《奥蘭都的瘋狂》三十四章奔月一節插圖 (Gustave Doré, 1877)
五百三十一[1]
Ludovico Ariosto, Orlando Furioso (“Biblioteca Classica
Hoepliana”). See also 第一百六十七則, 二百五十七則, 二百六十四則, 四百四十四則, 四百五十則. 又第一百五十一則, 五十二則, 四百六十則, 一百四十三則, 七百六十四則, 七百六十八則.
Of all the narrative poems in the
four modern languages that I can read, this stands out unique in its almost
flawlessly perfect union of delightful poetry with wonderful yarn-spinning.
More than the mere vehicle of the story, the verse becomes its triumphal
chariot. I subscribe to every word of Lord Chesterfield’s glowing eulogy of the
poem: “The connections of Ariosto’s stories are admirable, his reflections
just, his sneers & ironies incomparable, & his painting excellent” (Letters, ed. Bonamy Dobrée, IV, p.
1505). Again: “Have you gone through that most ingenious contexture of truth &
lies, of serious & extravagant... I am by no means sure that Homer had
superior invention, or excelled more in description than Ariosto” (Ibid., V. p. 1837). Ariosto alone seems
to possess the secret of remaining neat while being gaudy; in this respect his
praise of Zerbino — “Non è un si bello in tante altre persone; / Natura il
fece, e poi roppe la stampa”[2]
(X. 84, p. 90) — comes boomeranging back to himself. Some of the
episodes are reminiscent of those in the Arabian
Nights, e.g. the story of Astolfo & Iocondo in Canto XXVIII is a vastly
improved version of the prologue of the Arabian
Nights, “The Tale of King Shahryār & of his brother, King Shahzamān” (The Thousand Nights & One Night, tr.
P. Mathers, I, pp. 1 ff.), just as the story of Il Dottore Anselmo in Canto
XLIII, that of “The Fifth Captain’s Tale” (IV, pp. 513 ff.). And the total
atmosphere of wonderland is also suggestive of the Arabian Nights. Comparatists & sourciers must have worked on
this subject. In summarizing the story Les
Épouses infidèles (in Contes et
légendes du bouddhisme chinois), Henry de Montherlant (Carnets, 214-5) apparently had never even heard of La Joconde.
De Sanctis has written very finely
on Ariosto’s irony: “Un riso scettico aleggia sulle virtù cavalleresche e sui
grandi colpi de’ cavalieri, quei gran colpi ‘ch’essi soli sanno fare’. Una
frase, un motto scopre l’ironia sotto le più serie apparenze... Questo risolino
che quasi involontariamente erra tra le labbra e non si propaga sulla faccia, e
non degenera che assai di rado in aperta e sonora risata... Non sai se è cosa
seria o da burla; pur ti piace, perchè, mentre la tua immaginazione è
soddisfatta, il tuo buon senso non è offeso, e contempli le vaghe fantasie
egregiamente dipinte di secoli infantili col risolino intelligente di un secolo
adulto” (Gli
scrittori d’Italia, compiled by Luigi Russo, I, p. 385). Johannes Volkelt also gives Ariosto’s poem as an
instance of das Feinkomische in
contradiction with das Derbkomische: “Wenn
ein Dichter mit feinem Lächeln über seinen Gestalten zu schweben scheint, von
einem plötzlichen Hervortreten des Nichternstnehmens keine Rede” (System
der Ästhetik, II, S. 386).
Both make him too self-consciously superior & overlook his high spirits
&roguish fun. In Ariosto there is as much playfulness as irony: the adult
may not only stand by & watch the antics of the child from the Pisgah
height of his mature wisdom but he may also drop his burden of years & join
in the fun. It even seems that frequently Ariosto is the naughty child poking
fun at the solemn adult, the imp putting a squib under Blimp’s chair. His scepticism
is tolerant, not the nil admirari,
but only the non credo quia absurdum[3].
It does not destroy the values, but cheerfully doubts the facts which claim to
embody them. This is the saving grace which distinguishes Orlando Furioso — & Don
Quixote, too — from modern
works of cynical debunking. As an illustration of “the first striking trait of
the modern ego”, i.e. mauvaise honte,
self-consciousness, or “systematic distrust of one’s own perceptions &
desires”, Jacques Barzun quotes the dedication of Ezra Pound’s Personae: “This book is for Mary Moore of
Trenton, if she wants it” (see Romanticism
& the Modern Ego, p. 163-5). Instances of the same trick abound in
Ariosto; to give two only: (1) Angelica told Sacripante her wanderings in
Orlando’s company: “E che ’l fior virginal così avea salvo, / Come se lo portò
del materno alvo. // Forse era ver, ma non però credibile / A chi del senso suo
fosse signore; / Ma parve facilmente a lui possibile, / Ch’era perduto in via
più grave errore: / Quel che l’uom vede, Amor gli fa invisibiIe, / E
l’invisibil fa vedere Amore; / Questo creduto fu; che ’l miser suole / Dar
facile credenza a quel che vuole”[4]
(I, 55-56, p. 6; that Ariosto is not entirely ironical can be seen from XIX.
33; cf. XXXI. 61: “De le lor donne e de le lor donzelle / Si fidar molto a
quella antica etade. / Senz’altra scorta andar lasciano quelle / Per piani e
monti e per strane contrade; / Ed al ritorno l’han per buone e belle, / Né mai
tra lor suspizione accade”[5]
— p. 335; see 第四百五十則; cf.《四聲猿‧雌木蘭》第一折：“娘，你儘放心，還你一個閨女兒回來”；第二折：“交還你依舊春風荳蔻函”) — imitated in Don Quixote, I. 51 (see《日札》七六八則 ad fin; (2) Bradamante
challenged Ruggiero to a single combat & told Ferraù: “‘... Le cui famose /
Lode a tal prova m’han fatto venire. / Altro non bramo, e d’altro non mi cale,
/ Che di provar come egli in giostra vale.’ // Semplicemente disse le parole /
Che forse alcuno ha già prese a malizia”[6]
(XXXV. 76-7, p. 383). The first maybe called risolino intelligente of experience at the expense of innocence,
but the second is sheer puckishness; & the spirit as well as the tone of
both is worlds apart from Pound’s thin-lipped dryness.
Macrobius remarked on the greater
life & vigour of Homer in describing battles & combats than Virgil (Saturnalia, V, 13-27; quoted in Thomas
Wittaker, Macrobius, p. 44). Had he
lived to read Orlando Furioso, he
would beyond all doubt have placed Ariosto even far above Homer. The sound
& fury of Ariosto’s battle pieces remained unsurpassed in poetry, & the
last & longest one, an account of the combat between Ruggiero &
Rodomonte which forms a finale of crashing thunder to the whole poem, is
perhaps the most magnificent of all (XLVI. 115-140, pp. 512-5)[7].
For single combats in Chinese history, see《陔餘叢考》卷四十 on“鬥將”; for those in Chinese fiction, see 天聰九年四月己巳上諭：“漢文野史所載如交戰幾合逞施法術之語，皆係妄誕；此等書籍傳至國中，恐無知之人，信以為真，當禁其翻譯”. (Cf.《全唐文紀事》卷首乾隆〈千里馬說〉.)
Canto I. 42-3: “La verginella è
simile alla rosa, / Ch’in bel giardin su la nativa spina / Mentre sola e sicura
si riposa, / Né gregge né pastor se le avvicina”[8]
etc. (p.5) De Sanctis in the course of reviewing Italian literature quoted four
descriptions of rose to show how the spirit of the age changes with the passing
of time: Lorenzo di Medici’s “Eranvi rose candide e vermiglie”, Poliziano’s “Questa
di verde gemma s’incappella”, this one from Ariosto, & Marino’s “Rosa riso
d’amor, del ciel fattura” — L’Adone,
III, 156 (G.G. Ferrero, Marino e i
Marinisti, p. 68) (Gli scrittori d’Italia, compiled by
Luigi Russo, I, pp. 346, 375, 561). Cf. Marino: “La Rosa”: “Mira, mira poi questa ch'aperto a pena ha
l’uscio, / e, benché fuor del guscio, / verginella modesta, / non osi trar la
testa” etc. (p. 366) . J.A. Symonds, in his learned essay “The Pathos of the
Rose in Poetry” (in Essays Speculative &
Suggestive, II), says that the second Epithalamium of Catullus (in which,
however, the rose is not named) & the beautiful idyll of Ausonius (Edyllia, XIV. 49), “Haec modo, quae toto
rutilaverat igne comarum”, are “the twin fountain-heads of verses” written upon
the rose. The former, “Ut flos in septis secretus nascitur hortis, / Ignatus
pecori, nullo contusus aratro” etc., is of course the source of Ariosto’s two
stanzas. See H. Weber, La Création
poétique au 16e siècle en France, I, pp. 337 ff. & M. Praz, The Flaming Heart, p. 302 for imitations
& variations.
Canto II. 1: “da chi disia il mio
amor tu [i.e. “ingiustissimo Amor”] mi richiami, / E chi m’ha in odio vuoi
ch’adori ed ami”[9]
(p.10). Another way of expressing “quod sequitur fugio, quod fugit usque
sequor” (Ovid, Amores, III, xix); for
other examples, see 第八十六則 (under Martial, V, lxxxiii) & 第二百九十一則 (under Tasso, Aminta, II,
ii).
Canto IV. 22: “Come si vede
ch’all’astuto gatto / Scherzar col topo alcuna volta aggrada; / E poi che quel
piacer gli viene a noia, / Dargli di morso, e al fin voler che muoia”[10]
(p. 28): Perhaps the first time that the cat’s cruel frolicsomeness receives
poetical treatment. Agnes Repplier’s Fireside
Sphinx mentions Tasso’s sonnet to his cat (p. 126; Sonetti 4: “Le Gatte di Santa Anna”: “Tanto le gatte son
molitplicate / Ch’ a doppio son più che l’Orse nel cielo: / Gatte ci son c’ han
tutto bianco il pelo, / Gatte nere ci son, gatte pezzate; / Gatte con coda, gatte
discodate: / ... / Guardinsi i monti pur di partorire, / Chè, s’ un topo
nascesse, il poverello / Da tante gatte non potria fuggire” — L.R. Lind, Lyric Poetry of the Ital. Renaissance,
p. 312), but has overlooked Ariosto’s frequent references to the animal.
63: “Pensò Rinaldo alquanto, e poi
rispose: / ‘Una donzella dunque dè’ morire / Perché lasciò sfogar ne l’amorose
/ Sue braccia al suo amator tanto desire? / Sia maladetto chi tal legge pose, /
E maladetto chi la può patire!... // S’un medesimo ardor, s’un disir pare / Inchina
e sforza l’uno e l’altro sesso / A quel suave fin d’amor, che pare / All’ignorante
vulgo un grave eccesso; / Perché si de’ punir donna o biasmare, / Che con uno o
più d’uno abbia commesso / Quel che l’uom fa con quante n’ha appetito, / E lodato
ne va, non che impunito?’”[11]
(p. 32) . Ariosto was very outspoken against that doppelte sexualmoral codified into laws ever since Solon & so
bluntly expressed in Plautus’s Mercator
(cf. I. Bloch, Die Prostitution, I.
S. 214, 454) Thus, in spite of the glee & gusto with which he told stories
of the frailty of woman (e.g. the celebrated tale in Canto XXVIII which was to
inspire La Fontaine’s La Joconde)[12],
he remained essentially chivalrous. For example, he made Rinaldo say to the
unfortunate owner of Morgana’s cup: “Se d’avarizia la tua donna vinta / A voler
fede romperti fu indutta, / Non t’ammirar; né prima ella né quinta / Fu de le
donne prese in sì gran lutta; / E mente via più salda ancora è spinta / Per
minor prezzo a far cosa più brutta. / Quanti uomini odi tu, che già per oro / Han
traditi padroni e amici loro? // ... Se te altretanto avesse ella tentato, / Non
so se tu più saldo fossi stato”[13]
(XLIII. 48-9, pp. 461-2). And to prove the point, he immediately made the pilot
tell the story of Il Dottore Anselmo & his wife Argìa which concludes with
mutual amnesty: “E sia la pace e sia l’accordo fatto, / Ch’ogni passato error
vada in oblio; / Né ch’in parole io possa mai né in atto / Ricordarti il tuo
error, né a me tu il mio”[14]
(XLIII. 143, p. 441). Even after mine host’s story of Astolfo, Iocondo &
Fiammeta, un nom d’età was made to
protest: “Ditemi un poco: è di voi forse alcuno / Ch’abbia servato alla sua
moglie fede? / Che nieghi andar, quando gli sia oportuno, / All’altrui donna, e
darle ancor mercede?... // Quelle che i lor mariti hanno lasciati, / Le più
volte cagione avuta n’hanno. / Del suo di casa, li veggon svogliati, / E che
fuor, de l’altrui bramosi, vanno. // ... Cristo ha lasciato nei precetti suoi:
/ Non far altrui quel che patir non vuoi”[15]
(Canto XXVIII. 79-82, p. 308). Mrs Poyser’s dictum, “I’m not denying
the women are foolish; God Almighty made ’em to match the men” (Adam Bede, ch. 53), seems to be a homely
way of expressing Ariosto’s view. Cf. 七百六十九則 on《易經‧大過》&〈恒〉.
Canto V. 1-2: “Tutti gli altri
animai che sono in terra, / O che vivon quieti e stanno in pace, / O se vengono
a rissa e si fan guerra, / Alla femina il maschio non la face: / L’orsa con
l’orso al bosco sicura erra, / La leonessa appresso il leon giace; / Col lupo
vive la lupa sicura, / Né la iuvenca ha del torel paura. // Ch’abominevol
peste, che Megera / È venuta a turbar gli umani petti? / Che si sente il marito
e la mogliera / Sempre garrir d’ingiuriosi detti, / Stracciar la faccia e far
livida e nera, / Bagnar di pianto i geniali letti”[16]
(p. 34). Cleverly adapted from Ovid, Amores,
I, x, 27: “Non equa munus equum, non taurum vacca poposcit; / Non aries
placitam munere captat ovem. / Sola viro mulier spoliis exultat ademptis” etc.
Cf. Amram Scheinfeld, Women & Men,
p. 335-6 on “chivalry” among all mammals, & the instinct of male
forbearance in dogs, cats, etc. Again, “i geniali letti” in XVII. 13 (p. 158)
& “il genial letto” in XLVI. 77 (p. 508). Cf. Ivor Brown’s witty comment on
the word “genial” in Spenser’s famous line in Epithalamion[17],
“the bridal bow’r & genial bed”: “It refers to the function as well as to
the fun” (A Book of Words, p. 72;
W.B. Stanford, Ambiguity in Greek
Literature, p. 40 also quotes Spenser’s line as an instance of the “intensifying
use of homonym in poetry”); this enriching ambiguity is of course present in
the Latin phrase lectus genialis. Ben
Jonson, The New Inn, V. I, Lord
Beaufort: “A bed, the genial bed! A brace of boys / Tonight I play for.”
58: “È stato sol perc’ho troppo
veduto: / Felice, se senza occhi io fussi suto!”[18]
(p. 39) might have served as the motto for Georges Clémenceau’s one-act Chinese
play, Le
Voile du Bonheur.
Canto VI. 5: “Ma come aviene a un
disperato spesso, / Che da lontan brama e disia la morte, / E l’odia poi che se
la vede appresso, / Tanto gli pare il passo acerbo e forte”[19]
(p. 44). Quite true; as Paolo Ferrari puts it, “Chi lo dice non lo fa”, or as I
put it, one welcomes death as a luxury (it is “rich” to die) but put it off as
a necessity. Cf. 第二百五十三則.
Canto VII. 14: “Bianca nieve è il
bel collo, e ’l petto latte; / Il collo è tondo, il petto colmo e largo: / Due
pome acerbe, e pur d’avorio fatte, / Vengono e van come onda al primo margo, /
Quando piacevole aura il mar combatte. / Non potria l’altre parti veder Argo: /
Ben si può giudicar che corrisponde / A quel ch’appar di fuor quel che
s’asconde”[20]
(p. 54). Cf. XI. 68: “Le poppe ritondette parean latte / Che fuor dei giunchi
allora allora tolli”[21]
(p. 100). Ariostos wants to suggest firm & shapely fullness as well as
melting & rippling softness. Cf. K. Spalding, An Hist. Dict. of German Figurative Usage, p. 68, “Apple”; “la poppa
di Venere” for a luscious kind of peach. Cf. Pastor Fido, II, ii quoted in E. Rodocanachi, La Femme italienne, 306; Ronsard: “Ma Dame se levoit un beau matin
d’esté”: “J’entre-vy dans son sein deux pommes de beauté.”《通雅》18：“道家以‘留情嶺’名雙乳”. The image of apple, as old as Theocritus XXVII
(cf. 第二百十三則), had already appeared in Francesco da Barberini’s
Del Reggimento e Costumi di Donna: “Lo
petto mio è soave, ed umile... / Ed à due pomi odorifichi e dolci” (L.R. Lind, Lyric Poetry of the Italian Renaissance,
p. 82), and it was to appear in Tasso’s Aminta,
II, I, Satiro: “Oimè! Quand’io ti
porgo i vaghi pomi, / Tu li rifiuti disdegnosa; forse / Perchè pomi più vaghi
hai nel bel seno” (ed. E. Grillo, p. 96-98); but Ariosto’s “apple” looks more
like a forbidden fruit full of promesses
de bonheur; it was later borrowed by Spenser from Ariosto & made less
specific: “Her dainty paps, which like young fruit in May / Now little ’gan to
swell” (F.Q., II. 3). Much imitated
by the Pléiade, see H. Weber, La Création
poétique au 16e siècle en France, I, pp. 265 ff., 286 ff. Now
among the 4 kinds of breasts given by F. Jayle in his La Gynécologie, two are named after fruits, “sein en pomme” & “sein en poire” (H.H. Ploss,
M. Bartels & P. Bartels, Woman, ed.
by E.J. Dingwall, I, p. 399), among the 4 kinds of graphically distinguished in
the American slang (see Berrey & Van den Bark, The American Thesaurus of Slang, p. 135), one is named after a
fruit: “grapefruits” (i.e., medium-sized breasts). The Italians also call
withered breasts ficchi secchi, which
implies that the fruit in a less desiccated condition can serve as a metaphor
for breasts more lush[22].
Some tastes might therefore find Spenser’s “grandeur of generality” rather
unsatisfactory. The 16th-century French poet Remy Belleau turned
from botany to geology: “deux montagnettes soupirantes” (La Bergerie, éd. Doris Delacourcelle, p. 125; cf. p. 101: “enflure
soupirante de leur tétin”) — which forestalled Tennyson’s supposed attempt to
compete with Swinburne: “Supple roundedness, And budded bosom peaks” (Lucretius, ll. 90-1). As to Ariosto’s
couplet, it is much better than Francesco da Barberini’s “None intendiate eh’
io quelle vi dica / Singhularmente; ma tanto prometto, / Ch’ el del parlar eh’
io farò intendrete / Quanto conviene e bisongnia savere” (op. cit.) or Tasso’s Gerusalemme
Liberata, IV, 31-32 on the beauty of Armida: “Parte appar de le mamme
acerbe e crude, / parte altrui ne ricopre invida vesta: / invida, ma s’a gli
occhi il varco chiude, / l’amoroso pensier già non arresta, / ché non ben pago
di bellezza esterna / ne gli occulti secreti anco s’interna. // Come per acqua
o per cristallo intero / trapassa il raggio, e no ’l divide o parte, / per
entro il chiuso manto osa il pensiero / sí penetrar ne la vietata parte: / ivi
si spazia, ivi contempla il vero / di tante meraviglie a parte a parte” (“Biblioteca
classica Hoepliana”, pp. 81-2).“豐姿婀娜十分嬌，可惜風流半節腰。却恨畫工無見識，動人情處不曾描”（《唐六如全集》卷三〈題半截美人〉第一首）; cf. 金聖歎批《西廂記》第五本：“俗手續貂，如畫下半截美人” etc.
& also John Cleveland: “The Antiplatonic”: “Love that’s in contemplation
placed / Is Venus drawn but to the waist” — G. Saintsbury, ed., The Caroline Poets, III, p. 78). Cf.
Tasso, Ger. Lib., IV, 32.
23: “Ruggiero entrò ne’ profumati
lini / Che pareano di man d’Aracne usciti, / Tenendo tuttavia l’orecchie
attente, / S’ancora venir la bella donna sente”[23]
(p. 55). Cf. Gerusalemme Liberata, VI,
102. What a long cry from this to Valéry’s Les
Pas: “Tes pas, enfants de mon silence, / Saintement, lentement placés, / Vers
le lit de ma vigilance. / Procèdent muets et glacés” etc.!
Canto VIII. 49-50: [Il falso Eremita trying to rape the
sleeping Angelica] “Egli l’abbraccia ed a piacer la tocca / Ed ella dorme e non
può fare ischermo. / Or le bacia il bel petto, ora la bocca; / Non è chi ’l
veggia in quel loco aspro ed ermo. / Ma ne l’incontro il suo destrier trabocca;
/ Ch’al disio non risponde il corpo infermo: / Era mal atto, perché avea troppi
anni; / E potrà peggio, quanto più l’affanni. // Tutte le vie, tutti li modi
tenta, / Ma quel pigro rozzon non però salta. / Indarno il fren gli scuote, e
lo tormenta; / E non può far che tenga la testa alta”[24]
(p. 67). As Ovid says in Amores, I,
ix: “Militat omnis amans...[25]
/ turpe senex miles, turpe senilis amor”. Petronius’s Encolpius describes his own sad plight in terms
which improves on Ovid’s simile & forestalls Ariosto’s explanation: “Illud
unum memento, non me sed instrumenta peccasse. Paratus miles arma non habui... Forsitan
animus antecessit corporis moram” (Satyricon,
cxxx). Ariosto’s two stanzas seem to me better than Ovid’s long lament on his own
impotence (Amores, III, cii: “At non
formosa est, et non bene culta puella, at puto non votis saepe petita meis”
etc.) & infinitely better than Charles Sorel’s account of the old Valentin’s
futile efforts to reinvigorate himself: “Au dessous luy pendait une grande peau
flestrie et veluë que l’on eust pris pour l’escarcelle d’un paysan. Il la
frotta” etc. (Histoire Comique de
Francion, éd. É. Roy, I, p. 3). Cf. 七三八則 on Marino’s “Amori notturni”.
Canto IX. 28 on the King of Frisa’s
firearm; cf. 第四百四十四則 on a passage in Don Quixote, Pt. I, ch. 38. I pointed out there that the use of the
crossbow & the long bow had reduced the tactical advantage of the armoured
horsemen even before the invention of artillery. And one recalls in this
connection Lessing’s fable “Der Junge und der Alte Hirsch”: When the young stag
spoke wistfully of the old stag’s youthful days as a “glückliche Zeit” because
man had then not yet invented the firearm, the old stag replied: “Du schliessest
zu geschwind! Die Zeit war anders, aber nicht besser. Der Mensch hatte da,
anstatt des Feuerrohrs, Pfeile und Bogen; und wir waren eben so schlimm daran,
als itzt” (Fabeln in Prosa, IIItes
Buch, Lessing: Auswahl in Drei Bänden,
VEB Bibliographisches Institut, Bd. I, S. 445).
Canto X. 84: “Natura il fece, e poi
roppe la stampa”[26]
(p. 90). For variations see E.R. Curtius, Europäische
Literatur und Lateinisches Mittelalter, 2te Auf., S. 190. 第七六八則.
Canto XIV. 116 [The Moors trying to
scale the wall of the city of Paris]: “Sono appoggiate a un tempo mille scale,
/ Che non han men di dua per ogni grado. / Spinge il secondo quel ch’inanzi
sale; / Che ’l terzo lui montar fa suo mal grado. / Chi per virtù, chi per
paura vale: / Convien ch’ognun per forza entri nel guado”[27]
(p. 133). Cf. Canto XXXIX. 9: “Chi sia fra i vili, e chi tra i più valenti / In
un atto medesimo si vede: / Son tutti parimente al correr presti; / Ma quei
corrono inanzi, e indietro questi”[28]
(p. 418). This is what Cardinal de Retz means when he says: “Quand la frayeur
est venue à certain point, elle produit les mêmes effets que la témérité”
(quoted in Letters of Lord Chesterfield,
ed. Bonamy Dobrée, IV, p. 1642).
Canto XVI. 13[29]:
The treacherous Orrigille pretends that her cowardly lover Martano was her
brother: “Gli fa stimar colui, non che parente, / Ma che d’un padre seco abbia
ossa e polpe”[30]
(p. 148). Cf. Gil Blas, III, ch. 12
on Laure’s lovers: “Je me contentais de lui demander le nom des hommes avec qui
je la voyais en conversation particulière. Elle me répondoit toujours que
c’étoit un oncle ou un cousin. Qu’elle avoit de parents! Il falloit que sa
famille fût plus nombreuse que celle du roi Priam” (Éd. Garnier, p. 186). Also
E. Partridge, Dictionary of Slang, “ONE
OF MY COUSINS: a harlot, ex a lie
frequently told by the amorous-vagrant male.” Cf. Boileau, Satire, X, 158-9: “D’abord tu la verras, ainsi que dans Clélie, /
Recevant ses amants sous le doux nom d’amis”; Propertius, II vi, 7-9: “Quin
etiam falsos fingis tibi saepe propinquos, / oscula nec desunt qui tibi jure
ferant.”
Canto XVIII. 153: “Come purpureo
fior languendo muore, / Che ’l vomere al passar tagliato lassa; / O come carco
di superchio umore / Il papaver ne l’orto il capo abbassa”[31]
(p. 186). Imitated from Virgil, Aeneid,
IX, 435 ff.: “Purpureus veluti cum flos succisus aratro, / Languescit moriens, lassove
papavera collo, / Demisere caput pluvia cum forte gravantur.” Cf. Arnold, Sohrab &
Rustum, 633: “Piteous
& lovely, lying on the sand, / Like some rich hyacinth which by the scythe /
Of an unskilful gardener has been cut, / Mowing the garden grass-plots near its
bed, / And lies, a fragrant tower of purple bloom, / On the mown, dying grass —
so Sohrab lay.” Virgil’s simile also imitated by Boccaccio, Filostrato, IV, St. 18 & Byron, The Flaming Heart, p. 42-3); also Gerusalemme Liberata, XX. 168 (ed. F.
Flora, p. 529).
Canto XX. 1-2 on the achievement of
women in arts & sciences (p. 202). Cf. E. Rodocanachi, La femme italienne, p. 268.
Canto XXIII. 103-105 (p. 245).
Orlando’s jealousy & suspicion most wonderfully described. Cf. 第二百八則.
113 (p. 246). See第六百三十五則.
Canto XXV. 35-6: [Fiordispina’s
lament]: “Né tra gli uomini mai né tra l’armento, / Che femina ami femina ho
trovato: / Non par la donna all’altre donne bella, / Né a cervie cervia, né
all’agnelle agnella. // In terra, in aria, in mar, sola son io / Che patisco da
te sì duro scempio”[32]
(p. 264). Imitated from Iphis’s lament in Ovid, Metamorphoses, IX, 726 ff.: “Quis me manet exitus... / Cognita quam
nulli, quam prodigiosa novaeque / cura tenet Veneris?... / ... / Nec vaccam
vaccae, nec equas amor urit equarum, / urit oves aries, sequitur sua fermina
cervum. / Sic et aves coeunt, interque animalia cuncta / femina femineo correpta
cupidine nulla est.” Cf. The First Captain’s exclamations in his tale: “'O
Allāh, Allāh, girls will be boys! But what sort of love can there be between
two women? Can a cucumber spring up in the night from a place devoted to quite
other planting? Do does sigh after does, hens after hens?... Sometimes the rose
will lean toward the rose, the jonquil to the jonquil... I still could not
understand what two gazelles could do together without one clarinet between
them” (The Thousand Nights & One
Night, tr. Powys Mathers, IV, pp. 478, 486, 488); Greek Anthology, X. 68, Agathias: “Look at the race of beasts; not
one of them
dishonours the laws of intercourse, for the female couples with the male. But
wretched men introduce a strange union between each other” (“Loeb”, IV, p. 39).
Cf. Gulliver’s Travels, Pt. IV, ch.
7: “I expected every moment that my master would accuse the Yahoos of those unnatural appetites in both sexes, so common among
us. But nature, it seems, has not been so expert a school-mistress; & these
politer pleasures are entirely the productions of art and reason.”
54: “Le belle braccia al collo indi
mi getta, / E dolcemente stringe, e bacia in bocca. / Tu puoi pensar s’allora
la saetta / Dirizzi Amor, s’in mezzo il cor mi tocca”[33]
(p. 266). It will be recalled that when the inexperienced Pauline read the
episode of Richardetto & Fiordispina & came to this stanza, she wanted
some explanations on the expression bacia
in bocca[34],
& on the love which made Richardetto’s arrow so stiff, & Casanova “only
too ready to comment on that text, made her touch an arrow as stiff as
Richardetto’s” (Memoirs, tr. Arthur
Machen, IX, p. 221).
68: “Non rumor di tamburi o suon di
trombe / Furon principio all’amoroso assalto, / Ma baci ch’imitavan le colombe,
/ Davan segno or di gire, or di fare alto. / Usammo altr’arme che saette o
frombe. / Io senza scale in su la rocca salto / E lo stendardo piantovi di
botto, / E la nimica mia mi caccio sotto”[35]
(p. 267). When Pauline, after wondering why a poem abounding in obscenity like
this had not been put on the Index, reached the last three lines, Casanova
thought his time had come (Memoirs,
tr. by Arthur Machen, IX, pp, 221-2) — another example of “Galeotto fu il libro
e chi lo scrisse” (Inferno, V. 137).
Cf. Sir Francis Kynaston, Leoline &
Sydanis, St. 34 on the “erecting” of “Venus’ standard” in “the field-bed” (The Caroline Poets, ed. George
Saintbury, II, p. 76). Cf. Il Pentamerone,
IV, 10 (tr. B. Croce, p. 441); Marino’s ingeniously lascivious description in “lá
dove piantar possa / ne la ròcca guardata / l’amoroso vessillo” (G.G. Ferrero,
Marino e i Marinisti, p. 431).
Canto XXVIII. 21: Iocondo discovered
his wife in the arms of “un garzone, / Allevato da lui, d’umil nazione”[36]
(p. 302).
24: “Credeano che da lor si fosse tolto
/ Per gire a Roma, e gito era a Corneto”[37]
(p. 302); cf. English catchphrases like “He doth sail into Cornwall without a
bark” & “come to anchor at cuckold’s point” (see Otto Jespersen,Linguistica, pp. 410-1).
34. He played peeping Tom &
detected the Queen & “un nano aviticchiato” in flagrant delight.
36. He was “attonito e stupefatto”
& thought his wife was more excusable: “E s’han tutte una macchia d’uno
inchiostro, / Almen la sua non s’avea tolto un mostro”[38]
(p. 303). There might be added to the examples which E.J. Dingwall has quoted
from the Arabian Nights, the Heptameron & the works of D.H.
Lawrence, to illustrate “one of the most curious aspects of the civilized
sexual life”, namely “the desire to unite with partners of inferior or lower
social grade” (Racial Pride &
Prejudice, p. 230); cf. 第八十六則 on Martial, XII, lviii.
43: “Così dicendo, e al bucolin
venuto, / Gli dimostrò il bruttissimo omiciuolo / Che la giumenta altrui sotto
si tiene, / Tocca di sproni e fa giuocar di schene”[39]
(p. 304); cf. 64: “Cavalcò forte, e non andò a staffetta” etc. & 66: “Stato
a cavallo tutta notte sei” etc.[40]
(p. 306) — examples of riding as an euphemism for coitus
which can be added to those given by Ernest Jones, Nightmare, Witches, & Devils, p. 252. Cf. H. Wentworth & S.
B. Flexner, Dict. of Am. Slang, 2nd
supplemented ed., 1975, pp. 426-7: Ride:
to have sexual intercourse with — S. Longstreet, The Pedlocks (1952), p. 76: “Have you heard the story of the old
Irish woman who was asked if she were ever bedridden? ‘Hundreds of times,’ she
answered, ‘and once in a sled!’”; cf. p. 20 Bareback
adj. & adv. Of a male without contraceptive, hence Bareback rider. Cf. 第八十八則 apropos of Anacreon, 84.
71: “Poi scoppiaro ugualmente in
tanto riso, / Che con la bocca aperta e gli occhi chiusi, / Potendo a pena il
fiato aver del petto, / A dietro si lasciar cader sul letto”[41]
(p. 307) — a usual occurrence in the Arabian
Nights, e.g. “she laughed so heartily that she fell on her backside”, “he
broke into so great a gust of laughter that he fell over on his backside” etc.
(The Book of the Thousand Nights &
One Night, by Powys Mathers, I, pp. 76, 327, 367; IV, pp. 289, 328, 425,
519 etc.; sometimes varied into: “laughed till their legs flew up in the air”,
I, p. 743).
【Cf.《舊雜譬喻經》卷上第十六則：“有大家子端正無比，娶婦亦端正，國王召見，有所忘，還歸取書，而見婦與客為奸，為之結氣，顏色衰耗。及臣見其貌醜，便斷馬廄以安措之。夜於廄中見王正夫人出與馬下人通，心乃自悟：‘王夫人尚如此，何況我婦乎？’意解顏色復故。” Cf.
39.】
【Henry
Webber first pointed out the resemblance between the adventures of Shahryar
& Shah Zaman & those of Astolfo & Giocondo (Burton, Thousand Nights & A Night, X, “Terminal
Essay”, p. 101)[42].】
Canto XXIX. 26 見六百八十三則。
Canto XXX. 50: “Dare ai cavalli
morte, ch’è mal atto, / ... / ... era vergogna e fallo / E biasmo eterno a chi
feria il cavallo”[43]
(p. 324). In Canto XLI. 87 (p. 443), Sobrino first wounded the mount of Olivier
— an action very unchivalrous but perhaps to be condoned to a Pagan. Cf.“
射人先射馬”（杜甫〈前出塞〉）.
Canto XXXVII. 40: [The woman-hater Marganore]
“Né ch’a noi venga alcun de’ nostri, come / L’odor l’ammorbi del femineo sesso”[44]
(p. 398). Cf.《周書》卷四十八：“蕭詧惡見婦人，雖相去數步，遙聞其臭”（see 第二百四十三則）. Per contra, Mozart, Don Giovanni, I. ii, D.G.: “Zitto! mi pare sentir odor di femmina!”
Leporello (Cospetto, che odorato perfetto!) (Dover Publications, p. 95).
78: “O qual mastin ch’al ciottolo
che gli abbia / Gittato il viandante, corra in fretta, / E morda invano con
stizza e con rabbia, / Né se ne voglia andar senza vendetta”[45]
(p. 401). — a very happy simile much imitated. See Tasso, Gerusalemme Liberata, IX. 88: “Nè di ciò ben contento, al corpo
morto, / smontato del destriero, anco fa guerra; / quasi mastin, che ’l sasso,
ond ’a lui porto / fu duro colpo, infellonito afferra” (Poesie, ed. F. Flora, p. 244). Spenser, Faerie Queene, IV. viii.
36: “Like as a cur doth felly bite & tear / The stone which passed stranger
at him threw”; Lyly, Euphues & his
England, ed. Arber, p. 223: “Where-in they resemble angry Dogges, which
byte the stone, not him that throweth it.”[46]
Alfred Hoare, Italian Dictionary, p.
14 gives as a common saying: “Il cane addenta i sassi che tu gli tiri” from Pacuvius,
fr. 47-8 (see 第六百八十三則). Cf.《大莊嚴論經》卷二之八；“有婆羅門五熱炙身，四面置火，如餅在𨫼。比丘尼語之言：‘汝可炙者，而不炙之；若能炙心，是名真炙。……譬如師子，有人或以弓箭瓦石而打射之，而彼師子，追逐彼人。譬如癡犬，有人打擲，便逐瓦石，不知尋本。’”Cf. Montaigne, Essais,
I, 3 (Pléiade, p. 41).
Canto XXXIX, see top of 第五百三十四則.[47]【［補第五百三十一則］Canto XXXIX. 57: Orlando’s recovery: “Che ritornò la mente al primier
uso; / E ne’ suoi bei discorsi l’intelletto / Rivenne, più che mai lucido e
netto”[48]
(p. 422). Cf. The Odyssey, X, 392
ff.: “And they [Odyssey’s companions who had been turned into swine by Circe] became men again, younger, fairer & taller than
before”; The Thousand Nights & One Night, tr. P. Mathers, II, p. 766: “The
two girls... [said]: ‘By the power & merit of Sulaimān, return as a man!’
Ali Quicksilver [who had been turned into a dog] leapt to his feet, younger
& more beautiful than ever”;《西游記》第七十九回：“行者把師父的泥臉子抓下，吹口仙氣，叫：‘變！’那唐僧即時復了原身，精神愈覺爽利。”】
Canto XLI. 9: “Surgono altiere e
minacciose l’onde: / Mugliando sopra il mar va il gregge bianco”[49]
(p. 436). Arnold: “The Forsaken Merman”: “Now the wild white horses play, / champ
& chafe & toss in the spray”; Partridge, Dict. of Slang, p. 288: “flock of sheep”; Germ. “Schäflein”, “weissen
Hunde”; It. also calls it “il cavallone”. Cf. the Chinese legend of 白馬 for
the swells of tide. 周祈《名義考》卷四「胥濤」條：“‘素車白馬’亦猶李白所謂‘連山噴雪’耳。”
82: “Ad esso e a Brandimarte e
all’altro spera / Far parer notte, e che non sia ancor sera” (p. 443). Cf. 96: “De
la percossa Orlando stupefatto, / Vide, mirando in terra, alcuna stella”[50]
(p. 444). Gil Blas, X, 10: “Il m’appliqua sur le visage une
demi-douzaine de soufflets si rudement, qu’il me fit voir plus de lumières
qu’il n’y en avoit dans Temple de Salomon” (Éd. Garnier, p. 571). Cf.
Partridge, Dict. of Slang, p. 742 “see
stars”; W. Friederich, Moderne Deutsche
Idiomatik, S. 49: “Sterne sehen.” In Chinese we have the phrase “眼前金星亂迸”, & such stars are graphically represented in all comic strips. 五三七則首.[51]【［補五三一則］ M. Bandello, Le Novelle, I.
40: “tutti dui sì strettamente come montoni cozzarono insieme, che videro in
casa più stelle, che non vanno la state lucciole la notte a torno” (Laterza,
II, 95). Boiardo, Orlando Innamorato,
XVII. 25: [Orlando received Agricane’s blow on his helmet] “Che su la groppa la
testa percosse; / Non sa se egli è da sera, o da matina, / E benché alora il
sole e il giorno fosse, / Pur a lui parve di veder le stelle, / E il mondo
lucigar tutto a fiammelle” (Garzanti, I, 309). Raymond Chandler, Playback [Marlowe gets hit on the head]:
“I was zooming out over a dark sea & exploded in a sheet of flame” (quoted
in Clive James, First Reactions, p.
208).】
Canto XLII. 20-21: “Qui de la
istoria mia, che non sia vera, / Federigo Fulgoso è in dubbio alquanto; / Che
con l’armata avendo la Riviera / Di Barberia trascorsa in ogni canto, / Capitò
quivi, e l’isola sì fiera, / Montuosa e inegual ritrovò tanto, / Che non è (dice)
in tutto il luogo strano, / Ove un sol piè si possa metter piano: // Né verisimil
tien che ne l’alpestre / Scoglio sei cavallieri, il fior del mondo, / Potesson
far quella battaglia equestre. / Alla quale obiezion così rispondo: / Ch’a quel
tempo una piazza de le destre, / Che sieno a questo, avea lo scoglio al fondo;
/ Ma poi, ch’un sasso che ’l tremuoto aperse, / Le cadde sopra, e tutta la
coperse”[52]
(p. 448). Good old Ariosto who can speak of the ship touching upon the desert
of Bohemia & get away with it! There are no flies on him! Another way of
extenuating the anachronism one has committed is the hue-&-cry by raising
the alarm oneself:《牡丹亭》第三十三折：“石道姑：‘《大明律》開棺見屍，不分首從皆斬哩！你宋書生是看不著《大明律》，不比尋常，穿籬挖壁。’”《鏡花緣》第 19 回多九公道：“今日唐兄同那老者見面，，曾說‘識荊’二字，是何出處？”唐敖道：“再過幾十年，九公就看見了”；第 72 回孟紫芝道：“顔府這〈多寶塔〉不知是誰的大筆,妹子却未見過。”卞彩雲道：“妹妹莫忙，再遲幾十年，少不得就要出世“；第 84 回孟玉芝道：“我今日要學李太白斗酒百篇了。” 掌紅珠道：“只位李太白不知何時人，向來却未聽見過”（35 回看錶，65 回孟紫芝引《西廂記》，74 回祝題花引《西廂》，79 回自鳴鐘，81 回打《西廂》燈謎）（又五百三十五則眉[53]）。【［補五百三十一則］Canto XLII. 20-21. Cf. Shakespeare, Complete
Works, ed. Kittredge, p. 894.《三家村老委談》：“《琵琶記》使事大有謬處。〈叨叨令〉云：‘好一似小秦王三跳澗’，〈鮑老催〉云：‘畫堂中富貴如金谷’；不應伯喈時已有唐文皇、石季倫也！梁伯龍《浣紗記》所長，亦自有在，不用春秋以後事。”胡稚威《石笥山房文集》卷一〈秋霖賦〉託司馬相如、董仲舒語氣，而相如稱述邢邵、袁安、黃初、陳王、陸士龍、張景陽、高鳳、江淹、鮑照等，仲舒道阮籍，雖自序引莊生寓言為自解，亦難飾非文過也。《列子‧湯問篇》夏革謂師曠勿聽聞焦螟之聲，張湛注：“師曠，晉平公時人，夏革無緣得稱之。”Giraldi Cinthio, Discorso intorno al comporre dei romanzi, delle commedie e delle
tragedie etc., §57: “[Apropos of Aristotle’s Poetics, XXV. 60b32] And this is why, though the poets write of
ancient affairs, they nonetheless
seek to harmonize them
with their own customs & their own age, introducing things unlike those of
ancient times & suitable to their own... Vergil has the Trojans sacrifice,
bury, & fight according to Italian habits... of the age of Octavian... The
poet does not write of things as they were or are, but as they should be... a
thing that is not permitted to those who write histories” (Allan H. Gilbert, Literary Criticism: Plato to Dryden, pp.
270-1 with the note to the effect that anachronisms in Shakespeare & his
contemporaries thus seem to be often deliberate).《蕩寇志》七十一回［即一回］：“那大礮、鳥鎗一切火器，實是宋末元初始有。……今稗官筆墨游戲，只圖紙上熱鬧，不妨揑造，不比秀才對策，定要認真。……不要只管考據！”】【《圖書集成》卷七九○.[54]】【王驥德《曲律》卷三〈雜論第三十九〉上：“元人作劇，曲中用事，每不拘時代先後。馬東籬《三醉岳陽樓》賦呂純陽事也，〈寄生草〉曲用佛印待東坡，魏野逢潘閬，唐人用宋事。”又第七九五則《伍員吹簫》。】【《金瓶梅》第三十三回金蓮道：“南京沈萬三，北京枯樹灣”（政和年間）. In his La
Pucelle, Voltaire armed Monrose anachronistically with a pistol (Chant XII,
vv. 123 et suiv.) & then took refuge in a note: “Nous n’osons affirmer
qu’il soit permis d’anticiper ainsi le temps; mais que ne pardonne-t-on point
dans un poème épique?” (Modern Language
Notes, Nov. 1957, p. 515).】【Cf.《潁川語小》卷上：“韓昌黎〈毛穎傳〉謂秦始皇時也，曰‘及至浮圖、老子、外國之說，皆所詳悉’，浮圖之書，秦時未至中國。”（《法苑珠林》卷五十一、《疑耀》卷二則謂秦火以前，中原已有佛書。）】【Cf. the footnote in Pickwick Papers, ch. 2 apropos of Alfred Jingle’s talk of his epic
poem on the Revolution of July in which he had taken part: “A remarkable
instance of the prophetic force of Mr Jingle’s imagination: this
dialogue occurring in the year 1827, & the Revolution in 1830” (“Everyman’s
Lib”, p. 12).】【《湘綺樓日記》光緒 31 年 10 月 10 日[55]。】
100: “L’incarco de le corna è lo più
lieve / Ch’al mondo sia” etc.[56]
(p. 456). Cf.《聊齋志異》：“一頂綠頭巾，豈真能將人壓死！”
Canto XLIII. 138-140. The story of Dr
Anselmo & the negro: “E spesso dice: ‘Non potria quant’oro / È sotto il sol
pagare il loco egregio.’ / A questo gli risponde il brutto Moro, / E dice: ‘E
questo ancor trova il suo pregio: / Se non d’oro o d’argento, nondimeno / Pagar
lo può quel che vi costa meno.’ // E gli fa la medesima richiesta / Ch’avea già
Adonio alla sua moglie fatta” etc.[57]
(pp. 470-1). Cf. the denouement of the Fifth Captain’s tale in The Thousand Nights & One Night, tr.
P. Mathers, IV, p. 519: When the King marveled at the magical flask & asked
for its price, Yāsamin who had been disguised as a man replied: “The owner...
agree to give it to me if I would once do cock & hen with him... I
consented.” The King consented to play the game twice in order to obtain the
flask. Yāsamin demanded 4 times & the King eagerly
agreed. “As soon as the Queen saw the King kneel down & adopt the posture
which was necessary for the completion of the bargain, she laughed... &
cried: ‘You are a Sultān, & yet you would be buggered for a flasky! How can
you reconcile that with your rash slaying of the fisherman who only asked me a
kiss upon the cheek for it?” etc.
Canto XLVI. 1 (p. 501) quoted in
Curtius, Europ. lit. und lat. Mitt.,
p. 140 as an example of “Schiffahrtmetapher”.
五百三十二[58]
王安禮《王魏公集》八卷。制誥中混入東坡及周益公之作，見勞季言《讀書雜識》卷十二。
卷一〈次韻徽之學士馬上口占〉：「隱几稍同南郭嗒，濫巾未望北山移。」
五百三十三[59]
曾肇《曲阜集》四卷。按《宋詩紀事》卷二十三引自《墨莊漫錄》、《庚溪詩話》者，此本未輯入。
卷四〈代祭劉貢父文〉：「強學博敏，超絕一世。肇自載籍，孔墨百氏，太史所錄，俚聞野記。延及荒外，陰陽鬼神，細大萬殊，一載以身。下至律令，老吏所疑。故事舊章，在廷不知，有問於子，歸如得師。直貫傍穿，水决矢飛。」按此文見張文潛《右史集》卷四十五，《宋文鑑‧目錄》誤作曾肇，然文下仍作張耒。按員興宗《九華集》卷二十〈跋劉原父文〉云：「劉於談詠記載，一曰歐九，二曰歐九，語意簡逸。竊怪永叔抱負如爾，公是何遇之淺也！豈其微學授受，抗顔博喻者，法當如此乎？於是悉取其〈經小傳〉、〈權衡〉、〈百工〉、〈同道〉諸篇，觀其破去百氏離異，獨造光澄演迤，則寖寖乎周末鄒魯之遺音已，其規模不但漢也。」孔武仲《宗伯集》卷二〈劉公詩〉云：「原甫吾不識，聞之士大夫。讀書足智慮，萬卷力有餘。天文地理學，道藏及浮屠。纎悉無不講，講之皆粲如。文章弄豪贍，咳唾玉與珠。」
〈次後山陳師道見寄韻〉：「故人南北歎乖離，忽把清詩慰所思。松茂雪霜無改色，鷄鳴風雨不愆時。著書子已通蝌蚪，竊食吾方逐鸒斯。便欲去爲林下友，懶隨年少樂新知。」山谷〈再次韻寄子由〉：「風雨極知鷄自曉，雪霜寧與菌爭年。」
〈上王荊公墓〉：「天上龍胡斷，人間鵩鳥來。未應淮水竭，所惜泰山頹。華屋今非昔，佳城閉不開。白頭門下士，悵望有餘哀。」
五百三十四[60]
劉弇《龍雲集》三十二卷。偉明詩、文皆力求奇崛，苦學昌黎，文參之柳州，詩攙以昌谷。詩險厲而未妥隽，不如文之峻偉瑰琦。周益公〈序〉以其為廬陵人，遂推之上繼歐公。偉明《集》中〈上曾子固〉兩書（卷十五、卷二十一），則頌讚南豐之文若不容口。其實好為鋪比，矜氣力，善雕繪，與兩家之紆和澄淡皆不類也。《附錄》有李彥弼端臣所撰〈墓志銘〉，謂其為文得之天，不可躅，蓋痛欲剷盪痕纇，掀抉霾蝕，取所謂亹亹不凡者，方始揚布，直欲踐蹋古作者蹊徑。人謂刻削精魄，與造物爭後先。此豈長生理哉！定以文死者，必偉明也[61]」云云，最為得之。蓋好鑄偉詞者，北宋古文作手舍已列「八家」之六家外，當推偉明與呂南公二人。《獨醒雜誌》卷一記：「偉明自負才學，紹聖初，游一禪剎，時東坡謫嶺南，道廬陵，亦來遊，相遇，互問爵里姓名。偉明遽曰：『廬陵劉弇。』公徐應曰：『罪人蘇軾。』偉明大驚，逡巡致敬曰：『不意乃見所畏。』東坡亦嘉其才氣，相與劇談而去。」然此《集》中，無只語及東坡，於歐、曾兩家外，推尊荊公新學而已。《誠齋集》卷一一四記劉才邵譏偉明〈獻南郊大禮賦〉一起云：「祭天地祖宗，而比之豺獺之祭，此譬如千乘萬騎，羽獵長楊，而於其間說鬥蝦蟆。[62]」【《緯略》卷十二「筆橐」條引宋景文詩誤用「荷囊」作平聲。《能改齋漫錄》卷三（《苕溪漁隱叢話後集》卷三十六引作《復齋漫錄》）：「劉偉明〈贈熊本待制詩〉云：『西清寓直荷為橐，左蜀宣風繡作衣。』《南史‧劉杳傳》：『著紫荷橐。』偉明乃以『荷』為『芰荷』之『荷』，何耶？歐陽文忠〈回吳舍人啟〉、〈上胥偃啟〉亦同此誤。然《隋書‧樂志》：『僕射吏部尚書，朝服綴紫荷。』」（按《西溪叢語》卷上亦引〈劉杳傳〉正宋子京「猥挈荷囊」之誤。）《誠齋集》卷百十四《詩話》云：「劉才邵云：『劉弇〈獻南郊大禮賦〉首句云：「粤惟古初，豺獭有祭。」祭天地祖宗，而比之豺獺之祭，譬如千乘萬騎，羽獵長楊，而於其間說鬥蝦蟆。』」】
卷三〈古風謝汪都講示惜惜吟〉：「地祇關鐵掣臨賀，天家寶場正中劃。萬工扶坎覓坤苗，鑿盡頑陰冶清液」，「傳看代北青𣰽毺，一泓幾動春消息。」按卷七〈次韻和汪道濟都講惜惜吟〉云：「溫柔鄉定虛言耳，鑪火功真長物哉。疑別有天春不老，知誰爲雨夜曾來。滿移妃子三湯夢，暗奪仙家一息胎。燕玉浪傳思暖老，箇中消歇幾沉煤。」自注：「錫製溫體器也，汪强名爲惜惜。」
卷四〈宿法藏禪院二首〉：「斜河左界懸朱提，冷燼掠天螢糝飛。高梧泣液涼參差，前村後村烏夜啼。一」「白汗泣珠霍如洗，桔槹聲噤松風死。班如匹馬客戾止，化人之宮矗天起。錯寞形骸寬一寄。二」
卷五〈寄李知章〉：「文章盛自元和間，誰其傑者柳與韓。二公秋鶚擅神俊，天使側翅摧誇謾。卷收萬象付寂默，神怪鬼篡皆殫殘。詩書並馳可終古，豈止唐世論不刊。」按參觀卷十五〈上曾子固先生書〉。
卷六〈送曾靈永赴舉〉：「孟荀久不作，吾道竟茫茫。滔滔天下人，生死名利韁。誇兒騁新學，剽竄摸青黄。爬羅盡砂礫，氣焰苦不揚。初如拆襪線，那復一條長。」按指斥王氏之學如此，而卷十五〈上陸農師書〉、〈上張天覺學士書〉、卷十六〈上呂觀文吉甫書〉、〈上章僕射子厚書〉、卷十七〈上蔡內翰元長兩書〉、〈上蔡元度右丞兩書〉、〈見蔡元度給事書〉等，善頌善禱，自衒自媒。上農師及二蔡諸〈書〉尤尊荊公，至謂「孔、孟沒千有餘載，酣於冗猥不根之傳注，揉以雜駮自私之諸子，聖伏神徂。至荊公始以粹完絶世之學，解剝頑陰，揭之明光」；「根柢六經」；「原性命，該道德」。罔道求官，誰謂有志之士而為之乎！且新學鄙薄文詞，偉明乃持古律歌詩雜文以干進，章甫適越，梳篦贈僧，亦見其熱中而智昏矣。
卷七〈蔣沙莊居〉：「晴屋鳴鳩婦，春陂翳雉媒。筯頭甘野蔌，鋤力到陳荄。掠水千艘健，橫風一笛哀。最憐雙白鳥，解事等閒來。五」「松種龍蛇子，栽培近著行。有時窺北榻，不日暗東岡。洒落終含韻，輪囷未竟長。故應容足地，投老慰荒凉。七」
卷八〈江館〉：「連雲草樹縱橫幕，點水鳬鷗黑白棋。日晏厨烟青一穗，暑餘窗雨暗千絲。飽聞楊惲生行樂，懶賦張衡我所思。軟碧會須連月占，恣看飛檝界琉璃。三」按第二句鞏仲至演為七絕一首，見《江湖後集》卷一（第四百五十三則）。
〈春日即事〉：「歲月催人誤壯圖，風清官况强支吾。春來酒病尋常有，老去花迷大殺無。慵裏盛添詩債負，閒中贏得睡工夫。誰知到此扁舟內，白面書生瘦矣乎。」按此偉明詩之較平易者，遂落野調。
卷十五〈上曾子固先生書〉：「閣下所以能文者，正在能變耳。文章之難也，從古則然。處此有一道焉，變是已。韓子之文，如六龍解騑，放足千里，而逸氣彌勁，真物外之絶羈也。柳子厚之文，如蒲牢叩鯨鐘，驍壺躍俊矢，壯偉捷發，初不留賞，而喜為愀愴淒淚之詞，殆騷人之裔比乎！李翺之文，如鼎出汾陰，鼓遷岐陽，鬰有古氣，而所乏者韻味。皇甫湜之文，如層崖束湍，翔霆破柱，當之者駭矣，而畧無韶潤。吕溫之文如蘭榱桂橑，質非不美，正恐不為杞梓家所錄。劉禹錫之文，如剔柯棘林，還相影發，而獨欠茂密。權徳輿之文，如靜女莊士，能自檢儆，無媒則躓矣。若閣下之文，則廓乎其能周，燁乎其能明，歛乎其若有所待，眇乎其似不可攬而取也。抗之以果，而不失於鋭；踔之以逸，而不至於放；聳之以嚴，而不傷於介；振之以冷汰，而不過乎絜。語其形似，則如白玉田種種渾璞，如青翰客而有秀舉（疑『有』乃誤字），如天驥跼影筋理颯灑，如喬松弄之真率徑盡[63]，如炙輠聨環之運而不窮也，如疾蒐者之扼態脰而絶貙臏也，如鋸齒錯列初若齟齬而卒乎其相承也。」按同卷〈上張天覺學士書〉云：「膚寸筆端，勢軋萬鈞，卷濤收瀾，末力猶壯，則退之、子厚之懷鉛提槧也。」卷二十一〈上知府曾內翰子固書〉云：「自孟子以來，號著書者甚衆，而漢獨一揚雄，唐自元和間復得韓愈、柳宗元之徒，至吾宋而又得歐陽公、王文公及閣下三人者，何其作之鮮耶！韓子之文，輝鍠振越，瑰瑋聯犿，如長河大川，一瀉千里，而波濤洶湧，震撼砰擺，老蛟怒鯨，千詭百怪，與夫吞風笑日，破山發石之勢，無所不備，可以微睇，而不可以平視。柳子之文，如懸崖絶壑，壁立千仞，崒嵂峭拔，洞鴻轇轕，嶄然獨峙于蒼烟藹杳之外，使望之者不能躋，躋之者不能踰，踰之者不能絶。至於閣下之文則不然，虛徐容與，優游平肆，沈乎其若浮，歛乎其似無所止，而迢迢乎如將治而不可窮也云。」巧構形似，絕妙好詞也。參觀六百十五則裴延翰〈樊川文集序〉。
五百三十五[64]
呂頤浩《忠穆集》八卷。元直無意為文，盡事而止，卻頗潔適。諸封事尤可考見南宋有軍旅之事而武備廢弛之狀，宜與蘇子美、陶商翁、華子西諸集會看。
卷一〈上邊事備禦十策〉：「夫渡江一事，不得已必為之，但迎敵拒戰之計，豈可少哉！」「金人用兵在秋冬之後，每年四月放馬入泊，逐水草，號曰『入澱』（自注：山西州軍及燕、薊諸處，契丹有國時，擇美水草之地數千頃，禁人畊鑿，留以養馬，謂之『馬入澱』），入澱之後，馬不喂料，止食青草。七、八月間乃出澱之際，敵人畏大暑之時，出其不意而攻之，庶可勝也。學士孫洙制策論契丹，其略曰：『以一月之糧，興六月之師，破之必矣。』豈虛言哉！」「中國諸軍，自來斥堠不明。敵騎之行，若飄風驟雨，而郵傳步人探報不及。臣宣和七年陷于金人，次年在金人寨中，親見金人引兵到上德橋，而京師猶不知。是年十一月，金人已渡河破鄭州，執知州宋伯友，縱之使歸京師，伯友謁都堂陳述，而大臣以謂破鄭州者河北強寇，非金人。斥堠乖謬，如此之甚！」「邊人之長，實在騎兵。我之所長，莫若彊弩。敵人騎兵驟至，奔突使三百步內，彊弩並發，人人只發兩箭，則敵人必却。敵人既却，我師乃可立。我師立定，然後可以語戰。神臂弓箭雖能及遠，然其藝難精，兼緩急之際施放不快，不若彊弩之輕捷。」「中國之軍，莫非黥卒，器甲從官給。短小者或得長甲，修長者或得短甲，能挽七斗弓者或授以一石，能勝兩石弩者或付以三石，致弓弩不適用，反與短兵同。晁錯曰：『甲不堅密，與袒裼同；射不能及遠，與短兵同。』馬軍全裝，步人則衣甲不具（自注：步人戴笠子，不能禦箭，有掩心則無披膊）。」按卷二〈上邊事善後十策〉略同。「彊弩」當即指「剋敵弓」，《桯史》卷五所謂「能破堅於三百步外」者，《樵隱昔寱》卷二〈克敵弓非神臂弓考〉可參觀，惜其未引忠穆文也。《閱微草堂筆記》卷十九自記：「神臂弓至明乃不得其傳，惟《永樂大典》尚全載其圖說。然其機輪一事一圖，無一全圖。余與鄒念喬侍郎審諦，迄無端緒，欲鈎摹其樣，使西洋人料理之。先師劉文正公曰：『西洋人用意至深，如算術借根法，本中法，流入西域，故彼國謂之東來法，今從學算，反秘密不肯盡言，此弩既相傳利器，安知不陰圖以去，而以不解謝我乎？《永樂大典》貯在翰苑，未必後來無解者，何必求之於異國？』信乎所見者大也！」
卷五〈論車駕乘馬士狀〉：「昨日仰蒙聖諭：『近日自杭州舟行到常州，緣諸軍陸路不易，遂登㟁乘馬，欲與眾人同艱辛，而范漴又以為不可，緣此鬱鬱。』臣不覺感歎：方今天下多難，乃用武戡定之時，馬上治之之日。按行營陣，出入御馬，乃其宜也。而儒士書生尚欲依太平之際，必備法駕、具儀仗，是以干戚之舞，解平城之圍也。」按《故宮週刊》載康熙四十八年十一月十二日上諭云：「崇禎嘗學乘馬，兩人執轡，兩人捧鐙，兩人扶鞦，甫乘，輒已墜馬，乃責馬四十，發苦驛當差。如此舉動，豈不發笑！」又載光緒作〈試馬記〉云：「今年八月，立馬架於庭，御前大臣率侍衛等執鞭鐙，以待予日一試馬。或曰：『此真馬歟？』曰：『非也。』『非馬何以試之？』曰：『冀北之野馬之良者多矣，豈能偏千萬馬而試之乎？則試一馬，可通於千萬馬矣。夫一馬可通於千萬馬，則非馬而類於馬者，亦可通於馬矣』」云云，皆可參觀。又按卷八〈燕魏雜記〉云：「古云馬出冀北，故退之〈送溫造序〉云[65]：『伯樂一過冀北之野，馬羣遂空。』今河北冀州不產良馬，所謂冀北，疑今秦州是也。」
〈乞依舊宮觀狀〉：「臣聞周文王謂鬻熊曰：『先生老矣！』而熊自言：『以臣入山逐麋鹿，則臣誠老矣。若使坐而策事，則臣尚少。』秦穆公作〈誓〉亦曰：『詢兹黃髮，則罔所愆。』昔人所以獨取老者之謀，而又謂老者不以筋力為禮，蓋以其歷年久，更事多，世間變故，人事情偽，盡能知之，而驅馳蒙犯，非為克堪也。」按參觀 Aldous Huxley, Texts
& Pretexts, p. 141: “‘Age is deformed, youth unkind; / we scorn their
bodies, they our mind’ — Thomas
Bastard. Things have
changed since Queen Elizabeth’s days. We scorn not only their bodies, but also
(and above all) their minds... Communism & Fascism appeal for the support
of youth, & of youth alone... In an unchanging, or very slowly changing,
environment, old age is actually an asset... In a changing world, age &
long experience become a handicap. Hence the disfranchisement of old age in
Italy & Russia.” 五、六載前，有 A.L. Vischer, Das
Alter als Schicksal und Erfüllung 一書，惜未得見。
卷七〈跋王仲至詩〉：「詩十卷。仲至名欽臣，睢陽人。博學，善屬文，尤工於詩。元豐間守官陝右，有〈宿華嶽觀〉詩云：『凌空老樹雲垂葉，壓屋梨花雪照人。』傳入禁中，神宗皇帝喜之。呂汲公微仲為相，薦其才。紹聖元年，為吏部侍郎，坐汲公罷。」按卷八〈燕魏雜記〉云：「北京隆興寺佛殿西楹有魏宮彈棊局，魏文帝時欵識存焉。王欽臣賦詩云：『鄴城臺殿付塵埃，玉局依然獨未灰。妙手一彈那復得，寳奩當日為誰開？飄零久已拋紅子，埋沒惟斯近紫苔。此藝不傳真可惜，摩挱聊記再看来。』」《宋詩紀事》皆未收所載，官堦亦不備。
卷八〈燕魏雜記〉：「李師中文章外，詩什尤髙。在髙陽關有詩云：『鑑中雙鬢已蹉跎，無計重揮却日戈。已是園林春欲暮，那堪風雨夜來多。詩成白也知無敵，花落虞兮可奈何。下闕』」按「詩成」一聯亦見《誠齋詩話》，《宋詩紀事》卷十三未收。〈雜記〉載誠之應詔直言，指斥王安石事甚詳。又載其謝表有云：「進微卓爾之能，退守浩然之正。易衰之柳，既已分於先顛；難拔之葵，終不移於所向。」亦可誦。
[2] Barbara Reynold 英譯（下同）：“...
this prince surpasses nature’s laws, / For having fashioned him, she broke the
mould.”
[4] “...
and how she was, in fact, / As when she left her mother’s womb, intact. // It
may be true, but no man in his senses / Would ever credit it; yet possible / It
seems to him, for, lacking in defences, / To what is plain, but made invisible,
/ The king is blind
(or with his sight dispenses), / Since what is not, love’s power makes credible.
/ Thus he believes her for, as all men do, / He gives assent to what he hopes
is true.”
[5] “In
olden days they seemed to place great trust / In women, whether middle-aged or
young; / Permitted to indulge their wander-lust, / They travelled unaccompanied
along / Strange roads, up hill, down dale, from coast to coast, / But those at
home suspected nothing wrong.”
[6] “‘His
praise far and wide / Are sung and I, attracted by his fame, / Am here with one
desire: to prove and test / His prowess, and with him alone contest.’ // She
said these words in all simplicity / (Though some may take them in another
sense).”
[8] “A
virgin may be likened to a rose / Which on its slender stem, by thorns
defended, / Within a garden unmolested grows. / To pluck it no despoiling hand’s
extended.”
[9] “Towards
her who loves, you stifle my desire: / For her who hates, you set my heart on
fire.”
[10] “As a
sly cat, deliberately slow, / When he has caught a mouse will sometimes play; /
Then, when he wills and only when he wills it, / He makes a sudden pounce on it
and kills it.”
[11] “Rinaldo
thought a while and then he said: / ‘A damsel is condemned to death because /
She gave her lover solace in her bed / Who with desire for her torment was? / A
curse upon the legislator’s head! / And curse be all who tolerate such law!...
// If the same ardour, if an equal fire / Draws and compels two people ever
more / To the sweet consummation of desire / (Which many ignoramuses deplore),
/ Why should a woman by a fate so dire / Be punished who has done what men a
score / Of times will do and never will be blamed, / Nay, rather, will be
praised for it and famed?’”
[13] “If by cupidity your wife
was won / And thus persuaded to break faith with you, / Be not surprised; by no
means the first one / Is she, of all the married women who / Have vanquished
been, or who worse things have done / For less reward, whose wills were
stronger too. / And of how many men must it be said / That they their lords and
friends for gold betrayed? // ... You would yourself have shown no greater
strength, / But as she did, would have succumbed at length.”
[14] “Let
us make peace; in mutual accord / Let our past sins to Limbo be consigned, /
And let us ne’er again in deed or word / Each other of each other’s lapse
remind.”
[15] “Tell
me: is there one man among you all / Who has not been unfaithful to his wife, /
Who would refuse an extra-marital / Advanture as a change from married life?...
// Those wives who are unfaithful (there are some) / Have had good reason for
it, I dare say: / Their husbands, tired of what there is at home, / After new
joys and new adventures stray. // ... Did not Christ say: ‘Unto others do not
do / What you would not they should do unto you’?”
[16] “No
creature on the earth, no matter whether / Of peaceful disposition, mild and
kind, / Or fierce and merciless as wintry weather, / Are hostile to the females
of their kind. / The she-bear and her mate in sport together, / The lion and
the lioness, we find; / The she-wolf and the wolf at peace appear; / The heifer
from the bull has naught to fear. // What dreadful plague, what fury of despair
/ In our tormented bosoms now holds sway, / That wives and husbands constantly
we hear / Wounding each other with the things they say? / With scratching,
bruising, tearing out of hair, / Assault and battery, in bitter fray / They
drench with scalding tears the marriage-bed.”
[18] “I
have been driven to because I’ve seen / Too much. Ah! Happier if blind I’d
been!”
[19] “As
often happens, when a man’s despair / So drives him that his mind on death is
set, / But when he sees it, harsh and fierce, draw near, / He finds some
recompense in living yet.”
[20] “Her
round and shapely neck is white as snow. / Her bosom, pure as milk, is large
and full. / Two ivory breasts, firm as young fruits, below / Her bodice move,
as when soft breezes pull / The waters at the margin to and fro. / Her other
parts would be invisible / Even to Argos with his hundred eyes, / But from the
rest their beauty we surmise.”
[21] “And
smoother far than ivory to touch; / Like milky curds but freshly heaped within/
Their plaited moulds, her rounded breasts...”
[23]
“Ruggiero slips between the perfumed sheets, / So fine, they’re worthy of
Arachne’s loom, / And to the passing footsteps now lend ear, / Hoping his fair
enchantress he may hear.”
[24] “And,
as defenceless in his arms she rests, / Embracing her, he touches her all over,
/ Kisses her mouth and both her lovely breats. / The rough and lonely place
gives perfect cover, / But in this joust his weary jade resist. / For all he
longs to prove himself a lover, / Years having undermined his aptitude, / The
more he strives, the less he can make good. // Whatever methods he experiments,
/ His lazy coursersimply will not jump; / Nor will it lift its head in
consequence / Of any jerking rein, or spur, or thump.”
[26] “For,
having fashioned him, she (Nature) broke the mould.”
[27] “Up
countless ladders now the pagans swarm. / On every rung they’re standing two
abreast. / The first have scarce the time to feel alarm, / And those below are
urging on the rest. / Thus every man with courage now must arm / And
willy-nilly undergo this test.”
[28] “And
feet a corresponding course pursue. / A single move reveals two kinds of folk,
/ For while they run at the same speed, the cowards / Are running backwards,
and the brave men forwards.”
[30] “Her
lover, who is party to the hoax, / He takes to be related, of the same / Father
even.”
[31] “As
languishing a purple flower lies, / Its tender stalk cut by the passing plough,
/ Or, heavy with the rain of summer skies, / A poppy of the field its head will
bow.”
[32] “In
all the world of Nature, you invent / A female lover for a female mate! / Women
their hearts to women do not lose, / Nor doe to doe, nor ewe to other ewes. //
On land, on sea, in heaven, I alone / Must bear a blow of such severity.”
[33] “Throwing
her lovely arms about my neck, / She clasps me sweetly and imprints a kiss /
Upon my mouth (I swear it was no peck!). / Imagine if Love’s arrow now can
miss!”
[35] “No
roll of drums is heard, no trumpetings / These love-opponents forth to battle
send, / But dove-like kisses and sweet murmurings / Give signal to forward or
ascend. / Our weapons are not arrows, nor yet slings. / No scaling-ladders here
assistance lend. / I leap upon the fort and am not slow / To plant my standard
and subdue my foe.”
[36] “A
lad of humble stock who had been... rasied from naught.”
[37] “His
journey was in truth equivocal, / For to Corneto he had gone that day.”
[38] “That
all of them with the same brush were tarred, / At least his wife a hunchback
monster barred.”
[39] “He
leads Astolfo to the gap between / The plaster and the strut; the dwarf is
shown / Astride the stolen mare, which by his spurs, / And by manège, to high curvets he stirs.”
[40] “And
all that night no other mount he tries” etc.; “You were on horseback till the
break of day” etc.
[41] “Then,
bursting into equal merriment, / They throw their heads back, open-mouthed, and
screw / Their eyes up; scarce a breath can either fetch / As on the bed both
fall and helpless stretch.”
[43] “...
to kill / The other’s horse, an action which all must / Condemn... / ... a
special trust / ... / ...makes them refrain: / To aim and kill a horse was
shameful then.”
[44] “...
nor consent / That any man should come near us, as though / They might be
poisoned by the female scent.”
[45] “Just
as a mastiff vents its futile spite / Upon a pebble with a snarling sound, /
Madden by bestial rage or appetite...”
[48] “His
intellect returned to its pristine / Lucidity as brilliant as before, / As his
fair discourse later witness bore.”
[49] “From
all four corners towering breakers toss; / No curb the foaming sea can now
restrain.”
[50] “To
make the darkness of the night descend / Before the light of day was at an end”;
“And stars below on earth began to count, / And long it was before he saw them
fade.”
[52] “Here
Frederick Fulgoso casts some doubt / Upon my tale and wonders if it’s true. /
When with his fleet he journeyed round about / The coast of Barbary, this isle
he knew: / He landed and explored it all throughout. / He found it mountainous
and, in his view, / On all that rough and rocky piece of land / No-one, no
single foot, could level stand. // And on that crag (he says) six cavaliers, /
The flower of the world though they might be, / Could not have run and jousted
with their spears. / To this objection which he puts to me / I answer: at that
time (so it appears) / There was a space for tilting, near the sea; / But it
was covered when a pinnacle / Of massive rock, dislodged by the earthquake,
fell.”
[54] 此見《手稿集》901 頁頁邊，未註所繫為何，但應指《管錐編‧全上古三代秦漢三國六朝文‧一七一‧全宋文卷三四》（三聯書局 2007 年版，2039 頁）論「時代錯亂，非徒文詞也，繪畫亦有之」一節所引《古今圖書集成》本卷黄伯思〈跋滕子濟所藏唐人出遊圖〉：「昔人深於畫者，得意忘象，其形模位置有不可以常法論者。……如雪與蕉同景，桃李與芙蓉並秀，或手大於面，或車闊於門。……此卷寫唐人出遊狀，據其名題［宋之問、王維、李白、高適、史白、岑參］，或有勿同時者，而揚鑣並驅，睇眄相語，豈亦於世得意忘象者乎？」云云。
[55]「所謂宋版《康熙字典》，其價宜在宋版上也。」
[56] “Nothing
is easier than to obtain / A pair of horns, for all the shame they cause.”
[57] “‘Not all the gold on earth
would meet the bill / For such a noble edifice,’ he says. / The Moor replies, ‘There
is one thing which I will / Accept for it and which the price defrays: / No
gold or silver, but a payment which / Cost you so little that it leaves you
rich.’ // And to the judge he put the same request / Which to his wife Adonio
had made.”
[63]「之」原作「芝」。
[65]「退之」原脫落「之」字。
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