“La dernière passion de mon époux! voilà ce qu’en
dit le daguerreotype.”—“Pas jolie, l’air commun... et quelles mains!... On se
demande ce qu’une créature comme ça peut avoir pour elle.”—“L’illégitime, ma
chère.”
Paul Gavarni (1804-1866)
百四十六 (a)[1]
《制義叢話》卷九何雨崖〈李文貞公稿題詞〉云：「文須將題做死，乃可傳。所謂『做死』者，一題恰受此一篇文字，前人說不著，後人襲不來，則題之精氣盡，而不啻死矣。」按用字甚奇。 Robert Greene, Perimedes
the Blacksmith: “Phyllis was won, she blushed & hung the head; / The
swain stepped to, & cheered her
with a kiss; / With
faith, with troth, they struck the matter dead” (A.H. Bullen, Poems from Romances & Prose-tracts of
the Elizabethan Age, p. 13); Nietzsche, Ecce
Homo: “Der Gelehrte — ein décadent
‘zu Schanden gelesen’” (Werke, “Taschen-AUsgabe,
Bd. XI, S. 303); Richard Aldington, Life
for Life’s Sake, p. 55: “At the Devil’s Bridge notices read: ‘One shilling
to see the landscape immortalized by Wordsworth.’ As Lawrence says, everything
has been seen to death” 可參觀。貌同而心則大異矣。
百四十七 (a)[2]
Hegel, Die Naturphilosophie 雖穿鑿荒誕，而時有奇語，如以繁星麗天比為天膚患癬疾，或羣蠅聚羶 (§268: “Dieser Licht-Auschlag ist so wenig
bewundernswürdig, als einer am Menschen, oder als die Menge von Fliegen.” — Sämtliche
Werke, hrsg. von H. Glockner, Bd. IX, S. 118.)。《緣督廬日記鈔》卷十光緒二十八年七月一日：「鹻地經炎日蒸曬，皆坼裂如龜兆，皮片片剥落如松鱗，余謂之『地癬』。」皆甚切。余久患此矣，一片紅腫中有無數小點，如玉川子〈月蝕詩〉「星如撒沙出，爭頭事光大」者是也，與 The Merchant of Venice, IV, i 詠星：“The floor of heaven / Is thick inlaid with patens
of bright gold”; Coventry Patmore: “The Seasons”: “The winter comes, the frozen
rut / Is bound with silver bars; / The white drift heaps against the hut, / And
night is pierced with stars” 手眼大異矣。文家比擬，有此一體：“Another kind of metaphor acceptable to Baroque sensibility,
the diminishing or domesticating metaphor.... Thomas Gibbons warns against ‘fantastical’
tropes: the embossing of mountains, the enameling of lesser seas, the open-work
of the vast ocean, & the fret-work of the rocks.” (Rhetoric, pp. 15-6). Sylvester’s ‘winter’s keen breath’ which ‘periwig
with snow the baldpate woods’ made the youthful Dryden ecstatic (Essays, ed. Ker, I, p. 247). T.S. Eliot’s
celebrated opening of ‘Prufrock’: ‘When the evening is spread out against the
sky / Like a patient etherized upon a table.’” (R. Wellek & A. Warren, Theory of Literature, pp. 198-9) 【參觀百四十七則 c 眉。[3]】【［補百四十七 a］按
Sylvester 句中 snow 當作 wool，蓋 Dryden 誤引。Saintsbury, Minor
Poets of the Caroline Period, I, 310 舉 Edward
Benlowes: “Betimes, when keen-breath'd winds, with frosty cream, / Periwigg’d
with snow’s each bald-pate wood.”】【Peregrine Book of J. Pinkerton, Walpoliana: “The Gothic style seems to
bespeak an amplification of the minute, not a diminution of the great” (James
Thornton, ed., Table Talk, “Everyman’s
Library”, p. 124).】他如 Samuel Butler, Hudibras,
Canto II, ll. 31-2: “And like a lobster boil’d, the morn / From black to red
began to turn”; Milton: “Nativity Ode”: “So when the Sun in bed / Curtain’d
with cloudy red” etc.; Pope: “I don’t doubt that a thorough-bred lady might
admire the stars because they twinkle like so many candles at a birth-night” (Spence’s Anecdotes, “Century Classics”,
p. 40). 古人中，Marino 最喜為此，如稱星辰為天上造幣廠所鑄毫洋 (Ardenti zecchini della banca del cielo)，又稱為天篩之孔 (Buchi lucenti del celeste crivello) (J.B. Fletcher, Literature of the Italian Renaissance,
p. 324 引)。然極其致於 Jules Renard，如 “Le ciel est
plein d’yeux sanglants. Le ciel, la plus belle queue de paon du monde” (Journal, p. 141); “Un ciel barbouillé à
l’horizon, comme une bouche, de framboises” (Ibid., p. 228); “La lune nous regarde avec son monocle” (Ibid., p. 282); “L’eau a baissé. ... Une
source fait un pipi presque indécent” (Ibid.,
p. 296, 參觀第三百二十八則); “Dès que tombe une pluie fine, la rivière a la
chair de poule” (Histoires Naturelles,
p. 7); “Vers midi, le soleil maussade essaie de percer la brume et entre ouvre
un oeil pâle tout de suite refermé” (Ibid.,
p. 280); “Ma Mansarde. Une lucarne découpe une carte de visite de ciel.
Solidement assis, je regarde la mer avec fixité... Un torpilleur manoeuvre au
loin: gros cigare” (Écornifleur, pp. 67-9),
不勝一一舉。【參觀第五百三十七則。】Wellek-Warren 引
Sylvester 句，則 Edward Benlowes: “Theophila” 嘗仿之：“Betimes, when keen breath’d winds, with frosty cream, / Periwig bald trees,
glaze tattling stream.” (Minor Poets of
the Caroline Period, ed. Saintsbury, I, p. 310)。【Byron,
Don Juan, II, 90 (第七百六十五則).】【Anonymous, Contr’alcuni
mali poeti moderni, quoted in U. Limentani, La Satira nel Seicento.】【G. Basile, Il
Pentamerone, I, i 寫天曙云：“quando l'Aurora esce a gittate il pitale del
vecchio suo, pieno di arenella rossa” (tradotto di B. Croce, p. 18; p. 541 注文引
Lippi, Malmantile, IX, 5: “Sorge l’aurora... e vota l’orinal del suo marito.”) Annie Vivanti, I divoratori: “I pini, maestosi, con un
tocco di neve sulle loro cime, parevano processioni di frati in berretta da note”
(D. Provenzal, Dizion. delle Immagini,
682).】【E. Marcellusi, Poemi
occidental 詠雨：“era, quella; / una una piccia d’angeli” (D.
Provenzal, Dizion. delle Immagini,
687).】【H.
Küpper, Wörterbuch der deutschen Umgangssprache,
3te Auf. 1963, Bd. I, S. 428: “es schifft: es regnet in Strömen;”
II, S. 212: “Petrus lässt wasser, Petrus schifft: es regnet. Petrus hat gefurzt:
es donnert heftig.”】【Havelock Ellis, Studies
in the Psychology of Sex, VI, p. 387-8 記蠻人以雨為 “Excretion
of a heavenly being,” “the urine of the stars.” Aristophanes, Clouds, 293-5 Strepsiades 聞雷，以屁答之；372-3 以雨為 Zeus 自篩眼中小遺；391-2 復以屁聲 (papapax, pappapappax) 擬雷聲 (tr.
by B.B. Rogers, G. Bell & Sons, pp. 43, 55, 57, “Loeb Class. Lib.”, I, p.
291, 301, 313)。】【Ernest Jones, Nightmare,
Witches, & Devils, p. 167 引 Bibliotheca scatologica, art. “Oratio pro Guano Humano”: “Le tonnerre ce n’est
qu’un pet; c’est Aristophane qui le dit.” 德語亦云：“Aus jedem Furz einen Donnerschlag machen” (H. Küpper, Wörterbuch
der deutschen Umgangssprache, Bd. I, 3te Auf., S.183).】【D.H.
Lawrence, Plumed Serpent: “Kate: ‘This
man is my rain from heaven.’ Don Cipriano: ‘This woman is the earth to me.’” 又第六百九十一則。】【Olivia Manning, The Doves of Venus,
p. 199: “Outside a thunderstorm was roaring & clashing. Denis went to the
window: ‘No rain,’ he said. ‘A costive show. A case of cosmic collywobbles.’”】東坡〈新城道中〉詩云：「嶺上晴雲披絮帽，樹頭初日掛銅鉦。」下句與陶穀《清異錄》載高太素〈冬日初出銘〉云「金鑼騰空」同一思致；上句則與包賀「霧是山巾子」之意正合。范石湖《吳船錄》卷下亦云：「雲繞山腹則雨，雲翳山頂則晴，俗謂：『廬山戴帽，平地安竈；廬山繫腰，平地安橋。』」【Periwig】《清異錄》中巧立名目，如〈天文門〉之雲為「天公絮」、臘月雨為「琉璃變」[4]、雪為「冷飛白」，莫非此物此志也。陳陶〈海昌望月〉云：「疑拋雲上鍋，欲摟天邊球。」《太平廣記〉二五八引《啟顏錄》載高敖曹〈雜詩〉：「塚子地握槊，星宿天圍棋。開壜甕張口（《類説》卷十四作『開門屋張口』），捲席牀剥皮。」「桃生毛彈子，瓠長棒槌兒，牆欹壁凸肚，河凍水生皮（《類説》十四作『生肌』）。」《北夢瑣言》卷七載包賀斷句：「霧是山巾子，船爲水靸鞋」；「櫂摇船掠鬢，風動水搥胸。」王庭珪《瀘溪詩文》卷四〈二月二日出郊〉云：「天忽作晴山捲幔，雲猶含態石披衣。」曾異撰《紡授堂二集》卷四〈冬日溪行‧之二〉云：「石渴谿寒齒，沙分岸反唇。薄烟衣水骨，落木裸山身。」卷五〈送陳洪中‧之三〉云：「鶯老惜喉瘖病妓，山尖如指簇新薑。」潘耒《遂初堂詩集》卷十〈江行雜詠‧之二〉云：「過雲山似褰帷出，裂水帆如破陣來。」他若笑枋流傳「瓶倒壺撒尿，柁響舟放屁」（錢枋輯本《野獲編》卷二十六）；「雨當天下痢，雷當天放屁，日當天出血」（《南亭四話》卷四）；「凍雨欲來天霍亂，迅雷奮起地怔忡」（袁珏生《恐高寒齋詩》卷下〈登看雲起亭子逢大雷雨〉），更僕難數矣。【王之道〈卜算子〉：「風喘西頭客自東。」〈西江月〉：「綠楊風喘客帆遲。」】【《柳南隨筆》卷三：「湖上某禪詩詠雪云：『陣陣朔風寒，天公大吐痰。明朝紅日岀，便是化痰丸。』」】【《荀子‧不苟篇》：「入乎耳，出乎口。」楊倞注：「或曰：言山有耳口也。凡呼於一山，衆山皆應，是山聞人聲而應之。山能吐納雲霧，是有口也。」】
百四十七 (b)[5]
金德瑛檜門《詩存》四卷又〈觀劇絕句〉三十首。雅健而乏警策。錢香樹〈序〉云：「宋元人中，尤愛東坡、梅溪、遺山、曼碩諸家，故所作往往相近」云云，蓋稍自異於當時唐詩流派者也。檜門曾孫衍宗《思怡貽堂詩稿》卷十〈重游泮宮詩〉第二首云[6]：「敢誇詩是吾家事，浙派還分秀水支。繼此錢汪皆後起，除惟張蔣乏真知。」自註：「秀水派推錢、汪、王、萬諸君，實先公為之倡。先公詩惟蔣辛畬太史、張瘦銅中書得其傳，餘無知者。王蘭泉少寇《蒲褐山房詩話》論先公及籜石詩，尤可怪」云云，不免誇飾，且數語之內，自相違牾，既云惟蔣、張得其傳，則秀水派分明傍門矣。籜石、穀原、柘坡、汪氏兄弟、心餘、瘦銅均染指江西派，非僅止於東坡，相去尚一塵也。瘦銅《竹葉庵文集》卷十〈過金都御史故宅〉第二首自注：「先生詩自題曰《檜門詩》，疑今刻曰《詩存》非先生志也。又所刪多不當。」
卷一〈驗看歲貢生〉：「老猶誇體健，貧共訴家寒。」按兩句道盡。
卷二〈十月朔宿石陂街逆旅主人出畫卷求題〉：「昔來戊午今庚午，中隔庚申作畫年。紙上蒲帆原不動，人如飛鳥却飄然。涼風木葉聲蕭瑟，茅舍山橋路折旋。老去東坡還好事，烟江疊嶂賦新篇。」按此首較近籜石體。
卷三〈錦屏山歸途戲語心餘〉：「其出如泉波如天，蓬萊海外詩謫仙。山行水立自顛倒，石牛洞中風格老。奇外出奇見豫章，峩眉競秀各一方。錦屏山石抝幾摺，彷彿谷詩鑱天立」云云。同卷又有〈天津查禮官慶遠同知重修龍溪黃文節公祠徵詩〉七古，王述菴殆據此等篇什，遂謂檜門學山谷耶？可笑！【王益堂〈虛受堂詩存〉卷十六有〈和金檜門先生觀劇絕句〉三十首。吳仰賢《小匏庵詩話》卷一稱檜門〈郊西柳枝〉云「長是至尊臨幸地，世間離別不曾知」，謂其似義山〈詠柳〉云「後庭玉樹承恩澤，不信年華有斷腸。」《隨園詩話》卷十四：「唐荊川云：『詩文帶富貴氣者便不佳。』余道不然（舉檜門此詩為例）。」按參觀百六十六則嚴蓀友詩、《樊榭山房集》卷七〈西湖柳枝詞‧之六〉：「路旁煙態罥朱樓，長送行人千里游。願作湧金門外樹，生來渾不識離愁。」梁山舟《頻羅菴遺集》卷一〈玉河柳枝詞‧之六〉：「爭向東風拜舞頻，六龍此日度龍津。生來不解銷魂事，只送鑾輿不送人。」按宋之問〈秋蓮賦〉始發此意。
百四十七 (c)[7]
陳偕燦少香《鷗汀漁隱詩集》六卷、《續集》三卷、《外集》一卷試帖詩、《琴韻閣遺草》少香繼室毘陵沈鳳作、《琴韻閣悼亡詩》一卷。向於林昌彝《射鷹樓詩話》、《海天琴思錄》中覩少香名，蓋林之房師也。所作務為才調風華，而浮華一無足觀。上蓋承袁、趙，近沿其鄉人吳蘭雪之餘波者也。其弟子何廣憙作〈凡例〉有云：「先生邃於漢學，字體悉本許氏《說文》及經史古本。將付梓，命廣憙與同門林君薌谿校讎」云云。今觀《集》中，惟「佀」、「𡧯」、「𤎆」、「㳂」、「摉」等十許字。即令全書如江艮甫撰述，以篆為楷，亦所謂「字古而文不古」。況寥寥若此，乃欲示空心漢學，醜其陋甚！
卷二〈題楊太真賜浴圖〉第二首云：「自家扶起嬌無力，不信金錢洗祿兒。」小有致。
卷五〈悼逝詩〉第三首自注：「屢為吳蘭雪捉刀。」
《射鷹樓詩話》卷五云：「黃仲則〈綺懷〉詩，人傳為中表之私。但觀詩中如『妙諳諧謔擅心靈[8]，不用千呼出畫屏』等語，似非閨秀身分。又『試歌團扇難終曲』四句，則為青衣小婢無疑。又『夤緣湯餅宴前見』，若中表之私，縱適人亦不必夤緣始得見也。宜黃陳少香先生曩客毘陵，聞彼處士夫言之甚悉，皆指為仲則姑母之婢。」《南亭四話》卷一云：「相傳仲則意中人所適者，為四川屏山縣知縣之子，故曰：『一角屏山便不逢』[9]，又曰：『錦江疑在青天上』，又曰：『忍見青娥絕塞行』。其人僅中人姿，故詩中絕不言態度。」按仲則〈綺懷〉古今奇作，而註釋無人，兩說皆刻舟求劍，錄之以廣異聞耳。
百四十八[10]
Luther: “Die Lüge ist wie ein Schneeball: je länger
man ihn wälzt, je grösser sie wird” (Zinkgref, Apophth, Bd. I, S. 182). 按始以雪球為喻者，見 The Notebooks of Leonardo da Vinci, tr. by E. McCurdy, vol. II, p. 464: “The ball of
snow the more it rolled as it descended from the mountains of the snow was
continually more and more increasing its size”; p. 516: “Many there will be who
will wax great in their destruction — the ball of snow rolling over the snow.” 英法文中亦有此語：Larousse du XXe Siècle, I, p. 807: “La dette, en faisant la boule de
neige, finit par écraser l’emprunteur”; NED:
“Snowball”, 1,b: “For reports we know like snow balls gather still the farther
they roule” (Govt. Tongue). 又Thraliana, ed. Katharine C. Balderston, II, p. 1057: “how
infidelity does go on enlarging itself like a Snow Ball”; Thomas Southern, The Disappointment (1654), Epilogue: “You
rowle like Snow-Balls, gathering as you run.” (Essays in Criticism, Oct. 1956, p. 370)
百四十九[11]
H.F. Jones, Samuel Butler. 所附 Eliza
Mary Ann Savage 尺牘，筆舌玲瓏，勝於 Jane Welsh Carlyle 多矣。Butler
謂使其作小說，當可比 Jane Austen (II, p. 106)，雖為溢美，尚非海樣語也。有才無貌，令人歎惋。Butler 自責薄倖之詩凡三首，Jones 衹載二首 (II, p. 350) (Letters
between Samuel Butler & Miss E.M.A. Savage, pp. 372-4 備載三首)，其三則余於 Malcolm
Muggeridge, The Earnest Atheist 中見之，措詞命意更使讀者撟口不下[12]。Jones 為人作傳而自述家譜 (I, pp. 228-231)，亦創例也。
I, pp. 175-6: “Butler often told the
story about the Sultan who challenged Ebn Oaz, his jester, to invent an excuse
that should be worse than the crime it was intended to excuse. The jester
presently pinched the Sultan’s leg, &, the Sultan appearing to be offended,
Ebn Oaz excused himself by saying: ‘'Pardon me, Your Majesty. I thought I was
pinching Her Highness the Sultana.’” 按 Sisley Huddleston, Paris Salons, Cafés, Studios, ch. VI: “Robert MacAlmon told me a
story of the negro hotel servant who prided himself on his tact. ‘Today I
entered what I thought was an empty bathroom. A lady was in the bath. So I went
out & as T closed the door I said I
beg your pardon. That was politeness. But I added, I was not aware you were here, Sir. That Sir was tact’” (cf. E.
Partridge, Dictionary of Slang, p.
860: “Tact”: “A plumber explaining to his assistant: ‘Tact is when you find her
ladyship in the bath & you get away quickly saying: Beg pardon, my Lord’”) 相映成趣。【B.A. Cerf, The
Pocket Book of Jokes, p. 3: “Tact: The ability to make your guests feel at
home when you wish they were.”】
I, p. 212: “An honest God’s the
noblest work of man.” 按似翻 Pope 之案，而實即 G.C. Lichtenbergs Aphorismen, D. 198: “Gott schuf den Menschen nach seinem
Bilde, das heisst vermutlich: Der Mensch schuf Gott nach dem seinigen” (Hrsg. von
A. Leitzmann, Bd. II, S. 124; cf. D. 272: “Gott schuf den Menschen nach seinem
Bilde, sagt die Bibel, die Philosophen machen es grade umgekehrt, sie schaffen
Gott nach dem ihrigen.”
— S. 140). 又 E.
Gosse & Thomas J. Wise, The Letters
of A.C. Swinburne, I, p. 189: “No man could by other than apocalyptic means
conceive of any other sort of Divine
person than man with a difference... man with the good in him exaggerated and
the evil excised” etc.【Jowett: “God is simply man with a difference” (A.C.
Swinburne, Studies in Prose & Poetry,
p. 35).】又 Remy
de Gourmont, Promenades philosophiques,
III, p. 262: “Dieu: ‘Qui t’a fait homme?’ L’homme: ‘Qui t’a fait Dieu?’” 之旨，其意始發於希臘哲人 Xenophanes (Frag. XV, J.F.
Edmonds, Greek Elegy & Iambus, I,
pp. 201, 203; cf. W. Jaeger, Paideia,
Eng. tr. by G. Highet, I, p. 170)[13]，後來
Jeremy Taylor, XXV Sermons: “Idolatry not only making God after man’s image, but
in the likeness of a calf, of a cat, of a serpent” (The Golden Grove: Selected Passages from Jeremy Taylor, ed. L.P.
Smith, p. 239); Walter Bagehot, Literary
Studies, “Ignorance of Man”: “The Ethiop gods have Ethiop lips, / Bronze
cheeks, and woolly hair; / The Grecian gods are like the Greeks, / As
keen-eyed, cold, & fair”; Montesquieu, Lettres
persanes, LIX: “Les nègres peignent le diable d’une blancheur éblouissante
et leurs dieux noirs comme du charbon: on a dit fort bien que, si les triangles
faisaient un dieu, ils lui donneraient trois côtés” (“Classiques Garnier”, p.
130). 參觀 Memoirs of Casanova, Eng. tr. by Arthur Machen, XII, p. 265: “A
handsome negress said to me one day: ‘I can’t make out how you can be so much
in love with my mistress, who is as white as the devil.’” 其理則
Feuerbach 言之最徹：“Gott ist nichts Anderes als was der Mensch von
sich als Wahres Herrlichstes anerkennt... Der Mensch ist als Mensch, per se,
göttlich” (“Nachgelassene Aphorismen”, Sämmtl.
Werk., hrsg. Bolin und Jodl, Bd. X, S. 338). 此意實本之歌德 “Das Göttliche”
一詩 (Goethe, Auswahl
in 3 Bänden, “veb”, II, S. 123; 見七○一則) 。【Hegel, Ästhetik, Aufbau Verlag, 1955, S. 425: “... das witzige französische Wort: Gott
habe den Menschen nach seinem Bilde geschaffen, aber der Mensch habe es ihm heimgegeben,
und Gott nach des Menschen Bilde geschaffen.”】
Miss Savage 於法國文學瀏覽甚廣，稱道 Diderot (I, p. 268)，在當時尤難得。I, p. 422: “By the by, apropos of Darwin, did you
know that Diderot was an evolutionist?” etc. (亦見 Letters between Samuel Butler & Miss E.M.A.
Savage, p. 334). 按 I.
Babbitt, Spanish Character & Other
Essays, p. 106: “The most original of scientific naturalists, he
anticipated the theory of evolution in Le
Rêve de d’Alembert.” 又 R.L. Cru, Diderot
as a Disciple of English Thought, p. 207 亦舉 Pensées sur l'interprétation de la nature, Le Rêve de
d’Alembert，而稱為 “A
Darwinian avant la lettre”。又按
Thackeray 以 Jules Janin 之言亦涉獵 Diderot：“a remarkable sentimental cynic too, in his way of thinking
& sudden humours not unlike — not unlike Mr Bowes [cf. Pendennis, ch. 6]” (Letters & Private Papers of W.M. Thackeray, ed. Gordon N. Ray,
II, p. 500); Swinburne: “That glorious little black masterpiece the Neveu de Rameau,” “If Browning did not
consciously steal, & unconsciously & unconscionably spoil in the
stealing, the episode of Jules the sculptor’s marriage in ‘Pippa Passes’ from the
‘Histoire de Mme de la Pommeraye et du marquis des Arcis,’ in Jacques le Fataliste, then all
incredible coincidences must henceforth be held credible” (Letters of A.C. Swinburne, ed. E. Gosse & T.J. Wise, I, pp.
240, 360).
I, 429: “It was very good of God to
let Carlye and Mrs Carlye marry one another & so make only two
people miserable instead of four.” 按亦見 Letters between S.B. & Miss E.M.A.S., pp. 349-50。據 Margot
Asquith, Autobiography, I, pp. 196-7，親聞
Tennyson 論 Carlyle 夫婦曰：“By any other arrangement four people would have
been unhappy instead of two.”
II, p. 72 引 Life & Letters of Dr Butler, I, 255：“Dr Parr once said to my grandfather, ‘It’s
all very well, Sammy to say that So-&-So is a good scholar, but can he
write an inscription?’” 按 The Note-books, p. 108 亦道此而引申之曰：“I say, ‘Can he name a kitten?’” 殆如《典論》云「汝毋自諛，看汝作家書」矣[14]。
II, 276: “Ibsen may be a very wonderful man, but what little I know of
him repels me and, what is worse, bores me.” 按
Bernard Shaw 尊 Butler 又尊 Ibsen，將何以自處？
II, p. 370: “Le style c’est l’homme
holds good also for la femme.” 按 Heine, Gedanken
und Einfälle: “Le style c’est l’homme — c’est aussi la femme! Frau von
Staëls Unwahrheit.” (Gesammelte Werke,
hrsg. von G. Karpeles, Bd. VIII, S. 309) 又 Jules
Renard 論 Mme de Noailles
云：“Le style, ce n’est pas la femme”; p. 2: “Dans
certains états de l’âme presque surnaturels la profondeur de la vie se révèle
tout entière dans le spectacle, si ordinaire qu’il soit, qu’on a sous les yeux,
il en devient le symbole.” 按參觀 E.L. Stahl, “The Genesis of Symbolist Theories in
Germany” (MLR, June 1946, p. 306 ff.)。
百五十[15]
Charles Baudelaire, Journaux Intimes, éd par Ad. van Bever. 參觀第四十四則、百十七則。
P. 4: “L’amour veut sortir de soi,
se confondre avec sa victime, comme le vainqueur avec le vaincu, et cependant
conserver des privilèges de conquérant.” 按體會造微。C.S. Peirce, Evolutionary Love:
“St John made Love the One Supreme Being: ‘God is love’.... Henry James says: ‘...
the creative Love, all whose tenderness ex
vi termini must be reserved only for what intrinsically is most bitterly
hostile & negative to itself.’ (Substance
& Shadow, p. 442)... The movement of love is circular, at one & the
same impulse projecting creations into independency & drawing them into
harmony” (Collected Papers of C.S. Peirce,
vol. VI, p. 191) 可參觀，即神秘主義所謂「超越」 (Transcendence) 而復「周匝」 (Immanence) 也（參觀 L.A. Reid, Preface
to Faith, pp. 180 ff. 論 “vertical”
error vs. “horizontal” error）。余《談藝錄》第六十三頁論仁樂山、智樂水云：「於山靜水動中，見仁見智，彼此有合，故樂。然山之靜非即仁，水之動非即智，彼此仍分，故可得而樂。外物異體，與吾身心契，而固融而亦隔，可樂在此，樂不能極亦緣此，飲食男女皆然，即意淫說食，亦必於內景中構一外象，立他以供我耳」云云[16]，自負為窮理盡性之言。近日 Heidegger 論 Existenz 即 Extase (參觀 Jean
Wahl, A Short History of Existentialism,
p. 15: “egress”... “open to the world” 可相印證。)
P. 7 寫醜狀：“ces soupirs, ces gémissements, ces cris, ces râles” etc. 按 Hippocrates 早曰：“Coïtion
is a brief epilepsy” (Aulus Gellius, The Attic
Nights, XIX, ii, “The Loeb Class. Lib.”, III, p. 358). Leronardo da Vinci 亦屢言此：“The act of procreation & the members employed therein are so
repulsive, that if it were not for the beauty of the faces & the adornments
of the actors & the pent-up impulse, nature would lose the human species”
(Son di tanta bruttura che, se non fusse la bellezza de’ volti e li ornamenti
delli opranti e la sfrenata disposizione, la natura perderebbe la spezie umana)
(The Notebooks of Leonardo da Vinci,
tr. by E. McCurdy, vol. I, p. 106). Sir Thomas Browne, Religio Medici, II, 9: “... this trivial & vulgar act of
coition... is the foolishest act a wise man commits in all his life...”; Marcus
Aurelius: “Love is but the attrition of an ordinary base entrail, & the excretion
of a little vile snivel, with a certain kind of convulsion.”
P. 16: “Ce qui n’est pas légèrement
difforme est insensible, d’où il suit que l’irrégularité, c.-à-d. l’inattendu,
la surprise, l’étonnement, sont une partie essentielle et la caractéristique de
la beauté.” 按即 Bacon: “Of Beauty”: “There is no excellent beauty that hath not some strangeness in
the proportion” (Essays, “The World’s
Classics”, p. 177).
P. 65: “Emerson a oublié Voltaire
dans ses Représentants de l’humanité[17].
Il aurait pu faire un joli chapitre intitulé: Voltaire, ou l’anti-poète.” 按
Novalis, Fragmente, hrsg. von E.
Kamnitzer, §2026: “Voltaire is einer der grössesten Minuspoeten, die je lebten.”
P. 66: [À propos de la plaisanterie
de Voltaire]: “De fait, nous ne pouvons faire l’amour qu’avec des organes
excrémentitiels.” 按 Voltaire 語見 Les Oreilles du comte de Chesterfield, ch. IV: “Sidrac: ‘je n’ai jamais pu comprendre
comment un être immatériel, immortel, logeait pendant neuf mois inutilement
caché dans une membrane puante entre de l’urine et des excréments.’”[18]
(Oeuvres complètes, éd. Moland, T.
XXI, p. 583)。實則 St. Augustine 早云：“Inter
faeces et urinam nascimur.”[19]
(Havelock Ellis, Studies in the
Psychology of Sex, VII, p. 120 引)。近日 D.H. Lawrence, Pornography
& Obscenity (Sex, Literature, &
Censorship, ed. H.T. Moore, p. 206); Bernard Shaw (Hesketh Pearson, Bernard Shaw, The Reprint Society, p.
112); A. Vial, Guy de Maupassant et l’Art
du Roman, pp. 190-1中亦言之。【Yeats: “Love has pitched its mansion in the place
of excrement.”】
P. 68: “Il y a de certaines femmes
qui ressemblent au ruban de la Légion d’honneur. On n’en veut plus parce qu’elles
se sont salies à de certains hommes.” Cf. Johnson: “What! have they given him a
pension? Then, it is time for me to give up mine.” (on Thomas Sheridan’s
pension) (W.J. Bate, Samuel Johnson,
p. 363).
P. 79: “Dans l’amour, comme dans
presque toutes les affaires humaines, l’entente cordiale est le résultat d’un
malentendu. Ce malentendu, c’est le plaisir. L’homme
crie: ‘Ô! mon ange!’ La femme roucoule ‘Maman! Maman!’” 又 p. 95:
“Le monde ne marche que par le malentendu. C’est par le malentendu universel
que tout le monde s’accorde. Car si, par malheur, on se comprenait, on ne
pourrait jamais s’accorder.” 按此理真實不虛。Henri Barbusse, L’Enfer,
p. 63: “Il n’était mû que par le désir d’elle; elle, par le seul besoin de
sortir de sa vie... leur couple avait l’air uni, mais il ne l’était pas.” 又
Samuel Butler, Alps & Sanctuaries,
p. 44: “The power of thinking certain new things sufficiently like certain
others to which we have been accustomed not to be too much incommoded by the
change — the power of mistaking the new for the old. The power of fusing ideas
depends upon the power of confusing
them. Mr Locke has been greatly praised for his essay upon human
understanding. An essay on human misunderstanding should be no less interesting
& important. Illusion to a small extent is one of the main causes of
progress” (cf. The Notebooks of Samuel Butler, p. 229). 更以人事推而論天運。各明一義，而同歸一揆。
P. 72: “De la haine du peuple contre
la beauté. Des exemples: Jeanne [Duval] et Mme Muller.” 按參觀 Journal des Goncourt, 1859, 8 mai: “Le Beau est ce que votre maîtresse
et votre bonne trouvent d'instinct affreux.”
Pp. 102-112: “Hygiène, Conduite,
Morale.” 諸則於振作身心、刮除習染長言反覆，不啻銘誓。意苦詞危，讀之惻然。蓋自知疾不可為，而尚希冀於萬一也。參觀 S.T. Coleridge, The Notebooks, ed. Kathleen Coburn, §2091: “O, great God” etc.[20]
Pp. 119-20: “laissez les écoliers
ivres de leur première pipe chanter à tue-tête les louanges de la femme grasse...
Si la femme grasse est parfois un charmant caprice, la femme maigre est un
puits de voluptés ténébreuses!” 按 p. 11: “La maigreur est plus nue, plus indécente
que la graisse.” 蓋與 Gautier: “Au diable les grands sentiments et les
femmes maigres!” 適相反。Journal des Goncourt, éd. definitive, II, p. 152, 1864, 11 avril: “... des femmes maigres, décharnées,
minces à tenir dans la main, avec un rien de corps, une infiniment petite place
sur elles, pour les exercices de l’amour.” 按亦
Baudelaire 以人勝天，故逆本性之一端。天性選色，皆賞肥也。I. Bloch, Die
Prostitution, I, S. 48-9: “Jedenfalls galten die dicken Weiber damals als
Ideal und Objekt der sinnlichen Lust... ein Zeichen für den ‘materiellen
Geschmack’ der Männer” usw. 《少室山房筆叢》卷二十二：「用修謂：『肉不豐，生色骷髏；骨不微，田家新婦。』蓋左袒豐腴者。」又第七百二十七則論《王奉常集‧文部》卷五十一〈李郡畫六十美人跋〉。參觀第六百六則。
Pp. 120-1 論 “L’association
des idées qui fait aimer les laides”[21]，舉所歡為天黥面花（語本徐青藤，參觀《茶香室叢鈔》卷十）為例，即本 Stendhal, De
l’Amour, ch. XVII (Éd. “Le Divan”, T. I, p. 68)，至 p.
126 則明言 “Cristallisation”
矣。參觀二一三則論 Theocritus, X。
P. 123: “La bêtise est souvent l’ornement
de la beauté... La bêtise est toujours la conservation de la beauté; elle
éloigne les rides; c’est un cosmétique divin qui préserve nos idoles des
morsures que la pensée garde pour nous.” 按
Erasmus 早云：“Folly is the best preservative of youth, and the
most effectual antidote against age.” (In
Praise of Folly, George Allen & Unwin’s “Pocket Crowns”, no. 14, p. 22);
“It is to Folly women are beholden for those endowments, wherein they so far
surpass & excel man; as first, for their unparalleled beauty...
for what is
it but too great a smatch of wisdom that makes men so tawny &
thick-skinned, so rough & prickly-bearded, while women have such dainty
smooth cheeks & so pure a complexion?” (Ibid.,
p. 29).
P. 140: “La femme dont on ne jouit
pas est celle que l’on aime.” 按參觀百十五則（一）、七五八則論蘇軾〈雨中花〉。Francis Carco 所謂：“on ne
devrait jamais coucher avec quelqu’un qu’on aime, ca abîme tout” (Colette, Ces Plaisirs, éd. “Le Livre Moderne
Illustré”, p. 41 引)。屠赤水《曇花記》三十七折所謂「文字是自己的強，美色是他人的勝」也，即易實甫〈賦得愛看他人妾貪吟自己詩〉。[22]然王次回《疑雨集》〈看燈詞〉則云：「丹誠默向紫姑陳，可得心期遂此春。陵谷滄桑終日事，不堪長作意中人。」亦實情至理也。又按 Gavarni
一畫中兩婦共觀一小象，以問答語題識云：“‘La dernière passion de mon époux! voilà ce qu’en
dit le daguerreotype.’ — ‘Pas jolie, l’air commun... et quelles mains!... On se
demande ce qu’une créature comme ça peut avoir pour elle.’ — ‘L’illégitime, ma
chère.’” (見 Oskar Fischel & Max von Boehn, Modes & Manners of the 19th
Century, tr. by M. Edwards, vol. III, p. 56)，則吾國「妻不如妾，妾不如妓」之說也；Baudelaire 語則「妓不如偷，偷著不如偷不著」（見《雪濤小說‧知足條》引）之說也。C.E.M. Joad, The Testament of Joad,
pp. 28-9: “A varietist by nature, I have liked women too much to pay them the
poor compliment of cold shouldering all for the sake of one... Even though she
moved with the grace of Diana & possess the beauty of Venus, the
intelligence of Athena & the tongues of angels, by the time I have wed year
in with her & year out, I would gladly exchange her for somebody else with
half her wits & a quarter of her looks.”
[6]「思貽堂」原作「思怡堂」。
[8]「心靈」原作「性靈」。
[9]「逢」原作「通」。
[12] “Sonnets
On Miss Savage” 第三首云：“Had I been some young sailor, continent / Perforce
three weeks and then well plied with wine, / I might in time have tried to
yield consent / And almost (though I doubt it) made her mine. / Or had it been
but once and never again, / Come what come might, she should have had her way;
/ But yielding once were yielding twice, and then / I had been hers for ever
and a day. / Or had she only been content to crave / A marriage of true minds,
her wish was granted; / My mind was hers, I was her willing slave / In all
things else except the one she wanted: / And here, alas! at any rate to me / She
was an all too, too impossible she.”
[14]《典論》原文作：「汝無自譽，觀汝作家書。」
[16]《談藝錄‧一一‧附說九》：「《論語‧雍也》篇孔子論『知者動』，故『樂水』，『仁者靜』，故『樂山』。於游山玩水之旨，最為直湊單微。仁者知者於山靜水動中，見仁見智，彼此有合，故樂。然山之靜非即仁，水之動非即智，彼此仍分，故可得而樂。外物異體，與吾身心合而仍離，可樂在此，樂不能極亦在此，飲食男女皆然。無假他物，自樂其樂，事理所不許，即回味意淫，亦必心造一外境也。」（香港中華書局 1986 年補訂本 53 頁；北京三聯書局 2001 年補訂重排版 165 頁）
[22] 王飈校點《琴志樓詩集》（上海古籍出版社，2004）無此詩，亦未收「愛看他人妾，貪吟自己詩」之句。此係樊增祥調易順鼎之八股文題（原載《青鶴》第一卷第一期 1932 年 11 月 15 日，收於《樊樊山詩集》（上海古籍出版社，2004）下冊 1986-8 頁，題為〈愛看他人妾貪吟自己詩制藝〉）。文云：「諺有之：『妻妾是他人底好，文章是自己底好。』是說也，吾初未信，今乃徵信於易石甫之詩。石甫詩曰：『洗眼窺青鏡，低頭拜錦裙。奈何稱愛妾，多半屬他人。……』石甫詩又曰：『三字經纔念，神童早有詩。天生靈太子，我亦傅毛兒。……』則且即其詩而申論之」云云。前一首窺鏡拜裙，乃「愛看他人妾」；後一首自詡神童，則「貪吟自己詩」。
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