「意匠經營為寫真，鏡中印出宰官身；書生何幸遭逢好，竟作東來第一人。」
——斌椿攝於瞞者里 (Manchester)
五十一[1]
許善長《碧聲吟館談麈》卷四云：「照相之法，來自西洋，始僅行於粵東。今華人亦習此技按書刊於光緒戊寅，各省皆有矣。象州鄭小谷先生獻甫《補學軒詩》有〈於花舫觀番人以鏡取影歌〉【《補學軒詩‧鷄尾集》卷一〈辛酉六月二十六日於花舫觀番人以鏡取影歌〉（咸豐十一年）】云：『楩楠為匣幕四傍，玻璃為鏡嵌中央。匣函鏡面鏡函影，粉本別作裁雲肪。鏡前對面美人坐，匣後蒙首番奴藏。橫支一几代架閣，離五十步安中箱。描形難得捉影易，一一攝入寒冰光。須臾擎出四座咲，隱約里得諸人裝。塗之以藥沐以水，粉白轉眼成丹黃。環肥燕瘦有本相，曹衣吳帶徒虛張。塑工驚嘆畫手泣，從此逃入無何鄉下略。』」按李家瑞《停雲閣詩話》卷十載倪雲癯鴻《小清閟閣詩集》〈西洋人以鏡取影歌〉【倪氏《退遂齋詩鈔[2]》卷二〈照相篇〉】云：「西洋國中番賈胡，鬅鬙黃髮雙碧矑中略。短衣禿帽皮鞋烏，侏離言語堪胡盧。艱難至此胡為乎？云有絕技人難如，不同女媧摶泥塗，不同金鑄范大夫，不同絲繡平原圖。丹青粉墨俱不須，頃刻貌出人人殊。師傳是否為耶蘇，五羊城裏賃屋居中略。吾聞其事疑虛枉，先覩為快登其廬中略。陸離光怪一室儲，七日禮拜方南膜中略。刀叉為進花燒豬，盧卑美酒浮玉壺。鴉片燒出香如酥，客來相勸何勤劬。欲試其法云徐徐，竿頭日影卓午初。一片先用玻璃鋪，涂以藥水鏡面敷。納之木匣藏機樞，更覆七尺巾罩疏。一孔盌大頻覘覦，時辰表轉剛須臾。須臾幻出人全軀，神傳阿堵知非虛中略。陰陽黑白分明俱，此中有人真可呼。畫師乍見增長吁，直奪造化無權輿中略。我略推究無其書，博物當待張華徒下略。」吳仰賢《小匏菴詩存》卷六〈洋涇竹枝詞‧之十〉云：「頰上添毫勝筆鈎，出奇最是寫真優。冰奩一攝全神在，愁煞人間顧虎頭。」自注：「夷人寫真用玻璃一片，大小如衣鏡式，令其人對照片時。背傅以藥，影即涅入不去。」[3]【斌椿《海國勝遊草》〈西洋照像法攝人影入鏡中以藥汁印出紙上千百本無不畢肖余來巴黎倫敦畫師多乞往照人皆先覩為快聞有以重價赴肆購買亦佳話也‧其三〉云：「團扇當年畫放翁，家家爭欲覩儀容。近來海國傳佳話，不惜金錢繪友松。」《乘查筆記》同治五年四月初十日：「聞在巴黎照像，一像值金錢十五枚。」】咸同以後，攝影始見之於詠，此三詩是其例證。義和團事起，拳民搶琉璃廠豐泰照相館，謂拍照須以人目睛煉藥水。【此說明末清初已有，特謂取垂死者眼珠煉成望遠鏡，可見 Montesquieu, Spicilège,
Oeuv. comp., “Pléiade”, II, pp. 1351
& 1570; Lettres édifiantes et
curieuses de Chine, ed. by Isabelle et Jean-Louis Vissière, p. 97, Lettre
du Pere Chavagnac, 10 fév 1703: “Le Missionnaire... vient avec son huile
arracher les yeux des malades, pour en faire des lunettes d’approche.”《康輶紀行》道光二十五年二月十六日，「伊濂江出示奉文，准西洋人設天主堂行教粵中……佛蘭西在五處馬頭設天主堂……倘有誘淫婦女，取人目睛者，仍如例治罪」云云。毛祥麟（自序，同治庚午）卷一：「同治甲子春夏間，聞京師有匪徒，拐取小兒，挖其雙目。或言外國人所使。經駐京各國領事照會總理衙門，飭捕拿獲匪徒十餘人。內五名，實係拐兒者，供稱取童子雙目，學外國人配合照像藥。」何子貞《東洲草堂詩鈔》卷二十七〈滬上雜書‧之二〉[4]：「景教流傳久失真，中原嗜利竟忘身。最憐彼法通行後，地下應無有目人。」朱翊清《埋憂續集》卷二「天主教」[5]。】葉昌熾《緣督廬日記》庚子六月二十八日云：「某照相館被焚，搜出廣東鮮荔枝，以為挖人眼珠，莫不眥裂」云云，已遠在三家詩成之後，北人陋僿可想。【《思益堂日札》卷九〈廣東雜述〉：「道光丙午薄遊粵東……奇器多，而最奇者有二：一為畫小照法。」】【袁祖志《談瀛閣詩稿》卷七〈滬北竹枝詞‧之十三〉「傳神端不藉丹青」云云，自注：「照像乃西人術，勾欄中人必各照一像，懸之壁間。」（光緒七年前。）】【《清詞玉屑》卷十一引張蘩甫〈綺羅香詞‧詠照相并序〉。】【《莊諧選錄》卷十：「留聲機器初至滬上，或置諸市，一僧隨眾聽之，歸寺，聚其徒謂：『佛子今當斷種矣！諸檀越欲唪經者，但須請高僧誦一偏，著此器中，數十百年，用之不盡。吾屬將餓死』」云云，可與畫師之嘆攝影參觀。】
《池北偶談》卷十二云：「霍亮雅，曲周人，倜儻任俠，喜酒，好摴蒱。卒後，其邑人劉津逮逢源哭以詩云：『門前債客雁行立，屋內酒人魚貫眠。』或曰：此十四字是敗家子弟小影耳。」按此唐人李播〈見志〉詩，「客」作「主」，「內」作「裏」，「酒」作「醉人」[6]，前二句云「去歲買琴不與價，今年沽酒未還錢。」《唐詩紀事》卷四十七即載之。漁洋大瞶，《茶餘客話》卷八亦沿其誤[7]。【高適〈贈别王十七管記〉：「堂中皆食客，門外多酒債。」】
王梵志詩云：「還你天公我，還我未生時。」（《雲溪友議》卷下、皎然《詩式‧跌宕格》引。）《敦煌掇瑣》第三十種〈五言白話詩〉云：「寄語䆩路（sic）道，還我未生時。」又云：「遺兒我受苦，慈母不須生。」第三十一種又云：「□□審三思，慈母莫生我。[8]」按王若虛《滹南遺老集》卷四十五〈還家詩〉云：「艱危嘗盡鬢成絲，轉覺歡華不可期。幾度哀歌向天問：何如還我未生時？」淒摯之音，用古入化。【參觀第七百一則論 Fr.Th. Vischer[9]:
“Frage”。】《方秋崖先生小稿》卷三十七〈辛丑生日小盡月‧鵲橋仙〉詞云：「今朝廿九，明朝初一，怎欠秋崖個生日？客中情緒老天知，道這月、不消三十。」[10]如易「客」為「個」，則不特隽巧，抑且沉痛矣。【參觀 Freud, Der
Witz und seine Beziehung zum Unbewussten, 3te Aufl. S. 44: “‘Niemals
geboren zu werden wäre das beste für die sterblichen Menschenkinder.’ ‘Aber,’
setzen die Weisen der Fliegenden Blätter hinzu, ‘unter 100,000 Menschen
passiert dies kaum einem.’”】Thomas Beddoes, Torrismond:
“O father, father! / Take of[f] my youth, unwrap me of my years[11],
/ And hunt me up the dark & broken past / Into my mother’s womb: there
unbeget me; / For till I’m in thy veins & unbegun, / Or to the food returned,
which made the blood / That did make me, no possible lie can ever / Unroot my
feet of thee” (Oliver Elton, A survey of
English Literature, 1780-1830, II, p. 302 引). 按此中西詩分界處。
Fanny Burney, Evelina, Letter XII: “I was not in a humour to be amused”; Letter LXIV: “The sally occasioned much
laughter; for Mr Coverley, so regarded as a man of infinite humour.” 二意並用。Letter
XIV: “But let me draw a veil over a
scene too cruel”; Letter XXI: “their country
cousin, as they were pleased to call me.” 按二語皆
cliché 也。Eric Partridge, Dictionary of Clichés 收之，而不知已並見此書，蓋 Partridge 務稗販，未能求之經籍，深造自得，書中至以 “human all too human” 為 “A Victorianism, I guess”，而不知 Nietzsche 之 “Menschliches, Allzumenschliches”[12]，又不知 “sweet & short” 始於 “la vil de cochon, courte et bonne”，皆其陋也。Fanny Burney 此書，開後世作者處有三：Evelina 聞 Maria 傳述 Lord Orville 斥其為無知惡作劇之村姑 (Letter XII)，耿耿於心，情苗益不可拔，絕似 Pride & Prejudice 情事，一也；諸貴人於 Evelina 狎侮之態，絕似 Nicholas Nickleby 中 Hawk, Vensopht 之於 Kate，二也；Broughton 一家鄙俗之狀，純乎 Dickens 筆意，三也。
五十二[13]
【此則論Catullus，部份已貼去，僅殘留《手稿集》93 頁下腳「cf.... you should use it...
say it’s not poetry? Any」數字，似與下補二段有關：「Ernest Jones, Papers on Psychoanalysis, 1918 ed. p.
676: “Books & other printed matter are a curious symbol of faeces”」（93 頁下腳）；「Oeuvres de Tabarin,
“Classiques Garnier”, pp. 27-8 論 “Le meilleur librairie du
monde... c’est monsieur le cul... trafiqueur... imprimeur... relieur... doreur”
可參觀」（92 頁下腳），但所論何詩，已無著落。此外尚存申說 Catullus, LXX 「書於風中水上」一節，散見於 93-94
頁書眉、下腳、行間，尚稱完整。又 96 頁書眉、夾縫有［補五十二則］數段，部份闡論 Catullus, LXXXVI，其餘則與初見所歡時魂靈出竅之狀有關，似當與 93 頁書眉所餘「Orlando Furioso」云云并看。】
［Catullus］LXX: “Sed mulier cupido
quod dicit amanti in vento et rapida scribere oportet aqua.” 按此喻皆本之 Plato, Phaedrus,
276c (“écrire sur l’eau” — Platon, Oeuv,compl.,
Association Guillaume Budé, T. IV, 3e Ptie., p. 91)，漸成常語，如 Shakespeare, Henry
VIII, IV, ii: “Men’s evil manners live in brass; their virtues we write in
water”; Fletcher, Philaster, V, i: “All
your better deeds / Shall be in water writ, but this in Marble”; Jean Bertaut: “L’injure
se grave en métal, Et le bienfait s’escrit en l’onde”; Bacon: “The World”: “Who
then to frail mortality shall trust. / But limns on water, or but writes in
dust” (John Aubrey, Brief Lives, ed.
O.L. Dick, “Ann Arbor Paperbacks”, p. 10). Cf. Boswell, The Ominous Years, ed. C. Ryskamp & F.A. Pottle, p. 276: “Dr.
Johnson said the value of statuary was owing to its difficulty; ‘For,’ said he,
‘you would not value the finest cut head upon a carrot.’ Here I take it he was
not just; for although the difficulty may enter into the estimation of the
value of a marble head, I take it the durability is the principal reason for a
preference.” Cf. Gautier, “L’Art”. 不勝一一舉。Keats 將歾，自誌墓云：“Here lies
one whose name was writ in water.”（據 John
Severn 於一八二一年二月十二至十四日致 Ms
Brawne 書；據 Shelley 所述，作 “writ on water”）語特凄婉，讀者悲之，遂若垂死哀鳴。偉詞自鑄，渾忘數典求祖矣。曇無懺譯《大般湼槃經》（慧嚴、慧觀、謝靈運再治）〈序品第一〉云：「是身無常，念念不住。猶如電光、暴水、幻炎。亦如畫水，隨畫隨合」；又〈梵行品二十之一〉云：「譬如畫石，其文常在，畫水速滅，勢不久住」；元微之〈憶遠曲〉云：「水中書字無字痕」；白樂天〈新昌新居〉云：「浮榮水劃字，真諦火生蓮」；嚴可均《全後漢文》卷十四《桓子新論‧佚文》云：「畫水鏤冰，與時消逝。」桓寬《鹽鐵論‧殊路篇第二十一》云：「內無其質，而外學其文，若畫脂鏤冰，費日損功」，則 David Scott, Men of Letters,
p. 71: “Much as we love our Barrie we have to admit that words like these are
writ in butter”; William Barnes: “To write in what some may deem a fast
out-wearing speech-form may seem as idle as the writing of one’s name in snow
of a spring day” (quoted in Hardy’s preface to Selected Poems of Wm. Barnes, p. viii). Edwin Booth: “An actor is a
sculptor who carves in snow” (Clifton Fadiman & Charles Van Doren, The American Treasury, p. 833). 馮夢龍《山歌》卷二〈姐兒生得‧之七〉所謂：「石橋上走馬有得啥記認，水面砍刀無損傷。」
【［補五十二則］LXXXVI: “Lesbia formosast, quae cum pulcherrima
totast, / Tum omnibus una omnis surripuit Veneres.” 按此即 Girolamo Benivieni, Canzona della Amore celeste et divino 所謂愛情之第三境：“From many fairs / That thought from matter tears /
Is shaped a type, wherein what nature rends, / For sense asunder, into one
image blends”（參觀 J.B. Fletcher, Literature of the Italian Renaissance,
pp. 111-2）。Zeuxis, Parrhasius 畫人物正用此法（參觀 Croce, Aesthetic, tr. by D.
Ainslie, p. 171）[14]。】【Cf. Le Livre
des Mille Nuits et Une Nuit, tr. by J.C. Mardrus, p. 13, p. 73; XVI, p. 91
etc. ──二百十三則。】【Lawrence
Babb, The Elizabethan Malady, pp.
143-4 論詩人寫 love at
first sight 為 “a rude & sudden shock”，引 Beaumont & Fletcher, Philaster (Works, ed.
Glover & Waller, I, p. 146), Lodge, A
Margarite of America (Works,
Printed for Hunterian Club, III, p. 64), Love’s
Labour Lost, II, i, 240-5; As You
Like It, II, ii, 268 等，皆云 the lover stands tongue-tied, gazing at the lady in wide-eyed &
statuesque stupor: “ravished from his senses”, “a mere lifeless block” etc.
Petrarch, Madrigale 52: “Tal che mi
fece, or quand’egli arde ‘l cielo, / tutto tremar d’un amoroso gielo” (L.R.
Lind, Lyric Poetry of the Italian
Renaissance, p. 184).】【Ambrose
Philips’ famous tr. of Sappho’s fragment
is included in the Oxf. Bk of 18th-cent.
Verse, p. 145. John Clare’s powerful poem “First Love” (Everyman's Book of English Love Poems,
pp. 293-4).】【Orlando Furioso, XXIII. 64: “[Zerbino at
the sight of Isabella] Com’un ghiaccio nel petto gli sia messo, / Sente dentro
aggelarsi, e trema alquanto, / Ma tosto il freddo manca, et in quel loco /
Tutto s’avampa d’amoroso fuoco” (Ed. Ulrico Hoepli, p. 241).】
五十三[15]
Coleridge, The Friend (Complete Works,
ed. W.G.T. Sheed, vol. II) 殊多枝詞。
General Introduction, Essay III: “Like
the man who used to pull off his hat with great demonstration of respect
whenever he spoke of himself” (p. 62). 按 De
Quincey: “Goldsmith”: “Coleridge mentions a man who entertained so exalted an
opinion of himself, & of his own right to apotheosis, that he never uttered
that great pronoun ‘I’ without solemnly taking off his hat. Even to the oblique
case ‘me’ which no compositor ever honors with a capital M, & to the
possessive pronoun ‘my’ & ‘mine’, he held it a duty to bend reverentially”
(Collected Works, ed. D. Masson, vol.
IV, p. 318). 踵事增華，鋪張夸飾，De Quincey 慣技也。陶周望《歇菴集》卷十三〈游洞庭山記‧之八〉記蔡羽怪誕事云：「羽置大鏡南面，遇著書得意，輒正衣冠，北面向鏡拜，譽其影曰：『易洞先生，爾言何妙！吾今拜先生矣。』羽以善《易》自負，故稱『易洞』也。」董若雨《西游補》第十回，孫行者被老人救出葛藟宮，老人忽合於己體，乃知即自己真神，「慌忙唱個大喏，拜謝自家」，正可參觀。【Collected
Letters of S.T. Coleridge, ed. E.L.
Griggs, I, p. 50: “Like Monsieur Whatd’yecallhim, who used to pull off his hat
when he spoke of himself.”】英國人「我」字大寫，他國人譏為矜傲之證，詳見 Otto
Jespersen, Growth and Structure of the
English Language, pp. 222-3。
Essay XIII 論 “the
universal law of polarity or essential dualism” 一節 (p.
91)，J.H. Muirhead, Coleridge
as Philosopher, p. 59 引之而未備，the second section, Essay VI 論動植物間 “Harmony of
contrast, of corresponding opposites” (p. 427) 可參觀。Coleridge 拈出 thesis, antithesis, synthesis (p. 91) 為說，且曰此理發明於 Heraclitus。二千年後 Bruno 窮推於一切學問，云 Heraclitus
為此法鼻祖，人所盡知（例如 Jonas Cohn, Theorie
der Dialektik, S. 6），黑智爾即已言之，Bruno 則談者均未道及。Coleridge, Semina
Rerum 僅云 Richard Baxter 而已（見 Alice D.
Snyder, Coleridge on Logic & Learning,
p. 126, 128-9 所引二節，然 Coleridge 自言未覩 Baxter, Methodus Theologiae，僅據其傳中所載一語云 “I
have been twenty-six years convinced that dichotomizing will not do it, but
that the divine Trinity in Unity hath expressed itself in the whole frame of Nature
& Morality.” 肊必而已。詳見 René
Wellek, Immanuel Kant in England, p.
86, pp. 279-80，足徵 Coleridge 純出附會，實不知辯證為何事也。Wellek 此書攷論精闢，遠非 Muirhead 所及，評摘 Coleridge 不能慎思明辨，好作調人，囫圇吞棗，糊塗煮麵：Has little insight into the incompatibility of
different trends of thought... great mediator... mixed style of architecture
(p. 67) 尤中肯綮，可與 F.L. Lucas, The
Decline & Fall of the Romantic Ideal, ch. IV: “A Romantic Critic” 參觀）。又按「正、反、合」之論，在當時德國，實為老生常談。Schiller, Fr. Schlegel, Novalis, Kleist 等談藝，無不拈弄。詳見 W. Silz, Early German Romanticism,
pp. 211 ff.。Coleridge, Notes
on English Divines 則舉 Bruno,
Logice Venatrix Veritatis，謂是
Baxter 所承。夫辯證法精神命脈，不僅在正、反之合，而在合而別生正、反，生生不已，綿綿相續 (Das fortreibende Prinzip des dialektischen
Gedankenganges)。此乃黑智爾之所獨窺，前人未之或知。神祕主義一蹴而達，遂於辯證法之自動不息毫釐千里矣 (Cohn, S. 218: “Die Mystik geht vom Widersprache
unmittelbar zum Absoluten über in dem er gelöst gedacht wind — coincidentia oppositarum — ihr fehlt der
Fortgang.”)。餘見前論 Muirhead 書。
The First Landing-Place, Essay I 論音樂如歷史，通貫去、來、今 (Each present movement bringing back... the spirit of some melody that
had gone before, anticipates and seems trying to overtake something that is to
come[16].
Retrospection blends with anticipation, etc.) 一節 (pp.
121-2)。按參觀 Bergson, La Pensée
et le Mouvant, p. 89 論 “l’intuition
de la continuité indivisible d’une mélodie où le passé entre dans le présent”。而
Coleridge 拈出「未來」，體會更周匝。
Essay IV: “Cunning is circuitous
folly. In plain English, to act the knave, is but a roundabout way of playing
the fool” (p. 140). 按亦見 Table-Talk, Jan. 4, 1823: “A rogue is a roundabout fool; a fool in circumbendibus.”
Essay V: “Reason is an organ identical
with its appropriate objects. Thus, God, the Soul, eternal Truth, &c, are
the objects of Reason; but they are themselves reason” etc. (pp. 144-5).【Cf. James
Engell, The Creative Imagination, pp.
340 ff. on Coleridge’s theory of “Nature & connatural Mind”.】按此即神祕宗 similia similibus percipiuntur 之旨 (Enneads, I. 6-9: “That which sees must
be kindred & similar to its object before it can see it. The eye could
never have beheld the sun, had it not become sunlike.”)，Blake 所謂 “The Sun’s
Light, when he unfolds it[17],
/ Depends on the Organ that beholds it.” (見 W.R.
Inge, Philosophy of Plotinus, vol. I,
pp. 137-8 說 “Like
alone sees its like” 引，參觀 Eckermann, Gespräche
mit Goethe, 26 Feb. 1824: “Das Licht ist da, und die Farben umgeben uns;
allein trügen wir kein Licht und keine Farben im eigenen Auge, so würden wir
auch ausser uns dergleichen nicht wahrnehmen.” — Goethe Gespräche, Gesamtausgabe neu hrsg. von F.F. von Biedermann,
Bd. III, S. 81); Monier Williams, Indian Wisdom,
3rd ed., p. 84: “TheTarkasangraha: ‘The organ of light is the eye...
the organ of ether is the ear’ etc. f. Empedocles: ‘By the earthly element we
perceive earth; by the watery, water; by the aerial element, the air of heaven;
& by the element of fire, devouring fire.’ Plato, Republic: ‘I regard the eye as... possessing most likeness to the
sun.’” 又 Goethe: “Wär nicht da Auge sonnenhaft, / Die Sonne
könnt esnie erblicken; / Läg nicht in uns des Gottes eigne Kraft, / Wie könnt
uns Göttliches entzücken?” (Sämtl. Werk.,
“Tempel-Klassiker”, Bd. III, Spruchweisheit,
S. 212); É. Gilson, Les Idées et les
Lettres, p. 90: “Pour voir, il faut que l’oeil se transforme de quelque
manière en ce qu’il voit; de même, pour voir son Dieu, il faut que l’âme se
transforme à sa ressemblance, c’est aussi l’amour qui permet seul de le
connaître, d’où la formule si curieuse de Guillaume de Saint-Thierry: Sensus enim animae amor est (Speculum fidei).” 【Quantum
sumus, scimus (like only sees or knows like).】
五十四[18]
鄭獻甫小谷《續刊補學軒詩集》十二卷（《鷄尾集》、《鷗閒集》），《文集外編》四卷。據林肇元〈序〉，小谷詩尚有《鴉吟》、《鶴唳》等集已前刊，《文集》亦有《內編》，皆未得見也。小谷詩頗能使事屬對，而筆致鬆利，似隨園、甌北。自粵返桂以後之作，題製空泛，出語率易，益卑劣矣。文更俚鄙不足觀。
卷一〈春雨排悶〉：「冥冥養花天，寂寂埋憂地。」
〈余生前辛酉之孟春今又值辛酉之孟春率拈數首〉：「古往今來中著我，山窮水盡外留人」；「名有吹噓當日損，詩無流派不雷同」。
〈遣懷〉：「看山在山外，所見差不實。看山落山中，所見又不悉」；「營營帳外蚊，瑣瑣褌中虱」；「才人果蓋代，勢必兩相慕。美人果絕代，意不兩相妬。嵇呂相思來，尹邢相避去。真貴不爭坐，善行不爭步。豈獨李勢妹，能息郡主怒。」
〈聞禁中事偶書〉：「騷人自古多哀郢，談士當今少識荊。」
卷二〈眼前〉：「市聲擾擾不聞語，山氣濛濛將作雲。」
〈閱李太白集偶書〉：「魯郡東偏路往還有〈魯郡東石門路別甫〉詩，沙丘城畔水潺湲又有〈沙丘城寄杜甫〉詩。少陵太白多相憶，末學惟知飯顆山。」
〈雜感〉：「器用皆宜今，文字必學古。心追而手摩，陋哉不足數。譬如臨古帖，顏柳歐虞褚。凡云酷似之，必是最劣處。神氣骨肉血，妙不在毫楮。類狗與類鶩，勢反界其主。」
〈題倪雲臞豆棚閒話圖〉：「種向蕪田久不治，煮來熟釜有餘思。閒中共話非閒事，子幼文章子建詩。」
〈江行紀事〉：「長裁一葉舟，廣列百枝槳。巨礮排舷間，大旗閃檣上。非兵亦非盜，半募民間壯。橫行誠有功，邪出乃無狀。時貽一紙謁，自署百夫長。本充官威儀，乃用盜冠服。紅錦腰下垂，紅縧額間束。借官相扶持，與盜為倚伏。」
卷四〈雜感〉：「堂前蝨如輪，牀下蟻如牛。聰明一以極，聽睹皆為尤。」
〈後罪言〉：「何以謀足食，請將軍需歇。何以謀足兵，請將募勇撤。小盜如散蟻，大盜如屯蜂。散者不勝撲，屯者不敢功。未見小捷奏，但聞大府空。」
卷五〈長夏書懷〉：「詩豪敢說題糕字，經學終慚賣餅家。」
卷七〈村居閒詠〉：「事有不如意，人無可與言。」
《文集》卷一〈書三通序後〉：「議《通志》者，世不乏人。尊《通志》者，余殆未見。後得章典籍《文史公議》，剏論學術家法，謂古無私門之著述，所傳皆官司之典守。心竊服其具眼。獨《校仇通議》頗駮夾漈之《校仇略》，反復尋繹，而後知典籍獨剏之見，皆出夾漈先開之端。今取其〈編次必謹類例論〉觀之，首云：『有專門之書，則有專門之學；有專門之學，則有世守之能』云云[19]，此即章氏得閒之處。後來推拓盡致，乃託於本太史公〈六家〉、劉子駿《七略》，諱其所出」云云。按鄭氏雖誤以《通義》為《公議》，而道、咸間論章氏書者，此為僅見。先此祇朱伯韓《怡志堂文初編》卷四〈周艾衫文集序〉云：「爰舉章實齋《文史通義》所譏彈相質」云云一語，及張宗泰《魯巖所學集》卷十〈跋文史通義內篇〉、〈跋文史通義外篇〉、〈讀章氏遺書辨誤〉三篇，皆為章氏之學者所不知也。
五十五[20]
The
Collected Writings of Thomas De Quincey, ed. D. Masson, vol. XIII “On
Murder Considered as one of the Fine Arts”: “Everything in this world has two
handles. Murder... may be laid hold of by its moral handle... or it may also be
treated aesthetically” (p. 13); “The tendency to a critical or aesthetic
valuation of fires and murders is universal” (p. 72). 按此本之 Epictetus: “Everything has two handles, by one of which it ought to be
carried & by the other not” (“The Loeb Classical Library”, tr. by W.A.
Oldfather, II, p. 257)。作者好條分縷析，而不耐引端窮緒【Croce, Aesthetic,
tr. D. Ainslie, p. 181: 引 Campanella, Poetica,
ars. vii “belle ferite”: “Mandricard called the wounds in the bodies of his
friends the Moors beautiful, for they were large & gave evidence of the
great strength of Roland who dealt them; St. Augustine called the gashes &
the dislocations in the body of St. Vincent beautiful (Estetica, 10a ed., p. 198: “belle scorticature e le
slogature”), because they were evidence of his endurance, but they were on the
other hand ugly in so far as they were signs of the cruelty of the tyrant
Dacianus... Doctors call even urine and faeces beautiful, when they indicate
health (e belle chiamano perfino le urine e le feci i medici quando dimostrano
buona salute). Everything is both beautiful and ugly.”】，此其一例。後來王爾德輩議論，實胎息於是。Laurent Tailhade: “Qu’importe la victime si le
geste est beau!” 即斯意也。據 Henri Clouard, Histoire
de la litt. fr. du symbolisme à nos jours, T. I, p. 95 所引，尚有下半句云：“Qu’importe la mort de vagues humanités, si par elle s’affirme
l’individu!” 則著眼處迥異，詳見 A. Billy, L’Epoque
1900, pp. 416, 436。而 Ch. Morgenstern: “Glückseliger Malerstandpunkt”: “Madonna!
Welche Armut, welcher Dreck! — / Doch auch wie wundervoll als — Farben fleck! (Epigramme und Sprüche, R. Riper &
Co. Verlag, 1921, S. 74) “The young man in ibsen's poem ‘On the Heights’ enjoys
the aesthetic spectacle of his mother’s cottage burning down, & shades his
eyes with his hands ‘to set the perspective right’.” (Modernism, ed. By M. Bradbury & J. McFarlane, p. 522)。Santayana
尤言之成理，The Sense of Beauty: “We are not pleased by virtue of the suggested
evils, but in spite of them” (p. 222); “A conflagration may be called an evil,
because it usually involves loss & suffering; but if, without caring for a
loss or suffering we do not share, we are delighted by the blaze, & still
say that what pleases us is an evil, we are using this word as a conventional
appellation... We are not pleased by an evil; we are pleased by a vivid &
exciting sensation, which is a good, but which has for objective cause an event
which may indeed be an evil to others, but about the consequences of which we
are not thinking at all. There is nothing which is not an evil, which is not
unfavourable to some interest, & does not involve some infinitesimal or
ultimate suffering in the universe of life” (p. 233); “The pleasures of
drinking & walking are not tragic to us, because we may be poisoning some bacillus
or crushing some worm” (p. 224). Magnus Hirshfeld, Curious Sex Customs in the Far East, tr. by O. P. Green, p. 209 記印度信奉 the Jain sect
者最戒殺生，口罩以紗，恐飛蟲誤投也；食必以晝，恐飛蛾撲燈也。“But they do not consider that with every step they
destroy the tiniest of living beings.” 參觀第五百七十五則《嵩山集》卷十四〈禍福〉、第七百十八則。
“All of us were alive & kicking”
(p. 61). 按此文作於一八三九年，O.E.D. “kicking” 下舉例出一八六〇年。此語及 “satisfied
me with ocular proof” 皆可補
Partridge, Dictionary of Clichés 兩條所未備。
“The Spanish Military Nun”: “As a
Frenchman [Alexis de Valon] says in connexion with this very story, ‘Chance is
but the pseudonym of God for those
particular cases which He does not choose to subscribe openly with His own
sign-manual’” (p. 173). 按憶 Anatole France 曾竊此語。又引 Alexis
de Valon 寫 Donna Pedro de Chavarria 之美云：“Je ne parle point de ses pieds, elle n’en avail presque pas” (p. 223). 按
Casanova 論 Juliette 云：“In spite of her carefully hiding her feet, I
judged, by a tell-tale slipper lying close by her dress, that they were proportioned
to the height of her figure — a proportion which is unpleasant not only to the
Chinese & Spaniards” etc. (Memoirs,
tr. by Arthur Machen, L. p. 59). 蓋西班牙人亦重纖足也。Inman Bernard, Cities
& Men, p. 191: “A charming but impulsive New York lady sat next to
General Boulanger, remarked: ‘You have beautiful hands, general.’ This elicited
the reply, ‘But you should see my feet, madame.’” 可發一笑。參觀第一五六則。
“The English Mail Couach”: “The
entire chapter [in Von Troil’s work], entitled ‘Concerning the Snakes of Iceland,’
consists of these six words — ‘There are no snakes in Iceland’” (p. 278). 按此見
Boswell, Life of Johnson, 13 April,
1778: “Johnson had said that he could repeat a complete chapter of ‘The Natural
History of Iceland’, from the Danish of Horrebow, the whole of which was
exactly thus: ‘Chap. LXXII. Concerning
Snakes. There are no snakes to be met with throughout the whole island.’” Théodore
de Banville, Petit Traité de poésie
française, p. 63: “Des Licences poétiques”: “Il n’y en a pas” 五字即仿此。【“In an American Dictionary of Biography under the title of Highcock, Laurens Persius, he found as
the sole entry ‘The style of Laurens Persius Highcock lacks distinction,’ not
another word” (Evan Charteris, Life &
Letters of Sir Edmund Gosse, p. 209).】
“In the dark, people commit deeds of
darkness, gas being a great ally of morality” (p. 306). 按
Emerson, “The Conduit of Life”: “A gas-light is found to be the best nocturnal
police, so the universe protects itself by pitiless publicity.” 即本此。參觀第四百七十八則。
“Suspiria de Profundis”: “The
Palimpsest of the Human Brain” (pp. 340 ff., esp. 346-8). 按微言妙喻，得未曾有。【Cf. The Confession of an English
Opium-Eater, “The Pains of Opium”: “There is no such thing as ultimate forgetting” etc. (“Everyman’s”, p. 235).】前乎此者，有柏拉圖以迄萊伯尼支「白紙」(Tabula rasa) 之譬（參觀 E.L. Griggs, ed.,
Letters of S.T. Coleridge, II, pp.
68-9; J.M. Baldwin, Dictionary of
Philosophy & Psychology, vol. II, art. “Tabula rasa” by John Dewey;
Bosanquet, A History of Aesthetic, 3rd
ed., p. 84; 然皆未道中世紀，須以 Prantl,
Geschichte der Logik, III, S. 261,
281, IV, S. 143 補之）。後乎此者，有 Wm James「冰山」(iceberg)、心析學派「樓臺地室」(basement) 之譬，皆極其貼切。心析學派「潛意識」之論，亦已發於此矣，而世人無道及者。James Sully 論 “dreams as a
revelation” 亦擬之於 Palimpsest，見稱於 Freud, Die Traumdeutung, 6te
Auf., S. 95。
[4]「卷二十七」原作「卷三十七」。
[6]「醉」後原贅一「人」字。
[7]「茶餘客話」原作「茶餘客餘」。
[10]「道這月、不消三十」原脫一「道」字。
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