《容安館札記》471～475則

清知不足齋叢書《灊山集》

四百七十一[1]

            戴昺景明《東野農歌集》五卷。石屏從孫也，《集》中數推尊屏翁，所作亦具體而微，不脫江湖派科臼。楊誠齋〈序〉謂石屏稱其「不學晚唐體，曾聞大雅音」，實未然也。卷三〈小畦〉、〈有感〉等篇，皆石屏詩（見《石屏集》卷二）誤收入者。

            卷二〈逐瘧鬼〉：「人生一歲一寒暑，自有大瘧纏其軀。翻手為涼覆手暖，笑爾禍福纔須臾。」按此意本之史浩〈永遇樂‧夏至〉云：「尋思塵世，寒來暑往，凍極又還熱熾。恰如個、脾家瘧疾，比著略長些子。」（《全宋詞》卷一百二十一）趙與時《賓退錄》卷一：「太宗嘗謂宰相曰：『流俗有言，人生如病瘧，於大寒大暑中過歲，寒暑迭變，不覺漸成衰老。苟不競為善事，虛度流年，良可惜也。』李文簡書之《長編》，而《宗門武庫》載五祖亦有此語。又唐《摭言》載趙牧〈對酒詩〉，亦有『人生如瘧在須臾，何乃自苦八尺軀』之句。」（參觀下第五百十三則。）

            卷三〈書初考〉：「但求官速滿，不道老同添。」

            〈自武林還家道由剡中〉：「野渡淺深水，夕陽高下山。」按太似石屏「春水渡傍渡，夕陽山外山」。

            〈僻居〉：「清池涵竹色，老樹蝕藤陰。」

            卷四〈幽栖〉：「汲水灌花私雨露，臨池疊石幻溪山。」

            〈觀敗棋者戲作〉：「角上僅全輸了腹，東邊纔活喪於西。」

            〈石屏後集鋟梓敬呈屏翁〉：「新刊後藁又千首，近日江湖誰有之。妙似豫章前集語，老於夔府後來詩。梅深歲月枝逾古，菊飽風霜色轉奇。要洗晚唐還大雅，願揚宗旨破羣癡。」按結句即石屏贈詩之意，實則石屏五律未嘗不參晚唐法也，東野之於江湖派亦頗推尊，卷三〈方叔材用余和薛雲屋歌見貽次韻奉酬〉云：「江湖前輩盡，何敢易言詩。鼠璞元非玉，蛛羅不是絲。池塘生草處，風雪跨驢時。此是真吟境，從來幾個知？」可以見矣。

            〈次韻鄭安道懷君玉弟游東嘉〉：「遠想池塘頻夢汝，還當風雨對眠誰？」按純乎石屏體。

            〈有妄論宋唐詩體者答之〉：「不用雕鎪嘔肺腸，詞能達意即文章。性情元自無今古，格律何須辨宋唐。人道鳳簫諧律呂，誰知牛鐸有宮商。少陵甘作村夫子，不害光芒萬丈長。」按純乎袁隨園議論，已見《談藝錄》。東野〈自序〉所謂：「雖草根喓喓，柳梢嘒嘒，視鳴高岡、唳九皋，聲韻邈乎不侔，而發乎情則一也。」清邵湘南陵《青門詩集》卷一〈疎園集自題〉一首，衹「不用」作「安用」異一字，蓋蹈襲大胆也。而鄧之誠《清詩紀事初編》卷一錄而稱歎為「自道甘苦」，蓋不知其正是隨聲學舌耳。

四百七十二[2]

            方夔時佐《富山遺稿》十卷。筆性流走，亦有卷軸。古體尚不失雅音，近體學放翁得其短處，頹滑不足道。題目什九為〈雜興〉，正劍南習氣。卷六五言排律二首，皆五古也，館臣鹵莽可笑。

            卷一〈詩人詠鴟夷西子之事多矣按越敗於魯哀公元年想鴟夷五餌之策必其時也至哀公二十二年越滅吳西子復歸計其年亦老矣豈鴟夷如洛陽賈人不能忘情於舊約耶〉[3]：「去時苧蘿山，送我摶黍叫。歸時苧蘿山，迎我桃花笑。一別二十年，過眼如風燎。人生重後會，世事中前料。未驚馬齒長，猶喜鷄皮少。功名志已酬，富貴頭終掉。傍君鴟夷槳，舞我烏栖調。撫景惜餘年，烟波老漁釣。」按讀書得間，然尚有老少之見存。《儒林外史》三十四回季葦蕭誚杜少卿「與三十多歲老嫂子看花飲酒，也覺掃興」，正此意也。《湘綺樓日記》民國四年九月廿五日云：「看唐詩『蛾眉鶴髮』云云，不覺有感，女寵而論年，是不知寵嬖者也。唐玄之於楊妃，庶幾非好少者。武氏之控鶴，亦庶幾自忘其年者。余有句云：『安得長見垂髫，如君百歲不祧』，登徒子其賢於宋玉乎？[4]昨日日記，八十老翁自比林黛玉（九月廿四日：『終日悶睡，大有林黛玉意思』），殆亦善言情者，長爪生云：『天若有情天亦老』，彼不知『情』、『老』不相干也。」王翁斯言得之。餘見第七百四十四則論《全漢文》卷三十一杜欽〈說王鳳〉。

            卷七〈雜興〉：「處變卿還用卿法，養高吾自愛吾廬。」

            卷九〈雜興〉：「醉眼昏花迷野馬，帖書戲草掣風檣。」

            卷十〈客有善談謔者曰鰌鮎魚龜皆水族也一日聚議謁河伯求職事鰌先去河伯授以右相鮎魚次之授以左相龜行遲欲以翰林處之龜不願曰好官二子俱做但願河伯註長壽看二子做到何處其言雖謔可為發一笑也謾記其事〉：「傭耕陳勝假為鬼，爛斧王喬詐得仙。若見淵明為我道，併從金母乞長年。」按詩劣甚，題頗趣，龜語可參觀《藥地炮莊》卷一〈齊物論〉：「廓然曰：『世間休問幾時好，萬事不勞明日看」；《許彥周詩話》載嵩山僧義了詩：「百年休問幾時好，萬事不如明日看」；《兒女英雄傳》36 回安老爺曰：「古有云：『退一步想，過十年看』」[5]；Plato: “Time brings everything: length of years can change names, forms, nature, & fortune” (Greek Anthology, IX, 51, Loeb, III, p. 29).【Qui vivra verra.】

四百七十三[6]

            黃裳冕仲《演山集》六十卷。詩、文皆浮蕪無佳處。莊念祖《述方外志》謂冕仲乃「紫微天官九真人之一」，當是以其好作道家語，從而附會。然《集》中稱述釋氏之文，亦復不少。十八羅漢、禪宗六祖皆一一為之讚頌（卷三十六〈請羅漢讚文〉、〈六祖傳付偈頌〉）。《雜說》十四卷（卷四十七至卷六十）又敷陳孔、孟，莫非應聲掠影語也。卷一〈次魯直烹密雲龍之韻〉四首，即和《山谷內集‧博士王揚休碾密雲龍同事十三人飲之戲作》，山谷并有〈答黃冕仲索煎雙井茶〉、〈再答冕仲〉、〈次韻冕仲考進士試卷〉諸詩。

            卷六〈集英殿考試酬唱〉：「豈為雲團惜，消閒頼有詩。」自注：「同事相戲不得吟詩，犯者有罰密雲龍之約。」

            卷三十五〈書子虛詩集後〉：「識高而才短者，其勢易為古淡；才高而識短者，其勢易為豪華。」按此二語可取。

            冕仲南平人，押韻未免閩音不正（見第三百十七則、三百三十二則、三百六十六則、四百二則、四百四十六則），如卷二〈送人歸符離〉以「酒」、「老」、「火」、「好」、「到」、「早」、「手」為韻，卷三〈送駱君歸隱廬阜〉以「逃」、「高」、「多」為韻，〈重九遣興〉以「抱」、「好」、「道」、「過」、「草」、「倒」、「帽」為韻，卷四〈五祖長老惠竹席〉以「老」、「抱」、「臥」、「墮」等為韻，〈經遊湆澹〉以「濤」、「遭」、「何」、「波」為韻，卷五〈通道瓢吟〉以「好」、「到」、「道」、「我」為韻。

四百七十四[7]

            朱翌新仲《灊山集》三卷、《補遺附錄》一卷，《知不足齋叢書》本。新仲頗用坡法，而加以悍辣。能以峭崛之筆驅使成語，化熟為生，□渾帖排奡之妙。《後村詩話》極稱其對偶之工，蓋祈嚮所在。然後村為之，便落甜滑，乏警拔之致。後來惟方秋岳頗相似耳。《容齋隨筆》卷十六「靖康時事」條引新仲〈記昔行〉二句，《集》中所無，《補遺》亦未采。《全蜀藝文志》卷二十一載新仲〈送吏部張公歸成都詩并序〉，詩為五言排律。《容齋五筆》卷三：「朱新仲舍人常云：人生天地間，壽夭不齊，姑以七十為率：十歲為童兒，……以須成立，其名曰『生計』；二十為丈夫，……意在千里，其名曰『身計』；三十至四十，日夜注思，……位欲高，財欲厚，門欲大，子息欲盛，其名曰『家計』；五十之年，心怠力疲，……西山之日漸逼，……當隨緣任運，……其名曰『老計』；六十以往，……倏爾就木，內觀一心，要使絲毫無歉，其名曰『死計』。……語人以『身計』則喜，以『家計』則大喜，以『老計』則不答，以『死計』則大笑。……為南華長老作〈大死庵記〉，遂識其語。」徐時秣《烟嶼樓詩集》卷十七〈月湖欸乃曲‧之七〉自注：「朱新仲舍人信天緣堂在湖上，其自作堂記甚佳。鮑氏搜《灊山集》遺文，未之及也。勞格《讀書雜識》卷十二尚有補〈廣生堂記〉（《至正四明續志》卷十一）、〈觀弄獅子〉七古（《前賢小集拾遺》卷五）。

            卷一〈張翰惠書告窘〉：「俯視腰一圍，何時解三篾。讀我道窮文，還君乞米帖。」

            〈西園月夜竹影滿堂〉：「良夜天徹幕，林間月如篩。解與竹傳神，月娥真畫師。東坡元不死，鶴駕相追隨。習氣未掃除，戲筆聊一麾。調和水墨勻，幻出虬龍枝。圖成不掛壁，擲地容俯窺。欲進復小卻，尚慮鞵底泥。」

            〈三月旦行園〉：「我柳已飄絮，我筍亦上竹。雪氈密蓋地，犢角橫入屋。」

            〈予居曲江五年今歲又暮慨然有感〉：「一歲幾得書，五年闕問安」，「繫日既無術，縮地良獨難。」

            〈十月旦讀子美北風吹瘴癘羸老思散策之句初寮嘗作十詩因次其韻〉：「戰休左觸氏，夢破大槐國。一」「問學要根柢，文章忌雷同。……縱之逼論劍，收之入檀弓。二」

            〈方提幹有端石硯池狹不能容水予携以歸令匠者廣之疑其不返也書來見督以詩解嘲〉：「會令合浦看還珠，豈忍荆山長抱璞」，「請對使者一斧碎，與公少解貪癡縛。」    〈謝人惠淺灘一字水圖〉：「風本無形不可畫，遇水方能顯其質。畫工畫水不畫風，水外見風稱妙筆。」按江弢叔〈題彥仲畫柳燕〉詩亦用此意。參觀第一百六十七則。又《廣川畫跋》卷二〈書孫白畫水圖〉論「靠山不靠水」與此足相發明。

            卷二〈曉出〉：「小舟輕劈浪，宿霧密糊空。」

            〈遣興〉：「客去抽書讀，愁來閉戶推。眼花因酒劇，書草更人催。怪石巧依竹，淨瓶香引梅。悠然鏡湖念，又向雁邊回。」

         〈猗覺寮晚飯〉：「卒律葛答美自注：煎餅，鉤輈格磔肥。」

            〈題蔣山草堂〉：「俯仰之間迹已塵，重來屐齒蘚痕勻。晚菘早韭有真味，夜鶴曉猿無故人。萬一可償他日願，再三須卜此山鄰。北山大士乃吾祖，烝蕙肴蘭長薦新。」

            〈讀太真碑〉：「袞衣華藻刻堅瑉，下馬來尋剝蘚痕。斷畫豈如弦可續，闕文猶冀石能言。鬣村故址今仍在，螭首遺蹤碎莫存。欲較智愚三十里，又飛絲鞚過前村。」

            〈七夕後一日諸公携酒見過〉：「且欣大暑去酷吏，更辱諸君為主人。」

            〈寄諸洪〉：「鵷雛鸑鷟俱為鳳，乳酪醍醐總是酥。」按勝於潘邠老〈題勌殼軒〉之「封胡羯末謝，龜駒玉鴻洪。」下句稍勉強。唐譯《華嚴經》卷五十一〈如來出現品第三十七之二〉曰：「日藏大寶光明，照觸海水，悉變為乳。離潤大寶光明，照觸其乳，悉變為酪。火焰光大寶光明，照觸其酪，悉變為酥。盡無餘大寶光明，照觸其酥，變成醍醐。」（《中阿含經》之二、又一二六、又一四一等謂：「因牛有乳，因乳有酪，因酪有酥，因生酥有熟酥，因熟酥有酥精。」）則當言乳、酪、酥皆醍醐，或酪、酥、醍醐皆乳。《簡齋外集‧用大成四桂坊韻贈令狐昆仲》：「醍酥乳酪元同味，封胡羯末更合堂。」謝采伯《密齋筆記》卷五：「或曰：『齋之用乳，是僧家欲啖以肥蔬腸。』余曰：『佛西方聖人其俗。』」

            〈書事〉：「春來何事可相關，撥置書叢得少閒。洗硯諦觀鸜鵒眼，焚香仍揀鷓鴣斑。花開北陌東阡外，人在朝三暮四間。俯仰乾坤了無愧，心如枯枿更誰刪。」按三、四參觀第六百十六則。

            〈同郭侯僧仲晚至武溪亭議真率會〉：「衲子自知空是色，將軍要使酒猶兵。」

            〈寄方允迪〉：「為信在山名遠志，便令滿篋寄當歸。一牀獨設空諸有，三徑就荒知昨非。」

            〈與郭侯飲園中〉：「此時老子興不淺，旦日將軍幸早臨。」

            〈園中即事〉：「出家道士在家僧，晚誦儒書早佛經。灰盡此心猶木偶，掃除往事送芻靈。花邊過客蜂旁午，溪上良時鷺適丁。一到菊坡分品目，玉盤盂可次金鈴。」

            〈靜坐〉：「風引飢鳥將子下，雨催羣蟻運糧歸。」

            〈東津送方務德〉：「何以贈之青玉案，我姑酌彼黄金罍。」

            〈春遊〉：「心有所之無遠近，興雖已盡更徘徊。」

            〈簡范信中〉按即山谷《宜州乙酉家乘》三月十五日所稱「成都范寥來相訪，好學之士也。」其行事詳見《梁溪漫志》。《家乘》有信中〈序〉謂：「山谷不起，子弟無一人在側，獨余為經理後事。」

            《附錄》：「天氣未佳宜且住，風濤如此亦安歸。」

            「經年不濯子春足，半月才梳叔夜頭。」此首全詩見《永樂大典》二萬三千三百四十四「示」字，題為〈示江子我〉尚有〈示羅教授楚知監〉、〈示張子昭〉、〈中秋示潘子賤〉三首。

四百七十五[8]

            劉應時良佐《頤菴居士集》二卷。有放翁、誠齋兩〈序〉。放翁謂范石湖深賞其詩（卷下〈聞范至能匄祠〉第二首云：「士紳知己近來無，得此吾慚上大夫。酷愛新詩成異遇，每於廣坐語諸儒」云云，是其佐證），誠齋謂所作逼晚唐諸子與半山老人。亦江湖體也，尚不尖薄獷野，亦乏清新語。

            卷上〈春暮〉：「細書欺老眼，軟飯愜衰牙。」

            卷下〈西郊〉：「薄雲斜日媚平川，一老來耕刈後田。向晚歸牛尋熟路，擺頭昂鼻不須牽。」

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[1]《手稿集》737-8 頁。

[2]《手稿集》738-9 頁。

[3]「亦老矣」原作「亦已老矣」。
[4]「賢於」原作「異於」。

[5]「一步」原作「一年」。

[6]《手稿集》739 頁。

[7]《手稿集》739-41 頁。

[8] 《手稿集》741 頁。

《容安館札記》466～470則

1878 年版 Die Journalisten 插圖（Ludwig von Herterich 木版畫）

四百六十六^[1]

            Gustav Freytag, Die Journalisten. A play much overrated. Dénouement very lame, quite unworthy of the builder of the famous pyramid. The absence of wit — “Si un Allemand peut avoir de l’esprit?” — is as characteristic as the excess of sentiment. The play is not about newsdom but about party politics, not about news-hounds, “copy”-cats, but about party hacks, proper ganders[2], etc. The central theme, the Coriolan joining issue with the Union over a hotly contended election is reminiscent of the Eatanswill episode in Pickwick Papers. Judging by our latter-day standards, the protagonists handled each other with their kid-gloves on; man’s inhumanity to man still remained animosity and had not yet become brutality.

            I, i: Adelheid: “Was zwischen Ihnen [Oberst a.d. Berg] und Oldendorf [hitherto the Colonel’s friend, for the moment his rival, & in the end his son-in-law] schlimm geworden ist, kann wieder gut werden. Heute Feind, morgen Freund, heisst es in der Politik; aber Ida’s Gefühl wird sich nicht so schnell ändern.” Adelheid had ample excuse for this naïve view in the fact that she lived before “the days of brain-washing” & ideological re-education. Nowadays we have body-urge or elective affinities de commanda, & love can be made to tow the party line, cf. Alphonse Daudet: “O politique, je te hais. Tu sépares de braves coeurs faits pour être unis; tu lies au contraire des êtres tout à fait dissemblables. Tu es le grand dissolvant des consciences, tu donnes l’habitude du mensonge, du subterfuge, et, grâce à toi, on voit des honnêtes gens devenus amis des coquins, pourvu qu’ils soient du même parti. Je te hais surtout parce que tu en es arrivée à tuer dans nos coeurs l’idée de patrie” (quoted in Antoine Albalat, Souvenirs de la vie littéraire,  nouvelle édition augmentée, p. 23).

            II, i: Adelheid: “...die weise Lebensregel meiner alten Tante: Rauchen Sie Tabak, mein Gemahl, so viel Sie wollen, er verdirbt höchstens die Tapeten, aber unterstehen Sie sich nicht, jemals eine Zeitung anzusehen, das verdirbt Ihren Charakter.” Cf. the more enthusiastic words of David Kalisch parodying J.G. Seume’s Die Gesänge: “Wo man raucht, da kannst du ruhig harren, / Böse Menschen haben nie Zigarren” (G. Büchmann, Geflügelte Worte, Volks-Ausgabe von B. Krieger, S. 178).

            ii: Schmock: “Ich habe... gelernt in allen Richtungen zu schreiben. Ich habe geschrieben links und wieder rechts. Ich kann schreiben nach jeder Richtung” (cf. Paul Léautaud, Journal Littéraire, V, p. 390: “Il paraît que c’est Gohier qui écrit les articles du parfumeur Coty directeur du Figaro. Pauvre Gohier. Il écrit tout ce qu’on veut cet homme du moment qu’on le paie, révolutionnaire ou conservateur, selon qu’il est mieux paye d’un côté ou de l’autre cela prouve au moins une bonne souplesse d'esprit”). This ignoble hack has spawned a vast progeny who are even more pliant towards their masters, though perhaps less honest about themselves. Artists in uniform, scientists in livery, philosophers wearing motley as well as the party badge & publicists turning their coats all change sides with the same frequency & the same consideration of personal comfort as a sick man in his bed. This time-serving truckling to Powers that be is the real trahison des clercs. In other words, they have become “journalists”, become écrivains engagés under the menace of being disengaged, i.e., unemployed or displaced. They have, to borrow F. Flora’s apt characterization of Pietro Aretino’s activities,  followed “il mestiere della parola”, a profession in which a man “non rispetta la sua stessa parola e disconosce la suprema morale del verbo” (Storia della Litt. ital., II, p. 439). One notices a similar lack of  principles in Bolz’s eloquent plea in III, i: “Wir Zeitungsschreiber füttern unsern Geist mit Tagesneuigkeiten, wir müssen alle Gerichte, welche Satan für die Menschen kocht, in den allerkleinsten Bissen durch kosten... Wer immer für den Tag arbeitet, ist es bei dem nicht auch natürlich, dass er in den Tag hinein lebt?... Wir sammeln wie die Bienen, durchfliegen im Geist die ganze Welt, saugen Honig, wo wir ihn finden, und stechen, wo uns etwas missfällt.” All periphery & no center. Significantly, in I, ii, Bolz took Bellmans to task not for lying but for serving up state lies (abgedroschene Lüge): “Es gibt so Vieles, was geschieht, und so ungeheuer Vieles, was nicht geschieht, daß es einem ehrlichen Zeitungsschreiber nie an Neuigkeiten fehlen darf.” A man who holds such views can at best only be a Platonic lover of truth. The irony in his remark to the Colonel, “Ich wünsche Sie zu überzeugen, dass auch ein Journalist bedauern kann, Unwahres geschrieben zu haben” (III, i), is therefore deeper then he himself is conscious of. Thus one can understand Kierkegaard’s tirade in his Journals: “The sign of the press would have to read: Here men are demoralized in the shortest possible time on the largest possible scale, for the smallest possible price... There is a far greater need for total-abstaining societies which would not read newspapers than for ones which do not drink alcohol. The lowest depth to which people can sink before God is defined by the word ‘Journalist’. If I were a father & had a daughter who was seduced, I should not despair over her; I would hope for her salvation. But if I had a son who became a journalist, & continued to be one for five years, I would give him up” (A Kierkegaard Anthology, ed. Robert Bretall, p. 431; cf. B.W. Downs, Ibesen: The Intellectual Background, p. 15 on “open & acid contempt of the press” as a recurrent theme in modern Norwegian literature, e.g. Ibsen’s An Enemy of the People & Pillars of Society, Bjørnson’s The Editor, Kielland’s The Feast of St John, Knut Hamsun’s Editor Lynge). Cf. English slang “the lowest form of animal life” for “a reporter” (E. Partridge, Dict. of Slang, 4^th ed., p. 1103); also the second of Giusti’s “mezzo Decalogo”: “Leggere, scrivere, pensare, ma non fare il giornalista nè il poeta cesareo” (Prose e Poesie Scelte, “Biblioteca classica Hoepliana”, p. 10); Sir Walter Scott on journalism: “I would rather sell gin to poor people & poison them that way” (Letters, ed. H.J.C. Grierson, XI, p. 162); again: “Nothing but a thorough-going blackguard ought to attempt the daily press” (Journal, ed. D. Douglas, II, p. 262); cf. T.L.S., Jan. 12-18, 1990, Carey; Carlyle: “Magazine work is below street sweeping as a trade” (Letters, ed. C.E. Norton, I, p. 283) (quoted in C.N. Ray, Thackery: The Uses of Adversity, pp. 194-5). The Colonel shared the earnest Dane’s opinion though he wrote occasionally for the paper himself: “Dass er [Oldendorf] ein Zeitungsschreiber ist, das trennt uns” (IV, i). By the way, in the comedy, it is the journaux d’opinion that come into question. As to the journaux d’information which touch nothing that they do not vulgarize — even the Last Judgement, as Mark Twain said — Grillparzaer’s disdainful poem “Der Henker hole die Journale” puts the matter very well: “Der Henker hole die Journale, / Sie sind das Brandmal unsrer neuen Welt, / Der ekle Abhub von dem Wissenmahle, / Der, für die Viehmast, in die Zuber fällt. // ... Du brauchst nicht mehr zu wissen noch zu denken, / Ein Tagblatt denkt für dich nach deiner Wahl, / Die Weisheit statt zu kaufen, steht zu schenken, / Zu kaufen brauchst du nichts als das Journal” (Werke, hrsg. Stefan Hock, I, S. 151-2).

            III, i: Adelheid: “Alle Welt klagt über ihn [Journalismus] und jedermann möchte ihn für sich benutzen. Mein Oberst hat so lange die Zeitungsschreiber verachtet, bis er selbst einer geworden ist” u.s.w. But of course one must distinguish the occasional from the vocational. Cf. Richard Aldington on his journalistic writings: “I was exactly in the position of a woman who from time to time does a bit of whoring so that she may devote all the rest of her life to a fascinating but penniless lover” (Life for Life’s Sake, p. 86). The French have also the saying, “Le journalisme mène à tout à condition d’en sortir.”

            One excellent comic touch in II, ii: Bolz: “Wir wünschen dem Herrn eine recht lange Dauer, wie die Katze zum Vogel sagte, als sie ihm den Kopf abbiss.” Kleinmichel: “Wir lassen ihn leben, indem wir ihm den Garaus machen.” Bolz’s sally is in the best Cockney vein & worthy of Sam Weller, but Kleinmichel’s dull-witted & literal-minded pointing of the moral is really priceless.

            A pretty phrase in III, i: Adelheid: “Sie sind gut, Sie haben ein Herz.” Bolz: “Es ist nur ein ganz kleines Taschenherz zum Privatgebrauch.[3]”

四百六十七^[4]

            許及之深甫《涉齋集》十八卷，《敬鄉樓叢書》本。深甫與其同鄉潘德久唱酬最密，《集》中所謂轉菴者是也。卷三有〈應致遠以百韻古詩見示推許過當病中姑借放翁韻奉酬〉七古，卷五有〈次韻誠齋醉臥海棠圖之什繪放翁醉帽墮地〉七古、〈次韻誠齋飲張園放翁酹酒海棠花下〉七古，卷十六有〈次韻誠齋寒食日雨中游上天竺〉七絕十六首，是亦往還楊、陸之間。今觀所作，事料雖富，而筆致流迅，近體尤病率滑，固出入二家者。卷三〈酬應致遠〉詩云：「我詩何敢希楊公，况復進之陸放翁。煩君妙語相縱臾，控地豈得追培風」，良有以也。館臣於卷二〈綸子賦筠齋余亦和而勉之〉五古略而未觀，至疑深甫初名綸，復以卷十五〈讀王文公詩〉七絕有「少讀公詩頭已白」之句，遂云其瓣香安石，傍引《瀛奎律髓》稱道安石之言，無識牽扯，真堪齒冷。黃羣自《東甌詩續集》補遺兩首，其中〈廢塚〉七絕，乃許棐〈古墓〉詩，見《梅屋詩稿》，《宋詩紀事》卷五十三已誤屬及之，黃氏沿誤。《鶴林玉露》丙編卷五載及之為分宜宰傅公謀作〈賀雨〉詩。

            卷一〈次韻黎師侯文昌閣看雪〉：「春雪如過客，所止留莫住。（中略）乍看鮫泣珠，漸覺柳飄絮。少焉有矜色，瓊枝鬥玉樹。登臨須勝流，著我覺形汙。」

            卷三〈得趙昌甫詩集轉呈轉庵却以謝夢得詩見示有詩次韻〉：「我饞嗜詩欣染指，但見其長有誰毀。早年游方識趙謝，如魯逢掖宋章甫。謝詩瀾翻豪且古，趙句清癯淡而苦。學力到後成一家，渠自不知爲孰使。天各一方費渴思，想見冰增寒似水。居然老手斫方圓，出戶中規還中矩。轉庵活法已參遍，何止得心仍得髓。我如無寶窮波斯，望著是珍先自喜。忽得趙璧急呈似，示以謝草如寄取。自憐老去無長進，努力吟哦訓兒子。[5]」

            卷四〈觀奕篇〉：「秉燭隨者明，奕棋觀者精。觀者未必髙於奕，只是不與黑白同死生。」

            卷五〈惜春〉：「留春無上策，作意惜殘花。」

            卷八〈春晚登鈐岡〉：「簿書拋罷一登臨，恰有黃鸝送好音。溪漲未消知雨近，林疏頓密見春深。詩源久廢如枯井，宦况多磨似鍊金。手種故園三四竹，新梢拂拂想成陰。」

            卷九〈喜徳久從人使北來歸〉：「別來我已成炊夢，此去君應悟刼灰。」

            卷十〈酬劉孝若〉：「細思造物尤恩我，晚著家山剩庇身。」「杜門正媿衰兼嬾，枉句多慙頌不規。」

            〈酬南夀〉：「蟲臂鼠肝元自定，龜毛兎角慣曽聽。」

            卷十一〈舟行早起處州溪上〉：「檣表已迎山背日，纜端猶繫石根雲。」

            〈早起〉：「未曉不眠真是老，纔明便起有何忙？」

            〈赤目從薛山甫借荷葉巾〉：「赤目朝來勢轉加，病身觀妄有生涯。火平文武寛心地，酒遠聖賢疎肺家。虛白已能生暗室，空青不用點昏花。小冠預擬更名字，借與團圞藕葉紗。」

            卷十五〈次常之暑中即事韻〉：「昨宵妙處無人領，不是風涼是月涼。」

            卷十七〈車行詩〉：「穏如江海迎潮上，險似虛空逐電行。縱使中原平似掌，我車只作不平鳴。」按此使北時作。卷十六〈望商山〉一絕，至此卷〈題曹娥廟〉一絕，皆紀程抒憤之什，惟此首較工。

四百六十八^[6]

            戴栩文子《浣川集》十卷、《補遺》一卷，《敬鄉樓叢書》本。文子為葉水心弟子，詩文力求華整矯健，自出師法，惟似四靈耳。屢和水心詩，卷二〈題吳明甫文集後〉所云「憶從水心游，每遇佳題，輒令同賦」是也。又有〈送翁靈舒赴越帥〉五古（卷一）。

            卷二〈題吳明甫文集後〉：「氷蠶續絲犀琢軫，欲奏南薰終不近。水心歸宴白玉樓，一代詞華為渠盡。（中略）子雲老去方草玄，雕蟲往往羞少年。水心不學駢儷語，評麻品制空現前。」自注：「水心不屑作四六，箋表付之朋友。嘗云：『韓氏當國，一日欲令直學士院，急振手謝不能，手幾墜地。』」按此事人尟知者，文子《集》卷六有〈代水心賀正表〉、〈代水心瑞慶節賀表〉、〈代水心慰皇帝表〉，卷八有〈代水心回史宰啟〉，皆所謂「付之朋友」也。《四朝聞見錄》甲集「宏詞」條引水心斥四六之文「最為陋而無用」之語，而論之曰：「先生本無意於嫉視詞科，然適值其時，若有所為。真文忠素不喜先生文，得《習學記言》觀之，謂『是乃放言也』」云云，可參觀。《黃氏日抄》卷六十八論水心〈表〉、〈啟〉云：「文平意順，大手筆也。四六語如此，近世雕鏤自以為工者何如也。」

            〈和盧直院秋懷〉：「有聲無譜寒蛩切，似定還狂暮葉輕。」

四百六十九^[7]

            周行己恭叔《浮沚集》九卷、《補遺》一卷。恭叔出河南程氏之門，伊川見其辭婚馮當世家（參觀卷七〈祭馮當世文〉）而娶瞽女，至曰：「頤年未三十時，亦做不到此。」（參觀《能改齋漫錄》卷十四記唐之孫泰、宋之劉庭武皆娶盲女。）然論文推崇東坡，卷八〈寄魯直學士〉云：「當今文伯眉陽蘇，新詞的皪垂明珠。我公江南獨繼步，名譽籍甚傳清都」，〈送歐陽司理歸荆南〉云：「四海文章盡蘇氏」。詩文雖不警拔，亦修飭，無理學家腐鈍之狀。

四百七十^[8]

            Jottings:

            Jean Cocteau, Le Rappel à l’ordre, p. 19: “La vérité est trop nue, elle n’excite pas les hommes. Un scrupule sentimental qui nous empêche de dire toute la vérité en fait une Vénus qui se cache le sexe avec la main. Or la vérité montre son sexe avec sa main.” For the second sentence, cf. Ovid, Ars amatoria, II, 635-6: “Ipsa Venus pubem, quotiens velamina ponit, / Protegitur laeva semireducta manus”; also《西遊記》第七十二回：“［蜘蛛精］用手侮著羞處，跳出水來”. See Havelock Ellis, Studies in the Psychology of Sex, I, pp. 38-9 on the attitude of Medicean Venus as an example of “the secondary expression of modesty”.

            P. 229: “Les lecteurs grouillent sur Baudelaire. Baudelaire arrive-t-il? Une viande arrive-t-elle parce que les mouches s’y mettent? Elle est plutôt moins fraîche.” (Cf. p. 110: “Un maître est un papier à mouches. Il attrape de plus en plus de mouches.”) Cf. Huxley to Darwin: “A good book is comparable to a piece of meat, & fools are as flies who swarm to it, each for the purpose of depositing & hatching his own particular maggot of an idea” (Leonard Huxley, Life & Letters of T.H. Huxley, I, p. 300). Barbey d’Aurevilly on commentators: “ L’insecte don’t bien choisir son chêne.” Lichtenberg: “Der einzige Fehler, den die recht guten Schriften haben, ist der, dass sie gewöhnlich die Ursache von sehr vielen schlechten oder mittelmässigen sind.”《陸象山全集》卷二〈與趙監書‧二〉：“假借傅會，蠹食蛆長於經傳文字之間者，何可勝道！方今熟爛敗壞，如齊威、秦皇之屍。”

            P. 257: “L’automobile est en panne dans un village chinois avec un petit trou au réservoir. On découvre un artiste qui ne peut réparer le réservoir, mais le copiera en deux heures. Les automobilistes repartent avec un réservoir superbe. En pleine nuit, nouvelle panne. Le Chinois avait aussi copié le trou.” Cf. E. Gosse, Aspects & Impressions, Cassell & Co. ed., p. 13: “George Eliot”: “In the long piece (A College Breakfast Party), almost all Tennyson’s faults are reconstructed on the plan of the Chinese tailor who carefully imitates the rents in the English coat he is to copy.”《韓非子》第三十二〈外儲說左上〉：“鄭縣人卜子使其妻為袴，其妻問曰：‘今袴何如？’夫曰：‘象吾故袴。’妻子因毀新，令如故袴。”（《御覽》卷六百九十五：“妻因鑿新袴為孔。”）；辜湯生《張文襄幕府紀聞》卷下〈依樣葫蘆〉：“中國乾嘉間，初弛海禁，一西人衣敝，無已，招華成衣至，問：‘能製西式衣否？’曰：‘有樣即可。’因檢故衣付之。越數日，將新衣至，一切無差，惟衣背後剪去一塊，又補綴一塊。駭然問故，曰：‘我照樣做的耳。’”E. Partridge, Dict. of Slang, p. 148: “Chinaman’s copy”.

           Richard Aldington, Life for Life’s Sake, p. 149: “Not long after the war, Squire’s London Mercury published a Letter from Paris written by a Frenchman who devoted a good deal of space for Proust... Throughout ‘Marcel Proust’ had been changed to ‘Marcel Prévost’.” Cf. Léon Pierre-Quint, Marcel Proust, p. 91: “Il était dans une situation pire que celle d’un inconnu. ‘Quand les lecteurs chose m’écrivent au Figaro, après un article, on envoie les lettres à Marcel Prévost dont mon nom semble n’être qu’une faute d’impression.’”

            Havelock Ellis, Impressions & Comments, 1913, March 19: “As Keble rightly thought, it is a dangerous exploit to ‘wind ourselves too high / For sinful man beneath the sky.’ The spectacle of his hinder parts thus presented to the world may be quite other than the winder intended.” The Germans have the saying, “Je höher der Affe steigt, desto mehr er den Hintern zeigt” (Muret-Sanders Unabridged ed., 1900, II^ter Teil, Bd. I, S. 61); “Je höher der Affe steigt, je mehr zeigt er den Schwanz” (K. Spalding, A Historical Dictionary of German Figurative Usage, p. 25). Cf. Claudian, In Eutropium, I, 303-6: “Humani qualis simulator simius oris, / quem puer adridens pretioso stamine Serum / velavit nudasque nates ac terga reliquit, / ludibrium mensis” (“Loeb Classical Library”, I, p. 160); Guillaume Apollinaire’s poem “La Paon”: “En faisant la roue, cet oiseau / Dont le pennage traîne à terre / Apparaît encore plus beau, / Mais se découvre le derrière” (Le Bestiaire in Oeuvres poétiques, éd. Bib. d. l. Pléiade, p. 29); The Cloister & the Hearth, ch. 52: “You are no servant. Your speech betrays you. ’Tis not till the ape hath mounted the tree that she shows her tail so plain” (“The Modern Lib.”, p. 454; “Everyman’s Lib”, p. 351); Corrado Govoni, L’inaugurazione della primavera: “Un pavone rileva a ventaglio il suo strascico / come una ballerina applaudita che mostra anche quello che non si vorrebbe vedere”[9] (D. Provenzal, Dizionario delle Immagini, p. 639); Hazlitt, Characteristics, §53: “...Opportunity sometimes indeed ‘throws a cruel sunshine on a fool’ [Armstrong, The Art of Preserving Health, Bk. IV]” (Complete Works, ed. P.P. Howe, IX, p. 175); The Oxford Dictionary of English Proverb, p. 443: “The higher the ape goes, the more he shows his tail”; George Crabbe: “The Parting Hour”: “Alas! poor Allen — through his wealth was seen / Crimes that by poverty conceal’d had been: / Faults that in dusty pictures rest unknown, / Are in an instant through the varnish shown” (George Crabbe, The Life of George Crabbe, “The World’s Classics”, p. 6); Montaigne, Essais, II, 17: “... ce mot du feu Chancelier Olivier, que les François semblent des guenons, qui vont grimpant contremont un arbre, de branche en branche, et ne cessent d’aller, jusques à ce qu’elles sont arrivées à la plus haute branche, et y montrent le cul, quand elles y sont” (éd. Pléiade, p. 628); V. Nabokov, The Gift, ch. 4: “Chernyshevski freely enlarged upon Tolstoy’s vulgarity (poshlost) & bragging (hvastovstvo) — ‘the bragging of a thickheaded peacock about a tail which doesn’t even cover his vulgar bottom’”[10] (p. 238). Louis Veuillot: “Le paon devient très laid quand il fait la roue: il se déforme, il se retourne, et il montre son envers. Voyez M. de Chateaubriand. Fi! le villain!” (quoted in The Modern Language Review, Oct. 1954, p. 516). Cf. The Dunciad, Bk. Iv, ll. 17-8 (cited in 第六則).【《法苑珠林》卷六十四引《僧祇律》：“眾鳥舉王，眾言：‘正有孔雀，衣毛綵飾觀者悅目，可應為王。’復言：‘不可。’所以者何？衣毛雖好而無慚愧，每至舞時醜形出現。”】【Cf. A. Furetière, Le Roman bourgeois[11], Dictionnaire de citations françaises,... p. 228: “Il ressemblent au paon qui après avoir regarde les pieds baisse incontínent la queue.”】

            Dall’Ongaro, Stornelli Politici: “C’era una volta”: “Quando la gente non avea farina, / Lo le diceva: Mangiate pollame.” Cf. Marie Antoinette: “Si le peuple manque de pain, qu’il mange de la brioche”; 《瞥記》卷四：“晉惠帝時，天下荒亂，百姓餓死，帝曰：‘何不食肉糜？’；遼主聞民間乏食，謂：‘何不食乾腊？’（見〈金世宗本紀〉）”.

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[1]《手稿集》732-5 頁。

[2] 此與「propaganda」諧音。James Thurber, Fables for Our Time (New York, 1940) 書中寓言之一，即以 “A Very Proper Gander”為題（作者自注其寓意為：“Anybody who you or your wife thinks is going to overthrow the government by violence must be driven out of the country”）。

[3] 原文脫落「kleines」一字。

[4]《手稿集》735-6 頁。

[5]「斫」原作「研」，「遍」原作「過」。

[6]《手稿集》736 頁。

[7]《手稿集》736 頁。

[8]《手稿集》736-7 頁。

[9] 原文脫落「applaudita」一字。

[10]「Chernyshevski」原作「Cherkyshevski」。

[11] 此處字跡漫漶難辨，書名原似誤作「Histoire de la bourgeoisie」，見《手稿集》739 頁行間。

《容安館札記》461～465則

Charles Sorel, La Vraie Histoire comique de Francion

四百六十一^[1]

            Charles Sorel, Histoire comique de Francion, éd. Émile Roy (Société des Textes Français Modernes).

            Shapeless & garrulous, or, in Saintsbury’s words, “voluminous” & “dull” (A History of the French Novel, I, p. 276)[2]. What vis comica Sorel possesses consists in a kind of exuberant naughtiness. The thread of narrative is not a straight line, but a tangled skein — witness the long flash-back on Francion’s early life which covers Liv. III to Liv. VI; this is even worse than the manner a schoolboy taking a walk or of a dog going home (see Sydney Smith, Works, Longman, Green & Co., 1865, I, p. 69, review of  Edgeworth on Bulls; & Leonard Huxley, Life & Letters of T.H. Huxley, I, p. 415, Letter to W.K. Parker), though perhaps Sterne would call it “Digression with Progression”. A number of subsidiary characters, especially the pedant Hortensius, steal the show from the title-role. Sorel’s self-conscious didacticism & tiresome harping on the corrective value of his novel have been noticed (see F.C. Green, French Novelists, Manners & Ideas, I, p. 27). He doth protest too much, methinks, and thereby shows his guilty conscience about the pornographic passages, the histoire de cochonnerie, the affaires de cul, he has thought fit to adorn the tale with. Swinburne compares Herrick’s Hesperides to “a diet of alternate sweetmeats & emetics” (Studies in Prose & Poetry, p. 47), & I should like to compare this novel, with its intermingling of prosy morality & spicy salacity, to a regimen of sleeping-dose & love-philtre.

            Avertissement: “Puisque le ris n’est propre qu’à l’homme entre tous les animaux” (xi-xii). This is the Aristotelian animal ridens. A propos of tickling, Aristotle writes: “For human beings... are the only creatures that laugh” (De Partibus Animalium, tr. by A.L. Peck, “The Loeb Classical Library”, pp. 280-1). Cf. Rabelais, Gargantua, “Aux Lecteurs”: “Pour ce que rire est le propre de l’homme” (Oeuv. compl. De Rabelais, éd. Jean Plattard, I, p. 1); Addison, The Spectator, no. 494: “If we may believe our logicians, man is distinguished from all other creatures by the faculty of laughter.”

           Liv. I: [Le voleur travesti en] Cathérine: “Pour moi, je vous confesse que, toute fille que je suis, je me trouve plus capable de vous aimer que lui... si je vous avois montré par effet que je suis même fournie de la chose dont vous avez le plus besoin...?” (pp. 19-20). Cf. the wonderful passage in Orlando Furioso, XXV, 66 in which Ricciardetto disguised as Bradamante pretended to Fiordispina that thanks to a nymph, “sento in maschio, di femina, mutarmi”: “Così le dissi; e feci ch'ella istessa / Trovò con man la veritade espresso” (Ed. Ulrico Hoepli, p. 267)[3]. What is sheer coarseness in Sorel becomes, with Ariosto, aerated & purified by humour (the episode in Ariosto recalls〈喬太守亂點鴛鴦譜〉).

            “Par moquerie on appelle les mauvais médecins des médecins d’eau douce, parce qu’ils ne sçavent faire autre chose que de nous ordonner d’en boire” (p. 35). Cf. the prescription of D^r Sangrado: “Buvez de l’eau abondamment” etc. (Gil Blas, II, iii, éd. Garnier Frères, p. 81)[4].

            “Les regles de physionomie ne sont point menteuses” (p. 44). In the footnote Roy mentions Antoine Mizauld’s Nouvelle invention pour incontinent juger du naturel d’un chacun par la seule inspection du front & de ses linéamens[5]. Physiognomy was much in vogue in 17^th-century Europe & became even one of the Hülfswissenschaften of statecraft; Louis XIV was swayed by this art in his choice of officers, as can be seen from the voluminous secret correspondence between the Roi Soleil & his favourite physician De la Chambre, & James I of England made much use of the art on the first arrival of ambassadors at court (see Disraeli’s Curiosities of Literature, I, p. 148).

            “La vieille [sonsrit et montra] deux dents qui estoient demeurées en sa bouche, comme les carneaux [créneaux] d’une vieille tour que l’on a battuë en ruyne. Francion luy respondit, apprens que je prenois ta bouche pour un retrait des plus salles, et qu’ayant envie de envie de vomir j’ay voulu m’en approcher afin de ne gaster rien en ceste chambre, et de ne jetter mes ordures qu’en un lieu dont l’on ne peut accroistre l’extrême infection” (p. 58). Cf. two capitolos by Pietro Aretino: “Madonna, i vostri denti / In ve’ l vo dir, ma non l’habbiate a male, / Paii ono proprio gradi da for scale”; “Madonna quello fiato / che si soavemente esce da voi / Avanza il musco delli cacatuoi” etc. (see Alfred Einstein, The Italian Madrigal, I, pp. 174-5).

            Liv. II: The story of Macette & the Englishman should have been a case of “buttock & twang” but owing to her “curiosité de gouster” (p. 88) becomes one of “buttock & file” (cf. E. Partridge, Dict. of the Underworld, pp. 93-4)[6]. Cf.《切口大詞典》第 290 類 “仙人跳”.

            “‘Moy suis gentil-homme, disoit l’Anglois; moy vient des anticq Roys de Cosse’” etc. (p. 92). In the footnote Roy refers to some Medieval, 15^th-, 16^th- & 17^th-century “plaisanteries sur le français estropié par les Anglois”. Such “plaisanteries” are quite frequent in Balzac: “Gren chitoyenne” etc. (see H.J. Hunt: “Balzac & the English Tongue” in MLR, Oct. 1954, pp. 439-440). In his article Des Artistes Balzac said that a famous line of Racine would lose much of its music & magic if declaimed by an Englishman: “Lei jour n’aie pas plous pour kè lei faound de mon quer!” (Oeuv. Diverses, èd. Conard, I, p. 359); P.G. Hamerton seems to have taken a hint from this & sent the charge boomerang back by giving a Frenchman’s reading of Claribel (Intellectual Life, Pt. III, letter iii, Tome I, p. 89), and “Q” changed the Frenchman into a German (Studies in Eng. Lit., 1^st series, pocket ed., p. 293): “At ev ze bittle bommess / Azvart ze zeeket lon: / ... Ze ollov grot replee-ess / Vere Claribel lovlee-ess” (Hamerton’s Frenchman whose “ear failed to perceive the music of the musical poets)[7]; “At eve ze beedle boomess / Aswart ze zickhead lon: / ... Ze hollo ghrot hrepliez / Hwhere Chlaribel hlow hliez” (“Q”’s German who “if only by structure of his vocal organs a German is congenitally unable to read our poetry”...  who “simply cannot compass the soft th sound & has to introduce his own harsh hiss upon the twilit quiet”, & who unable to manage the “hushed run of the soft guttural to lip & tooth” has to “rest content with his ancestral habit which has not yet evolved even labials beyond the throat.”)

            “Une vilaine maladie: que maudits soient ceux qui l’ont apportée en France... un de nos Roys qui mena ses soldats à Naples pour l’y gaigner, et en rapporter icy de la graine” (p. 100). Very patriotic of Sorel to say so. But, as a matter of plain fact, it was the French, Charles VIII & his army in 1495, who exported the morbus gallicus to, rather than imported it from, Italy (see Havelock Ellis, Studies in the Psychology of Sex, VII, pp. 321, 323); as Alfred Einstein puts it, “instead of a new Messianic age of innocence & bucolic bliss, Italy learns to know the mal francese” (The Italian Madrigal, I, p. 28). John Eliot makes such “offensive nationalities” less offensive: “It is the disease of Italie, of Fraunce, of Spaine, of Germanie, of England. The Catholicke disease, the common sicknesse, the great maladie — the pox” (The Parlement of Pratlers, ed. Jack Lindsay, p. 88)[8]. Casanova was unpatriotic or patriotic enough to say: “The illness... which the Italians call mal francais, although we might claim the honour of its first importation” (Memoirs, tr. A Machen, III, p. 76[9]). This vilaine maladie, to parody Matthew Arnold, is the strange disease of modern life; in the classical antiquity, there were, as Iwan Bloch puts it, only Krankheiten der Geschlechtsteile, but no Geschlechtskrankheiten (Die Prostitution, Bd. I, S. 428. It was introduced into China in the company of Christianity & opium (cf.《癸巳類稿》卷六〈持素證論〉, 卷十四〈鴉片煙事述〉; 《癸巳存稿》卷十七〈喫煙事述〉).

            “Vous prenez donc Laurette pour une déité? Voulez vous voir ce qui est dans sa chaise percée” etc. (p. 112). Roy fails to point out that this boutade is derived from Plutarch’s Moralia; see 第二百二十五節.

            Liv. III: “Le désir de contenter son ventre est un maistre de toutes sortes de sciences & d’arts” (pp. 123-4). From Persius, Choliambi, 8: “Magister artis ingenique largitor / Venter”; cf. Pantagruel, Le Quart Livre, ch. LVII on “Messere Gaster estre de tous arts le maistre”, “la bonne dame Penie... mere des neuf Muses”, “Et tout pour la trippe” (Oeuv. compl, éd. Jean Plattard, IV, pp. 205-7). Epicurus: “The beginning & the root of all good is the pleasure of the stomach; even wisdom & culture must be referred to this” (Russell, Hist. of Western Philos., p. 267); cf. the doctrine of “la mastication universelle” of le neveu de Rameau as recounted by Sébastien Mercier quoted in Le Neveu de Rameau, éd. Jean Fabre, p. 252.【Dict. of German Figurative Usage, p. 177; Die Nachtwachen des Bonaventura, XII, “Edinburgh Bilingual Library”, p. 184; but Cellini, La vita, I, xi.】The other side of the case is very graphically put by Benvenuto Cellini in his angry reply to Pope Clement: “Le gatte di buona sorte meglio uccellano per grassezza che per fame: – Così quella sorte degli uomini dabbene che sono inclinati alle virtù, molto meglio le mettono in opera quando egli hanno abundantissimamente da vivere” (La Vita di B.C. Scritta da Lui Medesimo, Lib. I, cap. xi, Ed. Ulrico Hoepli, p. 104). Cf. Feuerbach: “Die Naturwissenschaft und die Revolution”: “‘Ein voller Bauch studirt nicht gern’; richtig; aber so lange der Bauch voll ist, so lange hat der Kopf auch nichts vom Inhalte des Bauchs” (Sämtl. Werk., hrsg. Bolin und Jodl, Bd. X, S. 15). A. Maurois, Prométhée ou la vie de Balzac: “la félicité tue la fécundité” (Balzac wrote very little after his marriage to M^me Hańska whose estate relieved him of financial worries);《化書‧食化第五》; “負郭田二頃，吾豈能佩六國相印乎？”

            “Servir leur catze de bondon” (p. 124). Ex Italian Cazzo which becomes Catso in English & survives, stripped of its adventitious appendage in current slangy phrases like “pinch the cat”.

            “Les cornes d’argent qu’il [Valentin] porte... veulent signifier que son cocuage luy est profitable et regardez, vous en verrez mesme en ce lieu de toutes chargées de pierreries” (p. 141). Cf. E. Partridge, Dictionary of Slang, 4^th ed., p. 328: “Gilt horn”. The following anecdote told by Francis Bacon in Apophthegms New & Old is especially to the point: “Secretary Bourn’s son kept a gentleman’s wife in Shropshire, who lived from her husband with him. When he was weary of her, he caused her husband to be dealt with to take her home, & offered him five hundred pounds for reparation. Sir Henry Sidney said to the husband: ‘... whereas other cuckolds wear their horns plain, you may wear yours gilt’” (Works, ed. Spedding, Ellis & Heath, XIII, p. 338).

            The account of Lenten fare Francion had when boarding with Hortensius (pp. 175-6); just as M^r Squeers says: “Subdue your appetites, my dears, & you’ve conquered human natur”; he explains that “esprit ne peut faire ses fonctions quand les corps est par trop chargé de viande” just as Master Cabra praises the broth “so clear that in eating it one risks the fate of Narcissus at the fountain”: “Aha, that’s good for the health & sharpens the wits” (The Choice Humorous & Satirical Works of Quevedo, ed. Charles Duff, “Broadway Translations”, p. 12). But Sorel’s description is much less vivid than the Spaniard’s & the Englishman’s. Cf. Quevedo’s Vida del Buscón, Bk. I, ch. 3 on Master Cabra’s school, Dickens’s Nicholas Nickleby, ch. 5 on Dotheboys Hall, etc. Hortensius quoted Cicero’s tag about eating to live.”

            Tome II. Liv. IV: “On ne tourne jamais le cul à ce grand Empereur, qui tient le siège de Mahomet, & on s’en va a reculons de devant luy, quand l’on seroit meme Ambassadeur de France” (p. 21). This has become the practice even in Christian courts. There is an amusing account in one of Hume’s letters: “After we had had a little Conversation with her Imperial Majesty, we were to walk backwards, thro a very long room, curtsying all the way: and there was very great danger of our falling foul of each other, as well as of tumbling topsy-turvy. She saw the difficulty we were in: and immediatly calld to us: Allez, allez, Messieurs, sans ceremonie: vous n’êtes pas accoutumés à ce mouvemen et le plancher est glissant. We esteemed ourselves very much oblig’d to her for this attention, especially my companions, who were desperately afraid of my falling on them & crushing them” (The Letters of David Hume, ed. J.Y.T. Greig, I, p. 127). Cf. The Diary of Fanny Burney, “Everyman’s Library”, p. 138: “[The King] saw that nothing less than a thoroughbred old courtier, such as Lord Harcourt, could walk backwards down these steps, before himself, & in sight of so full a hall of spectators; & he therefore dispensed with being approached to his seat, & walked down himself into the area, where the vice-chancellor [of Oxford] kissed his hand, & was imitated by every professor & doctor in the room” (cf. also pp. 141-2).

            Hortensius’s gradual casting-off of the soutane and other paraphernalia of the schoolmaster & his metamorphosis pari passu into a courtier (pp. 37-8) recalls the reverse process of P.D. Huet who dared not assume all of a sudden the black soutane lest the court ladies & foplings would sneer at him (cf. Mark Pattison, Essays, “The New University Library”, I, p. 192).

            “Un Page et ses compagnons ouvrirent la bouche quasi-tous ensemble, pour m’appeler bourgeois, car c’est l’injure que ceste canaille donne a ceux qu’elle estime niais, ou qui ne suivent point la Cour, infamie du siècle, que ces personnes... abusent d’un nom qui a esté autrefois , et est encore en d’aucunes villes si passionnément envié” (p. 61).A striking instance of what Greenough & Kittredge call “degeneration of meaning” (Words & Their Ways in English Speech, ch. xx, pp. 284 ff.). Even as a neutral country is one with which both sides are at war, as the extremes of aristocracy & proletariat meet in their hatred of the middle class. The artists loathe the bourgeois (see 第四百四十四則 in connection with Don Quixote, Pt. II, ch. 16) because they belong to one of Schopenhauer’s three aristocracies, namely the Gehirnaristokratie, the other two being Geburtaristokratie & Geldaristokratie (Parerga und Paralipomena, “Aphorismen zur Lebensweisheit”, Kap. V in Sämtl. Werk., hrsg. P. Deussen, Bd. IV, S. 476; cf. P. Moreau, La Critique litt. en France, p. 118).

            Liv. V: “Plusieurs ne faisoient que traduire des livres, qui est une chose très servile” (p. 80). But then, this servile thing is the only activity left for the “captive minds” living in a “servile state”; cf. 第百五十一則.

            “Il faut que j’aille tout maintenant faire ce que les Roys ny les Empereurs ne peuvent faire par ambassade” (p. 92); cf. 第四百四十四則.

            “Metamorphoser votre malheur au jeu en un bonheur... en femme” (p. 125); the proverb runs: “Heureux au jeu, malheureux en femmes” (or “en amour”) (see Larousse du XX^e Siècle, III, p. 1026). Cf. Nicholas Nickleby, ch. 9: “‘You’ll have a bad wife though, if you always win at cards,’ said Miss Price”; Capacelli, Il Ciarlatore Maldicente, I, x: “Chi a fortuna in amor non giuochi a carte”; & Félicien Marceau, The Mother of Aeneas, tr. Jean Stewart: “I might have gone on for a long time if, one afternoon, playing a game of mora giapponese with a cantankerous fellow, Gennaro had not brought off an astonishing sequence of successes... Faced with this extraordinary run of luck, the cantankerous man lost all restraint, ‘It’s no wonder, wearing the horns like you do.’ Gennaro smiled” (The London Magazine, May 1955, pp. 24-5). In modern French the word for cockold has even become the synonym for a “lucky fellow”, e.g., André Thérive, Noir et or: “La Panique”: “Mais il y avait des cocus qui recevaient ailleurs le plomb vêtu de maillechort, n’importe où, même dans les jambes ou les orteils” (M.E. Coindreau & J.R. Loy, Contes et nouvelles du temps present, p. 202) Flaubert, L’éducation sentimentale, II, iv, éd. Conard, p. 326: “[A la veille du duel avec Frédéric] le Vicomte [Cisy] s’efforça de perdre [aux cartes], afin de conjurer la mauvaise chance...” Cf. Géo Sandry et Marcel Carrère, Dictionnaire de l’Argot Moderne, 3^e éd., p. 202: “Une veine de cornard”; Augusto Arthaber, Dizionario comparato di Proverbi, p. 270: “Chi ha fortuna in amore, non giochi a carte.”

            “Collinet entendit dire qu’une fille de notre quartier avoit eu un enfant dont le père estoit inconnu. Vous verrez, dit il, que c’est qu’elle a passé par les armes, et que tous les champions ont tiré contre elle en salve, si bien qu’on ne sçait qui a donné le coup... Il la comparoit [encore] a une personne qui se seroit piqué les mains en touchant a des epines, et ne pourroit dire laquelle ce seroit de toutes qui auroit fait la blessure” (p. 145). Roy did not know that the simile is derived from Diogenes Laertius, II, lxxxi: “A courtesan having told him that she was with child by him, Aristippus replied, ‘You are no more sure of this than if, after running through coarse rushes, you were to say you had been pricked by one in particular’” (Lives of Eminent Philosophers, tr. by R.D. Hicks, “The Loeb Classical Lbrary”, I, p. 209). Cf.《痴婆子傳》卷下: “舉一子，不知其為盈郎者，大徒者，伯與叔者，翁與夫者，抑佛門弟子也”; 又第六百九十五則《易林》卷一〈蒙〉之〈節〉.

            Liv. VI: “Se discharger... d’un fardeau qui ne pèse guère et qui est pourtant le plus difficile à porter de tous” (p. 188); cf. English slang: “A load off one’s behind”, but the locus classicus is les oeuvres de Tabarin: “La merde est la chose la plus lourde du monde... Si un crocheteur a une charge de cottrets sur le dos, il les portera plus facilement; mais si de fortune il a seulement une demie-livre de merde qui vueille sortir, il la trouvera si pesante qu’il sera contraint de descharger ses epaules pour descharger son fardeau de derrière” (“Classiques Garnier”, p. 77; cf. p. 252: “Il est bien pesant; je crois qu’il n’a point chié d’aujourd’hui.”) Cf. Aristophanes, “The Loeb Class. Lib.”, II, p. 271, The Frogs, 9-10: Xanthias: “I’m overburdened so. That if none ease me, I must ease myself.”

            Tome III. Liv. VII: The worship of “le venerable Cul” to which Francion, Raymond, Dorini & others paid the same homage as the vassals were said to do to the Master of Sabbat (see Montaigne Summers, History of Witchcraft & Demonology, p. 317 on osculum infame & sub cauda osculantur) (pp. 7-11) does not imply any aesthetic appreciation of Terese’s posterior rotundities which are said to be “les fesses des plus grosses et des mieux nourries du monde”. Hence, Sorel quotes Charron’s Sagesse rather than invokes Aphrodite Kallipygos who, as represented by a statue in the Neapolitan Museum, “hebt kokett das Gewand hoch und blickt über die Schulter auf die üppigen Halbkugeln ihres wundervoll modulierten Rückens” (see Hans Licht, Beiträge zur Antiken Erotik, S. 114). Cf. 第二百十則. The phrase “le vénérable cul” occurs also in Les Oeuvres de Tabarin (“Classiques Garnier”, p. 67: “le trou du soupirail de mon venerable cul” (cf. p. 122: “boutique reculée de toutes mes conceptions culiques, l’estuy venerable de mon authentique et renommé calendrier”). Francion’s prayer to the buttocks: “Exauce les prières qu’un chacun te fait, de luy ester secourable lors qu'il frappera a ta porte de devant, et de te remuer avec tant de souplesse que tu luy causes un plaisir des plus parfaits” (p. 10), may be compared with the nice “derangement of epitaphs” on 李師師’s behind in《隔簾花影》第二十五回: “白光光、滑溜溜、香噴噴、緊䋺䋺兩片行雲送雨的情根”.

            Liv. IX: The story of Francion seducing the naïve brunette by pretending to play with her body, on his instrument which is fait de bois ny de corne (pp. 108-9)[10], is modelled on the Decameron, III, x (Ed. Ulrico Hoepli, pp. 234 ff.) and Sacchetti, Trecentonovelle, CI, (opp., “I Classici Rizzoli”, pp. 325-7); cf. also what the “libertin de qualité” said to his bride on the wedding night: “Le créateur a fait présent à l'homme d’une cheville Tâtez plutôt or, cet instrument doit trouver son trou ce trou est en vous; permettez que je le cherche et que je le bouche” (L’oeuvre du Comte Mirabeau, “Les Maîtres de L’Amour”, p. 239).

            “‘Ouf, ah mon Dieu ouf, disoit-elle, vous me faites mal.’ ‘Patience, disoit Francion, achevons puisque nous avons commence. L’issuë sera meilleure que l’entrée” (p. 109) — cf. La Fontaine, Contes & Nouvelles, I, xiii: “Rien ne coûte en amour que la première peine”, & English slang: “A few gasps & all is over.”

            Tome IV. Liv. XI: Hortensius: “Sçachez que si le monde nous semble grand, notre corps ne le semble pas moins a un pou ou a un ciron... Or il n’y a si petit corps qui ne puisse être divise en des partiès innombrables” (p. 11). One of the “sources” or rather anticipations of Pascal’s famous passage in “Disproportion de l’homme”[11] (Pensées, Sect. II, §72, Pensées et opuscules, éd. L. Brunschwig, p. 379), which however as Gilbert Chinard has shown conclusively, is really based on Hobbes’s Elementorum philosophiae, sectio I, cap. xxvii (Henri M. Peyre, ed., Essays in Honor of Albert Feuillerat, pp. 133-5).【Walsh to Pope: “But they may as well applaud the Ancients for the Arts of eating & drinking, & accuse the Moderns of having stol’n those Inventions from them; it being evident in all such cases, that whoever live first, must first find them out” (Pope, Correspondence, ed. G. Sherburn, vol. I, p. 20).】

            “Ce n’est pas imiter un homme que de peter ou de tousser comme luy” (p. 19); cf. 第二百十則 and Alfred de Musset, Namouna, II, ix: “C’est imiter qqn. que de planter des choux.”

            “Les secondes nopces n’avoient rien de meilleur que les viandes réchauffées” (p. 70). Frederick Locker thinks that second marriages are “not merely pouring hot water on used tea-leaves” (Patchwork, p. [12]); cf. Sir John Suckling quoted in 第百四十則.

            Liv. XII: “Bergamin jouoit de certaines pièces sans avoir besoin de compagnon, et ayant fait tendre un rideau au coin d’une salle, il sortoit de la derrière plusieurs fois, changeant d’habits selon les personnages qu’il vouloit représenter, et il deguisoit tellement sa voix et son action qu’il n’estoit pas recognoissable” (pp. 74-5). In a learned note É. Roy traced this practice to the mediaeval comediae elegicae & refers to some 16^th-century French farces. Apparently he forgot the mocking description in Scarron’s Le Roman Comique, Ptie. I, ch. 2: “‘J’ay joüé une pièce moy seul, dit la Rancune, et ay fait en mêsme temps le roy, la reyne, et l’ambaffadeur. Je parlois en fausset , quand je faisois la reyne; je parlois du nez pour l’ambassadeur, et me tournois vers ma couronne que je posois sur une chaise; et pour le roy, je reprenois mon siége, ma couronne et ma gravité, et grossissois un peu ma voix’” (Éd. “Librairie des Bibliophiles”, I, p. 10).

            【「閉月羞花」不知何出？香山則別作一意，〈戲問山石榴〉云：「爭知司馬夫人妬，移到庭前便不開」（〈戲題新栽薔薇〉云：「少府無妻春寂寞，花開將爾作夫人」）。Cowley: “The Spring”: “For, since you’re gone // They [trees & flowers]’re here the only fair, & shine alone. / You did their Natural Rights invade” etc. (Everyman’s Bk of Eng. Love Poems, p. 143). Henry Noel, “Beauty’s Excellency”: “For if my Empress appears, / Swans moulting die, snow melts to tears, / Roses do blush & hang their heads, / Pale lilies shrink into their beds” (J. Hadfield, Everyman’s Bk. of Eng. Love Poems, p. 150). 姚園客《露書》卷二曰：「《莊子》：『猨，猵狙以為雌，麇與鹿交，鰌與魚游，毛嬙、麗姬，人之所美也，魚見之深入，鳥見之高飛，麋鹿見之決驟。』此言魚鳥以類為美，而不知人之美，故曰：『四者孰知天下之正色』也。自《初學記》採『魚鳥』二句，説者遂失其義，謂美貌爲『沉魚落雁之容』」云云，可參觀（參觀第二百十三則 Theocritus, X 所引 Burton, Voltaire，又第六百五十三則引 Philostratus 等）。宋之問〈浣紗篇〉云：「鳥驚入松蘿，魚畏沉荷花」；陳普《石堂先生遺集》卷十八〈戲呈友人〉云：「年來學道未知方，羞逐鶯花燕蝶忙。三五年加心死盡，有如魚鳥見毛嬙」；皆不失《莊子》本意。[13]】

四百六十二^[14]

            胡宿武平《文恭集》四十卷，《常州先哲叢書》本。【又見《全唐詩》。】《武英殿聚珍版》本所誤收之文已均刊落，補收之文疑本勞格《讀書雜識》卷十二來。然尚有芟除未盡者，如卷四〈謝惠詩〉七律兩首體格迥異，有云：「語帶誠齋句妙香」，編者知「誠齋」為楊萬里號，疑南宋人作羼入，而未敢決；卷五〈謝楊丈叔子惠詩〉、〈又和前人〉七律各一首，亦誠齋體，「叔子」即誠齋子，〈又和〉一首有云：「詩中活法無多子」，尤分明道誠齋，《平園續稿》卷一〈次韻楊廷秀寄題渙然書院〉云：「誠齋萬事悟活法，誨人有功如利涉」，《南湖集》卷七〈携楊秘監詩一編登舟〉云：「目前言句知多少，罕有先生活法詩」，蓋當時人所共道，編者未知也。卷一〈怨詩初調示龐主簿〉乃陶淵明詩，〈彭山贈貫之〉五古一首亦不類文恭手筆，風格是蘇、黃以後詩。文恭詩文尚沿晚唐稠麗之格，七律最工，雖乏深意婉韻，而筆致尚健，無西崑滯塞之習。使事每割裂，亦玉溪之流弊也。館臣謂是「盛唐遺響」，真夢囈語！非特編輯草率，不辨葛龔而已。卷三〈浮石寺〉：「數刻盡牛香」，謂「牛頭之香」也；〈送曹生〉：「清篇託畔牢」，謂《畔牢愁》也；〈寄善慧大師〉[15]：「昆灰多妙辨」，謂昆明劫灰也；〈悼往〉：「破恨憑湘酎」、「葛華與參宿」，謂謝惠連〈雪賦〉「酌湘吳之醇酎」，〈前溪歌〉「黄葛何蒙蘢，花落隨流去」也；卷四〈送魏屯田〉：「雌堂夕宴沈賓轄」，謂太守所居塗以雌黄稱黄堂也。【卷三〈七夕〉：「杞天長在年梭疾」；卷六〈送蘇賢良〉：「詔下武泥馨」（用武都紫泥封詔事）。】盧召弓《龍城札記》卷二曰：「文恭〈館中候馬〉詩云：『自笑守應廬』，又〈上小謝學士啟〉云：『更直應廬』，此用應休璉〈百一〉詩『問我何功德，三入承明廬』，太牽強。《集》中往往如此，因《老子》有『如登春臺』，即用『老臺』【卷六〈漫成〉：『不敢將春上老臺』】；因杜牧有『千首詩輕萬戶侯』，即用『詩戶』；因〈北山移文〉有『昔聞投簪逸海岸』，即用『海簪』；太守堂曰『雌堂』；天曰『杵天』，皆生僻。押韻及平仄間亦多誤。」【《抱經堂文集》卷十三〈胡武平文恭集書後〉略同。】竊謂李濟翁《資暇集》卷上云：「《初學記》以『吳牛』對『魏鵲』，引曹公歌行『月明星稀，鳥鵲南飛』爲據，斯甚疏闊。漢武〈秋風詞〉：『草木黃落兮雁南歸』，則風事亦可用『漢雁』矣。」文恭「應廬」正沿《初學記》之法。《緗素雜記》卷一引宋景文詩文亦有「雌閣」、「雌堂」。俞曲園《湖樓筆談》卷六云：「義山〈隋宮〉：『玉璽不緣歸日角』，以『日角』代真主，則漢高有七十二黑子，稱漢高為『黑子』可矣！駱賓王文云：『龍蹲歸而宋樹伐』，《春秋演孔圖》稱孔子『坐如蹲龍，立如牽牛』，以『牽牛』目孔子，可乎？」義山〈喜雪〉以〈曹風〉有「麻衣如雪」之語而曰「曹衣」，〈自桂林奉使江陵途中感懷〉以《楚辭》有「投醪」之語而曰「楚醪」，皆其類；〈對雪〉第一首以陳思有〈白馬篇〉而曰「曹植馬」。《事文類聚前集》卷四〈雪〉門引羅可詩：「斜侵潘岳鬢，橫上季良眉。」遂啟後世如張祖〈詠途中遇雪〉之「在我固宜潘岳鬢，於人何盡馬良眉」（《蜀雅》卷十一）矣。梁山舟嘗恨近世類書無取古人臨文牽於聲偶權宜用事之例，編為後人依據者，所舉十類，牽合、割裂、歇後、倒用無不有（見《頻羅菴遺集》卷十一〈自錄屬詞筐舉殘稿書後〉）。文恭此等句，正藥籠中物也。《老學庵筆記》指摘文恭〈上呂丞相啟〉云：「手提天鐸，鏘正始之遺音；夢授神椽，擯奪朱之亂色」（按《集》卷三十一有〈迎呂相啟〉，殘缺不全，無此聯），謂：「不悟『正始』為年名。」亦足見文恭之鹵莽滅裂，可為盧紹弓張目。【少陵〈獨坐〉曰：「煖老思燕玉」（〈古詩〉：「燕趙多佳人，美者顏如玉」，《禮記》：「八十[16]」）。】【庾信〈小園賦〉以墨子乃睢陽人而嘆素絲，乃曰「睢陽亂絲」。】【駱賓王〈在江南贈宋五之問〉：「李仙非易託，蘇鬼尚難因」，用《後漢書‧郭太傳》「李膺以為神仙」、〈楚策〉「蘇秦曰：『因鬼見帝』」；駱賓王〈答員半千書〉：「自守莊筌，無嬰魏網」，用《說苑‧善說篇》莊周貸粟於魏文侯「求我枯魚之肆」事。】【吳潛〈摸魚兒〉：「不被蝸蠅繫」，謂蝸角虛名、蠅頭微利也，〈滿江紅〉云：「蝸名蠅利」。】【《賭棋山莊詞話》卷三譏姚梅伯之「汗（牛）充（棟）」、「狂（杜）牧」，《丹鉛總錄》嘗指摘「騷（人）墨（客）」、「汗充」，梅伯殆未知。】【明邵經邦《弘藝錄》卷十二〈觀西涯李閣老今我樂矣詞并篆刻畫龍蛇黃大字（詞仿李斯小篆）標題〉：「歲月碧鷄年。」童鈺《二樹今體詩‧夏日山樓即事》：「山禽啼蜀帝，園果落曹公。」參觀第 598 則《柯山集》卷 18〈仲夏〉。】

            卷三〈暮冬離京師〉：「雪中愁買出關符，又著青衫事府趨。燕市有金還貴馬，鄧林無樹可棲烏。鴟夷痛飲傾家釀，如意狂歌缺唾壺。朝野多歡天子聖，目瞻東闕步踟躕。」

            〈函谷關〉：「天開函谷壯關中，萬古驚塵向此空。望氣竟能知老子，棄繻何不識終童。慢持白馬先生論，未抵鳴鷄下客功。符命已歸如掌地，一丸曾誤隗王東『隗王』出《後漢書‧隗囂傳》，或作『隗生』者誤。」按此楊文公〈詠漢武〉體。

            卷四〈早夏〉：「井轄投多思不禁，密垂珠箔晝沉沉。睡驚燕語頻移枕，病起蛛絲半在琴。雨徑亂花埋宿艷，月軒脩竹轉涼陰。一春酒費知多少，探盡囊中換賦金。」

            〈次韻和朱況雨中之作〉：「蒼野迷雲黯不歸，遠風吹雨入巖扉。石牀潤極琴絲緩，水閣寒多酒力微。夕夢將成還滴滴，春心欲斷正霏霏。憂花惜月長如此，爭得東陽病骨肥。」

            〈過桐廬〉：「二月辛夷猶未落，五更鴉臼最先啼。」

            卷五〈津亭〉：「津亭歌闋戒棠舟，五兩風輕不少留。西北浮雲來魏闕，東南初日背秦樓。層城渺渺人傷別，芳草萋萋客倦遊。平樂舊歡收未得，更憑飛夢到瀛洲。」

四百六十三^[17]

            Sholom Kahn, Science & Aesthetic Judgment: A Study in Taine's Critical Method.

            Conscientious & pedestrian, very muddled on philosophical issues. Scholarship not solidly built on first-hand knowledge of the great writers who form the subject of the learned monographs he relies on. Thus, he writes at great length on Taine’s study of Hegel (pp. 24 ff.), makes use of Leo Spitzer’s find (Essays in Historical Semantics, pp. 232-3) that in 1827 Carlyle coined the word “environment” to translate the word Umgebung in a passage from Goethe’s Dichtung und Wahrheit, Bk. XIII (p. 107), & quotes with approval Victor Giraud’s statement (Essai sur Taine, p. 44) that “the theory of the moment & the milieu is already found in Hegel & not merely in germ” (p. 113) without apparently himself taking the trouble of reading through Hegel’s Ästhetik, otherwise he would have seen, as C.M.Gayley & F.N. Scott had noticed long ago, that “for his celebrated formula of the race, the moment, & the environment, Taine

was indebted to Hegel’s Aesth., vol. I, p. 20: ‘Sodann gehort jedes Kunstwerk seiner Zeit, seinem Volke, seiner Umgebung an’” (Methods & Materials of Literary Criticism, p. 129; Ästhetik, Berlin: Aufbau-Verlag, 1955, p. 61). Curious enough, D.D. Rosca in his painstaking dissertation L’Influence de Hegel sur Taine théoricien de la connaissance et de l’arte (1928) fails to make a confrontation on this point & thus joins “la grande majorité des auteurs qui ont étudié l’esthétique de Taine”, whom “cette influence... aussi profonde que étendu... a complètement échappé” (p. 333). In fact the idea of milieu had also been adumbrated in Bodin’s locorum ac regionum ratio & Justus Möser’s Lokalvernunft (see A. Gillies, Herder, pp. 6-8 for an account of the idea of “suitable environment” in the critical works of the Abbé Dubos, Blackwell, Wood, Hurd & others); cf. also S. Morawski’s article “Value & Criteria in Taine’s Aesthetics” (The Journal of Aesthetics & Art Criticism, Summer 1963, esp. pp. 412-5) on Taine’s indebtedness to Hegel on various points. Baldensperger’s suggestion that there might be a connection between Taine’s le moment & the phrase das psychologische Moment attributed to Bismarck during the siege of Paris (p. 113) is not plausible because Taine’s le moment in the sense of Hegel’s Zeit is der Moment not das Moment, though Taine’s contemporaries who had not his pretensions to scholarship often used the German phrase in that sense: “Lorsqu’enfin Monsieur Sharp crût que le moment psychologique était arrivé” (Jules Verne, Les Cinq Cents Millions de la Bégum, 1870), “Un journal allemande trouvant que le moment psychologique du bombardement était arrive. Le moment psychologique d’un bombardement, n’est-ce pas que c’est bien férocement allemand” (Journal des Goncourt, 27 décembre, 1870, Éd. déf., IV, p. 133).

四百六十四^[18]

            衛宗武《秋聲集》六卷。淇父華亭人，宋之遺老。卷二有〈和家則堂韻〉七古一首，即家鉉翁也。詩亦沿南宋江湖體，頗纖滑，時以理學攙入（舍卷一〈理學〉、〈贈潘天游〉等五古外，如同卷〈錢竹深招泛西湖值雨即事〉云：「烟霧渺無際，宛類太極初」，〈賦南墅竹〉云：「有體兼有用，迥異凡草木」，卷四〈春日〉云：「化工傳至仁，生機運不停」，〈望霽〉云：「重明麗乎正，萬象生輝光」），正復當時結習（ 參觀第四百五十三則）。五古潤飭最可觀。文頗淩厲，鋪陳氣勢，面目視詩為闊大。

            卷一〈理學〉：「寥寥二千載，道統幾欲墜。濂洛暨關中，浚源接洙泗。乾淳諸大儒，流派何以異？無極而太極，性命發其秘。先天而後天，理數稽其至。四書共羣籍，精微窮奧義。五常與異端，辨析無遺旨。（中略）踐修本誠敬，講貫非口耳。要在絕己私，渾然循天理（下略）。」

            〈冬留紫芝庵即事〉：「玄冬適莽蒼，霜宇更闃寂。繫舟山下路，窈窕松關入。一榻寄僧居，幽雲生卧室。明朝過東山，千尋更矹硉。丙舍尤杳深，寒林互盤屈。孤楓綴餘丹，萬竹錯叢碧。天寒鳥聲靜，木落山骨出。飲無客獻酬，座有僧分席。一盃復一盃，不覺日之夕。林鳥欲歸栖，翩翩競翔集。萬點帶平田，有似坡仙弈。此行爲訪梅，東尋復西覓。俄見影橫斜，蕭然倚山壁。中有第一春，緘藏何太密。數日我重來，要見南枝白。」

            卷三〈和南塘嘲謔〉：「斷絃謾說鸞膠續，剜肉難將獺髓填。」

四百六十五^[19]

            The Love of Books: The Philobiblon of Richard de Bury, translated by E.C. Thomas (“The Mediaeval Library”).

            Love of humanity expressed in the language of divinity, hence: a cento of biblical phrases & similes. Cf. 第三百四十九則, 第三百九十一則.

            Prologue: “Athletes of the faith” (p. 4). Cf.《增壹阿含經》卷二十五之三、四 on “五種戰鬥人”.

            Ch. ii: “In moral science we do not insist upon demonstration, remembering that the educated man seeks such degree of certainty as he perceives the subject will bear, as Aristotle testifies in the first book of his Ethics. For Tully does not appeal to Euclid, nor does Euclid rely upon Tully” (p. 14). As can be seen from the following quotation, the second sentence has also been suggested by Aristotle. The Nicomachean Ethics, I, iii: “The same exactness must not be expected in all departments of philosophy alike... It is the mark of an educated mind to expect that amount of exactness in each kind which the nature of the particular subject admits. It is equally unreasonable to accept merely probable conclusions from a mathematician & to demand strict demonstration from an orator” (tr. H. Rackham, “The Loeb Classical Library”, pp. 7-9). Cf. Ramsey, Foundations of Mathematics & Other Essays, p. 269: “The chief danger to our philosophy, apart from laziness & woolliness, is scholasticism, the essence of which is treating what is vague as if it were precise & trying to fit it into an exact logical category.” Cf. “Malheur au vague! Mieux vaut le faux!” (quoted a propos of the Ionian school with its passion for logical clarity, F.M. Coonford, From Religion to Philosophy, “Harper Torch-books”, p. vi).

            Ch. vii: The pun on Phronesis subject to the power of phrenesis (p. 54) is as good as the one in ch. viii on wanting libros non libras (p. 56). Salvador de Madariaga who has laid down the rule, “Puns should be punished unless they are pungent”, would let them go scot free.

            Ch. viii: “Paris, the Paradise of the world” (p. 56). Cf. Geoffrey de Vinsauf on Paris as paradisus deliciarum for learning (Cambridge Hist. of Eng. Lit., I, p. 215; cf. E.R. Curtius, Europäische Literatur und Lateinisches Mittelalter, II^te Aufl., S. 66 on Paris as “das bildungszentrum das lateinischen Abendlandes”); also Jules Renard’s mot: “Ajoutez deux lettres à ‘Paris’: c’est le Paradis” (Journal, Éd de la NRF, p. 202); cf. Voltaire, Dict. Phil., art “Antiquité”: “Écossais démontre que le jardin d’Eden était à Edimbourg, qui en a retenu le nom” (Oeuv. Comp., éd. Moland, XVII, p. 275). On the other hand, Heine on Paris as “die Hölle der Engel, der Teufel Paradies”; Balzac: “cette succursale de l’enfer”, “l’antichambre de l’enfer”. Curious enough, Paris changing from the paradise of scholars into the paradise of cocotte & Thomas Cook’s customers[20] (cf. The Autocrat of the Breakfast Table, ch. vi: “Good Americans when they die go to Paris”; Gentlemen Prefer Blondes: “Paris is devine!”), is like 揚州 in its fortunes. 翁方綱《復初齋詩集》卷十五〈題任子田雪屋誦經圖〉第四首：“無復雷塘艷舊遊，而今實學在揚州”，卷三十三〈顧松巢棧道圖〉：“吾以文心悟天咫，昔也花月矜維揚。今悉化為經術氣，屢共歎息任與黃”，〈寄懷方石亭〉自注：“予謂邗江自任幼椎植、顧文子輩砥礪經術，近則阮芸台訓詁經術，迥非昔所謂‘烟月揚州’矣”；周士彬〈揚州〉：“青樓歌舞勝杭蘇，花月神仙總一途。騎鶴腰纏爭艷羨，無人解道董江都”；《瓶水齋詩集》卷五〈過江雜詩〉第六首：“十里春風二分月，不宜繁露董江都”.

            Ch. xvii is the most amusing section of the book. In his detailed account of the various improper ways of handling books, Richard Bury signally omitted what Catullus had called cacata charta (XXXVI 20) on what Lord Chesterfield was to described as “sacrifice to Cloacina” (Letters, ed. Dobrée, p. 1067) (cf. 第五十二則, 第四百五十則). The good bishop must have boggled at the mere idea of such sacrilege. While he insisted on the “cleanliness of decent hands” and would not allow children to “soil the parchment with wet fingers” (p. 108), he also overlooked the odious common practice described in “The Tale of the Wazir of King Yūnān” in The Thousand Nights & One Nights (tr. Powys Mathers, I, p. 47: “He... found that the pages were stuck together, so he put his finger to his mouth, wetted it with his spittle, & succeeded in opening the first leaf” etc.) & anathematized by Thomas Wright in his Life of Sir Richard Burton, II, p. 95: “King Yunan richly deserved the death that overtook him, if only for his dirty habit of wetting his thumb when turning over the leaves of the book.” Cf., in a figurative sense, Thomas Edwards’s remark: “Editing is not to be done with a wet finger” (quoted in Austin Dobson, Later Essays 1917-1920, p. 24). De Bury was indignant that “some headstrong youth... does not fear to eat fruit or cheese over an open book” (p. 106); that such a youth can do something even worse to a book can be seen from Paul Scarron’s lively description of the university student’s life in L’Ecolier de Salamanque, I, iii: “Chacun y mange en diable, / Ou si l’on veut en chien. Un coffre y sert de table, / Du vin à quantité, peu de mets délicats, / Des Livres pleins de graisses y tiennent lieu de plats” (P. Morillot, Scarron & le genre burlesque, p. 302). Cf.《貪歡報》第二十回：“〈書畫金湯‧惡魔〉：‘指甲……噴嚏’”. In Bury’s book the “headstrong youth” marks any passage that pleases him with “nails... stuffed with fetid filth” (p. 105); cf. Herrick’s poem “To the Detractor”: “Where others love, & praise my verses; still / Thy long black thumb-nail marks ’em out for ill” (Poetical Works, ed. L.C. Martin, p. 66, also p. 514 where Joseph Hall’s Sat. VI. i. 1-2 are quoted: “Labeo reserves a long nayle for the nonce / To wound my Margent through ten leaves at once”); 劉若愚《酌中志》卷十三, 閻若璩《潛邱劄記》卷四上. Also Crashaw’s Poetical Works, ed. L.C. Martin, p. 427 same verses quotes.

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[1]《手稿集》724-8 頁。

[2]「A History」原作「The History」。

[3]「Ricciardetto」原作「Richardetto」。

[4]「Garnier Frères」原作「Frères Garnier」。

[5]「Mizauld」原作「Mizaud」，「de ses linéamens」原作「des linéamens」。

[6]「buttock & twang」只賣淫耳，「buttock & file」則兼敲詐扒竊。

[7] 原詩：“At eve the beetle boometh / Athwart the thicket lone: /... The hollow grot replieth / Where Claribel low-lieth.”

[8]「Fraunce」原作「Frauence」。

[9] 此處字跡難辨，章、節、頁數待考。

[10]「fait de bois ny de corne」原作「fait ny de bois ny de corne」。

[11] “Qu’est-ce qu’un home, dans l’infini?” (“What is a man in [relation to] infinity?”)

[12] 此處頁數留空未註。

[13] 此節見《手稿集》728-9 頁書眉、夾縫、下腳、行間，但不知何所繫。

[14]《手稿集》728-9 頁。

[15]「善慧」原作「禪慧」。

[16]《禮記‧王制第五》：「八十非人不暖。」

[17]《手稿集》729-30 頁。

[18]《手稿集》730-1 頁。

[19]《手稿集》731-2 頁。

[20]「cocotte」字尾模糊不辨，原只見「cocott...」，此處臆補為「法國砂鍋」，以喻美食。亦或可作「cocotter」（雛鷄、妓女）而別為他指。