Sir Edmund William Gosse (by Sir William
Rothenstein, 1928)
二百八十六[1]
左緯《委羽居士集》一卷，王棻集。亦《台州叢書後集》本。不矜氣格，不逞書卷，異乎當時蘇、黃流派，已開南宋人之晚唐體，佳者清疏婉摯，劣處則窘薄耳。
黃裳〈序〉：「自言每以意、理、趣觀古今詩。」按《宋詩紀事》卷四十謂裳此〈序〉引經臣〈招友〉句云云，誤也，僅引經臣此語耳。
〈避賊書事〉：「懷寶恐吾累，蔽形何可遺？囊衣入山谷，勢急還棄之。及至出山日，秋風吹樹枝。免為刀兵鬼，凍死宜無辭。三」「搜山輒縱火，躡迹皆操刀。小兒饑火逼，掩口俾勿號。勿號可禁止，饑火彌煎熬。吾人固有命，困仆猶能逃。五」「今我有三子，欲謀分置之。庶幾一子在，可以收我屍。老妻已咽絕，三子皆號悲。生離過死別，不如還相隨。十」
〈半山菴〉：「杉高方見直，石怪不成粗。」
〈避寇即事〉（見第二首，當是建炎元年八月陳通兵變）：「寂寞空山裏，黃昏百怪新。鬼沿深澗哭，狐出壞牆嚬。小雨俄成霰，孤燈不及晨。開門謝魑魅，我是太平人。九」「借問今何所？空山號白龍。秋聲悽萬竅，雪意暗千峯。俯首燒殘葉，披衣聽斷鐘。生涯都付賊，只有一萍蹤。十」
〈春日曉望〉：「屋角風微烟霧霏，柳絲無力杏花肥。朦朧數點斜陽裏，應是呢喃燕子飛。」按「斜陽」與「曉望」語不合，《宋詩紀事補遺》卷四十六引此作孟大武詩，「曉」作「晚」，「飛」作「歸」，皆勝此本，蓋采之《宋詩拾遺》。《拾遺》所著作者姓名多不可信，如以王績無功為宋人王闐是也。
〈送許左丞至白沙為舟人所誤〉：「短棹無尋處，嚴城欲閉門。水邊人獨自，沙上月黃昏。老別難禁淚，空歸易斷魂。豈知今夜夢，先過白沙村。」按《詩人玉屑》引前四句，《宋詩紀事》遂誤為五絕矣。《永樂大典》一萬四千三百八十「寄」字引《赤城左氏集》全同，題多「以詩寄之」四字。「水邊」一聯可繼陰鏗〈江津送劉光祿不及〉云：「泊處空餘鳥，離亭已散人。」
〈招友人飲〉：「入門相見喜還悲，不免樽前細問之。一別又經無數日，百年能得幾多時。後生袞袞皆成事，吾輩栖栖亦可疑。日暮東風吹鬢髮，拍床嗔道酒行遲。」按義山〈寓目〉云：「此生真遠客，幾別即衰翁。」魏仲先《東觀集》卷六〈寄唐異山人〉云：「能消幾度別，便是一生休。」《荊溪林下偶談》卷一謂陳了翁喜此聯，因舉魏野詩，又戴叔倫〈寄朱山人〉云：「此別又萬里，少年能幾時。」杜荀鶴〈送人遊江南〉云：「能禁幾度別，即到白頭時。」
〈送別〉：「騎馬出門三月暮，楊花無賴雪漫天。客情唯有夜難過，宿處先尋無杜鵑。」
句：「怪巖摩足力，空谷答人聲。靈巖」「禽巢先覺曉，蟻穴未知霜。落葉」按此本唐人劉義〈落葉〉詩：「返蟻難尋穴，歸禽易見窠。」《漁隱叢話》前集卷五十五所謂「謎子」者也。《桐江集》卷三〈跋尤氷寮詩〉極稱其〈落葉〉之「蟻返愁尋穴，鴉歸喜見巢」，何虛谷之眼謾耶！《江湖後集》卷三周端臣〈落葉〉云：「歸巢便覺栖禽冷，覓穴空教返蟻迷」，自此化出。唐時升《三易集》卷五〈和沈石田先生詠落花詩‧之十三〉：「巡簷游蟻迷新穴，遠樹歸禽識舊巢。」
二百八十七[2]
Evan Charteris, The Life & Letters of Sir Edmund Gosse. The style, graceful but
with a firm underlying skeleton, recalls Gosse’s own. The author seems to have
taken the advice of Gosse’s acknowledged master (p, 478: “I am the disciple of
one man, & of one man only — Sainte-Beuve.”): “J’ai toujours pensé qu’il
faut prendre dans l’écritoire de chaque auteur l’encre dont on veut le peindre”
(Sainte-Beuve, Les Grands Ecrivains
Francais, Études classées et annotées par Maurice Allem, T. X, p. 62). Cf.
marg. to 《歐陽文忠集》 卷 73〈論尹師魯墓志〉. Gosse’s letters are excellent.
Before he grew mellow & acquired
bouquet with the passing of years & the amassing of honour, Gosse was very
much the unscrupulous young man in a hurry & on the make, quite an
obnoxious type. It is rather amusing to telescope the following passages: “You
[Swinburne] are my first & only master in the first elements of poetic
scholarship” (p. 90); “other people may have other gods, you [Browning] have
been to me — ever since I came to years of discretion — the greatest English
poet of the age” (p. 96); “The Leaves of
Grass have become a part of my everyday thought & experience... Accept
the homage & love, & forgive the importunity, of your [Whitman’s]
sincere disciple” (pp. 171-2). Of course, culture which consists in catholicity
is incompatible with cult which means exclusive devotion, but it is worse than
spiritual fornication for a polytheist to profess before each shrine that he is
a pious monotheist who does not shun strange gods. And such a man must take
care not to let any whiff of the incense he is burning to one god reach the
nostrils of another, because had Swinburne, for instance, heard of Gosse’s
tribute to Browning, he might very well have said (slightly modifying E.
Housman’s famous words): “You should be welcome to praise me, if you did not
praise another as much.”
Charteris shows by means of letters
to Maurice Baring, Siegfried Sassoon, Robert Nichols & to himself that
Gosse gave generously of his help & advice to young inexperienced authors.
But these men were socially worth cultivating or, as Gosse said of Henry James
to the latter’s landlords, “in every way respectable & eligible” (see p.
340); they came from well-to-do or even noble families & went to the right
schools, & universities — advantages to which a man like Gosse naturally
attached enormous value. To struggling authors who, like Gosse himself were not
quite-quite in family antecedents & schooling, Gosse often disdained giving
any lift. Ernst Rhys in his Everyman
Remembers records Bell Scott’s advice to him: “Gosse will do nothing for
you, but his friend Austin Dobson has some human nature in him.” Now Bell Scott
had been the man who sponsored young Gosse & introduced him to the
Pre-Raphaelites (Charteris, p. 25).
Characteristic anecdotes about Gosse
in E.F. Benson, As We Were, pp. 201
ff. (on p. 198 Benson gives an Address to
the Moon by Gosse’s housemaid: “Whenever I see thee, I think in my mind, / Shall
I ever, o ever behold thy behind!” which might very well be compared with one of
the aphorisms of Gosse’s enemy Charlton Collins: “A wise man, like the moon,
only shows his bright side to the world.” The
English Review, April 1914, p. 96 given in L.P. Smith, A Treasury of English Aphorisms, p. 159) & William Rothenstein,
Men & Memories, II, pp. 166-8.
The following three tidbits are not so well-known: Hamlin Garland, Afternoon Neighbors, p. 184: “I came
upon Gosse surrounded by some six or eight women admirers, all quaintly plain
of feature”; E.V. Lucas,
Reading, Writing & Remembering, p. 103: “On a holiday, when W.P. James & Ker
were walking across Exmoor towards Minehead, a fog suddenly descended. As they
plodded on through it, they saw ahead of them another figure magnified into
something inhuman. It turned out to be Gosse. ‘I couldn’t think what you could
be,’ said Ker, ‘whether the Spectre of the Brocken or an Oxford don returning
to nature.’ Later in the evening, when they were alone, Ker said to James: ‘Did
you notice how pleased Gosse was to be taken for an Oxford don — even in a fog?’”;
W. Somerset Maugham, A Writer’s Notebook,
“The Collected Edition,” p. 210: “My first book [continued 第二百八十六 top] [3]［補第二百八十七則］in 1897, was something of a success. Edmund Gosse admired it and praised
it. After that I published other books & became a popular dramatist.... I
used to meet Gosse once or twice a year & continued to do so for 20 years,
but I never met him without his saying to me in his unctuous way: ‘Oh, my dear
Maugham, I liked your Liza of Lambeth
so much. How wise you are never to have written anything else.’”
P. 25: “A gait curiously suggestive
at once of eagerness & caution.” The whole description is delightful &
should be compared with a passage in André Gide’s Journal, 3 octobre 1916: “Gosse à l’Hotel Crillon....
Comme
naguère, ses
mouvements me semblent dictés un peu plus peut-être par son intelligence que
par son coeur.... L’intelligence, qui chez lui toujours surveille, intervient
et retient l’être sur la pente de l’abandon” etc. (ed. Bibliothèque de la
Pléiade, NRF, p. 563). Cf. also Osbert Sitwell’s description of “Professor
James Crisscross” in his long short-story Triple
Fugue: “A very old dog, he seemed, with a cat’s soul, & a cat’s
stealthy gait & claws.... As [he] advanced across the stage he looked round
constantly, as if both expecting a welcome & fearing an ambush” (Collected Stories, pp. 271-2).
P. 130: “When listening to Congreve’s
Way of the World, he turned to Mr
Edward Marsh with tears in his eyes exclaiming, ‘The excruciating beauty of the language!” Mr Mantalini also
rhetorically asks himself: “Why is she so excruciatingly beautiful?” (Nicholas Nickleby, ch. 34).[4]
Nicholas Nickleby, ch. 34, Mr
Mantalini: “Why is she so excruciatingly beautiful that I cannot be angry with her, even now?” Cf. p.
503 on Valéry’s lines “Et la lune perfide élève son miroir” etc.: “The beauty
of it brings tears to one’s eyes.” True, William James numbered “a moistening
of the eyes” among the “symptoms” when “beauty excites us” (Principles of Psychology, II, pp.
469-70; cf. supra 第百八十則), & Chateaubriand had long ago said that “the true tears are those
which are called forth by the beauty
of poetry; there must be as much imagination in them as sorrow” (quoted by I.
Babbitt, The Masters of Modern French
Criticism, p. 66). Cf. 杜甫〈滕王亭子〉：“清江錦石傷心麗”，李白〈菩薩蠻〉：“寒山一帶傷心碧”. 陸游〈沈園〉第二首：“傷心橋下春波綠”，“傷心” at
once refers to the event in the following line (“曾是驚鴻照影來”) & to the water in the line itself (i.e. “春波橋下傷心綠”) — a masterstroke of “ambiguity”! Mme
de Staël, De l’Allemagne, nouv. éd.
par la Comtesse Jean de Pange et Mlle Simone Balayé, IV, p. 222: “Kant croit que le beau nous fait sentir le mal du pays, c.-à-d.
le souvenir du ciel.” Ed Howe: “When people hear good music, it makes them
homesick for something they never had, & never will have” (Clifton Fadiman
& Charles Van Doren, The American
Treasury, p. 989).
杜甫〈閬水歌〉：“閬中勝事可腸斷”（目擊之事，非追憶也）. But to assign the lachrymal sac the role of arbiter elegantiarum is liable to
lapsing into “the dangerous mistake” combatted by Chateaubriand, & deserves
Heine’s jibe “Dies Talent [Tränen zu entlocken] hat auch die kümmerlichste
Zwiebel” (Gedanken und Einfälle, Sämtl. Werk., hrsg. von Oskar Walzel,
Bd. X, S. 251; cf. Evelyn Waugh, Love Among
the Ruins, ch. V, p. 47: “The Minister appeared, open-necked as always but
without his usual smile; grave to the verge of tears.... Eventually tears came —
real tears for he held an invisible onion — & trickled down his cheeks.”)
Gosse who, by the way, also “cried so that tears blinded the page” when he
wrote of Thomas Gray’s death (p. 190), seems to have shared this don des larme — a sort of diarrhea of
the eyes — with André Gide to whom he felt himself bound by “some
very close spiritual & intellectual ties” (p. 316). When I come across in
Gide’s Journal such passages as “Lisant Wuthering Heights.... Lisant à haute voix la dernière entrevue de Catherine
et de Heathcliff et ne retenant plus mes sanglots” (14 juin 1914, p. 419), I am
seized with a desire to be ribald & recall the sentence in The Unfortunate Traveller about “weeping
all one’s urine upward” or the catchphrase recorded in Partridge’s Dictionary of Slang, 4th ed. P.
635: “Let her cry, she’ll piss the less!”
P. 196: “At the rival University it
became a stock saying for anyone who had made a ‘howler,’ that ‘he had made a
Gosse of himself.’” According to Sir Edward Marsh’s A Number of People, in the private vocabulary of the Baring &
Ponsonby families, “a display of undue touchiness” is called “an Edmund” ex “Edmund Gosse.” Poor Gosse! His
middle name “William” alone did not become a byeword for one thing or another.
When the scandal of From Shakespeare to
Poper was at its height, Gosse’s cook even gave notice because she didn’t
like seeing Mr G.’s name so much in the papers” (see Anon., The Lawyer’s Last Notebook); cf. Journal des Goncourt, 1865, 6 Décembre: “Ma
bête de maîtresse, qui a assisté à la representation [d’Henriette Maréchal] d’hier,
me disait, cette nuit, qu’elle n’osait plus sortir ce matin, qu’il lui semblait
qu’elle avait la chose écrite sur la figure.” The “hard measure” Gosse had at
the hands of the Quarterly Review
elicited two sympathetic letters from T.H. Huxley (Life & Letters, II, 143-4) which Charteris has overlooked.
P. 197: Tennyson: “I think Churton
Collins is a Louse on the Locks of Literature.” A good phrase for parasitic
writers, though rather hard on Collins. It seems to be a reminiscence of Evenus’s
epigram: “Page-eater, the Muses’ bitterest foe, lurking destroyer, ever feeding
on thy thefts from learning, why, black bookworm” etc. (The Greek Anthology, IX, 251; “The Loeb Classical Library”, tr.
W.R. Paton, III, p. 133); cf. Montfort’s nickname for courriéristes littéraires: “des poux” (Paul Léautaud, Journal Littéraire, V, p. 343).
P. 257: “The Athenaeum acknowledged that ‘the little demon inaccuracy who
occasionally takes his stand at Mr. Gosse’s elbow,’ had in this case [Life of Donne] been foiled.” Not quite,
of course, even with the help of Augustus Jessup. J. Churton Collins has a very
penetrating remark in “English Literature at the Universities” (which I dug up
in the Quarterly Review, No. 326 in
the Bodleian in order to read in its pristine entirety, the essay under that
title in Ephemera Critica being
expurgated) “manifestations of constitutional mischief”[5]
— an excellent Johnsonian phrase.
P. 261, Gosse to Max Beerbohm: “The
bad things don’t matter, if you only reprint good ones. The newspaper is lost,
the book remains. Our duty is towards our books.” Cf. Gautier: “Seul le livre a
de l’importance. Le journal disparaît et s’oublie. Le feuilleton est un arbuste
qui perd ses feuilles tous les soirs et qui ne porte jamais de fruits” (quoted
by René Dumesnil, l’Époque réaliste et
naturaliste, p. 282).
P. 274: “It was the custom for the
Gosses to be ‘at home’ on Sundays.... The critical moment arrived when he had
to head off those guests whom he wanted to stay for supper.” William
Rothenstein, in his Men & Memories
(II, p. 166), describes how sometimes, if there were no great guns present,
Gosse would ask him to stay for supper, & how, being vain, he resented
being weighed in the balance.
P. 298, Gosse to Hardy: “You know he
[Meredith] has broken his ankle?” The letter was written on Nov. 5, 1905. Cf.
however The Journal of Arnold Bennett,
Nov. 29, 1904: “Marcel Schwob said Meredith was certainly the son of a tailor....
Meredith has ‘ataxy’ or something of one leg & limps & always tells any
visitor that he had the misfortune to hurt his ankle that very morning.”
P. 410, Gosse to Maurice Baring on In Memoriam A.H.: “‘Whether some brave
young man’s untimely fate / In words
worth dying for he celebrate.’ Cowley wrote that for you.” This reminds me
of the story about Dr Parr saying that he would write Lord Erskine’s
epigraph & Lord Erskine saying that such an intention on the doctor’s part
was almost a temptation to commit suicide (given in Mark Lemon, The Jest Book, no. 245).
P. 443: “He was not a tearless
critic.... He cannot therefore be credited with the disclosure of any alarming
discoveries, or with backing a dark horse or an outside chance in print” etc.
An amusing instance of this: “Mr Edmund Gosse, who had a weakness
for suspecting any literary discoveries but his own, said sneeringly to a
brother-critic: ‘Who is this “house boat” person they are all chattering about?’
A week later, he had changed his tone, & was chattering himself in three
whole columns, very appreciatively & well” (Laurence Housman, A.E.H., p. 81).
P. 497-8, Gosse to E.S.P. Haynes: “I
sat in Committee [the Committee of the London Library] with him only once, in
that year [1883]. He... took no part in the business, until suddenly he
interrupted it by saying that he had a proposition to make. He then proceeded
to say that the tone of the books purchased by the L.L. had greatly
deteriorated, & that he attributed it to the intrusion of ‘works of
fiction.’ He pronounced these words with haughty scorn, as if he smelt a bad
smell. Then he made the definite suggestion that in future no novels, ‘except
of course those of George Eliot,’ should be purchased for the Library. The Committee
was very respectful to him, but this was really too much, & his proposition
was rejected, I think unanimously. He then rose, in dreamy dignity, & left
the room, without saying Goodbye to anyone, & I never saw him at a
Committee meeting again.”[6]
Who says that the “Synthetic” philosopher had no heart? He wrote in his Autobiography that “Miss Evans [was] the
most admirable woman, mentally, I ever met” (I, p. 394). The word “mentally” is
very intriguing & is perhaps explained by another passage in the same work:
“Physical beauty is a sine qua non
with me; as was once unhappily proved where the intellectual traits & the
emotional traits were of the highest” (Ibid.,
p. 369). Spencer’s neglected “proposition” proves that he kept a tender spot
for George Eliot. For the relation between the philosopher & the lady, see
Gordon S. Haight, George Eliot & John
Chapman, pp. 49-50, esp. letters she wrote to him discovered by the
professor &...[7] of
her letters (New Statesman, 3 Aug.,
1979, p. 239).
【“How
far Sir Edmund Gosse was involved in the ‘first edition’ racket has hitherto
been a mystery. But Kipling had had a ‘first edition’ wished on him in 1899 by
Wise which he must have known was spurious but which he never openly disowned.
In 1932 he published a short story about a literary forger & his
accomplice. The protagonists resemble Wise & Gosse so closely that, as Miss
Sonia Cole plausibly suggests [in her Counterfeit],
Kipling may well have been taking a sardonic revenge on them” (The New Statesman & Nation, Jan. 7,
1956, p. 22).】
二百八十八[8]
《全前漢文》卷三十八劉向〈別錄〉：「師之，尚之，父之，故曰師尚父，父亦男子之美稱也。」按《詩‧大雅‧大明》「維師尚父」句，《正義》亦引此末句，作「父亦男子之美號」。……[9]白珽《湛淵靜語》卷一：「有士人投啓於真西山，以『爵齒德』對『師尚父』，館客哂之。西山曰：『謂可師、可尚、可父』」云云，正本此。蘇子容《蘇魏公集》卷十一〈三月二日奉詔赴西園曲宴席賦呈致政開府太師〉第二首：「位冠三公師尚父，躬全五福壽康甯」，自注劉向云云，蓋早用此解矣（此詩四首，四庫館臣又沿《永樂大典》卷九百十七〈師〉字之誤，誤編入張嵲《紫微集》卷七）。《樊山集》卷十九〈上翁尚書〉第六首：「名德已高師尚父，閒情猶寄畫書詩」，自注：「或投真西山啓」云云。【又第五九二則《景文集》卷十六，又第二百九十則眉。[10]】【見七三七則。】
卷四十二王褒〈僮約〉。【將《文選》各批語補入。】按石崇仿之作〈奴券〉，見《全晉文》卷三十三。山谷仿之作〈跛奚移文〉，見《豫章黃先生集》卷二十一。鄒程村《麗農詞》卷下〈六州歌頭‧戲作簡僮約效稼軒體〉實亦本之。《露書》卷五謂王褒此文「乃規世之作，世人求多，何以異是？」云云，頗有見。《媿生叢錄》卷二則甚稱便了之「忠」，而斥子淵之「玷品喪節」，「以異方男子，止人寡婦之舍，有傷名教。」
王褒〈洞簫賦〉：「武聲若雷霆輘輷，仁聲若颽風紛披」云云。按此種機杼，本之〈樂記〉：「上如抗，下如墜，曲如折，止如槀木，倨中矩，勾中鈎，櫐櫐乎如貫珠。」馬融〈長笛賦〉所謂「爾乃聽聲類形」者是也。〈長笛賦〉有「狀如流水，又象飛鴻」云云（《全後漢文》卷十八）；嵇康〈琴賦〉有「狀若崇山，又象流波」云云。窠臼既成，由賦而入詩。唐人如昌黎之〈聽穎師彈琴〉、香山之〈琵琶行〉、昌黎之〈箜篌引〉，其尤著者。元、明以還，復由詩而入詞、曲、小說。王實甫《西廂記》第二本第四折張生彈琴一節，即是一例，要無過《老殘游記》寫王小玉鼓書之筆歌墨舞者矣。
卷五十一揚雄〈蜀都賦〉：「調夫五味，甘甜之和，芍藥之羹。」按《全三國文》卷五魏文帝〈詔羣臣〉有云：「新城孟太守道：蜀豬㹠鷄鶩味皆淡，故蜀人作食，喜著飴蜜，以助味也」云云，合觀子雲此語，知漢時蜀庖不如今之尚鹹辣也。《老學菴筆記》卷七載「仲殊肴饌中皆有蜜，諸客不能下筯，惟東坡嗜蜜，得與共食蜜。」蓋著蜜正是東坡鄉味也。《甕牖閒評》載東坡一帖云：「吾好食薑蜜湯。」又一帖云：「予少嗜甘，日食蜜五盒。」〈別子由〉詩 ：「想見冰盤中，石蜜與糖霜。」趙汸《東山先生存稿》卷三〈潛溪後集序〉載虞伯生論文取喻於浙庖、蜀庖，謂「蜀庖麤塊大臠，濃醯厚醬」（竹垞《明詩綜》「楊慎」條引虞伯生〈告袁伯長〉云云，實則本此文），已類今之川菜矣。張宗子《瑯嬛文集》卷一〈老饕集序〉：「今之大官法膳，純用蔗霜，亂其正味。」是明人亦尚甜也。參觀第七六一則論〈招魂〉。
卷五十二〈答劉子駿書〉。《容齋三筆》卷十五已疑〈方言〉及此〈書〉之偽。
〈逐貧賦〉：「呼貧與語」、「貧遂不去」云云，「貧」下未著字。《易林》最多此類，見第 695 則。象教東來，「老賊」、「死王」（《大般湼槃經‧聖行品第七之二十九》[11]：「如國王有一智臣善知兵法，有敵國王拒逆不順，王遣此臣往討伐之，老亦如是，擒獲壯色，將付死王。如大富家有賊劫奪，盛年好色，常為老賊之所劫奪。」）、「禍母」（《舊雜譬喻經‧卷上之二十二》）之類各具脚色，遂有「窮鬼」之說矣。寒山詩云：「一人好頭肚，六藝盡皆通。南見驅歸北，西風趁向東；長漂如泛萍，不息似飛蓬。問是何等色，姓貧名曰窮。」此又可補子雲、退之兩文者也。《太玄經‧第十七‧玄瑩》：「福不醜不能生禍，禍不好不能成福。」
卷五十三〈解嘲〉：「爲可爲於可爲之時，則從；爲不可爲於不可爲之時，則凶。」按即卷五十二〈太玄賦〉之「雷隱隱而輒息兮，火猶熾而速滅。《滹南遺老集》卷三十四斥爲「不成義理」，當作「爲於可爲」、「爲於不可爲」云云，是也。「炎炎者滅，隆隆者絕。」按《援鶉堂筆記》卷二十五引何義門記李安溪云此「解豐卦之義，勝於《傳》多矣。『炎炎』火也，『隆隆』雷也。豐卦雷在上，則是『天收其聲』；火在下，則是『地藏其熱』。豐其屋，蔀其家，窺其戶，闃其無人，即所謂『高明之家，鬼瞰其室』。揚子是變《易‧辭》、《象》以成文。」【班固〈東都賦〉[12]】
卷五十三〈蜀王本紀〉：「秦惠王刻五石牛，置金其後。蜀人見之，以為牛能大便金。」按「大便」字始見此。《荀子‧議兵篇》「所謂仁義者，大便之便也」不作此解。《史記‧扁鵲倉公列傳》僅云「大溲」、「後溲」。《能改齋漫錄》卷八引《蜀貢》謂蜀道之通已久，此〈紀〉近誣[13]，故吳師孟〈題金牛驛〉詩云：「禹貢已書開蜀道，秦人安得糞金牛？」
卷五十四〈交州箴〉：「遂臻黃支。杭海三萬，來牽其犀。」按蔣超伯《榕堂續錄》卷二謂：「此事見《漢書‧平帝紀》元始二年春。焦弱侯謂子雲亡於永始四年，不確。」（按此見弱侯《筆乘》卷二載胡正甫〈楊子雲始末辨〉。）又按子雲〈十四州箴〉有偽託，當時無涼、潤二州，《能改齋漫錄》徒以蔣廟、孫陵辨〈潤州箴〉非子雲作（《冷廬雜識》卷四亦云），尚未盡也。光聰諧《有不為齋隨筆》甲云：「雄所擬〈虞箴〉見《左傳》周辛甲命百官各以所職箴王。繼雄而作，崔、胡諸家尚不失官箴王闕之義。傅咸〈御史中丞箴〉始變其義，用以自箴。後來人主為之，遂以箴官，而非官箴矣。」
卷五十六伶玄〈飛燕外傳自序〉：「夫淫於色，非慧男子不至也。慧則通，通則流，流而不得其防，則百物變態，為溝為壑，無所不往焉。[14]」按《石門文字禪》卷二十七〈跋達道所蓄伶子于文〉曰：「通德論惠男子，殆天下名言。子于有此婢，如維摩詰之有天女也。」《紅樓夢》第二回賈雨村論寶玉語所謂「天地間殘忍乖僻之氣與聰俊靈秀之氣相值，生於公侯富貴之家，則爲情痴、情種」，正是註脚。
二百八十九[15]
曹勛《松隱集》四十卷。向在《宋百家詩存》卷六睹公顯詩，今見其全。詩、文皆膚率非當家，偶資掌故耳。
卷一〈迎鑾七賦序〉記紹興十二年赴金迎韋太后事。
卷七〈望太行〉：「落月如老婦，蒼蒼無顏色。稍覺林影疏，已見東方白。一生困塵土，半世走阡陌。臨老復兹游，喜見太行碧。」按公顯以此詩為壓卷。參觀第二百五十六則。
卷十五〈余比出疆以茶遺館伴乃云茶皆中等此間於高麗界上置茶凡二十八九緡可得一𡘆皆上品也予力辯所自來謂所遺皆御前絕品他日相與烹試果居其次傷爲猾夷所誚因得一詩〉，按起云：「年來建茗甚紛紜，官焙私園總混真」，結云：「世乏君謨與桑苧，翻令衡鑑入殊鄰。」按《緯略》卷四引「常魯使西番，烹茶帳中……」事，謂在唐時番人已辨品茶。常魯事見《國史補》：「蕃人曰：『我亦有之。』乃出數品曰：『此壽春者，此顧渚者，此祁門者。』」周煇《清波雜志》卷四云：「煇出疆時，見三節人或携建茶，沿途備用，而彼中非絕品不顧，且能品第精粗」云云，可參觀。
卷十六〈扇車〉七律云：「良工巧製鮑魚形，短架圓機扇比名。」大似今之電風扇矣。王霖《弇山詩鈔》卷十〈風輪〉、《國朝詩別裁》卷二十五毛序〈風輪羽扇歌〉、五九三則《公是集》卷十六〈飛輪團扇歌〉、三八二則《九華詩集‧風輪石》。
卷二十一至二十二〈山居雜詩〉皆五言八句，卷二十二雜以五律，蕪冗無足采。 卷二十四〈與劉豫書〉稱其「武」、「忠」、「仁」、「禮」、「明」，說之以「事金而親宋」、「處中而兩利」，詞筆鬯㳍。公顯之文，此為第一。
卷三十七〈記施逵事〉：「建人，字必達，頃在上庠，小才無所成。建炎間，賊葉濃陸梁閩部，逵密佐之。後官兵獲濃，而朝廷以逵書生，偶然相從，編置後逃入燕中，改名宜生，就燕登第，進用至翰林待制，曾將命本朝。小人之態，方有徳色不愧也。余被旨入虜議事，逵為館伴，不相唯阿，可見賊心。逵少年時題人〈平沙雁落畫〉云：『塞雁横天三兩行，欲下未下先悠揚。平田到處菰蒲美，託身何必來瀟湘？』則南北之意，固已夙萌。」按《全金詩》卷七雖載宜生此詩，而未引公顯文，故不知是少年時作，言為心聲也。又宜生磔死，相傳為將命時洩機獲罪，觀公顯所記，諒不然矣。謝采伯《密齋筆記》卷四：「施宜生庚辰年來本朝奉使，舊與張燾子公同舍，因問張云：『記得崇化堂前步月時否？』答以『翰林想未忘情本朝耶？』」尚書黃通老幼為館伴，與同筆硯，至是不願見其人，遂辭，因改召張子公。宜生事詳見《朱子語類》卷一百三十三：「登六和塔，子公領客，宜生先登，亟問之：『奉使得無首邱之思乎？』宜生曰：『必來 。』言方終而介使至，宜生色變。既歸，即為虜所誅。入使時題都亭驛詩云：『江梅的礫未全開，老倦無心上將台。人在江南望江北，斷鴻聲裏送潮來。』」岳珂《桯史》卷一〈施宜生〉則詳載其身世，并記：「賀正旦時，至天竺，忽瘦語曰：『今日北風甚勁。』」《夷堅三志》壬五〈道人相施逵〉載施贈相面道人七律一首，又記賀正旦事。
二百九十[16]
陳棣《蒙隱集》二卷。棣字鄂父，汝錫子也，宋詩所未載。此《集》乃館臣於《永樂大典》輯出者，稱其於南渡之初已導宋季江湖之派，雖乏鴻篇，實殊偽體」云云，殊不切當。鄂父詩於東坡為近，氣寬料博，絕異江湖詩派。七言古最工。《大典》卷二萬二千五百三十七〈集〉字引蒙隱〈讀豫章集成柏梁體〉，推崇江西，可徵宗尚，而館臣竟漏輯。
卷一〈驟雨呈質夫兄〉：「屏翳驅馳雲陣疾，西山猶銜半輪日。迅雷震地窗戶摇，急雨翻盆溝澮溢。紫電燒空天爲低，黑風逆浪海欲立。（中略）曲畦走水白紛紛，稻穗抽芒青戢戢。（中略）樹端發翠喜濯枝，池面凝漚占戴笠。猛省呼晴鳩婦鳴，旋看突漲魚兒出。窗扉共賞一襟凉，屋漏俄驚半床濕。鷗鷺盟邊引望遙，芭蕉聲裏催詩急。請君速著瑞雨頌，要上新編華萼集。」
〈端午洪積仁召客口占戲柬薛仲藏〉：「自媿雖非趙倚樓，何當一效陳驚座。」按二事作對，當以鄂父此作為最早矣。陳唐卿《江湖長翁集》卷十五〈凌晨張司戶復有惠急筆次韻〉第一首 曰：「假真笑我陳驚座，造妙推君趙倚樓。」（《劍南詩稿》卷七十五）陸放翁〈恩封渭南伯〉云： 「虛名定作陳驚座，佳句真慚趙倚樓。」方秋崖〈以越箋與三四弟〉：「過門儘是陳驚座，得句今誰趙倚樓。」參觀《堯山堂偶隽》卷一眉批。
〈春日雜興〉：「鳩婦催疏雨，蜂臣趁落花。」
〈春日偶成〉：「丙鱗安淺瀨，乙羽怯柔風。」按卷二〈次韻馮文度春晚〉云：「方塘水滿丙鱗躍，故壘泥空乙羽忙。」
卷二〈次韻王有之〉：「急景豈容留石火，餘香何處認空花。」
[11]「第七之二」原作「第十九」。
[13]「近誣」原作「通誣」。
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