Copperplate by Dutailly (1795) in E. Fuchs,
Illustrierte Sittengeschichte: Das
bürgerliche Zeitalter
六百六
Jottings:
Massimo d’Azeglio described a ridiculous fad in the historical painting
of his time: “Anche in arte vi fu allora un gran movimento verso il culto del
vero…. Si cercò col vero dinanzi la forma antica nella sua monotona
affettazione; si volle vedere il nudo da per tutto, fino sotto le vesti; si
dipinsero figure che sembrava le avessero indosso bagnate. La mania arrivò al
punto che per uno scultore classico l’umbilico fu visibile sotto la corazza del
medio evo, ed un disegnatore dovendo rappresentare Napoleone in piedi, segnava
la rotula sotto lo stivale a tromba!” (I
Miei Ricordi, “Biblioteca classica Hoepliana”, pp. 130-1). One might call
it an attempt to make the overcoat do also the duty of underclothes — the
veritable idea of feminine dress! Cf. the wickedly expressive passage in
Martial, XI. cxix; “De cathedra quotiens surgis (iam saepe notavi), / pedicant
miserae, Lesbia, te tunicae… / sic constringuntur magni Symplegade culi / et
nimias intrant Cyaneasque natis”[2]
(Epigrams, “The Loeb Classical
Library”, II, p. 306) — the use of the word pedicare
here is a wonderful example of pathetic fallacy & quite in the convention
of Homer’s “the ruthless stone”, “the arrow eager to fly”, “the spears longing
to take their fill of flesh”, etc. (cf. Aristotle, Rhetoric, III, xi, “The Loeb Classical Library”, p. 407). Dutailly’s
copperplate (reproduced in E. Fuchs, Illustrierte
Sittengeschichte, III, S. 172) might serve as an illustration of Martial’s
line.
I am reminded in this connexion of Klopstock’s
“schöne Bild von Gedanken und Sprache”: “Wie dem Mädchen , das aus dem Bade
steigt, das Gewand anliegt” (quoted in E. Engel, Deutsche Stilkunst, 24te Aufl., S. 94), as well as of
William James’s simile for Bergson’s style: “A ‘straightforward style’ — a flexibility
of verbal resource that follows the thought without a crease or wrinkle, as
elastic silk underclothing follows the movements of one’s body” (A Pluralistic Universe, p. 227; A.
Albalat, however, attacked Bergson’s style as jargonistic & dismissed Matière et Mémoire as written “dans une
langue inintelligible”; he also quoted Faquet’s opinion on Bergson’s books: “Je
n’en ai jamais compris une seule page” — Comment
Il ne Faut pas Écrire, p. 181). Julien Benda seems to have borrowed from
James: “Le style d’idées doit se mouler exactement sur la pensée... celle-ci lui demande de ne lui valoir qu’un
vêtement transparent” (Du Style d’Idées,
p. 9). Benda often seem bent upon creating the impression of being one of those
geniuses whom Kant called “die blossen Naturalisten des Kopfs (élèves de la nature, Autodidacti)”; people who “sie zwar
manches, was sie wissen, von anderen hätten lernen können, für sich selbst
ausgedacht haben” (Anthropologie, §59
— Werke, hrsg. E. Cassirer, Bd. VIII,
S. 116, but his book-learning is greater than his air of doggedly hard thinking
may lead people to believe, & he often prends
son, bien où il le trouve; another instance of his “foreign debt” owed to
the Americans is: Hawthorne: “Letter to an Editor”: “The greatest possible merit
of style is, of course, to make the words absolutely disappear into the
thought.”[3]
“C’est à peu près comme si l’on disait qu’une pensée sur le bleu doit s’efforcer
d’être bleu” (op. cit., p. 29) — cf.
R.B. Perry, Present Philosophical
Tendencies, p. 234: “The word ‘blue’ may mean blue, although the word is
not blue.”
Joubert mentioned Kant several times
in Pensées (Éd. “Libraire Académique”, Tit. XXIV. iii. 17). I don’t
suppose he knew his writings well. The aphorism, “Que de savants forgent les
sciences, cyclopes laborieux, ardents, infatigables, mais qui n’ont qu’un oeil”
(Tit. XVIII. 93), is, however, strongly reminiscent of Kant’s Anthropologie, §59. Kant was talking
about types of genius; having mentioned “der architektonische, der den Zusammenhang aller Wissenschaften, und
wie sie einander unterstützen, methodisch einsieht,” he spoke of another type: “Es
giebt aber auch gigantische
Gelehrsamkeit, die doch oft zyklopisch
ist, der nämlich ein Auge fehlt: nämlich das der wahren Philosophie, um diese Menge
des historischen Wissens, die Fracht von hundert Kameelen, durch die Vernunft
zweckmässig zu benutzen” (Werke,
hrsg. E. Cassirer, Bd. VIII, S. 116).
Grillparzer’s epigram on “Moderne
Logik”: “Das sind wunderliche Denkgesetze / Und leer an wahrer Beweiseskraft, /
Wo Logik gibt die Folgesätze / Und den Obersatz die Leidenschaft” (Gesam. Werk., hrsg. E. Rollett und A.
Sauer, Bd. II, S. 62-3). This should take its place beside F.H. Bradley’s
famous boutade: “Metaphysics is the
finding of bad reasons for what we believe upon instinct; but to find these reasons is itself an instinct” (Appearance & Reality, p. xiv). Both
were written in pre-Freudian days when “rationalization” was not heard of. Cf. Collected Papers of C.S. Peirce, VI, pp.
4-5: “There is an ethics indissolubly bound up with it [the logic used by
science] — an ethics of fairness & impartiality — & a writer, who teaches, by his example, to
find arguments for a conclusion which he wishes to believe, saps the very
foundations of science by trifling with its morals.” Incidentally this passage
is just another proof of the difference, which amounts to almost opposition,
between Peirce’s pragmaticism & William James’s pragmatism[4].
Samuel Butler, Ernest Pontifex, or The
Way of All Flesh, ch. 66: “His [Euclid’s] superstructure is demonstration,
his ground is faith” (Methuen, p. 247). Cf. Pareto, General Sociology, §1749 (Eng. tr., II, p. 1209, marginalia).
Walter Bagehot: “Butler’s literary
manner is awkward & hesitating. He seems to have an obscure feeling of what
the truth is; but his manipulation of words & images is not apt enough to
bring it out. Like the miser in the story, he has a schilling about him
somewhere, if people will only give him time & solitude to make research
for it” (Literary Studies, ed. R.H.
Hutton, III, p. 127). This must be an allusion to David Copperfield, ch. 21: “‘I have got a trifle of money somewhere
about me, my dear,’ said Mr Barkis, ‘but I’m a little tired. If you &
Mr David will leave me for a short nap, I’ll try & find it when
I wake.”
E.J. Trelawney: “Atheism is no
longer a term of reproach but an indication of intelligence” (Letters of E.J. Trelawney, ed. by H.
Buxton Forman, p. 248). Cf. James Martineau: “It is no longer an insult to a clergyman’s honour, but rather a compliment to
his intelligence, to suspect him of saying one thing & believing another”
(quoted in Carlyle D. Burns, Horizons of Experience, p. 291). In other words,
for a man living in a block universe of discourse or a climate of monolithic
opinion where, in Bossuet’s words, l’hérétique
est celui qui a une opinion, the “moral obligation of being intelligent”
entails also the immoral obligation of being hypocritical. To avoid fire &
faggots, a lover of truth has to nurse a lie in his soul.
“Ostrich burying its head”; cf.《欒城集》卷一〈次韻子瞻聞不赴商幕〉第一首：“閉門已學龜頭縮，避謗仍兼雉尾藏”，自注： “雉藏不能盡尾，鄉人以為諺。”Cf. 楊棨《蜨庵詩集‧壬寅六月紀事‧之四》：“未憑駝足走，先學雉頭藏。”
The
Diary of Fanny Burney, Nov. 28th, 1784 records a visit to Dr
Johnson who told her about the last illness of his wife: “When she was carried
to the lodgings that had been prepared for her, she complained that the
staircase was in very bad condition — for the plaster was beaten off in many
places. ‘Oh,’ said the man of the house, ‘that’s nothing but the knocks against
it of the coffins of the poor souls that have died in the lodgings!’” (“Everyman’s
Library”, p. 92). Cf. Antoine Albalat, Souvenirs
de la vie littéraire, nouvelle éd., p. 8 recording Daudet’s remark: “L’idée
de la mort a empoisonné mon existence. Chaque fois que je change d’appartement,
ma première réflexion est de me dire: Comment fera-t-on pour sortir ton
cercueil?”; “Q.”, Hocken & Huncken,
ch. 5, in which Mr Philip warned Captain Hocken: “I don’t know no
unhandier houses for gettin’ out a corpse. There’s a turn at the foot o’ the
stairs; most awkward.”
The
Diary of Fanny Burney, Dec. 19th, 1875: “‘Was there ever,’ cried
he [the King], ‘such stuff as
great part of
Shakespeare? only one must not say so! But what think you? — What? — Is there not sad stuff? — what —what?’” (p. 111). This is apparently a
kind of a signature view of British aristocracy on Shakespeare; e.g. Martin Chuzzlewit, ch. 28, Mr
Pip: “The Viscount said: ‘Shakespeare is an infernal humbug, Pip! What’ the good of Shakespeare, Pip? I never read
him. What the devil is it all about, Pip? There’s a lot of feet in Shakspeare’s
verse, but there ain’t any legs worth mentioning in Shakspeare’s plays, are
there, Pip?’” Cf. Jacques Barzun, Teacher
in America, p. 150: “When, some twenty years ago, the old comic magazine Life guaranteed anonymity if a score of
American celebrities would write in their honest opinion of Shakespeare, the
replies they received showed that the name ‘Shakepeare’ stood for a consecrated
bore.”
The
Diary of Fanny Burney, September, 1787: “He [Harry Bunbury] adores Werter, & would scarce believe I had
not read it — still less that I had begun it & left it off, from distaste
at its evident tendency. I saw myself sink instantly in his estimation” (p.
181). William Rose overlooked this passage in his account of early English references to Werther (see Men, Myths, &
Movements in German Literature, pp. 148 ff.). Nor had he lit upon the
following passage in Maria Edgeworth’s Castle
Rackrent (1801): “What is it you’re reading there? my dear?’ asked Sir Condy…
‘The Sorrows of Werter,’ replies my
lady” (“Everyman’s Library” ed., p. 43).
Rosalie Glynn Grylls, William Godwin & His World, p. 64: “The
dictum of Max Beerbohm in Zuleika Dobson,
that beauty & the lust for learning have yet to be allied, was not applicable
to the women intellectuals of the French Revolution period.” I don’t recall
this dictum in Max’s novel, but there is one to the same effect in Antoine Furetière’s Le
Roman Bourgeois, “Édition Porteret”, p. 124: “Aussi n’est-il pas possible
que les filles se puissent piquer en mesme temps de science et de beauté; car
la lecture et les veilles leur rendent les yeux battus,et elles ne peuvent
conserver leur teint frais ou leur enbon-point, si elles ne vivent dans la
delicatesse et dans l’oysiveté.” Cf. Anatole France’s comment on “une fillet
très maigre, mais bacheliers-ès-lettres”: “Un peu moins de titres et un peu
plus de tétons” (J.-J. Brousson, Anatole
France en Pantoufles, p. [5]).
See 第百五十則 a propos of Baudelaire, Journal Intime, p. 123 & 第二百三十九則 a propos of Heine’s Briefe über
Deutschland.
Grillparzer: “Poesie und Prosa sind voneinander
unterschieden wie Essen und Trinken. Man muss vom Wein nicht fordern, dass er
auch den Hunger stillen soll, und wer, um das zu erreichen, ekelhaft Brot in
seinen Wein brockt, mag das Schweinefutter selbst ausfressen” (Gesam. Werk., hrsg. von E. Rollett und
A. Sauer, II, S. 142-3). Again: “Die Prosa ist des Menschen Speise, die Poesie
sein Trank, der nicht nährt, sondern erquickt. Man kann aber auch, wie die
neuesten Deutschen, Bier trinken, in dem Nahrungsstoffe zur Gärung gebracht
sind, wovon man fett wird und noch dazu einen schweren Dusel in den Kopf
bekommt” (Ibid., S. 150). Cf.《圍爐詩話》卷一：“意喻之米，文則炊而為飯，詩則釀而為酒。飯不變米形，酒則盡變。噉飯則飽，飲酒則醉，醉則憂者以樂，喜者以悲，如〈凱風〉、〈小弁〉之意，斷不可以文章平直之道出之” — a simile
much praised by 趙秋谷 in his《談龍錄》, 李重華《貞一齋詩說》& 紀曉嵐 in 《點論李義山詩集》卷下（〈過崔兗海故宅〉評語）&《點論蘇文忠詩集》卷五（〈和子由記園中草木〉第三首評語）. Cf. also Valéry: “La pensée doit être cachée dans
les vers comme la vertu nutritive dans un fruit. Un fruit est nourriture, mais
il ne paraît que délice. On ne perçoit que du plaisir, mais on reçoit une
substance” (La Littérature, 1930, pp.
17-8); T.S. Eliot: “The chief use of the meaning of a poem is to keep the mind
diverted & quiet, while the poem does its work upon him [the reader]: much
as the imaginary burglar is always provided with a nice piece of meat for the
house-dog” (The Use of Poetry & the
Use of Criticism, p. 151); J.B. Yeats: “with poets ideas are consciously or
unconsciously part of their technique & of the machinery of poetry... Let
poets, by all means, touch on ideas, but let it be only a ‘touching’ & a
tentative groping with the sensitive poetical fingers... Religious poetry is
poor & always will be so — because it asserts a definite belief where such
a thing is impossible” (Letters to His
Son & Others, pp. 220-1); George Sampson: “Poetry uses matter to get
itself expressed. Thus a mnemonic is not poetry; it is matter put into metrical
form for the convenience of the
memory. The ballad, at
first sight, may seem to exist for the sake of the story. The truth is that the
story exists for the sake of the ballad, & is memorable as a story because
it has been transmuted into form. Told in prose as short & simple as the
verse, most ballad-stories would be immemorable anecdotes” (Seven Essays, p. 33). In other words,
teaching is the bout but not the but of poetry. Grillparzer, Valéry &
Sampson have been simply applying to poetry the Schillerian criterion for all
fine arts: “Das eigentliche Kunst-geheimnis des Meisters, dass er den Stoff
durch die Form vertilgt” (Briefe über die
ästhetische Erziehung des Menschen, XXII, Schillers Werke in drei Bänden, “Veb”, II, S. 576).【Gottfried
Keller, Brief an B. Auerbach, 25 Feb. 1860 [das Didaktische im Poetischen aufzelöst
aufzulösen ist] “wie Zucker oder Salz im Wasser” (H. Meyers, Der Sonderling in
der deutschen Dichtung, Carl Hanser, S. 197). 《傅大士心王銘》（《五燈會元》卷二）：“水中鹽味，色裏膠青，決定是有，不見其形。”《遺山文集》36〈杜詩學引〉：“前人論子美用事有著鹽水中之喻。”《西清詩話》：“作詩用事要如禪家語：‘水中著鹽，飲水乃知鹽味。’”王驥德《曲律論‧用事第二十一》：“又有一等事，用在句中，令人不覺，如禪家所謂撮鹽水中，飲水乃知鹽味，方是妙手。”】
“Io che in casa mia avevo veduto il
mondo e la società a vista d’uccello, ora lo vedevo a vista di testuggine, o di
qual altro animale sta più umilmente attaccato alla piana terra” (I Miei Ricordi, p. 136). Friedrich
Paulsen, I remember, speaks somewhere in his Aus meinem Leben of der Blick
aus der Froschschau in contradistinction to der Blick aus der Vogelschau. In modern German: “Vogelperspektive”
vs. “Froschperspektive”, cf. “taking the worm’s-eye view of public events” (J.
Sutherland, English Satire, p. 43).
H. Taine on les honnêtes jeunes filles: “Quand vous voyez à votre future des
joues roses et des yeux candides, ne concluez pas qu’elle est un ange, mais
qu’on la couche à neuf heures et qu’elle a mangé beaucoup de côtelettes” (Vie et opinions de M. Frédéric-Thomas
Graindorge, ch. 5). Cf. Georg Büchner: “Es ist keine Kunst, ein ehrlicher
Mann zu sein, wenn man täglich Suppe, Gemüse und Fleisch zu essen hat” (Sämtliche Werke und Briefe, hrsg. Bergemann,
S. 607); Charles Kingsley: “On two thousand a year a man can afford to be
honest” (Yeast, ch. 6). Rebecca Sharp
in Vanity Fair: “I think I could be a
good woman if I had 5000 a year” (The
Oxford Thackeray, XI, p. 532). B. Brecht: “Erst kommt das Fressen, dann
kommt die Moral” (“Denn wovon lebt der Mensch?” in Gedichte, hrsg. Hauptmann & Slupianek, I, S. 281); Ital.
proverb: “Prima la trippa e poi la virtù.” Horace: “Virtus post nummos” (Epistulae, I. i. 53). Le
Neveu de Rameau: “La voix de la conscience et de l'honneur est bien faible,
lorsque les boyaux crient.”
W. Somerset Maugham, A Writer’s Notebook, “The Collected
Edition”, p. 282: “One of the misfortunes of human beings is that they continue
to have sexual desires long after they are sexually desirable.” Here Maugham
shows himself a profounder psychologist than Voltaire who, while saying in his “A
Mme du Châtelet” that “Qui n’a pas l’esprit de son âge, / De son âge
a tout le Malheur,” observed in the same breath: “On meurt deux fois, je le
vois bien: / Cesser d’aimer et d’être aimable” (Oeuvres Complètes, éd. Moland, VIII, p. 512). Cf. Leopardi, I Canti, XXXIII (quoted in 第百五十八則). Bruno 詩云：“Voto di spene, d’inferno a le porte, / colmo di desio al ciel arrivo” (De gli Eroici furori, Dial. II); “Ch’uccid’in
speme e fa viv’in desio” (Dial. III) (Opere,
a cun di A. Guzzo, pp. 586, 597). Machiavelli to his young
mistress: “Ma perché non uguali / son le forze al desìo / ne nascon tutti e
mali, / ch’ io sento...” (“Alla Barbera”, in Opere, ed. M. Bonfantini, p. 1080); Faust, I, 1546-7: “Ich bin zu alt, um nur zu spielen, / Zu jung, um
ohne Wunsch zu sein” (Faust, Ed. E.
Trunz, S. 83). Homer’s Epigrams, 12: “...grey-haired
old men whose powers are dulled, but whose hearts still desire” (Hesiod, The Homeric Hymns, & Homerica,
“Loeb”, p. 473).
In his Dictionary of Slang, p. 57, Partridge says that the word “bitch” is
more offensive than the word “whore” & adduces by way of proof the
catchphrase, “I may be a whore, but can’t be a bitch!” The reason, I suppose,
is that a bitch, like a poet, is born while a whore, like a poet laureate, is
made; the former denotes character, & the latter implies circumstances.
Partridge should have quoted Joseph
Andrews, Bk. I, ch. 17: “‘Get you out of my house, you whore.’ To which she
added another name, which we do not care to stain our paper with. It was a
monosyllable beginning with a b—, and indeed was the same as if she had
pronounced the words, ‘she-dog’” (“The World’s Classics”, p. 81).
Machiavelli: “Gli uomini sono ciechi
nelle cose in cui peccano quanto sono acerrimi persecutori dei vizi che non
hanno” (Lettere familiari, ed. E.
Alvisi, p. 320 — given in Il Principe e
altri scritti minori, “Biblioteca classica Hoepliana”, p. 509). Cf.
Hudibras, Pt. I, Canto I, ll. 215 f.: “Compound for sins they [the Antinomians]
are inclined to, / By damning those they have no mind to.” Sir Henry Taylor
also wrote in his Autobiography
(1885), vol. I, pp. 92-3: “Every man who aspires to a certain intellectual rank
& precedency has his peculiar system of morals made for himself, like his
easy chair — in which he arranges himself to his own perfect
satisfaction,
denouncing ex cathedrâ the easy chairs of all the rest of mankind. There is
nothing that is infirm or out of joint in him but some dogma is put in like a
cushion to bolster it up... It is not long since I heard a Populationist
vehemently reproach a poor but very respectable married gentleman for the sin
of having 9 children lawfully begotten. The Populationist, on the other hand,
was a single man, & might very possibly be chargeable with sinning against
another sort of philosophy.”
《紫簫記》第十折，櫻桃：“笑咱青春不多也二八，好和歹，這些時破瓜，強指頭搔揉，櫈頭凹軋。” Cf. C. Binet-Sanglé, Le haras humain on the auto-erotism of some French girls: “Angèle,
chaque soir, sur un siège different, vous vous donnez à vous-même le plaisir
que donne un amant... Julie [avec] son accoudoir d’un petit fauteuil” (cited in
Ploss, Bartels & Bartels, Woman,
tr, by E.J. Dingwall, II, p. 76); cf, Havelock Ellis, Studies in the Psychology of Sex, I, pp. 176-8 on the sewing
machine & the bicycle.
Napoléon: “Les grands pouvoirs
meurent d’indigestion” (cited in La
Petite Illustration, 29 Juillet 1939, p. 2 de la couverture). Sir Henry
Taylor: “Most great men have died of over-eating themselves” (The Statesman, cited in L.P. Smith, A Treasury of English Aphorisms, p.
250).
Albert Samain, Carnets intimes: “Il
y a deux sortes d’orgueil: l’un qui fait les vaniteux, l’autre qui fait les
modestes. Le second est de beaucoup le plus profond” (cited in La Petite Illustration, 12 Août 1939, p. 2 de la couverture). Cf. Massimo d’Azeglio, I Miei Ricordi: “Quante cose anderebbero
meglio al mondo se la vanità si mutasse in orgoglio? Questo basta a sè stesso. La
vanità vuol l’applauso”[6]
(“Biblioteca classica Hoepliana”, p. 71). Neither is so good as Swift’s
observation: “Whoever desired the character of a proud Man, ought to conceal
his Vanity” (Satires & Personal
Writings, ed. W.A. Eddy, p. 413). Cf. Myriam Le Bargy: “La recherche des
honneurs et des décorations est
vanité; les mépriser relève
de l’orgueil”; André Siegfried: “La vaniteux met tous ses titres sur sa corte
de visite ou sur son tombeau; l’orgueilleux n’y inscrit que son seul nom.”
【Which
reminds of the cliché in the Arabian
Nights about a man’s “zabb swelling & lifting his garment in front of
him” (The Thousand Nights & One Night,
tr. P. Mathers, I, p. 511; cf. Catallus, XXXII,11, see 第五十二則).[7]】
六百七[8]
《能改齋漫錄》中文，多與他書所引《復齋漫錄》字句全同，蓋羼入。（《四庫總目》卷一百三十五《白孔六帖》云：「《復齋漫錄》稱孔傳字聖傳」，小注云：「按《復齋漫錄》今已佚，此條見《苕溪漁隱叢話》所引。」）而《四庫》館臣傅節子、孫子宣等皆未發其覆。不必遠徵，即以《苕溪漁隱叢話》一書參之，《漫錄》卷八「詠荷花」條即引《漁隱叢話》者，蓋成書在其後也。（《漁隱叢話前集‧自序》：紹興戊辰，蓋十八年也；《漫錄》末有吳曾子復〈後序〉：紹興二十七年；《漁隱叢話後集‧自序》：丁亥，則乾道三年矣。）【《蘆浦筆記》卷一、卷二、卷三中補正《能改齋漫錄》者最多，卷一謂：「《漫錄‧事始門》載唐明皇為三郎，凡五事」，為補一事。今本《漫錄》中無此條可補，凡《蘆浦》所引，必為《漫錄》原文。】【《蛾術編》卷十四云：「余見吳曾親筆書〈唐范隨相國告身跋〉，自署『崇仁』，則《馬氏經籍考》謂『臨川』誤矣。」】
卷三「韓子蒼以蘇味道詩為李益」條，《叢話後集》卷三十四引作《復齋漫錄》。
卷三「靜憩鷄鳴午」條，《叢話後集》卷二十五引作《復齋漫錄》（雁湖注《荊公詩集》卷二十二亦然）。所云「余嘗見東坡手書」者，復齋，非吳氏也。
卷三「荷囊非芰荷之荷」條，《叢話後集》卷三十六引作《復齋漫錄》。然據《蘆浦筆記》卷三「紫荷」條，則乃《能改齋漫錄》之文，胡氏誤筆也。
卷三「黃金臺」條，《叢話後集》卷二十五引作《復齋漫錄》。吳氏卷七自有一條論荊公此聯甚詳，不應寥寥數語別出也。
卷六「一日十二憶」條，《叢話後集》卷三十一引作《復齋漫錄》。
卷八「花應解笑人無窮事有限身」條，《叢話後集》卷十六引作《復齋漫錄》。
（卷八「兩蝸角」條，《叢話後集》卷十三引作《高齋詩話》。）
卷八「魚遺子鹿引麛」條，《叢話後集》卷三十二引作《復齋漫錄》。
卷八「夢中身夢外身」條，《叢話後集》卷三十二引作《復齋漫錄》。
卷八「牛帶寒鴉過別村」條，《叢話後集》卷十五引作《復齋漫錄》。
卷八「謝惠含桃謝惠茶詩」條，《叢話後集》卷三十引作《復齋漫錄》。
卷八「水從樓前來中有美人淚」條，《叢話後集》卷三十四引作《復齋漫錄》。
卷八「詠叔孫通詩」條，《叢話後集》卷三十引作《復齋漫錄》（雁湖《荊公詩注》卷四十八此詩注全本此，所謂「或謂宋景文作」即指復齋）。
【卷八「鄭毅夫蘇子美絕詩第二句相類」條，《竹莊詩話》卷十六引作《復齋漫錄》。】
【卷八「徐師川詩天北極殿中間」條，《叢話後集》卷三十六引作《復齋漫錄》。】
【卷八「時送紅梅一陣香」條，《叢話後集》卷三十六引作《復齋漫錄》。】
卷十「荊公山谷詩意同事同」條，《叢話後集》卷三十二引作《復齋漫錄》。
【卷十「詩文當得文人印可」條，《叢話後集》卷三十四引作《復齋漫錄》。】
卷十一「韓子蒼黃葉句」條，《叢話後集》卷三十四引作《復齋漫錄》。
【卷十一「青州從事」條，《叢話後集》卷三十四引作《復齋漫錄》。】
【卷十一「載將離恨過江南」條，《叢話後集》卷三十五引作《復齋漫錄》。】
此類甚夥，以上聊當舉隅而已。
六百八[12]
劉摯《忠肅集》二十卷。莘老以氣節著聞，詩、文爽直，而少回旋磨琢，遂乏韻味。
卷十五〈讀書〉：「燈火夜可親，巾箱字甚憚。」
〈雜詩〉：「播州遷劉郎，夜郎放太白。秀木風所仇，人情有欣戚。嚴霆無終朝，斯文豈遂厄。我願蘇與黄，壽命等金石。五」
〈庖婢病歧自臨鼎俎有詩〉：「昔人意不佳，多緣噉脯麵。」按歧即斯立，莘老子，王定國女婿也。「昔人」二句，本王右軍〈帖〉所謂「僕自秋便不佳，頃還，少噉脯，又時噉麵，亦不以為佳」（《澄清堂帖》卷三）。
卷十六〈自福嚴至後洞記柳書彌陀碑〉：「子厚少年頗疏雋，字合飄逸狂不羈。胡為氣質反端厚，至今觀者多有疑。或云彼以竄逐久，氣志軟熟非前時」，「碑陰三百四十字，疏瘦勁麗何精奇。九十三人姓名具，陳纘寶歷元年題。云此柳書一碑者，元和三年刊厥詞。至是二月始建立，都其事者楊與倪。」按柳州書，世無傳，讀此可想像彷彿。「碑陰」數語，大似復初齋體。
〈虞城縣早起道中寄公秉幕府諸友〉：「屋角一夜羣枯號，曉來曠野風如刀。峨峨殘雪路摧馬，格格寒氣氷生袍」，「因思都府盛僚友，人物一一皆賢豪。想今酣寢夢方足，初離密幄驚寒朝。左承右侍各以職，氣語蘭臭顔如桃。奉持巾匜事盥櫛，傅唇澤面供香膏。不容髮綠一點變，亟以寶鑷爭除薅。炎爐却坐日當卯，進酒為壽傾蒲桃。捋鬚束带欲出戶，問訊分付猶忉忉」，「此時豈復念寒旅，嗟我勞佚何相遼。」
〈早行寄田七〉自注：「君善鼾。」按於昌黎〈嘲鼾睡〉詩外，又添故實，田七追配澹師矣。
卷十七〈靈巖寺〉：「山疑圖畫曾經見，地喜生平所未行。」
卷十八〈涵輝閣〉：「新謝小桃雙燕至，從南微雨好風俱。」
卷十九〈春日書事〉：「酒怯病懷無舊戶，睡便春晝長新魔。」
六百九[13]
范寅《越諺》三卷。力劬而學陋，考訂源流多出稗販附會，大致不出《通俗編》、《恆言錄》等書所引古語，以牽合之於俗諺。譬如卷上〈格致之諺四〉有云：「泰山倒來，人朊男陰也搘勿住。」范氏說曰：「《晉書‧孫惠傳》有『泰山厭卵』之句，此諺疑即從而套出。」豈非「紅蘿蔔上東蠟燭賬哩」（卷上〈借喻之諺五〉）乎？卷上〈借喻之諺五〉有云：「泥𦥈跌倒泥𦥈儽。」范氏說曰：「《傳燈錄》：『泥裏倒，泥裏起。』」《傳燈錄》卷一波旬為四祖所困，求救梵王，王説偈令其回向曰：「若因地倒，還因地起。」初無「泥裏」云云之文也。他若「若要小兒安，常帶三分飢與寒」（卷上〈警世之諺二〉），不知其始著籍於《敬齋古今黈》卷五。（《潛夫論》曰：「小兒多病傷於飽，然此言但知節食耳。俗諺云：『小兒欲得安，無過飢與寒。』非謂飢之寒之，但撙節之而已。近世一醫師云：『貧兒誤得安樂法』，則是富兒故求病也。」）張黃岳《雲谷臥餘》卷四引此諺，欲改「寒」字為「汗」字，則其余智自雄，竄易杜詩之結習也。「鐵擣杵磨繡針，只要工夫深」（卷上〈格致之諺四〉），不知其始著錄於鄭所南《一百二十圖詩》卷（見第四百九十一則）。「拿賊拿贓，捉姦捉雙」（卷上〈警世之諺二〉），不知其見于元曲《燕青博魚》、《伍員吹簫》、《酷寒亭》、《㑳梅香》及湯若士之《牡丹亭》（見第三十則）。「吃得砒霜藥老虎」（卷上〈借喻之諺五〉），不知其本之《抱朴子》之「食毒中蚤蝨」，《通俗編》卷三十八所謂「變古」也。更僕難數。
〇「窮義夫，富節婦。」范氏說云：「窮夫不續絃，富婦不再醮。」（卷上〈格致之諺四〉）按吳昆田《漱六山房全集》卷九《札記》有云：「小秋言：『龍元僖以光卿乞假終養，上謂侍臣曰：「元僖治世之忠臣，亂世之孝子也。」』」周壽昌《思益堂日札》卷九「借用語可笑」條云：「家貧出忠臣，謂艱於資斧，不能歸也；國亂出孝子，謂託詞引退終養也。」
〇「做狗。」范氏說云：「諱言病。」（卷上〈孩語孺歌之諺十七〉）按北京人曰：「變狗。」
〇「殠豬頭有齆鼻頭菩薩受用。」（卷上〈格致之諺四〉）按馮猶龍《黃山謎》中〈夾竹桃〉之〈惟有葵花〉一首，花底閒人評曰：「諺云：『十個麻子九個俏，沒有麻子不風騷。』此方是爛鼻孔菩薩愛嗅臭豬頭耳。」
〇「屁股眼裏吹喇叭。」范氏說云：「戲言痢疾。」（卷上〈孩語孺歌之諺十七〉）按《詞林摘艷》卷一劉庭信〈寨兒令〉云：「屁則聲樂器刁決。」Inferno, XXI. 137-8: “ed egli avea del cul fatto trombetta”[14]，謂湊氛也，恰相發明。
〇「蝨多勿癢，債多勿愁。」（卷上〈格致之諺四〉）按洪舜俞《平齋文集》卷七〈歲暮山中記事〉第二首云[15]：「里巷負暄翁，隤然支離疏。饕虱緣縕袍，點綴頷下鬚。傍人勸翁捫，摇手一任渠。虱多轉不癢，何庸事驅除。」
〇「張三李四。」（卷上〈數目之諺十〉）范氏說云：「王安石〈擬寒山詩〉、《朱子語類》。」按當作〈擬寒山拾得詩〉第八首：「張三袴口窄，李四帽簷長」，第十四首：「莫嫌張三惡，莫愛李四好」（雁湖《注》本卷四）。尹和靖〈自秦入蜀道中〉云：「綠陰深處竹籬遮，也有紅花映白花。却憶故鄉卿相第，不及張三李四家。」（嘉靖本《和靖先生集》卷四）元曲楊文奎《兒女團圓》第四折：「丁一、卯二、張三、李四。」《三國志‧魏志‧袁張涼國田王邴管傳第十一》注：「張甲李乙，尚猶先之」，蓋張、李連稱，莫早於此。《青箱雜記》載僧以詩卷授曹琰云：「猿啼旅思凄」，琰曰：「犬吠張三嫂」，亦即謂張三李四也。《戲瑕》卷三引唐諺「張公吃酒李公醉」、「張公帽兒李公戴」、「張三有錢不會使，李四會使却無錢。」
〇「丈姆見郎，割嬭放湯。」（卷上〈事類之諺九〉）按《何典》第四回有「割屄齋僧」之諺，更奇。
〇「石米壓弗殺人，斗米壓殺人。」范氏說云：「即不竭人忠，不盡人歡之意。」（卷上〈格致之諺四〉）按即 “The last drop makes the
cup run over,” “The last straw (or feather) breaks the camel’s back”。
〇「天高皇帝遠。」范氏說云：「無由上愬。」（卷上〈借喻之諺五〉）按此語出黃溥《閒中今古錄》，梁山舟《直語補證》已考定（《頻羅菴遺集》卷十四）。俄諺亦云：“God is high & the Tsar is too far away”。
〇「肉掛殠，貓引瘦。」范氏說云：「喻印刓弗予。」（卷上〈借喻之諺五〉）按《蕩寇志》第七十三回高衙內云：「許多日子，只叫我去乾嫖，引得那雌兒睡夢裡都來纏我。只好把家裡的這幾個來熄火，卻又可厭。正是吃殺點心當不得飯！魚兒掛臭，貓兒叫瘦。」口角栩栩，「魚」字、「叫」字，亦遠勝「肉」字、「引」字。俞仲華固越人也。Michael Innes, Christmas
at Candleshoe, Penguin, p. 92: “While the grass grew, the steed starved.”
六百十[16]
程俱《北山小集》四十卷。致道詩、文極為葉少蘊所推，此《集》即有少蘊〈序〉。詩亦出入半山、東坡之間，而不如《建康集》之雅貼，要皆寡真切語。文蕭散潔適，在詩之上。此《集》佚去〈賀方回墓志銘〉，黃蕘圖以至張菊生輩均蒙然不知也。
卷一〈雜興〉：「軋軋田邊車，卷卷不得休。出之一寸痕，益以幾尺流。扶提暴中野，強作田家謳。車聲真哭聲，天遠將誰尤。九」
〇〈過方子通惟深〉。按卷二〈秋夜寫懷〉第三首亦屬子通，推為「高人」。卷五〈聞仲嘉叔問繼以職事行縣道遊茶山及諸勝境作寄一首〉自注：「方子通言：頃有好事人刻意仙術，聞施翁遺跡，故往訪之，臨歸但聞妙香不絶云。」卷三十三有〈莆陽方子通墓志銘〉。子通事，《中吳紀聞》所載最多，他則《野客叢書》後所附《野老紀聞》及《瀛奎律髓》卷二十批語，此外惟致道詩、文可參見而已。《滄浪詩話》云：「余嘗見〈方子通墓誌〉：『唐詩人有八百家，子通所藏有五百家。』今則世不見有，惜哉！」致道此篇並無其語，豈別有一本耶？《永樂大典》卷三千五「人」字引子通〈都下寄友人葉褧之〉五古一首，他書未見。
卷二〈同江彥文江仲嘉游三衢諸山〉：「懸瀑或尋丈，勢洶洪河傾。泠泠赴深竇，或如環佩鳴。或於薈蘙中，琴筑時丁丁。」按凡用九「或」字，而句法變化，不同尋常擬議昌黎〈南山〉詩者。
〇〈戲呈虞君明〉：「門施雀羅正可樂，車如鷄栖良不惡。」
卷六〈偶書〉：「我身如甘柘，既壓無復味。一為老所壓，乃與枯柘類。」自注：「經云：譬如甘柘，既被壓已滓無復味。壯年盛色，亦復如是，既被老壓，無三種味。一」「壯膏日已減，老炷安得久。亦如臨河樹，岸墊根復朽。」自注：「經云：壯膏既盡，衰老之炷，何得久停。」按前喻出《大般湼槃經‧聖行品第十九》。寒山詩云：「玉堂挂珠簾，中有嬋娟子。更過三十年，還成甘蔗滓」，即用此語。較之希臘詩家蒲桃乾之喻 (Lucian, The
Downward Journey: “HERMES: ‘Here are 300 babies.’ CHARON: ‘It’s green-grape
dead you have brought us.’ H.: ‘Here you are again, 398, all tender and ripe
and harvested in season.’ C.: ‘Good Lord, yes! They are all raisins now!’” — Lucian, tr. A.M.
Harmon, “The Loeb Classical Library”, I, p. 11; The Greek Anthology, V, 304: “When you were a green grape you
refused me, when you were ripe you bade me be off, at least grudge me not a
little of your raisin.”
— tr. W.R. Paton, “The
Loeb Classical Library”, I, p. 293)，更為親切。《品花寶鑑》第四十三回：「蘇蕙芳歎云：『荔支鮮的時候何等佳妙，及乾了，便覺酸得可厭。何以形貌變而氣味也會變呢？大約人過了幾年，也就是清而變濁，細而變粗，甘而變酸了。』蕭次賢笑道：『荔支鮮的時候，配得上楊玉妃。如今乾了，也還配得上屈道翁，總還是在棗栗之上』」云云，可參觀。後喻則吾國亦有之：嚴可均《全後漢文》卷十四桓子《新論‧中》云：「與劉伯師夜𤓉脂火坐語，燈中脂索，而炷燋禿將滅，則以示曉伯師，言人衰老亦如彼禿炷矣。」又按致道頗熟內典，非文人口頭禪之筆，觀卷十四〈維摩詰所說經通論八篇〉及卷十八諸寺院〈碑〉、〈記〉可見。卷十〈比閱藏經偶成短偈仍寄同志者〉云：「無錢空數他人寳，遮眼那令兕革穿」，自注：「《華嚴經》云：『譬如貧窮人，日夜數他寳，自無半分錢。』」「遮眼」句無注，蓋出《傳燈錄》卷十四：「藥山唯儼禪師看經，僧問：『和尚尋常不許人看經，為什麼却自看？[17] 』師曰：『我只圖遮眼。』曰：『某甲學和尚還得也無？』師曰：『若是汝，牛皮也須看透。』」
卷七〈初到書局以萬七千錢得一老馬盲右目戯作古句自嘲〉：「蹄間三尋汗流赭，九逵雷雹爭飛灑。我窮那得騁追風，正擬虺尵行果下。平生畏途飽經歷，夜半臨深無馭者。故應造物巧相戲，却比盲人騎瞎馬。李南知音當促步，廣漢騰嘲不相假。執鞭良稱塞翁兒，並轡聊從杜陵夏。龐然病顙豈其類，老矣問途那可舍。徑煩一夫事刷秣，似桂新芻不盈把。向來伯厚亦安在，結駟鷄栖同土苴。他年東去把撩風，縱爾逍遙汴東野。」
〇〈九日寫懷〉：「節物驚心兩鬢華，東籬空繞未開花。百年將半仕三已，五畝就荒天一涯。豈有白衣來剝啄，亦從烏帽自欹斜。真成獨坐空搔首，門柳蕭蕭噪暮鴉。」自注：「高適〈九日〉詩：『縱使登高衹斷膓，不如獨坐空搔首。』」按《高常侍集》中亦有此詩，題作〈重陽〉，而無自注。玩其詞氣，斷為致道之作而誤入《常侍集》者。《錦繡萬花谷》卷四〈重陽〉門引此詩後四句，下注出於致道，亦資傍證。《後村千家詩》誤以此屬常侍，遂傳訛。明活字本《高常侍集》（《四部叢刊》）卷八收之（題作〈重陽〉），《全唐詩》亦然。「縱使」二句見常侍〈九日酬顏少府〉詩。弇州《藝苑巵言》卷四譏「百年」一聯是「長慶以後手段」，殊為具眼。
卷十〈葺蝸廬吳下用葉翰林見寄詩韻〉：「四海無廬置此翁，故營松竹儘囊空。明知計出柏馬下，正擬身全木雁中。東郭易成生草舍，南村先怯卷茅風。向來豪氣今如此，敢與元龍較長雄。」自注：「張志和結廬東郭，茨以生草。余結廬皆竹椽松柱。」按昌黎〈招楊之罘〉：「之罘別我去，計出柏馬下。」（柏與馬在野則不長大，無用處也。）
卷十六〈賀方回畫笥有龔高畫二其一戴勝殆非筆墨所成其一鼫鼠尤妙形態曲盡有貪而畏人之意各題數語其上〉：「有惕其中，而志逐逐。何以占之？機見於目。」
[2] “Whenever you get up from
your chair — I have often noticed it ere now — your unhappy garments, Lesbia,
treat you indecently.... they are so gripped by the straits of your mighty
rump, and enter a pass difficult and Cyanean.” (Walter Ker)
[4] Peirce: “Pragmaticism was
originally enounced in the form of a maxim, as follows: Consider what effects,
that might conceivably have practical
bearings, you conceive the objects of
your conception to have. Then, your conception of those effects is the whole
of your conception of the object.”
[15]「洪舜俞」原作「洪聖俞」。
[17]「不許人」原作「人不許」。
[18]「媢」原作「媚」。
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