Tropic of Cancer（1934 年巴黎 Obelisk Press 首版 ）
五十六[1]
The
Complete Works of William Hazlitt, ed. by P.P. Howe, vol. IX, A Letter to William Gifford: “You are a Government Critic... the invisible link,
that connects literature with the police... You mind only the distinction
between Whig and Tory” etc. (p. 13). 按語語親切有味，光景常新。G.C. Lichtenberg, Aphorismen, hrsg. von A. Lietzmann, Vtes Heft, §583 (S.
105): “Einer schrieb immer, statt Philosophen oder Philosophirer, Philosoffizirer,
oder gar Philos-Officirer.” 其位當視 “Government
Critic” 為高，而職守畧同。
“We are all poets, inasmuch as we undergo
the same process of mind with the poet” etc. (p. 45). 按
Carlyle, Heroes & Hero-worship,
Lecture III: “A vein of poetry exists in the hearts of all men... We are all
poets when we read a poem well.” 此意至 Croce 而闡發無餘蘊： “L’attività
che giudica si dice gusto; l’attività che produce genio: genio e gusto sono,
dunque, sostanzialmente identici” etc. (Estetica,
10a ed. p. 132).【“Genius & taste are... substantially
identical... The critic may be a small genius, the artist a great one; the
former may have the strength of ten, the latter of a hundred; the former, in
order to reach a certain height, will have need of the assistance of the other;
but the nature of both must remain the same” (Aesthetic, E.T. by D. Ainsley, pp. 120-1[2]).】
Libor
Amoris 一縫衣師女搔首弄姿，引人賃屋之市招耳 (p. 160: “A regular, lodging-house decoy”)。《西青散記》卷三載史悟岡題曹震亭〈小牕香雪夜論心圖〉有云：「達官之憐才也，襲於名；美女之憐才也，昵於貌。貌之不颺，美女羞之；名之不彰，達官弄之」云云，真至理名言。使 Hazlitt 有 Byron 之容貌祿位，方且求為夫子妾而不得。Hazlitt 嚙唇搦腰，未能越雷池一步，殊可憐笑，乃云：“I was cuckolded & I was damned” (p. 129)， 綠頭巾滿天飛，尚輪不到渠戴也。H.C. Robinson, On
Books & Their Writers, ed. Edith J. Morley, I, p. 169 載其狎妓遭拒，以鞭撻之，致犯眾憤敺逐，而於此事，乃落第舉子。Characteristics 第二三六則云：“It makes us proud when our love of a mistress is
returned; it ought to make us prouder that we can love her for herself alone,
without the aid of any such selfish reflection. This is the religion of love”
(p. 202). 而於 Sarah Walker，始以 “In her sight
there was Elysium[3];
her smile was heaven; her voice was enchantment” etc. (p. 122) 等套語頌贊之，隙末凶終，不免破口謾罵，亦見知易而行難矣。且文人結習，一言一動，皆為著述之資，有若 Mallarmé
云：“Tout existe pour aboutir à un livre”。如謂此女云：“You will live by that name, you rogue, 50 years after you are dead” (p.
102)，猶是古典詩人求歡之慣技常語（參觀 Oliver Elton, Modern
Studies, “Literary Fame”; Cambridge
Hist. of Eng. Lit., IV “The Elizabethan Sonnets” by Sidney Lee）。至云：“I have finished the book of my conversations with her, which I told you
of: if I am not mistaken, you will think it nice reading” (p. 119)，則不特如 Byron 譏 Glenarvon 所謂 “kiss
& tell... [fuck] & publish” (The
Letters of Lord Byron, “The Everyman’s Library”, p. 129），亦見用情雖摯，而未嘗用志不紛。不待成追憶，當時已灑然。De Quincey 所謂 “People talk
of being over head & ears in love; now, the mail was the cause that I sank
only over ears in love, which, you know, still left a trifle of brain to
overlook the whole conduct of the affair.” (Collected
Works, ed. By D. Masson, vol. XIII, p. 287)。後來
Mazzini: “One feels that at the very moment in which he was or ought to have
been most deeply moved by a thought or feeling visiting him, he [Leopardi] could
not help hunting for the best epithet. It was so with the love of his country
too” (T.L.S., Jan. 21, 1955, p. 33). Cf.
G. Vasari, Lives, “Luca Signorelli”
(Everyman’s Lib., II, pp. 147-8)。Flaubert 慰人妻病云：“Tu as et tu vas avoir de bons tableaux et tu pourras faire de bonnes études! C’est chèrement
les payer.” (Correspondance, éd. Louis
Conard, T. III, p. 170)；又 Clémenceau 述 Monet
“standing by the bedside of his dying mistress could see nothing but the
beautiful violet shadow on her temple.” (H.A.L. Fisher, An Unfinished Autobiography, p. 75)，皆與此一脈相傳，十九世紀以前所無也。Maupassant, Sur
l’Eau, 10 Avril: “Dans l’homme de lettres aucun sentiment simple n'existe
plus. Il analyse malgré tout, malgré lui, sans fin, les coeurs, les visages, les
gestes, les intonations... S’il souffre, il prend note de sa souffrance et la
classe dans sa mémoire... Il semble avoir deux âmes, l'une qui note, explique,
commente chaque sensation de sa voisine, l’âme naturelle, commune à tous les
hommes ; et il vit condamné à être toujours, en toute occasion, un reflet de
lui-même et un reflet des autres, condamné à se regarder sentir, agir, aimer,
penser, souffrir” etc. (Maupassant, Sur
l’Eau, ed. Conard, pp. 79 ff.).【“Il semble avoir deux âmes, l’une qui note,
explique, commente chaque sensation de sa voisine, l’âme naturelle, commune à
tous les hommes; et il vit condamné à se regarder sentir.”】【José
Ortega y Gasset, La Deshumanización del
Arte: “An illustrious man is dying. To his wife, the spiritual distance
from the death scene is at a minimum, so much so that it is almost
non-existent. The doctor is a little more distant... Yet his profession compels
him to be seriously interested in the happening. He feels towards it a certain
responsibility. The newspaper man is even further removed. The doctor
intervenes in the event but, the reporter must limit himself only to see. Yet
he has to tell the story to interest & move his readers. Lastly, the
painter... purely contemplative, paying attention only to externals, to lights
& shadows” (M.M. Rader, A Modern Book
of Esthetics, 3rd ed., pp. 413 ff.); 又第三百九十一則。】【E. Bullough, Aesthetics, p.
78: “One of the most striking expressions of [aesthetic objectivity] has always
seemed to me the painting by Cogniet: ‘Tintoretto painting his dead daughter.’”】【Cf. G.
Keller, Der grüne Heinrich, III, vi,
III, viii.】【Cf. E. & J. de Goncourt, Journal, VI, p. 180 on Tourgueneff during an operation.】Hazlitt
剖析心性，殊欠精微。如不意行道上，見 Sarah 與 Mr C— 同行，恍然知被賣，歸而窮詰之，有云：“‘You know you used to tell me, you despised looks.’
‘She didn’t think Mr C— was so particularly handsome’” (p. 157)，識見陋甚。Stendhal, De l’Amour, liv. I,
ch. xix: “Les amants sont bien fous de songer à se bien mettre... on regarde
son amant et on ne l’examine pas, dit Rousseau” etc. (Édition “Le Divan”, T. I,
p. 85; cf. ch. xvii, p. 80); Journal des
Goncourt, VI, p. 33: “Un mot profond de femme à un homme, parlant de l’impossibilité
de se faire aimer avec des cheveux blancs: ‘Les femmes ne regardent pas ou du moins
ne voient pas les hommes qu’elles aiment.’” 說精於此多矣。
Characteristics:
In the Manner of Rochefoucault’s Maxims 標題如此，而第三七八則云：“It is not easy to write essays like Montagne, nor maxims in the manner
of the Duke de la Rochefoucault” (p. 222)，得無自譽耶？每長至百餘言，頗乖體製。亦時有老生常談及複出者（如第一百則 p. 183，及第一九七則 p. 193）。剝膚點繁，精彩始出矣。第三十一則云：“...It seems an impertinence for a man to go out of
his way to distinguish himself; or it is because we cannot account for his
proficiency mechanically & as a thing of course, by saying It is his trade! In like manner, we
plume ourselves most on excelling in what we are not bound to do, & are most
flattered by the admission of our most questionable pretensions. We nurse the
rickety child, & want to have our faults & weak sides pampered into his
virtues. A man of talent aspires to a reputation for personal address or
advantages. Sir Robert Walpole wished to pass for a man of gallantry, for which
he was totally unfit. A woman of sense would be thought a beauty, a beauty a
great wit, & so on” (p. 171). 按此理甚確。Spence’s
Anecdotes, “Centaur
Classics”, 158: “Addison seems to value himself more upon his poetry than upon his
prose.” Sainte-Beuve, Nouveaux Lundis,
III, “Entretien de Goethe et d’Eckermann”: “Cet homme qui passe pour avoir été
si heureux a sa plaie secrete — Le dédain avec lequel les avaient accueilli sa
théorie des couleurs.” 據 Eckermann 一八二九年二月十九日所記，Goethe 自輕其詩，而誇其學為百年中一人。［“Auf alles, was ich als Poet geleistet habe,
pflegte er wiederholt zu sagen, bilde ich mir gar nichts ein. Es haben treffliche
Dichter mit mir gelebt, es lebten noch trefflichere vor mir, und es werden
immer ihrer nach mir sein[4].
Dass ich aber in meinem Jahrhundert in der schwierigen Wissenschaft der Farbenlehre
der einzige bin, der das Rechte weiss, darauf tue ich mir etwas zugute, und ich
habe daher ein Bewusstsein der Superiorität über Viele” (Eckermann, Gespräche, Aufbau Verlag, 1955, S. 469).］【Cf. Heine,
Buch der Lieder, Vorrede zur zweiten
Auflage (Werke und Briefe. Aufbau, I,
9); Jean Dutourd, Le Petit Don Juan,
p. 82.】Lord Chesterfield: “Though they love to hear
justice done to them where they know that they excel, yet they are most &
best flattered upon those points where they wish to excel, & yet are
doubtful whether they do or not... Cardinal Richelieu, who was undoubtedly the
ablest statesman of his time... had the idle vanity of being thought the best
poet too... Those, therefore, who flattered skillfully, said little to him of
his abilities in state affairs... But the incense which they gave him... was as
a bel esprit and a poet” (The Letters, ed. B. Dobrée, vol. III, p. 1037). 孫覿《鴻慶居士集》卷三十二〈書張邦基藏東坡畫枯木〉[5]云：「東坡在黃州時，以書遺王鞏，自言畫得寒林竹時，已入神品，草書益奇，詩殊減退。士大夫聞而疑之，予曰：『公詩舉天下推之，而書畫則世人不盡識也，故有此語。』」《后山集》卷十七〈書舊詞後〉云：「余它文未能及人，獨於詞，自謂不減秦七、黃九」云云，亦其類歟。孫奕《示兒編》卷十六〈人相反〉條引蘇子容言：「蔡君謨言文章而不言政事；歐陽公言政事而不言文章。」《說郛》卷三：「范鎮《東齋記事》云：『歐陽永叔每誇政事，不誇文章，蔡君謨不誇書，呂濟叔不誇棊，何公南不誇飲酒，司馬君實不誇清節，大抵不足則誇也。』」（此條見《四庫》本《東齋記事‧補遺》。）【《容齋隨筆》卷四載張浮休〈與石司理書〉。《皇朝文鑑》卷一百二十張舜民〈與石司理書〉，略謂：「嘗問歐公：『何以多教人以吏事？』公曰：『吾子異日臨事，自當知之。文學止於潤身，政事可以及物。吾昔貶官夷陵，求《史》、《漢》不得，無以遣日，因取陳年公案，反復觀之，見其以無為有，以枉為直，違法害義。夷陵褊小，尚如此，天下固可知也。當時誓曰：自爾遇事不敢忽』云云。」則歐公別有用意。】【吳泳《鶴林集》卷 23〈第二辭免知泉州狀〉：「修以翰墨致身，而對客每好談於吏事；軾以詞章名世，而居官常自任以吏能。」】周亮工《尺牘新鈔》卷七俞琬綸〈與友〉云：「凡不得意文，皆思路不開時所作。蹋壁苦吟，燈昏據案，故不忍棄。夫才不才，皆吾子也。秀穎者，吾愛之；彼以駑而受賤者，吾憐之。吾於憐之者，尤睠睠焉。」張慧劍編《夜談拔萃》六○頁記：「散原自云：『吾書第一，文次之，詩更次之，不足法也。』」法國成語亦有 “c’est
son violon d’Ingres”，正此意 (Larousse du
XXe Siècle, IV, p. 68: “une marotte dont un artiste est plus
entiché que de l’art où il excelle.”)。
第三十三則云：“...Acuteness consists in taking up the points or solid atoms, subtlety
in feeling the air of truth” (p. 172).
按精甚。參觀 Augustus
John, Chiaroscuro: “The communication
of truth is atmospheric as well as factual”。
第六十七則云：“...Nothing is prominent that does not act as a foil to itself... Whatever
has not a mixture of imperfection in it, soon grows insipid, or seems ‘stupidly
good’” (p. 177). 按 Francis Thompson: “The Way of Imperfection” 發揮此意最詳，所謂 “Ovid’s
dictum, so essentially modern, so opposed to the aesthetic feeling of the
ancient world, decentiorem esse faciem in quā aliquis naevus esset” etc. (Works, III, p. 97)。
第一百九十五則云：“A nickname is a mode of
insinuating a prejudice” etc. (p. 197). 按參觀 Demetrius, On Style: “In nicknames a sort of
comparison is implied.” (tr. by W. Rhys Robert, “The Loeb Class. Lib.”, p. 409)。
第二百十四則云：“I had rather be deformed, than a dwarf & well-made. The one may be
attributed to accident ; the other looks like a deliberate insult on the part
of nature” (p. 200). 按參觀 Mark Lemon, The Jest Book (“Golden Treasury Series”), §441: “Ned Shuter thus
explained his reasons for preferring to wear stockings with holes to having
them darned: — ‘A hole may be the accident of a day, & will pass upon the
best gentleman, but a darn is premeditated poverty.”【“Hidalgo
honrado ántes roto que remendado — An honored gentleman goes ragged rather than
patched” (Don Quixote, tr. Samuel
Putnam, II, p. 991n; J. Ormsby 譯本 Appendix I 第 111 條).】
第三三四則云：“The difference between the vanity of a Frenchman & an Englishman seems
to be this — the one thinks every thing right that is French, the other thinks
every thing wrong that is not English. The Frenchman is satisfied with his own country;
the Englishman is determined to pick a quarrel with every other” (p. 215). 按參觀 Heine, Die romantische Schule, Iter
Buch (Sämtl. Werk., Verlag von A.
Weichert, VIII, S. 151): “Der Patriotismus des Franzosen besteht darin, dass
sein Herz erwärmt wird, durch diese dass es nicht mehr bloss die nächsten
Angehörigen, sondern ganz Frankreich, das ganze Land der Zivilisation, mit
seiner Liebe umfasst. Der Patriotismus des Deutschen hingegen besteht darin,
dass sein Herz enger wird, dass es sich zusammenzieht wie Leder in der Kälte,
dass er das Fremdländische hast” u.s.w.; Bulwer Lytton, England & the English, p. 21: “The vanity of the Frenchman
consists in belonging to so great a country: but the vanity of the Englishman
exults in the thought that so great a country belongs to himself.”
第三三五則云：“...The Scotch are always asserting their superiority over the English,
while the English ... never trouble their heads about the matter, but have
taken the point for granted as self-evident” (p. 215). 按 W.R.
Inge, A Rustic Moralist: “The Oxford
man looks as if the world belonged to him; the Cambridge man looks as if he did
not care to whom it belonged.”
五十七[6]
Essays
on the 18th Century Presented to David Nichol Smith, ed. by F.P.
Wilson 中有 John
Butt 一文謂 The Rape of the Lock, iv, 157-8: “There kept my charms conceal’d from
mortal eye, / Like roses, that in deserts bloom and die.” 本之
Waller: “Go, lovely Rose”: “Tell her that’s young, / And shuns to have her
graces spied, / That hadst thou sprung / In deserts where no men abide, / Thou
must have uncommended died” (p. 76). 按 Gray: “Elegy”: “Full many a flower is born to
blush unseen, / And waste its sweetness on the desert air.” 又出於 Pope 句。André
Gide, Journal, 30 octobre, 1934 謂
Baudelaire: “Mainte fleur épanche à regret / Son parfum doux comme un secret, /
Dans les solitudes profondes”[7]
(“Le Guignon”) 即譯 Gray 句而更勝，并說之曰：“Ces vers trahïssent ou anthropocentrisme sournois
d’une charmante naïveté: il semble à entendre Gray ou Baudelaire, que le parfum
de la fleur et la suavité de ses couleurs n’aient d’autre fin que de caresser l’oeil
ou les narines de l’homme” (Éd. Bibliothèque de la Pléiade, p. 1420) 道破，令人笑來。Leopardi, I Canti, XXXIV, “La Ginestra,
o il Fiore del deserto”: “Odorata ginestra, / Contenta dei deserti” (Opere, a cura di Sergio Solmi, I, p.
153). 用心稍殊，觀物則一（又七十則眉）。參觀七百一則論 Fr. Hebbel, “Der Baum in der Wüste”; Milton, Par. Lost, V。【Paradise Lost, V, 41 ff.: “...now reigns / Full-orbed the moon,
and with more pleasing light / Shadowy sets off the face of things; in vain, / If
none regard.”】G.M. Hopkins 闡此意最入微：“And the world is full of things & events, phenomena of all sorts,
which go without notice, go unwitnessed. I think you have felt this, for you say:
[‘What, if the sea far off / Do make its endless moan; / What, if the forest
free / Do wail alone; / And the white clouds soar. / Untraced in heaven from
the horizon shore?’[8]]”
[Sympathy: An Ode] (The Correspondence of G.M Hopkins & R.W.
Dixon, ed. C.C. Abbott, p. 7)。然 Mallarmé,
Hérodiade: “C’est pour moi, pour moi
que je fleuris, déserte”; 少陵〈哀江頭〉云：「細柳新蒲為誰綠」；白香山〈下邽莊南桃花〉云：「村南無限桃花發，唯我多情獨自來。日暮風吹紅滿地，無人解惜為誰開」；〈晚桃花〉云：「一樹紅桃亞拂池，竹遮松蔭晚開時。非因斜日無由見，不是閑人豈得知。寒地生材遺較易，貧家養女嫁常遲。春深欲落誰憐惜，白侍郎來折一枝」；〈楊柳枝詞〉云：「一樹春風千萬枝，嫩於金色軟於絲。永豐西角荒園里，盡日無人屬阿誰」；蘇子瞻〈絕句〉云：「鄱陽湖上都昌縣，燈火樓台一萬家。水隔南山人不渡[9]，東風吹老碧桃花」；岑參〈山房春事〉云[10]：「庭樹不知人去盡，春來還發舊時花」；長吉〈北園新筍〉第二首云：「無情有恨何人見，露染烟啼千萬枝」[11]；及皮日休〈白蓮〉：「無情有恨何人識，月曉風清欲墮時」；樓穎〈西施石〉：「西施昔日浣紗津，石上青苔思殺人。一去姑蘇不復返，岸旁桃李爲誰春。」湯若士《牡丹亭》第十齣：「却原來姹紫嫣紅開遍，似這般都付與斷井頹垣」云云，尤極喟嘆之妙，無復賸義。余嘗云「孤芳自賞」四字，細思其情景，輒令人喚奈何，蓋亦差有解會者也。崔國輔〈麗人曲〉：「紅顏稱絕代，欲並真無侶。獨有鏡中人，由來自相許」，可為「孤芳自賞」四字注腳。權德輿〈雜興〉云：「惆悵粧成君不見，含情起立問傍人」，亦無聊之極矣。【昌黎〈榴花〉云：「可憐此地無車馬，顛倒蒼苔落絳英」；許渾〈客有卜居不遂〉云：「樓台深鎖無人到，落盡東風第一花」；蘇頲〈將赴益州題小園壁〉：「可惜東園樹，無人也作花」；施肩吾〈吳中代蜀客吟〉云：「峨眉風景無主人，錦江悠悠為誰綠」；崔櫓〈華清宮〉云：「明月自來還自去，更無人倚玉闌干」；周端臣〈古斷腸曲〉云：「惆悵一窗無用月，為誰涼夜曬梧桐」（《江湖後集》卷三）；王冑：「庭草無人隨意綠」；王涯〈春閨思〉：「閑花落盡青苔地，盡日無人誰得知」；後山〈妾薄命‧之二〉：「葉落風不起，山空花自紅」：秦少游〈虞美人〉：「亂山深處水縈回，可惜一枝如畫、為誰開」；姜白石：「淮南皓月冷千山，冥冥歸去無人管」；《西青散記》卷一趙闇叔詩：「人去月無聊。」】【［補第五十七則］[12]孔稚圭〈北山移文〉：「高霞孤映，明月獨舉。青松落陰，白雲誰侶？」Christina Rossetti: “To What Purpose Is This
Waste?”: “A windy shell singing upon the shore: / A lily budding in a desert
place; // ... // I said, smiling superior down: What waste / Of good, where no
man dwells” (Poetical Works, ed. W.M.
Rossetti, Macmillan, p. 305); Paradise
Lost, v. 41 ff.: “... now reigns / Full-orb’d the moon, and with more
pleasing light / Shadowy sets off the face of things; in vain, / If none
regard” (Poetical Works, “Everyman’s
Lib.”, p. 100); Daniel von Czepko, Sexcenta
Monodisticha Sapientum, “Ohne Warum”: “Die Ros[e] ist ohn[e] warum; sie
blühet, weil sie blühet, / Sie acht’ nicht ihrer selbst, fragt nicht ob man sie
siehet” (M. Wehrli, Deutsche Barocklyrik,
3te Aufl. S. 175). 又七八九則論少陵〈遣懷〉詩。】
五十八[13]
程大昌《考古編》卷七曰：「香山〈題李杜詩卷〉歷敘二公流落，而曰：『天意君須會，人間要好詩。』此歐公『窮而後工』之意。」焦循《易餘籥錄》卷十六：「司空表聖〈題柳柳州集後〉云：『俾其窮而克壽，抗精極思。』[14]四字造微，非窮則心不一，非窮則思不練。」《文心雕龍‧才略篇》早稱馮衍敬通「蚌病成珠」。按昌黎〈柳子厚墓志銘〉亦云：「使在臺省時，自持其身，亦自不斥；斥時有人力能舉之，且必復用不窮。然子厚斥不久，窮不極，其文學詞章必不能自力」云云。表聖、永叔之意，已發於此。Horace, Epist.
II. ii. 51: “Paupertas impulit audax / ut versus facerem.” 按《意林》卷三引桓譚《新論》云：「賈誼不左遷失志，則文彩不發；淮南不貴盛富饒，則不能廣聘駿士，使著文作書[15]；太史公不典掌書記，則不能條悉古今；揚雄不貧，則不能作《玄言》。」賈、揚二語亦此也。【《馮安岳集》卷十一附載李獻甫〈和寄〉詩云：「肯更詩窮效聖俞」，則是歐公之意，在元祐間已成故實，供驅使矣。參觀第三百九十五則、四百五十六則、四百七十七則、七百三八則。】
五十九[16]
Henry Miller, Tropic
of Cancer (“The Obelisk Press”). 聞名十餘年，今始得而讀之[17]。尚饒生氣，較 Céline
為穢褻，邊幅亦較窄【Miller 極稱 Céline
(George Wickes, ed. Lawrence Durrell —
Henry Miller: A Private Correspondence, p. 77)】。餘則 George Orwell, Inside the Whale,
pp. 132 ff. 論之審矣[18]。【此書 p. 187: “In the dark & fearsome sojourn in the belly of the whale,
the bloody struggle to liberate himself.” 又 Tropic of Capricorn, p. 174: “My father sat there in his Morris-chair
as Jonah must have sat in the body of the whale, secure in the last refuge of a
black hole” etc.】【Tropic of Cancer 則 Miller 之 My Life and Loves 也。刻劃淫媟，而以憤世嫉俗、出人出天語間之。豈夏二銘《野叟曝言》第十四回評語所謂論詩論文「洩盡陰陽秘橐，恐干造物之忌，將遭雷轟龍攫」，故以穢物禁之，如異書之夾春畫也。甘熙《白下瑣言》卷六謂：「人云四明范氏天一閣，藏書架間多庋秘戲春冊，以避火也。」】
Pp. 16-7: “Irene had a valise
instead of a cunt... Immense, avec des
choses inouïes. Llona now, she had a cunt... She used candles, Roman
candles, & door knobs... Men went inside her and curled up.” 按 Sir John
Suckling: “The Deformed Mistress”: “But soft, where am I now! here I should
stride, / Lest I fall in, the place must be so wide; / And pass unto her Thighs”
etc. Samuel Butler, Characters &
Passages from Notebooks, ed. A.R. Waller, p. 433: “The Jewish women were so
wide that their husbands were said to go into them.” Mirabeau: “Le Libertin de
qualité”: “...je frappe à la porte... Ah! foutre! ah! sacredieu! mort de ma
vie! Elle est ouverte à deux battants encore! C’est une ânesse ou une jument,
tant elle est large” (Oeuv., Les
Maitres de l’Amour, pp. 239-40).
P. 138: “Even when he [Van Norden]
is on top of a woman[19],
he cannot escape the prison which he has created for himself. ‘It’s like I’m
two people, & one of them is watching me all the time... I get so goddamned
mad at myself that I could kill myself... & in a way that’s what I do every
time I have an orgasm. For one second like I obliterate myself. There’s not
even one me then... there’s nothing... not even the cunt. For a few seconds
afterward I have a fine spiritual glow.” 按 D.H.
Lawrence 之教 Aldous Huxley 所謂 “materialistic
mysticism” 者 (Letters of
D.H. Lawrence, pp. ix ff.)，盡此數語中矣。Lawrence 斥 Russell 云：“He wants to keep his own established ego, his
finite & ready-defined self intact, free from contact & connection.” (Letters, p. 247)，又斥某人會 “—
might mutilate himself & hang his penis on his nose-end & a testicle
under each ear... I don’t keep my passions, or reactions, or even sensations in my head... They start all their
deeper reactions in their heads, & work themselves from the top downwards.
Which of course brings disgust, because you’re only having yourself all the
time. No matter what other individual you take as a machine-à-plaisir you’re only taking yourself all the time.” (pp.
557-8)，故曰：“Let go & become dark, quite dark.” (p. 286)，即此節文字張本。又按德國 Frank
Wedekind、Richard Dehmel 早有此意，皆在 Lawrence 先。Jethro Bithell, Germany:
“[To Wedekind], woman is the Erdgeist
who draws down the mind of man to the dust. Even a prostitute is divine, for
she is flesh; copulation in a brothel is a unio
mystica” (p. 267); “The root of Dehmel’s conceptions... The cosmos is
sexuality, Wollust zur Welt... He
calls himself... triebselig. Man is
ripest when he is nearest to nature, i.e., in the act of love. Love is the elimination
of the antagonism of ‘I’ & ‘all’: die
Rundung des eignen Ich im All zum All” (p. 278). Frank Wedekind, Erdgeist、Dehmel, Zwei
Menschen 皆出版於歐戰之前。
P. 147: “She had shaved it clean...
not a speck of hair on it! Did you ever have a woman who shaved her twat?... It
doesn’t look like a twat any more... And the more I looked at it the less
interesting it became. It only goes to show you there’s nothing to it after
all, especially when it’s shaved. It’s the hair that makes it mysterious” etc. 按 Hans
Licht, Beiträge zur Antiken Erotik, S.
27-8: “Der weibliche Schoss ist ein Bluff ersten Ranges. Dass die weibliche
Schambehaarung erotisch stimulierend wirkt, ist für die Frauen ein Glück, für das sie nicht dankbar genug sein können... So
wird mit einmal klar, warum das einzige Volk, das in seiner Gesamtheit als
homosexuell bezeichnet werden muss, die alten Griechen nämlich, von ihren
Frauen verlangten, dass sie sich die Schamhaare abrasierten... Das ist der Sinn
der Geschichte vom verschleierten Bilde zu Saïs.” 參觀六十四節，又 P.N. Gerdy: “By thus covering them [the genitals] [with hair] nature
inflames the imagination & rouses to a higher pitch ‘la plus impérieuse de
toutes les passions’”（見 Ploss,
Bartels & Bartels, Woman, ed. By
E.J. Dingwall, I, p. 369 引），正此意。Brantôme, Vies
des Dames Galantes, Discours II: “Aucunes se plaisent le [le poil] tenir et
porter raz, comme la barbe d’un prêtre” (Éd. Garnier Frères, p. 167). 則此習由來久矣。Martial, X, xc: “Quare si pudor est, Ligeia, noli. / Barbam vellere
mortuo leoni. / Tales munditiae decent puellas.”[20]
則是用意與老翁之有鬚同也，“prêtre” 與 Restif
de la Bretonne, Monsieur Nicolas, éd.
par John Grand-Carteret, II, p. 74: “un con barbu comme un ermite” 相映成趣。
P. 218: “I have yet to meet a whore
who doesn’t know of Henry Bordeaux!”按參觀 Aragon, Le
Paysan de Paris, p. 127: “Aujourd’hui c’est l’ombre de Théodore de Banville
qui règne à Paris sur la plus basse prostitution. Sort enviable pour un poète” 。
P. 245[21]:
“Ideas have to be wedded to action; if there is no sex, no vitality in them,
there is no action. Ideas cannot exist alone in the vacuum of the mind. Ideas
are related to living: liver ideas, kidney ideas, interstitial ideas, etc.” Sex, Literature & Censorship, p.
128: “a true thought which comes as much from the heart & the genitals as
from the head.” 按此亦舊說，至 Lawrence 而大明於天下者：“My great religion is a belief in the blood, the
flesh, as being wiser than the intellect. We can go wrong in our minds. But
what our blood feels & believes & says, is always true” etc. (Letters, p. 94)。前此則 Joubert, Pensées, Tit. IX,
52: “Penser ce que l’on ne sent pas, c’est mentir à soi-même. Tout ce que l'on
pense, il faut le penser avec son être tout entier, âme et corps”; Keats to
J.H. Reynolds (May 3, 1818): “Axioms in philosophy are not axioms until they
are proved upon our pulses” (Letters,
ed. M.B. Forman, p. 142); Nietzsche, Also
sprach Zarathustra, I Theil, v: “Von den Verächten des Leibes”: “Leib bin
ich ganz und gar, und Nichts ausserdem; und Seele ist nur ein Wort für ein
Etwas am Leibe. Der Leib ist eine grosse Vernunft... Es ist mehr Vernunft in
deinem Leibe, als in deiner besten Weisheit.” 近人 Wedekind 所謂 “Das Fleisch
hat seinen eigenen Geist” 是也。
P. 283: “I leave my bundle [of turd]
for him as a token of esteem.” 按 Journal des Goncourt, 15 mars, 1871: “Le Roi-Empereur, arrivé à Reims,
fut logé par l’archevêque dans la belle chambre, où avait couché Charles X,
voici la carte de visite qu’il y laissa. Le lendemain, il chia dans
l’encoignure de la croisée, et se torcha le derrière avec les rideaux.”
P. 292: “Van Norden has found that
it’s less annoying to masturbate. He had ‘invented’ a new stunt for jerking
himself off. ‘You take an apple, & you bore out the core. Then you rub some
cold cream on the inside so as it doesn’t melt too fast.” 按
Havelock Ellis, Studies in the Psychology
of Sex, vol. II, Appendix B, History X, iii, p. 312: “I had often heard,
& myself quoted, the Pathan proverb Women
for breeding; boys for pleasure; melons for delight, & one day when seeking
for some novelty with which to masturbate, & my eye being caught by a melon
put ready for me to eat, it flashed across me to try whether the proverb was in
any way true. I found it most satisfactory, & practised it several times
after that, the pepita being the nearest approach to the human vagina.”
六十[22]
Cyril Connolly, The Rock Pool (“The Obelisk Press”). 貧薄生硬，p. 18 記主人翁性格有云：“veins of pedantry & lechery”，不啻自道靳嚮所在，蓋 Norman
Douglas, South Wind 之支與流裔，而才思寒窘，學步未能，竭蹶萬狀。人物皆可入 Compton Mackenzie, Extraordinary Women，生動遠不如。乃知詆訶作者之易，而自運之難。使必有龍泉之利，而後可以議於斷割，劉季緒將為磨兜堅矣。書寥寥二百四十七頁，字大行疏，却前後失照，如五十九頁稱 Eddie 為 “a large fierce
American”，一百四十五頁則稱為 “Norwegian”，一百四十六頁又稱為 “American”，一百四十八頁復稱為 “Norwegian”，幾乎不辨葛龔。以 Edgar Naylor 一人貫穿全書，刻劃其傖俗受侮之狀，却又時時寫其辯慧，亦極刺謬。惟 pp. 23-4, p. 60 分別寫 Naylor 與 Varna 及 Foster 競勝於口舌間兩節頗佳。
書中寫兩女相悅者，必一黔一晳，針芥膠漆，若有公例 (p. 22, Duff blonde,
Varna dark; pp. 49-50, one danseuse blonde & stringy, the other heavy,
black; pp. 52, 126, Princess Rustchuk swarthy, her protégée anemic blonde; p.
58, Toni dark, Sonia blond, etc.)。Colette 現身說法於 “la Gomorrhe d’insondables et vicieuses
jeunes filles” (Ces plaisirs, “Le
Livre Moderne Illustré”, p. 121)，知之最深，却未道此。他書寫磨鏡，亦每云一黔一晳。Casanova: “I pointed
out a certain position in the Academie
des Dames to M M
, who, understanding my wishes, said to C C
: ‘Will you, darling, represent that group with me?’ ... Enjoying
the sight of the barren contest of my two bacchanalians, I was amused by their
efforts & by the contrast of colours, for one was dark & the other fair”
(Memoirs, tr. by Arthur Machen, vol.
IV, p. 63); Rachilde, L’Heure sexuelle,
pp. 160-1: “Julia [brunette] se tord complètement nue dans les bras de Mathilde
[blonde], non moins bien habillée!” etc. 梨花海棠，衹是會逢其適，如 Pepys 所記：“My wife & Mrs
Pierce in bed together (a pretty black & white).” (Diary, 1666 Jan. 16, ed. Wheatley, vol. V, p. 187)，偶然而非必如是也。十九世紀英、美小說中，女角色晳者柔善，如 Amelia Sedley、Lucy Deane、Lady Rowena (Poe) 等是；黔者很烈，如 Becky Sharp、Maggie Tulliver、Hester Prynne 等是。R. Wellek & A.
Warren, Theory of Literature, “Penguin
Books”, p. 228: “The blonde is the home-maker, unexciting but steady &
sweet. The brunette — passionate, violent, mysterious, alluring, &
untrustworthy — gathers up the traits of the Oriental, the Jewish, the Spanish,
& the Italian as seen from the point of view of the ‘Anglo-Saxon’. Maggie said
in Mill on the Floss, Bk. V, Ch. 4: ‘I’m
determined to read no more books where the blond-haired women carry away all
the happiness.... I want to avenge Rebecca, & Flora Maclvor, & Minna &
all the rest of the dark unhappy ones’” (cf. Utter & Needham, Pamela’s Daughters; Carpenter, “Puritans
Preferred Blondes” in New England
Quarterly, IX, pp. 253-72; Philip Rahv, “The Dark Lady of Salem” in Paris Review, VIII, p. 362-81). Ralph P.
Boas 論美國十九世紀初葉文學中，宜室宜家之 ideal woman 皆 blonde；至鈎心攝魄之 romantic lady，莫非 brunette，至有屬印第安種或為黑人之苗裔者 (Romanticism in America, ed. George Boas,
pp. 63-88) 。“The Romantic Lady” 如 The Last of the Mohicans 中之 Cora 即黑奴女。E. Rodocanachi, La Femme Italienne, p. 102: “Le blond
était à ce point la couleur que devaient posséder les belles que ce fut
longtemps une disgrâce d’être brun. Les poètes réservaient cette couleur aux méchantes
gens, aux traîtres, aux mécréants.” Les
Liaisons dangereuses, Letre II: “Son prejudge... en faveur de la retenue des
blondes” (“Bibliothèque de la Pléiade”, p. 34). 初不解「知白守黑」，兩雌可以相得益彰，式好無間。《周易參同契‧中篇》云：「以明牝牡，意當相須。假使二女共室，顏色甚姝，蘇秦通言，張儀合媒，發辯利舌，奮舒美詞，推心調諧，使為夫妻，弊髮腐齒，終不相知」云云，古人質樸，不識此中趣耳。參觀 C.S. Lewis, The
Screwtape Letters, p. 20: “[Any human] is haunted by at least two imaginary
women — a terrestrial & an infernal Venus... There is one type for which
his desire is such as to be... readily obedient to marriage, coloured all
through with that golden light of reverence & naturalness... there is
another type which he desires brutally, & desires to desire brutally, a
type best used to draw him away from marriage altogether. In the second type, it
is the felt evil that he wants” etc. 尤為造微語。【參觀 Victor
Hugo 醉心於 Judith Gautier 所作情詩 Nivea non frigida: “Elle prouve que la blancheur / N’ôte à la femme /
Aucune ivresse, bonheur, / Aucune flame; //... // Qu’une belle fait en tout
lieu [23]/
Son doux manège, / Et que l’on peut être de feu, / Etant de neige.”】【Rousseau,
Confessions, Liv. IX: “J’imaginai
deux amies... Je fis l’une brune et l'autre blonde, l’une vive et l’autre
douce, l’une sage et l’autre faible, mais d’une si touchante faiblesse que la
vertu semblait y gagner”
(Bib. de la Pléiade, p. 401?).】
[5]《四庫全書》本「張邦基」作「章邦基」。
[8]《管錐編》譯作：「遠海哀呻不息，風林淒吟莫和，遙空白雲飛度，亦無仰望而目送者。」
[9]「水隔南山人不渡」原作「小徑隔溪人不出」。
[10]「山房春事」原作「山房即事」。
[11]「露壓」原作「露染」。
[14]「抗精極思」原作「抗思極精」。
[15]「著文作書」原作「著作文書」。
[18] 奧威爾評米勒《北回歸線》云：「I
earnestly counsel anyone who has not done so to read at least Tropic of Cancer.
With a little ingenuity, or by paying a little over the published price, you
can get hold of it, and even if parts of it disgust you, it will stick in your
memory. ... Here in my opinion is the only imaginative prose-writer of the
slightest value who has appeared among the English-speaking races for some
years past. Even if that is objected to as an overstatement, it will probably
be admitted that Miller is a writer out of the ordinary, worth more than a
single glance. 」
[20] 此處詩句倒置，馬提雅爾警句詩原作：「Tales
munditiae decent puellas /... / Quare si pudor est, Ligeia, noli / Barbam
vellere mortuo leoni.」。George Augustus Sala 英譯：「Let
blooming girls their tender pussies trim, / ... / Then cast the tweezers from
your palsied hand / Nor beard the once fierce lion’s rotting corpse.」
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