二百十一[1]
姚康《休那遺稿》文十二卷、詩一卷、《貨殖傳評》一卷、《外集》尺牘三卷、駢體一卷，光緒時姚氏從六世孫灼所輯錄也。余在方爾止《嵞山詩集》首覩休那〈序〉，頗有作意，因求此集讀之，索然敗興，〈嵞山詩序〉并不見集中也。《詩集》中有〈寄方爾止〉一七律（「兵氣相關真礙雁，友聲隨在得聞鸎」），《外集》卷一有〈與方嵞山〉一札（「君買妾為宗祧計，正當求管夷吾、馮瀛王一輩人，責效於已試者較易耳。若趙家姊妹，恐非人種，蓋美人之於甯馨，猶文人之於阿堵，皆世間極難得之物」云云。按毛西河《詩話》卷三載其妾曼殊無子，自歎詩云：「春到園林草盡芽，夭桃何事不開花？」孫子瀟《天真閣外集》卷一〈慰個人〉第二首云：「仙家瑤草原無種，不似桃花結子多。」皆可參觀。此書附見《嵞山集‧前集》卷三〈喜得姚休那先生書〉七古注中）。姚氏論文極推王、李以至於汪太函（卷一〈論文〉、卷十二〈絕筆〉、《外集》卷二〈又與朱子孟〉。按張習孔《雲谷臥餘》卷三亦極推汪太函詩文，蓋明末清初歙人尚私太函為鄉曲也）。自作則凡制藝、尺牘、語錄、批尾，習氣濫調，雜糅篇中。好為議論，而排比事藻，拈弄機鋒，全失古文之體。糾纏冗長，格格不吐，刺刺不休，真惡道也。《白白齋貨殖傳評》腐鄙之氣中人，總評有云：「予讀書處顏曰：『白戰』，置榻處顏曰：『白醉』。『白戰』之說舊矣，而晝睡者有『白醉』之名，其說聞諸升庵」云云，則是其行文雖好鋪陳故實，而竟未知「白醉」之作何解、出何書也！學問亦可揣知矣。詩不講格律，然為體製所範圍，較之文遂稍遠於題，偶有警策之聯。
卷一〈測大〉：「予經萬死，始得託家於秋浦之俠友，且分噉百草之新入《食經》者。」
《詩集‧排遣》：「排遣何曾達，思維亦是塵。病翻為藥果，髮在即愁因。松老皆成佛，花清欲避人。禪栖如竇許，色色可怡神。」
〈飲吳體嚴座中賦〉：「東邊日出西邊雨，南枝向暖北枝寒。」
〈寄祚文弟〉：「事往尚憐余僅在，憂來多以汝為端。」
〈自祭百二十韻〉，七言排律也。按《湘綺樓日記》光緒二十八年四月十九日云：「唐詩唯無七言排律，本朝最重大詩體也。自鴻博大考始用之，非小翰林所敢作。惟湯海翁有七排百韻，亦第一詩人矣。」蓋指《海秋詩集》卷二十五〈曹新安師以詩集命點勘斐然敘德抒情得七律一百韻〉，而不知清初已有休那此篇，更為鉅觀。乾、嘉時尚有畢秋帆《靈巖山人詩集》卷七〈代書一百韻寄劍飛延青兩弟〉，亦七言排律也。宋初薛田有〈成都書事〉七律一百韻，見《宋詩紀事》卷九。《雪橋餘集》卷六殷桐高有〈聖駕親征噶爾丹蕩平凱旋正值太和殿鼎建工成覃恩肆赦恭記一百韻〉七言排律。王弇州〈與李于鱗〉五排一百二十韻。《少室山房類稿》卷四十八〈挽王元美先生二百四十韻〉。
二百十二[2]
“Contradiction exists in all things.”[3]
Including or excepting the essay from which the statement is taken?
二百十三[4]
J.M. Edmonds, The
Greek Bucolic Poets (“The Loeb Classical Library”).
Theacritus II: “And no sooner was I
ware of the light fall o’s foot across my threshold than I went cold as ice my
body over, & the sweat dripped like dewdrops from my brow; aye, & for speaking
I could not so much as the whimper of a child that calls on’s mother in his
sleep; for my fair flesh was gone all stiff and stark” (p. 35). 按參觀第五十五則。
V: “You shall tread sheep’s wool as
soft as sleep” (p. 69). 按 Herodes,
Mimes, IV (“The Loeb Class. Lib.”, p.
143): “[The bonbon] as soft as sleep”; Virgil, Eclogae, VII, 45: “somno mollior herba (grass softer than sleep)” (“The Loeb
Class. Lib.”, I, p. 52). 參觀 G.A. Borgese, I
vivi e i morti, p. 161: “... rientrava la sera, con member piene di
stanchezza dolce come il miele”。
V: “But when her goatherd boy goes
by you should see my Cleärist Fling apples, & her pretty lips call pouting
to be kissed” (p. 73). 按 Aulus Gellius, IX. ix 論迻譯希臘詩為拉丁，不得逐字硬翻 (“Non semper aiunt enitendum, ut omnia omnino verba in eum, in quem
dicta sunt, modum vertamus. Perdunt enim gratiam pleraque, si quasi inuita et
recusantia uiolentius transferuntur” — Attic
Nights, tr. by J.C. Rolfe, “The Loeb Classical Library”, II, p. 176)，舉 Virgil, Ecl.,
64-5: “Malo me Galatea petit, lasciva puella, / Et fugit ad salices et se cupit
ante videri.” (“Loeb Class. Lib.”, I, p. 2?) 譯 Theocritus 此節可謂入妙云云。竊謂視原文不啻過之，即 Paradise Regained, II, 161-2: “[Women] skilled to retire, & in
retiring draw. / Hearts after them tangled in amorous nets”。又按
Aristophanes, The Clouds, 997 謂妓女以蘋果擲少年 (μηλω βληθείς) 以為勾搭，B.B. Rogers 譯本 (G.
Bell & Sons) p. 128 註云：“Throwing an apple was the recognised
love-challenge amongst the Greeks & Romans”。又按 Theocritus,
Virgil 所寫景象，可與宋玉〈好色賦〉末句參觀。一入 Swift 筆下，遂成醜態，參觀 Gulliver’s Travels, Pt. IV, ch. 7 寫 “female Yahoo”
勾引雄者事 (“Oxford Standard Authors”, p. 313-4: “with a
counterfeit show of fear” etc.)[5]。【史達祖〈祝英臺近〉：「見郎和笑拖裙，匆匆欲去，驀忽地、肯留芳袖。」Montaigne, Essais,
II. 15 (Pléiade, p. 97) 引 Virgil[6]。】
V: “’Tis true Alcippa kissed me, but
she forgot to kiss by the pot” (p. 79). 按 Hans
Licht, Beiträge zur antiken Erotik,
S. 143 引 Eunikos 劇，又 Sexual Life in Ancient Greece, tr. by J.H. Freese, p. 310 引
Plutarch, Moralia, 38c 論 “Topf” 或 “Henkelkuss”[7]
(dass man ein Kind an beiden Ohren nahm und küsste, wobei das Kind mit seinen
Patschhändchen ebenfalls nach den Ohren des Küssenden greifen musste)。
VIII: “A maid with meeting eyebrows”
(p. 119). 按參觀 Leigh Hunt, Men,
Women & Books: “Criticism on Female Beauty”; Havelock Ellis, Studies in the Psychology of Sex, III,
p. 145 引 Émeric-David:
“The typical Greek beautiful woman must be tall... the eyebrows slightly arched
& almost meeting”。
X: “Bombyca fair, to other folk you
may a Gipsy be; sunburnt & lean they call you; you are honey-brown to me. Of
flowers the violet’s dark” (p. 135). 按悅目即姝，惟愛所丁。此 Michelangelo 所以問：“Dimmi di grazia, amor, se gli occhi i mei / veggono ’l ver della beltà
ch’aspiro, / o s’io l’ho dentro allor che, dov’ io miro, / veggio più bello el
viso di costei.” (The Sonnets of Michael
Angelo Buonarroti, tr. by J.A. Symonds, XXV, p. 27)，而答云：“beltà che tu vedi è ben da quella”，則非情人眼裏出西施之謂。【... Catullus, LI.... 乃眼花撩亂[8]】至與 Theocritus 此首相印可者，則 Godschalk: “Amas ut pulchram facias” (R. de Gourmont, Le Latin mystique, p. 143 引); Congreve,
The Way of the World, II, i: “You are
no longer handsome when you’ve lost your lover. Beauty is the lover’s gift” 也【cf.
Fontenelle: “L’amour est le revenu de la beauté” (quoted in Sainte-Beuve, Les Grands Écrivains Français, éd. M.
Allem, VII, p. 5)】。此意始見於 Plato, Rep.,
474D; Plutarch, Moralia, I, p. 241; Lucretius,
IV, 1160: “Nigra melichrus est, immunda et fetida acosmos. / caesia Palladium,
nervosa et lignea dorcas” etc.; Ovid, Ars
am., II, 657: “Nominibus mollire licetmala: fusca vocetur, / Nigrior
Illyrica cui pice sanguis erit” etc. (cf. Remed.
am., 323 et seq.); Moliere, Le Misanthrope, II, v: “La pâle est au
jasmin en blancheur comparable; / La noire à faire peur, une brune adorable”
etc.; John Suckling, “Sonnets” II: “I ask no red & white, / To make up my
delight; / No odd becoming graces, / Black eyes, or little know-not-whats in
faces; / Make me but mad enough, give me / Good store of love for her I count; /
I ask no more, / ’Tis love in love that makes the sport. / There’s no such
thing as that we beauty call, / It is mere cozenage all.... / If I a fancy take
/ To black & blue, / That fancy doth it beauty make. / ’Tis not the meat,
but ’tis the appetite / Makes eating a delight” (Aldous Huxley, Texts & Pretexts, p. 53: “Suckling
puts his argument in the conditional If.
But in point of actual fact it is almost infinitely improbable that he will
take a fancy to black & blue. Nature & second nature have limited him
to white & gold, to olive & black, to sunburn & chestnut... There
are values which persist, because there is a physiology which persists &, along
with a physiology, a mental structure”); Pierre Janet, L’Amour et la Haine, p. 151: “La beauté de la femme est dans des
nerfs de l’homme”; Robert Herrick: “No Loathesomeness in Love” (Poetical Works, ed. L.C. Martin, p. 13);
“Qui du cul d’un chien s’amourose, / Il lui paraît une rose” (À la Recherche du Temps Perdu,
“La Pléiade”, I, p. 123, Françoise)。其見於散文者如 Burton, Anatomy of Melancholy,
Pt. III, Sect. ii, Mem. 3, Subs. 1: “Love is blind” 一節論 “Quisquis
amat ranam, ranam putat esse Dianara” (“Everyman’s Library”, vol. III, p. 155)；又
Voltaire, Diction. Philos., art. “Beau”:
“Demandez a un crapaud ce que c’est que la beauté, le grand beau, le to kalon. Il vous répondra que c’est sa
crapaude” etc. (Oeuv. Comp., éd.
Moland, XVII, pp. 556-7)。【即《莊子》所謂「猨，猵狙以為雌」一節之意[9]，見第四百六十二則。拉丁諺亦云：「驢以驢為美，豕以豕為麗 (Asinus
asino, et sus sui pulcher)。」 Thomas
Dekker, The Honest Whore, Pt. II, Act
II, Sc. I, Bellafront: “So crowes are faire with crowes” (Dramatic Works, ed. F. Bowers, II, 154).】至
Stendhal, De l’Amour, ch. XVII: “Même
les petits défauts de sa figure, une marque de petite vérole, par exemple, donnent,
de l’attendrissement à l’homme qui aime... Si l’on parvient ain i à préférer et
à aimer la laideur, c’est que dans ce cas la laideur est beauté” (éd. “Le Divan”,
p. 80) 而發揮無餘蘊。即日本諺謂：“In a lover’s eyes, pockmarks become dimples.”[10]（見
Ploss, Bartels & Bartels, Woman,
ed. By E.J. Dingwall, I, pp. 213-4引）之意。【Don
Quixote, Pt. II, ch.
47: “The pock-marks on Clara Perlerina’s face are many & large, but those
who are fond of her will assert that those are not scars at all but graves
where the hearts of her lovers lie buried” (tr. S. Putnam, II, p. 814).】《盱江全集》卷三十四〈贈卿材〉所謂：「女色無定美，寵至美則多。」《苕溪漁隱後集》第三十一引《復齋漫錄》云：「諺云：『情人眼裏有西施。』山谷取以為詩，故〈答公益春思〉云：『西施逐人眼，稱心最為得。』」張平子〈西京賦〉所謂「惟愛所丁」也。【《全三國文》卷二十三蔣濟〈萬機論〉：「語曰：『兩目不相為視。』昔吳有二人共評玉者，一人曰好，一人曰醜，久之不決）。二人各曰：『爾可求入吾目中，則好醜分矣。』」（劉晝〈正賞第五十一〉本此。）】【《拍案驚奇》卷十七云：「人生最怕的是眼裏火。一動了眼裏火，隨你左看右看，無不中心像意的。」《金瓶梅》第七十二回：「不管好歹的都收攬下，原來是一個眼裏火。」《水滸全傳》第二十一回：「佳人有意村夫俏，紅粉無心浪子村。」《通俗編》卷二十二引《魯連子》云：「心誠憐，白髪玄；情不怡，姸色媸。」謂是「情人眼裏有西施」語之祖。馮夢龍《山歌》卷四〈出〉云：「當官銀匠出細絲，護短爺娘出俊兒。道學先生口裏出子孔夫子，情人眼裏出西施。」《紅樓夢》第七十九回香菱云：「這是『情人眼裏出西施』。」《金瓶梅》第三十七回：「自古道：『情人眼裏出西施』。」《渾如篇‧論子弟有三揣‧其三‧揣自己年貌》：「情人眼裏出西施……這西施料難是你，不如歸去且徘徊。」《倪文正公遺稿》卷二〈代友贈人〉：「端非情眼出西施。」】《淮海集》卷十二〈眇娼傳〉所謂：「諺有之：『心相憐，馬首圓。』自余得若人，還視世之女子，無不餘一目者。夫佳目，得一足矣，奚以多為？」（參觀第五百七十三則。）江進之《雪濤小書》卷四所謂：「閩人篤於男色者，見一美姬姿態絕倫，乃嘆日：『可惜是婦人耳。』又有與眇姬相處者，寵戀異常。或詰曰：『此少一目，何足戀？』其人低徊嘆曰：『公不知趣，我看了此姬，天下婦人都似多了一隻眼。』」Martial, III, 8 [Quintus in love with one-eyed
Thais]: “Unum oculum Thais non habet, ille duos” (Loeb, I, 1680). 又第二五一則、七三八則。又第二百十四則眉[11]。【［補二一三則〈眇娼傳〉］Anatomy of Melancholy, Part III, Sect. II, Mem. V, Subs. II: “Petrarch
hath such another tale of a young gallant, that loved a wench with one eye, &
for that cause by his parents was sent to travel into far countries, ‘after some
years he returned, & meeting the maid for whose sake he was sent abroad,
asked her how, & by what chance she lost her eye? No, said she, I have lost
none, but you have found yours’” (“Everyman’s Library”, vol. III, p. 200).《西洋記》六十四回：「哈里虎一手拔出箭頭，連眼珠兒都帶出來，說道：『兩只眼本是多一只，去了他也罷。』」】孫子瀟《天真閣集》卷一〈雜言〉云：「妍媸在情，色居其名。」卷十六〈情箴〉云：「美惡至無準，惟情所軒輊」；「兩心果相悅，凡質皆先施。素意苟不屬，姱容亦仳倠。」（又第七百三則。）【Anatomy
of Melancholy, Pt. III,
Sect. ii, Mem. 2, Subs. 4 (“Everyman’s ...[12]】
XI. The Cyclops: “O well I wot
pretty maid for why thou shunnest me so; one long shag eyebrow ear to ear my
forehead doth go, & but one eye beneath doth lie, & the nose stands wide
on the lip. Yet be as I may, still this I say, I feed full a thousand sheep”
(p. 143). 按即《西游記》第二十三回豬八戒所云：「娘，上覆令愛，不要這等揀漢。師父俊雖俊，却沒用。我醜自醜，有幾句口號兒：『雖然人物醜，勤緊有些功。若言千頃地，不用使牛耕』」云云也。Tasso, Aminta,
II, i, Satiro 亦然。
XVIII. “The Epithalamy of Helen”
(pp. 225 ff). 按 Hans Licht, Sexual
Life in Ancient Greece, Eng. tr., p. 55 引 scholiast 說此云： “The
epithalamium is sung, in order that the cries of the young bride, while she is
offered violence to by her husband, may not be heard, but may be drowned in the
song of the girls”。
XXVII. “Daphnis: ‘Even in an empty kiss there’s a sweet delight.’ Acrotime: “Look ye, I wipe my mouth o’
your kiss & spit it from me’” (p. 333). 按
Guarini, Pastor Fido: “Bocca baciata
a forza, / Se ’l bacio sputa, ogni vergogna ammorza” (見 Luigi
Russo, Gli scrittori d’Italia, I, p.
550)。Cf. Lewis Carroll, Sylvie & Bruno, ch. 16 on “unkissing”; “The Rural Dance about
the May-pole”: “The girls did then begin to quarrel with the men; / And bid ’em
take their kisses back, & give ’em their own again” (The Faber Book of Popular Verse, p. 42).
“Daphnis:
‘Your youth passes you by like a dream.’ Acrotime:
‘But the grape’s in the raisin, & dry rose-leaves may live’” (p. 335). 按妙喻，參觀 Greek Anthology, Bk. V, 304: “When you were a green grape you
refused me, when you were ripe you bade me be off, at least grudge me not a
little of your raisin”[13]
(Eng. tr. W.R. Paton, “The Loeb Classical Library”, I, p. 293)。至 Bk.
V, 28: “I don’t accept a bramble for a rose” (p. 143)，則 “Il n’est si
belle rose qui ne devienne gratte-cul” 之意矣。又 Lucian, The Downward Journey:
“Hermes: ‘Here are 300 babies.’ Charon: ‘It’s green-grape dead you have
brought us.’ Hermes: ‘Here you are
again, 398, all tender & ripe & harvested in season.’ Charon: ‘Good Lord, yes! They are all
raisins now!’” (“The Loeb Classical Library”, tr. by A.M. Harmon, II, p. 11)，當是希臘文中常喻。又 “Acrotime: ‘Why hast thou put thy hand in
my breasts?’ Daphnis: ‘I am fain to
give thy ripe pippins their first lesson’” (p. 341)。按以婦人乳為蘋婆果，乃希臘詩中常喻[14]，參觀 Hans
Licht, Sexual Life in Ancient Greece,
Eng. tr., pp. 271, 311；又第五百三十一則 Orlando Furioso, XII. 14；又 R. Coolus & A. Rivoire, Pardon, Madame..., Acte I, Sc. X: “Et un corps de 16 ans! Avec des
petits seins durs comme pommes!”。參觀第二百七十九則。
Bion XV: “’Tis said a continual
dripping will e’en wear a hollow in a stone” (p. 415). 按字書僅知引 Lucretius, I, 314: “Stillicidi lapsus lapidem cavat”。Robert
Greene, Arbasto 中引申之云：“In time we see the silver drops / The craggy stones make soft; / The
slowest snail in time we see / Doth creep & climb aloft. / With feeble
puffs the tallest pine / In tract of time doth fall; / The hardest heart in
time doth yield / To Venus’ luring call” (A.H. Bullen, Poems Chiefly Lyrical from Romances and Prose-tracts of the Elizabethan
Age, p. 9)，諺云：「烈女怕纏夫」（《湘綺樓日記》光緒九年六月廿七日引），此之謂也。E. & J. de Goncourt, L’Amour au XVIIIe siècle, p. 38: “N’est-ce pas un
principe partout répété, un fait affirmé bien haut par les hommes, qu’il suffit
de dire trois fois à une femme qu’elle est jolie, pour qu’elle vous remercie à
la première fois, pour qu’elle vous croie à la seconde, et pour qu’à la
troisième elle vous récompense?” 可參觀。
Moschus I: “The Runaway Love” 按此 Venus
失子零丁也：“And the reward shall be the kiss of Cypris” (p.
425)。其意至 Apuleius, Metam.,
Lib. VI. 7 而增飾為 “Accepturus
ab ipsa venere septem savia et unum blandientis appulsu linguae longe mellitum”[15]，即
Johannes Secundus, Basia V 所詠
(Cataglottism)。
V: “Pan loved his neighbor Echo;
Echo loved a frisking Satyr; & Satyr he was head over ears
for Lydè... for by just course, even as each of those hearts did scorn its
lover, so was it also scorned being such a lover itself” etc. (pp. 459-461). 按
Heine, Lyrisches Intermezzo: “Ein
Jüngling liebt ein Mädchen, / Die hat einen andern erwählt; / Der andre liebt
eine andre, / Und hat sich mit dieser vermählt” etc. (Werke und Briefe
in 10 Bänden,
Aufbau, 1961, S. 88); Neuer Frühling:
“Der Schmetterling ist in die Rose verliebt” usw. (S. 218); Édouard Grenier, “Plainte”: “Le
vent aime la fleur; la fleur le papillon; / Le papillon l’azur; l’azur le doux
rayon / De l’étoile lointaine; / L’étoile aime la mer, et la mer, le rocher /
Qui reçoit ses baisers sans se laisser toucher / Par l’amour ou la haine” etc.
(G. Walch, Anthologie des poètes fr.
contemporains, I, pp. 75-6); Mrs Alderson to Mrs
Taylor: “Mrs Inchbald says the report of the world is that Mr
Holcroft is in love with her, she
with Mr Godwin, Mr Godwin with me, & I am in love with Mr Holcroft” (F.K. Brown, William Godwin, p. 112)，即
Hardy, The Hand of Ethelberta 所謂 “concatenated
affection” (Carl J. Weber, Hardy of
Wessex, p. 62 引)。Jean Rousset, La
littérature de l’âge baroque en France, p. 40 引 Chréstien des
Croix, Les Amantes 本事云：“Eurialle est amoureux de Floris, et haï d’elle: Ariston aime Clorinde
qu’elle dédaigne pour chérir Eurialle” etc.，謂為 “la
chaine d’amours en cascades”。
Simias of Rhodes 等 “Pattern
poems” (pp. 489 ff.). 按即 Technopaignia，其源流詳見 J.W.H. Atkins, English Literary
Criticism: The Medieval Phase, p. 167; English
Literary Criticism: The Renascence, pp. 146-7。P.
Daudin: “Les vers figures” (Vie et
langage, Mars 1960, pp. 152-8) 考此亦詳。近日西洋詩人如 Guillaume
Apollinaire 集中每見此體【Guillaume Apollinaire, Calligrammes
中有 “Paysage”, “La Cravate et la montre”, “Coeur
couronne et miroir”, “La Mandoline, l’oeillet et la bambou”,“ La Colonne poignardée et le jet d’eau”, “Aussi bien
que les cigales”, “Du coton dans les oreilles”, “Éventail des saveurs” (Oeuvres Poétiques, “Bibl. de la Pléiade”,
pp. 170, 192, 197, 203, 209, 213, 284, 287, 298) 諸首】，Dylan Thomas, Vision & Prayer
亦其類，在吾國則習見不鮮矣。
二百十四[16]
李雯舒章《蓼齋集》四十七卷、《後集》五卷。舒章與陳臥子同鄉友善，詩文祈嚮亦相似，皆承何、李、王、李之遺，稍變斑駁為采錯者。然才薄氣弱，詞蕪調懈，就摹擬論，亦屬下乘。《後集》則甲申以後所作，益頹率不振，內疚大節之有虧，外愧故交之異趣，自憐自鄙（四字見《後集》卷四〈丁亥夏日行役之作〉第一首），其言也哀。讀者悲其志可矣，篇什則無取焉。【《峭帆樓叢書》中有《雲間三子新詩合稿》，蓋乙丙之際、鼎革之後所刻，時舒章在北方已仕清矣。】【侯朝宗《四憶堂詩集》卷五〈哀辭九章‧之八‧陳公子龍〉練貞吉註云：「明詩自袁宏道、鍾惺後失其正傳，天下不知風雅。公與李公雯力振之，卒歸正始。」〈九‧李公雯〉：「鬱陶發病死，誰當諒舒章？」賈開宗註云：「假歸，道過淮安，故人萬孝廉壽祺以僧服見公，望之泣下曰：『李陵之罪，上通於天矣！』未幾病死。」《夏完淳集》（中華書局本）卷一〈怨曉月賦〉有舒章〈跋〉云：「存古忠孝性成，未及終、賈之年，殉身家國」云云。卷二〈懷李舒章六首〉有云：「大道不終秦，君子良邂逅。邂逅在萬里，羗故與之俱。丈夫明大節，敦信義豈渝。」卷五〈讀陳軼符李舒章宋轅文合稿〉有云：「庾徐別恨同千古，蘇李交情在五言。雁行南北誇新貴，鷁首西東憶故園。」卷八〈與李舒章求寬侯氏書〉。卷四〈人日懷舒章〉云：「傷心子山去，何日少卿歸？」】
石維崑〈序〉：「大曆以來，荊蕪榛塞，七百餘歲，而得獻吉氏。王、李既沒，邪說者作，七十餘歲，而得我先生。」按卷九〈新安四懷詩〉有〈詠汪大函〉一首略云：「點竄班左字，漁獵周秦英。顧盼王李間，奚必非齊盟。」卷三十三〈明文西敘〉略云：「《明文西》者何？秦文也。遠者如空同李夢陽闢其榛蕪，近者如太青文翔鳳繁其翳薈。」其推重七子如此。卷三十四〈陳臥子屬玉堂詩序〉云：「臥子獨好與余言詩，大約以為詩貴沉壯，又須神明。能沉壯而無神明者，以大將統軍，刁斗精嚴，及其鼓角既動，戰如風雨，而無旌旆悠揚之色。有神明而不能沉壯者，如王夷甫、衛叔寶諸人，握麈談道，望若神仙，而不可以涉山川、冒險難。此所謂『英』、『雄』之分也，以樂府古詩論之，曹孟德雄而不英，曹子桓英而不雄，而子建獨兼之。以唐詩言之，則高達夫雄而不英，李頎英而不雄，王右丞則英中之雄，王龍標則雄中之英，而子美獨兼之」云云。此則雲間諸子與前後七子分界處：前後七子卓犖為杰，偏於陽剛者也；雲間諸子頗欲濟以陰柔，而求紆徐為妍矣。
卷十八〈彷彿行‧序〉云：「余少聞小青之事，傷其哀麗。今年秋，同郡好事者為青作傳奇。昔之所哭，今已為歌。」（陳雲伯《碧城仙館詩鈔》卷三〈小青曲〉：「情天小刼罡風起，片片飛花紅兼水……如此蛾眉寂可憐，西泠芳草葬嬋娟。姻緣領略人間世，莫乞他生並蒂蓮。」）
卷二十五〈答方密之書〉：「弟聞之作詩家云：『老過則穉，高過則混。』我兄之詩，既到峯極，固當急持其後，不可使轉墮一境。」
卷三十六〈與方密之書〉：「天上人欲與井中人共語，不獨當借之羽毛，且須惠其綆縻。而弟之窮頓困鬱，雖有垂天之羽，無所附其身，千丈之綆，不能接其體。惟呼其近井者時一語之。」
〈報顧偉南書〉：「乃占占持敝帚補縫掖，跼促車馬間。或問其鄉里姓氏，則曰：此待兩年後鄉貢試諸生李雯者也。」
《後集》卷一〈東門行寄陳氏〉：「與君為兄弟，各各相分携」；「聞君誓天，余愧無顏」；「知君未忍相決絕，呼天叩地明所懷。」附〈書〉云：「三年契濶，千秋變常。失身以來，不敢復通書札者，知大義已絕於君子也。然而側身思念，心緒百端，語及良朋，淚如波湧。側聞故人頗多眷舊之言，欲訴鄙懷，難於尺幅，遂伸意斯篇，用代自序。三春心泪，亦盡於斯」云云，蓋寄臥子也。方爾止《嵞山詩》卷一〈雲間五子詩〉自註：「刪李雯一首。」則舒章之不齒於南中故舊，可想見矣。
卷一〈述憫〉云：「難忘故國思，已食新君餌。」
卷二〈暮秋自遣〉云：「難說昇天引自注：余嘗云生今之世，惟有白日飛昇乃佳，何堪據地歌。」
卷三〈憶轅文〉云：「衣冠無語安殊俗，顏面多慚識俊賢。」
〈憶大樽〉云：「斷髮久辭飛雀鏡，名山負爾薜蘿裙。」（按同卷〈甲申夏日寫懷〉云：「短髮常教明鏡遠」，卷五〈答髮責文〉皆可參觀。）
二百十五[17]
馬世俊甸臣《匡菴詩前集》六卷、《詩集》六卷。往在《隨園詩話》、《茶餘客話》卷十六（王錫祺刻二十二卷本）中覩章民未第時軼事。《晚晴簃詩滙》卷三十一記其「工書畫，有『二右』之目，謂右軍、右丞也」。詩纖滑無足觀。錄其流逸而尚不率者三律：
《前集》卷一：「甫聽鸎語媚春華，秭鴂先鳴起怨嗟[18]。石望夫歸山望子，魂為鳥去血為花。高枝倦羽驚難宿，獨枕懷人感越加。燈火未消還起坐，一鈎殘月藥欄斜。〈夜聞子規〉」按第四句前人多有此意。［唐徐凝〈翫花〉云：「誰為蜀王身作鳥，自啼還自有花開。」唐楊行敏〈失題〉：「杜鵑花裏杜鵑啼，淺紫深紅更傍谿。」《海錄碎事》卷二十二引張承吉句云：「杜鵑花發杜鵑叫，烏臼樹生烏臼啼。」晏叔原〈鷓鴣天〉云：「陌上濛濛殘絮飛，杜鵑花裏杜鵑啼。」（《歷代詩餘》卷二十七）《列朝詩集》丁八載王百穀〈哭袁相公〉云：「山上杜鵑花是鳥，墓前翁仲石為人。」魏憲《詩持二集》卷四載盧士厚〈寄諷魏惟度〉云：「淚既可花亦可鳥。」魏氏評云：「比杜鵑也。」呂晚村《東莊詩集‧夢覺集‧遊慈相寺》：「最是客游難久住，杜鵑落過杜鵑啼。」卓爾堪《明末四百家遺民詩》卷五劉城〈杜宇〉：「血染花成色，魂依鳥作音。」《晚晴簃詩滙》卷四十一陸葇〈南安早發〉：「最是斷腸聽不得，杜鵑花裏鷓鴣聲。」屈大均《翁山詩外》卷十四〈杜鵑花‧之二〉：「上作啼鵑下作花。」又見第六十七則宋湘〈荊山守風〉。蔣心餘《忠雅堂詩集》卷二〈過金山‧之二〉：「日午魚龍呼不起，郭公墳上郭公嗁。」宋芷灣《滇蹄集》卷二〈杜鵑花盛開作歌〉：「舉頭看杜鵑，低頭聽杜鵑。」參觀第六十七則。至倪象占韭山〈清明卜算子〉云：「紅笑紅啼兩不分，是杜鵑開也。」（《賭棋山莊詞話》卷七）更參以李義山〈早起〉之「鶯花啼又笑，畢竟是誰春？」南唐成彥雄〈杜鵑花〉：「杜鵑花與鳥，怨艷兩何賒。疑是口中血，滴成枝上花」，又〈槿花〉之「殷鮮一相雜，啼笑兩難分」兩詩語意。特過前人矣。］第三句頗能烘託取神。
卷二：「石城三月百花開，修禊何人共舉杯。水落淮橋魚欲上，春明江閣燕初來。漸聞地著耕傭減，愁遇天驕獵騎迴。柳市桃津看未足，鄉心一片更徘徊。〈石門即事〉」
《詩集》卷一：「百丈游塵隱日華，幾年彈鋏賦無家。朝臨青李時題壁，午飯黃秔帶煮沙。客至但供春夜韭，我歸應及故侯瓜。鄒陽漫道能吹律，一半園林未著花。〈燕邱書懷〉第一首」
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