1878 年版 Die Journalisten 插圖（Ludwig von
Herterich 木版畫）
四百六十六[1]
Gustav Freytag, Die Journalisten. A play much overrated. Dénouement very lame,
quite unworthy of the builder of the famous pyramid. The absence of wit — “Si
un Allemand peut avoir de l’esprit?” — is as characteristic as the excess of
sentiment. The play is not about newsdom but about party politics, not about
news-hounds, “copy”-cats, but about party hacks, proper ganders[2],
etc. The central theme, the Coriolan
joining issue with the Union over a
hotly contended election is reminiscent of the Eatanswill episode in Pickwick
Papers. Judging by our latter-day standards, the protagonists handled each
other with their kid-gloves on; man’s inhumanity to man still remained
animosity and had not yet become brutality.
I, i: Adelheid: “Was zwischen Ihnen [Oberst a.d. Berg] und Oldendorf [hitherto
the Colonel’s friend, for the moment his rival, & in the end his
son-in-law] schlimm geworden ist, kann wieder gut werden. Heute Feind, morgen
Freund, heisst es in der Politik; aber Ida’s Gefühl wird sich nicht so schnell
ändern.” Adelheid had ample excuse for this naïve view in the fact that she
lived before “the days of brain-washing” & ideological re-education.
Nowadays we have body-urge or elective affinities de commanda, & love can be made to tow the party line, cf.
Alphonse Daudet: “O politique, je te hais. Tu sépares de braves coeurs faits
pour être unis; tu lies au contraire des êtres tout à fait dissemblables. Tu es
le grand dissolvant des consciences, tu donnes l’habitude du mensonge, du
subterfuge, et, grâce à toi, on voit des honnêtes gens devenus amis des
coquins, pourvu qu’ils soient du même parti. Je te hais surtout parce que tu en
es arrivée à tuer dans nos coeurs l’idée de patrie” (quoted in Antoine Albalat,
Souvenirs de la vie littéraire, nouvelle édition augmentée, p. 23).
II, i: Adelheid: “...die weise Lebensregel meiner alten Tante: Rauchen Sie
Tabak, mein Gemahl, so viel Sie wollen, er verdirbt höchstens die Tapeten, aber
unterstehen Sie sich nicht, jemals eine Zeitung anzusehen, das verdirbt Ihren
Charakter.” Cf. the more enthusiastic words of David Kalisch parodying J.G.
Seume’s Die Gesänge: “Wo man raucht,
da kannst du ruhig harren, / Böse Menschen haben nie Zigarren” (G. Büchmann, Geflügelte Worte, Volks-Ausgabe von B.
Krieger, S. 178).
ii: Schmock: “Ich habe... gelernt in allen Richtungen zu schreiben. Ich
habe geschrieben links und wieder rechts. Ich kann schreiben nach jeder
Richtung” (cf. Paul Léautaud, Journal
Littéraire, V, p. 390: “Il paraît que c’est Gohier qui écrit les articles
du parfumeur Coty directeur du Figaro.
Pauvre Gohier. Il écrit tout ce qu’on veut cet homme du moment qu’on le paie, révolutionnaire
ou conservateur, selon qu’il est mieux paye d’un côté ou de l’autre cela prouve
au moins une bonne souplesse d'esprit”). This ignoble hack has spawned a vast
progeny who are even more pliant towards their masters, though perhaps less
honest about themselves. Artists in uniform, scientists in livery, philosophers
wearing motley as well as the party badge & publicists turning their coats
all change sides with the same frequency & the same consideration of
personal comfort as a sick man in his bed. This time-serving truckling to
Powers that be is the real trahison des
clercs. In other words, they have become “journalists”, become écrivains engagés under the menace of
being disengaged, i.e., unemployed or displaced. They have, to borrow F. Flora’s
apt characterization of Pietro Aretino’s activities, followed “il mestiere della parola”, a
profession in which a man “non rispetta la sua stessa parola e disconosce la
suprema morale del verbo” (Storia della
Litt. ital., II, p. 439). One notices a similar lack of principles in Bolz’s eloquent plea in III, i:
“Wir Zeitungsschreiber füttern unsern Geist mit Tagesneuigkeiten, wir müssen
alle Gerichte, welche Satan für die Menschen kocht, in den allerkleinsten
Bissen durch kosten... Wer immer für den Tag arbeitet, ist es bei dem nicht
auch natürlich, dass er in den Tag hinein lebt?... Wir sammeln wie die Bienen,
durchfliegen im Geist die ganze Welt, saugen Honig, wo wir ihn finden, und
stechen, wo uns etwas missfällt.” All periphery & no center. Significantly,
in I, ii, Bolz took Bellmans to task not for lying but for serving up state
lies (abgedroschene Lüge): “Es gibt
so Vieles, was geschieht, und so ungeheuer Vieles, was nicht geschieht, daß es
einem ehrlichen Zeitungsschreiber nie an Neuigkeiten fehlen darf.” A man who
holds such views can at best only be a Platonic lover of truth. The irony in
his remark to the Colonel, “Ich wünsche Sie zu überzeugen, dass auch ein
Journalist bedauern kann, Unwahres geschrieben zu haben” (III, i), is therefore
deeper then he himself is conscious of. Thus one can understand Kierkegaard’s
tirade in his Journals: “The sign of the press would have to read: Here men are demoralized in the shortest possible
time on the largest possible scale, for the smallest possible price... There is
a far greater need for total-abstaining societies which would not read
newspapers than for ones which do not drink alcohol. The lowest depth to which
people can sink before God is defined by the word ‘Journalist’. If I were a
father & had a daughter who was seduced, I should not despair over her; I
would hope for her salvation. But if I had a son who became a journalist, &
continued to be one for five years, I would give him up” (A Kierkegaard Anthology, ed. Robert Bretall, p. 431; cf. B.W.
Downs, Ibesen: The Intellectual
Background, p. 15 on “open & acid contempt of the press” as a recurrent
theme in modern Norwegian literature, e.g. Ibsen’s An Enemy of the People & Pillars
of Society, Bjørnson’s The Editor,
Kielland’s The Feast of St John, Knut Hamsun’s Editor
Lynge). Cf. English slang “the lowest form of animal life” for “a reporter”
(E. Partridge, Dict. of Slang, 4th
ed., p. 1103); also the second of Giusti’s “mezzo Decalogo”: “Leggere,
scrivere, pensare, ma non fare il giornalista nè il poeta cesareo” (Prose e Poesie Scelte, “Biblioteca
classica Hoepliana”, p. 10); Sir Walter Scott on journalism: “I would rather
sell gin to poor people & poison them that way” (Letters, ed. H.J.C.
Grierson, XI, p. 162); again: “Nothing but a thorough-going blackguard ought to
attempt the daily press” (Journal,
ed. D. Douglas, II, p. 262); cf. T.L.S.,
Jan. 12-18, 1990, Carey; Carlyle: “Magazine work is below street sweeping as a
trade” (Letters, ed. C.E. Norton, I,
p. 283) (quoted in C.N. Ray, Thackery:
The Uses of Adversity, pp. 194-5). The Colonel shared the earnest Dane’s
opinion though he wrote occasionally for the paper himself: “Dass er
[Oldendorf] ein Zeitungsschreiber ist, das trennt uns” (IV, i). By the way, in
the comedy, it is the journaux d’opinion
that come into question. As to the journaux
d’information which touch nothing that they do not vulgarize — even the
Last Judgement, as Mark Twain said — Grillparzaer’s disdainful poem “Der Henker
hole die Journale” puts the matter very well: “Der Henker hole die Journale, / Sie
sind das Brandmal unsrer neuen Welt, / Der ekle Abhub von dem Wissenmahle, / Der,
für die Viehmast, in die Zuber fällt. // ... Du
brauchst nicht mehr zu wissen noch zu denken, / Ein Tagblatt denkt für dich
nach deiner Wahl, / Die Weisheit statt zu kaufen, steht zu schenken, / Zu
kaufen brauchst du nichts als das Journal” (Werke,
hrsg. Stefan Hock, I, S. 151-2).
III, i: Adelheid: “Alle Welt klagt über ihn [Journalismus] und
jedermann möchte ihn für sich benutzen. Mein Oberst hat so lange die
Zeitungsschreiber verachtet, bis er selbst einer geworden ist” u.s.w. But of
course one must distinguish the occasional from the vocational. Cf. Richard
Aldington on his journalistic writings: “I was exactly in the position of a
woman who from time to time does a bit of whoring so that she may devote all
the rest of her life to a fascinating but penniless lover” (Life for Life’s Sake, p. 86). The French
have also the saying, “Le journalisme mène à tout à condition d’en sortir.”
One excellent comic touch in II, ii:
Bolz: “Wir wünschen dem Herrn eine
recht lange Dauer, wie die Katze zum Vogel sagte, als sie ihm den Kopf abbiss.”
Kleinmichel: “Wir lassen ihn leben,
indem wir ihm den Garaus machen.” Bolz’s sally is in the best Cockney vein
& worthy of Sam Weller, but Kleinmichel’s dull-witted & literal-minded
pointing of the moral is really priceless.
A pretty phrase in III, i: Adelheid: “Sie sind gut, Sie haben ein
Herz.” Bolz: “Es ist nur ein ganz
kleines Taschenherz zum Privatgebrauch.[3]”
四百六十七[4]
許及之深甫《涉齋集》十八卷，《敬鄉樓叢書》本。深甫與其同鄉潘德久唱酬最密，《集》中所謂轉菴者是也。卷三有〈應致遠以百韻古詩見示推許過當病中姑借放翁韻奉酬〉七古，卷五有〈次韻誠齋醉臥海棠圖之什繪放翁醉帽墮地〉七古、〈次韻誠齋飲張園放翁酹酒海棠花下〉七古，卷十六有〈次韻誠齋寒食日雨中游上天竺〉七絕十六首，是亦往還楊、陸之間。今觀所作，事料雖富，而筆致流迅，近體尤病率滑，固出入二家者。卷三〈酬應致遠〉詩云：「我詩何敢希楊公，况復進之陸放翁。煩君妙語相縱臾，控地豈得追培風」，良有以也。館臣於卷二〈綸子賦筠齋余亦和而勉之〉五古略而未觀，至疑深甫初名綸，復以卷十五〈讀王文公詩〉七絕有「少讀公詩頭已白」之句，遂云其瓣香安石，傍引《瀛奎律髓》稱道安石之言，無識牽扯，真堪齒冷。黃羣自《東甌詩續集》補遺兩首，其中〈廢塚〉七絕，乃許棐〈古墓〉詩，見《梅屋詩稿》，《宋詩紀事》卷五十三已誤屬及之，黃氏沿誤。《鶴林玉露》丙編卷五載及之為分宜宰傅公謀作〈賀雨〉詩。
卷一〈次韻黎師侯文昌閣看雪〉：「春雪如過客，所止留莫住。（中略）乍看鮫泣珠，漸覺柳飄絮。少焉有矜色，瓊枝鬥玉樹。登臨須勝流，著我覺形汙。」
卷三〈得趙昌甫詩集轉呈轉庵却以謝夢得詩見示有詩次韻〉：「我饞嗜詩欣染指，但見其長有誰毀。早年游方識趙謝，如魯逢掖宋章甫。謝詩瀾翻豪且古，趙句清癯淡而苦。學力到後成一家，渠自不知爲孰使。天各一方費渴思，想見冰增寒似水。居然老手斫方圓，出戶中規還中矩。轉庵活法已參遍，何止得心仍得髓。我如無寶窮波斯，望著是珍先自喜。忽得趙璧急呈似，示以謝草如寄取。自憐老去無長進，努力吟哦訓兒子。[5]」
卷四〈觀奕篇〉：「秉燭隨者明，奕棋觀者精。觀者未必髙於奕，只是不與黑白同死生。」
卷五〈惜春〉：「留春無上策，作意惜殘花。」
卷八〈春晚登鈐岡〉：「簿書拋罷一登臨，恰有黃鸝送好音。溪漲未消知雨近，林疏頓密見春深。詩源久廢如枯井，宦况多磨似鍊金。手種故園三四竹，新梢拂拂想成陰。」
卷九〈喜徳久從人使北來歸〉：「別來我已成炊夢，此去君應悟刼灰。」
卷十〈酬劉孝若〉：「細思造物尤恩我，晚著家山剩庇身。」「杜門正媿衰兼嬾，枉句多慙頌不規。」
〈酬南夀〉：「蟲臂鼠肝元自定，龜毛兎角慣曽聽。」
卷十一〈舟行早起處州溪上〉：「檣表已迎山背日，纜端猶繫石根雲。」
〈早起〉：「未曉不眠真是老，纔明便起有何忙？」
〈赤目從薛山甫借荷葉巾〉：「赤目朝來勢轉加，病身觀妄有生涯。火平文武寛心地，酒遠聖賢疎肺家。虛白已能生暗室，空青不用點昏花。小冠預擬更名字，借與團圞藕葉紗。」
卷十五〈次常之暑中即事韻〉：「昨宵妙處無人領，不是風涼是月涼。」
卷十七〈車行詩〉：「穏如江海迎潮上，險似虛空逐電行。縱使中原平似掌，我車只作不平鳴。」按此使北時作。卷十六〈望商山〉一絕，至此卷〈題曹娥廟〉一絕，皆紀程抒憤之什，惟此首較工。
四百六十八[6]
戴栩文子《浣川集》十卷、《補遺》一卷，《敬鄉樓叢書》本。文子為葉水心弟子，詩文力求華整矯健，自出師法，惟似四靈耳。屢和水心詩，卷二〈題吳明甫文集後〉所云「憶從水心游，每遇佳題，輒令同賦」是也。又有〈送翁靈舒赴越帥〉五古（卷一）。
卷二〈題吳明甫文集後〉：「氷蠶續絲犀琢軫，欲奏南薰終不近。水心歸宴白玉樓，一代詞華為渠盡。（中略）子雲老去方草玄，雕蟲往往羞少年。水心不學駢儷語，評麻品制空現前。」自注：「水心不屑作四六，箋表付之朋友。嘗云：『韓氏當國，一日欲令直學士院，急振手謝不能，手幾墜地。』」按此事人尟知者，文子《集》卷六有〈代水心賀正表〉、〈代水心瑞慶節賀表〉、〈代水心慰皇帝表〉，卷八有〈代水心回史宰啟〉，皆所謂「付之朋友」也。《四朝聞見錄》甲集「宏詞」條引水心斥四六之文「最為陋而無用」之語，而論之曰：「先生本無意於嫉視詞科，然適值其時，若有所為。真文忠素不喜先生文，得《習學記言》觀之，謂『是乃放言也』」云云，可參觀。《黃氏日抄》卷六十八論水心〈表〉、〈啟〉云：「文平意順，大手筆也。四六語如此，近世雕鏤自以為工者何如也。」
〈和盧直院秋懷〉：「有聲無譜寒蛩切，似定還狂暮葉輕。」
四百六十九[7]
周行己恭叔《浮沚集》九卷、《補遺》一卷。恭叔出河南程氏之門，伊川見其辭婚馮當世家（參觀卷七〈祭馮當世文〉）而娶瞽女，至曰：「頤年未三十時，亦做不到此。」（參觀《能改齋漫錄》卷十四記唐之孫泰、宋之劉庭武皆娶盲女。）然論文推崇東坡，卷八〈寄魯直學士〉云：「當今文伯眉陽蘇，新詞的皪垂明珠。我公江南獨繼步，名譽籍甚傳清都」，〈送歐陽司理歸荆南〉云：「四海文章盡蘇氏」。詩文雖不警拔，亦修飭，無理學家腐鈍之狀。
四百七十[8]
Jottings:
Jean Cocteau, Le Rappel à l’ordre,
p. 19: “La vérité est trop nue, elle n’excite pas les hommes. Un scrupule
sentimental qui nous empêche de dire toute la vérité en fait une Vénus qui se
cache le sexe avec la main. Or la vérité montre son sexe avec sa main.” For the
second sentence, cf. Ovid, Ars amatoria, II, 635-6: “Ipsa Venus pubem, quotiens
velamina ponit, / Protegitur laeva semireducta manus”; also《西遊記》第七十二回：“［蜘蛛精］用手侮著羞處，跳出水來”. See Havelock Ellis, Studies in the Psychology of Sex, I, pp. 38-9 on the attitude of
Medicean Venus as an example of “the secondary expression of modesty”.
P. 229: “Les lecteurs grouillent sur
Baudelaire. Baudelaire arrive-t-il? Une viande arrive-t-elle parce que les
mouches s’y mettent? Elle est plutôt moins fraîche.” (Cf. p. 110: “Un maître
est un papier à mouches. Il attrape de plus en plus de mouches.”) Cf. Huxley to Darwin: “A good book is comparable
to a piece of meat, & fools are as flies who swarm to it, each for the purpose
of depositing & hatching his own particular maggot of an idea” (Leonard
Huxley, Life & Letters of T.H. Huxley,
I, p. 300). Barbey d’Aurevilly on commentators: “ L’insecte don’t bien choisir
son chêne.” Lichtenberg: “Der einzige Fehler, den die recht guten Schriften
haben, ist der, dass sie gewöhnlich die Ursache von sehr vielen schlechten oder
mittelmässigen sind.”《陸象山全集》卷二〈與趙監書‧二〉：“假借傅會，蠹食蛆長於經傳文字之間者，何可勝道！方今熟爛敗壞，如齊威、秦皇之屍。”
P. 257: “L’automobile est en panne
dans un village chinois avec un petit trou au réservoir. On découvre un artiste
qui ne peut réparer le réservoir, mais le copiera en deux heures. Les
automobilistes repartent avec un réservoir superbe. En pleine nuit, nouvelle
panne. Le Chinois avait aussi copié le trou.” Cf. E. Gosse, Aspects & Impressions, Cassell &
Co. ed., p. 13: “George Eliot”: “In the long piece (A College Breakfast Party),
almost all Tennyson’s faults are reconstructed on the plan of the Chinese
tailor who carefully imitates the rents in the English coat he is to copy.”《韓非子》第三十二〈外儲說左上〉：“鄭縣人卜子使其妻為袴，其妻問曰：‘今袴何如？’夫曰：‘象吾故袴。’妻子因毀新，令如故袴。”（《御覽》卷六百九十五：“妻因鑿新袴為孔。”）；辜湯生《張文襄幕府紀聞》卷下〈依樣葫蘆〉：“中國乾嘉間，初弛海禁，一西人衣敝，無已，招華成衣至，問：‘能製西式衣否？’曰：‘有樣即可。’因檢故衣付之。越數日，將新衣至，一切無差，惟衣背後剪去一塊，又補綴一塊。駭然問故，曰：‘我照樣做的耳。’”E. Partridge, Dict.
of Slang, p. 148: “Chinaman’s copy”.
Richard Aldington, Life for Life’s Sake, p. 149: “Not long
after the war, Squire’s London Mercury published a Letter from Paris written by
a Frenchman who devoted a good deal of space for Proust... Throughout ‘Marcel
Proust’ had been changed to ‘Marcel Prévost’.” Cf. Léon Pierre-Quint, Marcel Proust, p. 91: “Il était dans une
situation pire que celle d’un inconnu. ‘Quand les lecteurs chose m’écrivent au Figaro, après un article, on envoie les
lettres à Marcel Prévost dont mon nom semble n’être qu’une faute d’impression.’”
Havelock Ellis, Impressions & Comments, 1913, March 19: “As Keble rightly
thought, it is a dangerous exploit to ‘wind ourselves too high / For sinful man
beneath the sky.’ The spectacle of his
hinder parts thus
presented to the world may be quite other than the winder intended.” The Germans have the
saying, “Je höher der Affe steigt, desto mehr er den Hintern zeigt” (Muret-Sanders
Unabridged ed., 1900, IIter Teil, Bd. I, S. 61); “Je höher der Affe
steigt, je mehr zeigt er den Schwanz” (K. Spalding, A Historical Dictionary of German Figurative Usage, p. 25). Cf.
Claudian, In Eutropium, I, 303-6: “Humani
qualis simulator simius oris, / quem puer adridens pretioso stamine Serum /
velavit nudasque nates ac terga reliquit, / ludibrium mensis” (“Loeb Classical
Library”, I, p. 160); Guillaume Apollinaire’s poem “La Paon”: “En faisant la
roue, cet oiseau / Dont le pennage traîne à terre / Apparaît encore plus beau,
/ Mais se découvre le derrière” (Le
Bestiaire in Oeuvres poétiques, éd.
Bib. d. l. Pléiade, p. 29); The Cloister &
the Hearth, ch. 52: “You are no servant. Your speech betrays you. ’Tis not
till the ape hath mounted the tree that she shows her tail so plain” (“The
Modern Lib.”, p. 454; “Everyman’s Lib”, p. 351); Corrado Govoni, L’inaugurazione della primavera: “Un
pavone rileva a ventaglio il suo strascico / come una ballerina applaudita che
mostra anche quello che non si vorrebbe
vedere”[9]
(D. Provenzal, Dizionario delle Immagini,
p. 639); Hazlitt, Characteristics, §53:
“...Opportunity sometimes indeed ‘throws a cruel sunshine on a fool’
[Armstrong, The Art of Preserving Health,
Bk. IV]” (Complete Works, ed. P.P.
Howe, IX, p. 175); The Oxford Dictionary
of English Proverb, p. 443: “The higher the ape goes, the more he shows his
tail”; George Crabbe: “The Parting Hour”: “Alas! poor Allen — through his
wealth was seen / Crimes that by poverty conceal’d had been: / Faults that in
dusty pictures rest unknown, / Are in an instant through the varnish shown” (George
Crabbe, The Life of George Crabbe, “The
World’s Classics”, p. 6); Montaigne, Essais,
II, 17: “... ce mot du feu Chancelier Olivier, que les François semblent des
guenons, qui vont grimpant contremont un arbre, de branche en branche, et ne
cessent d’aller, jusques à ce qu’elles sont arrivées à la plus haute branche,
et y montrent le cul, quand elles y sont” (éd. Pléiade, p. 628); V. Nabokov, The Gift, ch. 4: “Chernyshevski freely enlarged upon Tolstoy’s
vulgarity (poshlost) & bragging (hvastovstvo) — ‘the bragging of a
thickheaded peacock about a tail which doesn’t even cover his vulgar bottom’”[10]
(p. 238). Louis Veuillot: “Le paon devient très laid quand il fait la roue: il
se déforme, il se retourne, et il montre son envers. Voyez M. de Chateaubriand.
Fi! le villain!” (quoted in The Modern
Language Review, Oct. 1954, p. 516). Cf. The Dunciad, Bk. Iv, ll. 17-8 (cited in 第六則).【《法苑珠林》卷六十四引《僧祇律》：“眾鳥舉王，眾言：‘正有孔雀，衣毛綵飾觀者悅目，可應為王。’復言：‘不可。’所以者何？衣毛雖好而無慚愧，每至舞時醜形出現。”】【Cf. A. Furetière, Le Roman bourgeois[11], Dictionnaire de citations françaises,...
p. 228: “Il ressemblent au paon qui après avoir regarde les pieds baisse
incontínent la queue.”】
Dall’Ongaro, Stornelli
Politici: “C’era una
volta”: “Quando la gente non avea farina, / Lo le diceva: Mangiate pollame.”
Cf. Marie Antoinette: “Si le peuple manque de pain, qu’il mange de la brioche”;
《瞥記》卷四：“晉惠帝時，天下荒亂，百姓餓死，帝曰：‘何不食肉糜？’；遼主聞民間乏食，謂：‘何不食乾腊？’（見〈金世宗本紀〉）”.
[2] 此與「propaganda」諧音。James
Thurber, Fables for Our Time (New
York, 1940) 書中寓言之一，即以 “A Very Proper Gander”為題（作者自注其寓意為：“Anybody
who you or your wife thinks is going to overthrow the government by violence
must be driven out of the country”）。
[5]「斫」原作「研」，「遍」原作「過」。
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