「褲子畫家」Daniele da Volterra 奉教皇命為〈最後的審判〉遮羞
百三十一[1]
John Opie, Lectures on Painting by the Royal Academicians, p. 282: “So
habituated are the people of this country to the sight of portraiture only,
that they can scarcely as yet consider painting in any other light; they will
hardly admire a landscape that is not a view of a particular place, nor a
history unless composed of likenesses of the persons represented... In our
exhibitions, one’s ear is pained, one’s very soul is sick with hearing crowd
after crowd, sweeping round &, instead of discussing the merits of the
different works on view, all reiterating the same dull & tasteless
question, Who is it? and Is it like?” (見 C.B.
Tinker, Painter & Poet, p. 22 引). 按此言發於一八〇八年[2]。最先是 L.B.
Alberti, Della Pittura: “Grandissima
opera del pittore sarà l’istoria” (PMLA,
1909, W.G. Howard, “Ut Pictura Poesis”, p. 95 引)。不過如 Jonathan Richardson: “A history is preferable to a landscape , sea-piece,
animals, fruit, flowers, or any other still-life... the reason is, the latter
kind... cannot improve the mind, they excite no noble sentiments”; William
Gilpin: “History-painting is certainly the most elevated species. Nothing
exalts the human mind, a mode of epic” (見 Elizabeth
Wheeler Manwaring, Italian
Landscape in 18th Century England, pp. 13-4 引); “David
scolded Gros for having given up historical painting: ‘Vite, vite, feuilletez
votre Plutarque.’” (Oskar Fischel & Max von Boehn, Modes & Manners of the 19th Century, tr. by M.
Edwardes, I. p. 59)，至此始近吾國南宗論畫宗旨，如張彥遠《歷代名畫記》卷一所謂「以形似之外求畫」；歐陽永叔〈盤車圖〉所謂「古畫畫意不畫形」；東坡〈開元寺王維吳道子畫〉所謂「摩詰得之於象外」，〈書鄢陵王主簿畫折枝〉所謂「論畫以形似，見與兒童鄰。」晚近世而此說遂盛行於西洋。Clive Bell, Art,
p. 30: “People who cannot feel pure aesthetic emotions remember pictures by
their subjects.” 又：“His [the Quick Introvert’s] gift for
simplification — ‘the liberating of what is significant from what is not’
(Clive Bell, Art, p. 12) — makes him paint pictures that are stylized
designs, interpretations of nature far more vivid than any exacter portrayals.”
Cf. Thornbury, Life of J.M.W. Turner,
p. 104: “Turner had a horror of what he said Wilson called ‘being too mappy’; E.
Moreau-Nélaton, Manet raconté par
lui-même, I, p. 21: “Peinture
d’histoire was the worst insult Manet could offer to an artist’” (Joan
Evans, Taste & Temperament, p.
84). 此正José Ortega y Gasset 所謂 “dehumanization
of art”, “the tendency to purify art”, “progressive elimination of [realism]”
(Melvin M. Rader[2], A Modern Book of Esthetics, p. 346) 之證 (參觀 R. Müller-Freienfels,
Psychologie der Kunst, I, S. 67: “rein
Malerei... [Manet, Trübner], die auf die künstlerische Reizung der Netzhaut und
nicht auf die der Assoziationszentren ankommt”; J. Segond, L’Esthétique du sentiment, pp. 84-9: “la peinture pure”.)【É.
Gilson, Peinture et réalité 別 “tableau” 與 “peinture”; R.
MacCallum, Imitation & Design 別 “a pull
toward the object or nature” 與 “a
pulling away from the object” 皆此意。】吾國却物極必反，漸生異議，晁無咎《鷄肋集》卷八〈和蘇翰林題李甲畫雁〉第一首即云：「畫寫物外形，要物形不改。」《靜修先生文集》卷三〈書東坡傳神記後〉云：「『意思』者，必至於形似之極，而後可以心會焉。非形似之外，又有所謂『意思』也，亦下學而上達也。余去歲題畫卷云：『煙影天機滅沒邊，誰從毫末出清妍。畫家也有清談弊，到處南華一嗒然。』此又可為學形似而不至者之戒也。（卷十一〈米元章雲煙疊嶂圖〉第二首）」王若虛《滹南遺老集》卷三十九云[3]：「夫所貴於畫者，為其似耳。畫而不似，則如勿畫。然則坡之論非歟？曰：論妙於形似之外，而非遺其形似。世之人不本其實，無得於心，而借此論以為高。畫山水者，未能正作一木一石，而託雲烟杳靄，謂之氣象，自欺而巳矣。」謝在杭《五雜組》卷七云[4]：「宦官、婦女，每見人畫，輒問甚麼故事，談者往往笑之，不知自唐以前，名畫未有故事者。蓋有故事，便須立意結構，事事考訂，人物衣冠制度，宮室規模大略，城郭山川形勢向背，皆不得草草下筆。非若今人任意師心，鹵莽滅裂，動輒託之寫意而止也。」顧亭林《日知錄》卷二十一云：「古人圖畫皆指事為之，使觀者可法可戒。自實體難工。空摹易善，於是白描山水之畫興，而古人之意亡矣。」《北江詩話》卷四云：「凡作一事，古人皆務實，今人皆務名。即如繪畫家，唐以前無不繪故事，所以著勸懲而昭美惡，意至善也。至董、巨、荊、關出，而始以山水為工矣。降至倪、黃，而並以筆墨超脫為工矣。求其能繪故事者，十不得三四也。而人又皆鄙之，以為不能與工山水者並論。豈非久久而離其宗乎？」葉德輝《觀畫百詠》卷一云：「思翁天姿高妙，不耐為北宗刻苦細緻之筆。其實北宗人物衣冠可考古製，樓台界綫必準折算，乃至動植飛潛，象形體物，固非南宗諸家僅以雲山為供養也。昔盛伯兮祭酒好尚北宗，嘗戲言唐人論字有〈非草書〉篇，欲吾作〈非大寫〉敵之。」又云：「宋畫院畫花草、翎毛、走獸、蟲魚等物，皆有根據，如《毛詩》、《爾雅》、《山海經》、《本草》諸圖，較之畫馬、畫牛、畫龍、畫猿、畫蝶、畫松、畫梅僅以一物名者，殊有道藝之別。」又云：「古人不為無益之事，左圖右史，本以相資。故唐、宋畫史，畫人物狀貌，必分別南北，畫宮室輿服，必考定時代。山水遠近有一定尺寸，樓閣曲折有一定繩墨，以資考證。」卷三云：「一為法古，如兩漢經師篤守家法，不肯有所出入；一為逢時，如魏晉人清談，全襲《老》、《莊》，有時亦暢玄風，但苦不得歸宿。」又云：「自思翁尊南抑北，三百年靡然向風。康、雍、乾、嘉四朝內廷供奉，尚有工北宗之人，其他士夫殆無有能為大小李將軍者矣。」劉申叔《左庵集》卷六〈原畫〉云：「古畫於史事而外，尤詳典章名物，與學術相輔，不僅為美術之一端。《左傳》謂：『夏，遠方圖物，鑄鼎象物。』《國語》曰：『省其典圖刑法。』相如〈子虛賦〉曰：『不可勝圖。』足徵古人以象為主，後世以降，始蹈空摹」云云。蓋與西方談藝沿革，不啻倒行回轍。以漁洋論詩之尊摩詰，而《蠶尾續文‧跋宋牧仲論畫絕句》一文及《居易錄》論畫皆尚北宗，足徵風會。郋園雖尊北抑南，而《觀畫百詠》卷二稱李唐〈深山避暑圖〉之有丹楓，以為筆妙補天，得「輞川不問四時之意」云云，不免矛盾，亦見積重難返矣（參觀第三百九十一則引 J. Volkelt, System
der Ästhetik, Bd. I, S. 542，又四百二十八則）。
百三十二[5]
Gilbert Ryle, The Concept of Mind, 辨析精微，筆舌犀利，然每用盡氣力，不離故處。
P. 51: “The statement ‘the mind is
its own place,’ as theorists might construe it, is not true, for the mind is
not even a metaphorical ‘place.’ On the contrary, the chessboard, the platform,
the scholar’s desk, the judge’s bench, the lorry-driver’s seat, the studio &
the football field are among its places. These are where people work & play
stupidly or intelligently”; p. 58: “Overt intelligent performances are not
clues to the workings of minds; they are those workings”; p. 328: “The
behaviorists’ methodological programme has been of revolutionary importance to
the programme of psychology.
But more, it has been one
of the main sources of the philosophical suspicion that the two-worlds story [i.e.,
Mind & Body, ‘the Ghost in the Machine’] is a myth.” 按此理美學家早窺之。Bosanquet: “The first & main thing which the word ‘feeling’ suggests
to me is the concernment of the whole ‘body-and-mind’ as Plato puts it in building up his account of psychical
unity on the simple sentence, ‘The man has a pain in his finger’ (Rep., 462 D). It is the whole man who
has the pain, & in it is one, though it is referred to the finger &
localised there.” (Three Lectures on
Aesthetic, Preface) 故其書屢用 “body-and-mind”
(p. 59, p. 85)。
P. 149: “People, with the exception
of Aristotle, [are] oblivious to the differences of logical behavior between [achievement
verbs & task verbs].” 按當是指 Metaphysics, 1048b, 30-34. 修詞學者有 “Ergebnisobjekt,
effiziertes Objekt” 與 “Richtungsobject,
affiziertes Objekt” 之別 (參觀 Otto
Jespersen, Modern English Grammar, vol.
III, ch. xii, p. 230 ff.)。
百三十三[6]
A.W. Verrall,
Collected Literary Essays. 冠以行述，載少作一詩諷 Bain, Mental
& Moral Science，刊於 The Tatler in Cambridge，其詞曰：“There was a Professor called Bain / Who taught, in the Land of the
Rain, / That the ultimate fact / Which induced you to act / Was an Inkling of
Pleasure or Pain.// He proved that Volitional Force / Depended entirely on
Sauce, / Inasmuch as the Question / Was one of Digestion, / And Morals would
follow of course. //... Faith, Charity, Hope were reducible / To Phosphate or
Salt in a Crucible, / Dissent &Dysentery / Both ‘Alimentary,’ / Manners &
Mammon both fusible. / If Flesh can be sane or insane, / And Meat the sole
Factor of Brain, / Then hey! for the Cooks, / Since the Moral of Books / Is ‘Leave
Writing for Eating,’ O Bain” (pp.
xvi-xvii). 語甚詼諧。余未見 Bain 書，如 Verrall 所嘲，則 Feuerbach 之說也。“Die Naturwissenschaft und die Revolution” 云：“der
Nahrungsstoff ist Gedankenstoff... der Mensch ist was er isst” (Sämtl. Werk., neu hrsg. W. Bolin und Fr. Jodl, Bd. X, S. 15, 22) 且引 Jacob
Moleschott, Lehre der Nahrungsmittel 曰：“Träges
Kartoffelblut, soll es den Muskeln Kraft zur Arbeit, dem Hirn den belebenden
Schwung der Hoffnung ertheilen? Armes Irland! Du kannst nicht siegen in dem
Kampf gegen den stolzen Nachbar, dessen üppige Heerden die Macht seiner Söldner
erzeugen!” (S. 22). 後來撰 “Das
Geheimnis des Opfers” 引經據典，發揮此意尤暢：“Wie die Speise, so das Wesen, wie das Wesen, so
die Speise... Ein Gott isst nur was er ist... ‘Ohne Phosphor kein Gedanke’ und
ohne Salz kein Witz, kein Scharfsinn” (Bd. X, S. 13, 58, 61). Swift, The Memoirs of Martinus Scriblerus, Bk.
I, ch. 4: “What makes the English Phlegmatick and melancholy but Beef? What
renders the Welch so hot and cholerick, but cheese and leeks? The French derive
their levity from their Soups, Frogs, and Mushrooms” (Satires & Personal Writings, ed. W.A. Eddy, p. 116).
Maupassant: “Le génie, c’est un bon estomac!” (Georges Normandy, Maupassant intime, p. 119). 甘地少時聞人云：“The English are able to rule over us because they are meat-eaters.” 遂竊嘗羊肉一臠，哇而出之，夜夢一羊鳴於腹中 (John Gunther, Inside
Asia, p. 386 引)，大類吾國「羊踏菜園」故事，亦師其意也。Ben Johnson, Every
Man out of His Humour , V. iv: Carlo: “’Tis an axiom in natural philosophy,
what comes nearest the nature of that it feeds, converts quicker to nourishment...
Now nothing resembling man more than a swine, it follows, nothing can be more
nourishing”; Taine, Vie et opinions de M.
F.-T. Graindorge, ch. V (Complete Plays,
“Everyman’s Lib.”, I, p. 139): “Quand vous voyez à votre future des joues roses
et des yeux candides, ne concluez pas qu’elle est un ange, mais qu’on la couche
à neuf heures et qu’elle a mangé beaucoup de côtelettes”; Oliver Twist, ch. 7: Mr Bumble to Mrs
Sowerberry: “It’s not Madness, ma’am. It’s Meat. You’ve overfed him, ma’am... If you had kept the boy on gruel, ma’am, this would
never have happened”; Marcel Pagnol, Topaze,
Act. IV, sc. I: Castel-Bénac à Suzy: “Vous lui avez révèle les grandes nourritures et maintenant,
parbleu, il a l’intelligence et l’énergie d’un homme bien nourri.” 皆可參觀。Coleridge 讀 Kant, Vermischte
Schriften 云：“Does not a man live on the food of Oxen? His vital power humanizes as thoroughly as a beast’s beastifies it. — The same
worms may often serve for food to bird & fish; but the bird birdifies, and
the fish fishifies them.” (René Wellek, Immanuel
Kant in England, p. 304 引)，則 Walter
de la Mare: “Miss T.”: “It’s a very odd thing — / As odd can be — / That
whatever Miss T. eats / Turns into Miss T.” 之意。Lotze,
Microcosmus, Bk. IV, ch. 4 (tr. by Hamilton
& Jones) 論此最詳，有云：“The grazing ox shows no lack of strength or
courage... The strength of bears & elephants is mainly sustained by
vegetable nutrition, & the carnivorous hyena exhibits neither strength nor
courage” etc. 又六百一則。[7]
百三十四[8]
吳之振《黃葉村莊詩集》八卷、《續集》二卷、《後集》一卷。南陽村友〈序〉即出呂晚村手，《晚村文集》未收。詩集中凡剜去名字處，皆為晚村作，當是文字獄以後事矣。《晚村文集》卷三〈與孟舉〉數書勸其毋沽名譽、貪聲色，頗盡忠告善道之誼，〈與某書〉則記其與孟舉絕交事，故孟舉《詩集》卷四以後，遂不復及晚村。而跋此〈序〉仍尊稱之曰「老友」，蓋晚村墓有宿草，泡影須臾，不必抵死分恩仇矣。孟舉詩於東坡為近，偶類石湖，絕非江西社裡。好掇拾詞頭，已開浙派，而語竟或失之纖、或失之獷，格韻卑薄，亦乏作意，骨氣既庸，韻致亦短，才力去晚村不可以道里計。絺章繪句，而未尋章句摘，提倡宋詩，安能成風氣乎？【曾燦《六松堂詩集》為吳作詩頗多，見卷二、卷九，又卷十〈為吳孟舉書夢序〉。澹歸《徧行堂文集》卷三〈吳孟舉詩序〉、卷十一〈與吳孟舉中翰〉（尺牘）、卷十三〈黃葉村莊茶集呈孟舉〉、卷十五〈吳孟舉過訪以宋詩選見贈却謝〉、卷十六〈次韻孟舉種菜詩〉。顧汧《鳳池園文集》卷四〈吳中翰孟舉六十壽序〉：「與呂用晦輩論定千古詩格，元元本本，搜奧抉奇。」】【《國朝詩別裁》卷十五僅選孟舉為葉橫山作七律一首。】
卷一〈憶相州舊里〉：「往來無異類，怒罵亦同心。二」
卷二〈京師景物詩〉：〈水車〉、〈煤黑子〉、〈獅子貓〉、〈春聯〉、〈琉璃廠〉、〈西河沿〉（似為妓寮）等。〈鬥紙牌〉：「本是當年胠篋徒，藏名直畫作青蚨。手談二字還堪借，博戲流為觚不觚。」自注：「賓客相邀，諱其名，以『手談』代之。」按《日知錄》卷二十八：「萬曆之末，太平無事，士大夫無所用心，問有相從賭博者。至天啟中，始行馬弔之戲。而今之朝士，若江南、山東，凡於無人不為此。」又按《世說》支公以奕棋為「手談」，古樂府以彈琴為「手語」。參觀李笠翁《凰求鳳‧第十四齣‧拐婿》批語。【浦起龍《三山老人不是集》卷四〈葉戲歌〉：「咸通年中廣昌主，歲晚豪筵鬥葉子。葉格重起至正間，流傳近代尤波靡。名字剽竊稗官家，刻畫兇徒逞角觝。」程先貞《海右陳人集》卷上〈葉子吟〉（近士大夫亦為此戲），程順、康時人。管世銘《韞山堂詩集》卷一〈葉子戲六十韻〉（五古）：「後來創新意，經畫出蛾眉。馬姓字湘蘭，北里稱名娃」云云。】
〈盆花〉：「盆梅低亞復團欒，偷發清香笑客寒。惆悵故園千樹雪，誰人為我倚闌干。」
〈埽除〉：「身後定蒙稽古力，眼中誰見濟時才。」
卷三〈秋夜〉：「西風一夜逗輕寒，愁緒無因集萬端。欹枕難尋殘夢續，披衣時取舊詩看。蟲吟隱約來床下，桐葉依稀到井闌。惟有油缸相對語，猶能吐穗作團欒。」
〈同朱老步郭外人家留飯西疇草堂〉：「社神香火尊於帝，村學規條亦有程。」
〈次自牧詠西洋餅二絕句〉：「縈波調蠟倩黃黃，試手膏油透甲香。不托牢丸多退舍，宮奩新樣出西洋。一」
〈酬施愚山寄惠敬亭綠雪‧之五〉：「羊酥牛乳拌胡麻，王李鍾譚并一家。」按卷四〈次韻答李武曾〉：「王李鍾譚聚訟場，牛神蛇鬼總銷亡。」卷六〈讀宋荔裳安雅堂集題贈‧之二〉：「驅除王李聱牙句，摒當鍾譚啽囈詞。」卷四〈四疊手字韻贈楊可師〉：「王李摶泥沙，詩竅塞已久。不達心孔靈，但裹皮肉厚。」
卷五〈次東深姪春日雜詠〉：「形影三人分主客，鼓吹一部判公私。」
〈次西疇詩老落梅韻〉第二首：「却笑隨州詩句子，間花落地聽無聲。」自注：「原詩有『鐵騎衝擊』之語，擬落花聲不應如是，作此調之。」（參觀第七百七則。）按《藏海詩話》載韓子蒼云：「絕句如小家事，句中著大家事不得；若山谷〈蟹詩〉用『與虎爭』及『支解』事，此家事大，不當入詩中」；《潛邱劄記》卷四上云：「馮圃芝摘汪鈍翁『戲蝶翩翾排闥過』，呼為『蜨中樊噲』。余舉其『寂寂精藍晝又開，隔籬飛蝶鎮徘徊』，謂如《漢書》所云『熊之上殿何其勇，今何怯』，乃『君家婕妤』也。」（又見卷五〈與陳其年書〉）又紀曉嵐《唐人試律說》，陳至〈芙蓉出水詩〉：「劍芒開寶匣，峯影寫蒲津」，批云：「劍似芙蓉，不得云芙蓉似劍；峯似芙蓉，不得云芙蓉似峯。」《宛陵集》卷六〈陪謝紫微晚泛〉云：「菰蒲斂鋩鍔，蓮芡熟櫜韜。」《瀛奎律髓》卷二十，張澤民〈梅花詩〉：「格外宮粧別」，紀批：「宮粧可以梅比，梅不可以宮粧比。」可參觀。《澗于日記》光緒十八年正月初八日：「山谷〈水仙花〉詩學少陵：『出門一笑大江橫』，『大』字、『橫』字粗獷，真是水師矣！」正可參觀。
卷七〈次韻答王甫瞻〉：「著書只合求吾好，鼓瑟何緣與俗諧。二」
〈壽高澹人學士〉自注云：「寄《菊礀集》，補入《宋詩鈔》中。」
〈留介山不得〉：「為問低頭華屋處，何如伸脚北窗間。」
《續集》〈甲戌元旦〉：「知交驚比晨星少，詩卷刪同落葉多。」
〈人日寄各菴主〉：「梅花索笑東風惡，柏子參禪妙悟遲。」
《後集》〈噉菜餡饅頭再作絕句〉：「久拋酒盞儘清幽，陽羨茶香點瓦甌。不用腥羶團餡子，怕他刺眼土饅頭。」
〈論詩偶成〉第二首自注：「『鳥鳴山更幽』語意高妙，『一鳥不鳴山更幽』便無味矣。」
百三十五[9]
T.L. Peacock, The Misfortunes of Elphin, ch. 1: “Prince Seithenyn held the office
of Lord High Commissioner of the Royal Embankment, & he executed it as a
personage so denominated might be expected to do: he drank the profits &
left the embankment to his deputies, who left it to their assistants, who left it
to itself.” 按 Erasmus, Praise
of Folly: “[The Pope & the Cardinals] are all content to reap the
profit, but as to the burden, that they toss as a ball from one hand to
another, & assign it over to any they can get or hire.... ecclesiastical
governors have their deputies, vicars, and curates, nay, many times turn over the
whole care of religion to the laity. The laity make it over to the priests; the
priests assign this task over to the regulars, the regulars to the monks, the monks
bandy it from one order to another, till it light upon the mendicants; they lay
it upon the Carthusians” etc. (George Allen & Unwin’s “Pocket Crowns”, no.
14, p. 170).
Ch. 2. Seithenyn 自辯一段議論，極類《官場現形記》中大臣口角。
Ch. XI: “‘The War-Song of Dinas Vawr,’
the quintessence of all the war-songs that ever were written, & the sum and
substance of all the appetencies, tendencies, & consequences of military
glory.” 誠然。凡興師皆以揚威伐罪為口實：“The great wars of aggression from antiquity down
to our own times all find a far more essential explanation in the idea of glory...
than in any rational & intellectualist theory of economic forces &
political dynamisms” (J. Huizinga, Homo
Ludens, tr. R.F.C. Hull, p. 90)[10]，此歌獨抉發其隱衷之出於貪與妬：“The mountain sheep are sweeter, / But the valley sheep are fatter” etc.
Crotchet
Castle, ch, 4, Dr Folliott: “I can taste, in my mind’s palate, a
combination [of sauce]” etc. 按 Alcman, 124 (J.M. Edmonds, Lyra Graeca, vol. I, p. 115) 始云：“She
[Memory] that looks with the mind”，遂導 Hoccleve,
Shakespeare 所謂 “mind’s
eye”。近人 J.E.
Downey, Creative Imagination, p. 11 論
Shakespeare 語而引申之曰：“A phrase which has been paraphrased to include the
mind’s ear also &even the mind’s nose. Not all images are visual.” 惜未聞
Peacock: “my mind’s palate” 也。
Ch. 6. Dr Folliott 欲奪取 Mr
Henbane 所藏毒藥，擲之泰晤士河中：“Let the frogs have all the advantage of it.” Mr
Crotchet: “Consider, doctor, the fish might participate. Think of the
salmon.” 按 O.W. Holmes, Address
to Massachusetts Medical Society, May 30, 1860: “I firmly believe that if
the whole materia medica, as now
used, could be sunk to the bottom of the sea, it would be all the better for
mankind & all the worse for the fishes.”
Ch. 7. “There was an Italian
painter, who obtained the name of Il
Brugatore, by the superinduction of inexpressibles on the naked Apollos &
Bacchuses of his betters... [London aldermen] issued an order that no
plaster-of-Paris Venus should appear in the streets without petticoats.” 按 Daniele da
Volterra 於 Michelangelo 所畫 Giudizio Universale 上加袴，人呼為 “Il
Braghettone” (R.J. Clements, Michelangelo’s
Theory of Art, p. 101)。Anatole France, Les
opinions de M. Jérôme Coignard, ch. 17 記 M. Nicodème,
président de la compagnie de la pudeur 語云：“Je
m’emploie à faire
disparaître les nudités exposées dans les lieux publics... Sachez que la
société que j’ai fondée fait faire des trousseaux pour les jeunes mariés, où il
se trouve des chemises amples et longues, avec un petit pertuis qui permet aux jeunes
époux de procéder chastement à l’exécution du commandement de Dieu relatif à la
croissance et à la multiplication.” 又 J.-J. Brousson, Anatole France en pantoufles 記一事尤趣：“Le conservateur pudibond de musée qui a fait mettre des feuilles de
vigne en zinc aux antiques: ‘Ce n’est pas que je sois bégueule, mais la plupart
de ces héros et de ces dieux passent la mésure. Ces gasconnades peuvent induire
en erreur les jeunes personnes qui viennent ici dessiner. Ces petites filles se
montent l’imagination. Quelle disillusion le soir de leurs noces! De là des
déprisement, des divorces. C’est pour remédier à ces catastrophes conjugales
que j’ai fait accrocher, par-ci, par-là, quelques feuilles de vigne. Je n’en aim
is, d’ailleurs, qu’aux exagérés. J’ai respecté la
nudité des statues, qui se conforment au canon normal. Ne quid nimis... A celles qui en ont plus que moi, une feuille de
vigne. Mais aux parfaites, rien!” 又 “T”
[of Punch], Friends & Adventures: “All the nude gods, heroes, heroines,
& goddesses in our Lemprières at Stonyhurst had all the regrettable parts
of their bodies covered with neat bathing drawers. I even remember taking a
copy of Silas Marner from the big
library & found a word scratched out on several of the first few pages.... ‘wellxxxx
[bred],’ ‘thoroughxxxx,’ ‘countryxxxx’ etc. ‘Modesty powder’ which makes bath
water opaque was issued to religious persons.” 又
Brousson 所記當與 Heine, Gedanken
und Einfälle: “Wenn das Laster so grossartig, wird es minder empörend. Die
Engländerin, die sonst eine Scheu vor nackten Statuen hatte, war beim Anblick
eines ungeheuren Herkules minder schockiert: ‘Bei solchen Dimensionen scheint
mir die Sache nicht mehr so unanständig’” (Sämtliche
Werke, hrsg. G. Karpeles, Bd. VIII, S. 320) 合觀，相映成趣。Cf. Montaigne, Essais, III, 5,
La Pléiade, p. 826. Baudelaire, Journaux
intimes, éd. Van Bever, pp. 99-100: “Tous les imbéciles de la Bourgeoisie
qui prononcent sans cesse les mots: immoral, immoralité, moralité dans l’art et
autres bêtises me font penser à Louise Villedieu, putain à cinq francs, qui
m’accompagnant une fois au Louvre, où elle n’était jamais allée, se mit à
rougir, à se couvrir le visage, et me tirant à chaque instant par la manche, me
demandait devant les statues et les tableaux immortels comment on pouvait
étaler publiquement de pareilles indécences. Les feuilles de vigne du sieur
Nieuwerkerke.” Harold Acton, The Last
Medici, p. 296: “Even the nude statues in the Uffizi worried Cosimo’s conscience...
There was in Florence at that time a canon so foolish that he wished to put
breaches on a crucifix.” “Suneon Solomon sent pictures to the Royal Academy
portraying 'spiritual but physically complete beings, wearing aureoles round parts
of their persons not usually submitted to public inspection.”
[4]「三十九」原作「三十八」。
[5]「組」原作「俎」。
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