《容安館札記》156～160則

維多利亞與艾伯特博物館所藏乾隆年間廣彩外銷磁器

（ca. 1740-70，所謂繪有「少年維特」情景者，當與之類似，而出口稍晚）

百五十六[1]

            Ursula Aurich, China im Spiegel der deutschen Literatur des l8. Jahrhunderts 多承前人，殊尟創獲，敘述亦不簡要。未道 G.-Ch. Lichtenberg: “Von den Kriegs- und Fast-Schulen der Schinesen” (1796) (Vermischte Schriften, VI, S. 92-110) 一妙文，尤疏漏。

            S. 45 引 Zachariä, Renomist 詠當時飲茶與飲咖啡者之爭 (Der Wettstreit zwischen dem spiessbürgerlich gewordenen Kaffee und dem modernen Tee)，可補 Disraeli, Curiosities of Literature, II, pp. 317-326: “Introduction of Tea, Coffee, & Chocolate” 所未備。“Die Stutzer dieser Stadt sind meist von dir [Kaffee] getrennt, / Indem ihr Wankelmuth den Tee als Gott erkennt. / Und hat die Mode nicht die Neuerung ersonnen, / Und die Galanterie den Tee nicht liebgewonnen?” 按 Patin 論茶云：“l’impertinente nouveauté du siècle”；M^me de Sévigné 論咖啡云：“La mode d'aimerRacine passera comme le cafe” (Voltaire, Irene, preface). 合而觀之，可以徵世變矣。

            J.W.L. Gleim[2]: “Den braunen Trank der Türken trink ich des Nachmittages / Zur Ehre der Brünetten. Den weissen Trank der Serer, / Den Tee trink ich des Morgens zur Ehre der Blondinen” (S. 45). 按可與 Dorat: “J’ai toujours soif, j’aime sans fin / Rouge et blanc, brune et blonde; / Je voudrais boire tout le vin / Et baiser tout le monde!” 參觀。

            S. 55 引 Herder: “Von der Bildhauerkunst fürs Gefühl”: “Ein kleiner Fuss, der sich kaum zeigt, lässt raten; eine enge Taille lässt raten... Woher der kleine Fuss? Weil eine chinesische, gothische, christliche Zucht die Kleider bis zur Erde hängen last, muss sich etwas Kleines zeigen!” 按可為 Sir John Suckling: “A Ballad upon a Wedding”: “Her feet beneath her petticoat, / Like little mice, stole in and out, / As if they feared the light.” 注腳，但非吾國之金蓮也。【Albert Samain, Carnets intimes: “Il y a des petits pieds fins et malicieux qui, passant leure pointe sous la robe , ont positivement l’air de vous raconteur un tas de choses” (La Petite Illustration, 12 août 1939, p. 2 de la couverture). 參觀 Nicholas Nickleby, ch. 28: “Lady Flabella, inserting her mouse-like feet in the blue satin slippers.”】L.A. Unzer (“Vou-ti bey Tsin-nas Grabe”: “wie geschmeidig war ihr kleiner Fuss!”, Aurich, S. 165) 與 Goethe (“Die Lieblichste”: “Auf Wasserlilien hüpftest du / Wohl hin den bunten Teich; / Dein winziger Fuss, dein zarter Schuh / Sind selbst der Lilie gleich”; cf. Elizabeth Selden, China in German Poetry from 1773 to 1833, p. 194 on Goethe’s derivation from P.P. Thomas, Chinese Courtship on “golden lilies”) 皆津津樂道中國婦人之纖足。Goethe, Die Wahlverwandtschaften, Erster Theil, XI^tes Kap. 中 Der Graf 稱 Charlotte 足美云：“Ein schöner Fuss ist eine grosse Gabe der Natur. Diese Anmut ist unverwüstlich... noch immer möchte man ihren Schuh küssen, und die zwar etwas barbarische, aber doch tief gefühlte Ehrenbezeugung der Sarmaten wiederholen, die sich nichts Besseres kennen, als aus dem Schuh einer geliebten und verehrten Person ihre Gesundheit zu trinken” (Werke, hrsg. Karl Alt, VIII, S. 66). 幾類中國之「鞋杯」，亦見其與 Restif de la Bretonne 有同好也。Heine, Die Bäder von Lucca, §V 寫 Francesca 纖足亦云：“weissen, blühenden Lilienfuss”，疑即本之 Goethe，又 Die romantische Schule, III, 1: “eine Prinzessin, deren Füsschen noch kleiner waren als die der übrigen Chinesinnen”。後來 Gautier: “Chinoiserie,” “Fortunio”，幾於《方氏五種》之癖矣。參觀第五十五則。【James Beattie, Essay on Laughter & Ludicrous Composition, p. 667: “The foot of a Chinese beauty is whiter, no doubt, & prettier, than that of a Scotch highlander; yet I would advise those who are curious to know the parts & proportions of that limb, to contemplate the clown rather than the lady” (S.M. Tave, The Amiable Humorist, p. 82).】

            S. 56 引 Goethe: “Doch was fördert es mich, dass auch sogar der Chinese Malet mit ängstlicher Hand Werthern und Lotten auf Glas?” 按此見 Venetianische Epigramm, xxxiv。據 Wm Rose, Men, Myths, & Movements in German Literature, p. 144: “Even the Chinese painted the unhappy love-story of Werther & Charlotte on glass. A porcelain breakfast service, decorated with Werther scenes, is now in the Victoria & Albert Museum in London.” 余未之見也。Elizabeth Selden, China in German Poetry from 1773 to 1833, p. 290 引 von Leonhardi 語謂一七九九年登東印度人輪船 (Kauffahrer aus Ostindien): “In des Kapitäns Kajüte fand ich mehrere chinesische Gemälde, Werthers Leiden vorstellend”。Heine, Geständnisse: “Wenn mein Kollege Wolfgang Goethe wohlgefällig davon singt, ‘dass der Chinese mit zitternder Hand Werthern und Lotten auf Glas male’, so kann ich... dem chinesischen Ruhm einen noch weit fabelhaftern, nämlich einen japanischen entgegensetzen” (Sämtliche Werke, hrsg. von Oskar Walzer, Bd. X, S. 205). 正指此詩。

            以 Goethe 之才，而迻譯漢詩限於 P.P. Thomas 所譯底下俗書，如《百美新詠》(S. 99 et seq. 論 “Die Lieblichste”) 及《花箋記》(S. 150 et seq. 論 “Chinesisch-deutsche Jahres-und Tageszeiten”)，雖曰點鐵成金，亦不免如刻脂鏤氷矣（《百美新詠圖》，顏希源作，《隨園詩話補遺》卷五及之）。令人惜恨！Mérimée, Lettres à une inconnue, nov. 1, 1860 深鄙《花箋記》中篇什，有云：“Dans tous ces quatrains, il n’est question que d’hirondelles blanches et de lotus bleus; Il est impossible de trouver quelque chose de plus baroque et de plus dépourvu de passion” etc. (見 W.L. Schwartz, The Imaginative Interpretation of the Far East in Modern French Literature, p. 21 引)，識力高於 Goethe多多許。Aurich 尤推 Goethe 所譯第八首 (“Dämmerung senkte sich von oben, / Schon ist alle Nähe fern” u.s.w.)，以為：“Diese Strophen bilden den Höhepunkt des ganzen Zyklus. Goethes ‘Über allen Gipfeln ist Ruh’ löst wohl in zusammengedrängtere Form die gleiche Stimmung aus” (S. 155). 則尚有見。O. Münsterberg, Chinesische Kunstgeschichte, Bd. I, S. 222: “Goethes ‘Über allen Gipfeln ist Ruh’ und Heines Lied von ‘Fichtenbaum und der Palme’ entsprechen jener lyrischen Stimmung, die fast dreitausend jahre vorher in China begonnen... war.” R.C. Trevelyan, Windfalls, p. 119: “There are poems of Goethe & Heine that might have been written by a Chinaman. Our own Hardy too has a Chinese side to him, though he is usually too dramatic & not exquisite enough. Shelley’s song — ‘A widow bird sat mourning for her love’ etc. — might almost have been composed in 9^th-century China if it were not emotionally dominated by its first line.” 然而自運之什，簡遠超妙，略具漢詩神韻，較之依傍《花箋記》者，界判仙凡矣。

            又按 Goethe 與 Eckermann 論中國小說因曰：“Nationalliteratur will jetzt nicht viel sagen, die Epoche der Weltliteratur ist an der Zeit, und jeder muss dazu wirken, sie zu beschleunigen” (Gespräche, Jan. 31, 1827; Selden, p. 193). 而 Rückert 因譯《詩經》而曰：“Mög’ euch die schmeichelnde Gewöhnung / Befreunden auch mit fremder Tönung, / Das ihr erkennt: Weltpoesie / Allein ist Weltversöhnung” (“Die Geister der Lieder”; Selden, p. 263). 則是後來 Brunetière 所謂 “Littérature générale,” “littérature international” 之說，造端於西方之治吾國文學也。此意未見有人拈出。

百五十七[3]

            G.K. Chesterton, Autobiography 不能敘事，每以議論亂之，咬文嚼字，為翻案鑿空，殊苦葛籐煙瘴。Edward  Anthony 詩 “Paradoxygen” 所嘲 “the shallowness of the profound” (見 Maisie Ward, G.K. Chesterton, p. 569) 是也。

            P. 32: “All my life I have loved frames & limits; & I will maintain that the largest wilderness looks even larger seen through a window.” 按 Baudelaire: “Avez-vous observé qu’un morceau de ciel aperçu par un soupirail, ou entre deux cheminées, deux rochers, ou par une arcade, donnait une idée plus profonde de l’infini que le grand panorama vu du haut d’une montagne?” (Lettres: 1841-1866, “Mercure de France”, 1917, p. 238, 見 Henri Peyre, Le Classicisme francais, p. 98 引); Maurice Betz: “Un trou d’obus. / Dans son eau. / A gardé tout le ciel” (W.L. Schwartz, The Imaginative Interpretation of the Far East in Modern French Literature, p. 211 引).

            P. 32: “When Browning says that he likes to know a butcher paints & a baker writes poetry, he would not be satisfied with the statement that a butcher plays tennis or a baker golf.” 按 Marx, German Ideology: “We should look forward to the time when there will be no mere painters, but men who, among other things, also paint. Each man will practise his occupation without being completely absorbed in & identified with his work.”

P. 99: “I will not say that I wrote a book on Browning; but I wrote a book on love, liberty, poetry, etc.... in which the name of Browning was introduced from time to time” etc. 按此書記事，舛謬百出，為人所糾議，見 Maisie Ward 書 p. 179，故 Chesterton 遁詞解嘲（其語仿 Carlyle 嘲 Masson，見第四百十八則）。André Gide, Journal, 11 octobre 1918: “Une etude de Browning par Chesterton. Quelques remarques très perspicaces, voyées dans un flot de dialectique... Un grand nombre de ses paragraphes commencent sur ce ton: ‘This is a truth little understood in our time...,’ou ‘none of the students of Browning seems to have noticed...,’ phrases par quoi il semble vouloir donner de la rareté à, parfois, la plus banale des remarques. Je ne puis supporter ce bluff” (“Bibliothèque de la Pléiade”, p. 657). 評語甚的，而尟稱引者。

            P. 100: “I once had the honour of constituting the whole of Prof. Ker’s audience.” 按 E. Denison Ross, Both Ends of the Candle, p. 39: “On arriving at the College de France, I tremblingly inquired where M. Renan was lecturing, & if I should be admitted. The concierge, pointing to a door, told me to go in, assuring me that ‘Tout le monde peut assisté il y a déjà un monsieur!’ Renan lectured to two students.” 大師座下，寂寥乃爾（又見第百五十五則眉[4]）。【［補百五十七則］P. 100 參觀 R.W. Chambers, Man’s Unconquerable Mind, p. 389: “At the dinner when, upon his retirement, he was the quest of his old students & friends, Ker reminded G.K. of a lecture Pope delivered at University College to a single but ample student.” P. 283 按 Man’s Unconquerable Mind, pp. 280-1: “Cambridge has seen many strange sights. It has seen W. drunk & P. sober. It is now destined to see a better scholar than W. & a better poet than P., betwixt & between.”】

            Pp. 185-6: “I remember when it was announced that Bohemia was to cease to exist, at the very moment when it came into existence. It was to be called Czechoslovakia, & I went about asking people in Fleet Street whether this change was to be applied to the metaphorical Bohemia of our own youth. When the wild son disturbed the respectable household, was it to be said, ‘I wish Tom would get out of his Czechoslovakian ways’ etc.” 按參觀 Osbert Sitwell, Sing High! Sing Low!, pp. 94-7: “A worthless book can achieve more ill than a good book can ever achieve good. La Bohème must have sullied Bohemia even more than Carmen tainted the idea of Spain. The name became an reproach equally to the genuine artist, to the Bohemian by nationality & to the Gypsy... When Bohemia recovered its independence... the provisional government very naturally shied at the implication of the word ‘Bohemia” & coined the word ‘Czechoslovakia.’” 又第六百六十八則。

            Pp. 223-4: “I think Wells thought the object of opening the mind is simply opening the mind. Whereas I am incurably convinced that the object of opening the mind, as of opening the mouth, is to shut it again on something solid.” 按參觀 F.H. Bradley, Aphorisms, §59: “‘His mind is open.’ Yes, it is so open that nothing is retained. Ideas simply pass through them.” Samuel Butler: “An open mind is all very well in its way, but it ought not to be so open that there is no keeping anything in or out of it. It should be capable of shutting its doors sometimes, or it may be found a little drafty” (W.H. Auden & L. Kronenberger, The Faber Book of Aphorisms, p. 354).

            P. 283 記 A.E. Housman 云：“This great College, of this ancient University, has seen some strange sights. It has seen Wordsworth drunk & Porson sober. And here am I, a better poet than Porson & a better scholar than Wordsworth, betwixt & between.” 按 Laurence Housman, The Unexpected Years, p. 365: “Prof. R.W. Chambers told me of how on one occasion at a dinner where speeches were not expected, but where the wine had been good, A.E. rose slowly to

his feet &, to the amazement of all, began speaking: ‘There were two things it was very difficult to meet in Cambridge a hundred and twenty years ago; the one was Wordsworth drunk, the other was Porson sober. I am a better scholar than Wordsworth; I am a better poet than Porson. Here I stand, half-way between Wordsworth & Porson.” 較可徵信。Laurence Housman, A.E.H., p. 101 又記此語，字句小異。J.H. Shorthouse: “In all probability, ‘Wordsworth’s standard of intoxication was miserably low’” (Oxford Dictionary of Quotations, 2^nd ed., p. 501).

百五十八[5]

            The Letters & Private Papers of W.M. Thackeray, ed. by Gordon N. Ray.

Letter 19 (vol. I, p. 63), Letter 26 (vol. I, p. 85) 兩函中，“snob” 一字，皆指 Townsman 言，以別於 Gownsman 也。Letter 79 (vol. I, p. 273): “She is a snob of the first water, she puts rouge on her cheeks” etc. 則涵意漸廣矣。至後來 “He who meanly admires mean things is a snob.” (Works, VI, p. 311)，本義盡失。此字演變之迹，略與 Philistine 一字同 (參觀 Modern Language Review, Jan. 1938)。特以 Thackeray 一人之筆為轉移，斯其異耳。[6]

            Letter 20 (vol. I, p. 67): “An Oxonian addressed the waiter: ‘Fellow — Do you sell appetite at this inn? ’” 按參觀 Spence’s “Anecdotes”, A selection by John Underhill, p. 189: “There was a Lord Russell who, by living too luxuriously, had quite spoiled his constitution. He did not love sport, hut used to go out with his dogs every day, only to hunt for an appetite... It was he who, when he met a beggar, & was entreated by him to give him something because he was almost famished with hunger, called him ‘a happy dog !’ & envied him too much to relieve him”; Johnson, Rasselas, ch. 3 (ed. G.B. Hill, p. 44): “The Prince: ‘That I want nothing, or I know not what I want, is the cause of my complaint... I have already enjoyed too much; give me something to desire’”; Journal des Goncourt, Février 1859 (Éd. definitive, T. I, p. 210): “Au café Riche, un vieillard était à côté de moi. Le garçon, après avoir énuméré tous les plats lui demanda ce qu’il désirait: ‘je désirerais, dit le vieillard, je désirerais... avoir un désir.’ C’était la vieillesse, ce vieillard”; Capponi: “Ho fame di versi, cioè desiderio del desiderio” (Croce, La Poesia, p. 336); Rückert: “Mein einziger Wunsch ist meiner Wünsche Ruh.” Gathered Leaves from the Prose of Mary Coleridge, p. 257: “[A propos of Dichtung und Wahrheit]: He’s always saying, once I was young, & I did this — and then he gives an old man’s reason for it.” 可參觀。若夫 Leopardi, I Canti, XXXIII: Il Tramonto della Luna: “La vecchiezza, ove fosse / Incolume il desio, la speme estinta” (Poems, ed. G.L. Bickersteth, p. 336) 註者云：“Cp. Pensiero, no. vi: ‘La vecchiezza è male sommo: perché libera l’uomo di tutti i piaceri, lasciandogliene gli appetiti; e porta seco tutti i dolori’ — a thought the exact contrary to that expressed by Plato (quoting Sophocles), Repub., 329, c. 5. Old age, as conceived by L., corresponds with Dante’s Limbo: ‘Senza speme vivemo in disio’ (Inf., IV, 42) & recalls Petrarch’s sonnet S’amor novo consiglio, l. 4: ‘che ’l desir vive e la speranza e morta’” (p. 483). 蓋由若人貌寢體弱，未老已翁，終其身不得暢所欲，故云之耳（參觀第六百六則論 Maugham, A Writer’s Notebook, p. 282）。惜漏引 Bruno, Opere, acura di A. Guzzo, pp. 586, 597。Remy de Gourmont, Sixtine, p. 165 引 Dante 句而論之云：“une âme qui veut, une âme qui sait l’inutilité du vouloir, une âme qui regarde la lutte des deux autres et en rédige l’iliade.”【La Nouvelle Héloïse, éd. Daniel Mornet, pp. 7-8: “[M^me de Wolmar] “Je suis trop heureuse; le bonheur m’ennuie. Malheur à qui n’a plus à desirer.”】

            Vol. II, pp. 127-8 記 Thackeray 與 Amalia 事，略似 Dickens 之與 Dora-Flora。[7]

            Diary (vol. I, p. 213): “Reading Wilhelm Meister, & a wretched performance I thought it — without principle & certainly without interest.” 按 Samuel Butler: “Wilhelm Meister... seems perhaps the very worst I ever read. I cannot remember a single good page or idea, & the priggishness of W is the finest of its kind that I can recall to mind” (H.F. Jones, Samuel Butler, I, p. 216). 皆不隨聲附和者也。【[Francis Jeffrey called Wilhelm Meister “absurd, puerile, incongruous & affected.] H.W. Thompson, A Scottish Man of Feeling, pp. 350-1: “I dislike kicking an author with 4 adjectives when he has been laid flat by one. Yet I think that the adjectives are judiciously selected.”】

            Letter 69 (vol. I, p. 253): “The Frenchmen are very anxious to know what a dandy means — a fellow asked me & I pointed him out a rakish Englishman of the name of Clive.” 按至 Baudelaire, Curiosités Esthétiques: “Le Peintre de la Vie Moderne”: 9. “Le Dandy” 及 Barbey d’Aurevilly, Du dandyisme，此字遂為法人所熟知矣。

            Letter 701 (vol. II, p. 668): “You don’t know yet to make good bad verses — to make bad ones is dull work.” 按參觀《魏書‧胡叟傳》：「好屬文，既善為典雅之詞，又工為鄙俗之句。」 C.S. Lewis, Rehabilitations, p. 98: “[The head of a great college on the novels of Anthony Hope:] They are the best ‘bad’ books I have ever read”; George Orwell, Critical Essays, p. 111: “There is a great deal of good bad poetry in English”; Shooting an Elephant, p. 174: “What Chesterton called the ‘good bad book’ is the kind of book that has no literary pretensions but which remains readable when more serious productions have perished. Who has worn better, Conan Doyle or Meredith?”; Picasso on Augustus John: “The best bad painter in England.” (New Statesman, 27 Sept., 1974, p. 422); Léon Gozlan: “Renan: Le plus doux des hommes cruels.” (P. Mille, Anthologie des Humoristes fr. Contemporains, p. 49); B. Rosenberg & D.M. White, ed., Mass Culture, p. 295: “Current American films have produced the image of the good bad girl. She is a good girl who appears to be bad.”; Angela Thirkell, High Rising, ch. II, M^rs Morland wrote “good bad books”; Lawrence Durrell & Henry Miller, A Private Correspondence, ed. G. Wickes, p. 94: “A vicious thing good writing is. I wish I wrote worse — in the good sense” 字法相同。Samuel Butler 稱 Gladstone 為 “A good man in the very worst sense of the word” (H.F. Jones, Samuel Butler, II, p. 34) 【Henry Taylor, Autobiography, I, p. 228: “Gladstone is said to have more of the devil in him than appears — in a virtuous way, that is.”】可參觀。

            書中道吾國人者兩處：Letter 767 (vol. II, p. 768), Letter 948 (vol. III, p. 200)。

            Vol. IV, pp. 448-9: “It is very good for some people to scold servants, & make pickles & puddings, & a woman may be very good & charming who does the latter; but there’s a fitness of things, & I hope you won’t be too much of a housekeeper as yet.” 按此 Candida 中 Eugene Marchbanks 議論。

百五十九[8]

            施朝幹鐵如《一勺集》（文）一卷、《正聲集》（詩）四卷。詩、文皆講求格律義法，而才思窘儉，無足觀覽。詩尤自負（《正聲集‧自序》云：「貴以復古之才，運獨造之意。」〈與小尹書〉云：「至今日其變已極，當世所推能者，大率以考據為吟咏，以辨論為風雅。用事則貪多而無擇，措詞則好盡而無餘。家家韓、白，人人蘇、黃。」卷四〈陳卦峯歸田園二首〉後自識云：「卦峯謂此等絕句氣魄之大，神韻之遠，真是太白復生，劉夢得輩所不能也」云云，居之不疑，了無遜讓語），尚不如文之作議論而修詞潔飭也。

        〈蔡芷衫詩序〉：「今號為詩家者，知貌為唐人之非，而不知其貌為宋人之陋。隄毀而決，燄烈而煽。無他，避難就易而已。宋人之詩，才多者猖狂奔放，才寡者委瑣局促，而又無不可徵之事，無不可綴之語。於是言詩者樂其易而日趨於宋也，而惡知夫六義之源『溫柔敦厚』之教哉。」

            〈晚香堂詩序〉：「今之詩人，有以不學而不工者，有以學而愈不工者。夫不學而不工，譬猶瘖者之欲語而不啻箝其口，痿者之欲行而不啻縶其足，其失人人而知之也。若夫《山經》、《地志》，鋪張恢奇；《說文》、《玉篇》，穿鑿隱僻。方其伸紙揮毫，自謂綜千年、包六合。」

            【《梧門詩話》（楊亨壽鈔訂本）卷一：「余最喜小鐵〈悼亡〉詩：『白水貧家味，紅羅嫁日衣。』絕無傷悼字，而深於傷悼矣。」《北江詩話》卷五亦稱此聯（題為〈哭亡婦〉），并以錢載、施、錢澧、任大椿為過於袁、王、蔣、趙。】

百六十[9]

            歐陽輅念祖《礀東詩鈔》二卷，光緒中王益吾選本，非陶文毅原刊十卷本，故《清詩滙》卷一百九所選有溢出者，如「寒星映水乍明滅，細雨颺風時有無」一首，即不見此本中。益吾集句作礀東〈傳〉，而曾賓谷《賞雨茅屋集》卷十六稱礀東詩者凡三，竟未采及。礀東詩筆健詞鍊，時時染指宋人，友吳蘭雪、鄧湘臯而不著浮囂，自是一作手也。五古、七律尤佳。

            卷一〈遠行〉：「窮年抱名刺，四顧無可造。人生各有得，於義未容撓。安能隨波流，弓身以求飽。」

            〈羇懷〉：「誰言終歲勞，不給朝夕須。始虞歸無期，轉有歸時虞。」

            〈山居〉：「眾芳倏焉綠，蜂蝶亦已靜。流鶯尚多情，伴我吟晝永。」

            卷二〈宿南陂〉：「破屋夜涼知雨過，空林鴉噪有僧歸。」

        〈送高德醇〉：「瘦馬立風鞭在手，亂沙捲地月當頭。」

        〈晚涼獨坐〉：「燈影自搖人散後，茶香恰到酒醒時。」

            【李景僑《抱一遺箸》第五十卷〈抱一寺聞〉記：「礀東狂傲，嘗當街而溺曰：『市無人焉，溺亦奚咎。』又嘗篝燈晝行曰：『市陰沉有鬼氣，非燈胡以行也。」】

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[1]《手稿集》231-3 頁。

[2]「J.W.L. Gleim」原作「W.L. Gleim」。

[3]《手稿集》233-4 頁。

[4] 即下文，見《手稿集》230 頁眉。

[5]《手稿集》234-5 頁。

[6] 薩克​雷所謂「Townsman」、「Gownsman」，特指劍橋一地之「城中居民」與「校內學生」。其筆下「snob」字義有此三變：「非劍橋學生」→「出身低微者」→「趨炎附勢人」。「Philistine」一字，則原指巴勒斯坦一地之非閃族，十九世紀時為德國大學生借以稱呼「城中居民」，後乃衍生「出身低微者」、「品味庸俗人」等義。

[7]「Dora-Flora」指迭更司筆下之少艾「Dora」（Dora Spenlow, David Copperfield, 1833）以至中年「Flora」（Flora Finching, Little Dorrit, 1855），原型皆其初戀情人 Maria Beadnell。

[8]《手稿集》235-6 頁。

[9]《手稿集》236 頁。

《容安館札記》151～155則

易順鼎（《清代學者象傳》第二集）

百五十一[1]

            The Complete Works of George Savile, First Marquess of Halifax, ed. Walter Raleigh.

            “He hath thrown a Veil over these things” (p. 7); “it will throw a veil over your mistakes” (p. 13); “Time hath thrown a vail upon the faults of former ages” (p. 230). 按 NED 僅引 Defoe, Addison 而不知 Halifax 用此語最數也。Fanny Burney, Evelina, Letter XIV: “But let me draw a veil over a scene too cruel.” 亦失收。

            “A Trowel is a more effectual Instrument than a Pencil for Flattery” (p. 251). 按 NED 於 “Trowel” 字下此意諸例，十八世紀以前僅舉 As You Like It, I. ii，未及此語。

            Advice to a Daughter 論夫倘有外遇，婦宜不動聲色，佯若無所知 (affected ignorance) (pp. 10-11)，真世故洞明、人情練達語也。更進一解曰婦有外遇，夫亦宜然，至云：“Besides, it will naturally make him more yielding in other things” 尤黠，即 Montesquieu, Lettres persanes, 55, “Classiques Garnier”, p. 122: “Un homme qui, en général, souffre les infidélités de sa femme n’est point désapprouvé; au contraire, on le loue de sa prudence.” 可參觀 Balzac, Physiologie du Mariage: “Un mari de talent ne suppose jamais ouvertement que sa femme a un amant”; “Paraître instruit de la passion de sa femme est d’un sot; mais feindre d'ignorer tout est d’un homme d’esprit” (Oeuv. complètes, Louis Conard, XXXII, pp. 228, 271). 已知今日心析學家所謂 “Reaction formation” 矣 (參觀 J.C. Flugel, Man, Morals & Society, pp. 69-70)。

            The Character of a Trimmer 即今日所謂 Third Force，中間路線也。有云：“That if men are together in a boat, & one part of the Company would weigh it down of one side, another would make it lean as much to the contrary; it happeneth there is a third Opinion of those who conceive it would do as well if the boat went even, without endangering the passengers” (p. 48). Raleigh 說之曰：“What he means is the ship of State” (Some Authors, p. 174). 按西方論政取喻於舟，始見於 Archilochus (Bergk, 54)，若 Horace, Odes, I, 14: “O navi” etc. 皆是也 (詳見 George Soutar, Nature in Greek Poetry, p. 95)，Alcaeus 亦喜此喻 (M. Platnauer, Fifty Years of Classical Scholarship, p. 48)，今世習語尚有 “at the helm”, “drop the pilot” 之類，皆從此孶乳。Halifax 云云，亦其一例。【補見百二十六下方。[2]】【［補百五十一］“When we use the English word ‘government,’ few of us think of its origins in an ancient Greek noun meaning ‘rudder’ and an ancient Greek verb meaning ‘to steer’... when Muslims use the word siyāsa, the Arabic word which denotes politics in virtually all the languages of the Islamic world, few of them connect it with an ancient Middle Eastern word meaning ‘horse,’ or a classical Arab verb meaning ‘to groom’ or ‘train a horse’” (Bernard Lewis, Encounter, May, 1988, p. 39).】吾國論政則取喻於車：〈五子之歌〉云：「余臨兆民，如朽索之馭六馬」；《韓非子‧五蠹第四十九》云：「如欲以寬緩之政治急世之民，猶無轡策而御駻馬」；《韓非子‧外儲說右上》云：「勢者，君之馬也；威者，君之輪也。」[3]《太平御覽》卷六百二十作：「勢者，君之輿也；威者，君之策也；臣者，君之馬也；民者，君之輪也。」桓寬《鹽鐵論‧刑德第五十五》云：「昔吳使宰嚭持軸而破其船，秦使趙高執轡而覆其車」；〈詔聖第五十八〉云：「今之治民者，若拙御馬。行則頓之，止則擊之。身創于箠，吻傷于銜。」《潛夫論‧衰制第二十》云：「夫法令者，人君之銜轡箠策也；而民者，君之輿馬也。」《楚辭‧九章‧惜往日》則兼二者：「乘騏驥而馳騁兮，無轡銜而自載；乘氾泭以下流兮，無舟楫而自備。背法度而心治兮，辟與此其無異。」《淮南》一書，厥例尤多。〈主術訓〉云：「乘眾勢以為車，御眾智以為馬」；又云：「聖主之治猶造父之御」云云。至以人心、道心比之車乘，則東西一揆。《莊子‧大宗師》云：「化余之尻以為輪，以神為馬，余因以乘之。」《淮南子‧原道訓》云：「大丈夫恬然無思，澹然無慮；以天為蓋，以地為輿；四時為馬，陰陽為騶；乘雲陵霄，與造化者俱；電以為鞭策，雷以為車輪」；〈覽冥訓〉云：「嗜欲形於胸中，而精神踰於六馬，此以弗御御之者也。」[4]Katha Upanishad, I, i, 3-4: “'Know the Self to be sitting in the chariot, the body to be the chariot, the intellect (buddhi) the charioteer, & the mind the reins. The senses they call the horses, the objects of the senses their roads” (The Sacred Books of the East, vol. XV, p. 12). 又 Manu, II, 88: “In the restraint of the organs running wild among objects of sense, which hurry him away hither & thither, a wise man should make diligent effort, like a charioteer restraining restive steeds” (Monier Williams, Indian Wisdom, 3^rd ed., p. 45).《妙法蓮華經‧譬喻品第三》云：聲聞乘為羊車，辟支佛乘為鹿車，大乘為牛車。《雜阿含經》卷九（二五○）云：「譬如二牛，一黑一白，共一軛鞅縛繫，非黑牛繫白牛，亦非白牛繫黑牛，中間軛鞅，是彼繫縛。非眼繫色，非色繫眼，中間欲貪是繫。」《大莊嚴論經》卷二（八）云：「如牛駕車，車若不行，乃須策牛，不須打車，身猶如車，心如彼牛。」《真誥‧運象篇》：「太虚真人詩：『觀神載形時，亦如車從馬。』西城真人王君常吟詠云：『神為度形舟，薄岸當別去。』」[5] Plato, Phaedrus, 247A, B, C. 二馬駕一車之喻，尤世人所熟知者。Isocrates, To Demonicus, 32: “When the mind is impaired by wine it is like chariots which have lost their drivers” (Isocrates, “The Loeb Classical Library”, tr. by G. Norlin, I. p. 23). Orlando Furioso, XI, I: “Quantunque debil freno a mezo il corso Animoso destrier spesso raccolga, Raro è però che di ragione il morso Libidinosa furia a dietro volga, Quando il piacere ha inpronto” (Ed. Ulrico Hoepli, p. 93). Martin Chuzzlewit: Mr. Pecksniff: “... Some of us are fast coaches. Our passions are the horses; and rampant animals too!” (Martin Chuzzlewit, ch. 8).

            A Letter to Charles Cotton 稱其譯 Montaigne 之妙，有云：“You have so kept the original strength of his thought, that it almost tempts a man to believe the transmigration of souls” (p. 185). Valéry 亦稱翻譯為 “la métempsychose linguistique” (Rev. de litt. comp., Janv.-Mars, 1961, p. 18 引)。

            A Character of Charles II 有云：“Mistresses were recommended to him; which is no small matter in a Court, & not unworthy the thoughts even of a party” etc. (p. 193). 按此吾國鑽營慣技，如《官場現形記》卷三十、卷三十一記冒得官以女獻羊統領，《二十年目覩之怪現狀》八十七回、八十八回苟才以孀媳獻制台，皆是技。又云：“His female ministry... the ruelle was often the last appeal” (p. 197). 正謂政出自內也。Ruelle 之義，詳見 C.B. Tinker, The Salon & English Letters, p. 102。參觀 Gulliver’s Travels, Pt. IV, ch. 6: “There are three methods, by which a man may rise to be chief minister. The first is, by knowing how, with prudence, to dispose of a wife, a daughter, or a sister” (“Oxford Standard Authors”, p. 303).

            Political Thoughts & Reflections: “Men are so unwilling to displease a Prince, that it is as dangerous to inform him right[6], as to serve him wrong” (p. 215). 按精極。Fénelon, Télémaque, LIV, 24: “Uu roi inaccessible aux hommes l'est aussi à la vérité”; J.J. Jusserand, The School for Ambassadors & Other Essays, p. 38: “‘Is he a man to speak the truth to the Emperor?’ ‘Yes, if it is agreeable.’”; “Pasternak is said to have observed that whereas Mayakovsky shot himself, he, P. translated” (M. Friedberg, A Decade of Euphoria, p. 75). Santayana 致 M^rs C.H. Toy 書 (Letters, ed. D. Cory, p. 326) 言 “ketmân”，參觀 Czesław Miłosz, The Captive Mind, ch. 3 所謂 “Ketman” (“Mercury Books”, pp. 67-8)[7]。Montesquieu, Cahiers, éd. Bernard Grasset, p. 105: “Les princes sont toujours en prison. Clément XI disoit: ‘Quand j’étois homme privé, je connaissois tout le monde à Rome, et le mérite de chacun. A présent que je suis pape, je ne connois plus personne’”; F.L. Lucas, The Delights of Dictatorship, p. 32: “He soon walls himself off from reality, a prisoner behind the barbed wire of his own power. He is feared; therefore he is told no distasteful truths: he dispenses favours; he is told agreeable lies. He becomes the blind centre of a dust-storm of  intrigue & flattery”; The New Statesman & Nation, Feb. 21, 1953, p. 200: “Stalin on Tito”: “It is one of the difficulties of dictatorship that people do not tell you the truth; it may be that our agents abroad, being good communists, sometimes fear that they will be misunderstood if their reports do not confirm our Marxist expectations.”

            “There is an accumulative cruelty in a number of men, though none in particular are ill-natured” (p. 219). 按 Le Bon, McDougall 之說已發於此。實即以 Wundt 所謂 “Das Prinzip der schöpferischen Resultanten” (Grundzüge der physiologischen Psychologie, S. 755 ff.)，自一心而推之於眾心耳。然 S.B. Ward, “The Crowd & the Herd”, (Mind, vol. XXXIII, no. 139, July 1924) 析理更精，而知者不多，略云：“How can he know that the members of any given crowd would laugh less or weep less, taken singly or alone? After all, people collect into crowds for emotional reasons; the crowd is not the cause but the consequence of their emotions. It is true that a crowd is more ready to show its emotions, but the extent to which emotion is shown is no measure of its intensity. We must not measure the emotion of a crowd like King Lear the love of his daughters, by the loudness of the protestations. There are emotions too deep to be shared, to show or express which in a crowd would be hateful. Solitary brooding intensifies emotion. A crowd of strikers is angry, the sight of the anger of the rest gives each man confidence in his own. The crowd’s emotional voltage is high, but the amperage is low. In a crowd people can exhibit their pet sins without any consequences” (cf. J.E. Spingarn, Creative Criticism & Other Essays, p. 67: “The mere presence of a large number of people assembled together in a theatre has its own special effect... Bacon in De Augmentis on the effectiveness of the theatre as an instrument of public morality because men’s minds are more open to passions & impressions ‘congregate than solitary’.” in Augmentis, II, xiii).

            “It is in a disorderly government as in a river, the lightest things swim at the top” (p. 220). 按 J.A. Symonds, The Greek Poets, p. 248: “Bacon’s half-ironical half-irritable saying that the stream of time lets every solid substance sink, & carries down the froth & scum upon its surface.” Cf. Logau, Sinngedichte: eine Auswahl, von U. Berger, S. 99: “Weltgunst”: “Die Weltgunst ist ein See, / Darinnen untergeh / Was wichtig ist und schwer, / Das Leichte schwimmt daher.”

            “A man who will rise at Court must begin by creeping upon all four; a place at Court, like a place in Heaven, is to be got by being much upon one’s knees” (p. 228; cf. p. 232: “Ambition... is stepping very low to get very high”). 按 Specimens of Douglas Jerrold’s Wit, ed. By B. Jerrold, p. 16: “The surest way to hit a woman’s heart is to take aim kneeling” 可參觀。Swift: “Thoughts on Various Subjects”: “Ambition often puts men upon doing the meanest offices; so climbing is performed in the same posture with creeping” (Satires & Personal Writings, ed. Eddy, p. 410).

            Moral Thoughts & Reflections: “Explaining is generally half confessing. Innocence hath a very short Style” (p. 238). 按即 “Qui s’excuse s’accuse” 之意。F.H. Bradley, Aphorisms, §10: “True penitence condemns to silence. What a man is ready to recall he would be willing to repeat” 則更精矣。參觀六七三則論 Charles Péguy: “Les lâches sont des gens qui regorgent d’explications.”

           Miscellaneous Thoughts & Reflections: “Love is presently out of breath when it is to go uphill, from the children to the parents” (p. 250). 按法諺亦云：“L’affection ne remonte pas” (Larousse du XX^e Siècle, “Remonter”).

            “There is so much wit necessary to make a skilful hypocrite that the faculty is fallen among bunglers, who make it ridiculous” (p. 252). 按參觀 Nietzsche, Götzen-Dämmerung, §18[8]: “Nichts scheint mir heute seltner als die echte Heuchelei. Mein Verdacht ist gross, dass diesem Gewächs die sanfte Luft unsrer Cultur nicht zuträglich ist. Die Heuchelei gehört in die Zeitalter des starken Glaubens” u.s.w. (Werke, Taschen Ausgabe, Bd. X, S. 306); James Martineau: “It is no longer an insult to a clergyman’s honour, but rather a compliment to his intelligence, to suspect him of saying one thing and believing another” (C.D. Burns, Horizons of Experience, p. 291 引). 有以夫 (參觀 K. Jaspers, The Perennial Scope of Philosophy, tr. by R. Manheim, p. 4: “Faith is a different thing from knowledge. Bruno believed & Galileo knew... On the one hand we have a truth that suffers by retraction, & on the other a truth which retraction leaves intact... A truth by which I live stands only if I become identical with it... A truth which I can prove stands without me”)。 君子不得已而曲為人之學者，尚不肯喪己之操為也。【Letters of E.J. Trelawny, ed. H. Buxton Forman, p. 248: “Atheism is no longer a term of reproach but an indication of intelligence.”】

            “Just enough of a good thing is always too little” (p. 255). 按 Alexander Dyce, Table Talk of Samuel Rogers, p. 125; H.F. Jones, Samuel Butler, II, p. 75 (marginalia); Journal des Goncourt, 13 juin 1858: “Trop suffit quelquefois à la femme” (I, p. 191); Punch, 1872: “I may’ve ’ad too much, but I ’aven’t ’ad enough.” (Oxford Dictionary of Quotations, p. 535); Mansfield Park: “I do not at all mind having what is too good for me.”

百五十二[9]

            F.H. Bradley, Aphorisms, §52: “One cannot remain in the grave of love unless one perpetually falls in love anew”; §66: “When I hear that ‘Possession is the grave of love,’ I remember that a religion may begin with Resurrection.” 按此謂常中有變。一心以向一人，百年式好，立心如一日（宋儒說「恒」字，見孫星衍刊《倉頡篇‧序》），而實則一日一心，與故為新，如 Paul Claudel, L’Art Poétique, p. 170 之說「永」字也（參觀第八十二則）。Goethe, Sprüche in Prosa, hrsg. von G. von Löper, §264: “L’amour est un vrai recommenceur.” (Aus den Memoiren des Messire Roger Rabutin, Comte de Bussy); §423: “Unsere Leidenschaften sind wahre Phönixe. Wie der alte verbrennt, steigt der neue sogleich wieder aus der Asche hervor” (按此語見 Die Wahlverwandtschaften, II, iv, aus Ottiliens Tagebuch) (cf. La Rochefoucauld: “Il y a dans le cœur humain une génération perpétuelle de passions, en sorte que la ruine de l’une est presque toujours l’établissement d’une autre”). 即 Marcel Proust, Temps Retrouvé, II, p. 66: “À l’être que nous avons le plus aimé nous ne sommes pas si fidèles qu’à nous-même, et nous l’oublions tôt ou tard pour pouvoir recommencer d’aimer.” 則身在情長在 (參觀 Fritz Strich, Deutsche Klassik und Romantik, S. 36: “Es gibt eine romantische Treue. Nur war sie nicht die Stetigkeit des bleibenden Gefühls, sondern die trends gegen die unendliche und schöpferische Liebeskraft”)。而情人則新縑故素，比於傳燈傳薪，多多益善，一一相續也。貌同而心異矣。Benjamin Constant, Adolphe, ch. 3: “Malheur à l’homme qui, dans les premiers moments d’une liaison d'amour, ne croit pas que cette liaison doit être éternelle!” 則又明一義，謂當時固不知為暫時也。

百五十三[10]

            李之儀《姑溪居士前集》卷十六〈又書扇〉云：「幾年無事在江湖，醉倒黃公舊酒壚。覺後不知新月上，滿身花影倩人扶。」按此陸魯望〈和襲美春夕酒醒〉詩也，「在」字作「傍」字，「新」字作「明」字。蓋端叔書魯望詩，後人不知出處，誤編入集耳。【晏叔原〈虞美人〉云：「采蓮時節定來無，醉後滿身花影、倩人扶。」】陳鴻墀《全唐文紀事》卷三十二引《輿地‧碑記》載象耳山李白留題云：「夜來月下臥醒，花影零亂，滿人襟袖，凝如濯魄於氷壺也。」（亦見《全蜀藝文志》卷六十四〈眉山象耳山題名〉，又見卷五十二上王象之〈眉州碑目〉引。）魯望真工於奪胎者矣！

            晁沖之《具茨先生詩集》卷十一〈戲留次襃三十三弟〉云：「白下春泥尚未乾，汴流更待小潺湲。不知汝定成行不，寒食今無數日間。」按《全唐文》卷三百三十七顏真卿〈寒食帖〉云：「天氣殊未佳，汝定成行否？寒食只數日間，得且住，為佳耳。」沖之裁作韻語，殊減風致，與王景文〈眼兒媚〉詞伯仲，不如辛稼軒〈霜天曉角〉詞多矣（見第四百十則）。《揮麈後錄》卷八記：「朱新仲代王彥昭作〈春日留客〉致語云：『寒食衹數日間，纔晴又雨；牡丹蓋十數種，欲折又芳。』皆魯公帖與《牡丹譜》中全語也。」

百五十四[11]

            姚柬之《伯山文集》八卷、《詩集》十卷、《日記》一卷。向從《越縵堂日記》（第十冊同治七年七月十九日）中知此書。意氣矜夸，筆舌獷蕪，雖偶亦誦說惜抱，於家法蔑如也。公牘尺牘，俚鄙之作，亦不忍刪棄。足見於靈臯文禁已棄置勿道。卷五〈答王子涵〉云：「〈橋記〉撰就奉上，雖不工，然非魏晉以後作也」云云，其不屑唐宋八家之明徵也。

            卷五〈與石甫書〉：「足下蒙不次之擢，膺至難之任。鄧嶰筠尚書謂石甫好造作文字，致來艱大，然乎？否乎？得重刻《援鶉堂筆記》，薑塢先生學有根柢，惟所論與當時諸賢多同。植之之注中涉議論，非注書之體，足下何不略為芟除耶？又得足下新著〈姚氏先德記〉，先高祖孝子中書公、尊甫贈公，皆擯而不錄。其所取者，聞嘗稱貸於石甫矣。石甫諛其先，以冀寬其逋。」

            〈與光栗原書〉：「道路所聞，閣下歸里頗封殖，通衢列肆，與商賈競錐刀之利。人富則讒生，家富則盜集，閣下不亦危乎？僕八年於外，艱苦備至，今蒙聖恩，幸從大夫之後，得以乞假上先人邱壠。無財不可以為悅，而遠任黔南，行李莫措，閣下何不散財自隗始，使使者無餱糧之憂，而閣下得保山林之樂。」

            卷八〈書惜抱軒九經說後〉：「家姬傳先生以淡泊之懷，具水鏡之識；運靜雅之筆，寫幽曠之思。其古文、詩集，卓然為本縣一家。至其經說，當先生存時，已無人重之者，蓋先生之用其短也。舍其專而遺其大，宜乎今之讀是書者寡矣。」

            《詩集》卷五〈題周保緒鶴塔銘後》：「鄧翁奇氣猛如虎，雙指曾抉汪容甫。血流滿目容甫逃，老翁餘怒森虎毛」云云。按焦理堂《憶書》卷六云：「汪容甫先生居玉井相，鄰人數侮之。知先生惡鷄聲，故蓄雄鷄以譊之，且時發不遜之言。先生乃於左衛街賃屋避之。余問其故，曰：『鄰人，小人也。送官不難，然用昆吾刀切豆腐，故避之耳。』」世傳容甫慣凌侮人，無道此兩事者，故合記之。【《鮚埼亭文集外編》12〈蕭山毛檢討別傳〉：「西河罵之，天生奮拳毆西河重傷。」】

            《日記》道光十三年正月初十日：「購李申耆所刻《天下輿圖》。《圖》為亡友董方立所著，而申耆題曰：『武進副貢董方立』。方立實舉孝廉，未嘗中副車也。同鄉同時腳色，已不可信如此。」

百五十五[12]

            《琴志樓編年詩集》，哭菴臨歿力疾刪定生平未刻詩成此編。其已刻者，有目無詩，故名十九卷，實則十二卷耳。哭菴詩貌似瑋麗而肌理不細緻，好言情而浮囂無韻味，鶩寫景而塗澤不真切。總而言之曰：以詞藻之富巧，掩飾意境之平凡。此集篇什，向衹於《庸言》雜誌所載〈琴志樓摘句詩話〉中覩其鱗爪。卷十三（丁亥）〈出都留別友人絕句‧之七〉「徐熙知我念家山」一首，已刻《游梁詩賸賸‧絕句五十五首》中（戊子），不應複見，且編年歧出。張文襄題《廬山詩》云：「作者才思學力，無不沛然有餘。緊要訣義，惟在『割愛』二字。若肯割愛，二十年後海內言詩者，不復道著他人矣……在他人則金玉，在作者則土苴耳。何謂存之，以自掩其菁英哉？」樊樊山〈魂西集題跋〉云[13]：「行役懷古之作，最足覘人腹笥。行篋少書，獨吟無侶。驛牆敗粉，塵案昏燈。上馬行吟，下車錄稿。非真有工力者，不如藏刀為善矣。漁洋于役，每至一郡縣，必索其志乘，供其搖襞。僕笑其無真本領。」又〈書廣州詩後〉云：「石甫既負盛名，率其堅僻自是之性，騁其縱橫萬里之才。不復蘄合於古之法度，亦不恤師友之箴言。廬山以後之詩，大抵才過其情，藻豐於意……名亦因是而減。文襄深惜之，又力誡之，君方自謂：『竿頭日進，勿能改也。』國變後，君益任誕不羈……于是輕薄後生譏罵侮笑，又時時摹效其體，搬漆椀於行間，撒園荽於紙上，人人以為才過石甫。而世上之論石甫者，亦忘其天之獨絕，但摘其頹唐胆大之作，以供笑樂……此為五十以後詩，吾與文襄師所弗善者也。然反復吟玩，終非明之唐伯虎、馮猶龍，清之王仲瞿、舒鐵雲所能為」云云。按「才過其情」二句，深中實甫之病。【Wm. Plomer, At Home, p. 67: “J.B.Yeats, writing of the painting of Orpen, defined vulgarity as ‘the excesses of the means of expression over the content.’”】【奭良《野棠軒文集》卷二〈易實甫傳〉云：「辛酉得微疾，或以為風。余往視之，於椅中倘徉，不似有疾者。問何苦，君曰：『非病也，才盡耳！無才，不如死。』余聞之瞿然。九月，竟歾。」】【《忍古樓詩續》卷四〈題琴志樓編年詩〉自注：「歿後身縮如小兒。」（《鷄肋編》卷下亦載臨終身縮二例。）】【葉德輝《郋園詩鈔‧浮湘集‧壬戌感遇詩》之第十三人為哭庵，自註云：『君自謂為明張靈後身，一日得張船山書畫冊，上鈐『張靈後身』白文小印，則是至君三世矣。】《南亭四話》卷二謂：「碩甫善作詩鐘，集中五、七律不啻詩鐘，嘗有人論之曰：『讀碩甫詩，如入鐘表店，此則琤琤然，彼則璫璫然。』」可謂謔而虐者。實甫《四魂集》中七律，已類詩鐘。晚年七古，截搭典故，長短錯落，四、五句一押韻，非文非賦，大有「解放詩」之意，如《甲寅詩存》卷上〈寒雲夢遊佳山水且畫之覺後屬鷗客作圖索余題〉即其例[14]。黃秋岳《花隨人聖盦摭憶》所舉〈和樊山禳天韻自述〉一首[15]，特其尤弔詭放恣者耳。

            實甫詩最近舒鐵雲、王仲瞿。余前論其《游梁詩賸賸》謂絕句有苦學定盦者。此集中如卷十三〈山塘冶春詞〉之「琵琶曲與琵琶櫓，都是承平一片聲」；「春波不是無情物，半照眉痕半鬢絲」；「何處笛聲吹酒醒，萬花如海月如潮」；「從此皈依妝閣畔，飽聽柔櫓送年華」，皆其類也，而均不工。卷十七〈贈鄭襄〉、卷十八與陳右銘唱酬諸七律又掎摭山谷，亦衹得皮毛耳。【鄒弢《三借廬筆談》卷五引：「漢壽［葉］實甫孝廉［鼎］，號碧湘秋夢詞人，又字蘭伽，為［葉］方伯佩紳之子……曾得其《眉心室詩詞稿》一冊。」（摘錄數篇，不知今在《集》中否？皆浮俗之什。）[16]】

            卷一〈渡黃河作歌〉：「崑崙王母洗足水，雙成傾向瑤池裏。何年鑿空到人間，一線流成三萬里。」

            〈湯陰岳忠武王廟〉：「撼山易，撼軍難，陣前鐵騎來三千。縛虎難，放虎易，殿上金牌來十二。……有君已作金人姪，有臣乃作金人爺。……高歌九十三字一曲滿江紅，太息二百餘年兩朝天水碧。」

            卷五〈阻風泊巴陵郭外作〉：「搖星顫月天亦鬆……驚魂跌波疑響銅。」[17]

            〈鵲起磯上廢寺踏雪〉：「壞塔無人登，捨作寒鴉宅。」

            卷六〈未曉車行十六疊韻〉：「夢因僕喚都無尾，愁與人隨似有睛。」

            卷九〈出都門赴井門留別諸友〉：「心上故人三五雁，腰間神物一雙龍于晦若兄最賞此聯。四」

            〈下東天門遇雨〉：「危途但有進，奇險在無退。一跌身分半，二分趾垂外。」「自撫軀骨完，稍收魂胆碎。」

            卷十二〈海舟書感〉：「他生精衛終填海，何處爰居可避風？四」

            〈登北塔寺〉：「水色兼雲接綠陰，登臨猶見子胥心。當時衹嘆吳為沼，豈識神州有陸沉。」

            卷十七〈贈劉毅肅太保〉：「飛當化熊去，臥亦作龍看。」

            〈湘月篇〉：「圓缺人間久共知，悲歡天上何曾見（王壬秋丈圈此二句）。……若報平安雷岸書，休言辛苦風波事（壬秋丈又圈此二句）。」

        〈上海度歲〉：「一樣鴻飛翻自愧，冥冥終覺勝嗷嗷。」

            卷十八〈題蘭蘭柳柳合璧扇面七律四首〉（馬湘蘭畫蘭，柳如是畫柳）。

            〈贈范鐘〉：「龍腹聲名原不掩，蜂腰品目漫相猜。」

            《甲寅詩存》二卷，泰半以文為戲矣。卷上〈甲寅元日試筆時寓大吉巷〉：「元辰風日足徜徉，小放牛歸大吉羊觀菊芬演小放牛。」

            〈袁珏生搨香塚銘自題一詩和其韻〉：「翰林獵艷惟尋冢，不識平康有妓家。」

            〈林韻宮將有秘魯之行疊韻贈行〉：「送別愁無手柳酒，救時望有耶拿華。」按改「耶和華」為「耶拿華」以求疊韻，與〈噴雪亭瀑〉之「力穿深潭九地破，對足或抵歐羅巴」皆用新典而滅裂者。

            〈江南雪十首〉序曰：「為雪印軒校書作也。書生薄命，逢卿在金盡之時；尤物移人，殺我即玉成之德。」「漢殿唐宮著此人，便成合德與金輪。天教落溷原公道，留與人間做好春。六」

            〈後江南雪十首〉自序曰：「為雪麗青校書作也。」

            〈自題江南雪二十首後〉：「尋春老作杜分司，又見尊前絕代姿。雪月梅花三白夜，酒燈人面一紅時。一」「一世英雄無好懷，柔鄉宜作小眠齋。江南雪若深三尺，我便從天乞活埋。三」

            卷下〈程十七郎歌為穆庵作〉：「包作輓聯曾滌生，包送靈柩江岷樵。吾鄉文正與忠烈，至今佳話傳京朝。對於死者尚如此，對於生者可知矣。對於君父可知矣，對於朋友尚如此。」「包作輓聯意已好，包刻遺集似更好。包送靈柩事已少，包辦後事似更少。文正當日已貴官，程郎乃是一孤寒。忠烈當日已壯歲，程子乃是一少年。」

            〈賦得豐澤園政事堂〉：「海可往來中與北，人如行走上兼南前清有上書房、南書房行走。」

---

[1]《手稿集》224-7 頁。

[2] 即下文，見《手稿集》192-3 頁下腳。

[3]「威者，君之輪也」一句，見《藝文類聚‧卷五十二‧善政》所引「韓子曰」云云，而《韓非子‧外儲說右上》無。

[4]「踰」原作「喻」，「弗」原作「勿」。

[5]「西城」原作「西域」，「薄岸」原作「泊舟」。

[6] 原文脫落「as」字。

[7] 山潭野衲致托伊夫人書云：“I wonder if Mr. Toy ever mentioned to you an Oriental habit or practice called ketmân? A French book on Persia that I have by me says it is very favourable to diversity of religious opinions, and toleration of them. It consists in never saying what you think, but if necessary saying anything else that may serve to avoid disputes or ill-feeling; and it is recommended as giving a man a great superiority over his interlocutors. So my book says: although if the interlocutors are also addicted to ketmân, it would seem to secure the same advantage all around.” (The Letters of George Santayana, ed. W.G. Holzberger, MIT Press, 2004, Book XI, p. 190) 函中所述，與米沃什所云波斯宗教異見者之「Ketman」故技，同出於 Arthur Gobineau, Religions and Philosophies of Central Asia 一書： “There are occasions when silence no longer suffices, when it may pass as an avowal. Then one must not hesitate. Not only must one deny one’s true opinion, but one is commanded to resort to all ruses in order to deceive one’s adversary. One makes all the protestations of faith than can please him, one performs all the rites one recognizes to be the most vain, one falsifies one’s own books, one exhausts all possible means of deceit.”

[8]「§18」原作「§」。

[9]《手稿集》227-8 頁。

[10]《手稿集》228 頁。

[11]《手稿集》228-9 頁。

[12]《手稿集》229-31 頁。

[13]「題跋」原作「題詞」。

[14] 此詩全題：〈寒雲主人夢中夢游佳山水，且畫之，本不能畫，及覺忽能畫，且能憶夢中所畫之稿，屬鷗客作圖，索余題〉。

[15] 此詩為易順鼎六十後作，《琴志樓詩集》（上海古籍出版社，2004）失收。黃濬《花隨人聖盦摭憶》謂：「其手稿尚存予處……可作先生創造體格之代表作讀也。」題為：〈病榻借樊山先生為余禳天詩韻，自述生平，成長句一篇，呈樊山先生，示由甫六弟，兼諗親友及海內知我者〉，詩云：「嗟我未生時，有仙告我父，謂純甫舅氏為明張靈，與子後緣方長。父意姑妄言之，姑妄聽之。三歲坐母懷中，行萬里。五歲聰穎純厚，能作韻語，人已呼為聖小兒。六歲陷賊作偽王子，由漢中至應山，半年多在馬背上，幸遇僧忠親王，我書王掌上，王抱我膝上，授應山令送歸故里，出險不死真便宜。十五入泮，十八領鄉薦，郭公筠仙周公荇農張公文襄左公文襄見我所刻行卷，驚為異人，譽為國士，意似非阿私。光緒丙子公車待詔，伏闕上書，首劾封疆大臣李與崇，二次上書又劾部院大臣，蜀中欽使恩與童。春宮四試，求一進士不可得，乃以舉人捐職，簽分刑部學習之郎中。此時南北山川登臨遊覽留題已不少，詩歌而外，又喜攷据古籍箋魚蟲。改官河南，官曰試用道，年未三十，忽作厭世之想，若有千悲萬感交與胸。手修三省黃河圖說，進呈御覽，得拜二品頂戴賜，瞥然舍去，逕攜妻子築室匡廬五老峯下，三峽澗上，倚樓日聽瀑與松。老父不肯遠遊，乃獨迎母入山住半載，母歸之後，豈意昊天不弔，竟令女中孔孟，棄我不孝兄弟，歸真天上之霞宮母降乩，言所居曰紫霞宮。我有女兄孀居奉佛，歿後降詩數卷，自號真一子，仙去十載，喜與我母天上逢。我居墓廬，朝哭夕哭逾兩載，南皮夫子詔我節哀，招我遊鄂，勸我不必王裒同。韓人龍作，輿論難定罪與功；倭寇氛亟，朝議始策守與攻。新甯劉公奉詔督師招我同北上，駐師榆關，亦如裴度討寇淮蔡，統轄愬武與古通。嗟我墨絰從戎，請借一旅前驅，意在戰死得殉母，豈料棄韓割台，和議早定，使我不得痛飲趨黃龍。我請隻身渡台，往從台北之唐，台南之劉兩守將，乘一竹筏出入十二銀山，驚濤駭浪，連珠九疊，如坐秋千索上，搖曳於長空。台北唐已內渡，台南尚無恙，遺民迎我，守將留我，尚欲上請朝旨，命我觀軍容。吁嗟乎！名將非施琅，降王似鄭理。我求偏師暗襲台北，所請不遂。兩求戰皆不死，既不得為忠臣，又不得為孝子。不死空歷險與艱，方知世上一死難。既不得死于榆關，復又不得歸于廬山。七旬老父，迎我于鄂，携我同返里，墓門痛哭，哭聲直似海倒山崩然。里居侍父，人天唱和，更有白仙呂祖，以及女仙董何費張輩。時或安車奉父，來往九江漢壽長沙間。至是竊閱父書，始知純甫舅氏張靈後緣說，回憶山西藩署，有仙謂我前生王子晉、張夢晉者，前後脗合。其仙稱同秋生，亦知為何仙。劉公還督兩江，念我家貧父老，使我居湘筦鹺稅，一兩年內坐收一兩萬餘之金錢。平生膴仕暴富，即在此兩載。誰知兩載以後，旋即散盡。自笑賦命窮薄，詎敢尤蒼天。劉公趣我入都，覲見宮中二聖之天顏。特疏薦我謂我賢。我乃前席陳詞，痛陳內憂與外患。己亥之冬，方恐搖動聖主聖；庚子之夏，豈期招集聯軍聯。兩宮西幸，我亦麻鞋赴行在，目覩秦中，流離凋殘，情狀殊堪憐。劉公張公合奏，令我駐秦督轉餉，我仍感嘅時事，上萬言疏，跪奏宮門前。乘輿還都，我再入都，始簡粵西右江道，調任龍州關道，不及數月，遽忤大吏，劾以名士畫餅落職，自笑命宮磨蝎，何故與我半世相牽纏。九江哭父，扶櫬歸葬。一病九死竟再活，服闋入都，訴冤復職。再簡滇南蒙自，旋調粵東廉欽缺，已在帝后上賓，賢王攝政，宣統之初年。兩任廣肇羅道，高雷陽道，共三稔，篋中惟有弭盜安良之策，勗吏諭民之牘千萬言；更有巡方問俗，登山臨水，撫時感事之作數百篇。欲鋤荊棘培芝蘭，欲翦鴟梟養鳳鸞。乃因戇直，又忤大吏，決計將挂冠。忽遭武昌兵變，全國革命，一旦大海生狂瀾。太息二百餘年完全宗社，難保黑水與白山；自憐五十四歲沈淪宦海，尚保綠鬢兼朱顏。曩在汴闈監試，曾遇日者，謂我壽僅五十有九齡，豈意語語皆驗，此獨不驗。入民國後，已過六十猶偷生。然雖偷生，而從前無病者，此三年內忽乃多病，疢疾暗已積累成。吁嗟乎！造物太無情，彼蒼何太忍。既已使我境遇窘，又不使我壽命永。固知再實之木根必傷，躍冶之金誠不祥。然我雖非奇才同豫章，亦復尚有微惠留甘棠。而且一生大類柳下與鄒嶧，所遇臧紇臧倉皆姓臧。讒謗屢誣西域賈，時宜不合東坡肚。半年額瘡不愈，已如星宿之連珠；一旦腹脹奇劇，又似雷門之布鼓。平生第一知己樊山翁，為我手寫七八百字詩一通，焚香請命于上帝之深宮。公方夜殿陳詞向天虔禱，冀邀天意從。我且法庭起訴，與天爭訟，正恐天詞窮。」

[16] 此即易順鼎十五、六歲時所刻之《眉心室悔存稿》，至其自定《編年詩集》時，佚失已久，「二十年來，欲求當時刻本，片紙無存」（〈琴志樓摘句詩話〉，《庸言》第一卷第十六號，1913 年 7 月）。上海古籍出版社《琴志樓詩集‧前言》亦謂：「這次整理易順鼎詩，此集也久尋覓無着。」

[17]「疑響銅」原作「響疑銅」。