Heny Green, Back (1946)
五百三十六[1]
劉宰《漫塘文集》三十六卷。 余讀《癸辛雜識別集》上記平國論陶淵明語（見第三百五十二則），始知其名，後復在《南宋羣賢小集》第二十二冊覩所為〈李和父梅花衲序〉（第四百五十三則），今此〈序〉尚見《集》卷二十四，題作〈書李君梅花衲後〉，論淵明語則賴草窗保存，惟卷一〈枕上呈丁景舒〉第一首云：「督郵行縣豈徒哉，指點虛無作禍媒。料得淵明知此意，懸拋印綬賦歸來。」微露其意。平國德行之士，然詩文皆暢沛，無頭巾氣，尟精警耳。論詩尊趙章泉，所作亦頗類。樂府淋漓沉摯，卓然上追元、白、張、王，如卷二〈開僖紀事〉、卷四〈野犬行〉、〈猛虎行〉，其尤佳者。〈野犬行〉云：「野有犬，林有烏。犬餓得食聲咿嗚，烏驅不去尾畢逋。田舍無烟人迹疎，我欲言之涕淚俱。村南村北衢路隅，妻喚不省哭者夫，父氣欲絕孤兒扶。夜半夫死兒亦殂，屍橫路隅一縷無。烏啄眼，犬啣鬚，身上那有全肌膚？叫呼五百煩里閭，淺土元不蓋頭顱。過者且勿嘆，聞者且莫吁。生必有數死莫踰，飢凍而死非幸歟？君不見荒祠之中荆棘裏，臠割不知誰氏子。蒼天蒼天叫不聞，應羨道旁飢凍死。」一結警切極矣。《宋詩鈔》乃謂「其詩亦常調，五言古稍優」，非知音識曲者也。此本為《嘉業堂叢書》據明刊本重梓，編次殊不審，如卷二〈送傅守歸〉、〈送梁伯暘〉、〈山行阻雪〉、〈寄朱景淵〉、〈題半山圖〉、〈題茅山慶雲菴〉等皆五古，而編入五律；〈雨後口占呈陳校書〉、〈贈陳內機〉皆七古，而編入七律；卷三〈謝諸友移具游德及亭〉乃五言排律，而編入五古。富大用編《古今事文類聚外集》，錄漫塘詩、文甚多，未知有軼出此《集》者否？【《湛淵靜語》卷二載漫塘與史衛王、王中書三簡可補，《吹劍錄》四集有漫塘譏放翁子陸遹貪酷七律可補（《宋詩紀事》卷五十八漏收）。詩見《漫塘文集》卷二〈寄陸大夫〉。】【《夷堅支‧景》卷九〈建康三聖廟〉記劉不肯事神，弟與妻皆為神譴而死。】
卷一〈東陽道中聞杜鵑〉：「萬里雲山路渺茫，車輪竟日往來忙。憑君一語成歸去，笑殺兒時射四方。」
〈甲午秋題窗間〉第三首：「未用鷄蟲分得失，笑看鵬鷃兩逍遙。」按楊龜山〈荊州書事〉亦有此語，見第五百十四則。
卷二〈天台道中〉：「花重朝霏散，鳥啼春意深。風光自流轉，行役負登臨。澗水流新綠，山雲捲夕陰。病容兼白鬢，漂泊此時心。」
卷五〈辭免除籍田令第一狀〉：「一自辟屬倉臺，偶得風疾，浸淫滿面，乃丐嶽祠以歸。百藥不效，以迄於今。形容變改，語音僅存。」按〈第二狀〉云：「形容如鬼」；〈辭免除太常丞第二狀〉云：「冉耕聖門高弟，而其疾也，夫子獨嫌於一顧，乃自牖執其手，何哉？豈非疾證之彰，容貌之改，雖聖人亦有所不欲近耶？某不幸蚤廹親資，奔走田間，皮膚為風毒所乘，得疾白駁，雖無瘡痏，亦無痛楚，而風毒浸淫，自頭面達于四體，强半變白，形容之惡，見者駭異」；卷六〈通田輅院〉云：「某蚤得惡疾，形容如鬼」；卷十〈回李校勘心傳〉云：「年僅四十，即得奇疾，形容如鬼，不可復仕。」然則《宋史》本傳所謂「為浙東倉司幹官，職事修舉，亟引去，默觀時變，頓不樂仕」云云，尚非情實。《癸辛雜識別集》上謂其「早有經綸志，以微疾不樂出，或言其面䵟點，不能應詔，起者婁，力辭以免」云云，庶幾近之。自慚形穢，忘情軒冕，高出獐頭求官而不以溺自鑑者多矣！正不必如諸家序、贊所稱「默觀時變，幡然引退」也。《附錄‧宋史列傳》云：「理宗初即位，以為籍田令。端平元年，升直寶謨閣。年七十四卒。」按〈辭除籍田令第一狀〉云：「年甫六十」，〈辭免除太常丞第五狀〉云：「實已七十」，玩其先後，蓋端平二年事，是漫塘生於乾道二年，歿於嘉熙三年也。今本《宋史》無「年七十四」等字。
五百三十七[2]
Jottings:
Thomas Overbury, Characters: “A Flatterer”: “He...
praiseth his grace of making water” (Richard Aldington, A Book of “Characters”, p. 99). Cf. 馮猶龍《笑府》：“士人頌冥王屁云：‘高聳尊臀，洪宣寶屁，依稀絲竹之音，仿彿麝蘭之氣’”；《花當閣叢談》卷二：“嚴東樓一日與客坐，適有餘氣，客即拂鼻，問何異香，東樓佯驚曰：‘失氣不臭者，病在藏府，吾其殆矣！’客又拂鼻曰：‘却也微有氣息。’東樓大笑。”Overbury’s “flatterer”, had he lived today, would
have availed himself of phrases in English & American slang like “piano”, “tinkle”,
“to give a Chinaman a music lesson”, etc. by way of “praising his melody of making water” (cf. Finnegans Wake, N.Y., 1937, Pt. I, p.
184: “all this chambermade music”).
John Earle, Microcosmography: “A Child”: “His soul is yet a white paper
unscribbled with observations of the world” (Richard Addington, op. cit., p. 191). The simile of tabula rasa occurs in Plato (Theaetetus, 191), Zeno (see Diogenes
Laertius, VII, 45, “The Loeb Classical Library”, II, p. 155), Aristotle (De Anima, 424a), Aegidius Romanus,
Antonius Andreas, Johannes Gerson, & others (see Prantl, Geschichte der Logik, III, S. 261, 281,
IV, S. 143; John Dewey in J.M. Baldwin, Dictionary
of Philosophy & Psychology, II; Bosanquet, A History of Aesthetic, p. 84). In the first of his three
longlearned letters to Josiah Wedgewood which contain a close examination of
the first book & the opening chapters of the 2nd bk, Coleridge
also points out that “Gassendi’s & Hobbes’s tabula rasa, & Mr
Locke’s unwritten sheet of Paper” are derived from Aristotle (Anal. Poster.
Lib. I, Cap. 18; Lib II, Cap. 19) & the Stoics (Plutarch, De Plac. Philos.,
IV. 11) (E.L. Griggs, Letters, II,
pp. 680-1). In English, the locus
classicus is of course Locke’s Essay,
Bk. II, ch. 1, §2. No one seems to have noticed Earle’s passage. Cf. De Quincey’s
ingenious elaboration & approfondissement
of the simile in the section, “The Palimpsest of the Human Brain” in Suspiria de Profundis[3]
(Collected Writings, ed. D. Masson,
XIII, pp. 340 ff.)
“A Mere Dull Physician”. “No man
takes degrees more superfluously, for he is doctor howsoever” (op. cit., p. 144). Cf. H.L. Mencken, The American Language, 4th
ed., pp. 271-2: “In America every practitioner of any branch of the healing
art, even a chiropodist or an osteopath, is a doctor ipso facto, but in England a
good many surgeons lack the title & even physicians may not have it” etc.
The Americans have even abused this title as a general honorific for Central European
& Oriental politicians & public personages. “Docte, docteur, doctime”,
as Du Bellay ironically called Baïf in an ode.
Colman & Thornton, The Connoisseur: “Sir Politic Hearty”[4]:
“By means of the maps the baronet sometimes delineates the progress of the
French up the Ohio in meanders of port, winding along the table,... I am
withdrawn from the taking of Crown Point, represented by a cork, & stormed
by Sir Politic at the head of an army of cherry-stones” (Richard Aldington, A Book of “Characters”, pp. 455-6).
Amplified by Charles Lever in his Harry Lorrequer, ch. 11 a propos of Colonel
Kamworth. Cf.《儒林外史》第四十九回余殷 and 余敷 illustrating geomancy by means of bits of bailed
noodles.
Henry Green, Back, p. 124: “She [Dot] was all ready, pretending to be asleep,
spread out like butter on bread.” As striking a conceit as T.S. Eliot’s “When
the evening is spread out against the sky / Like a patient etherized upon a
table” (“Love Song of J. Alfred Prufrock”). But cf. “John & his maid were
caught lying bread & butter fashion.”
Henry Green, Concluding, p. 5: “The fog bank which had made all daylight deaf
beneath.” The word “deaf” is an elaboration on the word “loud” which can be
said of colour & light. Cf. P. 21: “a great shaft of early sunlight shone so loud... in the megaphone of light.”
A good example of synaesthesia or what Father Castel would call clavecin oculaire. (Another instance of
transposition of senses in Back, p.
84: “He now knew the boy was his, & looked
for an echo of his own face in those cheek bones.”) This fusion of the
senses of hearing & sight was as early as Dante: “dove il sol tace” (Inf. I. 60), “luce muto” (V, 28).
Pp. 6-7: “At this instant, like a
woman letting down her mass of hair from a white towel in which she had bound
it, the sun came through for a moment, & lit the azaleas on either side before
fog, redescending, blanketed these off again; as it might be white curtains,
drawn by someone out of sight, over a palace bedroom window, to shut behind
them a blonde princess undressing” — a Baroque domesticating metaphor very
similar to Du Bartas’s conceit in The
Divine Weeks: “Having therefore, the Worlds wide curtai n spread / About
the circuit of the fruitfull Bed / Where (to fill all with her unnumbred Kin) /
Kinde Nature’s selfe each moment lyeth in”, which seems to have suggested the
following lines in Milton’s “Nativity Ode”: “So when the sun in bed / Curtained
with cloudy red /Pillows his chin upon an Orient wave.” Cf. 第一百四十五則.
P. 95: “I’ve got the day off, lidy,
I’m not ’ere, you ’aven’t seen me” — all this makes very good sense (cf. Partridge, Dict. of Slang, 4th ed., p.
1081: “I am not here”); but cf. Otto Jespersen’s Linguistica, p. 7: “My efforts were also directed against the
meaningless illustrative sentences then rampant in grammar books. In Kasper’s
grammar one found sentences such as ‘Wir sind nicht hier’ or ‘Das Pferd war alt
gewesen’.”
P. 162: “‘Get on off out,’ he heard
Adam yell after him” (cf. Green, Loving,
p. 88: “‘You go on off out, Jim’”). Otto Jespersen & Neils Haislund, A Modern English Grammar, VII, p. 76
culls the following examples of “preposition at end” from a comic paper: “Governess: ‘Here is a nice book from
which I shall read to you.’ Little Girl:
‘What did you bring me that book to be read out of from for?’” E. Partridge, A Dict. of Catchphrases, p. 37: “Come on
in out of the war!: WW2 c.p. used by civilians during bombing raids meaning ‘Take
shelter!’” Morris Bishop: “I lately lost a preposition: / It hid, I thought,
beneath my chair. / And angrily I cried: ‘Perdition! / Up from out of in under
there!’[5]
// Correctness is my vade mecum, / And straggling phrases I abhor; / And yet I
wondered: ‘What should he come / Up from out of in under for?''” (quoted in Sir
Ernest Gowers, Plain Words, p. 74).
Henry Green’s novels are “treasured
as records of spoken English & manners” (E. Partridge & J.W. Clark, British & American since 1900, p.
60). To live up to such a reputation, Green has to resort to some very awkward
devices. In Loving, e.g., he never
reproduced the talk of the Irish rustic Pappy but contented himself with “He
muttered something” (p. 90), “He said something” (p. 91), “He started to mouth
something” (p. 96), etc., leaving it to Kate — Pappy’s sweetie — to do the
interpreting. Similarly in Nothing,
with regard to the conversation between Mrs Weatherby and her Italian
cook Isabella: “She left her place to twitter in bad Italian down the
dumbwaiter shaft. She was answered by a sweet babble that was almost song” (p.
76); “she called from the table an unintelligible phrase” (p. 77); “A long wail
in Italian was the answer” (p. 80); “Isabella flung the door open to announce something
in a flood of words, presumably that dinner was served” (p. 174), etc.
Flaubert, for all his realism, gave long passages in Spanish from the speech of
“un patriote de Barcelone” although “personne ne comprend” (L'Éducation sentimentale, III. i, éd.
Conard, pp. 442-3).
【Lessing:
“Die grosse Welt”: “Die Waage gleicht der grossen Welt / Das Leichte steigt,
das Schwere fällt” (Auswahl in drei
Bänden, “Veb Bibliographisches Institut”, I, S. 457) (Marginalia to Logau, Sinngedichte, eine Auswahl, hrsg. U.
Berger, S. 99 “Weltgunst”). Cf. Bacon’s half-ironical, half-irritable saying,
that the stream of time lets every solid substance sink, & carries down the
froth & scum upon its surface” (J.A. Symonds, The Greek Poets, I, p. 248),
& Carlyle on Voltaire: “He is found always at the top, less by power in
swimming, than by lightness in floating.”[6]】
五百三十八[7]
李光《莊簡集》十八卷。詩、文皆學東坡，詞氣舒潤，而乏新意隽語，《提要》稱之太過。《揮麈餘話》引其謝表一聯（「當垂涕止彎弓之射，人以為狂；然臨危多下石之人，臣則不敢」），則誠佳話。
卷二〈予自到嶺外居嵐瘴中未嘗不以先死對治人人見其浩然若有所得者今歲在海外遇寒食因發家書想望松楸不能自理偶成此詩示兒子〉[8]。按此詩館臣亦誤編入《元憲集》卷二，末句「作詩示阿張」有自注云：「阿張，孟堅小字。」此《集》中脫去此注，宜補。
〈客有見饋溫劑云可壯元陽感而有作〉：「世人服暖藥，皆云壯元陽。元陽本無虧，藥石徒損傷」，「伊予十年謫，日聞貴人亡。金丹不離口，丱妙常在傍。真元日滲漏，滓穢留空腸。四大忽分離，一物不得將。歌喉變哀音，舞衣換縗裳。爐殘箭鏃砂，箧餘鹿角霜。咄哉此愚夫，取樂殊未央。」按同卷〈飲茶歌〉自序云：「予性不嗜酒，客至無早暮必設茶，頃見中州士友相戒不飲茶，蓋信俗醫之說，謂茶性冷，能銷鑠腎氣，故好色者信之，然當時貴人未有長年者。今恣情色慾，而獨戒飲茶，豈不謬哉！陶隱居云：『茶能輕身換骨，黃石君服之仙去。』雖未必然，益知茶不能害人也。」（〈歌〉有云：「欲知花乳清泠味，須是眠雲臥石人。」）卷十五〈與蕭德起書〉云：「朋友喪亡無慮數十人，多緣不能節省世緣。張全真在會稽搜求妙麗，丹砂茸附，如啖魚肉，徒資嗜欲耳。今為一藂枯骨，有甚便宜？」皆可參觀。《全唐文》卷三百七十三毋煚〈代茶餘序略〉云[9]：「釋滯銷壅，一日之利暫佳；瘠氣侵精，終身之累斯大。獲益則歸功茶力，貽患則不為茶災。豈非福近易知，禍遠難見？」（本《大唐新語》，見《太平廣記》卷一百四十三。）《鏡花緣》第八回唐敖自言「最不喜茶」，第六十一回燕紫瓊父作《茶誡》，以茶為「毒橄欖」，且斥「茶葉性淫」，即泰發所謂「俗醫之說」也。然東坡〈啜茶帖〉即云茶性「暗中損人」為「不少」（參觀《敬齋古今黈》卷八，亦收入《仇池筆記》卷上）。山谷〈煎茶賦〉亦云：「或者又曰：寒中瘠氣，莫甚于茶。（中略）涪翁於是酌岐雷之醪醴，參伊聖之湯液。斮附子如博投，以熬葛仙之堊。去藙而用鹽，去橘而用薑。不奪茗味，而佐以草石之良。（中略）于是有胡桃、松實、庵摩、鴨腳、勃賀、靡蕪、水蘇、甘菊。（中略）發揮其精神，又益於咀嚼。」蓋知茶之清苦，變茗飲為茶食，倪雲林「清泉白石」所自昉矣。《全唐文》卷五二八顧況〈茶賦〉云：「滋飯蔬之精素，攻肉食之膻膩。」Disraeli, Curiosities
of Literature, II, p. 324 引一六七四年 The Women’s Petition Against Coffee 有云： “It
made men as unfruitful as the deserts whence that unhappy berry is said to be
brought”，亦此意。Elizabeth Selden, China in German Poetry from 1773 to 1833, p. 160: “Herder believes that the faculties of
thinking of the Chinese have been stultified by their habit of drinking tea
& sleeping on warm stoves [炕]” (Philosophie
der Geschichte, Werke, ed. Suphan,
XIV, S. 11-2).
卷三〈余始到瓊衆謂海南自來無大寒今歲臘月連日風雨殆不異北地因成小詩記之〉：「蟋蟀已無語，芭蕉猶強顔。」按《瀛奎律髓》卷十二滕元秀〈秋日〉云：「屢遷憐蟋蟀，一敗笑芭蕉。」較此為勝。
卷五〈四月十四日晚追涼翫月輒成長句〉：「影翻鳳尾檳榔葉，香散龍涎茉莉花。」按可與《萍州可談》卷一載朱服崇寧元年正月口號「孤臣正泣龍鬚草，遊子空簪鳳尾花」並傳，亦在廣南作。
〈已已二月已發書殊不盡意偶成長句〉：「舊日琴書都藞䕢，新年行步漸羸垂。」
〈予得罪南遷朝廷樞宻院凖備差遣張君送伴凡八十日予嘉其勤於其行也作詩送之〉：「日日孤村對落暉，瘴烟深處忍分離。追攀重見蔡明遠，贖罪難逢郭子儀。南渡可憂鳶共墮，北轅應喜雁相隨。馬蹄慣踏闗山路，他日重來更送誰。一」
五百三十九[10]
徐僑《毅齋詩集別錄》一卷。崇甫詩入濂洛風雅，筆力尚能振起，非懨懨閉眉合眼者，為性理語所誤耳。
〈寄題趙仁父兩山堂〉：「移文肯為輕離北，采菊何嘗索見南。」
五百四十[11]
員興宗《九華集》二十五卷。詩、文皆輕野無格，文之欲雕鍊者又澀悶不成句，然學問極博，觀卷十二〈答洪丞相問隸碑書〉可見，宜其推重劉原父也（卷二十〈跋劉原父文〉）。
卷一〈春遊分韻得雨字〉：「疎疎來往舟，續續後前雨。湖光不自持，春色遽如許。日車忍停輪，塔鈴幸無語。冲懷宇宙寬，空濛我當取。」
〈遺任子淵省元六首〉。按卷十五有〈與任子淵運使小簡〉二首。天社姓名於同時人著作中不多見，惟《老學菴筆記》卷二記其敢言好謔及顯道此《集》耳。
卷二〈歌兩淮〉。按賦虞允文采石之役，都一千一百六十六言，機滑語俗，大類彈詞。然敘事詳盡，可與卷二十五〈紹興采石大戰始末〉參觀。如〈歌〉云：「征鞍此日去皇皇，所過騎士多羸傷。不見何人出聲鼓意氣，但見十十五五坐路傍。公趣下馬詢衆語，衆共來前致詞苦。平時節使驅為奴，逐逐無聊戰無主。而今側身墮兩失，官騎已亡難再得。誠令軍政日月懸，我有微軀人不惜。公聞瑟縮涕潸然，汝曹寄命真可憐。朝今清明萬乘聖，權已殛死家南遷。若等是行能奮死，朝建勳名暮朱紫。官今付我誥如山，節使察使皆在此。軍家聞此逐蹄輪，喜氣酣酣如遇春。當時戰死身昧昧，今日分付當其人」；〈始末〉云：「虞侯至采石，諸將皆無戰意，公方會合諸將士，語之曰：『我聞王節使在淮西，毎日打鑼不打鼓。』衆曰：『果如此。』虞侯慰勞曰：『權不戰，教汝軰不成事，令汝軰半死半活。』衆皆唯唯，虞侯曰：『雖然王權已罷兵權，管汝軰不得，我是朝廷官，官家差我擔銀來犒設你懣，今有節度、觀察、至副校尉官誥皆擔來。汝軰食官家祿，官養汝軰三十年，不審能戮力一戰否？』衆曰：『我懣也要戰，但無人主此事。』虞侯與說：『我今日只辦兩眼，隨你懣成得功大，與你填大的官誥，立得功小，填小的官誥。若死於此，則當同死於此。若你懣走，我亦隨你去。你懣道我走去甚處？我便去見官家，說某人通制已下，某人肯廝殺，某人不肯。』諸軍大讙曰：『今日有分付，大家去廝殺。』」又如〈歌〉云：「敵亡傲兀猶不悟，尚呼達官招萬戶。歲云暮矣無北歸，我所思兮决南渡。達官再拜乞徐徐，波浪駕天千丈餘。比前采石三倍惡，主其急我吾其魚。金亮尚嫉忠言醜，快劍垂垂擬其首。只今速渡汝得活，不爾愛身身在否。萬戶相顧歸相言，慓悍難容血面論。北人項領不易保，如此郎主何足存。此夜踈星江淚濕，敵將一一彎弓入。御寨三重侍衛郎，對面公然如不識。帳中方嬖花不如，帳外忽飛金僕姑。投哀賒死身困苦，軟語不類平時麤」；〈始末〉云：「亮喚萬戶渡江，萬戶說：『江口濶如采石三倍，不可渡。』亮遂拔劍數萬戶罪，萬户涕泣以告，釋之。十二月初三日，衆議共謀殺之，夜即其所居帳中，連發三箭，射中，又挾弓欲射，已而問曰：『你是江南人？是自家人？』萬戶答曰：『自家人。』金主曰：『我自去年煞做無道理事，今日饒我也得由你軰，殺我也得由你軰，不若早早快脆。』萬户一人直入，即其帳中，殺之，併及其帳中妃侍五人。」《唐子西集》卷五〈聞鄭二對吏五羊〉詩云：「歲云暮矣無雙雁，我所思兮在五羊。」顯道點竄其語，有似打油。興宗此文亦見《三朝北盟會編》炎興下帙一百四十二[12]，可與一百四十一〈虞尚書采石斃亮記〉參觀。一百三十八及一百三十九《遺史》自言稽究事實，質之於太平州及東采石百姓以得定說，乃知一時記錄大其功伐，不可取信，「允文有門下拾掇允文所上三劄，溢其虛美，作為記事之文。允文，蜀人也，首自蜀中傳寫，眾皆和之」云云，當是指興宗也。王景文《雪山集》卷十三〈采石道中〉云：「聞說前年事，分明是偶然。」《東南紀聞》卷二：「允文却金主於采石，謁葉義問，時金主改圖瓜洲，葉請允文往禦，允文曰：『昔有人得鱉，欲烹之，不忍當殺生之名，乃熾火使釜水百沸，橫篠為橋，與鱉約曰：「能渡此，則活汝。」鱉勉力一渡，主人曰：「更為我渡一遭。」僕此行無乃類是乎？』」亦見《桯史》卷九，且曰：「鱉渡，本諺語，以為蟹，其義則同。」《楊升庵樂府》卷三〈慶東原〉云：「火焚然燕巢，梁折斷鼈橋」，自注：「見《桯史》。」參看《癸巳存稿》卷八〈金海陵采石之敗〉證。又按宋人詩最長者，無如《鬼董》卷一所載王氏女〈妾薄命歎〉，凡二千五百三十餘字。
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