James Russell Lowell
二百四十一[1]
周儀暐伯恬《夫椒山館詩》二十二卷，所謂「陽湖派」詩也。議論雖高，實不足觀。五古規模魏、晉，僅免襞積。七古學太白、東川，弛懈無力。近體尤卑靡，蓋所為與宗旨不盡符也。較之張翰風，則才情遠勝矣。舍第十五、第十六、第二十二三卷外，皆有自序自跋，第二十一卷有序無跋，均著語無多，頗見風調。然如卷一〈序〉云：「余年十七，始學為詩。欲以己意，求之古人，恐蹈刻鵠之誚。又參之子長、孟堅行文以變之，終未得當也。」則自欺欺人，常州習氣可厭。小杜所謂之「濃薰班馬香」，說得行得。伯恬此語，則亂道耳。
卷五〈雜感〉：「晴烟和夢太霏微，日日階前見落暉。天到無涯難作別，春來何處不知歸。良方易得三年艾，遠道驚貽萬里衣。欲上蓬萊山頂望，仙家多少赤瓊扉。」
卷十六〈得孝繹詩却報〉：「美得如平寧久賤，伍能與噲亦奇才。」按此只是「濃薰班馬香」耳。
卷十八〈富莊驛題壁和龔孝廉自珍韻〉（七律）、〈龔孝廉為文有穆天子傳太元經筆意好談釋典近欲著蒙古八表舟中枯坐贈詩一章〉（七律），卷二十一〈三月七日偕子廣出都憶都中雜事錄以紀實〉第七首自注：「龔瑟人主事窘而好博。」按第一題可補張祖廉輯《定庵遺著》，第二、三題可補張祖廉纂《定庵先生年譜外紀》、魏繇《羽琌山民遺事》。他如張宗泰《魯巖所學集》附《交游記》、孫兆溎《花箋錄》卷十二記定菴事[2]，皆出之見知，亦可補。沈晴庚《懷舊錄》記定庵十三歲已精《九章算術》，道光二十年直督請裁撤天津水師，謂無所用，定庵在郎署上書力言不可撤狀，不報，後二年，英兵入冦，直抵津門，人始服其先識，尤非尋常軼事可比。倪鴻《桐陰清話》卷四載朱野雲贈定庵聯。《霞外捃屑》卷六校定庵文目。尚鎔《持雅堂詩集》卷二〈上海訪龔定庵晤而有作〉有云：「不讀唐後書，君如明七子。……卓哉惲子居，鯨魚掣海涘。……君亦加貶詞，誰能測微旨？」（《文集》有定庵評語，又卷二〈與賈運生編修書〉、卷五〈書平淮西碑後〉皆及定庵。）徐榮《懷古田舍詩節鈔》卷二〈龔定庵主事訪余鴛湖余以梅花十株供養五日於其歸也畫梅為贈系以小詩即送其游羅浮〉（七律）。按天笑鈔錄《龔定庵集外未刻詩》有〈逆旅次周伯恬原韻〉七律（「名場閱歷莽無涯」）、〈贈伯恬〉七絕。梁退庵《楹聯叢話》卷五載定庵題伯恬盟鷗館一聯。宋翔鳳《洞簫樓詩紀》卷八〈汪鐵君龔定庵過訪〉：「學術宜經世，文章莫炫奇。」陳沆《簡學齋詩存》陸獻〈跋〉云：「每過先生，無不見，忽屢過而未得一見，心竊疑之，乃排闥入，先生大笑，語之曰：『吾近獲奇寶，杜門謝客者數日，今手鈔畢矣。』奇寶非他，乃儀部龔定庵所為古文上下卷也。」《藝舟雙楫》卷四〈包君世榮、季懷行狀〉云：「於古文，推陽湖惲敬子居為百年巨手，而謂仁和龔自珍定庵文情奧衍，富齒淹聞，造詣未可量。」《安徽叢書》第三集俞理初校改本《癸巳類稿》附王立申撰《年譜》道光十三年下：「理初手批《定庵文集》云：『詩文能接連難，接連後能斷更難。余苦詩文綿密，是以喜定庵手章，謂之「文場毅士」。定庵他日自覽之，必謂理初譏其不通也。奈何！』」《柏梘山房詩集》卷三〈題龔璱人文集〉：「胸中結構贊普帳，眼底波浪皮宗船。紅袖烏絲醉年少，只今誰識杜樊川？」《晚晴簃詩滙》卷一百四十七劉伯塤〈懷人詩〉：「海內文章伯，周南太史公。」自注：「道光己亥，定庵掛冠，將南歸，告別湯益陽師，袖出楹帖，乞書此二語為贈，師即欣然許之。」
二百四十二[3]
韓菼《有懷堂文稿》二十二卷、《詩稿》六卷。慕廬古文學曾南豐、朱紫陽，紆徐委曲，是清初吳中一作者。然八股能手，熟處難忘，不免故為波折，又偶以藻繪語點染之，則望溪所謂「吳越間遺老習氣」也。詩五、七古學韓頗安重，參觀焦袁熹《此木軒文集》卷一〈答曹諤庭書〉（記慕廬未達時事）。近體謹飭，則能妥貼耳。
卷三〈唐賢十體詩選序〉：「唐之末季，不無作者。溯其盍各，多自兩家杜、韓，而氣象萎薾。以唐人學唐詩，而早以失之，奚獨坐宋也。」
〈徐雲拂詩稿序〉：「杜詩、韓文，無一字無來處。然政獨自佳耳，不專在來處也。『讀書破萬卷，下筆如有神。』當其神來，寧不得之書乎？抑盡得之書乎？經史之益，則灌溉之助也，然能變蕭艾為蘭芷乎？」按名論不刊，可與《老學菴筆記》卷七論「今人解杜詩，但尋出處。今人作詩，未嘗無出處，但不妨其為惡詩」云云；又《蠖齋詩話》論「注杜詩者謂杜語必有出處，然添却故事，減却詩好處」；《談藝錄》第二五六頁發明[4]，固非「杜詩證選」者所能解也。程春廬《密齋文集》（不分卷）〈方長青山靜居詩集序〉至謂：「三百篇亦無字無來歷，用〈禹貢〉、〈盤庚〉、〈康誥〉等篇中事。」固矣哉！清初有文字五篇，註杜者不可不知：錢飲光《田間文集》卷四〈與方爾止論虞山說杜書〉、卷十三〈陳二如杜意序〉、戴田有《南山全集》卷六〈與洪孝儀書〉、焦廣期《此木軒文集》卷二〈答李彥儀書〉、毛稚黃《匡林》卷上〈題杜詩註〉是也，而世無一道及者。
〈菊社清吟集序〉：「晉時崇尚虛遠，劉、阮輩皆遣放於酒以自豪。而淵明獨非酒人，其言曰：『得知千載事，正賴古人書。』又曰：『羲農去我久，舉世少復真。汲汲魯中叟，彌縫使之醇。』自漢董子而後無此言，其於少陵『盜跖』、『何有』之語，不大遠哉！黃花白衣，其意亦在彌縫乎？琴之趣不在絃，則飲之趣亦不在酒矣。」按此論發於羅端良〈陶令祠堂記〉（《困學紀聞》卷十八翁注引）及真西山〈跋黃瀛甫擬陶詩〉（《西山題跋》卷三），詳見《談藝錄》第二八四至二八六頁[5]。
卷七〈交際論〉：「先王以人情為田，而修禮以耕之。禮貴施報，尚往來。夫子曰：『吾於木瓜，見苞苴之禮行焉。』苞苴，後世以為厲禁，而以禮許之，果苞苴也無害也。古人臣無境外交，而僑札乃相贈以紵縞，韓宣子於鄭七穆各獻馬而賦〈我將〉。見於傳記者，不勝書也。此皆所謂交際也。余嘗考《儀禮》，同僚有摯，屬吏有摯，封疆有幣，鄰近州縣有幣，使臣有私以覲，來者於天子之臣有幣。此皆後世之噤不敢言者，而先王明著之於經。自禮教不明，乃峻為之防，毛舉此古禮以為貪名，而暮夜之金無慮大萬，不啻禦人於國門之外者，而爭相賂遺不止，甚且以金珠為脯醢，契券為詩文，踪跡詭密。於是財專有所歸，而親戚朋友之誼闕，伐木角弓之禮盡亡，而北門之大夫作矣！」
《詩稿》卷一〈後至〉：「晨鷄喔喔帶餘酲，屢促當關夢不成。曉事同官嫌後至，忘機薄宦信前程。也知向日心偏切，無奈乘風饗易驚。上馬銀臺緣底急，待參三昧是歸耕。」
卷二〈葉子星期招飲二棄草堂奉贈時星期力詆鈍菴微諷之〉：「寸心千古事，作者何紛紛。譬若太常齋，世自飽羶葷。又如心無物，亦未妨紅裠。欲辟百川流，難桎八區蚊。」按橫山《汪文摘謬》心細口毒，徒以意氣梗胸，論失其平，流於謾罵，遂輸《鏡烟堂十種》之允愜。如汪撰〈金孝章墓誌銘〉云：「老屋數間，與客清坐相對。」橫山《摘謬》曰：「『清坐』二字俗，且似小說。」夫昌黎〈鄭君墓志銘〉云：「遇其空無時，客至，清坐相看。」橫山最推尊昌黎，竟不知此耶？至其自運，冗蕪滿目，遠遜鈍翁。姜西溟《湛園詩稿》卷三〈宿葉星期二棄草堂〉第四首云：「日月推遷似跳丸，文章淵海境同寬。痴兒坐大成何事？到底蝸牛粘壁乾。」自注：「君詆吳中一妄兒甚快，時集新没。」實則西溟文亦不及鈍翁也。
卷四〈宿遷道中〉：「眼昏爭奈觸風霜，病骨呻吟土銼旁。枉教人才及此老，鈴聲已解笑郎當。無才豈不戀明時，壯歲辭官那得知。老驥可能仍蹀躞，故人多是路傍兒。」
卷五〈己卯元日〉：「六十三歲白盡鬚，猶點朝行作大夫。車如鷄棲生憎耳，如狗之馬良非駒。春官紙尾束春筍，帖子宣底時傳呼。早見宮鴉復暮鴉，我行蹣跚與之俱。天上嫏嬛出科斗，柔翰不禁方言殊。屏風格子樣葫蘆，繡補龍骨一字無。持此昏昏日復日，彭𣆀之歲成老愚。方破新春少公事，頗欲頹然進一壺。一壺下以一牀書，別君一年請須臾。剝剝啄啄何為乎？門兩版，橜一株，身非綾紋三百名利奴。」按此三首是公孤口氣，却絕無紗帽習氣，故佳。
二百四十三[6]
第二百二十五則引 Swift: “The Lady’s Dressing Room” 詩，竊疑 Swift 乃 coprolagnia
之變態（按 Havelock Ellis, Psychology & Sex, V, p. 48 謂 Swift
有 “Strephon
& Chloe” 一詩蓋誤，即指此首），不然何以津津樂道矢溺也？如 “A
Riddle of the Posteriors”: “I’m too profuse,
some censurers cry; / And all I get, I
let it fly; / While others give me many a curse, / Because too close I hold my purse” etc. (A.
Chalmers, English Poets, XI, p. 438)。故 D.H.
Lawrence 所云 “Think
of poor Swift’s insane But of horror at
the end of every verse of that poem to Celia. But Celia —! — You see the very
fact that it should horrify him, & simply devastate his consciousness, is
all wrong” (Letters, ed. by A. Huxley, p. 773); “He couldn’t even see how much
worse it would be if Celia didn’t shit. His physical sympathies were too weak, his
guts were too cold to sympathise with poor Celia in her natural functions.” (Sex, Literature & Censorship, ed. Harry
T. Moore, p. 132); cf. also p. 230: “Of course Celia s***s! Who doesn’t? And
how much worse if she didn’t... And then think of poor Celia, made to feel
iniquitous about her proper natural function, by her ‘lover’”，尚未窺見其隱耳。Juvenal, VI, 461-4, 491-3; Ovid, Ars
amat. III, 209 et seq.; Kemed. amor. 341 et seq.; Martial, IX. xxxvii; Quevedo, The Visions, iv; The Hour of
All Men & Fortune in her Wits, x, xii (The Choice Humorous & Satirical Works, ed. Charles Duff, “Broadway
Translations,” pp. 216-7; 303-4); Ben Johnson, The Silent Woman, I. i., Clerimont & Truewit on Lady Haughty’s “autumnal
face” (Complete Plays, “Everyman’s
Lib.,” I, pp. 492-3); Burton, Anatomy of
Melancholy, Pt. III, Sect. iii, Mem. 5, Subs. 3 (“Everyman’s Library,” p.
207, 212); Montaigne, Essais, II, 12,
Pléiade, p. 463; Pierre Motin, Le Pertuis,
peeping through the “pertuis d’une porte” (“Réparer dessus son visage / Ce que
l’âge auroit peu gaster... / Ou se frotter dessous l’aisselle / De Litarge et d’Alum
bruslé.”); [Boileau, Sat., X, 195-200[7]]
Boileau, Satire, X, 198-200 (“Le soir,
ait étalé son teint sur la toilette / Et dans quatre mouchoirs, de sa beauté
salis, / Envoie au blanchisseur ses roses et ses lis”)，莫不刻畫女人冬晨夏夜、睡前眠後粧卸容惰醜惡之狀，故 Boswell on the Grand Tour, “Trade Edition,” p. 38: “I then went to Mme
Burgaretta’s, where I found two more swains... she dressed before us, changing
even her shirt. We indeed saw no harm; but this scene entirely cured my passion
for her”。Balzac 曰：“L’homme qui entre le cabinet de toilette de sa
femme est un philosophe ou un imbécile.” (Physiologie
du Mariage: “Catéchisme conjugal”, LI — Oeuv.
comp., Éd. Louis Conard, T. XXXII, p. 74)。【Goldsmith,
The Citizen of the World, Letter 3: “Most
ladies here have two faces: one to sleep in, & another to show in company”
(Miscellaneous Works, “The Globe Ed.,”
p. 91).】然而皆未及其氣息也。Swift, “The Progress of Beauty” (Chalmers, XI, pp.
412-3) 尚落此窠臼，至 “The
Lady’s Dressing Room,” “A Beautiful Young Nymph Going to Bed” (p. 502)，遂添出「鼻功德」一段，如後詩云：“Corinna in the Morning dizen’d, / Who sees, will
spew; who smells, be poison’d.”，前詩舍 “Reeking
chest [of] excremental smell” 外，復云：“And first a dirty Smock appear’d, / Beneath the armpits
well besmear’d”[8]
(p. 499)。然世間不少逐臭之夫，《隨園詩話》卷八載柯錦機〈調郎〉云：「午夜剔銀鐙，蘭房私事急。薰蕕郎不知，故故偎儂立。」若Rétif de la Bretonne 之於 Mme
Parangon：“Je baisais avec transport, avec rage d’amour, tout
ce qui l’avait touchée Colette, et mes désirs n’en flagraient que advantage; surtout un jour que, me trouvant dans
l’endroit où cette femme modeste faisait serrer le linge qu’elle quittait, je
saisis avidement ce qui avait touché ses charmes, portant une bouche altérée de
volupté sur son tour-de-gorge, sur... ce que j’imaginais vela secretiora penetralium, avec un emporte-ment... qu’on ne peut
exprimer”[9]
(Monsieur Nicolas, ed. John Grand-Carteret,
I, p. 169)；若 Wilhelm Meister 之於
Marianne：“Die Werkzeuge menschlicher Reinlichkeit, als
Kämme, Seife, Tücher waren mit den Spuren ihrer Bestimmung gleichfalls
unversteckt; Musikrollen und Schuhe, Wäsche und italienische Blumen, Bücher und
Strohhüte, keines verschmähte die Nachbarschaft des andern, alle waren durch
ein gemeinschaftliches Element von Puder und Staub vereinigt... Wenn sie selbst
mit unbefangener Freimütigkeit manches Natürliche, das man sonst gegen einen
andern aus Anstand zu verheimlichen pflegt, vor ihm nicht zu verbergen sucht —
es war ihn, sag’ ich, als wenn eine Gemeinschaft zwischen ihnen sich mit
unsichtbaren Banden befestigte würde” (Wilhelm
Meisters Lehrjahre, Buch I, Kap. XV, Goethes
Werke in zehn Bänden, hrsg. R. Buchwald, Bd. VI, S. 60)；若 “Henry III of
France was consumed by a fit of passion after having wiped his face with the sweaty
shift of Maria of Cleves” (H.H. Ploss, M. Bartels & P. Bartels, Woman, ed. by E.J. Dingwall, I, p. 111)；若 Mirza Rahchan
Kayil 之詩云：“Oh, this scent floating from your neck, your
breasts, your arms / That circles about your thighs & your little belly; / This
scent that is fed for ever & for ever / From two shady flasks under your
bright arms” (Ibid., p. 373 引 E.P.
Mathers, Coloured Stars)，皆即 Athenaeus, The Deipnosophists, XIV. 646, Eupolis on
a minion boy: “He reeks with charms, his walk is hip-dance, his excrement is
sesame cakes, his sputum is apples” (Loeb, VI, 493); R. Burton: “immo nec ipsum
amicae stercus foetet” (Anat., Pt.
III, Sect. II, Mem. III, Subs. 1); W.N.P. Barbellion, The Journal of a Disappointed Man (St. Martin’s Library) 1914, p.
23 (p. 177): “The test for true love is whether you can endure the thought of
cutting your sweetheart’s toe-nails — the onychiotomic test. Or whether you
find your Julia’s sweat as sweet as otto of roses”; Remy de Gourmont: “La femme
qu’on aime sent toujours bon!” (“Des pas sur le sable,”[10]
Promenades philosophiques, IIIe
série, p. 266) 之證也。故 Orlando Furioso, XXXVIL. 40 記 Marganore 深恨婦人，不使相近：“L’odor l’ammorbi del femmineo sesso” (ed. Ulrico Hoepli, p. 398)；蕭詧去女人數步即聞其臭（《周書》卷四十八）；杜慎卿隔三間屋尚聞女人臭氣（《儒林外史》第三十回）。而王鼎《焚椒錄‧回心院‧十香詞》云：「那識羅裙內，銷魂別有香」；彭羨門《松桂堂集》卷三十一〈金粟閨詞〉則云：「睡眼朝來倦未揚，傳呼洗面進羹湯。瑩瑩清徹仍無垢，水內新添玉粉香」；「無風亦自覺芬芳，非霧非烟費忖量。卻憶蓮經名義好，鼻端聞得女人香。」慍羝最不可堪，而周海廬愛嗅狐騷臭（詳見第八十六則論 Martial, III, xciii）。至 Casanova 自言：“As
for women, I have always found the odour of my beloved ones exceeding pleasant”
(Memoirs, tr. by Arthur Machen, “Arthur’s
Preface,” I, p. xxvii)，一若與 Remy
de Gourmont 合符節者，而復自記：“I called on her [Count de Bonafède’s daughter]
& discovered that her family was very poor. In her chamber, I was
particularly disgusted by a certain smell, the cause of which was recent; I was
thunderstruck, & if I had been still in love, this antidote would have been
sufficiently powerful to cure me instanter” (I, p. 126); “The girl [my
washerwoman’s daughter] was very pretty. At the first movement of the
connection a loud explosion somewhat cooled my ardour, the more so that the
young girl covered her face with her hands as if she wished to hide her shame. However,
encouraging her with a loving kiss, I began again. But, a report, louder even
than the first, strikes at the same moment my ear & my nose. I continue; a
third, a fourth report... I burst into the most immoderate laughter. Ashamed &
confused, she ran away... If [this singular disease] were common to all the
fair sex, there would be fewer gallant women, unless we had different organs;
for to pay for one moment of enjoyment at the expense both of the hearing &
of the smell is to give too high a price” (III, pp. 178-9)，則仍 Swift
之見，未臻 Goethe 境界也。
二百四十四[11]
陳文述《碧城詩髓》八卷、《補》一卷、《題跋》二卷。「詩髓」者，比山谷、漁洋「精華錄」也。託名「琴園內史」，實則望而知為雲伯自選。與神仙酬對者，固習於搗鬼耳[12]。碧城仙館之異於芙蓉山館者，在欲兼格調與詞藻，故所標舉不為義山而為太白，匪僅梅村，并有翁山。尤自負五、七律、七古，然塗澤鮮明，詞意不真切，筆致欠頓挫。五律枵而襲，七言古、近體庸而靡，一無足觀。憶《碧城仙館詩鈔》尚有七絕三數首清隽可采，如卷三〈七夕〉云：「世上女兒休更乞，誤人從古是聰明。」又〈夏日雜詩〉云：「一彎眉月不知處，半是青天半是雲。」卷四〈湖船雅集贈蘭箴校書〉云：「生來愛識團圞字，怕說迴船過斷橋。」又〈顧橫波梅花硯〉云：「羨爾一雙鸜鵒眼，當年飽看美人來。」［孫子瀟《天真閣集》卷二十四〈供硯圖〉（歸佩珊為雲伯子小雲及其婦汪小韞所作）云：「僥倖翠奩鸜鵒眼，終宵長對比肩人。」雲伯殆盜其語意。］此本皆不收，誠隨園所謂「存得幾句好詩亦須福分」也。「琴園內史」蓋其第二妾文湘霞，觀《詩髓》卷三〈琴園月夜聽湘霞彈琴〉等七古，又《題跋》卷二〈琴園內史手書碧城詩髓稿本跋〉可知。〈自序〉外，復有碧城仙館小花神、寶華宮散仙吳彩鸞兩〈序〉。「小花神」則第一妾薛雲𡜮，觀《詩髓》卷三〈虎邱小花神詩〉、卷六〈雲𡜮講仙小影〉、《詩髓補‧哭左姬雲𡜮題跋》、卷二〈姬人雲𡜮書江采蘋樓東賦書後〉可知。獨吳彩鸞人間天上此恨綿綿耳，可為絕倒。《詩髓補‧聞東國使臣載余書（疑「詩」字誤）集歸貽洪海居申紫霞兩君喜賦一律》有云：「梅籠倘有收藏地，留伴香蘇五百年。」自註：「謂吳蘭雪。」雲伯標榜左右妾不遺餘力，必其大小妻龔結璘、管玉局（二人詩見卷三〈桃花漁隱〉篇後〈漁婦題詞〉，又《詩髓補》謂龔有《花海琴音》，管有《玉天仙梵》），復次則其妾侍陸湘鬟、蔣玉嫣輩（卷三〈桃花漁隱〉篇後附錄，又卷六〈偕姬人蘭君渡海〉、〈梅花榭再贈〉等詩），無邊風月，一門風雅。當是效蘭雪岳綠春故事而加厲者。噉名醜態，每況愈下矣！潘敬《樵山雜著》卷四嘗云：「某友戒茹葷，忽納一少妾，余戲之曰：『天下之葷，孰有過於此者乎？』」雲伯既一雄將五、六雌，尚好狎邪游，如卷六為停雲水榭、紫釵樓等所作詩是，乃深戒殺生，卷七〈書隨園食譜後〉至有「竟忘君子遠庖廚，何異操刀手自屠」之語，是笑人之何肉，而忘己之周妻矣！每一體前有《琴園詩話》數則，不便自譽，託諸田巴之妾也。如云：「七古從梅村入手」，又云：「所錄五律較翁山少一『響』字，以音節過高，多近客氣；多一『靜』字，則詩家上乘。」又附《自然好學齋詩說》云：「七律初學梅村，傍及虞山，近人兼取鐵雲、夢餘。」雲伯詩學，不過如此，所謂「最得力太白」、「李、杜雙收」云云，則欺人語耳。「李、杜雙收」可與章實齋《丙辰劄記》所記「無知無恥之婦女自題其詩為《浣青集》，意欲兼浣花、青蓮之長」云並傳。《詩髓補》有〈許雲林女史以太清福晉項屏山沈湘佩兩夫人秋柳殘荷倡和詩詞乞余評定有感題二律〉，又〈秋柳和太清福晉〉一律，後附西林太清原作。郭則澐《十朝詩乘》卷十四云：「陳士可所刊太清春《天游閣詩》有〈紀事〉云：『含沙小技太玲瓏，野鶩安知澡雪鴻。綺語永沉黑暗獄，庸夫空望上清宮。碧城行列休添我，人海從來鄙此公。任爾狂言成一笑，浮雲不碍曙暾紅。』〈序〉稱：『陳叟雲伯以仙人自居，著［有］《碧城［仙館］詞［鈔］》，［中］多綺語。有碧城女弟子多［十餘］人，［略］為之［…］延譽［吹噓］。［去秋］曾浼［託］雲林以蓮花筏一卷、墨一笏［二錠］見貽［贈］，拒［余因鄙其為人避而］不受。其［今見彼］寄雲林書［信］中乃有西林太清題其〈春明新詠〉一律，並自和［元韻］一律。［此事殊屬］荒唐［尤覺］可笑［不知此太清彼太清是一是二，遂用其韻以記其事］』云云。今《頤道堂集》無〈春明新詠〉及和詩。太青曾託許雲林索汪允莊題其〈聽雪小像〉八絕句，汪即雲伯子婦也。」【按此見風雨樓叢書本《天游閣集》卷五，題曰：「錢塘陳叟字雲伯者」云云，「狂言」作「亂言」，「曙暾」作「日光」，後附冒鶴亭考訂，與郭氏言略同。】按郭氏似未見〈秋柳〉一律。太清紀事詩劣甚，然寫盡雲伯技倆。
【葉調生《鷗陂漁話》卷五載雲伯集外詩〈太史公〉五古一首諷紳士簠簋不飭，却直白有風趣。《兩般秋雨菴隨筆》卷三稱雲伯〈無題〉：「七十鴛鴦同命鳥，一雙蝴蝶可憐蟲。」見《碧城仙館詩鈔》卷二〈閒情‧之八〉，卷六〈讀金纖纖女士瘦吟樓遺詩‧之三〉云：「夢為蝴蝶魂猶瘦，修到鴛鴦命不長。」】【盧照鄰〈長安古意〉：「得成比目何辭死，願作鴛鴦不羨仙」是雲伯句樣。】【劉兼〈江樓望鄉寄内〉：「魂夢只能隨蛺蝶，烟波無計學鴛鴦。」】【石孝友〈鷓鴣天〉：「鴛鴦有底情難盡，蝴蝶無端夢易驚。」又：「夜來縱有鴛鴦夢，春去空餘蛺蝶圖。」（《全宋詞》）】【別見《翁山詩外》冊 26、《宛陵集》四十六〈代書寄王道粹學士〉：「花寒蛺蝶猶相守，水冷鴛鴦不暫分。」《綠野仙踪》四十七回何士鶴詩：「醉倒鴛鴦雲在枕，夢回蝴蝶月盈廊。」】【陳其年《湖海樓詩集》4〈教坊行〉：「便作鴛鴦情未己，得成蝴蝶意何辭。」《履園叢話》23 張照〈大歸四事〉七律之二云：「不許鴛鴦栖並翼，任他蝴蝶夢千迴。」】
【孔憲彝〈題定庵己亥雜詩〉：「詩仙詩佛在杭州」，謂雲伯與定庵。】
【日本人森大來《槐南集》卷三有〈讀陳雲伯頤道堂集〉七律十六首，每首冠以〈小序〉，極稱頌之，并有攷索。第三首云：「未妨宋艷班香手，一掃尊韓挹杜風。」第十四首〈小序〉云：「《戒後詩存》二卷尤無足見。」「見」者，「觀」之意，正物徂徠《蘐園隨筆‧文戒‧第一戒》所謂「和字」也[13]。】
二百四十五[14]
C.E. Norton (ed.), Letters of James Russell Lowell. 筆舌隽爽。余所見美國前輩尺牘，如 Holmes 父子、James 兄弟，皆方此遠遜。於美國人中，殊似 Walter Raleigh（參觀
Edmund Grosse 與 R.L. Stevenson 書：“Have
you read Lowell's Letters?... The Letters are highly personal & vivid,
revealing the man in his shirt-sleeves with his vigour & his vanity... And
so funny with bursts of real boyish spirits & scholarly nonsense... The
most delicious recent letters, in English at all events. The book has
revolutionized my idea of Lowell, whom I faintly disliked in the flesh” — Evan Charteris,
The Life & Letters of Sir Edmund
Gosse, p. 232）。每好作 Pun 而鮮佳者，亦當時風氣也。
“Perhaps I should bear riches with
resignation. I think few of us would hold an umbrella (at any rate right side
up) against a golden shower” (vol. I, p. 152). 按 Le Sage, Gil Blas, Liv. VIII, ch. 4: “Après cette
confidence, que je regardai comme de l’argent comptant, je n’eus plus d’inquiétude.
‘Enfin, disais-je, me voici sous la gouttière; une pluie d’or va tomber sur moi’”
(Éd. Garnier Frères, p. 435)，欲雨蓋與承霤者。Heine, Die
Harzreise 嘗自嘆阨運：“Ich glaube, wenn mal die Thaler vom Himmel
herunter regneten, so bekäme ich davon nur Löcher in den Kopf” (Gesammelte Werke, Gustav Karpeles, Bd.
III, S. 18)，正可作註腳。
“Never was a door so diplomatically
opened to a gentleman on the point of being turned out neck & heels. I am
marched out, as it were, with a band of music before me thumping & blowing ‘See the Conquering Hero Comes!’ with
that orchestral impartiality which heralds with the same tune, & the same
energy of brass & sheepskin, the advent of a President or a learned pig. I
dangle from silk instead of hemp — a ceremonial consolation... A kick in the
breech may be either bestowed with a velvet slipper or a cowhide boot; but it
is, after all, a kick in the breech” (vol. I, p. 180). 按
Bismarck 自記威廉第二逼令休致，復贈爵賜邑，以榮其行，因云：“Die ich ein Leichenbegängnis erster Klasse mit
Recht nennen konnte” (Erinnerungen und
Gedanken, Bd. III, S. 108, 見Georg Büchmann, Geflügelte
Worte, Volks-Ausgabe von B. Krieger, S. 394 引)，正此之謂。De Quincey 記或人戲仿 Shenstone：“So sweetly she bade me adieu, / I thought that she
bade me return”[15]，作句云：“He kicked me downstairs with such exquisite grace / That I thought he
was helping me up” (Collected Writings,
ed. D. Masson, II, p. 184)。S. Longfellow, Life
of H.W. Longfellow, (1886 ed.), II, p. 456: “I tried to say No so softly that she would think it
better than Yes” 可以參觀。“learned pig” 又見 vol. II, p. 256：“I
have been studying like a dog — no, dogs don’t study — I mean a learned pig”，不知何異？Marryat, Peter Simple, ch. IX 亦記
Portsdown Fair 中有 “The
Learned Pig”。近人 Osbert Sitwell, The Scarlet Tree, “The Reprint Society,” p. 54: “The Learned Pig
(whom my mother saw & bought at a bazaar, being greatly impressed by its
uncanny knowledge of character & grasp of the future)”，殆其意耶？
“What a language it [German] is to
be sure! With sentences in which one sets sail like an admiral with sealed
orders, not knowing where the devil he is going to till he is in mid-ocean!”
(vol. I, p. 242). 按妙喻。De Quincey, Rhetoric:
“Every German regards a sentence in the light of a package, & a package not
for the mail-coach but for the waggon, into which his privilege is to crowd as
much as he possibly can. All qualifications, limitations, exceptions, illustrations,
are stuffed & violently rammed into the bowels of the principal
proposition. That all this equipage of accessaries is not so arranged as to
assist its own orderly development, no more occurs to a German as any fault
than that in a package of shawls or of carpets, the colors & patterns are
not fully displayed. To him it is sufficient that they are there” (Collected Writings,
ed. David Masson, X, p. 122); Style: “A
sentence is viewed by Kant, & by most of his countrymen, as a rude mould or
elastic form, admitting of expansion to any possible extent” (X, p. 160); Language: “If a whole book were made up
of a single sentence, all collateral or subordinate ideas being packed into it
as parenthetical intercalations — if this single sentence should even cover an
acre of ground — the true German would see in all that no want of art... The temple would in his eyes exist, because the materials of the temple — the stone,
the lime, the iron, the timber — had been carted to the ground” (X, p. 258); Wm
James: “I have just been reading Hegel’s chapter on epic poetry in his “Aesthetik,”
& the truly monstrous sentences therein were quite a revelation to me... As
soon as the first glimmering of an idea has dawned upon you, there is no reason
why you should not begin to inscribe, for you can wallow round & round as
you proceed, affixing limitations, lugging in definitions & explanations as
fast as they suggest each other, & need never go back to reshape your beginning”
(Letters, ed. by His Son, vol. I, pp.
87-8); Mark Twain, A Connecticut Yankee in
King Arthur’s Court, ch. 22: “the Mother of the German Language”: “Whatever
was in her mind to be delivered, whether a mere remark, or a sermon, or a
cyclopedia, or the history of a war, she would get it into a single sentence or
die” etc.; The Letters of G.S. Gordon,
p. 23: “What a language! It wants oiling badly”，皆相發明。參觀 E.A.
Blackall 論 Father Augustin Dornblüth’s Observations (1755) 所主張之 Incapsulation：“The
conception of the main verb ‘tying up’ the whole sentence, making it gut und bindig.... denotes his stylistic
ideal... The main verb [e.g., ich hab mir... vorgenomen] envelops the sentence
like some outer casing holding all the other parts within itself... Things must
be held together by these verbal pincers, no matter how wide apart they had to
be forced. It is like some vast baroque canvas, capable of sustaining any
number of airborne creatures, so long as there is a basic pattern of structure
to stop them flying apart all out of control” (MLR, Oct. 1955, p. 453)。L’Abbé de Pons 論
Cicero 句法亦云：“Ces périodes immenses dont le sens vaste, mais
confus, ne commence à se développer que lorsqu’il plait au verbe dominant de se
montrer, verbe que l’Orateur romain s’obstine à faire marcher à la suite de
toutes les idées qu’il aurait dû précéder” etc. (Sainte-Beuve, Causeries du Lundi, XIII, p. 267 引)。
“Gout derives its name (like mons a non movendo) from the patient’s
inability to go out” (vol. I, p. 283).
按妙語，可與 Lord Erskine: “The French have taste in all they
do, / Which we are quite without; / For Nature, that to them gave goût, / To us gave only gout” (Alexander
Dyce, Table Talk of Samuel Rogers, p.
56) 並傳。
“Since Memory is reached by no door / So quickly as by that of odor” (vol. II, p.
105). 按此意至 Marcel Proust, Du
côté de chez Swann, ch. I: “... l’odeur et la saveur restent encore
longtemps, comme des âmes, à se rappeler” etc. (À la Recherche du Temps Perdu, “La Pléiade,” I, p. 47)，而成老生常談（參觀 Léon
Pierre-Quint, Marcel Proust: sa vie, son
oeuvre, p. 143 論 “La mémoire
affective”）。然 Parerga, §353: “Dass bisweilen, scheinbar ohne allen Anlass, längstvergangene
Seenen uns plötzlich und lebhaft in die Erinnerung treten, mag, in vielen
Fällen, daher kommen, dass ein leichter, nicht zum deutlichen Bewusstseyn gelangender
Geruch, jetzt gerade wie damals von uns gespürt wurde... Das Auge ist der Sinn
des Verstandes (Vierfache Wurzel, §21); das Ohr der Sinn der Vernunft (oben §301 [S. 616]); und der Geruch der Sinn des Gedächtnisses”
(Sämtl. Werk., hrsg. E. Grisebach,
Bd. V, S. 643) — Paul Deussen, V, S. ... [16]道之最早，今人尟知之者。Poe 云：“I believe
that odor have an altogether idiosyncratic force, in affecting us through
association” (Marginalia, Works, ed. Stedman & Woodberry, vol.
VII, p. 320)；又 O.W. Holmes 云：“Memory,
imagination, old sentiments, & associations are more readily reached
through the sense of the smell than by almost any other channel” (Autocrat of the Breakfast-Table, IV, “The
World’s Classics,” p. 63)；又 Augustine
Birrell, Things Past Redress, p. 36: “At
a corner near the school stood a hay-merchant’s store, & the smell of his
exposed merchandise became so closely associated with my gloom that for at
least a quarter of a century I never passed a hayfield without a sinking of the
heart”。【E. Hanriot, Maîtres
d’hier et contemporains, nouvelle série, p. 36-7 謂 Ramond de
Carhonnières, Observations faites dans les
Pyrénées (1789) 已詳言：“Il y a je ne sais quoi dans les parfums, qui réveillent
puissamment le souvenir du passé”，實開 Proust 云云。】
“Pereunt
et imputantur. Don’t translate pereunt
by perish. ‘They go by & are
charged to our account’” (vol. II, p. 179). 按
Oliver St. John Gogarty, Tumbling in the
Hay, p. 80 記 Tyrrell
戲譯酒肆鐘上銘 “pereunt
horae et notantur” 為：“The whores pass by and are spotted”。
[2]「孫兆溎」原作「孫定溎」。
[4] 即《談藝錄‧六三》：「少陵號精『選理』，而力變選體，所以為大；杜陵杜撰，亦如白傅白描，此固非斤斤於『杜詩證選』者，所能知也。使杜詩妙處盡出於《選》，則得《選》已足，何貴有杜；假云亦須有杜之才，濡澤《選》理，然後大成，則倘無其才，縱精《選》學，衹傳李崇賢『書簏』而已。詩文平弱，毋寧曰由於才力卑遜，非盡關不治《文選》也」云云。
[12] 陳文述自稱「玉局修書」轉世，妻妾女弟皆其使者。《頤道堂詩外集》卷七有詩題曰：「雲間女仙凌波子降乩詩云：『三泖波平塔影孤，九峰寒色冷棲烏。誰將周昉丹青筆，寫我春江探雪圖？』客以予前生叩，云是『玉局修書』，使者凡數十人，先後降生人間也。改君七薌寫〈春江探雪圖〉，並以前事見告，為題二絕」。
[13] 荻生徂徠《文戒‧第一戒和字》云：「『和字』者，謂以和訓誤字義者也。如『いるは』，為中華文所不須；『扨』、『迚』、『倩』、『抔』，為稍讀書者所不惑。而魚名之『鯛』、『鰹』、『鰯』，姓之『辻塙』，又為務實錄者所不必避。則今之所戒，在此不在彼也。若『平等』、『一面』、『工夫』、『自然』者，雖非和訓，入為和語，而講師經生別有家言者均之，皆訛用中華語，實非其義，最堪惑人，則併攝此」云云。所摘伊藤仁齋《語孟字義》中「和字」之例，屢有「『見』當作『觀』」、「『觀』當作『見』」者，足徵此為日人常犯之錯。
沒有留言:
張貼留言