荷蘭畫家 Jan Steen 常以身懷春疾之少女為主題
此其〈醫生問診〉(“Doctor’s Visit” or “The
Lovesick Girl”) 二幀
五百八十六[1]
潘閬《逍遙集》一卷。北宋初晚唐體不似南宋晚唐體之多張致、落小樣。蓋逍遙只尊閬仙，而「四靈」兼推武功，師法亦微異也。
〈雪夜有感〉：「向曉酒力減，背壁燈影微。」
〈憶賈閬仙〉：「風雅道何玄，高吟憶閬仙。人雖終百歲，君合壽千年。骨已西埋蜀，魂應北入燕。不知天地內，誰為讀遺編。」
〈渭上秋夕閒望〉：「殘陽初過雨，何樹不鳴蟬？」
〈夏日宿西禪院〉：「夜涼如有雨，院靜若無僧。」按《匏廬詩話》卷中謂：「此本僧保暹『涼生初遇雨，靜極忽歸僧。』青出於藍。」
〈寄陳希夷〉：「清宵無好夢，白日有閒愁。」按呂希哲《呂氏雜記》卷下云：「魏野之門人潘閬欲往京師，其師止之不聽。既至而後悔之，作詩曰：『不信先生語，剛來帝里遊。清宵無好夢，白日有閑愁。』真宗聞之不悅」云云，《宋詩紀事》卷五未引此。
五百八十七[3]
連文鳳《百正集》三卷。即「月泉吟社」徵詩第一名之羅公福也。江湖派晚唐體，琢潤而無警策，惟〈春日田園雜興〉一律（卷中）為佳。
五百八十八[4]
Jottings:
Letters
of J.M. Barrie, ed. Viola Meynell, p. 48: “I have another cold. I think it
came because a dog wagged its tail at me in passing, thus creating a draught.”
Cf. Tristan Bernard & Albert Centurier, L’École
des Charlatans, Acte II: M.Glandier: “Je suis tellement sensible au froid
et aux variations de températures...” Mme Merminod: “Oh, pas tant
que moi.” M.Glandier: “Si je vous avouai que le simplement déplacement d’air
provoqué par le passage d’une personne, à deux mètres de moi, me donne une
sorte de crispation nerveuse...” Mme de la Joux: “Deux mètres, mais
qu est-ce que c’est que ça, mais une personne qui passe de l’autre côte de la
rue...” Mme Merminod: “Il suffit qu’on ouvre un journal brusquement
pour que je me sente glacée jusqu’aux moelles.” Mme Sartelli: “Oh! un
journal qu’on ouvre!” Mme d’Avully: “Une feuille de papier qu’on déchire...”
(La Petite Illustration, 2 Août 1930,
p. 9). One thinks of the obscene catchphrase reply as to “how a male has caught
a cold”: “He [I, You] must have been sleeping near a crack” — the “crack” being anatomical, as Eric Partridge
explains in his Dictionary of Slang,
4th ed., p. 781. Also 馮夢龍《廣笑府》卷九：“人有暴富者，曉起看花，啾啾稱疾。妻問何疾，答曰：‘今日看花，被薔薇露滴損了……’妻曰：‘當初和你乞食時[5]，在苦竹林下被大雨淋了一夜，也只如此！”G. Basile, Il
Pentamerone, I. x: “quei brutti cancheri, che d’ogni minima cosa mormoravano
e borbottavano, ora dicendo che un gelsomino, cascato dalla finestra aveva fatto
loro un livido sulla testa, ora che una lettera strapatta, avea loro
indolenzito una spalla, ora che un po’ di polvere aveva loro contuso una coscia”
(testo tradutto di B. Croce, p. 99).
Heine: “Einleitung zur Prachtausgabe
des Don Quixote”: “Nichts ist törichter als die Frage: welcher Dichter grösser
sei als der andere? Flamme ist Flamme, und ihr Gewicht lässt sich nicht
bestimmen nach Pfund und Unze”
(Gesammelte Werke, hrsg. Gustav Karpeles, VIII, S. 226). Cf. Lyly, Euphues: “To give reason for fancie were
to weighe the fire, & measure the winde” (Complete Works, ed. R.W. Bond, I,
p. 245); L.A.G. Strong: “Yeats at His Ease”: “‘William Morris used to say, to
the people who claimed that they could only read Shakespeare, “Rubbish. Flame
is flame wherever you find it.”’” (The
London Magazine, vol. II, no. iii, p. 59). H.W. Garrod wittily characterises
Matthew Arnold’s famous method of “using the poetry of the great classics as a
sort of touchstone” as essentially the method of Aristophanes’ Frogs, i.e. “it consists in selling
poetry by the pound” (The Study of Good
Letters, pp. 23-4). 《文史通義‧外篇二‧墓銘辨例》：“但以誌銘字數較量多寡為言，是相馬而存屠沽賣肉之心，鑒鼎而用市販秤銅之見.”
“Sind den Interessen wahrer Kunst
dergleichen Illustrationen förderlich? Ich glaube nicht... sie sind ein Zeichen
mehr, wie die Kunst, herabgezerrt von dem Piedestale ihrer Selbständigkeit, zur
Dienerin des Luxus entwürdigt wird” (Ibid., Gustav Karpeles, VIII, S. 229-230). This view complements that of
Wordsworth: “Clement Shorter founded The
Sketch, quoting against himself Wordworth’s sonnet on illustrated books
& newspapers: “Now prose & verse sunk into disrepute / Must lacquey a
dumb Art that best can suit / The taste of this once-intellectual Land” (D.N.B. 1922-1930, p. 772). There is,
however, no hard-&-fast rule governing the relation between Heine’s Dienerin & Wordsworth’s lackey. On the one hand, “a grotesque
little animal is supposed to illustrate ‘Tiger! Tiger’” & “Thackeray’s smirky
caricature of Becky Sharp has hardly anything to do with the complex character
in the novel” (Rene Wellek & Austin Warren, Theory of Literature, “Penguin Books”, p. 128). On the other hand: “The
older novelists were very precise in enumeration of their characters’ physical
parts, & yet if any reader could see in the flesh the person whom the
author has thus elaborately described, I do not believe he would recognise him.
We have a clear & precise picture of what the great characters of fiction
looked like only when an illustrator like Phiz with Pickwick or Tenniel with
Alice has forced his own visualisation on us” (Somerset Maugham, A Writer’s Notebook, p. 198; cf. 第二百十則 on The Deipnosophists, XIII,
604) — to which one is tempted to add: “or Johannot & Daumier with Don
Quixote” whom Coleridge called “lean & featureless” (Essays & Lectures, “Everyman’s Library”, p. 249) and “Sidney
Paget with Sherlock Holmes” (see J.D. Carr, The
Life of Sir Arthur Conan Doyle, p. 63). For “vagaries of book illustration”,
i.e., how a cosmopolitan classic like the Vicar of Wakefield fares in the hands
of German & French illustrators, see Austin Dobson, A Bookman’s Budget, pp. 42-3. Incidentally, as to the futility of
word painting, Antoine Furetière had anticipated Maugham: “Certainement la
questeuse [gavotte] estoit belle...
N’attendez pas pourtant
que je vous la décrive icy...; car,
quand je vous aurois dit qu’elle estoit de la riche taille, qu’elle avoit les
yeux bleus & bien fendus, les cheveux blonds et bien frisez, &
plusieurs autres particularitez de sa personne, vous ne la reconnoistriez pas
pour cela” (Le Roman Bourgeois, “Édition
Porteret”, p. 10).
Thomas Hardy has a profound saying: “A
physician cannot cure a disease, but he can change its mode of expression”
(quoted in William Plomer, Double Lives,
pp. 20-1). The best illustration of this truth is Tristan Bernard’s grimly
humorous story Les Médecins specialists:
Siméon who weighed 270 lbs. “voulut maigri” & Dr Belarthur, “le
soumit à un régime de marches prolongés” which succeeded in reducing his weight
to 245 lbs. with one drawback that his feet began to give him serious trouble;
then Dr Schitzmer prescribed “des baîns de pieds dans de la boue”
which cured the feet but caused a “mal de gorge”; then Dr Cholamel “le
soumet au traitement à l’éléctricité” which proved very efficacious as to the
throat complaint but brought upon him “crises de nerfs”; then Dr
Langlevent made him take bromide which again tocca e sana, as the Italians say, though unfortunately working
havoc on his digestion; so Prof Diridoff “le mit au régime des féculents” which
restored his queasy stomach with the result that he came to weigh no less than
322 lbs. — “c’était trop”; & the rest must be told in Bernard’s own words: “Le
docteur Lerenchéry préconise surtout l’équitation. Siméon choisit un cheval très
fort et commença ses exercises. Hé bien après sa première sortie son poids a déjà
diminué de 36 kilos. Il faut vous dire qu’il a fait une chute “de cheval et qu’on
a du lui couper la jambe gauche, qui pesait exactement 36 kilos” (Pierre Mille,
Anthologie des Humoristes Français
contemporains, p. 400). Cf. Sainte-Beuve, Lundis, I, p. 16: “Le mal n’a fait que changer et se déplacer.
C’est ce qui arrive de presque toutes les maladies de l’esprit humain qu’on se
flatte d’avoir guéries. On les répercute seulement, comme on dit en médecine,
et on leur en substitue d’autres.”【Tom
Jones, V, 2: “For
love may again be likened to a disease in this, that when it is denied a vent
in one part, it will certainly break out in another. What her lips, therefore,
concealed, her eyes, her blushes, & many little involuntary actions,
betrayed” (Everyman’s, I, p. 151).】【“When they said: ‘let’s try a little socialism for
a change’, it seemed to Chesterton that for lack of a clear picture of health
one disease was being offered as remedy for another” (DNB, 1931-40, p. 173).】【Proust, Sodome
& Gomorrhe, I (À la Recherche du
temps perdu, “La Pléiade”, II, p. 625.)
“Cominciansi le guerre quando altri
vuole, ma non quando altri vuole fi finisicono,” wrote Machiavelli in his Istorie fiorentine, III, 7 (Il Principe e altri scritti minori,
“Biblioteca Classica Hoepliana”, p. 511). Cf. Adlai, E. Stevenson, Call to Greatness: “It is a sign of
strength, not of weakness to be able to keep a war limited” (quoted in T.L.S., Oct. 29, 1954, p. 683).
《鶴林玉露》（日本寬文刻本）卷八：「杜少陵詩云：『莫笑田家老瓦盆，自從盛酒長兒孫；傾銀注玉驚人眼，共醉終同臥竹根。』蓋言以瓦盆盛酒，與傾銀壺而注玉杯者同一醉也。昔有僕嫌其妻之陋者，主翁聞之，召僕至。以銀杯瓦各一，酌酒飲之。問曰：『酒佳乎？』對曰：『佳。』『銀杯者佳乎？瓦椀者佳乎？』對曰：『皆佳。』主翁曰：『杯有精粗，酒無分別，汝亦知此，則無嫌於汝妻之陋矣！』……少陵詩意正如此。」（Cf.《文選》江淹〈望荊山〉詩注、謝靈運〈石門新營〉詩注引曹植「金樽玉杯，不能使薄酒更厚。」）沈弘宇《渾如篇‧西江月‧論下妓休嫌》云：「熄火安用好水，風流豈在標致。金壺瓦器同酒，總是一般滋味。」Alfred Perlès, My
Friend Henry Miller, pp. 22, Wambly Bald on a woman with a beautiful face: “What’s
the face got to do with it?” Cf. Alfred de Musset, La Coupe et les Lèvres, “Dédicace”: “Aimer est le grand point,
qu’importe la maîtresse? / Qu’importe le flacon, pourvu qu’on ait l’ivresse?” (Poésies, “Collection du Flambeau”, p.
128). Goethe: “Überall trinkt man guten Wein, / Jedes Gefäss genügt dem Zecher;
/ Doch soll es mit Wonne getrunken sein, / So wünsch’ ich mir künstlichen
griechischen Becher” (Sämt. Werk.,
Der Tempel Verlag, Bd. III, “Spruchweisheit”, S. 213).
Johnson’s crushing epigram on Lord
Chesterfield, “This man, I thought, had been a lord among wits; but I find he
is only a wit among lords” (Boswell’s Life,
ed. Hill-Powell, I, p. 266), an imitation of as well as an improvement upon
lines of Shakespeare, Pope, & others, has supplied a formula of neat
antitheses to Scott & Macaulay (see Bartlett’s
Familiar Quotations, 11th ed., p. 215). Coleridge also says: “The
young lady is said to be the most literary of the beautiful, & the most
beautiful of the literatae” (Collected
Letters, ed. E.L. Griggs, I, p. 109). The following biting mot on “Herr Eissel” is on the same
pattern: “Als Hof- und Komödien-Berater vereinigst du beides so: Bist Hofrat im
Theater und Komödiant im Büro” (Grillparzers Gesammelte Werke, hrsg. E. Rollett und A. Sauer, Bd. II, S. 103).
Speaking of his education, Massimo d’Azeglio
paid a grateful tribute to Bidone: “Il Bidone, si potrebbe dire, mi veniva
raffazzonando il cervello a somiglianza dei chirurghi o delle levatrici, che al
fanciullo appena nato cercano dar forma regolare alle molli pareti del cranio”
(I Miei Ricordi, “Biblioteca classica
Hoepliana”, p. 48). A very happy simile this. The practice was apparently also
common in France, cf. Maupassant: “J’ai la tête si ronde que je ne trouve
jamais rien de tout fait [c.e.d. le chapeau]... Le vieux médecin, qui nous a
reçus à notre arrivée dans ce monde, nous a aussitôt pris entre ses genoux, nous
a fortement massé la tête” (quoted in Georges Normandy[6],
La Fin de Maupassant, p. 66; Maupassant Infine, p. 121). Also
Giuseppe Giusti in La Lettera autobiografica[7]:
“Mio padre non volle che la levatrice m’accomodasse il cranio come usano fare,
sebbene l’avessi cacciato fuori della forma di un pane di zucchero” (Prose e Poesie Scelte, “Biblioteca
Classica Hoepliana”, p. 54) — incidentally the sugar-loaf or oxycephalic form
of head is supposed to be a sign of criminal mentality (see Havelock Ellis, The Criminal, 5th ed., pp. 45-6)[8].
Havelock Ellis, Studies in the Psychology of Sex, IV, p. 257: “Homosexual passion
in women finds more or less complete expression in kissing, sleeping together, &
close embraces, as in what is sometimes called ‘lying spoons,’ when one woman
lies on her side with her back turned to her friend & embraces her from
behind, fitting her thighs into the bend of her companion’s legs, so that her mons
veneris is in close contact with the other’s buttocks, and a slight movement
then produces mild erethism.” “And embraces” must be a misprint for “who
embraces”, cf. Collete’s classic on Lesbian love, Ces Plaisirs, “Le Livre Moderne Illustré”, p. 12: “Elles
s’endormirent tout aussitôt, le ventre de l’une moulé à la croupe de l’autre,
comme des cuillers dans le tiroir à l’argenterie.” Cf.《豫章黃先生文集》卷二十一〈跛奚移文〉：“寢匙覆椀，……牡牝相當”; cf.《疑雨集》卷四〈即席口占絕句〉：“枕上不妨頻轉側，柔腰偏解逐人彎.[9]”In
modern English slang, to adopt this posture is to “dad[d]le”, which, according
to E. Partridge’s Dictionary, 4th
ed., p. 1027, means “cunnum contra sedum aut pueriaut puellae atterere; quod
plus inter puellas quam inter feminas fieri solet.”
Augustus John feelingly described
his tribulations in drawing Winston Churchill: “I soon discovered that my
model, however efficient in other ways, was no great shakes at keeping still.
My target turned out to be a moving one... He was evidently unhappy under my
scrutiny. How else to explain the fits & starts, the frequent visits to the
mirror etc.? It was all I could do to keep calm myself & avoid an
explosion” (“Some Portraits from Memory” in The
London Magazine, vol. II, no. ii, pp. 60-62). Cf. Wyndham Lewis, The Diabolical Principle & The
Dithyrambic Spectator, p. 181: “Art asks for nothing better than a corpse, &
it thrives upon bones. Did not Cezanne bellow at his sitter when he fell off
the chair, ‘You’re moving! Les
pommes, ça ne bouge pas!’”
Winston Churchill, Great Contemporaries, p.[10]
: “Trotsky had raised the poor against the rich. He had raised the penniless
against the poor. He had raised the criminal against the penniless... In the
deepest depth he sought with desperate energy for a deeper... In vain he turned
his gaze upon the wild beasts. The apes could not appreciate his eloquence. He
could not mobilize the wolves.”[11]
This eloquent passage is an unconscious echo of Grillparzer’s epigram in “Die Reaktionszeit”: “Der Weg der neuern
Bildung geht / Von Humanität / Durch Nationalität / Zur
Bestialität” (Gesammelte Werke, hrsg.
E. Rollett & Sauer, Bd. II, S. 95) — perhaps the best prophecy as well as
epitaph on Nazism & Fascism (cf. S. 79 on “Französische Zustände” written
in 1859: “Legitimität, Autorität, Nationalität, / Absurdität, Servilität,
Bestialität”). Cf. Henry James on Kipling: “I have quite given that [i.e. the
hope that K. may become an English Balzac] up in proportion as he has come
steadily from the less simple in subject to the more simple — from the Anglo-Indians
to the natives, from the natives to the Tommies, from the Tommies to the quadrupeds,
from the quadrupeds to the fish, & from the fish to the engines and screws” (Letters, ed. P. Lubbock, I, p. 271); E. Legonis on Wordsworth’s
primitivism which looks for illumination backwards & downwards: “the
ignorant and illiterate, above all children... then the crazy & idiotic...
then the plants” (quoted in I. Babbitt, On
Being Creative, p. 51).
Gil
Blas, Liv. II, ch. 7: “L’hôte m’apporta... un
civet de matou, que je mangeai avec la même avidité que s’il eût été de lièvre
ou de lapin” (Éd. Garnier Frères, p. 102). Cf. The Ingoldsby Legends, “The Bagman’s Dog”: “She fish’d up the meat,
& she help’d him to that, / She help’d him to lean, & she help’d him to
fat, / And it look’d like Hare — but it might have been Cat” (Grant Richards,
p. 129).
The problem “pourquoi le plus souvent, quand on pisse, on vesse ou on pette”
intrigues the ingenious Tabarin very much. One of his explanations is “quand un
tonneau est plein... il luy faut donner vent pour en tirer quelque chose” (Oeuvres de Tabarin, “Classiques Garnier”,
p. 50). In a footnote to the entry “Then had girl, merely saluberrima lumbis”, Boswell on the Grand Tour: Germany &
Switzerland, “Trade Edition”, p. 132 I came across “an old rhyming Latin
tag which lauds the healthful effect of breaking wind while emptying the
bladder (Mingere cum bumbis / Saluberrimum est lumbis).” Incidentally, the
whole passage (“Yet again I went with those easy street girls, & between
their thighs —, merely for
health... Then had girl, merely saluberrima lumbis”) anticipates such dialogues in modern French
novels & plays: “L’HOMME: ‘Dans votre monde, on se marie.’ MADELEINE: ‘Je
tiens à ma liberté.’ L’HOMME: ‘Ah! oui, je comprends. Votre amant: c’est de l’hygiène.’”
(Michel Duran, La Liberté provisoire,
I). For the conception of sex as a hygienic necessity see: Faust, Erster Theil, ll. 2023 ff.: “Besonders lernt die Weiber
führen; / Es ist ihr ewig Weh und Ach / So tausendfach / Aus einem Punkte zu
kurieren”[12]; Journal des Goncourt, V, p. 335 (Éd.
definitive): “Un mot d’une vieille poétesse. Elle disait à un ami d’un étudiant
en médecine, qui était son amant dans le moment : ‘Eh bien, qu’est-ce qu’il est
devenu votre ami… voici plus de 15 jours que je ne l’ai vu… et à mon âge, et
avec mon tempérament… est-ce là, croyez-vous, de l’hygiène?’”; Freud’s “Zur
Geschichte der psychoanalytischen Bewegung” as epitomised in Havelock Ellis, Views & Reviews, I, pp. 262-3: “Freud
records how, at one of Charcot’s evening receptions, he heard the honoured
master narrating... the serious sufferings of a young wife with an impotent
husband... ‘Mais dans des cas pareils c’est toujours la chose génitale,
toujours — toujours — toujours.’... When a little later he began practice in
Vienna, & Chrobak, à propos of
exactly such a case as Charcot had narrated, told him that, though it could not
be given, the best prescription was: ‘℞ penis normalis dosim repetatur’”; C.H.B. Kitchin’s short story “A Cottage in
Cornwell”, in which a Dr Bates said to two “trick cyclists” in a
mental hospital for what Yvette Guilbert les
demivielles: “If I could have a couple of buck-niggers here, you two
psychiatrists would soon be out of job” (The
London Magazine, I, vi, p. 44). Cf.《肉蒲團》第一回 on “女色”: “只宜長服，不可多服，只可當藥，不可當飯” etc.; 《笑得好》二集“藥柤”; 褚人穫《堅瓠集三集》卷二[13]：“吾郡陸天池采博學能文……有寓言曰：某帝時，宮人多懷春疾，醫曰：‘須勅數十少年藥之。’帝如言。後數日，見宮人皆顏舒體胖，拜帝曰：‘賜藥疾愈，謹謝恩。’諸少年俯伏於後，枯瘠蹣跚，無復人狀。帝問是何物，對曰：‘藥渣。’”（朱翊清《埋憂集》卷四“藥渣”）; 王弇州〈西城宮詞〉: “兩角鵶青雙筋紅，靈犀一點未曾通。自緣身作延年藥，憔悴春風雨露中”（《野獲編》：“嘉靖中葉，選女八歲至十四歲者入宮，從陶仲文言煉藥用。其法名‘先天丹鉛’，弇州詩云云”）; Boifran[14], Les
Bains de la Porte S. Bernard, II, iv, a physician on the illness of a girl: “La maladie de votre
fille s’appelle en grec, Mariagibilis potentia
et impatienha” (H.M. Peyre, ed., Essays
in Honor of Albert Feuillerat, p. 110); E. Fuchs, Illustrierte Sittengeschichte, Ergänzungsband I, 92 on the symbolic
meaning of the clyster & the fish in Jan Steen’s “The Physician & the
Love-sick Girl” & “The Love-sick Woman”. In Apuleius, Metamorphoses, X, 2, love-sickness is called “the malady beyond the
doctors’ ken” (Heu medicorum ignarae mentes!).
“Un vieillard qui a la teste
blanche, mais la queue verte” (Oeuv. de
Tabarin, p. 227; cf. p. 242). The Italian saying “Esser come gli agli, che
hanno il capo bianco e la coda verde”, i.e.
to be vigorous in old age. Decamerone,
Intrduzione della Giornatta Quarta: “... il porro abbia il capo bianco, che la
coda sia verde” (Ed. Hoepli, p. 247). Chaucer, Reeve’s Prol. 25: “To have an hoor heed & a grene tayl / As
hath a leek; for though our might be goon, / Oure wil desireth folie ever in
oon”[15];
Thomas Dekker, The Honest Whore, Pt.
II, Act I, sc. ii, Orlando: “Tho my head be like a Leeke, white: may not my
heart be like the blade, greene?”
The
Pickwick Papers, ch, 25: “‘And such a man [Mr Nupkins] to
speak,’ said Mr Muzzle. ‘How his ideas flow, don't they?’
‘Wonderful,’ replied Sam; ‘they comes a-pouring out, knocking each other’s
heads so fast, that they seems to stun one another.’” Cf. Heine, Die romantische Schule, Buch III, Kap. 3:
“Jean Pauls Periodenbau besteht aus lauter kleinen Stübchen, die manchmal so
eng sind, dass, wenn eine Idee dort mit einer anderen zusammentrifft, sie sich
beide die Köpfe zerstossen” (Gesammelte
Werke, hrsg. G. Karpeles, Bd. V, S. 266); Hegel, Ästhetik, IIter Teil, iiiter Abschnitt, 3tes Kap.: “Besonders bei
Jean Paul tötet eine Metapher, ein Witz, ein Spass, ein Vergleich den anderen”
(Aufbau verlag, 1955, S. 565).
五百八十九[16]
張聯桂《延秋吟館詩鈔》四卷、《續鈔》四卷。丹叔自丞尉存陟開府，而詩格輕滑，始終未脫隨園以後風氣。卷二〈七夕〉絕句云：「洞裏仙人方七日，千年已過幾多時。若將此意窺牛女，天上曾無片刻離。」《粟香室隨筆》卷二極稱道之。參觀第二百九十二則，李方叔《濟南集》卷二〈七夕〉五古已發此意。
五百九十[17]
王苹《二十四泉草堂集》十二卷。秋史以山薑為師法，得漁洋之賞音，所作却不染邊、李以來魯風，蓋當時之宋詩也。卷十〈大水泊過門人于無學東始山房論詩輒成三十六韻〉有云：「杜韓蘇黃陸，指授真吾師。少陵乃大宗，昌黎其本支。坡谷力排奡，彌天鵬翼垂。劍南盈萬首，瀼西燈未衰。俎豆實相承，依歸衹在兹。」足徵宗尚。【「瀼西」指少陵，少陵詩中屢及「瀼西」也。】尤步趨劍南，故集中七律最多，而枯窘生湊，絕尟圓脫渾成之語。【同時同鄉馮大木廷櫆亦學放翁，較妥濶。《馮舍人遺詩》卷五〈論詩十首〉亦以劍南終焉。】
卷一〈辛酉秋懷‧之四〉：「俗情轉益秋雲薄，生事侵尋蜀道難。」按《兒女英雄傳》第三十八回談爾音云：「路盡纔知蜀道平，恩深便覺秋雲厚。」
〈南園〉：「何處箖箊有敝廬，空存老樹與青渠。亂泉聲裏誰通屐，黃葉林間自著書。草色又新秋去後，菊花爭放雁來初。菘畦舍北餘事少，取次呼童一荷鋤。」按三、四為漁洋所賞，故卷七〈讀南海集感懷新城公‧之三〉云：「可笑王黃葉，孤懷二十年。得名自公始，失路復誰憐」；又〈寒夜讀池北偶談感題卷首〉云：「才名零落王黃葉，孤負尚書二十年」；卷九〈題漁洋詩話卷尾‧之二〉云：「人間也自呼黃葉，却少崔華七字詩」；卷十一〈讀孫宮贊莪山黔行日記感題卷首〉云：「憑誰為道王黃葉，海上飄零竟欲還」；又〈大水泊過門人于無學東始山房論詩輒成三十六韻〉云：「黃葉滿詞場，前輩詎我欺自注：謂新城公。」蓋生平得意事也，漁洋撰此《集》序亦道及之。《集》中用「黃葉」處甚多，如卷一〈秋懷詩‧之五〉云：「鐙挑硯北青衫淚，心繞江南黃葉時」；〈秋居赤霞山莊感詠〉云：「黃葉下時牛背晚，青山缺處酒人行」；卷二〈雪中‧之七〉云：「歸路巾車黃葉滿，逐門村徑白雲濃」；卷三〈雨泊丹陽〉云：「多少六朝風景在，一帆黃葉落漁莊」；卷四〈香坡言有為余延譽者〉云：「老至詩篇黃葉少，春來門巷白楊多」；卷五〈山行即目〉云：「鈴兒花名亂放碧磵底，鐘子蟲名忽鳴黃葉中」；卷六〈與勾容孔上舍竹巢話鹿床明府往事感賦〉云：「春雨白楊隨屋去，秋墳黃葉向煙啼」；〈十月六日述懷‧之一〉云：「奔走頻年黃葉老，登臨何處夕陽明」；〈題寓舍‧之一〉云：「客子復何益，重來黃葉深」；卷十〈顧秀野贈詩感舊用韻奉懷‧之二〉云：「席帽刁刁黃葉寒，偶為前輩許登壇」；卷十一〈小雪日〉云：「眼中但有幾黃葉，竹外新添寒綠肥」，皆不佳。
卷三〈甲戌春日獨游〉：「春湖水暖鴨先知，又是東風楊柳時。樹上殘陽偏戀客，亭中獨我不題詩。由來光景關懷少，近日篇章脫手遲。衹對雲山添寂寞，渚禽沙鳥莫相疑。」按清老有章法。
〈春日述懷‧之四〉：「詩如上水船難進，身似沾泥絮不飛。」
卷五〈己卯正月初八日〉：「半生殘卷輸丁卯，十載長綸敵癸辛。」按卷六〈歲暮感懷雜詩‧之十一〉云：「丁卯卷多叨折柬，癸辛街冷頓懷人」，卷七〈送吳鏡菴寄食真定郡齋‧之二〉云：「廢簏癸辛排雜識，閒軒丁卯繕全詩」，皆割湊不妥貼。
卷十一〈淄川遇唐檢討豹岩墓〉自注：「檢討昔以一第相勉，謂：『以君之才，不自奮厲，將來淪於山人墨客，豈不可惜！』」按蔣子瀟《春暉閣詩鈔選》卷六〈長夏無俚拉雜書懷不加詮次〉第八首自注云：「吳侍讀師臨終，謂湘南曰：『傳人宜作，烏紗亦宜戴也。』」即此意。「侍讀師」者，吳巢松也。
〈十二月廿五日底泉上〉：「水舊鶯初門外路，雪殘山暖竹間春。」
[2]「朗照」原作「朗落」。
[5]「乞食」原作「吃食」。
[9]「柔腰」原作「纖腰」，「彎」原作「灣」。
[11] 原文省略處如下：「... All
had fallen out as he had willed. But nevertheless the vices of human society
required, it seemed, new scourgings... But — poor wretch — he had reached
rock-bottom. Nothing lower than the Communist criminal class could be found.」
[13]「瓠」原作「觚」。
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