / It is not clear if his right hand
/ And right eye are in place. / The left hand is in fact / Holding a shield
while / The left eye (still intact / Looks like an eagle’s eye!... // Often the
artist among us / Employ a similar style: / They don’t portray our life en face, / But always in profile.”【This fable is summarized in M. Friedberg, Decade of Euphoria, pp. 301-2.】【V. Nabokov, Lolita,
The Olympia Press, p. 52: “She smiled in profile, pouted in profile, & beat
her painted lashes in profile.”】按
Walter Binni, ed., I Classici Italiani
nella Storia della Critica, vol. II, p. 102: “Per tornare al Calzabigi [Dissertazione sul Matastasio], egli,
tuttavia, adoperando la parole di Stefano Arteaga, fece come quel pittare il
quale, dovendo far il ritratto di Antigone re di Macedonia, ch’era mancante di
un occhio, lo dipinse con generosa adulazione
de una sola banda.” Cf. Cesarotti on his own tr. of the Iliad: “Ogni traduttoe poetico è come
quel pittor greco che dovendo ritrar Antigono guercio s’avvisò di
rappresentarlo in profilo” (Giornale
storico della letteratura Italiana, 1963, vol. CX, fasc. 432, p. 647). 蓋Apelles 事，見
Pliny, Historia naturalis, Lib. XXXV,
36 (“The Loeb Classical Library”, vol. IX, pp. 327-9)，踵事增華耳。【John Lyly, Euphues: “Alexander
having a skar in his cheeke held his finger upon it that Appelles might not
paint it, Appelles painte him with his finger cleaving to his face” (The Complete Works, ed. R.W. Bond, I, p.179).】J.T. Smith, Nollekens
& His Times, “The World’s Classics”, p. 36: “I remember his once
requesting a lady who squinted dreadfully, to ‘look a little the other way, for
then,’ said he, ‘I shall get rid of the shyness in the cast of your eye’” 亦此法也。參觀 Henry James, “Nana”:
“Half of life is a sealed book to young unmarried ladies, & how can a novel
be worth anything that deals only with half of life? How can a portrait be
painted (in any way to be recognizable) of half a face? It is not in one eye,
but in the two eyes together that the expression resides... ” (James, The House of Fiction, ed. L. Edel, p.
278).【Brüder Grimm, Kindermärchen, Die Kinder und Hausmärchen, S. 37, Der Kinderbuchverlag Berlin: “Brüderchen
und Schwesterchen”: “Sie [die Hexe] gab ihr [ihre Tochter] auch die Gestalt und
das Ansehen der Königin, nur das verlorene Auge konnte sie ihr nicht
wiedergeben. Damit es aber der König nicht merkte, mußte sie sich auf die Seite
legen, wo sie kein Auge hatte.”】【Joubert,
Pensées, Titre préliminaire, §8: “Quand
mes amis sont borgnes, je les regarde de profil.”】【Goldsmith on Shakespeare: “A man blind of one eye should always be
painted in profile.”】【《十國春秋》卷十一〈淮南畫工傳〉：「［吳］太祖［楊行密］使畫工寫晉王［李克用］，王曰：『吾素眇一目，試召使圖之。』時方盛暑，晉王執八角扇，因寫扇衣半障其面。晉王曰：『是謟吾也。』使別圖之，繪撚箭之狀，仍微合一目，以審箭之曲直。」】【劉體仁《七頌堂識小錄》：「太原有李晉王像，側坐調箭，善避獨眼之誚。後二武士擎韔箙，一人唐巾玉帶拱立於前者，莊宗也。氊笠佩劍立者，明宗也。其一人懸椎而侍者，安敬孜也。行纒而履示賤也，冠虎示服猛也。傳亞子命工寫之，時安已死，念其勇也。」】【參觀二五一則〈眇倡傳〉。《南史‧后妃傳下》：「［梁元帝徐］妃以帝眇一目，每知帝將至，必為半面粧以俟，帝大怒。」適與此反。】
〇Selected Essays of Ludvig Holberg, tr. by P.M.
Mitchell, pp. 84-5 (Epistle 141): “... it seems to me that before you undertook
to investigate the subject [the ship in the moon] you should have assured
yourself of its actual existence so that your labors would not be wasted” etc.【參觀第一九六則】引 Montaigne, Essais,
III, xi, “Des Boyteux” (Pléiade, p. 988-9) 申說之。按 John Selden, Table Talk,
CXXI. 3: “The reason of a thing is not to be enquired after, till you are sure
the thing itself bc so. ’Twas
an excellent question of my Lady Cotton, when Sir
Robert Cotton was magnifying a shoe, which was Mose’s or Noah’s, and wondering
at the strange shape & fashion of it: ‘But are you sure it is a shoe?’”
Fontenelle, Histoire des Oracles, 1ère
Dissertation, ch. iv: “[A propos d’une dent d’or] Assurons-nous bien du fait,
avant de nous inquiéter de la cause. Il est vrai que cette méthode est bien
lente pour la plupart des gens, qui vont naturellement à la
cause, et passent la vérité du fait; mais enfin nous éviterons le ridicule
d’avoir trouvé la cause de ce qui n’est point.”
〇Elizabeth
Lyttleton & Herbert Sturz, Reapers of the Storm, pp. 45-6: “‘You see,
Carlos, when a Spanish gentleman goes to a brothel, it is as much out of
respect for his fiancée as for self-gratification,’ said Pedros Arribas.... ‘If
a man does not relieve his animal nature with bad women, he wil find himself
trying to seduce his fiancée.’” 按參觀
Horace, Sat., II, i: “... Macte / Virtute
esto, inquit sententia diva Catonis: / ‘nam simul ac venas inflavit taetra
libido, / huc iuvenes aequum est descendere, non alienas / permolere uxores.’” 【Stendhal, Souvenirs
d’Égotisme, ch. 3 (Oeuv. intimes,
la Pléiade, p. 1443).】故有稱妓為 “the immoral guardian of public morality”, “the
guardian of virginal modesty, the channel to carry off adulterous desire” 等者 (Havelock Ellis, Studies in the Psychology of Sex, VII, p. 281)。Restif de la Bretonne, Monsieur Nicolas, éd. abrégée par John
Grand-Carteret, II, p. 200 記 Zéphire
語云[14]： “Nous sommes nécéssaires, tout comme les autres
états, maman assure que nous préservons les autres femmes, et que, sans nous,
il se commettrait bien des désordres? Nous sommes dévouées et martyres.” 山谷詩所謂「金沙灘頭馬郎婦」是也[15]。【Anonymous: “Belinda has such wondrous charms, / ’Tis
Heaven to be within her arms; / And she’s so charitably given, / She wishes all
mankind in heaven” (John Hadfield, Everyman’s
Book of English Love Lyrics, p. 230).】姚園客《露書》卷三十七云：「娼即佛也，以能濟人，又能破人慳吝」；《樂府羣珠》卷四無名氏〈普天樂‧嘲妓朱觀音奴〉云：「四十八般咒誓別，五十三度容顏變，肯慈悲救苦，把羣生普濟，結歡喜良緣」；Philostratus, Love Letters,
no. 19, To a Boy: “You belong to anyone who pays your price. We drink of you as
of the streams. Pray, do not be ashamed of your complaisance, but be proud of
your readiness; for water too is public property, & the sun is a common
god” (“The Loeb Class. Lib.”, p. 455; cf. no. 38, p. 493)；《金瓶梅》（張竹坡批本）第五十六回：「應伯爵稱水秀才在李侍郎府坐館，美婢俊童日夜括他，「那水秀才又極好慈悲的人」；第六十九回寫林太太云：「深閨中施𣭈的菩薩」，均相發明。【《山谷內集》卷九〈戲答陳希常寄黃州山中連理松枝〉第二首：「老松連枝亦偶然，紅紫事退獨參天。金沙灘頭鏁子骨，不妨隨俗暫嬋娟。」[16]天社注：「《傳燈錄》：『僧問風穴：「如何是佛？」穴曰：「金沙灘頭馬郎婦。」』世言觀音化身，未見所出。」按《續玄怪錄》云之。《海錄碎事》卷十三：「釋氏書。昔有賢女馬郎婦於金沙灘上施一切人淫；凡與交者，永絶其淫。死葬後，一梵僧來云：『求我侣。』掘開乃鎖子骨，梵僧以杖挑起，升雲而去。」《全宋詞》卷一百蔡伸〈踏莎行妓胡芳端嚴，人目為佛，乃作是云〉：「四眾皈依，悉皆歡喜。有情同赴龍華會，無憂帳裡結良緣，摩訶脩哩脩脩哩。」《太平廣記》卷一百一「延州婦人」條引《續玄怪錄》云：「延州有婦，白晳頗有姿貌，年可二十四、五。年少之子，悉與之遊，狎昵薦枕，一無所却。數年而歿，瘞於道左。大曆中，有胡僧自西域來，見墓，敬禮焚香。人見謂曰：『此一淫縱女子，和尚何敬耶？』僧曰：『斯乃大聖，慈悲喜捨。世俗之欲，無不徇焉。此即鎖骨菩薩。』」《釋氏稽古略》三曰[17]：「元和中，陝右有一美女，人多求配，女曰：『但一夕能誦《普門品》者事之。』黎明，徹誦者二十人，女曰：『一身豈能配眾？應誦《金剛經》。』旦，通誦者猶十數人。女復授以《法華經》，約三日，至期，獨馬氏子能通。親迎日，女曰：『體中不佳，少安相見。』客未散而女死，即壞爛葬之。數日，有老僧錫杖撥之，惟黃金鎖子之骨存，謂眾曰：『此聖僧□也，設方便化汝等耳。』泉州粲和尚贊曰：『豐姿窈窕鬢欹斜，賺殺郎君念法華』云云。」宋濂〈魚籃觀音像讚序〉同。Pierre Klossowski, Roberte ce soir (1950) 宗旨略同 (見 Maurice Nadeau[18], Le Roman français depuis la Guerre, p.
153)。意大利有 Sainte
Nafissa，十二歲起，即以身捨人，妓女尊奉之，見
Aretino, Ragionamenti, I (L’oeuvre du divin Arétin, “Les Maîtres
d’Amour” series, I, pp. 32-4)。西班牙有 St. Mary the Gypsy，乘舟朝聖地而無資，舟子遍淫之後入道，妓女奉為護法，見 Robert Graves, i Catacrok!,
p. 33。】【T.L.S., Nov. 5, 1982, p. 1210, Paul Bailey, An English Madam.】【I. Bloch, Prostitution,
I, S. 67: “Im Gegensätze zu unserer heutigen Auffassung wird ein Mädchen, das
dem freien Geschlechtsverkehr huldigt, deswegen nicht nur nicht verachtet,
sondern sogar als ein ‘den uralten Göttern geweihtes Wesen’ besonders geachtet
(Paul Wilutzky, Vorgeschichte des Rechts,
I, S. 26).” 】
〇《水經注》卷九云：「『瞻彼淇澳，菉竹猗猗。』漢武帝塞決河，斬淇園之竹木以為楗。寇恂為河內，伐竹淇川，治矢百餘萬，以輸軍資。今通望淇川，無復此物。」【左太沖〈三都賦序〉：「見『菉竹猗猗』，則知衛地淇澳之產。」】（《黃嬭餘話》卷三云宋牧仲《筠廊偶筆》記其弟子昭答冢宰黃公問，謂漢武決瓠子，下淇竹為楗，故今無竹，黃公嘆服，因駁之：「光武朝，寇恂伐淇竹為矢。子昭但取《河渠書‧溝洫志》語為對，未盡」云云，不知《水經注》已遍舉二事矣。）程魚門《勉行堂詩集》卷二十三〈過淇園〉第一首：「竹箭淇園古所稱，箋家篇蓄太無憑。豈惟正史龍門在，述異何妨證彥昇」；丁國鈞《荷香館瑣言》卷上：「王禹偁〈竹樓記〉言黃岡多竹，東坡〈黃州〉詩亦有『好竹連山覺筍香』句。光緒乙未，予隨學使者襄校蒞黃，徧遊山水，未見一竹。楊惺吾丈鄰蘇園中以巨竹編籬，丈言黃地大小竹皆無，須渡江至武昌縣乃購得。泥古不可以例今」；林希逸《竹溪鬳齋十一稿》續集卷七〈秋日鳳凰臺即事〉有序：「余思翰林題詩時，臺必不爾。白鷺洲問之故老，固無定所；而三山則於此臺望已不見，遠落於前江之尾。若當時果爾，則詩詞不應如此模寫也。漫刊正之，以示好古者」；邵長蘅《《青門簏稿》卷九〈遊黄州赤壁記〉：「豈文人之言少實而多虛，雖子瞻不免耶？」按《七修類稿》卷三云：「孟子曰：『牛山之木嘗美矣。』歐陽子曰：『環滁皆山也。』予親至二地，牛山乃一崗石小山，全無土木，恐當時亦難以養木；滁州四望無際，衹西有瑯琊。不知孟子、歐陽何以云然？」（《朱子語類》卷一百三十九云：「歐公文多是修改到好，頃有人買得他〈醉翁亭記〉稿，初說滁州四面有山，凡數十字，末後改定，只曰：『環滁皆山也』五字而已。」合之《類稿》所言，亦見歐公用心文字，而不究情實也。何紹基《東洲草堂詩鈔》卷十八〈王少鶴、白蘭巖招集慈仁寺拜歐陽文忠公生日‧之六〉云[19]：「野鳥谿雲共往還，醉翁一操落人間。如何陵谷多遷變，今日環滁竟少山！」）參觀七七○則論〈鄭風‧溱洧〉及白香山〈經溱洧〉五古。
六百五十五[20]
倪元璐《倪文貞公文集》蔣心餘訂本，無詩。憶鄭超宗《媚幽閣文娛》中錄鴻寶文甚多，有溢出此《集》者，當補入。鄭蓋鴻寶門人也。鴻寶與石齋齊名友好，修詞遣語，餖飣軋茁之習，無乎不同。黃排比冗沓，大塊文章；倪扭弄纖促，小品家數。機調又殊等詭澀也。吾寧取倪之簡削矣。余嘗謂石齋求博麗而每駁俚，雜以語錄，鴻寶無是。《三魚堂日記》卷下丁卯六月二十二日論倪、黃皆誤解退之「陳言務去」，「文怪僻而意膚淺」云云，尚未分別論之。（王覺斯為鴻寶集〈代序〉詩云：「俗格與陳調，掃除以寸鐵。」按見《擬山園初集》五古卷一[21]。）【曾異撰《紡授堂文集》卷五〈與黃東崖先生書〉：「黃石齋序《浙闈試錄》，情詞慷慨，他作每吐五里霧，然險奧處，不謂之子書不可。倪鴻寶氷稜襲霞，苦斵神酣，或冷隽傷其逸，然能秀不隱骨。」（按異撰五言近體，每似鴻寶。）】鴻寶八股習深，而腹笥又駁。故結體波瀾，法似鍾、譚；而敷藻塗澤，技近王、李。雖高言蘇長公，却暗合劉辰翁耳（參觀第五百六十五則）。楊士聰《玉堂薈記》卷下云：「倪學士元璐，為倪百宜撰敕命，其所封之妻，即黃氏也。文中有『美在其中，聲聞於外』二語，文義絕不相涉，殆近於戲。學士誥敕文字，多不襲常套。」《棗林雜俎‧智集‧詞林之壞條》云：「倪鴻寶好琢麗，競於雕蟲。」合之《文集》卷七〈楊伯祥太史稿序〉云：「半生精氣為帖括所拘持」；〈王謔菴悔虐草序〉云[22]：「《春秋》斬然嚴史，而造語尖寒，研文練字，已極針錐」；卷十六〈題徐云吉詩草〉云：「鳥鳴有取於鈎輈格磔，劍舞獨貴其渾脫瀏灕。凡天下之好音在抝，危器能歡」；顧予咸選《倪文正公遺稿》卷二〈道中自笑〉云：「最平下筆偏趨險，極怒逢山即轉歡」，可以窺見其入手著眼所在。【《茶餘客話》（王錫祺刻二十二卷本）卷十六：「倪鴻寶寄擬程於劉伯宗，意欲登選。劉報曰：『先生之文善矣，然以孔、孟之道，帖括之理按之，似尚有未安處。不敢遽選，恐損大名而誤後生。』鴻寶得書，愈重之。當時有『得科名易，登選冊難』之謠」；卷十九：「倪鴻寶在里門頗治園亭，以方於魯、程君房墨調硃砂，塗塈牆壁門窗。門生魯元寵為徽州推官，多藏墨，先生索之，間數日又索。魯知之，曰：『吾所用奉先生者，皆名品也，不亦可惜乎！』」（鴻寶索墨事，亦見《柳南續筆》卷二。）】【《柳亭詩話》卷二十五：「明末詩文之弊，以險仄居奇。嘗見倪文正手書一幅，似罷司成後過西湖作」云云（按見顧予咸選《倪文正公遺稿》卷一〈泛湘湖〉，不同四字）；卷二十九：「明末詩文之弊，以雕琢小巧為長，篠驂飈犢之類，萬口一聲。吾鄉先正如倪鴻寶、王季重皆名重一時。《代言》、《文飯》，有識者所共見矣。」《雪橋詩話餘集》卷六岑鏡西〈題倪文正畫石〉謂：「前人論書句云：『鴻寶犖确如老菱；悔遲陳章侯詭如蹻足蠅。』蓋當時二公以此相嘲。」《鮚埼亭集外編》卷二十七〈跋倪文正公兒易〉：「〈自序〉云：『漢儒說經，舌本強橛，似兒強解事者；宋儒疏剔求通，遂成學究。學究不如兒，兒强解事不如兒不解事也。』可謂奇語。公多好奇之過，一切文字皆然，而《兒易》其尤甚。予亦尚嫌公之強解事也。」戴名世《南山全集》卷四〈兒易序〉有云[23]：「公之憂世之心，以詼諧嘲笑之詞達之。」】
〇卷七〈姚孟長翰長代言稿序〉云：「夫雲霞者，非天之為也。山澤之氣，蒸而歸文於天，是地之忠天者也。後王法之，以使其臣子代為君上之文章。」同卷〈陳再唐海天樓書藝序〉云：「夫運古如懷遠人，可使其夢中神合，不可使其白晝形見魅出。畫人貌人者，貴能發其河山龍鳳之姿，而不失其顴面口目之器。苟使範山模水以為口目，而施苞羽鱗鬐之形於其面，則非人矣！天下之才，極於火與鑑：火附薪為光，而滅薪無用物之迹；鑑肖人面，而不為人面，有守器之誠。故二者之道，可以脩辭而宰世。」按全《集》隽語妙喻惟此兩處。「地之忠天」云云，參觀 Goethe:
“Gesang der Geister über den Wassern”: “Des Menschen Seele / Gleicht dem
Wasser: / Vom Himmel kommt es, / Zum Himmel steigt es, / Und wieder nieder /
Zur Erde muß es, / Ewig wechselnd” (Leonard Forster, The Penguin Book of German Verse, p. 210), cf. 第三九八則論 I Promessi Sposi, cap. 3; Saint-Amant: “La Pluie”: “Ces pauvres
sources épuisées / Qui ne coulaient plus qu’en langueur, / En tressaillent
comme fusées / D’une incomparable vigueur; / je pense, à les voir si hautaines,
/ Que les eaux de mille fontaines / Ont ramassé dedans ces lieux / Ce qui leur
restait de puissance / Pour aller par reconnaissance / Au devant de celles des
cieux” (Poésies choisies, “Classiques
Larousse”, p. 78); Keats to J.H. Reynolds: “There is a continual courtesy
between the Heavens and the Earth. — the heavens rain down their unwelcomeness,
and the Earth sends it up again to be returned to-morrow” (Letters of John Keats, ed. Hyder E. Rollins, I, pp. 273-4); Hebbel:
“Vollendung”: “Wie sie den Duft in jede Ferne sende, / Nicht Mond, noch Sonne,
nicht ein Stern darf nippen, / Er wird zu Tau und sinkt auf sie hernieder”(Werke, hrsg. R.M. Werner, Bd. VI, S. 311);
又第三百九十八則論 Manzoni,
I Promessi Sposi, cap. 3 中 Il frate
Galdino 語。「如懷遠人」云云，參觀《談藝錄》第二九一頁論隨園詩話卷六引周櫟園語[24]。「畫人」云云，參觀張萱《疑耀》卷五：「古帝王多有云『蛇身牛首』者，非真身如蛇，首如牛也。今相家者，常稱人為「鶴形」、「虎形」，豈真如鶴如虎哉？陶弘景乃疑佛氏所述地獄中有牛頭阿旁者為三皇五帝[25]，何怪誕若是？」又第百二十二則引汪謝城《湖雅‧記蚊》語，又第二百十則論 The Deipnosophists, Bk. III. 604，又 F.
Flora: “Se lo scolars diligente scrive carduccianamente che l’aria è plumbea e l’afa pesante, tutto scorre senza osservazioni; ma se il pittore moderno
vi pingerà le nubi come volume e come peso, solidificazione che opprime, si
troverà subito il critico pronto a giurare sulla pazzia del pittore” (Luigi
Russo, Critica letteraria contemporanea,
3a ed., II, pp. 153-4 引)，又 William Gilpin: “For Milton I see much poetical,
but little picturesque beauty... The description of Paradise... if transferred
to canvas, would make a very absurd feature — The whole is confusion of
objects, without anything for the eye to rest on” (C.P. Barbier, Sammuel Rogers & William Gilpin, p.
5; cf. p. 52: “I have often heard the Artists mention him [Grray] as a Poet not
to be painted from. Very splendid images will not always make a good Picture”).
參觀 Georg Heym: “Die Dämonen der Städte”: “Einer steht
auf. Dem weissen Monde hängt / Er eine schwarze Larve vor. Die Nacht, / Die
sich wie Blei vom finstern Himmel senkt, / Drückt tief die Häuser in des
Dunkels Schacht” (A Book of Modern German
Lyric Verse, p. 140)。
〇卷十六〈題卓左車集〉云：「根天極人，鑽宗貫德，上有盤庚，下至眉山而止。」按鴻寶論文，極尊東坡，而自運與東坡了無似處，尚不如弇州晚年、袁中郎、鍾伯敬合作之偶得神理也。鴻寶書法亦偪仄無逸韻，黃石齋乃稱其學東坡而過之（《黃忠端公全集》卷十四〈書品論〉、卷十九〈與倪鴻寶論書法〉、卷二十二〈書秦華玉鎸諸帖後〉、卷二十三〈書倪文正公帖後〉），直是亂道！
〇卷十九〈與仲弟獻汝〉云：「外寄劉念老一札，并奏稿二篇。此老為當今第一人物，弟可時往請敎，執弟子禮，勿以其道學先生迂而遠之也。」按鴻寶節操之士，却異於儒門淡泊者。《玉堂薈記》卷下記倪母不樂其媳陳氏，鴻寶出之，「登科錄序列陳、王二人而請封，則并王氏而虛之，或待陳之沒，以王為繼。」《棗林雜俎‧仁集‧王氏奪封條》及《人海記》卷上、章大來《偁陽雜錄》皆記其以寵妾冒妻篡封命（《霞外攟屑》卷四引《天香樓藏帖》卷六〈與弟獻汝二書〉，即此也，〈書〉中所謂「議吾者惟此事」，「選吉齊歸入宅」云云，正指出妻陳而以妾王氏扶正事，平氏據年譜參索甚確）。《榕村語錄續編》卷八記其一日數換鮮衣，可以想見生平，宜其自外於道學先生也。石齋〈三罪四恥七不如疏〉則以劉、倪並舉，稱劉之「品行高峻」，稱倪之「至性奇情」（《黃忠端公全集》卷二）。
[4]「卷四」原作「卷三」。
[5]「卷五」原作「卷四」。
[6]「卷六」原作「卷八」。
[7]「風絲雨片」原作「雨絲風片」。
[9] H.E.
Butler 英譯：「There is no joy in spoiling love’s delights by
sightless motion: know if thou knowest
it not, that in love the eyes are guides.」
[12]「怕」原作「怪」。
[15]「灘頭」原作「灘上」。
[17]「《釋氏稽古略》三」原作「《釋氏稽古錄》五」。
[19]「何紹基」原作「何子基」。
[22]「謔菴」原作「悔菴」。
[25]「陶弘景」原作「陶宏景」。
沒有留言:
張貼留言