六百九十六[1]
圓山應舉〈波上白骨坐禪圖〉(1787)
雜書：
〇袁小修《珂雪齋近集》（中央書店本）卷三〈書游山豪爽語〉云：「昔有一友人，豪爽自喜，同入西山。時初春，乃裸體跣足，入玉泉山裂帛湖中。人皆詫異之，彼亦沾沾自喜。過數載，予私問之曰：『入時得無小苦耶？幸無欺我。』其人曰：『甚苦。至今冷氣入骨，得一脚痛病，尚未痊也。』按《齊東野語》卷四載潘庭堅約同舍置酒瀑泉，「行令曰：『有能以瀑泉灌頂，而吟不絕口者，眾拜之。』庭堅被酒豪甚，竟脫巾髽髻，裸立流泉之衝，高唱〈濯纓〉之章。眾謬為驚嘆，羅拜以為不可及。歸即臥病而殂。」二事正相類。【《弇州山人四部稿》卷七十二〈游太山記〉：「至御障巖，衣去且盡。時巖傍飛瀑爭下，凡二十餘丈，濤翻雪濆，若鬭龍吐蟄，玉鱗四飛，珠沫羣唾。余興發不可遏，跣立磐石流泉中，呼酒數大白輙釂，長歌振林樾，諸君皆壯之。」】
〇Mark Twain, A
Connecticut Yankee in King Arthur’s Court, ch. 30: “... the waffle-iron
face.” 按即法語所謂 “visage en écumoir”, “moule à gaufres” 也。I. Nievo, Le confessioni d’un
Italiano, cap. 1: “[Il piovano di Teglio era] bucherato dal vaiuolo a segno
che le sue guancie mi fecero sempre venir in mente il formaggio stracchino,
quando è ben grasso e pieno di occhi, come dicono i dilettanti” (Opere, “La letteratura italiana”,
Riccardo Ricciardi Editore, vol. 57, p. 35) 尤妙語解頤。Kipling: “The Tomb of His Ancestors”: “You know the Smallpox who pits &
scars your children so that they look like wasp-combs” (W.S. Maugham, A Choice of Kipling’s Prose, p. 61) 可參觀。竊謂 “L’Épitaphe Villon”: “Plus
becquetés d’oiseaux que dés à coudre” (Poètes
et Romanciers du Moyen Âge, “La Bibliothèque de la Pléiade”, p. 1219) 移詠麻面亦新切。馮夢龍《黃山謎‧黃鶯兒‧麻妓》云：「繡閣俏嬋娟，恨朝朝，害粉錢。龎兒亂撲梨花片，千圈萬圈，不方不圓，水漚滿泛青波面。貼花鈿，繁星拱月，點破鏡中天。」「水漚」句可與第三百二十一則論《平齋文集》卷四〈泥溪〉詩參觀，亦取譬無定之例。正如余《談藝錄‧補遺》所舉「鏡花水月」也[2]。【Lichtenberg: “Die Braut war pockengrübig, und der
Bräutigam finnig. Spötter sagten, wenn das Pärchen nur erst zufammengeschmiedet
wäre, so gäben ihre Gesichter ein treffliches Waffeleisen” (Aphorismen, Essays, Briefen, Dieterich, 1965,
S. 145).】【《金瓶梅》中，婦人黑與麻，皆不失能媚淫人，一破窠臼。《紅樓夢》所不逮也。如第七回孟玉樓「面上稀稀有幾點微麻，生得天然俏麗」。《綠野仙踪》第三十六回金鐘兒「臉上也有幾個麻子」，即師其意，第四十一回中遂生樂趣。又法國十七世紀淫蕩貴婦人 La marquise de Courcelles 自誇才色，有云：“... j’ai de beaux cheveux bruns faits comme ils doivent être pour parer
mou visage et relever le plus beau teint du monde, quoiqu'il soit marqué de
petite vérole en beaucoup d’endroits”
(Sainte-Beuve: “Madame de Sévigné”, Causeries
du Lundi, I, p. 58)。】
〇劉緩〈敬酬劉長史詠名士悅傾城〉云：「夜夜言嬌盡，日日態還新」；盧思道〈後園宴〉云：「日日相看轉難厭，千嬌萬態不知窮」；《疑雨集》卷四〈舊事‧之一〉：「一回經眼一回妍，數見何曾慮不鮮」，即 Antony & Cleopatra, II, ii,
243: “... nor custom stale / Her infinite variety”; Racine, Bérénice, I, ii: “Chaque jour je la
vois, / Et crois toujours la voir pour la première fois” 也。【Cf. Les
Liaisons Dangereuses, Lettre 10, La Marquise de Merteuil: “Tour à tour
enfant & raisonnable, folâtre & sensible, quelquefois même libertine,
je me plaisais à le [le chevalier] considérer comme un sultan au milieu de son
sérail, dont j’étais tour à tour les favorites différentes. En effet, ses hommages
réitérés, quoique toujours reçus par la même femme, le furent toujours par une
maîtresse nouvelle” (la Pléiade, p. 54); lettre 127: “J’ai pu avoir quelquefois
la prétention de remplacer à moi seule tout un sérail ; mais il ne m’a jamais
convenu d’en faire partie” (p. 373); Marivaux, Vie de Marianne: “Je me jouais de toutes les façons de plaire, je
savais être plusieurs femmes en une”; A. Hamilton, Mémoires du chevalier de Grammont, ch. 12: “Mme Wetenhall était ce
qu'on appelle proprement une beauté tout anglaise; pétrie de lis et de roses,
de neige et de lait quant aux couleurs... mais tout cela sans âme et sans air.
Son visage était des plus mignons; mais c’était toujours le même visage: on eût
dit qu'elle le tirait le matin d'un étui pour l’y remettre en se couchant. sans
s’en être servie durant la journée” (Oeuvres,
A. Belin, pp. 165-6).】
〇André Gide, Les
Nourritures terrestres, IV. i: “Mon âme était l’auberge ouverte au
carrefour... Je haïssais les foyers, les familles, tous lieux où l’homme pense
trouver un repos — et les affections continues, et les amoureuses, et les
attachements aux idées.” 按
Joubert 稱 “l’âme hospitalière”，此真 “l’âme hôtelière”。可參觀 Lessing, Eine Duplik, I: “Nicht
die Wahrheit, in deren Besitz irgendein Mensch ist oder zu sein vermeinet,
sondern die aufrichtige Mühe, die er angewandt hat, hinter die Wahrheit zu
kommen, macht den Wert des Menschen... Der Besitz macht ruhig, träge, stolz”
usw. (Lessing, Auswahl in 3
Bänden, Veb, III, S. 307); Kant, Krit.
d. rein. Vern., “Vorrede”: “... Skeptiker, eine Art Nomaden, die allen
beständigen Anbau des Bodens verabscheuen...” (Werke, hrsg. E. Cassirer, III, S. 6); R.L. Stevenson, Virginibus puerisque, VI, “El Dorado”: “To
travel hopefully is a better thing than to arrive”。Jaspers 所謂 “Aufstieg zum schwebenden Innesein”, “die universale
Standpunktsbeweglichkeit” (F.H. Heinemann, Existentialism
& the Modern Predicament, Harper Torchbooks, pp. 61, 64) 亦其類。餘見第五百四十四則論 Herder, Sämt. Werk., hrsg. B.
Suphan, XVI, 560，又第六百六十四則論 H.E.
Rollins, Letters of John Keats, I, p.
193 “Negative capability”。
〇史梅溪〈臨江仙〉云：「莫教無用月，來照可憐宵」，上句甚妙。張玉田〈念奴嬌〉亦云：「留得一方無用月。」【四三八則吳仲孚〈秋夕〉兩首。】杜安世〈浪淘沙〉云：「可惜一天無用月，照空爲誰明」（《全宋詞》卷五十三）。曾慥《類說》卷二十八陳翰《異聞集》載〈感異記〉沈警〈過張女郎廟〉詩云：「命嘯無人嘯，含嬌何處嬌。徘徊花上月，空度可憐宵」；又云：「靡靡春風至，微微春露輕。可惜關山月，還成無用明」（《太平廣記》卷三二六〈沈警〉條引《異聞錄》），乃知梅溪一聯所本。【白香山〈集賢池答侍中問〉：「池月幸閑無用處，今宵能借客游無」，參觀四百五十三則論周端臣〈古斷腸曲〉。】【蔣春霖《水雲樓賸稿‧東臺雜詩》：「衹今花寂寞，來伴月黄昏。」】又梅溪〈風流子〉云：「如今但，一鶯通信息，雙燕說相思」；〈金盞子〉云：「除是倩鶯煩燕，謾通消息。」參觀 H. Weber, La Création poétique au
16e siecle en France, I, 321: “Suivant la tradition de la poésie
provençale, reprise par Pétrarque,... c’est le rossignol qui devient le
messager d’amour” etc. (e.g. Ronsard, “Ode à un Rossignol”)。
〇司空表聖〈短歌行〉云：「女媧衹解補青天，不解煎膠粘日月。」毛滂〈殢人嬌〉詞云：「小晴未了，輕陰一餉。酒到處、恰如把春粘上」（《全宋詞》卷七十二，又卷八十七重見，作張擴詞）；吳潛〈祝英臺近〉詞云：「今朝捱得晴明，拖條藜杖，一齊把、春光粘住」[3]（《全宋詞》卷二百二十一）；丁龍泓《硯林詩集‧郊行》：「閒情無遠近，處處似相粘」；黎二樵《五百四峯堂詩鈔》卷十六〈憶邨居花草‧之二〉：「竹裏微陽花上雨，暖寒膠漆不能分」；《唐詩歸》卷十九杜甫〈課伐木〉詩鍾評：「熱不可解」，皆可與「粘」字參證[4]。蔣竹山〈小重山〉詞云：「人散樹啼鴉。粉糰黏不住，舊繁華。」
【Hugo, La Légende des siècles, “Les Sept
Merveilles du Monde”, 2. “Les jardins de Babylone” 寫繁花不斷：“Que le printemps s’est pris dans cette glu les ailes, / Et rit dans
notre cage et ne peut plus partir”，即「把春粘住」也。】【劉菊房〈驀山溪〉云：「醉魂離夢，捻合難成片」（《全宋詞》卷二百三十七）。】【王次回《疑雨集》卷三〈即事‧之八〉：「秋清更憶人如畫，可奈愁粘病縛何」。】
〇夢窗〈塞翁吟〉云：「雕櫳。行人去、秦腰褪玉，心事稱、吳妝暈濃。」《蕙風詞話》卷二極稱「心事」句，謂「七字兼情意、妝束、容色」，而潛易「濃」字為「紅」字，蓋以上闋已有「冷菊最香濃」，避複韻也。竊謂單摘此句觀之，蕙風之言近似，合之上文，則別臉「消紅」，方與「褪玉」拍合（參觀〈木蘭花慢‧游虎丘〉云：「正蕙雪初消，松腰玉瘦，憔悴真真」）。「濃」字殊有語病，亦與「吳妝」乖牾。郭若虛《圖畫見聞志》卷一「論吳生設色」條云[5]：「吳道子落筆雄勁，而傅彩簡淡。至今畫家有輕拂丹青者，謂之『吳粧』」云云，正謂淡粧也。夏文彥《圖繪寶鑑》卷四論馬和之云：「仿『吳粧』，筆法飄逸，務去華藻」，可以參證。若《建炎以來朝野雜記》乙集卷十九「庚子五部落之變」條云：「蜀人鬻神祠所用楮馬，皆以青紅抹之，署曰『吳粧紙馬』」，則南宋時俗語，凡設色，皆得稱「吳粧」。夢窗倘用此意，亦著「濃」字不得。
〇夢窗〈西河陪鶴林登袁園〉云：「青蛇細折小回廊，去天半咫。」按參觀《升庵全集》卷三十二〈西路雜述‧之二〉：「路學盤蛇上，人緣磨蟻旋」；Marino, L’Adone, III, 165: “Sorge
lumaca, onde si scende, e poggia” (G.G. Ferrero, Marino e i Marinisti, p. 70); John Webster, The White Devil,
III. ii: “... to aspire some mountain's top, / The way ascends not straight,
but imitates / The subtle foldings of a winter’s snake” (Plays by Webster & Ford, “Everyman’s Lib.”, p. 18) 【杜荀鶴〈途中春〉：「人世鶴歸雙鬢上，客程蛇繞亂山中」；東坡〈送喬施州〉：「江上青山橫絕壁，雲間細路躡飛蛇」（《合注》卷十四無注）；周邦彥〈醉桃源〉：「畫闌曲徑宛秋蛇」；《遺山詩集》卷三〈范寬秦川圖〉：「亂山如馬爭欲前，細路起伏蛇蜿蜒」；《紅樓夢》五十回詠雪即景聯句：「伏象千峯凸，盤蛇一徑遙」】。不如鮮于伯機〈游記〉云：「村路詰曲，如行香篆中」（《樊榭山房集》卷七〈宿佛日淨慧寺〉自注引）。【參觀彭耜〈十二時慢〉：「此心終日繞香盤在篆畦兒裏」（《全宋詞》二五二六頁）。】【《香譜》卷下：「香篆，鏤木以為之，以範香塵為篆文，然於飲席或佛像前，往往有至二、三尺徑者。」】【《黃嬭餘話》引方干詩「路尋之字見禪關」，劉昭禹詩「之字上危峰」。】【黃庶《伐檀集》卷上〈遊石甕寺〉：「渭流屈曲成大篆，書破野色為綠紙。」】
〇夢窗〈燕清都連理海棠〉云：「紅朝翠暮」；〈三姝媚姜石帚館水磨方氏〉云[6]：「笑紅顰翠」；〈祝英臺近餞陳少逸〉云：「那消盡、紅吟綠賦」；同調除夜立春云：「剪紅情，裁綠意」；〈解語花立春風雨中餞處靜〉云：「應剪斷、紅情綠意」，自落窠臼。《全唐詩》趙彥昭〈立春日侍宴別殿內出剪彩花應制〉云：「花隨紅意發，葉就綠情新。」殆夢窗所本耶？張玉田《山中白雲詞》卷六有〈紅情〉、〈綠意〉兩詞小序云：「『疎影』『暗香』，姜白石為梅著語，因易之曰『紅情』、『綠意』，以荷花荷葉詠之。」蓋隱取夢窗語也。陸龜蒙〈置酒行〉早云：「碧舞紅啼相唱和」；顏博文〈品令〉亦云：「偷想紅啼綠怨，道我真個情薄」（《能改齋漫錄》卷十七、《全宋詞》卷一百十三）。【洪瑹〈阮郎歸〉：「紅情綠意兩逢迎」；周密〈杏花天〉：「是多少、紅情綠意」；仇遠〈更漏子〉：「紅笑淺，綠顰深」；黃滔〈陳皇后因賦復寵賦〉：「遂使隋堤青恨，吳嶺綠愁。」】
〇夢窗〈聲聲慢〉云：「膩粉闌干，猶聞憑袖香留。」按與〈風入松〉之「黃蜂頻撲秋千索，有當時、纖手香凝」同意，而韻味遠遜。此所以貴有 objective correlative 也！
〇夢窗〈倦尋芳花翁遇舊歡吳門老妓李憐邀分韻同賦此詞〉云：「敘分携，悔香瘢漫爇，綠鬟輕剪。」按馮惟敏《海浮山堂詞稿》卷三〈仙子步蟾宮〉詠勾欄「四誓」為剪髮、爇香、刺臂、申盟。馮夢龍《黃山謎‧黃鶯兒‧教妓》云：「計行苦肉，剪刺與燃香」；〈掛枝兒‧自明〉云：「你道我剪青絲頭又不疼，難道燒香疤肉不疼？」可以移注。
〇夢窗〈三姝媚過都城舊居有感〉云：「舞歇歌沉，花未減、紅顏先變。」按「花不常好，人不長少」，此意中、西詩多有之。夢窗意謂「花能再好，人不再少」【《皇朝文鑑》十五石延年〈贈劉潛贈劉潛歸陶邱〉[7]：「春老有時回，人老不再少。草白有時榮，髮白不再好。人生不如春，髮生不如草。可堪送别春草前，青春未老人先老」】，則西詩中相類者殊少。H. Weber, La Création poétique au
16e siecle en France, I, p. 354 僅舉 Antoine de Baïf, Amours diverses, I 一例 (“... Las, hélas! chaque Hver les ronces
effeuillissent / Puis de feuille nouvelle au printemps reverdissent, / Mais
sans revivre plus une fois nous mourons!”)；又 p. 408 引 Ronsard, Odes, IV. 13 (“Bois, bien que perdiez
tous les ans. / En l’hiver vos cheveux plaisants, / L’an d’après qui se
renouvelle, / Renouvelle aussi votre chef; / Mais le mien ne peut derechef / R’avoir
sa perruque nouvelle.”)，亦其倫也。參觀第六百九十二則引沈炯〈幽庭賦〉；又舒亶〈一落索〉云：「只應花好似年年，花不似人憔悴」（《全宋詞》卷四十三）；荊公〈新花〉云：「流芳不須臾，我亦豈久長。新花與故吾，已矣可兩忘」[8]；王弇州〈臨江仙〉云：「我笑殘花花笑我，此時憔悴休爭。來年春到便分明。五原無限綠，難染鬢千莖。」【岑參〈西蜀旅舍春歎〉：「春與人相乖，柳青頭轉白」；義山〈憶梅〉：「寒梅最堪恨，常作去年花」；鮑照〈行路難〉：「君不見枯籜走階庭，何時復青著故莖。」】【《元詩選二集》黃清老《樵水集‧行路難》：「去年紅花今日開，昨日紅顏今日老。」】【Ungaretti: “Vita d’un uomo”: “Si porta l’infinita stanchezza dello
sforzo occulto di questo principio che ogni anno scatena la terra” (Poesie, I, 116) — on the effort of the
exhausting Nature to rehash herself everywhere.】
〇夢窗〈思佳客賦半面女髑髏〉云[9]：「釵燕攏雲睡起時。隔牆折得杏花枝。青春半面妝如畫，細雨三更花又飛。輕愛別，舊相知。斷腸青塜幾斜暉。亂紅一任風吹起，結習空時不點衣。」按《墨莊漫錄》卷十云：「世畫骨觀作美人而頭顱白骨者，僧如璧題詩云：『白骨纖纖巧畫眉，髑髏楚楚被羅衣。手持紈扇空相對，笑殺傍觀自不知。」」一詞一詩，皆未為已。《釋氏要覽》下云：「《智度論》云：『更與骨人，令坐禪者觀之。』即今畫作枯骨幀子是也。」【《豫章黃先生集》卷十五〈髑髏頌〉：「黃沙枯髑髏，本是桃李面。如今不忍看，當時恨不見。」參觀《觀佛三昧海經‧觀相品第三之二》。】【I.U. Tarchetti: “Ell’era così fragile e piccina”: “Quando bacio il tuo
labbro profumato, / cara fanciulla, non posso obbliare / che un bianco teschio
vi è sotto celato. / Quando a me stringo il tuo corpo vezzoso, / obbliar non
poss’io, cara fanciulla, / che vi è sotto uno scheletro nascoso. / E nell’orrenda
visione assorto, / dovunque o tocchi, o baci, o la man posi, / sento sporger le
fredda ossa di un morto” (B. Croce, La
letteratura italiana, a cura di Mario Sansone, 1963, IV, p. 53).】【A. Koestler, The
Act of Creation, p. 357: “You can make an X-ray photograph of a face, but
you cannot make a face from an
X-ray photograph.”】
〇夢窗〈唐多令〉云：「何處合成愁？離人心上秋。」較之山谷〈虞美人〉之「你共人、女邊著子，爭知我、門裏挑心」，陳德武〈浣溪紗〉之「山上安山經幾載，口中添口又何時」（《詞綜》卷二十二），有雅鄭之別，然實出史梅溪〈戀繡衾〉之「愁便是、秋心也」。陳眉公本此作〈悲秋歌〉六首云：「何處合成愁？離人心上秋；若言非心也，悲秋何為者」；「心曲有緣因，感恩慚負恩；輾轉寸心生，無情終有情」；「插刀置心中，為儂長忍儂；思儂儂不憐，荊棘栽心田」；「奴心復誰訴？訴之逢薄怒；回心將別去，怯怯還留住」；「各心防有口，向頭當恪守；良心少點虧，恨我我何辭」；「但儂視多忤，心偏子午錯；念彼二人心，小忍心莫分。」見《眉公詩錄》卷六，鈍拙可笑而知者少，故備錄之。《樊榭山房集》卷九〈沁園春‧詠心〉云：「門裏輕挑，秋來暗合，閑悶閑愁特地生」；姚梅伯〈沁園春‧詠青〉云：「照水能清，依人慣倩。」參觀第四百三十則論《擊壤集》卷十〈安樂窩中吟‧之九〉。【《玉臺新詠》卷十〈古絕句〉第一首：「藁砧今何在？山上復有山。」】【劉世偉《過庭詩話》：「古樂府『山上山』乃字謎之祖，元人《正宮樂府》云：『拈起這紙來呵，好教我目邊點水言難盡，拈起筆來呵，好教我門裏挑心寫不成。』庶幾善學者」（《四庫提要》卷一九七引）。】
〇袁中郎《袁宏道集》卷49《墨畦一名雜識》云[10]：「余友李酉卿得第甚早，美少年而面微黑，時呼為『鐵鑄觀音』。丘長孺鳳目美髯，魁梧長姣，往時客吳，吳姬呼為『白描關公』。」按參觀《野獲編》卷二十五評《曇花記》為「著色《西游記》」。紀文達若知此，便不致誤解方虛谷評劉後村為「飽滿四靈」一語矣。詳見《宋詩選注》二七九頁[11]。《隨隱漫錄》卷五曹東畝曰：「四靈詩如啖玉腴，雖爽不飽；江西詩如八寶頭羮，充口適腹」，可參。
〇河世寧《全唐詩逸》卷下錄張文成《游仙窟》詩，識云：「舊載詩七十八首，猥褻淫靡，幾乎傷雅。今錄稍可采覽者一十九首。」[12]按河氏此書刻《知不足齋叢書》中，是道光時人已略知東瀛有文成逸著矣。森大來《槐南集》卷二十一〈讀深州風土記賦贈摯甫〉云：「遣唐使者裝備車，扶桑久珍張鷟書。王朝文囿資沾溉，浮艷猥瑣亦多腴」、自注：「張鷟《游仙窟》一書，係遣唐使者所齎歸者，與《白氏文集》并稱嵯峨天王枕秘。我王朝文學之盛，實發源於此。雖猥淫小說，仍是千年以上物，不得與《雜事秘辛》等偽書同視也。」是吳摯甫亦必早覩文成之書矣。
〇《全唐詩逸》卷上方干〈題報恩寺上方〉云：「巖溜噴空晴似雨，林蘿礙日夏多寒。」按此詩全首見《全唐詩》，非逸也（亦如卷上陳潤〈王昭君〉即《全唐詩》王偃〈昭君詞〉）。卷中新羅人金可紀〈游仙寺〉云：「波衝亂石長如雨，風激疎松鎮似秋。」機杼全同，實本之香山〈江樓夕望招客〉云：「風吹古木晴天雨，月照平沙夏夜霜。」爾後遂成濫調，如《顧華玉集》卷六〈次趙克用游靈谷‧之三〉：「風磴噴泉晴欲雨，石林含露午生涼」；《何大復先生集》卷二十四〈月潭寺‧之二〉云：「近水雲霞晴亦雨，傍巖樓閣晝常寒」；程可則《海日堂集》卷三〈燕京雜興‧之七〉：「積翠晴看雨，凝寒夏亦冬」；顧書宣《雄雉齋選集》卷二〈園居八首‧之二〉云：「叢竹露多晴亦雨，喬林日薄晝常陰」；《晚晴簃詩滙》卷一百二十六俞鴻漸〈泰安道中望嶽〉云：「雲光繚白晴疑雪，石氣飛青夏亦寒。」[13]
〇袁中郎《瀟碧堂集》卷四〈新買得畫舫將以為菴因作舟居詩〉第六首云：「杜宇一身皆口頰，垂楊通體是腰肢。」按奇語！「頰」字易「舌」字更切。參觀 Scudéry, Le Printemps: “Le Rossignol, qui n’est
que voix, / Son corps faisant à peine une ombre; / .... / Ce petit oisseau désolé
/ N’est plus qu’une voix emplumée, / Un
son volant, un chant aislé” (J. Rousset, Anthologie
de la poésie baroque française, I, p. 148); K.E. Ebert: “Ermunterung”: “Die
Lerche steigt, ein verkörpertes Lied”; Georges Bernanos, La Joie, p. 211: “une allouette..., une tuffe
de plumes avec une chanson dedans”。【唐嚴郭〈賦百舌鳥〉：「此禽輕巧少同倫，我聽長疑舌滿身。」】【朱琰《明人詩鈔續集》卷七唐順之〈峨眉道人拳歌〉：「百折連腰盡無骨，一撒通身皆是手。」】譚宣子〈江城子‧詠柳〉云：「便作無情終軟美，天賦與、眼眉腰。」【James Dunn, Paperchase, p.
144: “The pig great in beauty & grace. Then her beauty & grace
vanished, & she just grew: As farmingly she became a grunt surrounded by a
lot of pork”; J.A. Symonds, The Sonnets
of Michael Angelo, no. 23 (p. 25): “Deh! se tu puoi nel ciel quanto tra
noi, / Fa’ del mie corpo tutto un occhio solo; / Né fie poi parte in me che non
ti goda” (because he could only see her but not reach her & embrace her).】
〇G. Carducci: “Alla stazione in una mattina d’autunno”:
“Già il mostro, conscio di sua metallica / anima, sbuffa, crolla, ansa, i
fiammei / occhi sbarra; immane pe ’l buio / gitta il fischio che sfida lo
spazio” (G. Kay, The Penguin Book of
Italian Verses, p. 379). 參觀 Dino
Campana: “dal parapetto del cimitero le occhiaie rosse che si gonfiano nella
notte” (La critica stilistica e il
Barocco letterario: Atti del secondo congresso internazionale di studi italiani,
p. 273: “ove il treno non è nominato ma lo senti avvicinarsi materialmente
nella notte”); François Mauriac, Chemins
de la mer, p. 115: “Presque toujours, l’oeil de cyclope du tramway
émergeait d'un brouillard épais”; Nicola Moscardelli, Il vino della vita: “Vidi il tram lentamente venire, come una
bestia enorme senza zampe e senza testa, ma condue occhi rossi di sangue, che
chiamavano il sangue” (D. Provenzal, Dizionario
delle Immagini, p. 912); Victor Anant, The
Revolving Man, p. 130: “Then it [the train] jerked forward like a bull
infuriated... frothed at its black-engined mouth, gored the languorous Kerala
landscape & tossed it over its shoulders”。而 Stephen Spender: “The Express”: “After the first powerful, plain
manifesto / The black statement of pistons, without more fuss / But gliding
like a queen, she leaves the station” etc. (W.R. Benet & C. Aiken, Anthology of Famous British & American
Poetry, “Modern Library”, p. 506)，則似一反此法。Cf. Peter Gay, The Tender Passion
(1986), p. 323 ff. on the locomotive in 19th cent. literature.【Alfred de Vigny, La Maison du Berger: “le taureau de fer qui fume.”】【Emily Dichinson: “I Like to See It Lap
the Miles” (Louis Untermeyer, Modern
American Poetry, p. 52).】
〇Shelley, The
Witch of Atlas, LV. “The serpent lightning’s winding track.” 按即東坡〈望海樓晚景〉之「電光時掣紫金蛇」也（〈起伏龍行〉亦云：「眼光作電走金蛇，鼻息為雲擢烟縷」）。Schiller: “Parabeln und Räthsel”: “Unter allen Schlangen ist eine, / Auf
Erden nicht gezeugt, / Mit der an Schnelle keine, / An Wuth sich keine
vergleicht” usw. Auflösung: “... / Es ist der Blitz, der aus der Wolke fährt” (Werke, hrsg. Ludwig Bellermann, 2te
Auf., Bd. I, S. 298) 用意相同。
〇《嘻談續錄》卷上：「南北兩人均慣說謊，彼此欽慕，不辭遠道相訪，恰遇於中塗，各敘寒溫。南人謂北人曰：『聞得貴處極冷，不知其冷如何？』北人曰：『北方冷起來，撒尿都要帶棒兒。一撒就凍，隨凍隨敲，不然人、牆凍在一處。聞得尊處極熱，不知其熱何如？』『南方熱起來，街上有人趕豬走，不甚速，都成了燒豬。』北人曰：『豬已如此，人何以堪？』答曰：『彼豬且成燒烤，其人早化灰塵。』」按 Stephen Spender, World within
World, p. 243: “... one of those myths... such as that ‘In Russia it’s so
cold that when you do a pee, you can break it off in bricks”; A. Dyce, Table Talk of Samuel Rogers, p. 135: “Vernon
invented the story about the lady being pulverized in India by a coup de soleil: when he was dining there
with a Hindoo, one of his host’s wives was suddenly reduced to ashes; upon
which the Hindoo told the attendant to sweep up the mistress”; Bill wannan,
ed., The Australian, 3rd
ed., 1958, p. 2: “‘It was so cold where we were in Greece that the candlelight
froze & we couldn’t blow it out.’ ‘That’s nothing, where we were, the words
came out of our mouths in pieces of ice, & we had to fry them up to see
what we are talking about’”; A. Oriani, Il
Nemico: “Nelle nostre strade [in Russia] gelano perfino i discorsi” (D.
Provenzal, Dizionario delle Immagini,
p. 310)，餘見一四一則。【Cotton’s poem
on the Great Frost: “Who drew for urinal ejection, / Was b’witch’d into an odd
erection.”】
〇《楞嚴經》卷二：「波斯匿王言：『豈惟年變，亦兼月化、日遷。沉思諦觀，剎那剎那，念念之間，不得停住。』佛言：『觀此恆河，與昔童時，觀河之見，有童耄不？』」云云，尚非以流水喻之流光也。《論語》載孔子臨川歎逝，《宗鏡錄》卷十說之，頗有妙諦。陸士衡〈嘆逝賦〉云：「川閱水而成川，水滔滔而日度。世閱人而為世，人冉冉而行暮。」參觀第六百八十四則 Letters of John Keats, II, 208。Heraclitus, Fragments,
41: “You could not step into the same rivers; for other waters are ever flowing
on to you”; 81: “Into the same rivers we step & do not step; we are &
are not” (Hippocrates & Heraclitus,
tr. W.H.S. Jones, “The Loeb Classical Library”, IV, pp. 483, 495)，則兼孔子逝川，與夫《肇論》所謂「吾猶昔人，非昔人」之旨元康《肇論疏》卷上此事未詳所出《經》矣。中西詩家，遂為常語（G. Basile, Il
Pentamerone, IV. viii (testo tradutto di B. Croce, p. 423): “[La mamma del
Tempo:]... io ti prometto per l’acqua forte di mio figlio, con la quale corrode
tutte le cose... per quei denti che
rosicchiano tutte le cose mortali... per quelle ali che volano” 却無流水之喻）。唐李太白〈古風〉云：「逝川與流光，飄忽不相待」；少陵〈三川觀水漲〉云：「勢閱人代速」；岑參〈驪姬墓下作〉云：「澮水日東注，惡名終不流」；殷堯藩〈江行〉云：「年光流不盡，東去水聲長」，韓琮〈暮春滻水送別〉云：「行人莫聽宮前水，流盡年光是此聲」【李端〈憶故山贈司空曙〉：「年如流水日長催」】；東坡〈念奴嬌〉云：「大江東去，浪淘盡，千古風流人物」；陳恭尹《獨漉堂全集》卷二〈懷古十首‧咸陽〉云：「渭水東流不待人」；龍顧山人《洞靈小志》卷五云：「景月汀夢入貴家園林，疊石爲山，下臨一池，惜無水。嗟嘆間，有人出語曰：『君不知前人詞乎：好是泉聲有時住，不教流盡年光！』」Isaac Watts, Moral Songs, XC: “Time,
like an ever rolling stream, / Bears all its sons away”; Le Moyne: “Un flot
grande en fuyant l’autre flot qui le pausse”; Bussières: “Ton flot qui chasse l’autre,
et ton onde fuyante” (J. Rousset, La
littérature de l’âge baroque en France, I, p. 142 ff.); Ronsard: “Hymne de
la Mort”: “Mais, tout ainsi que l'onde à val des ruisseaux fuit / Le pressant
coulement de l'autre qui la suit, / Ainsi le temps se coule, et le présent fait
place / Au futur importun qui les talons lui trace” (A.J. Steele, Three Centuries of French Verse, p. 36);
Du Perron: “Au bord tristement doux des eaux, je me retire, / Et vois couler
ensemble, et les eaux, et mes jours” (J. Rousset, Anthologie de la poésie baroque française, I, p. 201); August Graf
von Platen[14]: “Wie raft’ ich mich auf”:
“Der Mühlbach rauschte durch felsigen Schacht, / Ich lehnte mich über die
Brücke, / Tief unter mir nahm ich der Wogen in Acht, / Die wallten so sacht /
In der Nacht, in der Nacht, / Doch wallte nicht eine zurücke” (The Oxford Book of German Verse, p.
295); Paul Claudel, L’oiseau noir dans le
soleil levant: “L’eau ainsi est le regard de la terre, son appareil à
regarder le temps” (Gaston Bachelard, L’Eau
et les êves, p. 5 引)。然細按之，尚多扞格。H. Lotze, Metaphysics,
Bk. III, ch. 3, Eng. tr., I, 316-7: “We cannot speak of a stream without
thinking of a bed of the stream: & in fact, whenever we speak of the stream
of Time, there always hovers before us the image of a plain which the stream
traverses... Even the movement of the stream cannot be presented to the mind’s
eye except as having a definite celerity, which would compel us to suppose a
second Time, in which the former (imaged as a stream) might traverse longer or
shorter distances of that unintelligible background”; F.H. Bradley, Principles of Logic, ch. 2, pp. 54-5: “We
seem to think that we sit in a boat & are carried down the stream of time, &
that on the banks there is a row of houses with numbers on the doors... If it
is really necessary to have some image... let us fancy ourselves in total
darkness, hung over a stream, & looking down on it. The stream has no
banks, & its current is covered and filled continuously with floating
things. Right under our faces is a bright illuminated spot on the water, which
ceaselessly widens & narrows its area, & shows us what passes away on
the current, & this spot that is light is our now, our present.” 晚唐張蠙〈再游西山贈許尊師〉絕句云：「昔時霜鬢今如漆，疑是年光却倒流」，徑云年光之流，并撇去逝波之喻，較 Pierre Le Moyne, Lettres morales, I, x: “Et voyant comme
l’eau roule sans retenue / ... / Ainsi, dit-il, nos jours, ainsi nos ans s’écoulent”
(Three Centuries of French Verse, p.
167) 更為直截，而與 A.-L.
Thomas: “Ode sur le Temps”: “Invisible torrent des siècles et des jours” (p.
246) 暗合矣。Gottfried
Keller: “Die Zeit geht nicht”: “Die Zeit geht nicht, sie stehet still, / Wir
ziehen durch sie hin; / Sie ist eine Karawanserei, / Wir sind die Pilger drin.
// Ein Etwas, form- und farbenlos, / Das
nur Gestalt gewinnt, / Wo ihr drin auf und nieder taucht, / Bis wieder ihr
zerrinnt” (Sämtl. Werk., Berlin: Aufbau, II, 165; The Oxford Book of German Verse, p. 427) 翻案出奇，而仍隱喻於水，故曰隨物賦形，又曰泅也。Ronsard, Continuation des Amours, XXXV: “Le tems s’en va, le tems s’en va, ma Dame; / Las! le tems non,
mais nous nous en allons.” 亦逗此意。Wm. K. Pfeiler, German Literature
in Exile, p. 95 記愛因斯坦甚稱Kaléko 本相對論所作詩云[15]：“Die Landschaft bleibt, indessen unser Zug / Zurückgelegt
die ihm zugemessnen Meilen. / Die Zeit steht still. Wir sind es, die enteilen.”
參觀 Paul Fleming: “Gedanken über der Zeit”: “Der
Mensch ist in der Zeit; sie ist in ihm ingleichen / Doch aber muss der Mensch /
wenn sie noch bleibet, weichen” (M. Wehrli, Deutsche
Barocklyrik, 3te Aufl. S. 44); Jean Rousset, La litt. de l’âge baroque en France, I, pp.
142 ff.; Shelley: “Ode to Liberty”, 76-8: “Within the surface of Time’s
fleeting river / Its wrinkled image lies, as then it lay. / Immovable unquiet”;
Wordsworth, The Prelude, VI, 558: “Suggested
by a Picture of Peele Castle”: “... & all the while / Thy Form was sleeping
on a glassy sea. // ... It trembled, but it never passed away”。《全梁詩》卷二簡文帝〈水中樓影〉云：「風生色不壞，浪去影恆留。」【Horace 謂人不肯及時適生而有待者，如村人遇河，不肯涉水，欲待其流盡乃過，不知水之長流不已也 (Vivendi
recte qui prorogat horam. / Rudsticus expectat dum defluat amnis: at ille / Labitur
et labetur in omne volubilis aevum — Epist,
I. 2. 41)。】
〇Louis Simpson, Studies
of Dylan Thomas, Allen Ginsberg, Sylvia Plath, & Robert Lowell:
“Certain people have a physical, visceral way of feeling that expresses itself
in rhythm. Some people play music, others dance, & others — who are
attracted to words — utter lines of verse... before a poet writes a poem, he
hears it. He knows how the lines will move before he knows what the words
are... The ear doest it. The ear is
the only true writer & the only true reader...” (T.L.S., Jan. 4, 1980, p. 3). Foscolo, Le Grazie, I, 25: “Sdegno il verso che suona e che non crea.”[16] 按紀曉嵐《點論李義山詩集》卷中〈隨師東〉評語云：「漁洋倡為『神韻』之說，其流弊乃有『有聲無字』之誚」云云，正此之謂。Carducci 云：“O creatori, il suono è
di per sé l’ etere del verso, e certe volte effettua ciò che la parola non
potrebbe” (N. Busetto, Giosuè Carducci,
1958, p. 328 引)。按《皇明詩選》卷四宋轅文評語云：「于鱗之於漢魏〈十九首〉也，不求其義而求其情，不求其情而求其聲，斯有針乳之合焉。」《廣東新語》卷十二「詩社」條記鄺露語云：「詩貴聲律，如聞中宵之笛，不辨其詞，而遶雲流月，自是出塵之音。」正此之謂。餘見《談藝錄》三五四頁[17]，又第七百六則論何大復〈明月篇〉。
〇A. Dumas père, Le
Véloce[18]: “Plus l’Arabe a de
femmes, plus il est riche. L’une trait les vaches, les brebis et les chamelles;
l’autre va au bois et à l’eau, pourvoit aux soins de la tente et de la maison;
la dernière épousée, et par conséquent la plus chérie, jouit de la vie avec
moins de fatigue que les autres” (P. Jourda, L’Exotisme dans la litt. Fr. depuis Chateaubriand, II, p. 63 引). 按參觀古樂府〈相逢行〉云：「大婦織绮羅，中婦織流黃。小婦無所為，挾瑟上高堂。丈人且安坐，調絲方未央」（〈長安有狹斜〉結尾全同，惟末二句作「丈夫且徐徐，調絃詎未央」），《古詩歸》卷五譚評「小婦」句云：「有許多愛惜嬌寵意在。」張率〈相逢行〉云：「大婦刺方領，中婦抱嬰兒。小婦尚嬌稚，端坐吹參差」；昭明太子〈相逢狹路間〉云：「大婦成貝錦，中婦飾粉絁。小婦獨無事，理曲步簷垂」；沈約〈相逢狹路間〉、李德林〈相逢狹路間〉（皆見《樂府詩集》卷三十四[19]）、荀昶〈長安有狹斜〉、梁武帝〈長安有狹斜〉、簡文帝〈長安有狹斜〉、王冏〈長安有狹斜〉、劉鑠〈三婦艷〉、昭明太子〈三婦艷〉、沈約〈三婦艷〉、王筠〈三婦艷〉、劉孝綽〈三婦艷〉、陳後主〈三婦艷〉、王紹宗〈三婦艷〉（皆見《樂府詩集》卷三十五），語意皆同。【陳後主〈三婦艷〉：「大婦避秋風，中婦夜床空。小婦初兩髻，含嬌新臉紅」；「大婦怨空閨，中婦夜偷啼。小婦獨含笑，正柱作烏棲」；「大婦正當壚，中婦裁羅襦。小婦獨無事，淇上待吳姝。」】【「三婦」或為三兒婦，或為三妻，如昭明（「良人且高臥」）、沈約（「良人且安臥」）、吳均（「佳人勿餘及」）[20]、陳後主等〈三婦艷〉諸作是也。】辛稼軒〈清平樂〉：「大兒鋤豆溪東，中兒正織鷄籠。最喜小兒亡賴，溪頭看剝蓮蓬」，實仿此體。又按《顏氏家訓‧書證篇》云：「先述三子，次及三婦，婦是對舅姑之稱。古者，子婦供事舅姑，旦夕在側，與兒女無異。丈人亦長老之目，……疑『丈』當作『大』……。近代文士，頗作三婦詩，乃為匹嫡並耦己之羣妻之意，又加鄭、衛之辭，大雅君子，何其謬乎？」
〇Heine, Die
Bäder von Lucca, XI 嘲
Platen 云：“seinem Ueberfluss an
Geistesmangel” (Gesammelte Werke,
hrsg. von G. Karpeles, Bd. III, S. 330)。按本之 Hamlet, II. ii: “They have a plentiful lack of wit”。又 XII: “Berlin verdanke seine Entstehung den Bären
und hiesse eigentlich Bärlin” (S. 379)。按可與 Gargantua, ch. 17 謂 Paris: “ce ne sera que par rys” 來參觀。【章士釗《邏輯指要》二四五頁：「光緒初年，有通儒持節至德都，詫曰：『何柏之多也！無怪名「柏林」。』」】
〇Gilbert Phelps, The
Centenarians, pp. 54-5: “The climate, therefore, is a blend of the best
features of the Mediterranean & the Alps. It is incredible, I know. Groetz
himself finds it almost impossible to credit: I have met him coming down from
the observatory, chuckling to himself, ‘No! No! It is impossible! It cannot be!
It is one big funny-joke!’” 按參觀《陶菴夢憶》卷一：「吳無奇游黃山，見一怪石，輒瞋目叫曰：『豈有此理！豈有此理！』」《寄園寄所寄‧倚杖寄‧大好山水門‧》懷黃山詩自序云：「山有舊額題曰：『到者方知。』又曰：『豈有此理！』又曰：『不可思議。』得此十二字，千、百篇游記可炬也。」黃肇敏《黃山紀游》九月初七日：「獅子林有額曰：『說也不信。』仙源令襄平陳九陛集山中成語為一聯云：『豈有此理，說也不信；真正妙絕，到者方知。』」王培孫輯本《蒼雪南來堂詩集》卷二〈黃山〉云：「變怪非情有，爭奇到理無。」孫可之〈出蜀賦〉云「譎石詭崖」四字，即其意耳。又 J. Dewey, Essays in Experimental
Logic, p. [21]: “The attitude of some of
the anti-pragmatists reminds me of the story of the rustic who, after gazing at
the giraffe, remarked, ‘There ain’t no such animal.’” Cf. Charcot’s dictum: “La
théorie c’est bon mais ça n’empêche pas d’exister” (E. Jones, Sigmund Freud: Life & Work, 1953, I,
228)。
六百九十七[22]
阮大鋮《詠懷堂詩》，南京國學圖書館印本。三十年前，是書方印行，見散原、太炎諸人題詞，極口嘆賞，胡丈步曾復撰〈跋〉標章之。取而諷詠，殊不解佳處安在。今年端午庚子以詩稿六巨冊屬刪定[23]，忽憶集之此書，因復批尋，乃知得法於鍾、譚（參觀第六九○則），而學殖較富，遂以奧古緣飾其纖仄，欲不瘦又不俗。凡學竟陵而恥寒窘者，大率如此，與倪鴻寶、傅青主、王覺斯同源異流者也。余嘗謂謝客山水詩以矜持矯揉之態，作蕭散閒適之語，充其量不過巧奪天工，終未能妙造自然（參觀 Leopardi, Zibaldone,
ed. F. Flora, I, p. 30: “non imita la natura chi non la imita con naturalezza”[24]）。圓海變本加厲，幾於扭頭折項、擠眉弄眼，以示其天機自在，與林艾軒所謂「大踏步走出」者，何啻胡越！卷二〈園居詩〉刻意模陶，第二首云：「悠然江上峯，無心入恬目」，較之淵明〈飲酒〉第五首之「採菊東籬下，悠然見南山」，則又粧模作樣，有類假撇清 (“The lady doth protest too much, methinks” — Hamlet, III. ii. 242)，即此兩句，可以三反矣（他如同卷〈春夜同葉以沖越卓凡先生集卓左車裓園〉云：「始悟高士心，慮澹景亦荒」，亦可與淵明此首之「心遠地自偏」比勘）。《戊寅詩‧微雨坐循元方丈》：「隱几澹忘心，懼為松雪有」，曰「懼」，安得為「澹忘」乎？分明矯飾矣！又〈晝憩文殊菴〉：「息機入空翠，夢覺了不分。……一禽響山牕，亦復嗤為紛」，「一鳥不鳴山更幽」已矯揉矣，此則更生愛憎，謂「息機」可乎？陳、章二老詩學不精，胡丈識既未高，強作解事，又於晚明詩體了無所知，遂少見而多所怪耳。袁小修《珂雪齋詩集》卷七有〈送阮同年集之大行使閩〉七絕四首，《游居杮錄》卷七云：「阮集之行人來，言及作宦事。予謂兄正少年，如演全本戲文者[25]，從開場作至團圓乃已。如予近五旬矣，譬如大席將散時，插一齣便下臺。」董玄宰《容臺詩集》卷三〈送阮黃門圓海省覲南歸〉：「豈為調高猶和寡，誰能全注轉神清。」《明文授讀》卷十五沈士柱〈遙祭阮大鋮文〉殊有波瀾，有云：「公粗涉藝苑，詩、文不異恆人，獨詞、曲走一時。說者謂公憤世嫉俗，科諢皆指目正人。余謂不然，弘光半載，公所行已登場塗面，自為玩弄，其語人曰：『寧可終身無子，不可一日無官』（按參觀夏存古《續幸存錄》記圓海自署門曰：『無子一身輕，有官萬事足』）。公目不識史，胸中獨有梨園稾本。」《藏山閣文存》卷六〈皖髯事實〉、《詩存》卷九〈髯絕篇〉，皆可補柳翼謀丈〈跋〉所未備。《歸莊集》卷十〈隨筆〉稱「阮本清流，激而入邪人之黨，實有可用之才[26]，惜諸君子無使貪使詐之作用也。」尤足與《續幸存錄》所謂「圓海原有小人之才，持論太苛，激之使然，不可謂非君子之過」云云相印證。《鮚埼亭集外編》卷二十九〈題蝗蝻錄〉云：「世皆言圓海志在一官，若當時借邊才之說，畀以遠方開府，或豫或黔，其志滿矣，不至於如後來決裂也。予則以為不然。小人之欲無饜，試觀其一起，即奪貴陽之樞枋，尋覬其黃扉一席矣！安得飽彼腹乎？且以為豫撫耶？是導之使北降也；且以為黔撫耶？亦不過稱臣於孫可望而已。」《江蘇詩徵》卷二十五陳煌圖〈秦淮竹枝詞〉：「舊院名姬馬二娘，當筵一曲斷人腸。豈知帥府拋紅豆，別却劉郎嫁阮郎」（馬湘蘭養女馬采與誠意族人有素約，及圓海掌本兵馬，遂適焉）。計發《魚計軒詩話》：「阮大鋮有《詠懷堂詩集》，今略其七言之佳者，如『夏淺涼隨新雨至，吟悽人在夜猿先』等，皆新警峭拔，迥異凡庸。」【馮夢龍《甲申紀事》卷十阮大鋮〈備江疏〉（「為再陳長江兩合、三要、十四隙，伏乞聖明力敕當事諸臣，早為繕備，以固天塹之防事」）。】【《尺牘新鈔二集》卷六阮自華〈與集之從孫〉云：「詩，豈時流貴人、時文名士所能為，以子之才，不思單出獨樹，自致千古，日與某某相倡酬，波流汩沒，吾悲其詩之日下也！」】【徐元嘆《天池落木庵存詩‧答張古嶽》自注[27]：「後二絕追憶圓海」；〈澹嵒〉第四首：「光祿才高不忝名，莫將天命論虧成。當時廣武城頭嘆，已是山陽笛裏聲」，自注：「阮公。」】【王覺斯《擬山園初集》五古卷三〈冬日招胡子延聞往棲霞阮集之曾先往動余山情為之問訊〉、五律卷二〈阮集之園同湛虛逸民〉。】
〇鄺湛若〈序〉自署「嶺南門人鄺露」。按鄺廷瑤編注《鄺海雪集箋》中刪去此文，詳見三百七十則。
〇圓海以陶、謝、王、韋字面，掩其鍾、譚手法，諸君遂為所賣，不知其氣促調啞，於古人音節殊尠合處。《尺牘新鈔二集》卷十五雷士俊〈與孫豹人書〉云：「鍾、譚論說古人情理入骨，亦是千年僅見，而略於音調，甚失詩意[28]。譬之於人，猶瘖啞也。」圓海病痛，亦正在此。與海雪師弟子談藝，正無何處（參觀第六百九十六則）。
〇刻意鍊字，佳處偶遭，然自成科臼，聊舉數例：《詩集》卷二〈初春顏若齡自山中來〉云：「初葉一禽囀，輕飈數花騖」；〈春夕雷雨大作曉霽〉云：「春宵盛雷雨，林臥憺忘喧」；〈春霽聞若齡將入豹嶺〉云：「春山紛睇笑，引景給游衍。嘉子獨往意，恬然謝矜勉」；〈看杏花宿瑕仲山館微雨〉云：「辨葉歛傍眺，因香縱恬步」；〈仲春過訪方仁植同年〉云：「嘉遁於焉託，靈貺傳聞異」；〈與左又錞飲花下〉云：「憺然賦新詩，盡此林山暮」；〈程藎臣以天都游記見示〉云：「余方畫荒籬，耳目謝靈貺」；〈藎臣擬為余刻詩〉云：「晏息向竹房，耳目憺無悔」；「自昔邈何獲，在我恬有取」；〈吸江樓〉云：「舂汲山鬼俱，睇笑文魚領」；〈秋夜宿白瑕仲山館〉云：「象緯關睇笑，草木感沖蒨」；〈早春懷計無否張損之〉云：「二子歲寒儔，睇笑屢因依」；〈曹梁甫過訪〉云：「巾車過其間，睇笑亦依此」；〈再同周公穆張損之等登采石山寺〉云：「葉並遠帆騖，鳥習天花漾。山樽給永日，清言副靈貺」；〈喜李烟客同舟〉云：「孤懷對江峯，支頤憺忘語」；〈阻風望燕子磯〉云：「客心珍以恬，吟賞自茲始」；〈繇天開巖歷諸勝登攝山頂〉云：「勝具固所尅，憺慮饒有取」；〈采蓮曲江微雨〉云：「浦曲花路深，枉渚眾香騖」；〈答錢密緯〉云：「佳人隔江臯，菰蒲澹秋影」；〈山居懷汪以玉〉云：「豈徒恬寢寐，方將瞻麟翼」；〈寄懷王徵君化卿〉云：「野懷澹無向，高矚肆霞外」；〈冬旭偶過若齡江亭〉云：「江廣日華騖，烟盡峯情肅」；「秋蘭串芳詠，荒洲攝恬月」；〈同聖羽元起等集園觴詠〉云：「恬居巖戶間，野酌時自傾」；〈園居詩〉云：「悠然江上峯，無心入恬目」；〈述懷〉云：「車馬騖芳月，琴瑟展清晝」；〈郊居雜興〉云：「恬行春野中，四矚雲光靜一」；「綠香蒲水壯，清吹松風鶩三」；〈春夜野館獨飲〉云：「閒此燈下心，感彼蟲聲鶩」；「思君晝諷暇，松園展恬步」；〈同徐雲仍張損之繇郊居至佛嶺田舍飯〉云：「林音鳥何鶩，山氣綠初靜」；〈曉園偶懷前之弟〉云：「鮮采蕩心骨，步屧憺忘還」；〈從石巢至平等菴宿〉云：「寫性與澄潭，等身若羣木」；〈將抵采石〉云：「石瀨寫幽心，林香歛閒笏」；〈秋夕園居〉云：「藥墀寫閒月，露坂零長蒿」；〈瓜埠月下舟行〉云：「澹月寫空水，微烟綿夕林。于此理閒檝，憺然生遠心」；〈過卓凡北窗下偶成〉云：「謫居滄海隅，身恬趣彌蕩」；〈春夜集卓左車裓園〉云：「哂時睇笑開，酌古離憂長」；「始悟高士心，慮澹景亦荒」；〈豫園別虞學憲來初〉云：「屢日窮游憺忘返，恬月長棲槐栝陰」；〈答錢密緯以詩見期〉云：「山中之人睇笑長，詩來屢割秋蘭香」；〈讀書佳山水歌〉云：「恬從秋水照吟魂，饑向青峯質危語」；卷三〈春雪憶顏若齡〉云：「籬井稱恬汲，鐙舂無妄聲」；《乙部‧懷止水宗白諸上人》云：「潭影澹相照，松風幽自吹」；〈宿集生睡渡閣〉云：「水恬魚遞鳴，林定月閒吐」；〈雪後戴德充過訪〉云：「葉暖啼烟無倦鳥，江晴媚水有恬鷗」；〈送陳葵若〉云：「海鶩雲霞色，山招橘柚霜」[29]；〈宿丹陽〉云：「秋澄恬客思，夢路入清都」；〈題虞來初豫園〉云：「山亭通石瀨，睇笑入清虛」；〈廣陵納姬〉云：「小洞流雲香滿山，持筐採藥憺忘還」；〈答閔士行等見訪〉云：「眾嫮情無極，華予睇笑和」；〈周元修歸自汝上〉云：「剝啄恬門鵲，知余隱意安」；〈同豹叔宗白夜集〉云：「瓷中評菊夜，燈澹欲霜天」；《丙子詩‧壽葛震甫》云：「春色憺然至，江梅暖盡開」；〈春雲詩〉云：「輕陰疑雨憺，懷惟漠湛虛」；〈勛卿有和遺民集小亭詩用韻〉云：「春陰涵物象，慮澹酒閒傾」；〈同葉少宰等集徐侍御林亭賦〉云：「春風睇笑動高丘，炊黍班荊事事幽」；〈何方伯移樽小亭〉云：「偶及人間事，青山憺盍言」；〈修禊日范質公移酌小亭〉云：「恬步空香中，蝴蝶隨我飛」；「清機何豫人，林坐憺忘疲」；〈柬秦沛縣行甫〉云：「茗粥安素心，文史悅恬目」；〈雨中約損之郊游〉云：「微雨□應晦，稍霽烟遠鶩」；〈鍾西修子房祠成〉云：「無事此吟眺，雲天收恬目」；〈酬文啟美〉云[30]：「閒吟江畔楓初落，澹思籬間菊幸同」；《戊寅詩‧靈谷月下聖羽至》云：「澹然共茗粥，清論浮蘭香」；〈康居閣送陳旻昭〉云：「麈尾無交鶩，茗椀咸共斟」；〈微雨坐循元方丈〉云：「隱几憺忘心，懼為松雲有」；〈謝陳駕部正宜見招〉云：「屢居無妄堂，憺然覽幽獨」；〈入山柬緝汝玉式〉云：「青山良可親，烟霜更交鶩」；〈送陳路若北上〉云：「但有故人同睇笑，只將高詠答烽塵」；〈吉山寺〉云：「既至漸幽豁，木石澹成趣」；「池涸曝龜藏，簷暖壺蜂鶩」；〈楊懷林招飲〉云：「淹留及暝烟，籬山縱恬目」；《辛巳詩》卷上〈柬張損之〉云：「近日嚴城長作客，梅花芳草憺吟詩」；〈同劉中丞赴思皇吏部招集〉云：「白石牛歌枉用長，時情只合憺銜觴」；〈宿慈湖蔡氏館〉云：「離離黃葉下，睇笑滿柴關」；卷下〈坐漁山堂展蘇米諸名家〉云：「養福守寒儉，和光務恬泊」；〈兆蘇見招步谿丘〉云：「坦坦步谿上，青山澹我心」；〈答楊文學達可〉云：「至日園梅已釀花，晴軒炙背憺無譁」；〈述懷柬顧與治徐州來〉云：「簡動制浮俗，無營尊澹身」；〈留張圖南小飲〉云：「霜樹澹扶屋，寒雲深映門」；〈沈文學孚中投以諸詩詞賦贈〉云：「使事枯澹心，墳起不能置。」此類何其層見而纍出耶！數見不鮮，習奇成腐，自相因襲，厥有兩端：嬾於抽思，隨手漫與 ，一也；矜其得意，強聒不厭，二也。前者大家不免，後者小家通病。圓海之好用「憺」、「澹」、「恬」、「鶩」等字，亦如女子之小有姿色者，衹能或低顏含笑，或媚眼斜眄，不能遍作三十二態耳（見《方廣大莊嚴經‧降魔品第二十一》，參觀第六百九十六則論劉緩〈酬劉長史詠名士悅傾城〉詩）。陳希夷云：「得意之所勿再往」；又云：「得便宜處莫再去」（《類說》卷十六《倦游雜錄》又卷十八《見聞錄》）。Bergson 論 “Du
mécanique plaqué sur le vivant” (Le Rire,
p. 133)，大可移以談藝。陳眉公評李于鱗古樂府所謂「武陵桃花，唯許漁郎問津一次，再跡之，便成村巷矣！」【常建〈夢太白西峯〉：「恬目緩舟趣，霽心投鳥羣」；〈張天師草堂〉：「萬壑應鳴磬，諸峯接一魂。」】
〇《詠懷堂詩集‧自序》、卷二〈讀陶公詩〉、《戊寅詩‧與楊朗陵秋夕論詩》持論甚高，上下數千年，陶公、王、儲以外，僅取謝翺羽。〈秋夕論詩〉至云：「勝國兼本朝，一望茅葦積。滔滔三百年，鴻濛如未闢。」諸君遂為眼謾，不知其衣鉢傳之竟陵也，五律尤燒灰可辨。葉燦〈序〉云：「永明不云乎？眾生言語，悉法界之所流；外道經書，盡諸佛之所說。而況李、杜、元、白、蘇、黃諸大家，及近日王、李、鍾、袁諸名士！即其中不能無利鈍，何容輕置擬議於其間耶」云云，已分明漏洩《辛巳詩》卷上〈張兆蘇移酌根遂宅〉第二首云：「香聲喧橘柚」，即本《唐詩歸》卷五之說（見第六百九十則），消息可參。鍾、譚評詩、作詩最著眼 synaesthesia（參觀第三十五則論鍾伯敬〈夜〉詩「靜閱寂喧音」，第六百八十九則論少陵〈無家别〉「日瘦氣慘悽」）。《亢倉子‧全道篇第一》：「得老聃之道，其能用耳視目聽」；《列子‧黃帝篇》所謂「眼如耳，耳如鼻，鼻如口，無不同也」（〈仲尼篇〉亦云，《左傳》昭公二十年十二月晏子對齊侯云：「聲亦如味」，乃謂和五聲如齊五味，非此意也）。「香聲」之說，亦如 Bacon: “Of Gardens”: “The Breath of Flowers... comes
& goes like the Warbling of Music” (Essays,
“Everyman’s Lib.”, p. 138); Donne: “Elegy”, IV, “The Perfume”: “A loud perfume,
which at my entrance cryed” (Poems,
Oxford, p. 76) (見 Stephen Ullmann, The Principles of Semantics, 2nd ed., 1957, p. 270 引); Carlo
Dossi: “... e verrà tempo in cui si canteranno e suoneranno dal vero un mazzo
di fiori, un vassoio di dolci...” (E. Gara e F. Piazzi, Serata all’osteria della Scapigliatura, pp. 16-7 引);
Heine: “Auf Flügeln des Gesanges”: “Heimlich erzählen die Rosen / Sich duftende
Märchen ins Ohr” (Lyrisches Intermezzo,
no. 9, Sämtl. Werk., hrsg. G.
Karpeles, I, p. 118); Hoffmann, Fantasiestücke
in Callot’s Manier: “Der Duft der dunkelrothen Nelken wirkt mit sonderbarer magischer Gewalt auf mich; unwillkürlich versinke
ich in einen träumerischen Zustand und höre dann wie aus weiter Ferne die
anschwellenden und wieder verfliessenden tiefen Töne des Bassetthorns” (Sämtl. Werk., ed. E. Grisebach, I, S.
46); 王貞儀《德風亭初集》卷三〈聽月亭記〉：「嘻！月誠不可聽，而有附於月之中，以啟乎聽者。」他如卷四〈秋夕平等菴〉云：「視聽壹歸月，幽喧莫辨心」；《外集‧甲部‧賦得寒燈定深屋》云：「壁影定菊情，檠聲聽花笑」亦其類。要之，用心巉刻，寫景精微，明末竟陵家言中，以圓海為巨擘，駸駸智過其師矣。【J.-P.
Sartre, La Mort dans l’âme, p. 42: “Il plongea la tête dans l’abreuvoir, le petit
chant élémentaire devint cette fraîcheur muette et lustres dans ses oreilles dans
ses narines, ce bouquet de roses mouillées de fleurs d’eau dans son coeur”; p.
140: “Il ouvrit la fenêtre... et respire l’odeur du violette du silence”;
Carducci: “Il Bove”: “Il divino del pian silenzio verde.”】
〇用字尖新，有斧鑿痕而不失為佳者，如卷一〈淮南詞之‧之五〉云：「少婦逢健兒，目成若相齕」 (參觀 John
Donne: “The Ecstasy”: “Our eye-beams twisted & did thread / Our eyes upon
one double string” — Poems,
ed. H.J.C. Grierson, Oxford, p. 46)；卷二〈方甫之以書見訊〉云：「獨持寒竹心，靜審啼蟲旨」；〈平等菴雨宿〉云：「夢淺妙香侵，宵孤百蟲侮」[31]；〈同以沖少宰潛夫同年步明月峯〉云：「潭定藻影開，月白蟲吟廣」；卷三〈秋村〉云：「竹疏山氣透，荷近稻香分」；〈村居歲晏〉云：「寒覺鷄豚歛，貧歡黍粟餘」；《外集‧甲部‧依韻錢虎仲》云：「水近鳧鷖長依檻，雨勻𤳈圃各尊鋤」；《乙部‧龍泉菴》云：「砌冷儘供蟲語沸，峯高何礙月歸逢」；《丙子詩‧同葉以沖吳玉華西園看梅花》云：「鳥泯悟花重，烟晦聞鷄鳴」；〈湛虛勛卿有和遺民集小亭詩用韻〉云：「花氣若微雨，禽言徵晚晴」；《戊寅詩‧雨後喜一門等過訪》云：「早露花際浮，餘雲松上積」；〈祖堂月夜〉云：「觸月諸烟泯，專霜一壑幽」等是也。而僻澀難通者居多，如《外集‧乙部‧抵高郵》云：「一寒頹月氣，眾葉酌風聲」；〈歲晏喜潘木公錢無可渡江來訪〉云：「飲月開魚夢，啼霜刷雁情」；《丙子詩‧雨中同馬中丞等登牛首夜集》云：「報閒資野酌，給夢與鐘音」，皆竟陵魔道，不及一一舉矣。
〇《詠懷堂詩集》卷二〈與左又錞飲花下〉云：「臨水悅空影，因風察香路」；〈郊居雜興‧之一〉云：「草深汩牛路，松晴曙禽境」；〈送王方伯梅和〉云：「山花蒙鳥路，軒琴達猿境」；卷三〈寄姚吏部〉云：「暮山通鳥路，高樹共蟬聲」；〈懷趙又漢〉云：「客當歸雁路，吟及落花時」；《外集‧甲部》云：「林香開蘭路，龕碧積苔衣」；〈懷百子山〉云：「汲水憶猿路，棲烟懷鳥林」；〈柬張二無〉云：「橘香導帆路，潮響紊琴聲」；《乙部‧舟泊姑孰》云：「花暝鷗路荒，藻邃魚情適」；〈方坦庵過集園〉云：「飲雨魚梁近，開雲鶴路長」；《戊寅詩‧山中述懷寄林茂之》云：「月白開猿路，山青愜鳥心。」
〇卷二〈送吳孝廉修能北上〉云：「隱几閱候變，徙藥察泉自。」按「自」字懸脚，亦如同卷〈宿方大方山館〉云：「塵居苦物役，諾向青山必。迴視笑言中，人與翠微一」之「必」、「一」兩韻。
〇〈余未也招集烏龍潭〉云：「落花靜可數，時聽閒魚鳴」；卷四〈燈夕阻風蕪湖舟中〉云：「月照花林如積雪，潮生沙埠有鳴魚」；《外集‧乙部‧宿集生夜渡閣》云：「水恬魚遞鳴。」按卷三〈雨後池上坐月〉云：「晴葉臻蟬響，風林振鶴顏」；〈冬日坐天界綠夢居〉云：「松沉銜鶴嗽，翠盛澤禽顏」；〈坐慧汐居〉云：「蒲喧聞蛤誦，蓼盛覺鷗香。」「魚鳴」、「禽顏」、「鷗香」，皆咄咄怪事。
〇〈攝止東峯石上坐月〉云：「身心化寒碧，沉冥不知省。」按《戊寅詩‧酬震甫與治見訪》云：「久處覓身心，或恐化寒翠」；〈微雨坐循元方丈〉云：「隱几澹忘心，懼為松雪有。秋樹一鳩啼，微覺沉冥剖。」王季重《游喚》評桃源風景為第五云：「恍惚幽玄，不記何代。片時坐對，人化為碧」，即此意。Andrew Marvell: “The Garden”: “Annihilating all
that’s made / To a green thought in a green shade” (The Oxford Book of English Verse, 1st ed., p. 391) 正此之謂。圓海與季重相契，卷四有〈蕪關謝水部王季重招飲〉二首、〈懷季重觀察江州解官還山陰〉二首，《春燈謎》有季重〈序〉（見第五百九十七則）。Cf. Carducci: “Il Bove”: “Il divino del pian
silenzio verde.”
〇卷二〈郊居雜興‧之四〉云：「覺聞松際禽，始悟晨峯翠。是時力作人，起治田中事」；〈雨霽晨起展誦友人至〉云：「不知林雨收，微悟山禽語。是時力作儔，蓐食向田去。」
〇卷三〈村夜〉云：「暮氣千峯領，清宵獨樹閒」；卷四〈憶家大人俶園〉云：「據梧盡日曾無夢，動操羣峯各領聲」；《外集‧甲部‧宗白結夏海嶽菴》云：「草喧蟲領月，松響鶴臨扉。」
〇卷三〈秋夕平等菴〉云：「視聽壹歸月，幽喧莫辨心。」按卷二〈吸江樓〉云：「雲嵐入吐納，風泉交視聽」；卷三〈舟中雨中舟行〉云：「眺聽將安著，山川若始生」；〈青靄居聽雨〉云：「與君觀此夕，視聽一何尊」；〈秋夜泊燕子磯〉云：「衹餘虛白在，眺聽入鴻濛」；卷四〈焦山〉云：「一夕人天窮眺聽，六時潮汐有榮枯。」
〇〈秋夜泊燕子磯〉云：「夜寒秋何際，潮寬月欲無」；〈寓李孔凡水閣〉云：「烟盡山難寐，潮通月並寬。」
〇《隨園詩話》所稱〈雨後池上坐月〉云：「露涼集蟲語，風善定螢情」；〈春夜江口小飲〉云：「沙明潮月吐，風善樹香來」；卷二〈早春懷計無否張損之〉云：「東風善羣物，候至理無違。」《隨園詩話補遺》卷七：「君子不以人廢言，阮大鋮句云：『露涼集蟲語，風善定螢情』，後五字頗耐想。」
〇卷四〈秋浦舟中感時〉云：「人情似厭彝倫腐，時論羣推盜賊賢。」按《戊寅詩‧與治社兄入山相訪》云：「忌到鬼神無避處，交稱金石即危時。」圓海詩中憤世語，無過此二聯者。乍讀之，安知作此等語人，即無心無良者乎！《辛巳詩》卷下〈飲酒〉第二首：「人言穢貊種」云云，指名呵斥滿洲。其他憂邊防虜之作，亦數數見，如《外集‧乙部‧感遼事》云：「儻有懸金酬士死，誰其飲羽射天驕」，初不意後來作諜倀也。言之不足以取人如此！讀曹雙溪〈驀山溪〉兩首「雪恥」、「殲虜」、「混一車書」等語，豈類秦會之狎客口吻乎？【王鐸《擬山園初集》賦卷二〈平夷賦〉、騷卷一〈九繫‧憤掃除〉、五古卷四〈朔方行〉、卷五〈悶詩〉、五律卷五〈北都感懷諸詠之‧十四〉、卷七〈聞虜〉、卷十〈湯陰岳王廟〉、七律卷一〈答趙明吾〉等，於奴虜幾若不共戴天，欲執干戈，捐軀命，而終入《清史‧貳臣傳表》乙編上，亦可與阮髯故事相比。】
〇卷四〈園居雜詠‧之二〉云：「水靜頓無體，素鮪如游空。頫視見春鳥，時翻藻荇中。」首兩句本《水經注》（見第三百二十八則 ）而添出「體」字，妙有禪藻。三、四句寫景，較張子野詩、周美成詞更深細（參觀第五百二十則）。少陵〈渼陂行〉云：「半陂已南純浸山，動影褭窕沖融間。船舷暝戛雲際寺，水面月出藍田關」；〈萬丈潭〉云：「孤雲倒來深，飛鳥不在外」（見第七八九則），雖極酣暢，得圓海「時翻藻荇中」[32]，乃補足未盡之義。心思與 Habert
de Cérisy, Métamorphose des yeux de
Philis en astres: “C’est là que sur un arbre il croit voir les poissons, / Qu’il
trouve les oiseaux auprès des hameçons / Et que le sens, charme d’une trompeuse
idole, / Doute si l’oiseau nage ou si le poisson vole” (Jean Rousset, Anthologie de la poésie baroque française,
I, p. 245; cf. 240 Saint-Amant; 246-7 Racine) 相似，參觀歐陽永叔〈采桑子〉：「行雲却在行舟下」；辛稼軒〈生查子〉：「溪邊照影行，天在清溪底。天上有行雲，人在行雲裏」，用意略同，而韻味不如。《王夢樓詩集》卷二十三〈雜詠〉第三首云：「十里苔痕嫩綠鋪，一池秋水淨如無。此中空洞容何物，謄取青天作畫圖」，却小有致。《誠齋集》卷二十四〈過查灘〉：「青天以水為銅鏡白鷺前身是釣翁」；卷二十五〈初夏玉井亭晚立〉：「竹兼樹影眠天底，人凭闌干立鏡中」；卷二十六〈題十里塘夜景〉：「山光倒眠水，水影上摇山」；唐初謝偃〈影賦〉云：「至如景霽氛收，波清風止。平湖數百，澄江千里。（中略）羣木懸植，叢山倒峙。崖底天回，浪中霞起」（《全唐文》卷一百五十六）；孫子瀟《天真閣集》卷十一〈泛舟湖橋觀水上諸峯作〉云：「一峯一蓮花，橫插青天入。落影澄湖中，蓮花皆倒立。（中略）層層雲中寺，反向天心壓」；茹綸常〈秋水〉：「波沉皓魄疑雙月，影倒長空有二天」（《晚晴簃詩滙》卷九十八）；《元詩選三集》楊敬惪《仲禮集‧臨湖亭》云：「魚在山中泳，花從天上開」；王覺斯《擬山園初集》七言律卷四〈水花影〉云：「波面波心流蛺蝶，樹頭樹底浴鴛鴦。」第七百三則論 Jean
Desmarets de Saint-Sorlin。
〇《外集‧甲部‧感舊寄莫方伯寅賡湖上》云：「鄖國是邨成蔓草，時賢報主有箯輿。」按吳昆田《漱六山房全集》卷九《札記》：「小秋言：『龍元僖以光卿乞假終養，上謂侍臣曰：「元僖治世之忠臣，亂世之孝子也」』」；周壽昌《思益堂日札》卷九「借用語可笑」條亦有「家貧出忠臣，國亂出孝子」，即圓海此聯下句注脚。
〇《甲部‧過閔汶水茗飮》七律。按即《陶菴夢憶》卷三〈閔老子茶〉一條所極口標榜之人也。周櫟園《賴古堂集》卷十一〈閔茶曲〉第五首，又《閩小記》卷上則譏其高自矜許，以蘭香攙茶，使茶之本味本色全失（《詠懷堂戊寅詩》有〈張宗子呂吉士入山相訪〉七律》。
〇《乙部‧女史顧眉生善畫與曹子玉甚歡賦贈》。按吳仲倫《初月樓聞見錄》記眉生與劉芳約為夫婦，背約；《同人集》張公亮〈結交行〉記橫波願為小婦。徵之圓海此絕句，則所歡又有曹子玉。此皆龔芝麓靴兄也。
〇《丙子詩》馬士英〈序〉。按自言和詩云：「深機相接處，一葉落僧前。」瑤草詩流傳無幾，此外惟見《三垣筆記》所載「蘇蕙才名千古絕，陽臺歌舞世無多。若使同房不相妒，也應快殺竇連波」一絕耳（夏存古《續幸存錄》載此詩，「歌舞」作「歡舞」，「世無多」作「世間無」，「樂殺」作「快殺」，是出韻詩矣）。又按此〈序〉作禪宗語錄體，不如《徐元嘆先生殘稿》瑤草一〈序〉之有名理而筆致簡淨也。又羅繼祖《楓窗脞語》125 頁記：「舊藏瑤草雪山小幅，上題詩曰：『不知何處色，盡白此時山。屐迹幽人過，寒聲眾鳥還。如霜微有質，遇月遂相關。獨處抱遐想，城南烟樹間』」[33]（此竟陵體）。
〇〈與馬瑤草同宿范華陽居〉云：「閒身如古木，寒盡不知春。」按參觀張在〈題龍興寺老柏院〉詩：「惟有君家老柏樹，春風來似不曽來」（《宋文鑑》卷二十七）。G. Carducci: “Pianoto antico”: “Tu fior de la mia
pianta / percossa e inaridita, / tu de l’inutil vita / estremo unico fior” (G.
Kay, The Penguin Book of Italian Verse,
p. 315)，則較韋蘇州〈游開元精舍〉之「孤花表春餘」、梅宛陵〈東溪〉之「老樹著花無醜枝」更進一解。余居湘時和孝魯詩云：「身樹頻移憐意盡，心花孤表識春荒」，又〈感懷〉云：「風懷睡起理殘夢，春事陰成綴晚花」，庶幾暗合矣[34]。
〇〈子卿過晤〉云：「地暖蕙初兆，林和鳥漸聞」；〈送汪瑤若返皖〉云：「岩松花且兆，林竹筍初延」；《詩集》卷三〈湯爾冑等宛谿相送〉云：「夏淺螢初兆，魚恬鷺不猜。」
〇《戊寅詩‧緝汝式之見過谷中》云：「坐聽松風響，還嫌谷位幽」；〈晝憩文殊菴〉云：「一禽響山牕，亦復嗤為紛。」按荊公〈鍾山即事〉所謂「茅簷相對坐終日，一鳥不鳴山更幽」，又〈老樹〉所謂「古詩鳥鳴山更幽，我念不若鳴聲收」也。吳孟舉《黃葉村莊詩後集‧論詩偶成》第二首自注云：「『鳥鳴山更幽』語意高妙，『一鳥不鳴山更幽』便無味矣。」可以移評圓海詩，均矯情過火之例。香山〈松聲〉：「誰知兹檐下，滿耳不為喧」，何等自然！Conrad Ferdinand Meyer: “Himmelsnähe”: “Bald nahe tost,
bald fern der Wasserfall, / Er stäubt und stürzt, nun rechts, nun links
verweht, / Ein tiefes Schweigen und ein steter Schall, / Ein Wind, ein Strom,
ein Atem, ein Gebet!” (The Oxford Book of
German Verse, p. 445) 寫喧之於寂，不成不反，並行弗倍，亦妙。Thomas Hood: “Silence”: “There is a silence where
hath been no sound, / There is a silence where no sound may be, / In the cold
grave — under the deep deep sea, / Or in the wide desert where no life is
found, / Which hath been mute, & still must sleep profound; / ... / But in
green ruins, in the desolate walls / Of antique palaces, where Man hath been, /
Though the dun fox, or wild hyena, calls, / And owls, that flit continually
between, / Shriek to the echo, and the low winds moan — / There the true Silence is, self-conscious &
alone” (The Oxford Book of English Verse,
p. 754) 尤造微矣！柳翼謀丈引夏存古《續幸存錄》所謂「大鋮阿璫，仍無實迹」等語，為大鋮末減。然存古又言：「馬是小人中之君子，阮是小人中之小人。」何以未舉？不免舞文枉法矣！古諺云：「等人易得久，瞋人易得醜。《吳中舊事》卷一」竊謂大奸巨惡，千秋唾罵，而一藝偶長，亦易得賞音，正復如氣節之士，文以人重耳。即若存古，余嘗謂其年不可及而才可及也，詩、文皆浮響膚藻，難適獨坐。〈大哀賦〉壓卷弘篇，竹垞謂其足敵蘭成，然與〈哀江南〉相去何止三千里！似「吳明徹之功名何在，秦武陽之拳勇堪憐。吳要離矛因風轉，楚龔勝膏以明煎。高漸離之筑聲往矣，徐夫人之匕首依然」六句，堆牀塗附。使未遭難，當在壯悔之列耶？〈燕問〉摹近〈七發〉，而鋪衍陳詞，了無目驗身經親切之語。〈讀陳軼符李舒章宋轅文合稿〉：「十五成童解章句，每從先世託高軒。庾徐別恨同千古，蘇李交情在五言。雁行南北誇新貴，鹢首西東憶故園。獨有牆頭憐宋玉，不聞九辯弔湘沅。」三、四世所傳誦（《梅村詩話》云：「臥子及禍，舒章鬱鬱道死雲間，有為詩唁之者曰：「蘇李交情在五言」云云），亦即〈人日懷舒章〉之「傷心子山去，何日少卿歸」也。第五句即〈毘陵遇轅文〉所謂「宋生裘馬客」，〈與李舒章求寬侯氏書〉所謂「文武興期，儒林冠冕」，李、宋皆仕清，「南北」、「新貴」不切，如謂李官禁近在北，宋督學閩中在南，又與三、四之「庾徐」、「蘇李」牴混。蓋少年詩律不細如此！
六百九十八[35]
李開先《中麓閒居集》。詩、文俚鄙蕪冗，游戲之作拙口鈍腮，而欲為伶牙俐齒，尤不可耐。卷一〈喻意〉云：「夢中有客惠佳酒，呼奴抱去熱來嘗。忽聽鷄聲驚夢覺，鼻内猶聞酒氣香。追悔一時用意錯，酒佳涼飲亦何妨！人世百年真一夢，夢中有喜有悲傷。功名得者乘涼飲，失者遲迴待熱觴。功名得失有如此，買歌且醉大隄傍。」按馮夢龍《廣笑府》卷五云：「一好飲者夢得美酒，將熱而飲之，忽然夢醒，乃大悔曰：『恨不冷吃。』」疑即取中麓此詩加以裁剪耳。【周亮工《賴古堂集》卷十二〈章丘追懷李中麓前輩〉凡四絕句，第二首「青龍鈔就自矜誇」云云，自注：「公常作《寶劍記》，自言音韻勻停，遠出《琵琶》上」；第四首「虞山近始艷章丘」，自注：「公名噪于北江，以南猶不深知，近虞山刻《列朝詩選》，始為闡揚，小傳頗悉公生平。」】【《有學集》卷十三〈病榻消寒雜詠四十六首‧序〉所謂「中麓體」[36]。】【《四友齋叢說》卷十八：「王元美言：『余兵備青州時，曾一造李中麓，中麓開燕，所出戲子皆老蒼頭也，歌亦不甚叶。自言有善歌者數人，俱遣在各莊去未回。亦是此老欺人。』」】
卷十〈李空同傳〉載其〈出使雲中作〉云：「黃河水遶漢邊牆」。按《弇州四部稿》卷一百四十九（《藝苑巵言》卷六）又《皇明詩選》卷十錄此律，「漢邊」皆作「漢宮」，《圍爐詩話》卷六遂痛譏中麓此〈傳〉[37]。《列朝詩集傳》丙十一則作「邊」，賴此可以是正，而關修齡之口。
《林冲寶劍記》第四齣林冲云：「此劍是祖公林和靖傳留。」按令人失笑。中麓獨未聞林可山自稱和靖七世孫，致招無名子之嘲耶（見《梅磵詩話》卷中：「和靖當年不娶妻，只留一鶴一童兒。可山認作孤山種，正是瓜皮搭李皮」）？
《打啞禪》院本。按參觀第三百七十二則論《東堂集》卷十〈送南禪長老浩然赴雙林序〉。東西方民間舊謔皆有類此者，參觀 Katharine
M. Briggs, British Folk Tales &
Legends, A Sampler, pp. 89-91, “The Professor of Signs”。
《詞謔》引王和卿〈大石調〉（「冬天易晚，又早黃昏後。修竹小闌干，空倚遍寒生翠袖。蕭蕭寶馬，何處狂游？中略驀聽的馬嘶人語，甫能來到，却又早十分殢酒。枉了教人深閨裏候，疎狂性奄然依舊。不成器，喬公事，做的泄漏，衣紐不曾扣。待伊酒醒明白究下略」），謂其意興遠不逮唐人小詞，蓋指無名氏〈醉公子〉（「門外猧兒吠，知是蕭郎至。剗襪下香階，冤家今夜醉。扶得入羅幃，不肯脫羅衣。醉則從他醉，還勝獨睡時」），《歷代詩餘》卷一百十二引《懷古錄》記韓子蒼嘆為「八句五轉」者也（《升庵全集》卷五十七亦引此，未言所出，「五」字作「四」）。竊謂唐人詩詞中，寫此景者不少。〈崔氏夫人要女文〉：「夫婿醉來含笑問，迎願狀（伏）侍若安朋（眠）。莫向人前相辱罵，醒後定是不和顏」[38]（《燉煌掇瑣》之二十），至以為訓女之詞。他如《燉煌寫本》之〈魚歌子‧詠月〉：「繡簾前，美人睡，庭前猧子頻頻吠。雅奴白，玉郎至，扶下驊騮沉醉」；又〈南歌子〉云：「悔嫁風流婿，中略夜夜歸來沉醉」[39]；韋莊〈南鄰公子〉七絕云[40]：「南鄰公子夜歸聲，數炬銀燈隔竹明。醉凭馬鬃扶不起，更邀紅袖出門迎」，皆遠遜之。《歷代詩餘》卷九尹鶚〈菩薩蠻〉云：「隴雲暗合秋天白，俯窗獨坐窺烟陌。樓際角重吹，黃昏方醉歸。荒唐難共語，明日還應去。上馬出門時，金鞭莫與伊」；又云：「錦茵閒襯丁香枕，銀釭落盡猶慵寢。顒坐遍紅爐，誰知情緒孤。少年狂蕩慣，花曲長牽絆。去便不歸來，空教駿馬回」；關漢卿《玉鏡台》第三折亦有一節仿此意；《詞林摘艷》卷一張善夫〈月中花〉云：「回來時無酒佯妝著醉。特古里打草驚蛇，到尋我些風流罪」云云，則又別出新意。善夫之作，尤曲盡情事。又按相傳夏竦〈鷓鴣天〉云：「停寶馬，捧瑤巵，相斟相勸忍分離。不如飲待奴先醉，圖得不知郎去時」，則自醉以求相忘，另造一境。【和凝〈江城子〉五首（情詞相貫，有首有尾）、魏承班〈滿宮花‧之二〉、尹鶚〈菩薩蠻‧之一、三〉。】
《詞謔》云：「《中原音韻‧作詞十法》[41]：『造語不可作張打油語』，士夫不知所謂。乃汴之行省掾一參知政事，廳後作粉壁。雪中陞廳，見有題詩於壁上者：『六出飄飄降九霄，街前街後盡瓊瑤。有朝一日天晴了，使掃箒的使掃箒，使鍬的使鍬。』參政怒問，左右以張打油對。簇擁至前，別命一題試之。應聲曰：『天兵百萬下南陽，也無援救也無糧。有朝一日城破了，哭爺的哭爺，哭娘的哭娘。』參政大笑而舍之。」按《升庵全集》卷五十六載唐人張打油作〈雪詩〉云：「江山一籠統，井上黑窟窿。黃狗身上白，白狗身上腫」，未言所出，《通俗編》卷七引之，謂本《南部新書》。
《列朝詩集傳‧丁一‧李開先傳》云：「嘉靖初，王道思、唐應德倡論，盡洗一時剽擬之習。伯華與羅達夫、趙景仁諸人，左提右挈，李、何文集，幾於遏而不行。」按中麓雖稱王、唐，亦推何、李，特為空同、大復作〈傳〉（卷十），且以大復賦草刊之為作〈序〉（卷六），又為《邊華泉集》作〈序〉（卷六）。牧齋云云，所謂「此漢口不足信」也。《列朝詩集傳》丙五卷末有〈跋〉云：「自李空同倡為剽擬古學，偭背師門，秦人康、王輩，失職訾毀。嘉靖初，山東李開先趨風附和曰：『西涯為相，詩文取絮爛者，人才取軟滑者（按見卷十〈對山康修撰傳〉）。』王渼陂為詩喜之曰：『進士山東李伯華，相逢亦笑李西涯』」云云，豈非中麓承七子餘風之證歟（敬夫詩見《渼陂先生集》卷六〈漫興十首‧之八〉）？
六百九十九[42]
William Hogarth (1697–1764), Consultation
of Physicians — The Undertakers’ Arms
Giambattista Basile, Il Pentamerone, traduzione di B. Croce (Ed. Laterza, 1957). Fr.
Schlegel has noticed: “Jedes mäh[sic.]rchen
muss glücklich enden” (Literary Notebooks,
ed. H. Eichner, p. 170, §1705); J.R.R. Tolkien also says that “eucatastrophe, or the sudden joyous ‘turn’”,
“the consolation of the Happy Ending” is “the true function of the Fairy Tale” (“On
Fairy-Stories” in Essays Presented to
Charles Williams, p. 81). Basile’s are perhaps the only fairy tales,
besides Andersen’s, of course, which can be enjoyed by the adults. Adolescentiam agunt, senectutem oblectant. The translation
shows Croce at his best as a prose writer.【［補見六百九十五則末］[43]又七百三十三則論《史記‧周本紀》「褒姒不笑」。】【［補六百九十九則］Il Pentamerone, I, x, p. 99: “Il re era ridotto a questo, che non
poteva tirare una scoreggia senza
dar nel naso a quei brutti cancheri [i.e. the two old hags who lived next
door].” Cf.《醒世姻緣傳》91 回：「住的衙舍與那刑廳緊緊隔壁，彼此放個屁，大家都是聽得見的」；《石點頭》卷十：「臨安人家房屋，……只用蘆葦隔斷，塗些爛泥，刷些石灰白水，所以間壁緊鄰，不要說說一句話便聽得，就是撒屁小解，也無不知。」I, vii, p. 75: It is in the preface & a
sidenote to Casper Scheidt’s translation (1551) of Fr. Dedekind’s Grobianus
that the traditional insult “porco tedesco” first appears[44]
(cf. A. Taylor, Problems in German
Literary History of the 15th & 16th Centuries, p.
23).】
Croce rightly points out that tales by — as well as of — the people can
not become a “cosa d’arte” because they lack “questa permeante soggettività” of
an individual artist (“Discorso”, p. xxi). The piquancy of Il Pentamerone lies in the sophisticated telling of naïve stories.
But there is a touch of naiveté in Basile’s sophistication; the exuberant &
exhibitionist cleverness bespeaks a child in high spirits, or, to put the
matter in Basile’s own manner, the very ingenuity is ingeneous. The two most
striking characteristics of Basile’s style are concettismo and enumeration, both of which stem from what Robert
Garapon calls “la fantaisie verbale” (cf. La
Fantaisie verbale et le comique dans le théâtre français du Moyen Âge à la fin
du 17e siècle, p. 9: “... un jeu libéré
du souci du souci de la signification et placé sous le signe
de la gratuité. Le plaisir d’assembler, les mots et de jouer avec eux prend le
pas sur la volonté de
signifier”). Croce has
already commented on the baroque Marinist conceits (“Discorso", p. xxvi); for
examples of enumeration of things & accumulation of synonyms (a baroque
device, cf. I. Buffum, Agrippa d’Aubigné’s
“Les Tragiques”, p. 18) such as we find in Rabelais (cf. Garapon, pp. 74-87,
113-4); cf. W. Kayser, Das Groteske,
S. 167 on “die Sprachgroteske”: “Die Humanisten des 16. Jahrhunderts hatten die
Fülle von Synonyma als Wertmassstab gesetzt...; bei Fischart führt das Prinzip
ins Absurde.... Aber dann werden die sprachkräfte der Synonymenhäufung, des
Anklangs, der Zusammensetzung usf. Plötzlich lebendig, entziehen sich dem
sprechenden und erzeugen nun in turbulenter Häufung eine spukhafte Welt”; also
Northrop Frye, Anatomy of Criticism,
p. 236: “... the verbal tempest, the tremendous outpouring of words in
catalogues, abusive epithets & erudite technicalities which since the third
chapter of Isaiah (a satire on female ornament) has been a feature, &
almost a monopoly, of third-phase satire [which lets go even of common sense as
a standard]. Its golden age in English literature was the age of Burton, Nashe,
Marston, & Urquhart of Cromarty... Nobody except Joyce has in modern
English made much sustained effort to carry on this
tradition of verbal exuberance... In American culture it is represented by...
the catalogues of Whitman & Moby Dick”;
Fr. Schlegel, Literary Notebooks, ed.
H. Eichner, §1555 (p. 157): “Sehr romantisch ists im Styl, ein Chaos von Substantiven,
zu häufen, mit lauter und wie im Petrarca.” Cf. Heinrich Lausberg, Handbuch der literarischen Rhetorik, I,
S. 337-340 on “Häufung im Kontakt: enumeratio”
on “die Tendenz zur chaotischen Aufzählung”; cf. Peacock, Headlong Hall, ch. 2 on the contents of various packages: books,
wine, cheese, etc. (46 items, eatables sandwiched between “scientific
instruments”) (The Novels, ed. Simpkin
Marshall, Hamilton Kent & Co., p. 7); ch. 5, “the authority of so many
great men” invoked by Mr Panscope (including Plato, the King of
Poland, Colley Cibber, Confucius) (p. 30); cf. Byron, Don Juan, II, 3-4 (Variorum ed., III, p. 67-8). Gino Doria in the “Nota”
prefixed to Croce’s version speaks of a “quale fiumana impetuosa
di sinonimie aocavallantisi!” (p. viii); Jean Paul Richter calls
this “die Paraphrase, oder die Zerfällung des Subjekts und Prädikats”, which
belongs to the category of the “Humoristische Sinnlichkeit”, & cites as
example Rabelais’s list of 216 games played by Gargantua & Fischart’s of
586 games, “welche ich mit vieler Eile und Langweile zusammengezählt” (Vorschule der Ästhetik, §35, in Werke,
Carl Hanser Verlag, 1963, Bd. V, S. 142); Rabelais, III. 2: “une jeunesse vivace,
alaigre, brusque, mouvente, voltigeante”; Bruno, Il Candelaio, “Propologo”: “Vedrete in un amante suspir” etc. (Opere, a cura di A. Guzzo, pp. 52-3);
cf. Montaigne, in “Apologie
de Raimond Sebond”: an
uninterrupted list of 46 verbs pertaining to gestures of the hand & 21
pertaining to head (“appelons,
congédions...”[45]
etc. — Essais, La Pléiade, p. 500),
etc.; Maid Marian, ch. 7: “Ho! ho!
Friar! singing friar, laughing friar, roaring friar, fighting friar” etc.(p.
212). & in 漢賦 and “七” (cf. also第四十八則; Milton’s catalogue of “cities of old or modern fame” in Par. Lost, XI, 385-411, of the “numbers of all diseased”, 479-489: Cambalu,
El Dorado, etc.; catarrh, ulcer, colic, etc.; 第七百七十三則), see II. 10, p. 220 (“... ingurgitava, trangugiava” etc.) & p. 224
(“... questo discorso fuor dei denti” etc.), III. 7, p. 302 (“... e vedeva i
tranelli” etc.), III. 8, pp. 308-9 (“...ascolto gli accordi” etc.), IV. 6, pp.
399-400 (“Io giuro per le tre parole di Napoli” etc.), IV. 8, p. 419 (“... compagni
di meropi” etc.). Cf. examples in George Du Maurier’s Trilby (“Hélas! ahimè! ach weh!” etc., “Everyman’s Library”, p.
126); P.G. Wodehouse’s Mulliner
Omnibus (“Will you
be my wife, married woman, matron” etc., p. 30; “He was oiled, boiled” etc., p.
141); L.-F. Céline, Mort à crédit
(“L’aigreur au revli / des 1400 alcooliques” etc., p. 26).
I. i. p. 18: The donkey which evacuates the pearls, diamonds, etc.; see 第六百六十六則.【Same story in Die
Wunderblume und andere Märchen, S. 127 ff., “Die Geschenke der Schlange.”】P. 18:
“... la mattina, quando l’Aurora esce a gittate il pitale del vecchio suo,
pieno di arenella rossa, alla finestra d’oriente”; cf. I. 9, p. 96: “... attese
che il sole uscisse a somministrare al Cielo le pillole dorate per purgarlo
dell’ombra”: two characteristically baroque samples from Basile’s almost
inexhaustible variety of descriptions of dawn; cf. 第一百四十七則 (a) on
“the diminishing or domesticating metaphor” à
propos of Hegel, Die Naturphilosophie,
§268: “Dieser Licht-Auschlag” etc. (Sämtl.
Werke, hrsg. von H. Glockner, Bd. IX, S. 118). To the examples given there
may be added: “Le ciel d’automne était couleur d’un gant gris perle” (Bourget, “Edel”
quoted in Ch. Bruneau, Petite Hist. de la
langue fr., II, p. 112); “I walked abroad, / And saw the ruddy moon lean
over a hedge / Like a red-faced farmer” (T.E. Hulme: “”Autumn” in A.R. Jones, The Life and Opinions of T. E. Hulme, p.
156); “C’est la lune qui luit comme un oeuf sur le plat” (Guillaume
Apollinaire, quoted in H. Hatzfeld, Trends
& Styles in 20th-Century Fr. Lit., p. 135). Incidentally, Molière’s
line in Le Sicilien, sc. 1: “Le ciel
s’est habillé, ce soir, en Scaramouche” (cf. O.W. Holmes’s “Evening” supposed
to be written by a tailor: “Day hath put on his jacket, & around His
burning bosom buttoned it with stars” etc. — J.M. Cohen, More Comic & Curious Verse, p. 182) almost anticipated T.S.
Eliot’s famous opening of “Prufrock”. Cf. also 第五百三十七則 on Henry Green,
Concluding, p. 5.
Cf. M. Bandello, Le Novelle, II. xiii
(Laterza, II, pp. 44-5).【Swift: “A Description of a City Shower” (A.
Preminger, Encyclopedia of Poetry, p.
236).】【六九七則眉.[46]】【［補六九九則］As early as 1617, Famianus Strada in his Prolusions Academicae, lib. II, Prolusio V, Academia 1 ridiculed
the poets who called the sun “umbarum carneficem”; Cesare Orsini, De Laudibus Ignorantiae, 351-2: “Carneficem
auroram dicunt, quae mane resurgens, / Nocturnas umbras lucis falzone trucidat”;
Salvator Rosa’s anti-Marinist tirades in his satire Poesia contain the
following exclamation: “E a pensarlo il pensier vien che s’adombre, / Fare il
sol divenir — Boia che tagli / Con la scure di raggi il collo a l’ombre —!” (277-9)
(All quoted in V. Lamentini, La Satira
nel Seicento, p. 150). Boiardo, Orlando
Innamorato, I. xxvii. 44: “Ogni stella del celo era partita, / Fuor quella
che va sempre al sol davante [Venere]; / E la rugiada, per l’aria fiorita, / Si
vedea cristallina e lustreggiante; / Il celo, a la bell’alba ora apparita, / D’oro
e di rose avea preso sembiante; / E, per dir questo in simplici parole, / La
notte é gita e non é giunto il sole” (Garzanti, I, p. 503).】Croce
calls attention to the astonishing variety of Basile’s burlesque periphrases
for dawn & nightfall, none of which occurs twice: “Non sorge l’Alba e non
tramonta il Sole, in quei racconti, che egli non trovi un nuovo e bizzarro modo
di metaforeggiare quelle frasi del giorno” (p. xxiii). The epic formulae which
Basile ingeniously parodied were of course common & almost debased coins in
Renaissance & baroque poetry, e.g. Marino, L’Adone, I. 20: “E ’l Crepuscolo seco ì poco à poco / uscito per la lucida
contrada, / sovra un corsier di tenebroso foco, / spumante il fren d’ambrosia,
e di rugiada” etc. (G.G. Ferrero, Marino
e i Marinisti, p. 30);【Philipp von Zesen: “Der nachte fahles häupt /
besprüht mit perlentaue / verlührt sich algemach” etc. (“Der Morgen” in...[47]】Andreas
Gryphius: “Der schnelle Tag ist hin, die Nacht schwingt ihre Fahn! / Und führt
die Sternen auf” (The Penguin Book of
German Verse, p. 133, “Abend”); Malherbe : “L’Aurore, d’une main, en
sortant de ses portes, / Tient un vase de fleurs languissantes et mortes” etc.
(Les Larmes de St-Pierre, Oeuv., ed. Lavaud, I, 223); Du Bellay: “Déjà
la nuit en son parc amassait / Un grand troupeau d'étoiles vagabondes, / Et,
pour entrer aux cavernes profondes, / Fuyant le jour, ses noirs chevaux
chassait” (L’Olive, no. 83). In such
humorous grotesquerie, he anticipated & even surpassed Scarron in his Virgile travesti. But imagery equally
bizarre, though unintentionally humourous, can be often found in serious
Renaissance poems like Ronsard’s Hymnes
or Du Bartas’s La Première Semaine
(see H. Weber, La Création poétique au 16e
siècle en France, I, pp. 498, 546). For instance, Ronsard’s Dame Nature
utterscompalints about Father Time’s waned ardour & spent vigour (“J’ay
beau passer ma main tresdelicate et blanche, / Ores dessus son ventre, ores
dessus sa hanche, / J’ay beau fourcher ma jambe et chatouiller sa chair, / Il
demeure immobile aussi froid qu'un rocher, / ... / ... / En lieu de me respondre
il ronfle, et si ne puis / En tirer seulement un baiser en trois nuits” — Hymne de l’Este,
29 ff., Oeuv. compl., “Société des
Textes Français Modernes”, XII, p. 35) just as Basile’s Aurora seeks a remedy
from her spouse’s (V. 4, p. 490: “E prima che l’Alba uscisse a cercare uova
fresche per confortare il vecchierello amante suo...”; cf. p. 497: “Venuta
l'orca con le uova fresche per ristorare gli sposi”). Cf. Purgatorio, II. 7-9: “Si che le bianche e le vermiglie guance / là dove
io era, de la bella Aurora / per troppa etate divenivan rance.”[48]
Incidentally, Ronsard’s lines are much more vivid than “The Scolding Wife’s
Vindication” (“He’s lain like a log of wood / ... / for nothing at all he’d do...” — V. de Sola Pinto & A.E. Rodway, The Common Muse, pp. 318-9) or “O Dear O”
(“My husband’s got no courage in him” — J. Reeves, The Idiom of the People, p. 161-2) or the 19th-century
German Gassenlied (E. Fuchs, Illustrierte
Sittengeschichte,
Ergänzungsband III, S. 226-8). Cf. Bush, Mythology
& the Romantic Tradition in Eng. Poetry, p. 95 (第六三三則).【Marini’s letter to Conte D’Agliè: “De cìmici non ve
ne parlo , perche ve ne sono sí bestialmente elefantini che chi pigliasse il
dazio delle cuoia ne farebbe un gran guadagno con farne stivali” (G.G. Ferrero,
Marino e i Marinisti, p. 21).】
I. 5. p. 52: The flea which the king “fece scorticare e conciare la
pelle”; a covert allusion to the proverb about playing the flea for the hide
(cf. A. Arthaber, Dizionario comparato di
Proverbi, p. 546 & 第三百八十三則).
I. 7. p. 75: “... io ne fo quel conto che il tedesco dell’acqua fresca”;
cf. II. 7, p. 205 & III. 5, p. 288 on the gross bibulità germanica, also the saying given in G. Fumagalli, Chi l’ha detto?, 9a ed., p. 526: “Si latet in vino
veritas, ut proverbia dicunt, invenit verum Teuto, vel inveniet”; Scaligerana: “Les Allemans ne se soucient
paî quel vin ils boivent, pourvû que ce soit vin” (quoted in Matthew Prior, Literary Works, ed. Wright & Spears,
p. 160). Grobianus was a stock figure in German comic literature since F.
Didekind’s book (1549); cf. Dante’s celebrated phrase “Tedeschi lurchi” (Inf. XVII. 21) & Erich Berger’s
entertaining essay “Dante und die gefrässigen Deutschen” in his Randbemerkungen zu Nietzsche, George und
Dante (1958) (summarized in German
Life & Letters, April 1960, p. 233).【Montaigne,
Essais, II. 2 on “l’yvrongnerie”
refers to Germany as “la plus grossiere nation” which alone holds this vice “en
credit” (Pléiade, p. 25).】【Cf. 補[49]】【Cf. “gambonismo”.】【Cf. Burkhardt, Die Kultur der
Renaissance in Italien,
Phaidon, S. 212: “als Inbegriff alles Schmutzes in Italien der Deutsche gilt.”】【Malleville:
“Chanson a la louange de l’eau, à un fameux beuveur”: “Pour moy
je laisse a l’Allemand / Stupide grossier et gourmand / D’en prendre sans
mesure; / Et fais ma gloire seulement / De voire de l’eau pure” (Jean Rousset, Anthologie de la poésie baroque française,
I, p. 225); The Merchant of Venice,
I. ii, Portia’s characterization of her German suitor, the Duke of Saxony’s
nephew: “very vilely in the morning, when he is sober, and most vilely in the
afternoon, when he is drunk... I will do anything, Nerissa, ere I will be
married to a sponge.”】【Anatomy
of Melancholy: “Democritus
to the Reader”; “... purge... German of drunkenness” (George Bell, I, p. 108); The Cloister & the Hearth, ch. 54: “Their
[the Germans] general blot is drunkenness... Their topers... sleep with pebbles
in their mouths” etc. (Everyman’s Lib., pp. 413-4).】
P. 80: “non senza perché questa notte hai fatto l’acquila imperiale,
spalla contro spalla”; cf. III. Egloga[50]:
“a letto, è come l’aquila a due teste” (p. 336); K. Spalding & K. Brooke, A Hist. Dict. of German Figurative Usage,
p. 484: “den doppelten Adler machen.”
I. 10. p. 99 on the two old hags’ affectations: “...ora dicendo che un
gelsomino, cascato dalla finestra aveva fatto loro un livido sulla testa, ora
che una lettera strapatta, avea loro indolenzito una spalla, ora che un po’ di
polvere aveva loro contuso una coscia.” What fun & gaiety in that wit! Cf. 第五百八十七則 a propos of Letters of J.M. Barrie, ed.
Viola Meynell, p. 48.
P. 101: “Ora se la prendeva con il Tempo che... s’era poste grucce e le
scarpe di piombo...”; cf. Horace, Carm.,
III. ii. 32: “pede Poena claudo”; Milton: “On Time”: “Call on the lazy
leaden-stepping hours, / Whose speed is but the heavy Plummets pace”;
Baudelaire: “Spleen”: “Rien n’égale en longueur les boiteuses journées.”
P. 109: The old hag’s cri du coeur
on being flayed: “Uh! chi bella vuol parere, pena vuol sostenere!”; cf. La
Fontaine: “Qu’il faut souffrir pour
être beau!” Indeed the
whole story, with its genial-grim humour, reminds one of Swift’s remark in A Tale of a Tub[51]:
“Last week I saw a woman flayed, & you would hardly believe how much it
altered her person for the worse”, & a headline in an Illinois paper: “Woman
kicked by her husband said to be greatly improved” (quoted in W.W. Scott, ed., Breaks, p. 49).
II. 2. p. 156: “Buffoni regalati, furfanti stimati, poltroni onorati”
etc.; this indictment of the way of the world (put in the mouth of an orco!) should be read together with the
bitter diatribes against Court life in III. 2. p. 259, III. 7. pp. 300-1, IV. 2. p. 360. The satire against the courtiers was
almost a commonplace in the poetry of the Renaissance, e.g. Du Bellay’s Les Regrets, xxxix, cxxxix, cl &
Marino, L’Adone, I. 152, but Basile’s
invective is the most graphic of all.
II. 3. p. 163: The orco who
believed that he had given birth to a daughter by breaking wind (p. 166: “s’era
ingannato a pensare che quella creatura aulente fosse parto di un soffio
putolente”); cf. the story “The Father of Farts” in The Thousand Nights & One Night, tr. P. Mathers, III, p. 739
(see 第五百八十一則; cf. also第五百五十九則).
II. 10. p. 219: “come se avesse l’orologio in corpo e l’ampolletta nei
denti”; cf. Pantagruel, IV, ch. 64: “chose
notoire qu’il n’est horologe plus juste que le ventre”; “Belly cries (or sings) cupboard” (Scott, Woodstock, ch. 20); Churchill, The Second World War, IV, p. 727: “Meals
should be regulated by stomach time.”
“Egloga”, p. 229: “Un bel fuggir tutta la vitta scampa.” Croce points
out in a note that the sentence is a parody of Petrarch’s line “un bel morir
tutta la vita onora”; he fails to notice that the sentiment is that of “Qui
fugiebat, rursus sibi proeliabitur” or “For he who fights & runs away / May
live to fight another day.” Cf. Filippo Lippi, Malmantile racquistato, XI. 13: “un bel fuggir salva la vita ancora”
(G. Fumagalli, Chi l’ha detto?, 9a
ed., p. 258).
III. 2. p. 225: “Alla regina Penta prese a vendere ogni sorta di
servigi, fino a infilare l’ago e cucire, a inamidare i collari e ravviare i
capelli, tutto faccendo coi piedi” — her hands having been cut off; cf. 第三百四十九則à propos of J.E. Brown, The Critical
Opinions of Samuel Johnson, p. 170.
III. 3. p. 270: “chi gabba fanciulli, fa la morte dei grilli”; cf. A.
Taylor & B.J. Whiting, A Dict. of Am.
Proverbs, p. 148: “Fun to her but death to us”, & p. 236: “It won’t
hurt me & it may amuse you, as the big man said when his little wife beat
him”; King Lear, IV. i: “As flies to
wanton boys are we to the gods. / They kill us for their sport.”
III. 5. p. 290: “... consigliò allo sposo di mettersi un tappo di legno”;
cf.《綠野仙踪》第六回：“削竹為梃，截木為釘；挺其已往，釘其將萌。”[52] The whole story reminds me of《十二樓》第六種《十巹樓》第二回：“睡到半夜，不覺陸地生波，枕席之上忽然長起潮汛來，由淺而深，幾幾乎有中原陸沉之懼。曉得是臟山腹海中所出。”
III. “Egloga”: “Sappi, dunque, che il mondo / è una stufa, alla quale / e
male e bene vengono a colare”(p. 335). Marriage, after three days’ billing
& cooing, “al quarto giorno, è già stufato affatto” (p. 336); eating, too,
started with zestful appetite, “viene, infine, a fastidio” (p. 338), etc.; the
moral is: “Ben soleva cantare il compar Biondo: / ‘Non v’ha gusto durabile nel
mondo’” (p. 340). Schopenhauer would have appreciated this long poem, cf. Die Welt als Wille und Vorstellung, §58 on “Wunsch”,《大智度論》卷十九, etc. all quoted in connection with Bernardo Morando’s poem “Nulla in
Amore appaga” (G.G. Ferrero, Marino e i
Marinisti, p. 916) in 第七百四十四則. Cf. also
Saint-Evremond: “Nos
biens sont en idée, en espoir, en désir; / Posséder ce qu’on veut, est la fin
du plaisir” ((A.J. Steele, Three
Centuries of French Verse, p. xxv); La Motte: “Ce coeur qu’un vain espoir
captive / Poursuit une paix fugitive / Dont jamais nous ne joüissons; / Et de
nouveaux plaisirs avide, / A chaque moment il se vuide / De ceux donc nous le
remplissons.”
IV. 2. p. 359: “chi non può aver la carne, beva il brodo; chi altro non
può avere, si corchi con sua moglie”; cf. the French saying: “Faute de mieux,
on couche avec sa femme” & the epigram quoted in Freud, Der Witz und
seine Beziehung zum Unbewussten, 3te Aufl. (1921, Franz Denticke), S. 64: “Eine Frau ist wie
Regenschirm. Man nimmt sich dann doch einen Komfortabel.”
IV. 4. p. 383: “... il medico... ebbe... veduto l’orina e odorato il
vaso”; cf. II. 6. p. 191: “essendo il principe sceso dal letto per formare la
pietra di paragone del giudizio dei medici”; III. 3. p. 271: “dottore di urina”;
IV. 6. p. 400: “le tre cose che il medico osserva, il polso, la faccia e il
pitale”; V. 10. p. 534: “piscia chiaro e fa le fiche al medico.” Florio: “...pisse
cleare... & bid a figge for the phisition”; Ray: “piscia chiaro e rucola al
medico, i.e. pisse cleare & defie the physician” (Oxford Dict. of English Proverbs, p. 358). One thinks of the quacks
in deep consultation over the contents of a chamber pot in Hogarth’s picture Consultation of Physicians — The Undertakers’
Arms (John Trusler, The Works of
William Hogarth, I, p. 59). F. Sacchetti, Trecentonovelle, novella 155 (pp. 502 ff.) the comedy of a
physician & his patient’s urinals; novella 130 speaks of “uno medico di
jure coglionica” (many tales refer to this) (Opere, “I classici Rizzoli”, p. 402 explains if as a specialist in “scienza
coglianica”), that is, the opposite number of 陽善修in《品花寶鑑》. Cf. Francesco Redi: “Al dottor Lorenzi Bellini”: “che per onor dei
fichi e delle pere / Fra medici più saggi del Parnaso / Foste creato l’ arcimastro
e il sere, / E in ogni cul potete dar di naso” (quoted in U. Nanni, Enciclopedia delle ingiurie, p. 199).
IV. V. p. 388: “Questo stecco degli occhi”; cf. “眼中釘”.
P. 391: “pelare la barba al leone”; cf. “捋虎鬚”.
IV. 6. p. 399: “... le tre cose che scacciano l'uomo di casa, fetore,
fumo e femmina malvagia”; cf. A. Arthaber, Dizion.
Comp. di Proverbi, p. 125: “Tre cose cacciano l’uomo
di casa: fumo, goccia e femmina arrabbiata.”
IV. 7. p. 406: “la campana di Manfredonia dice ‘dammi e dòtti’”[53];
cf. Maurice Rat, Dict. des locutions
françaises, p. 103, art. “On fait dire aux cloches tout ce qu’on veut” for
the monk’s reply to a rich peasant: “Audite campanas monasterii, dicunt: dando, dando, dando.” Cf. 第七百二十八則.
P. 408: “... come mula di medico”; cf., on the other hand, “la mula du
pape” (Lesage, Gil Blas, I, ch. 2,
see Maurice Bardon’s note in “Classiques Garnier” ed, I, p. 355).
IV. 8. The question which the whale,
the ants & the oak asked Cianna to put respectively on their behalf to
Father Time (pp. 419, 420, 421) reminds one of the episode in《賢愚經》卷十一〈檀膩䩭品第四十六〉in which a pheasant, a snake & a woman asked the Brahmin to put
their respective cases to the king; cf. 唐僧 and 白黿 in《西游記》第四十九回.【“Hetscho, der Faulpelz” (Die Wunderblume und andere Märchen, S. 171): a wolf, an apple,
& a fish asked Hetscho to consult Gerbatu; Brüder Grimm, Haus- und Kindermärchen, “Der Vogel
Greif” (Berlin, Der Kinderbuch verlag, S. 383) (a hare, a man who had to carry
all people across the water, a person who lost a key to a chest, etc., all
asked Hans to ask Vogel Greif) (The
Complete Grimm’s Fairy Tales[54],
Routledge & Kegan Paul, p. 686 “The Griffin”); “Boris Dreier sohn” (S.
428-430) asking “die Mondmutter” to ask her son “der Mond” various questions.】
422: “... un’arma sopra la porta inquartata, dove vedrai un serpente che
si morde la coda...”; cf. Marino, L’Adone, I, 24: “Sta quivi l’Anno sovra l’ali accorto, / che
sempre il fìn col suo principio annoda, / e ‘n forma d’angfue inanellato e
torto / morde l’estremo alla volubil coda” (G.G. Ferrero, Marino e i Marinisti, p. 40); Dryden, The Hind &
the Panther, III. 18-9: “Let those remember, that she cannot dye / Till
rolling time is lost in round eternity” (Poems,
ed. J. Sargeaunt, p. 134); Shelley, Queen
Mab: “Where the vast
snake Eternity / In charmed sleep doth ever lie”; Hugo,
Littérature et Philosophie Mêlées, Albin
Michel, p. 241: “Le cercle, symbole mystérieux, éternité et zéro, tout et rien.”【“Betracht, o Mensch! die Ewigkeit” in Kölnisches Gesangbüchlein (bearbeitet
von Daniel Wülffer): “Gleich wie an einer Kugel rund, / Kein Anfang und kein
End ist kund; / So auch, o Ewigkeit, an dir / Bleibt weder Ein-noch Ausgang für”
(Max Wehrli, Deutsche Barocklyrik, 3te
Auf., S. 40); also 第六百八十二則.】
IV. 9. p. 432: “a veder colorito il disegno che Iennariello le aveva
delineato”; a clever simile for the fulfillment of a play, cf. Bartoli, Uomo di lettere: “S’io non ho la lode d’un
pennello, che sappia insegnare, a dipingere dipingendo; habbiala io almeno d’un
carbone; che tira quelle morte linee, che prime abbozzano il disegno” (quoted
in La critica stilistica e il Barocco
letteraria: Atti del secondo congresso internazionale
di studi italiani, 1958,
p. 201).
IV. 10. p. 441: The King of Balpaese’s lament: “... quando... pianterò
lo stendardo dei desideri miei sulle mura di cotesta bella fortezza?” Cf. 第五百三十一則 on Orlando Furioso, XXV. 68.
“Egloga”, p.
451: “Infine, / il poeta, anche lui, / che spoglia di concetti e di parole / quanti
libri gli vengono alle mani / di Virgilio, d’Orazio e di Nasone / le ha messo
nome d’ ‘imitazione’!” In his note on p. 588 Croce quotes Mariono’s advice in
his letter to Achillini prefixed to Sampogna that a poet should “leggere sempre
col rampino, tirando al suo proposito ciò che ritrovava al suo proposito notandolo nel suo
zimbaldone e servendosene a suo tempo”
(G.G. Ferrero, Marino e i Marinisti, p. 30) — an advice
which 黃庭堅 would have approved (cf.《談藝錄》p. 28[55];《宋詩選注》p. 23, 112[56]).
Cf. 第四百八十五則 on the
quotation from Santeul in Gil Blas, X,
ch. 12. Cf. A. Abbondanti, Gazette
Menippee di Parnaso, Capitolo I, verso 234: “Ch’il robbar imitando non fa
reo” (quoted U. Limentani, La Satira nel
Seicento, p. 89); cf. also Salvator Rosa, Poesia, ll. 454-6 against plagerism through translation, quoted p.
153-4). Bartoli in his Uomo
di lettere praises this kind of “theft” (torre) & compares it to a lens: “come chi in uno specchio di
puro cristallo riceve un raggio di Sole, e con ciò non solo non lo scema di
luce, ma anzi, rendendoglielo col riflesso, maggiormente lo illustra”; he calls
it “imitar con giudizio” based on “leggere con attenzione”: “il lettore deve
essere un’ ape che colga il miele delle ingegnose maniare di scrivere...”
(quoted in La
critica stilistica, p. 142). For the simile of the bee, cf. 第四百五則 on《全晉文》卷一百三十八張璠〈易集解序〉. For the Renaissance theory of imitation or plagerism, see a brief
summary in Archiv für das Studium
der neueren
Sprachen, Nov. 1959, S. 119.
V. 1. p. 473: “...e, compiuta questa operazione, non trovandosi nella
tasca carta per nettarsi, e vedendo quell’oca ammazzala di fresco, se ne servi
all’uopo” ecc. Croce in his note quotes from Gargantua, ch. 13: “Qu’il n’y a tel torchecul que d’un oiseau bien
duveté, pourvu qu’on lui tienne sa tête entre les jambes” (p. 589). John Barth
in his Rabelaisian novel The Sot-Weed
Factor (1961), Pt. II, ch. 9 depicts the hero Ebenezer Cooke in a similar
predicament: “‘A clever man is never lost for long,’ he repeated to himself, &
regarding next the tail of a great bay gelding in a stall behind him, rejected
it on the grounds that its altitude & position rendered it at once
inaccessible & dangerous... ‘And the bum-swipes of Gargantua!’ he exclaimed
aloud. ‘How is’t I did not think of them till now?’” etc. (pp. 188-9). On the
other hand, cf. the expressive German idiom for utter inappropriateness: “Passen
wie der Igel zum Arschwisch” (Heinz Küpper, Wörterbuch
der deutschen Umgangssprache, Bd. II, S. 145). Cf. A. Marshall, ed., Never Rub Bottoms with a Porcupine![57],
1979.
V. 4. p. 491: “Il ponte del capello”; a reminiscence of “al sirat”, as
Croce has pointed out. Cf. “奈何橋”.
Pp. 491-2: on the wearing-out of “sette paia di scarpe di ferro”; cf. “踏破鐵鞋”. Cf. Italo Calvino, Italian
Folktales (tr. G. Martin, p. 466), No. 134 “Liombruno”: “I need seven pairs
of shoes” etc.;《後西遊記》第二回末.
V. 7: The story of th boy who makes good because he understands the
language of the birds (p. 511: Menicuccio: “Io so intendere il linguaggio degli
uccelli”) — a version of the archetype “The Boy who became Pope, or the Three
Languages” as told in Le Roman des Sept
Sages de Rome etc (see J.G. Frazer,
Garnered Sheaves, pp.
97 ff.).
V. 8. p. 519: Nennella was swallowed by “un pesce fatato” & found
inside its belly “campagne bellissime, giardini magnifici” etc. Cf. 第二百三十三則 on Lucian: “A True Story”.
V. 9. p. 595: “ti sarà cataletto una padella e sepoltura un ventre” —
that is, the belly of an orco; cf. 第一百六十七則 on The Notebooks of Leonardo da
Vinci, tr. E. McCurdy, I, p. 69.
Pp. 528-529 the delightful episode of the schiava nera seeing reflection of the fata in water & mistaking it for her own; cf.《大莊嚴論經》卷十五之八十一：“有一長者婦為姑所瞋，走入林中，自欲刑戮，既不能得，尋時上樹，以自隱身。樹下有池，影現水中。時有婢使，擔瓨取水，見水中影，謂為是己有，作如是言：‘我今面貌，端正如此，何故為他持瓨取水！’即打瓨破，還至家中” — how
artistically has Basile clothed this bare skeleton of a story with flesh! Cf.《雜譬喻經》卷下之二十九：“有長者新迎婦，甚相愛敬。夫語婦言：‘卿入廚中，取蒲桃酒，來共飲之。’婦往開瓮，自見身影，在此瓮中，謂更有女人，大恚……夫自得入廚視之，開瓮見己身影，逆恚其婦。有道人……喟然……取一大石打壞瓮，酒盡，了無所有”（cf.《太平廣記》卷二六二〈不識鏡〉條引《笑林》[58]：“夫市鏡歸，妻照之，驚告母曰：‘某郎又索一婦歸也！’母亦照曰：‘又領親家母來也！’”）. To take one’s own image for another person &
to take another person’s image for one’s own — doesn’t our life consist just in
these two kinds of comedy of errors? Isn’t narcissism often merely a case of
mistaken identity? and “nemesism” (for the word see J.C. Flugel, Man, Morals & Society, p. 79) often
inverted into Messianic fervour or crusading spirit? Cf. Hebbel’s poem “Das
Kind am Brunnen”, which is a nursery version of the legend of Narcisus: “Und
unten erblickt es ein holdes Gesicht, / Mit Augen, so hell und so süsse. / Es
ist sein eignes, das weiss es noch nicht, / Viel stumme, freundliche Grüsse! //
Das Kindlein winkt, der Schatten geschwind / Winkt aus der Tiefe ihm wieder. /
Herauf! Herauf! so meint’s das Kind; / Der Schatten: Hernieder! Hernieder!”
etc. (Werke, hrsg. Theodor Poppe, Iter
Teil, S. 51).【Neither attains the metaphorical profundity of Traherne’s
“Shadows in the Water” (Auden & Pearson, Poets of the English Language, II, pp. 517-9).】This
story, which leads to the dénouement,
forms a pendant to the Introdusione;
both, the Rahmenerzählung & the Binnenerzählung (for the terminology,
see W. Kayser, Kleines Literarisches
Lexikon, 2te Aufl., S. 120), shows a prejudice against the dark
Moorish woman; cf. the “colour neurosis” of the morena in Spanish literature (Modern
Language Notes, May 1960, pp. 415 ff.). Although they set store on the
blondes, “en Italie on se montrait moins sévère ou moins exclusif” (E.
Rodocanachi, La Femme italienne, p.
102). Poliziano’s “La Brunettina”, the anynymous song “Brunetta ch’ai le ruose alle
mascelle” (G. Carducci, Cantilene e
ballate nei sec. XIIIe-XIVe, p. 59), & Tasso’s
famous lines on the Ethiopean queen “...la regia moglie, / che bruna è si, ma
ti bruno il bel non toglie” (Ger. lib.,
XII. 21, ed. Ulrico Hoepli, p. 272) are all tributes to the dark woman (cf.
supra 第四百八十五則). Marino’s Lilla in “Le bruna pastorella” is a “zingaretta
leggiadra”, a “bella mora” (G.G. Ferrero, Marino e i Marinisti, p. 516, 519). Cf. also Girolamo Fontanella: “La bella bruna”: “Zingaretta
d’amore” etc. (ib., p. 888).《金瓶梅》王六兒“面皮紫膛色”（33 回）；《藝文類聚‧美人門》：“《左傳》昭二十八年： ‘昔有仍氏生女，黰黑而甚美，光可鑑，名曰“玄妻”’”；梁玉繩《瞥記》卷三：“《晉書‧四夷傳》：‘林邑國人皆倮露，以黑色為美’，晉惠南風、劉鋹媚豬，皆以黑為美”；張萱《疑耀》卷三：“妲己，古書有作‘䵣己’者。……《字統》：‘黑而有艷曰䵣。’……則妲己之貌，斷非瑩白矣。古有‘元妻’，亦云其貌如漆，有光可鑑。……南漢主劉鋹得波斯女，黑腯而慧艷，……賜號‘媚猪’。……世廟有尚妃者，貌亦黑，宫人稱為‘黑木娘娘’，寵冠一時”（俞樾《茶香室續鈔》卷五引楊升庵《字說》“䵣己”略同。
七百[59]
薛蕙《薛考功集》十卷。君采究心宋儒之學，觀卷十〈答王浚川〉二書、〈答崔子鍾〉二書可見，卷八〈戲為五絕‧之三〉所謂「雅知文藝未為尊，次第沿流直討源；不啻學詩高一格，信然聞道小羣言」是也。詩雖化於何、李，調廓詞陳，尚無割裂矯揉之迹。七言古、近體偶參宋格，七律尤有和雅饒情致者。文則隨意抒寫，平易淺近，純乎宋理學家語矣。《藝苑巵言》卷六謂君采「才不如昌穀，學不如用修，而小撮其短」，尚是漫浪語。《顧華玉集》（《金陵叢書》本）卷十三〈與後渠書〉云：「文字仍工苦否？璘唯信手拈出，取適情達意而已。甚愛薛君采，苟以舊作名家，今一切為淺語，何其達耶」；卷十五〈答浚川公〉云：「若君采近來諸作，盡去從前脂澤，似為得之。空同、後渠之詩文，璘嫌其老而益工」云云，較為得之。
〇《中麓閒居集‧自序》云：「薛西原詩能逼唐，後會馬西玄於壕梁，曰：『古來詩人，惟一陳簡齋。』」今觀《考功集》卷四〈希夷先生墨竹歌‧并序〉引《擊壤集》，又有〈梅花用東坡韻〉七古，皆其不薄宋人詩之證。蓋君采誦法宋儒，耳目濡染，遂亦有取於宋詩矣。卷十〈升菴詩序〉云：「國朝能詩者，盛於弘治、正德之際。然此數君子，亦各才有高下，學有疎密。雖其高才之學者，要未有窮其學之所至，竭其才之所能者也。升菴楊先生詩，其窮極詞章之綺靡，可以見其卓絕之才；其牢籠載籍之菁華，可以見其弘博之學。此其意將欲追軋古人，而不屑與近代相上下。蓋余疇昔所願見，乃今得之先生矣」云云，不滿於何、李之專蔽固陋，言外明甚，匪徒如牧齋所謂「排擊」空同已也。又升菴稱引君采「著論云：『小人之在位也』云云」（《升菴全集》卷五十一「司馬溫公墓銘」條），此論《集》中失收。
〇君采與大復交契甚深，酬答頻繁（卷三〈贈何大復〉、〈對雪簡崔洹野何大復〉、〈答何大復〉、卷五〈九日同何仲默出郊〉、〈病中何仲默蔣子雲過訪〉、〈寄何仲默〉、〈同大復避暑寺中〉、卷八〈同何大復苦熱行〉）。卷八〈戲成五絕‧一〉云：「束髮從師王浚川，文章衣鉢幸相傳。爾時評我李何似，白首摧頹只自憐」；〈四〉云：「海內論詩伏兩雄，一時倡和未為公。俊逸終憐何大復，粗豪不解李空同。」又卷八〈讀李空同詩〉云：「可憐詞客李空同，治第築園學富翁。地下定遭劉王笑，我猶如此況如公。」藝苑之雌黃，半緣交游之疎密耳。王敬夫《渼陂集》卷六〈漫興十首‧之三〉云：「仲默親從獻吉游，高才妙悟孰能儔。寧獨老夫堪下拜，即教獻吉也低頭。」亦其類也。《中麓閒居集》卷十〈李崆峒傳〉云：「雖四次下吏，而晚景富貴驕奢，以其據紛華之地，而多賣文之錢耳。」可與君采「學富翁」句參觀。
〇卷九〈與浚川論二氏書〉略云：「大抵二氏之道，乃脩心之內學，盡性之極道，孔門之所罕言，吾儒之所未聞也。至於方士之流，則大背老、莊之指，傍門岐徑，不勝其多，極其優者，亦有我有為之小術耳。老子曰：『聖人後其身而身先，外其身而身存，非以其無私耶？』此與自私自利、貪生畏死者異矣。『歸根曰靜，復命曰常』，此與安排造作、勞生求生者異矣。西方之書曰無我法、無為法，此與老子之言，豈非同條共貫乎！即二端而觀之，可以見方士之道之陋矣！」〈再答浚川論二氏書〉云：「《參同契》中『無念以為常』，此言與禪學無異，顧持一言之偶合耳。譬猶諸子百家，間亦言及仁義，而其大體則非也。鄉使伯陽果以無念為宗，豈復談乾坤、水火，如彼之支離乎？夫老、莊所謂仙，與佛所謂禪，誠非二道。但後之方士，其術淺陋，曾不逮小乘之禪也。禪學者，不唯賢於後世之仙學，雖吾後儒之學，亦非其倫矣。」按焦弱侯《澹園集》卷十二〈又答耿師〉云：「佛雖晚出，其旨與堯、舜、周、孔無以異者，大都儒書具之矣。顧學者不察，乃猥以微言奧理獨歸之梵學，是可歎也」云云，尚作牽合掩飾語，不如君采了當。論神仙與道德之別極碻，參觀第六百四十六則論《抱朴子》。《明文海》卷二二一薛蕙〈老子集解序〉、〈坐忘論序〉皆可參觀。
〇卷十〈答崔子鍾書〉略云：「竊觀兄之名理，雖考信於六經之說，而實主之以六書之文。小道可觀，致遠恐泥，正此之謂也。夫謂古人制字假物以命名，不猶作《易》者假象以明理乎？象之不足以盡理，不猶物之不足以盡名義乎？六書有轉注、假借，一字而數物用之，不以一物專一字也。至於訓詁，則又隨事釋義，一字而數說訓之，不以一說蔽一字也。文字訓詁，猶不可執一而言也，而況施於文詞，其取義也可執一而言哉！必曰『道』為大路之『道』，則夫『形而上者謂之道』，不可通也；必曰『理』為玉膚之『條理』，則夫『窮理盡性以至於命』者，『條理』云乎哉？《易》曰：『書不盡言，言不盡意。』言之多變，且不足以盡意，一字之文，豈足以貫眾理哉？」按明通之論，遠勝戴東原《孟子字義疏證》之說（參觀第四十三則），與 Vico 所謂 “...
l’universal principio d’etimologia in tutte le lingue, nelle qual’i vocaboli
sono trasportati da’ corpi e dalle propietà de’ corpi a significare le cose
della mente e dell’animo” (Scienza nuova,
§237 in Opere, ed. F. Nicolini, p.
458; cf. §405, p. 518); Hegel 所謂 “ein
Wort, welches zunächst nur etwas ganz Sinnliches bedeutet, auf Geistiges
übertragen wird” (Ästhetik, IIter
Theil, Kap. 3, Aufbau-Verlag, 1955, S. 397); Theodor Meyer: “Der Tod der
Anschauung ist die Auferstehung der Sprache” (Das Stilgesetz der Poesie, S. 44, 見 J.
Volkert, System der Ästhetik, Bd. I,
S. 415 引); Locke 所謂 “...
we remark how... those [words] which are made use of to stand for actions &
notions quite removed from sense, have their rise from
thence, & from obvious sensible ideas are transferred to more abstruse
significations... v.g. to imagine, apprehend, comprehend, adhere, conceive... &c., are all words taken
from the operations of sensible things... Spirit,
in its primary signification, is breath” (Essay,
III, ch. 1, §5, ed. A.S. Pringle-Pattison, p. 224); Leibniz, Nouveaux Essais
sur l’Entendement, III,
ch. 1 論此云：“Dans le credo des Hottentots, on a nommé le Saint
Esprit par un mot qui signifie chez eux un souffle de vent bénin et doux... Un
certain Hollandais, peu affectionné à la religion, avait abusé de cette vérité...
pour tourner en ridicule la théologie et la foi chrétienne dans un petit
dictionnaire flamand, où il donnait aux termes des définitions ou explications
non pas telles que l’usage demande, mais telles que semblait porter la force
originaire des mots, et les tournait malignement” (Die philosophischen Schriften, hrsg. C.J. Gerhardt, Bd. V, S. 256)。【Shelley,
Defence of Poetry: “The language of
poetry is vitally metaphorical... words... become, through time, signs for
portions or classes of thought, instead of pictures of integral thoughts.”】【Bentham:
“To every word that has an immaterial import there belongs, or at least did
belong, a material one” (C.K. Ogden, Bentham’s
Theory of Fictions, p. 63).】【A. France, Le
Jardin d’Epicure: “Ariste et Polyphile”.】【S.
Ullmann, Semantics, p. 225-7.】E.
Cassirer 反覆丁寧所謂 “Tritt die Sprache aus den sinnlichen Hüllen, in
denen sie sich bisher darstellte, heraus: der mimische oder analogische
Ausdruck weicht dem rein symbolischen” (Philosophie
der symbolischen Formen, I, S. 145; cf. III, S. 397: “Der Prozess der
‘Entstofflichung’”; 參觀第五十則引 C.K. Ogden, Bentham’s
Theory of Fictions, p. 63; 又第一百九十六則引 S.
Ullmann, Semantics, p. 225). L.
Bloomfield 所謂 “refined
& abstract meanings largely grow out of more concrete meanings” (Language, p. 429) 則尚隔數塵。又按《朱子語類》卷八以木理喻理，卷百二十五論庖丁解牛一段曰：「理之得名以此」（卷七十五論《易‧上繫》「會通」亦用庖丁解牛得其理為喻）；《明文授讀》卷八侯一元〈理氣論〉曰：「夫陰陽，氣也。一陰一陽，氣之自然，所謂理也。猶木之有文理，絲之有條理也。而文理豈離木哉？去絲又安得條理也？」此隱開清儒以訓詁講義理之習。「理」字見〈樂記〉、〈禮器〉、〈仲尼燕居〉諸篇，〈禮器〉云：「義理，禮之文也」，即「木理」之義，正《韓非‧解老》所謂「理者，成物之文也」。【《韓非子‧解老》：「道者， 萬物之所然也， 萬理之所稽也。理者，成物之文也。」】《困學紀聞》卷五早云：「『天理』二字，始見于〈樂記〉，前聖所未發也」；《援鶉堂筆記》卷九：「〈樂記〉：『天理滅矣。』注：『理猶性也。』惠氏曰：『前注云：「理，分也。」《韓非子》曰：「理者，物之文也」[60]，又曰：「理者，方圓、短長、粗靡、堅脆之分也。」理不作「性理」說。』」凌仲子《校禮堂文集》卷十六〈好惡說下〉云：「考《論語》及《大學》，皆未嘗有『理』字。鄙儒誤以理學為聖學。宋儒表章四書者，無在而非理事，無在而非體用，即無在而非禪學，悲哉」云云，識力既拘，見聞亦陋矣。參觀第三百十五則，又第七百二十二則論《金樓子‧后妃篇三》。【《莊子‧養生主》［庖丁解牛］：「依乎天理」，郭注：「不橫截也」；〈秋水〉：「故曰：無以人滅天」，郭注：「趨步失節，則天理滅矣」，皆 physical。〈天運〉：「夫至樂者，先應之以人事，順之以天理」；〈刻意〉：「不為福先，不為禍始。感而後應，迫而後動，不得已而後起。去知與故，循天之理」，皆 metaphysical。】【王國維《靜菴文集‧釋理》謂：「吾國『理』字語源，不過謂吾心分析之作用，及物之可分析者而已矣。其意義之變化，與西洋『理』字意義之變化，若出一轍」云云，頗有見，而未能窺假象明道之旨。劉師培《左盦集》卷三〈釋理〉：「《說文》云：『理，治也。』……《禮記‧樂記》云：『理，分也。』……故事物可以離析者，謂之『理』；人心所以離析事物者，亦謂之『理』。……宋儒以『理』為渾全之物，昧於訓『理』為分之旨。戴氏……又以『理』為專屬事物。」】【《孟子正義‧萬章》：「始條理也」，焦氏疏。】【《復初齋文集》10〈杜詩熟精文選理理字說〉：「『理』者，治玉也，字从玉从里聲。其在於人，則『肌理』也；其在於樂，則『條理』也。」7〈理說駁戴震作〉：「其人不甘以考訂為事，而欲談性道以立異於程朱。……引《易》曰：『易簡而天下之理得矣。』試問《繫辭傳》此二語非即性道統挈之『理』乎？……又引〈樂記〉『天理滅矣。』……此句『天理』對下『人欲』，即上所云『天之性』也，正是『性即理也』之義。……『義理』之『理』，即『文理』、『肌理』、『腠理』之『理』，無二義也。……即『理官』、『理獄』之『理』，無二義也。『事理』之『理』，則『析理』、『整理』之『理』，無二義也。……戴震文理未通也！」
[4]「可與」原作「與可」。
[5]「圖畫見聞志」原作「圖畫聞見志」。
[6]「三姝媚」原作「倦尋芳」。
[7]「陶邱」原作「陶邨」。
[9]「思佳客」原作「浪淘沙」。
[10]「袁宏道集」原作「破研齋集」。
[12]「七十八首」原作「七十八詩」。
[13]「雪」原作「雨」。
[20]「吳均」原作「吳筠」。
[28]「詩意」原作「詩音」。
[31]「宵」原作「心」。
[33]「遂」原作「送」。
[37]「譏」字後原贅一「之」字。
[39]「嫁」原作「婉」，「下略」原作「中略」。
[40]「南鄰」原作「南莊」。
[49]「補」字後無下文。
[52]「截木」原作「栽木」，「挺其已往」原作「梃其既往」。
[58]「卷二六二」原作「卷二六六」。
[60]「文」原作「分」。
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