七六一[1]
丙午正月十六日[2]，飯後與絳意行至中山公園，歸即臥病，蓋積瘁而風寒乘之也。嗽喘不已，稍一言動，通身汗如濯，心躍然欲出腔子。《明文授讀》卷十五李鄴嗣〈肺答文〉云：「風自外干，涎從內塞」，「未發云云，輒聞喀喀」，「積邪大湧，蘊逆上溢」，「胸椎欲穿，背笞不釋」，不啻為我言之。如是者十二日，始勝步武，杖而行於室中。今又一來復矣，仍殗殢無生意，杜門謝事。方疾之劇，如林黛玉臨終喘甚，「躺著不受用，扶起來靠著坐坐纔好」《紅樓夢》九十七回。每夜勞絳臥起數回，真所謂「煮粥煮飯，還是自家田裏的米，有病還須親老婆」也馮夢龍《山歌》卷五。[3]昔王壬秋八十老翁終日悶睡，自云「有林黛玉意思」《湘綺樓日記》民國四年九月廿四、廿五日。[4]余今歲五十七，亦自擬顰兒呻吟氣絕狀，皆笑枋耳。病榻兩夢圓女，渠去年八月赴山右四清，未返京度歲。二月初六日書。起牀後閱《楚辭》自遣，偶有所得，率筆之於此。
〇〈離騷〉：「皇覽揆余初度兮，肇錫余以嘉名。名余曰正則兮，字余曰靈均。」王逸注：「言父伯庸觀我始生年時，度其日月，皆合天地之正中，故賜我以美善之名也。正平可法則者，莫過於天。養物均調者，莫神於地。名『平』以法天，字『原』以法地。」按其解迂鑿，然玩詞意，似漢時已有星命之說，故叔師云爾。【《通俗編》卷二十一「小運」條引「《說文》『包』字：『象人懷姙，巳在中，像子未成形也。元氣起於子。男左行三十，女右行二十，俱立於巳，為夫婦。懷姙于巳，巳為子，十月而生。男起巳至寅，女起巳至申。故男年始寅，女年始申也。』《演繁露》：『此即今三命家謂男生一歲，小運起寅，女生一歲，小運起申者是也。……不知許氏于何得之，殆漢世已有推命之法，而許氏得之耶……。」[5]】《詩‧小雅‧小弁》：「我辰安在」，鄭《箋》：「我所值之辰安所在乎？謂六物之吉凶」，孔《疏》引《左傳》昭七年伯瑕對晉侯問，謂「六物」乃「歲、時、日、月、星、辰」云云，可以印發。竹汀、曉嵐考李虛中術，皆未及此，參觀第二一則說《閱微草堂隨筆》卷十二。劉向〈九歎‧之一‧逢紛〉云：「原生受命於貞節兮，鴻永路有嘉名」；〈九歎‧之二‧離世〉云：「兆出名曰正則兮，卦發字曰靈均。余幼既有此鴻節兮，長愈固而彌純」，皆本〈離騷〉此四語敷說。王逸注「鴻節」為「大節度」，竊謂「初度」之「度」當作「貞節」、「鴻節」解，品節志操之謂。「正」而有「則」，「靈」而能「均」，言其端方有守，聰明無私，正指節操，非王逸所謂象天地也。〈九章‧思美人〉云：「知前轍之不遂兮，未改此度」，又云：「廣遂前畫兮，未改此度也。」王逸注：「執心不回，志彌固也」，又：「心終不變，內自守也」，皆指節操，即「初度」之「度」。至〈離騷〉又云：「不撫壯而棄穢兮，何不改乎此度」[6]，又云：「背繩墨以追曲兮，競周容以為度」；〈九章‧惜往日〉云：「奉先功以照下兮，明法度之嫌疑」，「君無度而弗察兮，使芳草為藪幽」，又云：「背法度而心治兮，辟與此其無異」，則法度、檢押之意，非「初度」之「度」矣。小兒初生，品行尚無朕兆，父懸揣而得之，故曰「揆」。王注：「揆，度也」，此「度」為「測度」之「度」。近人姜亮夫《屈原賦校注》乃曰「『初度』謂始生之器宇，即下文『紛吾既有此內美兮』之『內美』，受形父母，其美如是」云云。夫「器宇」之「美」，乃外貌也，何得曰「內」？「覽」而可知也，何必曰「揆」？數語之間，自相違牾。姜書矜夸支蔓，而發明殊尟，於聲音通假尤沾沾自喜，不知文芸閣《純常子枝語》卷九論〈卜居〉之「突梯滑稽」疊韻變文已發其緒。動言創獲，胥多事無謂。舉此一例，不暇條駁之矣。又其書署「姜亮夫校注」，〈序言〉署「亮夫姜寅清序」，而書中每曰「寅按」。〈天問〉「恒秉季德」句注引「先師王靜安先生」云云，而四句之後「有狄不寧」句注引「王國維」云云。蓋羌不知著書有體例也。
〇〈離騷〉：「汩余若將不及兮，恐年歲之不吾與。（中略）。日月忽其不淹兮，春與秋其代序。惟草木之零落兮，恐美人之遲暮。」[7]按又云：「及年歲之未晏兮，時亦猶其未央。恐鵜鴃之先鳴兮，使百草為之不芳」[8]；〈九章‧悲回風〉云：「歲曶曶其若頹兮，時亦冉冉而將至。薠蘅槁而節離兮，芳以歇而不比」[9]；〈遠遊〉云：「恐天時之代序兮，耀靈曅而西征。微霜降而下淪兮，悼芳草之先零。」〈九辯〉於此意尤重言永歎，如其三之「皇天平分四時兮」全章；其四之「霜露慘悽而交下兮」一節、其六之「靚杪秋之遙夜兮」全章是也。以眾芳萎歇、草木零落比美人遲暮，正《詩‧衛風‧氓》小序所謂「花落色衰」也。
〇〈離騷〉：「朝搴阰之木蘭兮，夕攬洲之宿莽。」按又云：「朝飲木蘭之墜露兮，夕餐秋菊之落英」，「朝發軔於蒼梧兮，夕余至乎縣圃」，「夕歸次於窮石兮，朝濯髮乎洧盤」，「朝發軔於天津兮，夕余至乎西極」；〈九歌‧湘君〉云：「鼂騁騖兮江臯，夕弭節兮北渚」；〈湘夫人〉云：「朝馳余馬兮江臯，夕濟兮西澨」；〈遠遊〉云：「朝濯髮於湯谷兮，夕晞餘身兮九陽」，「朝發軔於太儀兮，夕始臨乎於微閭。」後來祖構，如潘安仁〈登虎牢山賦〉云：「朝發韌兮帝墉，夕結軌兮中野」（《全晉文》九十），徐幹〈避地賦〉：「朝余發乎泗洲。夕余宿乎留鄉」（《全後漢文》93），紛紛若填匡格。顏延年〈赭白馬賦〉之「旦刷幽燕，夕秣荊越」庶幾與古為新，參觀第七五○則。又「餐秋菊之落英」王逸注云：「旦飲香木之墜露，暮食芳菊之落華」，蓋以「落」為「隕落」之「落」。洪興祖《補注》云：「秋花無自落者，當讀如『我落其實而取其華』之『落』」[10]，言外有王荆公詩在。《雁湖注荆文詩集》卷四十八〈殘菊〉云：「殘菊飄零滿地金」，注云：「歐公笑曰：『百花盡落，獨菊枝上枯耳』，戲賦：『秋英不比春花落，為報詩人仔細看！』荆公曰：『是定不知《楚辭》「夕餐秋菊之落英」，歐九不學之過也！落英指衰落。』《西清詩話》云：『落、始也。』竊疑小説謬，不為信」（雁湖注止此）。《苕溪漁隱叢話前集》卷三十四引《西清詩話》，復引《高齋詩話》，則作東坡嘲荆公，荆公曰：「子瞻讀《楚辭》不熟耳。」《警世通言》卷三〈王安石三難蘇學士〉即本此增飾。《詩人玉屑》卷十七又引《梅墅續評》、吳景旭《歷代詩話》卷五十七、陳錫璐《黃嬭餘話》卷三皆蒐列諸説，而均主「落英」之「落」當作「始」或「初」解，以荊公為非。余觀《荆文詩集》卷四十七〈縣舍西亭〉第二首云：「主人將去菊初栽，落盡黄花去却迴」，與此詩可相發明。唐人崔善為〈答無功九日〉：「秋來菊花氣，深山客重尋。露葉疑涵玉，風花似散金。摘來還汎酒，獨坐即徐斟。」陸農師《埤雅》卷十七云：「蓋菊不落華，蕉不落葉」，則似隱糾乃師詩句者。樓大防《攻媿集》卷七十五〈跋楚薌圖〉云：「人言木蘭即木筆，雖別有辛夷之名，未知孰是，而頗有證焉。半山有『籬落黃花滿地金』之句，歐公云：『菊無落英。』半山云：『歐九不曾讀〈離騷〉！』公笑曰：『乃介甫不曾讀耳！』竟無辨之者，余嘗得其説。靈均自以為與懷王不能復合，每切切致此意。木蘭仰生而欲飲其墜露，菊花不謝而欲餐其落英，有此理乎？正如薜荔在陸而欲採於水中，芙蓉在水而欲搴於木末」云云，亦巧出新解。「採薜荔兮水中，搴芙蓉兮木末」見〈九歌‧湘君〉。[11]《野客叢書》卷一：「士有不遇，則託文見志，往往反物理以為言，以見造化之不可測也。……原蓋藉此以自喻，謂木蘭仰上而生，本無墜露而有墜露；秋菊就枝而殞，本無落英。物理之變則然。吾憔悴放浪於楚澤之間，固其宜也。異時賈誼作賦弔原，有『鏌鋣為鈍』之語；張平子〈思玄賦〉有『珍蕭艾於重笥兮，謂蕙芷之不香。』此意正與二公同，皆所以自傷也」云云，蓋闇合攻媿者。[12]苕溪、雁湖以下，無人道及此五事，何耶？朱淑真〈黃花〉詩云：「寧可抱香枝上老，不隨黃葉舞秋風」；鄭所南〈寒菊〉詩云：「寧可枝頭抱香死，何曾吹落北風中！」均本歐公之意，而與荊公相反。荊公賦物有作，自應如鍾記室所說「即目直尋」、元遺山所說「眼處心生」，乃不徵之目驗，而求之耳食，借古人語自解，可謂盡信書不如無書者。且〈離騷〉雖多草木鳥獸之名，出非博物窮理之作。尤西堂《艮齋續說》卷七論荊公〈殘菊〉詩，有云：「〈離騷〉大半寓言，但欲拾其芳草，豈問其始開與既落乎？不然豈芰荷果可衣乎？芙蓉果可裳乎？」明通之論，有當於 Aristotle, On Interpretation,
IV 言 “logical propositions” 與 “sentences in rhetoric
& poetry” 區別之旨 (The Organum, “The Loeb Classical Library”,
vol. I, p. 12)。參觀第七二八則論杜詩「紅綻雨肥梅」、第七七○則論《詩‧河廣》。然西堂尚未推究詳盡。「落英」與「墜露」作對，則「落」字以訓「隕」為近。【《四庫提要》卷一一五《史氏菊譜》條：「〈後序〉論《楚辭》『落英』，引《詩‧訪落》訓『落』為『始』，則反牽合其文，自生蛇足。上句『墜露』之『墜』，又作何解乎？」】《詩經》、《逸周書》等雖有「落」字訓「始」之例，然絕未見施於草木，未可推類附會。〈衛風‧氓〉曰：「桑之未落，其葉沃若」，「桑之落兮，其黄而隕」，正是「隕落」之意。〈離騷〉上文曰：「惟草木之零落兮」，下文曰：「貫薜荔之落葉」，皆作「隕落」解。下文又曰：「溘吾游此春宮兮，折瓊枝以繼佩。及榮華之未落兮，相下女之可遺」，亦謂華落。使科以菊不落華之條，則天上琳琅玉樹見洪《補注》更無衰謝之理。下文又曰：「折瓊枝以為羞兮，精瓊爢以為粻。」而〈九章〉之〈惜誦〉曰：「檮木蘭以矯蕙兮，糳申椒以為糧。播江蘺與滋菊兮，願春日以為糗芳」，即「餐秋菊」之旨，豈春日而有菊耶？秋菊初華，已近霜信，木蘭之上，零露尚漙耶？亦見翻空逞幻之詞，非可以刻舟求劍矣。E.R. Curtius, Europäische
Literatur und Lateinisches Mittelalter, 2te Aufl., 1954, S. 192:
“Ölbäume waren im nordischen Mittelalter
erstaunlich häufig. Woher stammen sie?... Im
mittelalterlichen Europa gibt es auch Löwen.... Aber das Naturgefühl... hat
hier nichts zu suchen.
Es handelt sich um literarische Tchnik.... Es
handelt sich um epischen stilisierung nach dem Vorbild der Antike und der Bibel”
usw. 可以比勘。亦如《紅樓夢》四十九回〈琉璃世界白雪紅梅〉寫「櫳翠庵中有十數株紅梅如胭脂一般」，未得據此遽斷言雍、乾時北京可移植梅花也。參觀第六七○則論陸天池〈病中秋懷寄襲美〉。
〇〈離騷〉：「冀枝葉之峻茂兮，願俟時乎吾將刈。雖萎絕其亦何傷兮，哀眾芳之蕪穢。」王逸注：「所種芳草，當刈未刈。早有霜雪，枝葉雖早萎病絕落，何能傷於我乎？哀惜眾芳摧折，蕪穢而不成也。言己斥棄，則使眾賢志士失其所也。」按平添「我」字，未當。然以「萎絕」與「蕪穢」相對，則頗有心思。此蓋言眾芳未衰萎，而先已蕪穢，Nietzsche 所謂 “Die Fäulnis von der Reife” 是矣。
〇〈離騷〉：「謇吾法夫前修兮，非世俗之所服。」王逸注：「言我忠信謇謇者，乃上法前世遠賢，固非今時俗人之所服行也。一云：言己服飾雖為難法，我仿前賢以自修潔，非本今世俗人之所服佩。」按「修」字指賢哲亦指修潔，「服」字指衣飾亦指遵循，所謂虛涵兩意也，參觀第七二八則論《柳南隨筆》。叔師解道此，而未窺下文悉本之雙關。如緊接云：「雖不周於今之人兮，願依彭咸之遺則」，則上兩句之「前修」謂前賢，而「所服」謂服行。下又云：「余雖好修姱以鞿羈兮，謇朝誶而夕替，既替余以蕙纕兮，又申之以攬茝」；又云：「進不入以離尤兮，退將復修吾初服，製芰荷以為衣兮，集芙蓉以為裳」；又云：「佩繽紛其繁飾兮，芳菲菲其彌章，民生各有所樂兮，余獨好脩以為常」；又云：「汝何博謇而好修兮，紛獨有此姱節，薋菉葹以盈室兮，判獨離而不服。」則「修」謂修飾，「服」謂衣服，王叔師釋「好修」為好修正常之行，非也。下又云：「夫孰非義而可用兮，孰非善而可服」，「不量鑿而正枘兮，固前修以菹醢」，則「修」謂前賢，「服」謂服行。下又云：「兩美其必合兮，孰信修而慕之」；又云：「苟中情其好修兮，何必用夫行媒」；又云：「豈其有它故兮，莫好修之害也」，「修」皆謂修飾潔美。直指曲喻，錯綜其事。參觀 Stephen Ullmann, Semantics,
pp. 188 ff.: “Ambiguity as a Device of Style”。又按 Philip Wheelwright, The Burning
Fountain, p. 106: “In simile the vehicle is plural, the tenor single; in plurisignation,
the vehicle is single, the tenor plural”。若「修」、「服」皆一字兩意，而復以此意喻彼意，兼 simile 與plurisignation，尤為詞令之奇，余故拈而出之。至於「余以蘭為可恃兮」、「椒專佞以慢慆兮」，叔師以為雙關司馬子蘭、大夫子椒，則粗淺易見耳。參觀七五五則論《老子》十六章。【《汪堯峯文鈔》云：「屈原作〈離騷〉，以香草喻君子，如江蘺、薜芷、蒥荑、揭車、蕙𦶜、蘭、蘜之類，皆是也；以惡草喻小人，則如茅薋、菉葹、蕭艾、宿莽是也。而或謂蘭蓋指令尹子蘭而言，則江蘺、薜芷，又將何所指乎？無論引物連類，立言本自有體，不當直斥用事者之名。令尹……小人之尤者也，原顧欲『滋』之、『紉』之、『佩』之，若與之最相親暱，亦豈〈離騷〉本旨哉！」[13]】【張平子〈思玄賦〉力仿〈離騷〉，然云：「襲溫恭之黻衣兮，披禮義之繡裳。辮貞亮以為鞶兮，雜技藝以為珩」，則明言之為比喻，如下文之「結典籍而為罟兮，敺儒墨以為禽」，索然不耐玩味矣。】
〇「女嬃之嬋媛兮，申申其詈予。」姜注引張雲璈《選學膠言》引《文選集解》云：「『嬃』者賤妾之稱，『嬋媛』、妖態也」，較舊說為長。按施愚山《矩齋雜說》云：「天上有須女星，主管布帛嫁娶；人間使女謂之『須女』，須者、有急則須之。故《易》曰：『歸妹以須，反歸以娣』，言『須』乃賤女，及其歸也，反以作『娣』。『娣』者，屬妃之次。古者國君一娶九女，『娣』、『姪』從之。後人加『女』於『須』下，猶『娣』、『姪』之文本不從『女』，後人各加『女』於旁也。漢呂后妹樊噲妻名呂嬃，蓋古人多以賤名子女，祈其易養之意；生女名『嬃』，猶生男名『奴』耳。屈所云『女嬃』，明從上文『美人』生端。『女嬃』謂『美人』之下輩，見美人遲暮，輒亦無端詬厲；『嬋媛』、賣弄之態，『申申』、所詈不一詞也。丈夫不能遭遇建立，致小輩揶揄，亦足悲矣！」直說詩解頤者，張氏竊之耳。
〇〈離騷〉：「索藑茅以筳篿兮，命靈氛為余占之。（中略）恖九州之博大兮，豈唯是其有女？曰勉遠逝而無狐疑兮，孰求美而釋女？何所獨無芳草兮，爾何懷乎故宇？」按下文云：「何離心之可同兮，吾將遠逝以自疏。」《詩‧邶風‧柏舟》云：「覯閔既多，受侮不少。靜言思之，不能奮飛。」屈子則奮飛遠邁矣！而繼之曰：「陟陞皇之赫戲兮，忽臨睨夫舊鄉。僕夫悲余馬懷兮，蜷局顧而不行」，終之以「亂曰：已矣哉，國無人莫我知兮，又何懷乎故都？」[14]〈遠遊〉亦始曰：「悲時俗之迫阨兮，願輕舉而遠遊。（中略）絕氛埃而淑尤兮，終不反其故都。（中略）春秋忽其不淹兮，奚久留此故居」；繼之曰：「涉青雲以汎濫游兮，忽臨睨夫舊鄉。僕夫懷余心悲兮，邊馬顧而不行。思舊故以想像兮，長太息而掩涕」；終之曰：「超無為以至清兮，與泰初而為鄰。」〈九章‧涉江〉亦始曰：「世溷濁而莫余知兮，吾方高馳而不顧。駕青虯兮驂白螭，吾與重華遊兮瑤之圃」；繼之曰：「乘鄂渚而反顧兮，欸秋冬之緒風。（中略）船容與而不進兮，淹回水而疑滯」；終之曰：「苟余心其端直兮，雖僻遠之何傷」；亂曰：「忽乎吾將行兮！」皆兼無可忍與不忍、訣絕與依戀兩層。欲去還留，難留終去，文心曲折，文瀾往復，真司空《詩品‧委曲》所謂「似往已迴」者，視〈柏舟〉又進一解。賈生〈惜誓〉祇言「澹然而自樂兮，吸眾氣而翺翔。念我長生而久仙兮，不如反余之故鄉。」始不言何以去，終不言竟去，遂徑直無餘味矣。高舉雲霄，下睨故國，反袂弭節，流連不舍，與 Dante, Paradiso, XXII. 133-5:
“Col viso ritornai per tutte quante / le sette spere, e vidi questo globo / tal,
ch’io sorrisi del suo vil sembiante”; 151-3: “L’aiuola che ci fa tanto feroci,
/ volgendom’ io con li etterni Gemelli, / tutta m’apparve da’ colli a le foci”[15] (La Divina Commedia, a cura di Natalino
Sapegno, pp. 1056 & 1058)[16]; D’Aubigné, Le Printemps, II: “Je
me sens assez de courage / Pour voulloir et pour voller mieux, / Et mon esprit, qui est volage, / Volle tousjours devers les
cieux. // Je desdagne ce gros fardeau / De la terre pesante et d’eau / Et encor’
ce qui sent la terre; / Je volle hault, j’ay en mespris / Cette masse qui faict la guerre / Aux beaux et volages espritz”
(Jean Rousset, Anthologie de la Poésie
baroque française, I, p. 64) 境同而心迥異。蓋遁世異於出世，所謂未能忘情，唯其粘著不灑脫，故悱惻纏綿耳。參觀第六四○則論昌黎〈雜詩〉，又七○一則 J. Kerner: “Wanderlied”、七六七則論 Eicher: “Reise”。
〇〈離騷〉：「為余駕飛龍兮，雜瑤象以為車。（中略）鳳皇翼其承旂兮，高翱翔之翼翼。忽吾行此流沙兮，遵赤水而容與。麾蛟龍使梁津兮，詔西皇使涉予。」按大有語病。飛龍為駕，鳳皇承旂，乃竟不能飛度耶？有翼之飛龍，詎不如無翼之蛟龍耶？屈子之不能飛越流沙，亦如《西遊記》二十二回行者所謂不能駕雲馱唐僧跳過流沙河耶？嚴忌〈哀時命〉云：「弱水汩其為難兮，路中斷而不通。勢不能淩波以徑度兮，又無羽翼而高翔」，下文云：「車既弊而馬罷兮，蹇邅徊而不能行」，則無語病。他如〈九歌‧東君〉云：「靈之來兮蔽日，青雲衣兮白霓裳」，「靈」即「日」，其至乃「蔽日」乎？王注云：「日神喜悅，於是來下，其官屬蔽日而至也。」平添「官屬」，強為之詞，殆亦窺原語之矛盾矣。〈九章‧抽思〉云：「有鳥自南兮，來集漢北。（中略）望北山而流涕兮，臨流水而太息。」[17]鳥何能痛哭流涕長太息如賈生乎？〈九辯‧之四〉云：「皇天淫溢而秋霖兮，后土何時而得乾！塊獨守此無澤兮，仰浮雲而永歎。」豈人所處在后土以外，而雲浮於別一皇天乎？皆不中理。夫誕亦有理，奇亦有法，正如盜亦有道。潘少白諮《常語》卷上云：「事之至奇者，理之所固有者也。若無是理，必無是事。譬如挾太山以超北海，事所必無。然究竟太山與挾者類，北海與超者類，故雖無此事，猶許人說，蓋夢思所能夠。若挾北海以超太山，亦無此幻說矣。」Croce 所謂 “Lo stesso principio di contraddizione non è altro, in fondo, che il
principio estetico della coerenza” (Estetica,
10a ed. p. 51) 是也。Théodule
Ribot 云：“Entre l’imagination
créatrice et la recherche rationnelle, il y a une communauté de nature: toutes
deux supposant la faculté de soisir les ressemblence” (Essai sur l’Imagination créatrice, p. 25)；Raymond Bayer 云：“L’artiste,
par ses origines, relèverait d’une logique d’analogue, opposée à celle de l’identique”
(Traité d’Esthétique, p. 50)。蓋大前提無根不實，雖荒唐譎詭，而小前提及結論必順理成章、有序有則，與 “la recherche rationnelle”
同具 “logique” 者，端在於此。參觀七三○則論 Goethe, Spruchweisheit in Vers
und Prosa, in Sämtliche
Werke, “Tempel-Klassiker”, III, S. 309。
〇〈九歌‧之一‧東皇太一〉：「靈偃蹇兮姣服，芳菲菲兮滿堂。」按〈離騷〉亦云：「芳菲菲而難虧」；〈九歌‧之六‧少司命〉又云：「芳菲菲兮襲予。」「靈」字，王注云：「謂巫也。」洪補注云：「言神降而託於巫也」，卓識妙悟，遠過叔師。〈九歌‧之二‧雲中君〉云：「靈連蜷兮既留」；又云：「靈皇皇兮既降。」王注前句云：「『靈』、巫也，楚人名巫為『靈子』」；注後句云：「『靈』謂雲神也。」蓋亦知「靈」既為召神之巫，并為附巫之神，特未溝而通之耳。姜亮夫駁王，謂：「〈九歌〉言巫曰『靈保』，其單言『靈』者，指當篇所祠之神言，本處即指東皇太一」云云。見地乃出王下，遑論洪哉！近世考論初民宗教巫術者，每言 “La loi de participation”
(L. Lévy-Bruhl, Les fonctions mentales
dans les sociétés inférieures, p. 77) 或 “Analogiezauber”，如 E. Cassirer 云：“Es ist kein blosses
Schaustück und Schauspiel, das der Tänzer, der in einem mythischen Drama
mitwirkt, aufführt; sondern der Tänzer ist der Gott, wird zum Gott” (Philosophie
der symbolischen Formen, II, S. 53; cf. S. 83, 293); A. Koestler: “The
shaman who danced the part of the rain god was
the rain god, & yet remained the shaman at the same time” (The Act of Creation, . 308-9)。〈九歌〉中「靈」字當作如是觀。元曲賈仲名《對玉梳》第一折云：「俺娘自做師婆自跳神」；《紀錄彙編》卷一九八高拱〈病榻遺言〉引俗諺云：「又做師婆又做鬼」，即洪氏《補注》之意。又按《詩經‧小雅‧楚茨》之「神保是饗」、「神保是格」、「神嗜飲食」[18]、「神具醉止」、「神保聿歸」，「神保」即〈東君〉之「思靈保兮賢姱」，洪注謂「神巫」是也。《毛傳》：「『保』、安也」，失之甚遠。「神」與「神保」錯見同指，與《楚辭》印可。〈湘君〉之「沛吾乘兮桂舟」、「邅吾道兮洞庭」、「女嬋媛兮為余太息」、「捐余玦兮江中，遺余佩兮醴浦」；〈湘夫人〉之「聞佳人兮召予」；〈大司命〉之「眾莫知兮余所為」；〈河伯〉之「魚鱗屋兮龍堂」；〈山鬼〉之「君思我兮不得閒」，「吾」、「予」、「我」皆巫託為靈之言，王注胥言屈子自謂，失之甚遠。然〈大司命〉云：「何壽夭兮在予」，王注：「予，謂司命」；〈東君〉云：「撫余馬兮安驅」，王注：「余，謂日也」；又云：「操余弧兮反淪降」，「撰余轡兮高駝翔」，王注：「言日誅惡以後，復循道而退」；〈國殤〉云：「凌余陣兮躐余行」，王注：「言敵家來，侵凌我屯陣，踐躐我行伍也」（按《三國志‧蜀書‧龐統法正傳》法正與劉璋牋云：「而敵家則數道並進」；《五燈會元》卷二六祖示法達偈云[19]：「心迷法華轉。心悟轉法華。誦久不明己。與義作仇家。」參觀《三國志‧魏書‧徐胡二王傳》王基上疏曰：「今與賊家對敵，當不動如山。」今語仍有「怨家」之說）。則又不誤，何其不知隅反耶？巫既一身而二任，故以「吾」、「予」、「我」為靈自稱口吻，復以「君」、「夫君」、「女」為巫稱靈口吻。〈東皇太一〉云：「君欣欣兮樂康」，五臣注：「君，謂東皇也」；〈雲中君〉云：「思夫君兮太息」，王注：「君，謂雲神」；〈湘君〉云：「君不行兮夷猶」，王注：「君，謂湘君」；〈大司命〉云：「君迴翔兮以下」，王注：「言司命行有節度」；又云：「踰空桑兮從女」，洪補注：「女，讀作汝，喻欲從君也。」〈湘君〉之「隱思君兮陫側」，「君」亦巫稱靈，王注：「君，謂懷王」，又悠謬矣。巫與靈是一是二，合則為吾我，分則彼此相爾汝，胥出一口，而宛若分身。〈大司命〉云：「吾與君兮齋速。」玩上下文，則「吾」為靈自稱，而「君」則靈謂巫。〈少司命〉云：「與女遊兮九河」、「與女沐兮咸池，晞女髮兮陽之阿」，王注：「言己願託司命，俱沐咸池，乾髮陽阿」，五臣注：「女，謂司命」；〈山鬼〉云：「子慕予兮善窈窕」，王注：「子，謂山鬼也」；又云：「君思我兮然疑作」，王注：「言懷王時思念我」，皆誤玩語氣。「女」、「子」、「君」亦靈謂巫，幾於金聖歎「倩女離魂」法矣。參觀第六一一則論誠齋〈登多稼亭〉絕句。《漢書‧武五子傳》：「廣陵王胥迎女巫李女須，使下神祝詛。女須泣曰：『孝武帝下我。』左右皆伏。言：『吾必令胥為天子。』」前之「我」，女須也；後之「吾」，武帝靈也。而出於女巫一人之口，正與〈九歌〉「靈」字印證。《舊約》先知各〈書〉亦可比勘，雖每用 “thus saith the Lord” 以別於先知自言，然如 Micah, II. 7: “... are these his doings? do not my words do good to one
who walks uprightly?”，“his” 乃 Micah 稱 “the Lord”，而 “my” 又為 “the Lord” 自稱。故如聖經公會〈彌迦書〉譯文云：「這些事是他所行的麼？我耶和華的言語豈不是與行動正直的人有益麼？」原文緊相啣接，不辨葛龔。Walter Muschg, Tragische
Literaturgeschichte, 3te Auf., S. 97 舉此為 “ein denkwürdiges
Ineinanderfliessen des göttlichen und des menschlichen Ich” 是也，亦猶〈九歌〉之前言「靈」為巫語，後言「余」為靈自語，羌不分剖。又按 Amos, III. 1: “Hear this word that the Lord hath spoken against you, O children
of Israel, against the whole family which I brought up from the land of Egypt,
saying...” 之 “I” 亦 “the Lord” 自稱，而承 “Hear” 來，則一若 Amos 自稱（〈阿摩司書〉譯文云：「以色列人哪！你們全家是我從埃及地領上來的，當聽耶和華攻擊你們的話」）。
〇〈九歌‧之三‧湘君〉：「採薜荔兮水中，搴芙蓉兮木末。」按〈湘夫人〉亦云：「鳥萃兮蘋中，罾何為兮木上？」《後漢書》卷十一〈劉玄傳〉李淑上書云[20]：「譬猶緣木求魚，升山採珠。」後世諧詩所謂「極目遙聽欸乃歌，耳中忽見片帆過，鯉魚飛到樹枝上，波面何人駕黑騾」[21]；「竹鞋芒杖快遨遊，一葉扁舟嶺上浮，長笛數聲天欲睡，有人騎犬上高樓。」E.R. Curtius, Europäische Literatur
und lateinisches Mittelalter, 2te Auf., S. l04-8 論 “verkehrt Welt” (“Reihung
unmöglicher Dinge [ἀδύνατα, impossibilia]”) 即此。參觀第六九五則論《焦氏易林》卷二〈比〉之〈屯〉、《參同契》中篇，又第七○三則論 Théophile de Viau: “Le
monde renversé”。若《一夕話》之「一樹黃梅個個青，響雷落雨漫天星；三個和尚四方坐，不言不語口念經」，則自語相違，雖亦 impossibilia，然屬論理之不可能 (logical impossibility)，非物理之不可能 (physical impossibility)。Horace, Ars Poetica 詩諷畫海豚於林中，狀野豬於波上 (Delphinium silvis appingit, fluctibus aprum)[22]，亦可比勘。
〇〈天問〉所問，什九為人事而非物理，中又什九為往迹，亦見作者之不能玄思矣。《困學紀聞》卷九云：「顏之推〈歸心篇〉、孔毅父〈星說〉亦仿屈子〈天問〉之意。然〈天問〉不若《莊子‧天運》之簡妙。巫咸祒之言，不對之對，過柳子〈天對〉矣。傅元〈擬天問〉見《太平御覽》。」按《莊子》「天其運乎」數語，簡括流轉，碻勝〈天問〉「明明闇闇，惟時何為」以至「何闔而晦，何開而明」一大節之重疊堆垜。然上古寓言俗說，賴此勿墜。開篇所謂「遂古之初，誰傳道之」是也。又見第七八一則。
〇〈九章‧之一‧惜誦〉：「指蒼天以為正。」按〈離騷〉亦云：「指九天以為正。」
〇〈九章‧之二‧涉江〉：「深林杳以冥冥兮，猿狖之所居。山峻高以蔽日兮，下幽晦以多雨。霰雪紛其無垠兮，雲霏霏而承宇。」按此及〈湘夫人〉之「嫋嫋兮秋風，洞庭波兮木葉下」等不下十數處，皆開後世寫景法門。《文心雕龍‧辨騷篇》云：「論山水，則循聲而得貌」；〈物色篇〉云：「然則屈平所以能洞監風騷之情者，抑亦江山之助乎？」[23]可謂談言微中。惲子居《大雲山房文稿二集》卷三〈游羅浮山記〉謂：「三百篇言山水，古簡無餘詞。至屈、左徒而後，瑰怪之觀，遠淡之境，幽奧朗潤之趣，如遇於心目之間」云云，殆本彥和之意而發揮者。【江弢叔詩畫風。[24]】
〇〈九章‧之三‧哀郢〉：「心絓結而不解兮，思蹇產而不釋。」按〈惜誦〉云：「背膺牉以交痛兮，心鬱結而紆軫」，又云：「固煩言不可結貽兮，願陳志而無路」；〈九章‧之四‧抽思〉云：「思蹇產之不釋兮，曼遭夜之方長」[25]，又云：「結微情以陳辭兮，矯以遺夫美人」；〈九章‧之五‧懷沙〉云：「鬱結紆軫兮，離愍而長鞠」；〈九章‧之九‧悲回風〉云：「悲回風之搖蕙兮，心冤結而內傷」，又云：「糺思心以為纕兮，編愁苦以為膺」，又云：「心鞿羈而不形兮，氣繚轉而自締」；〈九章‧之六‧思美人〉云：「媒絕路阻兮，言不可結而貽。」〈曹風‧鳲鳩〉之「其儀一兮，心如結兮」（《毛傳》：「言執義一則用心固。正義：謂不散如物之裹結，《素冠》云『我心蘊結』，又為憂愁不散如裹結，與此同）；〈小雅‧正月〉之「心之憂矣，如或結之」；南唐後主〈相見歡〉之「剪不斷，理還亂」；沙士比亞 Macbeth, II. ii. 38: “the ravell’d sleave of care” 可以參觀【Le fils des idées, chain of thought, der Faden des Denkens; Petrarca, Sonetti, 10: “Ne per suo mi riten nè
scioglie il laccio”】。「結」乃締織之結；《莊子‧人間世》郭象注：「喜懼戰於胸中，固已結氷炭於五臟矣」，則凝合之結矣。愁則糾結而不可解釋，言則紛亂而不可貫結。微情組結，則成章有條，足以陳詞達志。鑄詞之妙如此！王注「固煩言不可結貽兮」云：「積思累日，其言煩多，不可結續」；注「思蹇產之不釋兮」云：「心中詰屈，如連環也」；注「結微情以陳詞兮」云：「結續妙思，作詞賦也」，皆佳。竊謂〈哀郢〉云：「心不怡之長久兮，憂與愁其相接」（王注：「憂愁相續，無有解也」），〈悲回風〉云「愁鬱鬱之無快兮，居戚戚而不可解」（王注：「思念憔悴，相連接也」），可以釋「結」之第一義。〈抽思〉云「兹歷情以陳辭兮，蓀詳聾而不聞」（王注：「發此憤思，列謀謨也。一作『歷兹情』」），可以釋「結」之第二義。「歷」者，依次有序、一一連貫，王注未切。《全唐文》卷二二一張燕公〈江上愁心賦〉云：「貫愁腸於巧筆，紡離夢於哀弦」，「紡」字用意正同「結」字。
〇〈九章‧之五‧懷沙〉：「伯樂既沒，驥焉程兮？」按少陵〈天育驃圖〉云：「如今豈無騕褭與驊騮？時無王良伯樂死即休」；昌黎〈雜説‧之四〉：「世有伯樂，然後有千里馬。千里馬常有，而伯樂不常有。嗚呼！其真無馬耶？其真不知馬也？」一詩一文，奇崛沉痛，已蘊此八字中。仇注杜詩引趙曰退之文意本於此，而於杜、韓之皆本屈子，則歷來未拈出（參觀七七○則論《詩‧鄭風‧叔于田》）。〈離騷〉：「亂曰：已矣哉， 國無人莫我知兮」；〈九辯‧之五〉：「却騏驥而不乘兮，策駑駘而取路。當世豈無騏驥兮，誠莫之能善御。見執轡者非其人兮，故駶跳而遠去」（東方朔〈七諫‧之七‧謬諫〉襲此六句，僅三、四字異）；〈九辯‧之八〉：「國有驥而不知乘兮，焉皇皇而更索？」[26]皆此意耳。
〇〈九章‧之六‧思美人〉：「因歸鳥而致詞兮，羌迅高而難當。」[27]按劉向〈九歎‧之六‧憂苦〉云：「願寄言於三鳥兮，去飄疾而不可得。」參觀第六三一則論《陽春白雪》後集卷五蒲察善長〈新水令〉。《演繁露續集》卷四：「牧之〈獵詩〉：『憑君莫射南來雁，恐有家書寄遠人。』沈存中用之作〈拱辰樂府〉曰：『彎弓不射雲中雁，歸雁而今不寄書。』」
〇〈九章‧之七‧惜往日〉：「卒沒身而絕名兮，惜壅君之不昭。」按又云：「不畢辭而赴淵兮，惜壅君之不識。」以君「壅」而不肯遽死，恐心事之不白也。東方朔〈七諫‧之二‧沈江〉云：「懷沙礫而自沉兮，不忍見君之蔽壅。」以君「壅」而知心事之不得白，遂逕死也。
〇〈遠遊〉：「往者余勿及兮，來者吾不聞。」按《莊子‧人間世》載〈楚狂接輿歌〉云：「來世不可待，往者不可追」，王、洪、姜亮夫皆失引。參觀第二八三則論《全前漢文》卷二十五東方朔〈七諫〉。
〇〈遠遊〉：「曰：『道可受兮不可傳。』」按《困學紀聞》卷十云：「〈大宗師〉曰：『道可傳而不可受。』屈子〈遠遊〉曰：『道可受兮不可傳。』敢問其所以異？莊子所謂『傳』，『傳』以心也；屈子所謂『受』，『受』以心也。目擊而存，不言而喻。耳受而口傳之，離道遠矣！」厚齋之言是也。莊、屈之用意無乎不同，直所從言之異路耳。王叔師注「可受」曰：「無言也」，注「不可傳」曰：「誠難論也」，已得厥旨。昌黎〈五箴‧言箴〉云「不知言之人，烏可與言？知言之人，默焉而其意已傳」，亦其意也。
〇〈遠遊〉：「虛以待之兮，無為之先。」按洪興祖《補注》云：「此所謂『感而後應，迫而後動，不得已而後起。』正亦不亞王弼之註《老》、郭象之註《莊》。僧璨〈信心銘〉云：「止動歸止，止更彌動。」《邵氏聞見後錄》[28]、《清波雜志》卷九皆記胡安定一日召徐仲車食，二女侍側，仲車問：「或問見侍女否，將何以對？」安定曰：「莫安排。」仲車大悟。[29]均可參證。【《易‧隨》：「隨時之義大矣哉。」王弼注：「隨之所施，唯在於時也。……物皆說隨，不勞明鑒。」按即〈遠遊〉「虛以」。】
〇〈遠遊〉：「下崢嶸而無地兮，上寥廓而無天。」洪興祖《補注》引顏師古曰：「崢嶸，深遠貌也。」按司馬相如〈大人賦〉襲此二語，《漢書‧司馬相如傳下》師古注，即洪氏所引。〈相如傳上‧游獵賦〉云：「刻削崢嶸」，師古無注，則「高峻」之意；〈西域傳上〉杜欽說王鳳云：「臨崢嶸不測之深」，師古注：「崢嶸，深險之貌也。」「崢嶸」乃高峻，而反訓為深遠。《莊子‧逍遙遊》曰：「天之蒼蒼，其正色耶？其遠而無所至極耶？其視下也亦若是，則已矣。」正此手眼。參觀 Stephen Ullmann, Semantics, p. 168: “The Latin altus, for example, can mean ‘high’ or ‘deep’
according to the speaker’s point of view: whether he is looking at an object
from below upwards or from above downwards (Lewis & Short)”; A. Preminger, ed., Encyclopedia of
Poetry & Poetics, p. 71: “Bathos: Gr. ‘profundity’ or ‘height’,
according to the point of view... Longinus made bathos a synonym of hypsos (the sublime) in On the Sublime, 2. 1”。德語謂「不可測」曰 “bergetief”,尤切所謂「下崢嶸」。
〇〈漁父〉：「歌曰：『滄浪之水清兮』」云云，洪《補注》引《孟子》孺子之歌。按《困學紀聞》卷八復引《文子‧上德篇》云：「混混之水濁，可以濯吾足乎？泠泠之水清，可以濯吾纓乎？」
〇〈九辯‧之四〉：「豈不鬱陶而思君兮？君之門以九重！猛犬狺狺而迎吠兮，關梁閉而不通。」按〈招魂〉云：「魂兮歸來！君無上天些。虎豹九關，啄害下人些。」
〇〈九辯‧之五〉：「何時俗之工巧兮？背繩墨而改錯！」按〈離騷〉云：「固時俗之工巧兮，偭規矩而改錯」；〈九辯‧之六〉云[30]：「何時俗之工巧兮？滅規矩而改鑿。」王注〈離騷〉、洪補注〈九辯〉皆云[31]：「錯，置也。」竊謂「錯」當是「改錯」之「錯」，與「鑿」相應。若〈離騷〉之「皇天無私阿兮，覽民德焉錯輔」，則「錯」固可訓為「置」耳。姜亮夫注〈離騷〉：「固時俗之工巧兮」二句云：「東方朔〈七諫〉用此二句，改『偭規矩』為『滅規矩』，義自當也。」似未睹〈九辯〉早改「偭」為「滅」者。又此二句見〈七諫‧之七‧謬諫〉，〈七諫‧之二‧沈江〉已云「滅規矩而不用兮，背繩墨之方正」矣。
〇〈招魂〉王逸注云：「宋玉憐哀屈原忠而斥棄，愁懣山澤，魂魄放佚，厥命將落，故作〈招魂〉，欲以復其精神，延其年壽。」按蕭穆《敬孚類稿》卷一〈楚辭招魂解〉略云：「王逸謂宋玉招屈原之魂，《文選》、洪興祖、朱文公皆仍之。而《史記‧屈原傳‧贊》云：『余讀〈離騷〉、〈天問〉、〈招魂〉、〈哀郢〉，悲其志。』則此篇實屈原作，所招當即楚懷王魂。中間所述聲色之娛、飲食之美，非弟子招師之魂之道也」，卷三〈書朱文公楚辭集注後〉重申此說。讀書甚得間，惜未引沈炯〈歸魂賦〉（《全陳文》卷十四）云[32]：「屈原著〈招魂〉篇」為佐證。〈招魂〉、〈大招〉不問誰作，所招則斷非屈原之魂。〈招魂〉云：「魂兮歸來，反故居些！」於是舖陳高堂邃宇、層臺累榭、冬厦夏室、室中珍怪，豈屈子「故居」華奐如是耶？侈言宮室之美、耳目口體之奉，豈屈子平生愛好乃在此耶？至云：「二八侍宿，射遞代些！」屈子貪歡縱慾當不如是也。諸所鋪張，皆非國君身分不辦，但未必即楚懷王。使所招為屈原之魂，則亂何以曰：「獻歲發春兮，汩吾南征」，「與王趨夢兮課後先，君王親發兮憚青兕」耶？王逸《註》不得不強為之說曰：「嘗侍從君獵，今乃放逐，歎而自傷閔也」；五臣《註》亦不得不曰：「代原為詞。」與上下語氣不貫，而亂之全寫狩獵亦無可索解。竊謂「吾」乃招魂之人，「王」乃所招之魂，「與王趨夢」乃儼然如在左右，親覩其事，彷彿搬演，使情景逼真；亂曰乃窮源探本、追究根由，上溯時地。王今春獵於夢澤，為青兕所懾（大類《國策‧楚策第一》楚王與安陵君獵於雲夢，「有狂兕䍧車依輪而至」），遂亡其魂（五臣注云：「君王親射青兕，懼其不能制」，亦窺此意，而鑿空杜撰云：「我佐君殺之」，真畫蛇添足），故承之曰：「朱明承夜兮，時不可以淹。臯蘭被徑兮，斯路漸。」蓋促驚魂之歸舍也，當與篇首云：「朕幼清以廉潔兮」，「長離殃而愁苦」合觀。蓋患者初不自知得病之由，招魂者始洞察其癥結耳。吾鄉曩時小兒有病，長者每云：「此受驚而魂魄走失。」於是詳詢或臆斷其受驚之處，往而呼名招之，曰：「毋恐毋駴，偕我返舍！」復代之對曰：「唯！吾歸矣！」拾土裹紅紙中，歸而納病者枕下。余二十餘歲，尚見家人與鄰里為之。Antoine Hamilton 小說 “Le Bélier”: “Le roi de Lombardie... était devenu
fou pour avoir couché une nuit dans un château au milieu d’un bois, où il s’était égaré en chassant... Tout ce qu’elle dit à ceux
qui l’avoient consultée sur la maladie de leur Prince, fut que ses enfans n’avoient
qu’aller chercher l’esprit de leur père au même endroit où il l’avoit perdu” (Oeuvres complètes, Paris: A. Bélin,
1818, p. 231)，均足參證。至〈大招〉末節，接頌揚諛媚之詞，如「名聲若日，照四海只。德譽配天，萬民理只」，「魂乎來歸！尚三王只」，更望而可知所招必國君之魂矣。
〇〈招魂〉：「巫陽對曰：『掌夢。』」按王注云：「招魂者，掌夢所主職也。」語欠分曉，原意謂其人未死，乃為生魂，異於〈禮運〉「升屋而號：『臯某復』」、〈檀弓〉「復，有禱祀之心焉」、〈喪大記〉「唯哭先復，復而後行死事」（鄭注：「復謂招魂」）之為死魂，故掌夢者可以招之。參觀〈九章‧惜誦〉云：「昔余夢登天兮，魂中道而無杭」；〈抽思〉云：「惟郢路之遼遠兮，魂一夕而九逝」，「願徑逝而未得兮，魂識路之營營。」〈哀郢〉云：「羌靈魂之欲歸兮，何須臾而忘反」，王注：「精神夢遊，還故居也。」〈遠遊〉云：「神倏忽而不反兮，形枯槁而獨留」，「神」即魂也，即〈招魂〉所謂「魂兮歸來！去君之恒幹，何為四方些」（司馬相如〈長門賦〉效之曰：「魂踰佚而不反兮，形枯槁而獨居」）。此皆生人之夢魂、離魂，亦如少陵〈同谷七歌〉之「魂招不來歸故鄉」、〈彭衙行〉之「剪纸招我魂」、〈散愁〉之「老魂招不得」、昌谷〈致酒行〉之「我有迷魂招不得」、東野〈歸信吟〉之「書去魂亦去，兀然空一身」也。少陵〈歸夢〉之「夢魂歸未得，不用楚辭招」，更為本地風光矣。〈九歌‧國殤〉之「魂魄」、「鬼雄」及〈禮魂〉之「魂」，則死人鬼魂，如《太平廣記》卷三百二十引《靈異志》及《幽明錄》「蔡謨」二條所謂「呼魂聲」、「復魄聲」，皆喪家招死人魂也。然其人雖未死，而魂魄離散（參觀東方朔〈七諫‧之六‧哀命〉「哀形體之離解兮，神罔兩而無舍」），已不同夢寐之魂游，非掌夢所能為力，故上帝不從，而必使巫陽招之耳。沈炯〈望郢州城〉詩云：「魂兮何處反，非死復非仙」，又〈歸魂賦〉云[33]：「古語稱收魂升極，《周易》有歸魂卦，屈原著〈招魂〉篇，故知魂之可歸，其日已久。（中略）思我親戚之顏貌，寄夢寐而魂求」，非死非仙，是夢魂的詁。Wundt 分別固結之魂 (die
gebundene Seele) 與游離之魂 (die freie
Seele)，固結之魂即身魂 (Körperseele)，心識是也；游離之魂有二：氣魂 (Hauchseele) 、吐息是也，影魂 (Schattenseele)、則夢寐是矣 (Mythus und
Religion, S. 78-9, S. 128 f.)。掌夢招魂，良以此耳。又按〈招魂〉、〈大招〉侈陳五欲之娛，誘彼游魂，歸厥恒幹。枚乘〈七發〉亦以此法起病療疾，改平列而為層進，謀篇布局遂邁前人。洪北江《卷施閣文乙集》卷二〈七招〉，以〈招魂〉與〈七發〉融鑄為一，故篇首云：「寐而失魂」，篇終云：「詞尚未盡，魂已倏合；體肉既動，唇吻開合」，真能於舊解出新意者。枚乘此作，祖構者毋慮百餘，北江一篇跳出矣。《文史通義‧詩教上》云：「孟子問齊王之大欲，歷舉輕曖肥甘，聲音采色，『七林』之所啟也；而或以為創之枚乘，忘其祖矣。」孫德謙《六朝麗指》云：「徵之《孟子》，猶不若『說大人』章益為符合，其中疊言『我得志勿為』，非枚乘之所宗歟？」皆尚隔一塵，不知《楚辭》實為淵源所自也。西土若 Milton, Paradise Regained;
Flaubert, La Tentation de Saint-Antoine
蕩心溺志之法略類〈招〉、〈七〉，降魔拒誘之旨又同釋典（《雜阿含經》卷三十九「魔有三女」節、《佛本行集經‧魔怖菩薩品第三十一》、《方廣大莊嚴經‧降魔品第二十一》等），詞意尤為奇恣酣放。
〇〈招魂〉：「巫陽對曰：『掌夢。』上帝其難從。『若必筮予之，恐後之謝，不能復用巫陽焉。』」按當作如此標點。王逸以來，誤以「上帝其難從」亦為巫陽語，遂迂曲不可解。增一「命」字為「上帝命其難從」，大不可不必。蓋上帝不從巫陽語，故巫陽對曰「若必」云云，下文又承以「乃下招」云云也。極寫上帝不肯收回成命，巫陽勉強為之。
〇〈招魂〉：「豺狼從目，往來侁侁些」；五臣注：「從，豎也。」按〈大招〉云：「豕首從目，被髮鬤只」；《埤雅》卷四云：「俗云：『熊羆眼直，惡人橫目。』」
〇〈招魂〉：「蛾眉曼睩，目騰光些。靡顏膩理，遺視矊些。」[34]按下又云：「娭光眇視，目曾波些。」後世「秋水」、「秋波」之詞昉此。〈招魂〉中描繪美人多言其盼睞，它祇言「盛鬋」、「朱顏」而已。〈大招〉刻劃狀貌較詳，然屢道「笑」而不及「盼」，如「嫮目宜笑，娥眉曼只」、「青色直眉，美目媔只；靨輔奇牙，宜笑嘕只。」洪補註：「媔，美目貌。」目之善睞，人所易知；目之宜笑，則更入微矣。
〇〈招魂〉：「大苦鹹酸，辛甘行些。」按下又云：「和酸若苦，陳吳羹些」；〈大招〉云：「醢豚苦狗。」今世湘、鄂人尚好食苦瓜，是其遺風。然〈大、小招〉中道楚庖不及辣，亦如揚子雲〈蜀都賦〉述蜀庖而不及辣（見第二八八則）。豈當時鄉味尚不嗜此耶？
〇〈招魂〉：「被文服繡，麗而不奇」，王注：「不奇，奇也。言誠足奇怪也。」按即《經義述聞》卷三十二「語詞誤解以實義」條之意。參觀第七五四則論「不忿」、「好不風月」。
〇〈大招〉：「豐肉微骨，調以娛只。」按又云：「豐肉微骨，體便娟只」[35]，復云：「曾頰倚耳，曲眉規只」，王注：「曾，重也」，可相發明，即昌黎〈送李愿歸盤谷序〉所謂「曲眉豐頰」。蓋周昉畫中之「肥美人」也，劉龍洲〈浣溪紗〉詞早云：「骨細肌豐周昉畫」矣。參觀 J. Baltrušaitis, Le Moyen-Âge
Fantastique, pp. 132-5 論回教國詩畫中以 “la face lunaire”, “le visage rond” 為美。楊有仁編《太史升庵全集》卷六十四云：「方遜志云：『杜子美論書貴痩硬，論畫馬則鄙多肉。』此自其天資所好而言，非通論也。譬之美人然，東坡云：『妍媸肥瘦各有態，玉環飛燕誰敢輕？』予嘗與陸子淵論字，子淵云：『字譬如美女，清妙清妙，不清則不妙。』予戲答曰：『豐艷豐艷，不豐則不艷。』子淵首肯者再」；卷六十六「周昉畫」條云：「肉不豐，是一生色髑髏；豐肉而骨不微，一田家新婦。《楚辭》云：『豐肉微骨調以娛』；又云：「豐肉微骨體便娟。」便是留佳麗之譜與畫工也。」可謂說詩解頤矣。謝靈運〈江妃賦〉云：「小腰微骨」；《西京雜記》卷一稱合德云：「弱骨豐肌，尤工笑語」，皆可發明。顧書宣《雄雉齋選集》卷一〈題摹周昉妃子出浴圖〉云：「天下俊物少癡肥，美人纖弱名駒瘦。韓幹畫馬獨畫肥，自稱臣畫師天廄。（中略）昉以畫馬法畫人，流傳好事千金購。（中略）肥處誰能一分減，細腰長領翻嫌陋」云云，尚去升庵一間。參觀 Havelock Ellis, Studies in the Psychology of Sex, III,
p. 164 引 C.H. Stratz, Die Schönheit des
weiblichen Körpers, 14th ed., p. 200 列舉女美，首為 “delicate bony structure”，又 p. 166論 “a somewhat greater degree of fatness as a feminine secondary sexual
character”；第七二七則論《王奉常集‧文部》卷五十一〈李郡畫六十美人跋〉；又第一五○則論 Baudelaire, Journaux
Intimes, éd par Ad. van Bever, pp. 119-20 (參觀 M. Praz, Bellezza e Bizzarria, p. 54: “Quanto alle
donne di Rubens, il verso di Baudelaire
s’indugiava nella memoria: ‘Oreiller de chair fraîche où l’on ne peut aimer...’,
da un pezzo in qua, anche prima che si arrivasse all’appiattimento totale della
linea Dior, quando mai si sono, non dico amirate, ma prese sul serio le donne
grasse?... Dire d’una donna che ha ‘forme rubensiane’ è una litote che suona
poco meno offensiva d’una squalifica.”)。又按《萍洲可談》卷一云：「王梅運勾，骨立有風味，朋從目之為『風流骸骨』。金陵官妓有極瘦者，號『生色髑髏』。」升庵語本此。
〇〈大招〉：「青色直眉，美目媔只」，王注：「復有美女，體色青白，顏眉平直。」按平添「白」字，亦知「青色」之不為美，而強解也。然《東觀漢記》卷六明德馬后「長七尺二寸，青白色」（《後漢書‧皇后紀上》省去此三字），則後漢時「青白」連用。洪興祖《補注》云：「『青色』謂眉也。」正王說之謬，是矣。昌黎〈華山女〉詩：「白咽紅頰長眉青」，東坡〈芙蓉城〉詩：「中有一人長眉青」[36]。洪殆因韓、蘇詩而悟得正解耶？如王注云云，與「吹火青唇動」何異乎事見《太平廣記》卷二五一引《笑林》又《皇朝類苑》卷十六、《曲洧舊聞》卷二？惲子居《大雲山房文稿二集》卷一〈釋舜〉謂「〈鄭風〉之『舜』非〈月令〉之『蕣』。『舜』之榮連華英以億計，紅而暈；『蕣』之榮如戎葵，近蒪黑，遠蒪微有光耀。以擬女之顏，比物豈若是歟」；〈東門之枌說〉謂「芘芣」指慚色，非指女色：「芘芣，紫赤色，顏色之美而喻以芘芣，左矣！」亦見毛公與王叔師皆非具眼，一笑！
〇東方朔〈七諫‧之一‧初放〉：「斬伐橘柚兮，列樹苦桃。」按〈七諫‧之七‧謬諫‧亂〉云：「橘柚萎枯兮，苦李旖旎」；黃山谷《豫章先生文集》卷五〈贈劉靜翁頌〉第一首云：「艱勤長向途中覓，掉却甜桃摘醋梨」；《詞林摘艷》卷一李邦佑及無名氏小令皆云「漾了甜桃，去尋酸棗」；劉廷信小令云：「尋酸棗颺了甜桃」；明人評語《風流配》第三回云：「為何撇甜桃而尋苦李」；《金瓶梅》第三八回潘金蓮唱：「讓了甜桃，去尋酸棗。」參觀第三四則論關漢卿《魯齋郎》第二折。
〇劉向〈九歎‧之二‧離世〉：「靈懷其不吾知兮，靈懷其不吾聞。就靈懷之皇祖兮，愬靈懷之鬼神。」按反復呼名，淒摯感人，與《史記‧魯仲連列傳》之兩疊「勝也何敢言事」、兩疊「天下之賢公子也」、三疊「魯仲連先生」、兩疊「有求於平原君者也」異曲同工。《容齋隨筆》卷七謂：「《史記‧陳涉世家》疊用七『死』字，《漢書·溝洫志》五用『石堤』字，而不為重複」，亦可參觀。
〇王逸〈九思‧之六‧悼亂〉：「將升兮高山，上有兮猴猿。欲入兮深谷，下有兮虺蛇。左見兮鳴鵙，右睹兮呼梟。」[37]按《焦氏易林‧大壯〉之〈大壯〉云：「左有噬熊，右有齧虎，前觸鐵牙，後躓强弩，無可抵者」；李蕭遠〈運命論〉：「六疾待其前，五刑待其後，利害生其左，攻奪出其右」；少陵〈石龕〉詩云：「熊羆哮我東，虎豹號我西，我後鬼長嘯，我前狨又啼」，即此情景蔣超伯《麉澞薈錄》卷八謂少陵詩即本《易林》。而以趙壹〈窮鳥賦〉（「罩網加上，機穽在下；繳彈張右，羿子彀左」[38]）最為危苦，西諺所云：“A fronte praecipitium, a tergo lupus”; “Between the devil & the
deep sea” 。然尚不如《賓頭盧突羅闍為優陀延王説法經》之驚心動魄也，見第七六三則。
七六二[39]
莫拉維亞《羅馬故事》改編之同名電影海報 (1955)
雜書：
Raymond
Queneau’s Le Chiendent is said to
contain parodies of the Discours de la
Méthode. They have escaped me, & it is too much bother to re-read
Descartes’ book for the sake of spotting them. Le Chiendent may be said to contain anticipatory parodies of L’Être et le Néant; witness p. 182: “Ils
ne se doutaient pas que l’assiette pleine cachait une assiette vide, comme l’être
cache le néant”[40];
p. 227: “L’être est, le nonnête n’est
pas, L’être n’est pas, le nonnête est” etc., &
p. 285: “Vous ne trouvez pas que le
néant imbibe l’être, disait celui-ci à celui-là qui répliquait:
— L’être ne conjugue-t-il pas plutôt le néant?” (Boris Vian’s novel L’Écume des Jours, 1964, imitating Queneau’s
manner & earning praises from the Master as “le plus poignant des romans d’amour
contemporains”, contains a philosopher called Jean-Sol Partre who wrote a
massive treatise on illuminate signs, entitled La Lettre et le Néon). It certainly contains paraphrases of Hegel,
e.g., p. 128: “C’est
là ce qui est curieux, car je
suis certainement autre” is Hegel’s
dictum: “Etwas und Anderes sind beide
erstens Daseiende oder Etwas. Zweitens ist ebenso jedes ein Anderes” (Wissenschaft der
Logik, Buch I, Abs. i, Kap. 2; Reclams “Universal-Bibliothek” ed., Bd. I,
S. 137).
Alberto
Moravia, Racconti Romani (Opere complete, ed. Bompiani, vol. VII).
The story “Tabù”, though ostentatiously concerned with “una forza misteriosa”
which “protegge” “una cosa o una persona... sacra”[41] (p.
159), is a very amusing dig at that form of wishful thinking called “Gedankenallmacht”
(Freud, Totem und Tabu, Kap. 3, §3);
e.g., “In quel momento, senza volerlo, proprio con naturalezza, mi venne in
mente che Ugo, quel giorno, sarebbe affogato” etc. (p. 136). “Gli amici senza
soldi”: “Ma allora, dico io, l’amicizia sarebbe un’abitudine come prendere il
caffè o comprare il giornale; una comodità come la poltrona o il letto; un
passatempo come il cinema e la foglietta? Ma se è così perché la chiamano
amicizia e non la chiamano piuttosto in un altro modo?” (p. 283). This naïve
questioning erodes deeper than the blunt debunk in the following passage: “Next
to love, I suppose that friendship is the word I distrust most. Our built-in
suspicions are even less inclined to accept ‘I’m your friend’ than ‘I love you’.
Although I say love when I mean desire, I might still convince you that I love
you; but if I tell you I’m your friend you’ll probably put your guard up —
unless of course, you’re a born sucker” (Richard Dohrman, The Heartworm, p. 1). La Bruyère already pointed out that “L’amour
naît brusquement... par tempérament ou par faiblesse... L’amitié au contraire
se forme peu à peu” (Caractères: “Du
Coeur,” 3, Oeuvres, Éd. “Grands
Écrivains de la France”, II, p. 111), i.e., Friendship is formed by habit; cf.
a mot recorded in J.-J. Brousson, Anatole
France en Pantoufles, p. [42]: “Vous
n’avez pas d’amis, Monsieur. Vous avez des habitudes.” “Precisamente a te” (pp.
305 ff.) & “Bassetto” (pp. 413 ff.) are slight variations on the same
theme. The beastly living conditions of the “baracca” are repeatedly described
in “Scherzi del Caldo” (pp. 43 f.), in “Il Morso” (Nuovi Racconti Romani, Op,
comp., XI, p. 219) & in “Addio alla borgata” (XI, p. 323). “Scorfani”,
with its deft mingling of irony & pathos, is one of the best stories in Racconti Romani: “Ma la face di Ida sul ‘non
so che’ mi lasciava in dubbio. In quella frase, lo sentivo, stava la spiegazione
del mistero” etc. (VII, p. 83) — the passage is almost a reductio ad absurdum of Tasso’s famous favorite phrase popularized by Père Bouhours in Les Entretiens d’Ariste et d’Eugène, 5e
Entretiens, Éd. Armand Colin, 1862, pp. 144 ff.; cf. Laurence Sterne’s letter
to Mrs Daniel Draper: “You are not handsome, Eliza... but are
something more... A something in your eyes, & voice... that bewitching sort
of nameless excellence...” (Letters,
ed. L.P. Curtis, pp. 312-3); Leopardi on “le petit nez retroussé” of Roxelane
in Marmontel’s story “Soliman II”, Zibaldone,
ed. F. Flora, I, pp. 210, 891-2, 1031, II, p. 305). For the recurrence of the
phrase in Tasso, see Gerus. Lib., II.
37: “un non so che d’inusitato e molle”[43] (Poesie, ed. F. Flora, p. 42); XII. 5: “un
non so che d’insolito e d’audace”, 66: “un non so che di flebile e soave” (pp.
294, 310); XIII. 40: “un non so che confuso” (p. 331); XVII. 57: “un non so che
di luminoso” (p. 420); XIX. 9: “un non so che soave e piano” (p. 485); XX. 51: “un
non so che rocco et indistinto” (p. 509); Aminta,
I. ii: “un non so che d’amaro” (p. 626).
Swift’s
choice of the horse as the real animale rationale might, as R.S. Crane
plausibly argues, have been suggested by the customary juxtaposition of homo & equus in the textbooks of elementary logic then in use (“The
Houyhnhnms, The Yahoos, & the History of Ideas” in J.A. Mazzo, ed., Reason & the Imagination, pp. 245,
248). But no one seems to have noticed a similar exaltation of the horse over
man in Rochester's poem “Tunbridge-Wells”: “Faith, I was so ashamed that with Remorse
/ I used the Insolence to mount my Horse; / For he, doing only things fit for
his Nature, / Did seem to me by much the wiser Creature” (Poems, ed. V. de Sola Pinto, “The Muses’ Library”, 2nd
ed., 1964, p. 92). For some examples of a “customary feature” of 17th
& 18th century satires on man, to wit, “exhibiting homo sapien
as inferior to the other animals”, see A.O. Lovejoy, Reflections on Human Nature, pp. 15-9.
In a funny
scene in Rotrou’s La Soeur (III, iv),
a character talks gibberish passing for Turkish: “HORACE: Belmen, ne sensulez. ANSELME: Eh bien, que veut-il dire?...
ERGASTE: Il dit qu’ils sont entrés dans une hôtellerie / Où, trinquant à l’honneur
de leur chère patrie, / [six lines more].... AN.: T’en a-t-il pu
tant dire en si peu de propos? ER.: Oui, le langage turc dit beaucoup en deux
mots”[44] (Oeuvres, “Les Classiques Garnier”, pp.
252-3). Molière, who prenait son bien partout
où il le trouvait, imitated the scene in his Le Bourgeois gentilhomme (IV. iv): “CLÉONTE: Bel-men. COVIELLE: Il dit que vous alliez vite avec lui vous
préparer pour la cérémonie, etc. etc.... M. JOURDAIN: Tant de choses en deux mots?
COVIELLE: Oui, la langue turque est comme cela, elle dit beaucoup en peu de
paroles”[45]
(Oeuv. Comp., éd La Société des
Belles Lettres, VI, pp. 271-2). Cf. James Morier’s delightful Hajji Baba in England, ch. 15: Mirza
Firouz, the Persian ambassador, made “a well-set speech” of which he was “so
eminently the master”. The interpreter or “mehmandar having, as it appeared to
us, in six words interpreted this, all that the ambassador got in answer [the
governor of Plymouth] was ‘Oh!’ How what he had to say could have been thrown into
so short a word, we have still to learn” (The World’s Classics, p. 85)[46]. The
words “Pape Satàn aleppe” which Plutus barked at the sight of Dante (Inferno, VII. 1) & “Raphèl maì
amècche zabì almi” which Nimod cried out in rage (Inferno, XXXI. 67) have defied & defeated all linguists &
scholars.[47]
In All’s Well that Ends Well, IV, we
find the so-called “chough’s language”, spoken to hoax the polyglott Parroles.[48] That
fact is as strange as fiction can be seen from the following anecdote: “載洵偕水師提督薩鎮氷赴美國考察海軍，抵華盛頓，參觀艦隊及製造廠畢，海軍當局問之曰：‘貴使有何意見發表否？’洵答曰：‘很好！’繙譯周自齊譯稱曰：‘貴國機器精良，足資敝國模範，無任欽佩！’聞者大譁。……蓋載洵僅一張口，決無如許話也” (《小說大觀》第十五集陳灨一《睇嚮齋秘籙》；cf.
Sheridan, The Critic, III. i, Sneer: “The
devil! — did he mean all that by shaking his head?” Puff: “Every word of it”
etc.) Cf. Hajji Baba in England, ch.
15 in which the mehmandar interpreted Mirza Firouz’s complimentary speech (107
words) “in six words, , as it appeared to us” (The World’s Classics ed., p. 85).
The Chinese equivalent of “Bel-men” should be “波爾勒斯”：“某初至申，偕友至游，忽遇人眾擁擠，華捕持棒亂毆人。某忽怒詈曰：‘波爾勒斯！’捕肅然垂棒而走。友怪問曰：‘汝亦能操西語乎？’某曰：‘吾見伊輩唯知畏洋人，且實不甚知西語，故偽作西語嚇之，不意果中我計也！’”（醉醒生《莊諧選錄》卷二）. The ‘番語’ in 阮大鋮《雙金榜》第三十一齣 is, however, not baragouin
but a fairly exact transcript of Cantonese or Fukienese dialect, e.g., “啞名細薦秦精劣先發菹勦媽細砌茫擠前欣忖告”（俺們是占城、真臘、三佛齊、爪哇四處王子，虔心請教），“還西抹拱拱押綱”（煩師父講講《易經》），“摃哈”（更好），“荒哈俏幾廳俏”（方好朝見天朝）. Stefan George deliberately introduces two lines of “Bel-men” in his
poem “Ursprünge” to express his inexpressible experience of beauty: “Süss und
befeuernd wie Attikas choros / Über die hügeln und inseln klang: / Co besoso
pasoje ptoros / Co es on hama pasoje boañ.” In Goldoni’s La Famiglia dell’Antiquario, I. 17, Arlecchino disguised as an
Armenian dealer in curios, talks some “Bel-men”: “La racaracà, taratapata,
baracacà, curocù, caracà” etc.
(Commedie
scelte, Cremonese, I, p. 367).
Paul Fleming:
“Wider streit in sich selbst”: “Umsonst ist’s, was ich tu, und tu ich noch so
sehr, / Denn mein Verhängnüss wil’s. Was darf ich wollen mehr? / So lieg’ ich
stets mit mir und wider mich zu Felde, / Verkaufe mich mir selbst mit meinem
eignen Gelde, / Bestreite mich durch mich. Der zweifelhafte Krieg / Spricht
meinem Feinde bald, bald mir zu seinen Sieg. / Ich bin mir Freund und Feind. So
streitet Streit mit Friede, / So schlagen sie sich selbst stets an einander
müde, / Bis sich mein matter Leib nicht länger regen kann. / Da fängt der
muntre Geist erst seinen Lärmen an, / Wacht, wenn sein Gastwirt schläft. Und
weil ich mich verwirre, / So macht er selbsten sich in seinem Wesen irre, /
Spielt oft das Widerspiel, und da er weinen soll, / So läuft, so springet er
und jauchzet Lachens voll” (Deutsche
Barocklyrik, hrsg. Max Wehrli, 3te erweiterte Aufl. 1962, S. 40).
This Baroque inner drama is exacerbated into algolagnic or sado-masochistic
nemesism in Baudelaire’s terrible “L’Héautontimorouménos”: “Je suis la plaie et
le couteau! / Je suis le soufflet et la joue! / Je suis les membres et la roue,
/ Et la victime et le bourreau!” (Oeuv.
comp., éd. “la Bibliothèque de la Pléiade”, p. 150). A more meditative
account of homo duplex is given in Shaftesbury’s
“Soliloquy”: “two persons in one individual self... both bad & good,
passionate for virtue & vice, desirous of contraries” (Characteristics, ed. J.M. Robertson, I, p. 121); “Whatever we were
employed in, whatever we set about, if once we had acquired the habit of this
mirror, we should, by virtue of the double reflection, distinguish ourselves
into two different parties” (p. 129); “This self-examing practice & method
of inward colloquy” (p. 211). Cf. infra
七六四則 on Goethe, Faust,
1113-4.
Re-reading La Celestina in Pierre Heugas’s
copiously annotated bilingual edition (“Collection
Bilingue des Classiques Étrangers”, Éd. Aubier), I think Somerset Maugham’s
dismissal is quite just: “La Celestina.
The intrigue is inane. Everyone of the persons expresses himself in the same
fashion, with a constant use of the wise saws which is the curse of Spanish
literature” (A Writer’s Notebook, ed.
Heinemann, p. 200). Of course, an exception should be made of Lazarillo de Tormes, where “the wise
saws” are present in less abundance & interwoven with more skill.
Incidentally, Maugham’s criticism applies also to the dialogue in《金瓶梅》(& to a lesser extent in《醒世姻緣》). Indeed, the constant use of proverbs is the mark of the lack of
breeding & sophistication in life as well as in literature, hence Lord
Chesterfield’s reiterated injunction not “to let off a proverb” (Letters, ed. Bonamy Dobrée, II, p. 461;
cf. supra 第四五○則). Cf. La Celestina: The plot
is “inane” but Celestina herself & the valet Parmeno are both subtly drawn
characters, & some of the brothel scenes are vividly done. A few samples of
Celestina’s distilled wisdom: “La primavera palabra que oí por la calle fué de
achaque de amores” (4 Aucto, p. 208), cf. the old Chinese superstition of “鏡聽”; “que a quien más quieren, peor hablan” (6 Aucto, p. 250), cf. “打者是愛，出於闝經”（《金雀記》&《繡襦記》）; “Ten
siquiera dos [two lovers], que es compañia loable; como tienes dos orejas, dos
pies y dos manos” (6 Aucto, p. 294), cf.
Bernardin de Saint-Pierre: “La nature nous a donné
deux yeux, deux oreilles, deux narines, deux mains, deux pieds pour s’entreaider
fraternellement”,《文心雕龍‧麗辭篇》：“造化賦形，支體必雙；神理為用，事不孤立”,《鬱岡齋筆塵》卷三利瑪竇〈交友論〉第五十六條：“上帝給人雙目、雙耳、雙手、雙足，欲兩友相助（註：‘友’字古篆作
，即兩手也；‘朋’字古篆作
，即兩翼也）” — the old woman’s application of an “ancient saw” in this “modern
instance” is certainly ingenious and witty! However, a caviller might say that
although “one hand washes the other” (The
Oxford Dict. of English Proverbs, p. 343), “deux yeux [qui] ne peuvent pas
se voit” (J. Renard, Journal, éd.
NRF, p. 561)! Burton in the partition on “Love–Melancholy” quoted several times
from “the Spanish Bawd” “Caelestina”, though in Latin (Anatomy of Melancholy, “Everyman’s Lib.”, III, p. 125).
【La Celestina, Decimo Aucto,
p. 352: “Amor dulce... es un fuego escondido, una agradable llaga, un
sabroso veneno, una dulce amargura, una deleitable dolencia, un alegre
tormento, una dulce y fiera herida, una blanda muerte.” This string of oxymora
is taken verbatim from Petrarch’s De Remediis
utriusque fortunae, as Heugas has pointed out: “est enim amor latens ignis,
gratum vulnus, sapidum venenum, dulcis amaritudo, delectabilis morbus, jucundum
supplicium, blanda mors.”[49] See 二七八則 on Robert Greene’s phrase “a bitter sweet” in Menaphon & 七三八則 on Marino, L’Adone, VI.
173-4.】
七六三[50]
透納〈巴比倫〉(1832-4)
陳子昂〈度峽口山贈喬補闕知之王二無競〉：「叢石何紛糾，赤山復翕赩。遠望多眾容，逼之無異色」；昌黎〈早春呈水部張十八員外〉第一首：「天街小雨潤如酥，草色遙看近却無」；曹元寵〈卜算子‧詠蘭〉：「著意聞時不肯香，香在無心處」；姚某伯《復莊詩問》卷十〈車行棗花下〉云：「香來眛所自，即之還疑無。」即司空表聖《詩品‧沖淡》之「遇之匪深，即之已稀」，〈飄逸〉之「如不可執，如將有聞」，〈與極浦書〉之「詩家之景，如藍田日暖，良玉生烟，可望而不可置於眉睫之前也。」亦即《老子》十四章所謂「無狀之狀，無物之象，是謂惚恍」；二十一章所謂「惚兮恍兮，其中有象，恍兮惚兮，其中有物。」談藝論道，皆有斯境界。T.S. Eliot論 vers libre有云：“The ghost of
some simple metre should lurk behind the arras in even the ‘freest’ verse; to
advance menacingly as we doze, & withdraw as we rouse” (To Criticize the Critic, p. 187)，正此之謂。Ruskin, Modern Painters, Part I, Sect. iii, ch.3 描摹 Turner: “Babylon”
設色，尤曲達難狀之景：“You cannot tell where the film of blue on the left
begins — but it is deepening, deepening still — & the cloud, with its edge
first invisible, then all but imaginary, then just felt when the eye is not fixed on it, & lost when it is,
at last rises, keen from excessive distance, but soft and mantling in its body
as a swan’s bosom fretted by faint wind” (George Routledge & Sons, “The New
Universal Library”, I, p. 253)。
〇〈小雅‧大東〉云：「跂彼織女，終日七襄。雖則七襄，不成報章。睆彼牽牛，不以服箱」，「維南有箕，不可以簸颺。維北有斗，不可以挹酒漿。」《鄭箋》云：「織女有織名爾」；《正義》云：「是皆有名無實，亦興王之官司虛列，而無所成也。」《抱朴子‧外篇‧博喻第三十八》云：「鋸齒不能咀嚼，箕舌不能別味，壺耳不能理音，屩鼻不能識氣，釜目不能攄望舒之景，牀足不能有尋常之逝。」《金樓子‧立言篇九下》全襲之，而加鋪比。〈古樂府〉云：「道旁兔絲，何嘗可絡？田中燕麥，何嘗可穫？」《北齊書》卷三十六〈邢邵傳〉云：「雖有學官之名，無教授之實，何異兔絲、燕麥、南箕、北斗哉？」李太白〈擬古‧之六〉云：「北斗不酌酒，南箕空簸揚」；韋蘇州〈擬古‧之七〉云：「酒星非所酌，月桂不為食，虛薄空有名，為君長歎息」；白香山〈寓意詩‧之三〉云：「促織不成章，提壺但聞聲，嗟彼蟲與鳥，無實有虛名」，又〈放言‧之一〉云：「草螢有耀終非火，荷露雖團豈是珠？不取燔柴兼照乘，可憐光彩亦何殊」；黃山谷〈演雅〉云：「絡緯何曾省機織？布穀未應勤種播」；楊誠齋〈初夏〉云：「提壺醒眼看人醉，布穀催農不自耕」；《劉後村大全集》卷一百一〈題汪薦文卷〉摘其〈演雅〉云：「布穀不稼不穡，巧婦無褐無衣，提壺不可挹酒，絡緯匪來貿絲」；黃公度《莆陽知稼翁集》卷五〈偶成〉云：「野鳥春布穀，階蟲秋絡絲；呶呶空過耳，終不救寒饑」；熊稔寰《南北徽池雅調》卷一〈劈破玉歌‧虛名〉云：「蜂針兒尖尖的做不得繡，螢火兒亮亮的點不得油，蛛絲兒密密的上不得簆，白頭翁舉不得鄉約長，紡織娘叫不得女工頭。有什麼絲線兒相牽，也把虛名掛在傍人口！」蓋已成詞章家窠臼矣。韓程愈《白松樓集略》卷五〈槐國詩七絕三十首〉為〈槐國〉、〈蜂衙〉、〈蛙鼓〉、〈蝶板〉、〈鶯梭〉、〈雁字〉、〈麥浪〉、〈松濤〉、〈荷珠〉、〈竹粉〉、〈燈花〉、〈燭淚〉、〈花裀〉、〈柳絮〉、〈蒲劍〉、〈秧針〉、〈茭簪〉、〈荇帶〉、〈蘆筆〉、〈蕉緘〉、〈紙鳶〉、〈繭虎〉、〈游絲〉、〈苔錢〉、〈茄牛〉、〈蟬猴〉、〈橘燈〉、〈蛋鶴〉、〈核舟〉、〈蓮蓬人〉，詞旨平鈍，音律未諧（如〈蘆筆〉云：「江淹何勞夢裏來」【溫飛卿〈偶題〉：「欲將紅錦段，因夢與江淹」】），視《梅村詩集》卷十三〈繭虎〉、〈茄牛〉、〈鯗鶴〉、〈蟬猴〉、〈蘆筆〉、〈橘燈〉、〈桃核船〉、〈蓮蓬人〉七律八首[51]，雅傖靈蠢，相去不可以道里計。而〈自序〉謂：「柳子厚〈永州鐵爐步志〉亟譏世之無其實而冒其名者，偶雨中無事，思萬物之不得其實而冒其名，以欺鄉里小兒者多矣！戲為小詩，以識感慨」云云，則梅村諸作僅以組織典實擅場，無此寓意。按子厚文云：「往來求其所以為鐵爐者無有。問之，人曰：『蓋嘗有鍛者居，其人去而爐毀者不知年矣，獨有其號冒而存。』余曰：『嘻！世固有事去名存而冒焉若是耶？』桀冒禹，紂冒湯，幽、厲冒文、武，以傲天下」【L. S. M. 冒 Marx】云云，則「謝公墩」、「劍池」之倫，與韓氏命題初不倫類。韓氏雖取子厚之意，其取材實〈大東〉、〈演雅〉之遺，而不自知耳。「步」即「埠」，昌黎〈孔戣墓志銘〉亦云：「蕃舶之至泊步，有下碇税。」
〇王驥德《曲律》卷三〈論句法第十七〉云：「我本新語，而使人聞之，若是舊句，言機熟也。」按李笠翁《一家言》卷二〈喬復生王再來合傳〉云：「復生謂予曰：『此曲似經過耳，聽之如遇故人，可怪也』」；《隨園詩話》卷八云：「詩雖新，似舊纔佳。尹似村云：『得句渾疑是舊詩』；陳古漁云：『得句渾疑先輩語。』」即王氏意。《談藝錄》三○六頁引 Keats 語證明：“In Poetry I have a few Axioms... First I think
Poetry... strike the Reader as a wording of his own highest thoughts &
appear almost a Remembrance” (Letter of 27 Feb. 1818, to John Taylor; The
Letters of John Keats, ed. Hyder E. Rollins, I, p. 238)[52]。比見 Francesco De Sanctis 論文，發揮尤妙，亟錄於此：“Le
belle poesie sono come certe persone simpatiche, che appena vedete amate già, e
dite tra voi: — Ecco una vecchia conoscenza! — Quell’ immagine non vi pare al
tutto nouva: vi sembra di averla talora intraveduta ne’vostri sogni, di averla
già conosciuta altra volta, e non vi ricordate dove e quando, ed ora che il
poeta ve la fa brillare davanti, voi la ravvisate e dite: — È dessa! — La
teoria platonica della reminiscenza, spogliata del suo lato mitico, ha un
profondo senso”[53] (“Le ‘Contemplazioni’
di Victor Hugo”, 1856; Saggi critici,
a cura di Luigi Russo, II, p. 46)。《談藝錄》亦引柏拉圖說為解。【Cf. M.H. Abrams, The Mirror & the Lamp, p. 40 paraphrasing Johnson’s doctrine.[54]】參觀 Mme
de Staël, De l’Allemagne, Nouv. éd.
par la Comtesse Jean de Pange et Mlle Simone Balayé, IV, p. 222: “Kant croit que le beau nous fait
sentir le mal du pays, c.-à-d. le souvenir du Ciel”; Massimo d’Azeglio, I Miei Ricordi e Scritti Politici, ed. Ulrico Hoepli, p. 64: “Non sarebbe la musica
una lingua perduta, della quale abbiamo dimenticato il senso, e serbato
soltanto l’armonia? Non sarebbe una reminiscenza?”; 又第七九八則論《紅樓夢》第三回論《紅樓夢》第三回寶玉初見黛玉。又《法藏碎金錄》卷三云：「吾有一事，終未曉其由：嘗與人對談，或至一處所，忽然記憶，有似已曾如此言，已曾如此見，倐然復忘之耳。自壯歲及老年，相識故舊，歴遇五經及第人于澈直、集賢院范貽孫、知制誥路振，此三人亦説其事，與余暗合。」【Johnson on 4 stanzas in Gray’s Elegy: “[They] are to me original: I have never seen the notions in
any other place; yet he that reads them here persuades himself that he has
always felt them” (Lives of the Poets,
ed., B. Hill, III, 442).】【Sainte-Beuve, Mes
poisons, ed. V. Giraud, p. 11: “En relisant dernièrement Théocrite, j’ai
senti se réveiller en moi mon âme pastorale... Voilà les vrais classiques: en
les lisant, il semble qu’on retrouve son âme d’autrefois, on se ressouvient.”】【Holmes,
The Autocrat of the Breakfast-Table, II:
“Now I never wrote a ‘good’ line in my life, but the moment after it was
written it seemed a hundred years old. Very commonly I had a sudden conviction
that I had seen it somewhere.”】【Coleridge: “Recollections of Love” : “As when a
mother doth explore / The rose-mark on her long-lost child, / I met, I loved
you, maiden mild! / As whom I long had loved before” (Poems, ed. R. Garnett, p.
129); Rossetti, The House of Life,
xi, “The Birth-Bond”: “Even so, when I first saw you, seemed it, love, / That
among souls allied to mine was yet / One nearer kindred than life hinted of. / O
born with me somewhere that men forget, / And though in years of sight and
sound unmet. / Known for my soul’s birth-partner well enough”[55]
(Poems, “Everyman’s Library”, p.
108).】【Heine, Gedanken
und Einfälle: “Dichter — während des Dichtens wird ihm zumute, als babe er,
nach der Seelenwandrungslehre der Pythagoreer, in den verschiedensten Gestalten
ein Vorleben geführt — ihre Intuition ist wie Erinnerung” (Ges. Werrke, hrsg. G. Karpeles, S. 86; Aphorismen und Fragmente, in Werke
und Briefe, Aufbau, 1962, VII, 381).】
〇《藥地炮莊》皆以禪家公案機鋒拈弄，曼衍糾繞，絕尟發明。唯當時遺獻如澹歸、李元仲、傅平叔等，皆著墨其上，足徵交往，并資碎金之拾、片羽之采耳。卷三〈大宗師〉：「樝與齋曰：『夢者，人智所現，醒時所制，如既絡之馬，卧則逸去。然經絡過，即脱亦馴，其神不昧，反來告形』」云云。醒時絡馬，卧則逸去，現為夢幻，與 Freud 所謂 “Wir
würden also als die Urheber der Traumgestaltung zwei psychische Mächte
(Strömungen, Systeme) im Einzelmenschen annehmen, von denen die eine den durch
den Traum zum Ausdruck gebrachten Wunsch bildet, während die andere eine Zensur
an diesem Traumwunsche übt und durch diese Zensur eine Entstellung seiner
Äusserung erzwingt” (Die Traumdeulung,
6te Auf., S. 101) 殊相似。Freud 之 “Zensur”
即 Hoffmann, Die
Elixiere des Teufels 所謂 “Ich
meine von der besonderen Geistesfunktion, die man Bewusstsein nennt und die
nichts anders ist als die verfluchte Tätigkeit eines verdammten Toreinnehmers —
Akziseoffizianten — Oberkontrollassistenten, der sein heilloses Comptoir im
Oberstübchen aufgeschlagen hat und zu aller Ware, die hinaus will, sagt: ‘Hei...
hei... die Ausfuhr ist verboten... im Lande, im Lande bleibt’s’” (Sämtl. Werk., hrsg. C.G.v. Massen, II,
S. 263)。抱關之吏、檢審之官、馬首之絡，此物此志也。Paul Shorey, Platonism Ancient & Modern, p. 196: “Plato held the Freudian view that in
sleep the censorship of the reason is suspended & the lawless part of the
soul is released from its control (Rep.
571C ff.; cf. Pope, Eloise to Abelard,
227-8).” 按 Freud 書中未及此，然 Paradise Lost, V. 108 ff. Adam 為 Eve 釋夢即云：“then [Reason] retires / Into her private cell when Nature rests. / Oft in her absence mimic
Fansie wakes / To imitate her; but misjoyning shapes, / wilde work produces
oft, & most in dreams, / Ill matching words & deeds long past or late”，又在 Pope 前。Boswell,
The Ominous Years, 1776, Jan. 11 (ed.
Charles Ryskamp & F.A. Pottle, p. 218): “After I went to bed I had a
curious fancy as to dreams. In sleep the doors of the mind are shut, &
thoughts come jumping in at the windows. They tumble headlong, & therefore
are so disorderly & strange. Sometimes they are stout & light on their
feet, & then they are rational dreams”，亦謂無人守門，如盜賊之自窗潛入，可相發明。參觀第六七八則引 Alice Meynell “Renouncement”。【Emerson, Journals,
IX, 120-1: “I owe real knowledge & even alarming hints to dreams. For the
soul in dreams has a subtle synthetic power which it will not exert under the
sharp eyes of day” (Emerson: A Modern
Anthology, ed. A. Kazin & D. Aaron, p. 47).】【Heraclitus: “There
is one world in common for those who are awake, but that when men are asleep
each turns away into a world of his own” (“Loeb”, Hippocrates & Heraclitus, IV, p. 501).】【劉言史〈樂府雜詞‧之三〉：「夢中無限風流事，夫婿多情亦未知」；李商隱〈閨情〉：「春窗一覺風流夢，却是同衾不得知。」】【《陔餘叢考》卷三十四「圓夢」條。】【《癸巳存稿》卷六：「《莊子》於夢言黃帝、孔子。《史記正義》引〈帝王世紀〉云云（〈五帝本紀〉『黃帝舉風后、力牧』句下注）；《靈樞》有〈淫邪發夢篇〉；《占夢經》《藝文志》有之，曰《黃帝長柳占夢》；孔子兩楹之夢，見〈檀弓〉，是其義也。《列子‧周穆王篇》亦云：『今無黃帝、孔邱，孰辨之哉？』」】
【〇Jules Renard, Journal,
éd. NRF, p. 305: “Des sortes de rêves que je fais debout, comme si toute mon
inconscience chassait ma conscience et se mettait à sa place. Ces images
brusquement venues, je ne les connais pas. Et, comme je ne peux les nier, qu’elles
sont bien là, en moi, il faut croire qu'elles sont d'un autre moi, et que je
suis double.” 惜未見徵引於心析學著作。】
〇《世說‧文學第四》：「衛玠總角時問樂令『夢』，樂云：『是想。」衛曰：『形神所不接而夢，豈是想邪？』樂云：『因也。未嘗夢乘車入鼠穴，擣齏噉鐵杵，皆無想無因故也。』」【劉孝標注引《周官》「六夢」而說之：「所言『想』者，蓋『思夢』也；『因』者，蓋『正夢』也。」】衛、樂皆不知「形神所不接」亦每出於「想」，Freud 論 “Verschiebung”,
“Traumenstellung” (op. cit., S. 123) 是也。《列子‧周穆王篇》云：「故晝想夜夢，神形所遇。故神凝者想夢自消。」張湛注：「此『想』謂覺時有情慮之事，非如世間常語盡日想有此事，而後隨而夢也。」蓋謂「想」不僅指思慕之事，亦指憂懼之事，頗悟微邃。「想」、「因」之別，說者紛紜，如葉子奇《草木子》卷二下云：「夢之大端二：想也，因也。想以目見，因以類感；諺云：『南人不夢駝，北人不夢象』，缺於所不見也」（按《張協狀元戲文》亦有「南人不夢駝，北人不夢象」之語），則所謂「想」，不過物象之印於心者而已，又不詳「因以類感」之說。惲子居《大雲山房文稿初集》卷一〈釋夢〉云：「《周禮‧占夢》三曰『思夢』，樂廣所言『想』也；一曰『正夢』，二曰『噩夢』，四曰『寤夢』，五曰『喜夢』，六曰『懼夢』，廣所言『因』也。後人以『因羊念馬、因馬念車』釋『因』，是亦『想』耳，豈足盡『因』之義也！（中略）因其正而正焉，因其噩而噩焉，因其寤而寤焉，因其喜懼而夢喜懼焉。（中略）心所喜怒，精氣從之，其因乎内者歟？（中略）一體之盈虛消息，皆通於天地，應於物類，其因之兼乎外者歟？聖人明於陰陽之故，（中略）以覺為夢之所由生，以夢為覺之吉凶所由見，其理中正不可易如此」[56]云云，夫「因乎内」即「想」也；「因兼乎外」，「吉凶所由見」，則兆之預也，幾之先也，非由因生果之「因」也。【山谷〈六月十七日晝寢〉云：「紅塵席帽烏鞾裏，想見滄洲白鳥雙；馬嚙枯萁喧午枕，夢成風雨浪翻江」；滄洲為「想」，馬嚙為「因」，合而成風雨之夢、清涼之境，稍解煩熱，則所謂「償願」(“eine Wunscherfüllung” — Freud, S. 86 ff.) 也。二十八字中，於夢理曲盡徧窮矣。Il Decamerone, IX. 7 Talano
夢妻為狼所嚙，醒而告之，戒是日勿出門，妻不聽，曰：“Chi mal ti vuol, mal ti sogna... tu sogni di me
quello che tu vorresti vedere” (ed. Ulrico Hoepli, p. 580)，亦即「償願」之意。《楞嚴經》卷四：「如重睡人，眠熟牀枕，其家有人，於彼睡時，擣練舂米，其人夢中，聞舂擣聲，别作他物，或為擊鼓，或為撞鐘，即於夢時，自怪其鐘，為木石音。」天社節引以注山谷此詩，實未周匝。《楞嚴》祇明夢「因」，未道夢「想」也。】【《金瓶梅》六十七回金蓮曰：「夢是心頭想，㖒噴鼻子癢。」】《周禮‧占夢篇》「六夢」：「一曰『正夢』」，鄭注曰：「無所感動，平安自夢」；「二曰『噩夢』」，鄭曰：「驚愕而夢覺時所思念之夢」；「三曰『思夢』」，鄭曰：「覺時所思念之而夢」；「四曰『寤夢』」，鄭曰：「覺時道之而夢」；「五曰『喜夢』，鄭曰：「喜悅而夢」；「六曰『懼夢』」，鄭曰：「恐懼而夢。」「正夢」非「想」無「因」，「思夢」是「想」，亦緣情之所動，思之所係。竊謂「想」者乃 Freud 所謂 “Wunscherfüllung”
(S. 85, 93)，心所驚懼喜怒皆屬焉，《太平御覽》卷七百五十三引夢書曰「夢圍棋者，欲鬥也」是也。「因」者乃 Freud 所謂 “Traumreizen”
(S. 15-6)、“die Tagesreste” (S. 158; cf. S. 116 on “Traumtag”)，目所見、體所觸、醒時所接、睡時所感皆屬焉，《列子‧周穆王篇》所謂「陰氣壯則夢涉大水，陽氣壯則夢涉大火，飽則夢與，飢則夢取，藉帶而寢則夢蛇，飛鳥銜髮則夢飛」之類是也，譚子《化書‧道化篇》所謂「狂風飄髮，魂魄夢飛」之類是也。《酉陽雜俎》記「表兄盧有則夢看擊鼓，及覺，小弟戲叩門為街鼓也」（《太平廣記》卷二八二〈段成式〉）。子居所謂「因」，乃 Macrobius, Onocresius
所謂 “veridical
dreams” （見 C.S.
Lewis, Discarded Image, p. 163 引）。子居所謂「後人」，則指東坡〈夢齋銘〉云：「人有牧羊而寢者，因羊而念馬，因馬而念車，因車而念蓋，遂夢曲蓋鼓吹，身為王公。夫牧羊之與王公，亦遠矣，想之所因，豈足怪乎？」《困學紀聞》卷十謂坡語本之杜夷《幽求子》曰：「當其夢時，覩山念木，或志在舟楫，因舟念水，因水念魚」，是也。子居所謂「一體之盈虛消息，皆通於天地，應於物類」，即襲《列子‧周穆王篇》語，而《列子》多以「體」、「氣」言之，故張湛注曰：「因事致感」，正合樂令「因」之旨，子居通之於禨祥吉凶，失其本旨。王符《潛夫論‧夢列第二十八》所謂「直應之夢」（「邑姜娠太叔，夢帝謂己：『命爾子虞，而與之唐』」）、「象之夢」（「熊羆祥男子；虺蛇祥女子，魚維豐年」）、「極反之夢」（「晉文公夢楚子伏己而盬其腦，戰乃大勝」），則禨祥也，「意精之夢」（「孔子思周公而夢之」）、「記想之夢」（「思即夢其到，憂即夢其事」），則「想」也；「感氣之夢」（「陰雨之夢厭迷，大風之夢飄飛」）、「應時之夢」（「春夢發生，夏夢高明」）、「體氣之夢」（「陰病夢寒，陽病夢熱」），則「因」也；「人位之夢」（「貴人夢之即為祥，賤人夢之即為妖」）、「性情之夢」（「情性好惡不同」），則他人未道，「性情」之說尤精。【《困學紀聞》卷四：「《列子》夢有六候，與［《周禮‧春官》］〈占夢〉同。……東坡［〈夢齋銘〉］曰：『高宗言夢，文王、武王言夢，孔子亦言夢。［佛亦夢。夢不異覺，覺不異夢。……此其所以無夢也歟？］其情性治，其夢不亂。』西山［《真西山文集》卷三十三〈劉誠伯字說〉］曰：『正夢不緣感而得，餘皆感也。［感者何？中有動焉之謂也。］』」［《容齋隨筆》卷十五[57]：「高宗夢得說；周文王夢帝與九齡；武王伐紂，夢叶朕卜。……孔子夢坐奠于兩楹。」］】【《法藏碎金錄》卷三：「人有所作之夢，洎至明日，或有忽然聞見與所夢相應者，世俗謂之解夢。吾因此似得二理：一則表事有所定，一則表神有所通。」】【《全唐文》卷三五八杜頠〈夢賦〉云：「亦或不意而得，亦或因感而生；明休咎之先兆，通喜怒之深情。（中略）隨事而生，觸類而長。」[58]】【Novalis,
Fragmente, hrsg. E. Kamnizer, §1308,
(S. 434): “Wir sind dem Aufwachen nah, wenn wir träumen, dass wir träumen.”】【R.C.
Trevelyan, Windfalls, p. 18: “I have
sometimes happened to dream of a friend or acquaintance towards whom my
emotional attitude had hitherto been ambiguous; & my dream has discovered
to me my true feelings about them.”】【《後漢書‧禮儀志中》：「先臘一日，大儺。……中黃門倡，侲子和，曰：『甲作食𣧑，雄伯食魅，騰簡食不祥，攬諸食咎，伯奇食夢，……凡使十二神追惡凶。』」】【《賴古堂集》卷二十〈與帥君〉：「机上肉耳。而惡夢昔昔嬲之，閉目之恐，甚于開目。古人欲買夢，近日盧德水欲選好夢。」李長吉〈春懷引〉：「寶枕垂雲選春夢」，曾益注：「先期為好夢。」劉嗣綰《尚絅堂詩集》卷二〈尋春〉：「尋春上東閣，選夢下西湖」；卷五〈白門惆悵詞〉：「尋芳院落蘼蕪地，選夢池塘菡萏天。」】【董說《豐草菴前集》卷二〈夢鄉記〉有七鄉，其五曰「如意鄉」，其六曰：「藏往鄉」，其七曰：「未來鄉」，尤切。《關尹子‧六七》：「好仁者多夢松、柏、桃、李，好義者多夢刀、兵、金、鐵，好禮者多夢簠、簋、籩、豆，好智者多夢江、湖、川、澤，好信者多夢山、岳、原、野。……然夢中或聞某事，或思某事，夢亦隨變。」】【柳子厚〈始得西山宴游記〉：「意有所極，夢亦同趣。」】【《全唐文》卷三五八杜頠〈夢賦〉：「亦或不意而得，亦或因感而生；明休咎之先兆，通喜怒之深情。」張載《正蒙‧動物篇第五》：「寤，形開而志交諸外也；夢，形閉而氣專乎內也。寤所以知新於耳目，夢所以緣舊於習心。醫謂『飢夢取，飽夢與』（按：即《列子‧周穆王》語）」[59]；〈三十篇第十一〉：「從心莫如夢。夢見周公，志也；不夢，欲不踰矩也。」】
〇夢不可說，說而非也。Freud 云：“Dass der Traum am Morgen ‘zerrinnt’ ist
sprichwörtlich” (S. 30; cf. S. 33 quoting V. Egger & W. Spitta)。近見 Valéry《札記》有云： “Plus
le résit sera simple, plus faux sera-i-il, moins on saisira le rêre même qui
est transcendant au langage” (Cahiers,
IV, p. 577)，實即 Spitta
云：“aus dem Nebeneinander ein Hintereinander,
Auseinander machen, also den Prozeß der logischen Verbindung, der im Traum
fehlt, hinzufügen” 之意。《晚晴簃詩滙》卷五十八載張照〈夢〉云：「乍醒還道明明在，欲說翻成漸漸消」，正妙筆曲達也。《華嚴經》卷四十一〈十定品第二十七之二〉謂「夢中境界，覺時憶念，心不忘失」（見第四八八則），不知已失本來面目矣。參觀É. Estaunié, L’Infirme
aux mains de lumière, IV[60]:
“Un rêve intact est une merveille fragile” (P. Dupré, Encyclopédie des citations, p. 160)；又 H.S.
Sullivan, The Interpersonal Theory of
Psychiatry, pp. 331-2: “One never, under any circumstances, deals directly with
dreams. It is simply impossible. What one deals with in psychiatry... are
recollections pertaining to dreams; how closely, how adequately these
recollections approximate the actual dreams is an inasoluble problem”[61];
F. Flora, Orfismo della parola, pp.
322 ff. 論 “il
carattere ‘verbale’ della psicanalisi”: “Coloro che credono di analizzare I
sogni dei pazianti analizzano parole, e talvolta parole suggerite” esc.; p.
329: “un sogno (e così un fatto reale che poi si narri) è un quadro visivo, olfatto, sonoro, tattile, con
mille particalari: e di ersi, nella parola, non ricordano che alcuni tratti,
chi racconta finisce sempre col dare una immagine che in parte è nuova”; Lord
Halifax, Miscellaneous Thoughts &
Reflections: “An Enquery into a Dream is another Dream” (Complete Works, ed. W. Raleigh, p. 249)。【Hawthorne,
The American Notebooks, ed. R.
Stewart, p. 99: “To write a dream, which shall resemble the real course of a
dream, with all its inconsistency, its strange transformations, which are all
taken as a matter of course, its eccentricities & aimlessness — with
nevertheless a leading idea running through the whole. Up to this old age of
the world, no such thing ever has been written.”[62]】【《劍南詩稿》卷七十七〈記夢〉：「夢中亦復知是夢，意恐覺時無處覓。自量强記可不忘，鷄唱夢回空歎息。」[63]】【I.
Svevo, Corto viaggio sentimentale: “Quando
ci si desta da un sogno, subito interviene la mente analizzatrice per
connetterlo e completarlo. È come se volesse fare una lettera da un dispaccio.
Il sogno è come una sequela di lampi e per farne un’avventura bisogna che il
lampo divenga luce permanente e sia ricostituito anche quando non si vide,
perché non illuminato. Insomma il ricordo del sogno non è mai il sogno stesso.
È come una polvere che si scioglie” (D. Provenzal, Dizion. d. Immagini, p. 828).】
〇洪亮吉《卷施閣詩》卷十七〈偶成〉云：「乍識面人偏入夢，不關心事忽沉思。」倘易「乍識面」為「未識面」，則更新警，即 Freud 所謂 “Die
Herstellung von Sammel- und Mischpersonen ist eines der Hauptarbeitsmittel der
Traumverdichtung” (S. 201) 是矣【見下頁】。Buffon 論夢亦謂：“on se représente bien les personnes que l'on n'a
pas vues” (Hist. Nat., IV, “Discours
sur la nature des animaux”; Pages choisies, “Classiques Larousse”, p. 32)。如 Jules
Scaliger 夢Brugnolus (Freud, S. 9 轉引 Jessen 書，按詳見 Leibniz, Nouveaux Essais sur
l’Entendement, Liv. I, ch. 3, in Philosophischen
Schriften, hrsg. C.J. Gerhardt, V, S. 97-8) 亦此例。孔子夢周公，吳與弼希聖齊賢，不恤為痴人之說夢，《四庫提要》卷一七○《康齋文集》條謂「《日錄》第一條即稱夢見孔子、文王，第二條又稱夢見朱子」，以後陸續記「夢訪朱子」、「夢孔子之孫奉孔子命來訪」、「夢朱子父子枉顧」，甚至其妻亦夢孔子携二從者來訪，雖皆未識人，而結想所致，乃「關心事」也。（《四庫提要》卷一七二《楊忠愍集》條：「《年譜》自記從韓邦奇學樂律，夜夢虞舜。繼盛非妄語者，蓋覃思之極，緣心構象。吳與弼夢見孔子，人疑其偽。此則繫乎其人，非可以口舌爭者」；卷一八二湯之錡《偶然云集》條：「假寐見先師孔子，拊其背而呼之。未卒之，先夢周公約其同行。又吳與弼《日錄》之續矣。」）【《呂氏春秋‧不苟篇》：「孔某、墨翟晝日諷誦習業，夜親見文王、周公旦而問焉。」】【［補前］[64]洪亮吉詩，Freud: “Sammel- und Mischperson”：白樂天〈因夢有悟〉：「平生所厚者，昨夜夢見之。夢中幾許事，枕上無多時。款曲數杯酒，從容一局棋。初是韋尚書，金紫何輝輝。中遇李侍郎，笑言甚怡怡。終為崔常侍，意色苦依依。一夕三改變，夢心不驚疑。」】
〇《小雅‧斯干》：「乃寢乃興，乃占我夢。吉夢維何？維熊維羆，維虺維蛇。大人占之，維熊維羆，男子之祥。維虺維蛇，女子之祥。」按 Freud: “... vor allem aber das bedeutsamste Symbol
des männlichen Gliedes, die Schlange” (S. 243)。參觀 E. Fuchs, Illustrierte
Sittengeschichte, Ergänzungsband II, S. 287 “Die Schlange”; III, S. 56-7 Regnault’s
“La volupté” 兩插圖皆即 Freud 所云云也。【〈無羊〉：「牧人乃夢，眾維魚矣。旐維旟矣，大人占之。眾維魚矣，實維豐年。旐維旟矣，室家溱溱」，《毛傳》：「旐旟所以聚眾也。」】
〇《莊子‧齊物論》：「昔者莊周夢為胡蝶，栩栩然胡蝶也，自喻適志與！不知周也。俄然覺，則蘧蘧然周也。不知周之夢為胡蝶與，胡蝶之夢為周與？周與胡蝶，則必有分矣。」按倘易為「不知周之夢見胡蝶與，夢為胡蝶與？」則更切合夢中情景，物我之界，忽泯忽分。【邵博《聞見後錄》：「歐陽公嘗夢為鸜鵒，初夏清曉，飛鳴緑陰中甚樂。」】【Novalis, Fragmente,
§1308, hrsg. E. Kamnitzer, S. 434: “Wir sind dem Aufwachen nah, wenn wir
träumen, dass wir träumen.”】Freud 未道此境，千慮之一失。Valéry 獨體會及之：“Peur et monstre se confondent, s’échangent” (Cahiers, IV, p. 526); “Il y a toujours
en veille des choses juxtaposées et non combinées entr’elles, des variables indépendantes
et leurs fontions concomitantes — je suis et
je lis, je lis et j’ai froid, etc. —
ce qui est impossible au rêve, où tout se compose” (Ib., IV, p. 543); “Dans le rêve, l’étonnement... est de même nature
que la chose qui étonne” (Ib., XVII, p. 851)。【Emerson:
“My dreams... have a double consciousness... showing that every act, every
thought, every cause, is bipolar, & in the act is
contained the counteraction. If I strike, I am struck; if I chase, I am pursued”
(Emerson: A Modern Anthology, ed. A.
Kazin & D. Aaron, p. 348).】參觀 Arthur
Koestlers, The Act of Creation, p.
179: “impersonation & double
identity — being oneself & something else at the same time”; p. 187: “The
boundaries of the self are fluid or blurred in the dream. I may watch an
execution, & the next moment become the person to be executed” etc.。
〇舒白香《游山日記》卷三七月壬辰：「旦暮如呼吸，雲如夢思。朝雲之變化，則閒情妄想也；夜雲之變化，則香衾好夢也。」蓋以「朝雲」喻 “Tagtraum”,
“day dream”, “petit roman” (Freud, op.
cit., S. 334)，亦窺游思幻想 (Phantasie) 與夢境是一是二之理。若其取譬，則與 Jules
Renard, Journal, éd. NRF, p. 291:
“Les nuages sont comme les pensées, les rêveries, les cauchemars du ciel”; G.
Bertacchi, Poemetti lirici: “Passavan,
sogni dei cieli / sul vostro tetto le nuvole” (D. Provenzal, Dizionario delle Immagini, p. 537) 用意無殊。王壬秋《湘綺樓日記》光緒五年正月十七日：「眠至寅初醒，遂不寐。閒思餘夢，迹則㝱也，意則雲也。」「㝱」謂其妻「㝱緹」，「雲」謂其妾「六雲」也，亦有會於 “der
manifeste Trauminhalt” 與 “der latent
Trauminhalt” 及 “Sammel-
und Mischperson” (Freud, op. cit., S.
95, 201) 之理。【《南齊書‧張融傳‧海賦》：「浮微雲之如夢，﹐落輕雨之依依。」】【John Hawkes, Death, Sleep & The Traveler, p. 46: “Your
dreams are the stink from the cesspool that is yourself.”】
【Kathleen Coburn, ed., The Notebooks of S.T. Coleridge, I, §1250: “My Dreams uncommonly
illustrative of the non-existence of Surprize in sleep.” 按妙解，Freud 與 Valéry
皆未道此。Buffon, Hist.
Nat., IV, “Discours sur la nature des animaux”: “Dans les rêves on voit
beaucoup, on entend rarement” (Pages
choisies, “Classiques Larousse”, p. 32);《茅亭客話》云：「瞽者無夢，愚人少夢」（《類說》卷五十四），即 Freud: “Der Traum denkt also vorwiegend in visuellen Bildern, aber doch
nicht ausschliesslich” (S. 34)。】
【Nietzsche, Menschliches,
Allzumenschliches, Bd. II, Abt. i, §76: “Was man mitunter im Wachen nicht
genau weiss und fühlt — ob man gegen eine Person ein gutes oder ein schlechtes
Gewissen habe — darüber belehrt völlig unzweideutig der Traum” (Werke, K. Schlechta, I, 767).】
〇《游山日記》卷五七月辛亥：「西輔問予：『同此字，同此章句，何故有妙有不妙？傳與不傳？』予曰：『《說文》「妙」為「少目」，試思少女之目與老嫗之目，妙不妙在目眶乎？目神乎？』西輔曰：『眶，肉所為，悉足愛？』」按目眶正所以資目之妙者，推而廣之，內而蘭心蕙性，外而柳眉蓉面，君臣使佐輔妃比，合以成目妙。目而去眶，不成目矣，尚可愛乎？選色徵文，其道一揆。De Sanctis,
Saggi critici, a
cura di L. Russo, I, p. 106: “Io trovo in uno scrittore: faccia diffusa di
rossore, e tosto noto nel mio quaderno la frase: ‘diffusa di rossore.’ Che fo
io? Io tolgo il rosso alla faccia di una Madonna di Raffaello, e lo rigitto nel
vasetto dei colori: io distruggo la materia animata e la rifò grezza... Quel
rossore, che giace inanime frase nel mio quaderno, è indegnazione quando colora
il pallido volto del padre Cristoforo innanzi a Don Rodrigo...; quel rossore è
pudore quando si diffonde per le guance di Giulietta innanzi alle infocate
parole di Romeo” esc.; Croce, Estetica,
10a ed., p. 5: “... allo stesso modo che il rosso in una figura
dipinta non sta come il concetto del color rosso dei fisici, ma come elemento
caratterizzante di quella figura.” 解此，則不為「同此字，同此章句」所惑矣。【徐枋《居易堂集》卷一〈與楊明遠書〉：「夫文之為人作傳記，猶畫之為人傳神寫照也。冠裳、衣履、樹石、器物，非不朱紫雜陳、粉黛並用，而至於點睛，則惟墨而已。所謂冠裳、衣履，裝飾也；所謂樹石、器物，點綴也。若點睛，則一身之生氣在焉！此大綱領、大關鍵也！茍於文之綱領、關鍵處，而用詞藻，是以朱紫粉黛為人點睛也，其可乎？……夫人既有骨格，而一身大肉俱在間處，如手足則去肉什九，至耳目之用，則全無肉矣。」徐渭《青藤書屋文集》卷十八〈論中五〉：「『本末』二字云者，一篇之『眼』也。何謂『眼』？如人身然，百體相率，似膚毛，臣妾輩相似也。至眸子，則豁然，朗而異，突以警。……文貴『眼』，此也。故詩有詩眼，而禪句中有禪眼。」】
〇孫豹人《溉堂前集》卷八〈楊花〉云：「飄蕩春風不自持，綠萍從此滿清池。謝家兒女曾相識，却在天寒雨雪時。」查梅史《篔谷詩鈔》卷十〈落葉〉云：「葉葉青蟲吐亂絲，暗窗如雨下空枝。低頭一笑渾相識，見汝東風綠上時。」一嘆遺逸之變節，一嘲顯達之失勢。情味迥異，而機杼、字句不妨相類。張玉田〈綺羅香‧詠落葉〉云：「記陰陰、綠偏江南，夜窗聽暗雨」，又梅史詩意所本也。
〇邵子湘《青門賸稿》卷三〈病起撥悶〉云：「六經三史豈陳編，日月星辰迴麗天。甕裏醯鷄君不見，依歸依艾總堪憐。」自注：「近人有以『依歸』、『依艾』名集者。」按「依艾」不知何人？王譽昌露湑《含星集》卷一〈讀薛孝穆依歸集憮然有作〉云：「今文不讓古文奇，太僕流風更屬誰？」焦理堂《雕菰集》卷十六〈鈔依歸草序〉云：「張良御太史符驤善古文，『依歸』者，依歸熙甫之文以為文也。」子湘所嘲，當指孝穆常熟人，名熙，選《明文在》者。《含星集》有孝穆康熙壬戌所為〈序〉，扭捏造作，令人笑來。不知何人勒帛塗抹，并有批語。〈序〉云：「露湑讀余文，則曰：『是可以序我詩矣。』余故不為」，批語云：「做出烏龜勢」；〈序〉又云：「露湑造而請者，無三日不至。於是為余閉戶匝旬，臨摹宋、元人山水縮本至十數幅，又倣文三橋、汪尹子私印贈余，皆極工。余受之，〈序〉益不肯為。又時時置酒食召余，或餽余人事物，請益堅。余然後諾而為之」，批語云：「人事物畢竟是角先生，喜其有濟於其妻，故諾之」；〈序〉又云：「余方悔其少時作，然君詩非余之少作也。不自收拾，恐後有悔」，批語云：「恐角先生又為別人取去。」批者必同時人，與薛有却，故不擇地而發其中冓之私耳。稱偽具為「人事」，明代習見。單本《蕉帕記》第三齣〈北寄生草〉即以「蘇州春畫風流殺」、「景東人事春無價」二者並舉。[65]又按無名氏《燼宮遺錄》卷上「東廠太監盧際九小廝最小者錢守俊」條後附識云：「甲申三月九日錢守俊陞官長樂宮金鐘，十九日罹國變，流落金閶，為黃冠，後住虞山致道觀，與王君露湑往來，《錄》中事其口述居多」云，即譽昌也。【《柳南隨筆》卷一：「家詩老露湑」；卷三：「露湑為詩好押『青』字，社集時探得此韻，即喜見於色，否則必潛易之」；又：「家露湑翁精於論詩，嘗語予曰：『作詩須以不類為類乃佳』；卷六：「余嘗謂翁之詩，豪邁不如（錢）玉友（良擇），而細膩勝之；天趣不如（邵）青門（陵），而沉著勝之；溫麗不如（許）暘谷（徹），而骨幹勝之。」】
〇馮猶龍《古今談概‧謬誤部第五‧訛言》云：「後至元丁丑六月，民間謠言朝廷將采童男女以授韃靼為奴婢，且俾父母護送，抵直北交割。故自中原至於江之南，府縣村落，凡品官庶人家，但有男女十二三以上，便為婚嫁。六禮既無，片言即合。……經十餘日纔息。……自後各生侮怨。……吳中僧祖伯，號子庭者，素稱滑稽，口占絕句曰：『一封丹詔未為真，三杯淡酒便成親。夜來明月樓頭望，惟有姮娥不嫁人』（以上全采自《輟耕錄》卷九）。隆慶戊辰，有私閹人者，名張朝，假傳奉旨來浙直選宮女。一時驚婚者眾，輿人、廚人無從顧覓，亦如至元故事。有人改子庭詩云：『抵關內使未為真，何必三杯便做親？夜來明月樓頭望，嚇得姮娥要嫁人。』又訛言並選寡婦伴送入京。於是孀居無老少，皆從人，有守制數十年，不得已，亦再適。又有人為詩曰：『大男小女不須愁，富貴貧窮錯對頭。堪笑一班貞節婦，也隨飛詔去風流。』」按此則大體本之《輟耕錄》，田藝蘅《留青日札‧風變條》襲之（見《紀錄彙編》卷一百八十七），而增入「改子庭詩」云云。【方中發《白鹿山房詩集》卷九〈除夕〉：「采選令訛貞女字，功名徑捷富家貧。」[66]】【方中發《白鹿山房詩集》九〈除夕‧之一〉：「采選令訛貞女字，功名徑捷富家貧。」】【黃宗羲《明文海》卷三五○何偉然〈淑女記〉：「天啟皇帝登極，下詔選人間淑女充椒掖。詔止鳳陽，曽未及於江南。風聞所遞，訛言輒布。三呉有女之家，咸栗如霜色。市井無頼，乘機搖鼔，為作因地，俄而曰：某家皇已封矣，某家聞之郡邑矣，自潤州而金閶，而苕霅，無不思所以畢婚嫁者。吾杭為甚。……父母之命，媒妁之言，一時僉舉，不特及時破瓜，作縁成偶。即髮未覆額，口尚乳氣者，亦指童子為盟，或議歸，或議贅。氷人竭蹷，應千門之命。市上盡作定婚店矣。朝議暮舉，不待決擇，惟恐無當人意者。無知者固明珠暗投，即知者亦以乘機可省粧資，因人唯諾。即媸若無鹽者，假為遷就，猶可免其皮相者耳，是以寒素之家多受焉。吉不必星期照之日，采軒不必魚飾，巾之絳裙，筐篚填街，香奩委路，僕夫翻地，燈火燭雲。……一畢所事，如釋重負，如排大難。……婚牘紅牋，錢昻五百。和合神馬，價勒三銖。……花燭燕喜，十家而九。庖人儼然上客，禮屈之不至。……有恐人知者，暗為迎送，復恐人不知，且揚言：吾女已有夫矣。縱有司嚴為告戒，且曰：是寛我，故留答天者也。假合錯配，何異流離。……馬醫騶導之子，全徼龍翔鳳翥之靈；蘭臯蕙畝之香，半落傭保駔儈之手。不顧牛驥同皁，何有氷玉齊稱。……夫以一言之訛，令人間忽闢一夫婦世界。童男姹女，破性裂道。……吾聞之：不願生男願生女。昔人所希，即修儀、貴嬪、婕妤之輩，無甚大不可為之事，何以甘委珠玉於草莽？若曰不足當典選，則存之便。而况陶嬰、宿瘤猶得見幸乎？感而記之。」】清初山陽靳應昇《渡河集》不分卷〈淮無女〉云：「順治年十五，是歲當戊戌。十月甫初旬，風聞自京國：長門須女工，下令天下覓。我郡南北衝，傳播說非一。始也皆觀望，逢人即相詰。有客金陵游，見聞果得實。一傳通國驚，家家咸變色。有女在閨閣，轉盼行若失。父曰計若何，母曰急求匹。日月少遷延，他時悔何及。倘得結其褵，庶幾免乖隔。兄曰勿遲疑，令下在晨夕。弟曰我更聞，官府行事密。搜檢不及防，隣里無容匿。小姑暗攢眉，邱嫂復唧唧。東隣有嬌娃，西隣非親戚。南隣見兒郎，北隣女應適。因此比戶間，作合夜不輟。更奇兩日喧，十九與二十。士夫逮庶民，遑遑如迫逼。豈煩媒妁通，立談六禮畢。廣衢連隘巷，擾攘皆接跡。或則結彩輿，或則巾車出。或則策蹇奔，求配即頃刻。甚者背負女，登門送入室。寥廓水泊中，搖艇復絡繹。富家饒珠翠，誰容待雕飾。蜀錦及吳綾，不及用剪尺。貧家探空篚，躑躅怨倉卒。欲縫疏布裙，何須理襞積。但使雌得雄，親迎不卜吉。肴核無一陳，況復奏笙瑟。門第未遑詳，甲子未遑悉。燕婉歸戚施，老鰥偶弱息。穉女髮未齊，畫眉尚狼籍。安知作羹湯，何能侍巾櫛。矯強嫁於人，愛極翻為賊。屈指嫁娶時，沸騰將一月。道路肩相摩，都與新郎揖。郡中女既空，採選事仍寂。回視向者忙，顛倒殊可惜。且聞朝命來，原不強迫責。胡為朱陳歎，一切就草率。雖曰無曠夫，婚早多成疾。雖曰無怨女，笑中還復泣。世人亦何愚，聊為來者述。」描述尤詳。《野叟曝言》四十八回亦云：「有詔采選，以致民間嫁娶紛紛。但見：笙歌鼎沸，鼓樂雷鳴；竹轎繩穿，暫借門閂作槓；燈籠紙補，權將篾纜為圈。花爆現舂，放五枝難逢三響；樂工急湊，只兩個便是一班。儐相無人，道士扯來贊禮；喜娘乏伴，尼姑拖去送親。十一二歲女娃兒，便憶吹簫乘鳳客；六十二三男子漢，也思臨老入花叢。張家轎子李家抬，都從十字街頭錯去；麻面郎君光面女，總向各人命裏招來。」馮山公《解舂集》卷十〈駁魏叔子論策二條〉云：「其〈宦官策〉云：『外庭內宮之閒，例選民間寡婦，年五十以上，端慎足使者充之。』予不禁驚心駴目，掩卷太息曰：『禍天下之寡婦，守節不終而更二夫者，必禧此言！』（中略）居心不仁，立言不義。（中略）或云此議創於其兄善伯，宜乎戕於兵，而禧亦客死無種也哉！」即《談概》載詩所謂「堪笑一班貞節婦，也隨飛詔去風流」[67]。《紅樓夢》十八回賈元妃曰：「當日既送我到那不得見人的去處」，正此意也。【褚人穫《堅瓠五集》卷二：「康熙壬申仲冬，訛傳釆選繡女。邑中愚民，紛然嫁娶。花轎盈街，鼓吹聒耳。……滑稽生作〈兩同心〉謔詞云：『天使遙臨，小民惶惑。……那管門楣非匹，便諧琴瑟。……頓使皮箱淨桶，價高什百。……看來年，節屆秋冬，穩婆忙迫。』」】
〇《文心雕龍‧才略第四十七》云：「敬通雅好詞說，而坎壈盛世，〈顯志〉自序，亦蚌病成珠矣。」按妙喻，亦寓至理，而無人敷說，何耶？劉晝《劉子‧激通第五十二》云：「楩柟鬱蹙以成縟錦之瘤，蚌蛤結痾而銜明月之珠鳥激則能翔青雲之際，矢驚則能逾白雪之嶺，斯皆仍瘁以成明文之珍，因激以致高遠之勢。」退之〈祭柳子厚文〉云：「凡物之生，不願為材；犧尊青黃，乃木之災」；東坡〈答李端叔書〉云：「木有癭，石有暈，犀有通，以取妍於人，皆物之病」；趙甌北〈聞心餘京邸病風却寄〉第二首云：「木有文章原是病，石能言語果為災」；龔定庵〈釋言〉第一首云：「木有彣彰曾是病，蟲多言語不能天」；Heine, Die Romantische
Schule, Buch II, Kap. iv: “Oder ist die Poesie vielleicht eine Krankheit
des Menschen, wie die Perle eigentlich nur der Krankheitsstoff ist, woran das
arme Austerthier leidet? (Werke und
Briefe, Aufbau A. Weichert, Bd. V, S. 98); Ludwig Börne: Eine Denkschrift, I[68]:
“... er klagte, er werde täglich gesünder und mit der zunehmenden Gesundheit
schwänden seine geistigen Fähigkeiten. ‘Ich bin zu gesund und kann nichts mehr
schreiben... Er hat mich bis zur Dummheit kuriert’” (VI, S. 98); Walter Muschg,
Tragische Literaturgeschickte, 3te
Aufl., 1957, S. 415: “Aber noch Grillparzer vergleicht im ‘Abschied von Gastein’
die Dichtung mit der Perle, dem Erzeugnis
des kranken stillen
Muscheltieres, und Flaubert schreibt an Louise Colet: ‘La perle est une maladie
de l’huître et le style, peut-être, l'écoulement d'une douleur plus profonde’ (Corr., III, p. 255)”; A.E.
Houseman, The Name & Nature of Poetry: “If I were obliged, not to define
poetry, but to name the class of things to which it belongs, I should call it a
secretion; whether a natural secretion, like turpentine in the fir, or a morbid secretion, like the pearl in the oyster.
I have seldom written poetry unless I was rather out of health” (Selected Prose, ed. John Carter, p. 194)，用意取譬，無乎不同，皆窮而後工之旨，參觀第五八則、七○一則（論 Justinus
Kerner: “Poesie”）。至坐實「病」字者，則如 Edmond et Jules Goncourt, Journal, 1863, 14 fév.: “[A propos de Victor Hugo] Oh! certes,
c’est la santé d’une génie bien portant, mais toutefois pour le rendu des
délicatesses, des mélancolies exquises, des fantaisies rares et délicieuses sur
la corde vibrante de l’âme et du cœur, ne faut-il pas, je me le demande, un
coin maladif dans l’homme, et n’est-il pas nécessaire d’être un peu, à la façon
de Henri Heine, un crucifié physique?” (Édition definitive, I, p. 73); 1864, 18
Janvier: “On a beau lui [Taine] crier que peut-être tout notre talent n’existe
qu’à la condition de cet état nerveux” (Ib.,
I, p. 141); 1865, 14 fév.: “Quand Flaubert eut des clous, l’année dernière,
Michelet dit à l’un de ses amis: ‘Qu’il ne se soigne pas, il n’aurait plus son
talent!’ C’est peut-être une grande idée. Je ne sais qui a dit que, lorsque
Napoléon avait été guéri de la gale, il n’avait plus gagné de batailles.
L’âcreté du sang chez Chamfort devait faire son âcreté d’esprit” (Ib., II, p. 97); 1868 avril: “Notre talent!
qui sait? c’est peut-être l’alliance d’une maladie de cœur et d’une maladie de
foie” (Ib., III, p. 150); François
Mauriac, Le Romancier et ses personnages,
p. 144 et suiv..: “Pascal disait de la maladie qu’elle est l’état naturel du
chrétien, on pourrait le dire beaucoup plus justemnt des romanciers. L’épilepsie
de Falubert, l’asthme de Proust, les isolent du monde, les cloîtrent” etc.;
Nietzsche, Also sprach Zarathustra,
“Von der Erlösung”: “Wenn man dem Bucklichten seinen Buckel nimmt, so nimmt man
ihm seinen Geist — also lehrt das Volk”
(Alfred Kröner Verlag, S.
203); Paul Léautaud, Journal Littéraire,
IV, pp. 116-7: “Un mot du Prince Edmond de Polignac: ‘Un tel? Il ne peut pas
être intelligent, il n’est pas malade.’ Cela a l’air de boutade. Il y a une
part de vrai... L’homme de grande santé, sans généraliser, est plus porté à la
vulgarité physique et à quelque chose de commun dans les idées” etc.。而
Muschg 論 “Dichterkrakeit”
未引。R. Wellek & A. Warren, Theory of Literature, 3rd ed., “Peregrine Books”, pp.
81-3 論 “the
poet’s ‘gift’ is compensatory” 可參觀。【Austrain poetess Christine Busta, Saltzgärten, on poetry as “Leben / in
Bernstein geborgen, / begraben” (Life, caught in amber, buried there) — TLS,
June 11, 1976, p. 716.】【W. Somerset Maygham, The Gentleman in the Parlour, XXX: “There is a story that Monet,
the founder of the impressionists, being troubled with his eyes went to an
oculist & trying on some spectacles cried, ‘Good heavens, with these I see
the world just like Bouguereau.’ It is out of their limitations that men create
beauty.”】【Fritz Mauthner, Kritik
der Sprache, 3te Auf., Bd. I, S. 415: “Und von Hamann sagt Kant:
‘Die Krankheiten seiner Leidenschaften geben ihm eine
Stärke zu denken und zu empfinden, wie sie ein Gesunder nicht besitzt.’ Und
Harmann... einmal an Herder schrieb: ‘Mein armer Kopf ist gegen Kants ein zerbrochener Topf — Ton gegen
Eisen.’”】【Ilonka Schmidt Mackey, Lou Salomé, p. 117: “Lou... se demanda un moment s’il ne fallait
pas songer à guérir Rilke
à l’aide de la psychethérapie.
Elle y renonca finalement convaincae qu’en ‘chassant les diables on chasserait
aussi les anges” (Briefwechsel, p.
577-8).】【Coleridge: “It is a theory of mine that Virtue
& Genius are Diseases of the Hypochondriacal & Scrofulous Genus... — analogous
to the beautiful Diseases, that colour & variegate certain Trees.”】【Wheelwright:
“... disease may have its creative side — as the pearl in the oyster & the
last quartets of the deaf Beethoven attest...” (Myth: A Symposium, ed. Thomas A. Sebeok, p. 157).】【Hazlitt,
Characteristics, §292: “It is onlt
necessary to be admired; & if we are admired for the graces of our persons,
we shall not be at much pains to adorn our minds. If Pope had been a beautiful
youth, he would not have written the Rape of the Lock. A beautiful woman... will be in no danger of becoming a bluestocking, to attract notice by her
learning, or to hide her defects” (Complete
Works, ed. P.P. Howe, IX, p. 209).】
〇黎媿曾《託素齋文集》卷四〈復黃憶溪〉云：「小句偶然，年兄必欲索其全稿，亦不敢不備錄以去。人固有望其半面魂消，見全身而反索然意盡者。所以遲遲而不盡達者，亦恐年兄意盡耳。」按妙喻，而疑有所本。《尺牘新鈔三集‧結鄰集》卷八李敬〈答王貽上〉云：「東鄰之女美而一目眚，西鄰之子倚戶而窺之，見其美不見其眚。從媒氏求焉，則宛然眚者也。西鄰之子不咎其不明，而且重尤媒氏之罔己也。足下向見僕章句，亦從戶隙瞯之耳，若再索全集，則眚者見矣。幸速為掩覆之，毋徒使人詬足下為媒氏也。」[69]汪鈍翁〈前後類稿自題〉云：「嘗聞諸李退庵先生，曰：『東鄰之女美而一目眚，西家之子倚戶瞰之，見其美，不見其眚也，遣媒求之。既昏，則宛然一眚者也，然後悔之。不逾月而逐之，見其眚，不見其美也。』余以為此善喻者。今斯稿一出，則余之眚已不可匿矣。當今之世，豈復有悅嫫母而暱瞽妓者？余懼時賢之將逐我也」云云。媿曾之喻，亦自退庵語來。暱瞽妓，參觀第二一三則論 Theocritus, X 引秦少游〈眇娼傳〉，又《雪濤小書》卷四。又參觀
Joubert: “Quand mes amis sont borgnes, je les regarde de profil” (Pensées,
Maximes et Essais, éd.
“Les Classiques pour Tous”, Librairie Hatier, p. 19)。又第六五四則引 Pliny, Hist.
Nat., Lib. XXXV. 36 記 Appelles 事等。
〇世傳管夫人戲趙子昂詞云：「你儂我儂，忒煞情多。（中略）把一塊泥，捻一個你，塑一個我。將咱兩個一齊打破，用水調合，再捻一個你，再塑一個我。我泥中有你，你泥中有我（下略）。」（參觀二○三則引《詞謔》無名氏〈鎖南枝〉、《兒女英雄傳》二十九回引此詞，字句稍異，謂是趙學士贈管夫人作。）按 Tasso, Rime
d’Amore, Parte III, no. 58: “... / Bacinsi insieme l’alme nostre anch’elle:
/ fabro sia Amor che le distempri e sfaccia, / e che di due confuse una
rifaccia / che per un spirto sol spiri e favelle. / Cara Salmace mia, come
s’innesta / l’una pianta ne l’altra e sovra l’orno / verdeggia il pero e l’un
per l’altro è vago, / tal io n’andrò de’ tuoi colori adorno, / tal il tuo cor
de’ miei pensier si vesta; / e comun sia tra noi la penna e l’ago” (Poesie, a cura di F. Flora, p. 784) 用意酷類。【Anatomy of Melancholy, Part III, Sect. III, Mem. I, Subs. I: “Vulcan met
two lovers, & bid them ask what they would & they should have it; but
they made answer, O Vulcane faber Deorem,
etc.; ‘O Vulcan the Gods’ great smith, we beseech thee to work us anew in thy
furnace, & of two make us one; which he presently did, & ever since
true lovers are either all one, or else desire to be united’ [Vives, 3, de
anima; oramus te ut tuis artibus et caminis nos refingas, et ex duobus unum
facias ; quod et fecit, et exinde amatores unum sunt, et unum esse petunt]” (Everyman’s Lib, Vol. III, pp. 412-439); cf.
Sperone Speroni, I Dialogi: “Vorrebbe
lo amante non abbracciare la cosa amata, ma vivo et intiero per entro lei
penetrare, non altramente che l’acqua passi la spugna”.】【Sir Philip Sidney, Arcadia: “My true love hath my heart, & I have his, / By just
exchange, one for the other given: / ... / He loves my heart, for once it was
his own: / I cherish
his because in me it
bides”[70]
etc.】
〇Marx, Das
Kapital, “Nachwort zur zweiter Auflage” (1873): “Sie [die Dialektik] steht bei ihm [Hegel] auf dem Kopf. Man muss sie
umstülpen, um den rationellen Kern in der mystischen Hülle zu entdecken”[71]
(Das Kapital, Dietz Verlag Berlin,
Bd. I, S. 18) 世所傳誦。按此喻 Marx 屢用之：Marx und Engels, Die Deutsche Ideologie (1845): “Wenn in der ganzen Ideologie die
Menschen und ihre Verhältnisse wie in einer Camera obscura auf den Kopf
gestellt erscheinen, so geht dies Phänomen ebensosehr aus ihrem historischen
Lebensprozess hervor, wie die Umdrehung der Gegenstände auf der Netzhaut aus
ihrem unmittelbar physischen”[72]
(Die Deutsche Ideologie, Dietz
Verlag, S. 22); “Warum die Ideologen
alles auf den Kopf stellen...
Idee des Rechts. Idee des
Staats. Im gewöhnlichen Bewusstsein ist die Sache auf den Kopf gestellt —”[73]
(Op. cit., S. 589, “Beilagen”: “Aus I
Feuerbach”)。然 Feuerbach, Nachgelassene
Aphorismen 早曰：“Hegel stellt den Menschen auf den Kopf, ich seine
auf der Geologie ruhenden Füsse”
(Sämmtliche Werke, hrsg. Wm Bolin & Fr. Jodl, B. X, S. 318)，而人尠知者。至 Schiller: “Gefährliche Nachfolge”: “Freunde, bedenkt euch wohl, die
tiefere, kühnere Wahrheit laut zu sagen: Sogleich stellt man sie auch auf den
Kopf” (Werke, hrsg. L. Bellermann, I,
S. 192)；又 Grillparzer 云：“Man ist
darum noch nicht eigentümlich, weil man die gang und gäbe Meinung auf den Kopf
stellt” (Gesam. Werk., hrag. E.
Rollett & A. Sauer, Bd. II, S. 146)；而 Nitzsche, Also sprach Zarathustra, IVter
Teil: “Von der Wissenschaft” 篇中，Zarathustra 嘲 Gewissenschafte 亦云：“und deine ‘Wahrheit’
stelle ich rucks und flugs auf den Kopf” (K. Schlechta, II, 538)，則皆不啻為 Chesterton
言之，Dean Inge 所謂 “Chesterton
spent his life in crucifying Truth upside down” (The Listener, July 5, 1956, p. 15)，非此之謂也。【Cf. Horst S. und
Ingrid Daemmrich, Themen und Motive in der Literatur (1987), S. 31-5 “Androgynie”.】【S.S.
Prower, Karl Marx & World Literature,
p. 370 未引 Die Deutsche Ideologie, Schiller, Feuerbach, Nietzsche。】【Nietzsche,
Menschliches, Allzumenschliches, Bd.
II, Abt. i, §208: “Wenn wir die Wahrheit auf den Kopf stellen, bemerken wir
gewöhnlich nicht, dass auch unser Kopf nicht dort steht, wo er stehen sollte” (Werke, K. Schlechta, I, S. 816).】
〇Austin Dobson, A
Bookman’s Budget, pp. 85-6: “The majority of the illustration to the work
of the Dutch poet Jacob Cats are genre
pictures; some, however, are grim moralities.... One is certainly a most
gruesome allegory of life. A man is seen scaling an apple-tree, which clings
with snake-like roots rto the side of a burning pit or well, inhabited by a
fearsome & ravening dragon. About the brim of the pit a restless bear runs
backwards & forwards, eager for its prey; but rats are gnawing busily at
the tree-trunk, & by & by the tree, climber & all, will topple
crashing in the flames”，蓋引自撰 Side-Walk Studies, p. 274 文也。Cats 原詩，余未之見。若夫畫中景象，則與佛書立喻酷類，當是本之 St John of Damascus, Barlaam and Josaphat 耳。John Dunlop, The History of Fiction, 4th
ed., p. 40 摘記云：“A man flying from a unicorn, by which he was
pursued, had nearly fallen into a deep pit, but saved himself by the twigs of a
slender shrub which grew on the side. While he hung suspended over the abyss by
this feeble hold, he observed two mice, the one white & the other black
gnawing the root of the plant to which he had trusted. At the bottom of the
gulf he saw a monstrous dragon, breathing forth flames, & prepared to
devour him: While by this time the unicorn was looking at him over the verge of
the precipice. In this situation he perceived honey distilling from the
branches to which he clung,
and, unmindful of the
horrors by which he was surrounded, he satiated himself with the sweets which were dropping from the
boughs. Here the unicorn typifies death...; the pit is the world...; the shrub...
is life, diminished, & at length consumed by the hours of day & night;
the dragon is hell; & the honey, temporal pleasures, which we eagerly
follow...”。《法苑珠林》卷五十七宋求那跋陀羅譯《賓頭盧突羅闍為優陀延王說法經》一卷有云：「昔日有人，行在曠路，逢大惡象，為象所逐。（中略）見一邱井，即尋樹根，入井中藏。有白黑二鼠，牙齧樹根。此井四邊，有四毒蛇，欲螫其人。而此井下，并有三大毒龍。……所攀之樹，其根動搖。樹上有蜜三滴，墮其口中，於時動樹，敲壞蜂窠，眾蜂散飛，唼螫其人。有野火起，復來然樹。（中略）尊者言大王：『曠野者喻於生死；彼男子者喻於凡夫；象喻於無常；丘井喻於人身；樹根喻於人命；白黑鼠者喻於晝夜；齧樹根者喻念念滅；四毒蛇者喻於四大；蜜者喻於五欲；眾蜂喻惡覺觀；野火燒者喻其老邁；下有三毒龍者喻其死亡墮三惡道。』」《維摩詰所説經‧方便品第二》「是身如邱井」句鳩摩羅什註同。《翻譯名義集》卷五〈增數比喻篇第五十三〉「四蛇」條引《大集》云：「昔有一人，避二醉象生死，緣藤命根入井無常，有黑白二鼠日月囓藤將斷。傍有四蛇欲螫四大，下有三龍吐火張爪拒之三毒。其人仰望，二象已臨井上，憂惱無託。忽有蜂過，遺蜜滴入口五欲，是人唼蜜，全無危懼。」《五燈會元》卷七羅山道閑：「問：『前是萬丈洪崖，後是虎狼師子，當恁麼時如何？』師曰：『自在』」；卷九芭蕉慧靖：「上堂：『如人行次，忽遇前面萬丈深坑，背後野火來逼，兩畔是荆棘叢林，……當與麼時，作麼生免得？』」庾肩吾等聯句〈八關齋夜賦四城門‧第三賦韻南城門老〉諸葛嵦句云[74]：「虛蕉誠易犯，危籐復將囓」；沈約〈四城門詩〉亦云：「六龍既驚軫，二鼠復馳光」；昭明太子〈參講席將訖詩〉亦云：「輻捨六龍驚，微祛二鼠蹙」；梁元帝〈梁安寺剎下銘〉亦云：「篋蛇未斷，藤鼠方緣」；梁簡文帝〈淨居寺法昂墓銘〉亦云：「隟漏白駒，籐緣黑鼠。」早已用此釋典矣。以喻 Jaspers 所謂 “Grenzsituation”
尤切。趙壹〈窮鳥賦〉、王逸〈九思〉之六亦其比也（見第七六一則）。【The
Adventures of Baron Munchausen, ch. 1: “I was almost petrified... at the sight of a lion... the moment
I turned about, I found a large crocodile... on my right hand was the piece of
water... & on my left a deep precipice” (Three Sirens Press, p. 21).】【Kierkegaard:
“Man hovers over an abyss of 70,000 feet, many many miles away from all human
help.”】
〇王實甫《西廂記》第一本第四折：「太師年老，法座上也凝眺。舉名的班首癡呆了，覷着法聰頭當金磬敲。貪看鶯鶯。燭滅香消。」《水滸全傳》第四十五回：「這一堂和尚見了楊雄老婆這等模樣，都七顛八倒起來。但見：班首輕狂，念佛號不知顛倒；闍黎沒亂，誦真言豈顧高低。燒香行者，推倒花瓶；秉燭頭陀，錯拿香盒。宣名表白，大宋國稱做大唐；懺罪通陳，王押司念為押禁。動鐃的望空便撇，打鈸的落地不知。敲銛子的，軟做一團；擊響磬的，酥做一塊。滿堂喧鬨，遶席縱橫。藏主心忙，擊鼓錯敲了徒弟手；維那眼亂，磬槌打破了老僧頭。十年苦行一時休，萬個金剛降不住」，即本《西廂》數語敷說。下文論人家女使：「有詩為證：『送暖偷寒起禍胎，壞家端的是奴才。請看當日紅娘事，却把鶯鶯哄得來』」，足徵作者已覩《西廂記》矣。《金瓶梅》第八回：「眾和尚見了武大這老婆，一個個都迷了佛性禪心，關不住心猿意馬，七顛八倒，酥成一塊。只見：班首輕狂，念佛號不知顛倒；維那昏亂，誦經言豈顧高低。燒香行者，推倒花瓶；秉燭頭陀，誤拿香盒。宣盟表白，大宋國錯稱做大唐國；懺罪闍黎，武大郎幾念出武大娘。長老心忙，打鼓錯拿徒弟手；沙彌情盪，罄槌敲破老僧頭。從前苦行一時休，萬個金剛降不住」[75]，則又襲《水滸》。
〇The
Deipnosophists, Bk. VI.
237: Aristophon: “...at tempting the fair, I am smoke” (“The Loeb Classical
Library”, III, p. 73)，譯者 C.B.
Gulick 注云：“ince smoke penetrates the smallest opening”。按參觀 The Oxford Dictionary of English Proverbs, p. 461: “The smoke follows the fairest” 引 Sir
Thomas Browne, Vulgar Errors，亦云出Athenaeus 書，譯為：“Like smoke, unto the fair I fly”; p. 280: “Love
laughs at locksmiths” 引 Shakespeare, Venus
& Adonis, 575-576: “Were beauty under twenty locks kept fast, Yet love
breaks through & picks them all at last”; Burton, The Anatomy of Melancholy, III Partition, II Section, III Member: “Penetrabit omnia, perrumpet omnia, ‘love
will finde out a way’” (Everyman’s Lib., vol. III, p. 162)。即李義山〈無題〉所謂「金蟾齧鎖燒香入，玉虎牽絲汲井回」也。馮猶龍《山歌》卷二〈有心〉云：「郎有心，姐有心，囉怕人多屋又深。人多那有千隻眼，屋多那有萬重門。」義山詩正謂防閑雖嚴，消息終通，而願欲必遂，無須憂蟾之鎖爐，畏虎之鎮井也。義山〈魏侯第東北樓堂郢叔言別〉五言長律云：「鎖香金屈戌」，「金屈戌」即「金蟾」也（參觀《戲瑕》卷二）。【馮氏《玉溪生詩箋注》卷三引《海錄瑣事》：「金蟾，鎖飾也；玉虎，轆轤也」（陸友仁《硯北雜志》卷上：「張伯雨有金銅舍利匣，［中略］蓋有四竅出烟，有環，若含鎖者，或疑燒香器。李商隱詩云云，是則驗其為燒香器之有鎖者」）。釋道源注義山詩，則謂「金蟾」指門上屈戌，言門雖鎖而香氣能入，更妙。】【義山〈和友人戲贈〉第一首「殷勤莫使清香透，牢合金魚鎖桂叢」，「金魚」謂魚鑰也。朱竹垞評：「『透』字應作自內而出解。」】餘見〈讀曲歌‧五六〉：「空中人住在，高牆深閣裏。書信了不通，故使風往爾」；〈烏夜啼‧六〉：「籠窗窗不開，蕩户户不動。歡下葳蕤籥，交儂那得往」；《玉照新志》卷一載張生〈雨中花慢〉云：「入戶不如飛絮，傍懷爭及爐烟」；黃莘田〈夢到〉七絕云：「不及銅爐烟一縷，隨風搖蕩入君懷。」又第七○三則論 Oxford Book of English Verse, p. 454, Anonymous: “Love will find out the way”。【Don Quixote, I, xi, [on the futility of shutting up women in some new labyrinth
like that of Crete]: “porque allí, por los resquicios o por el aire, con el
celo de la maldita solicitud, se les entra la amorosa pestilencia, y les hace
dar con todo su recogimiento al traste” (“Clasicos Castellanos”); “for in spite
of her seclusion, through chinks & crevices or borne upon the air, the
amorous plague with all its cursed importunities will find her out & lead
her to her ruin.”】【G. Bertacchi, A
fior di silenzio (Dino Provenzal, Dizionario
delle Immagini, p. 646): “Come per chiuse imposte aure serene / o un remoto
accennar di melodia, / il pensiero di te, lento, si viene / insinuando nella
vita mia.”】參觀 Leonard Forster, The Penguin Book of German Verse, p. 367, Klaus Groth: “Keen Graff
is so breet un keen Müer so hoch, / wenn Twee sik man gut sünd da drapt se sik
doch. / ... / Wenn Twee sik man leef hebbt / keen Sorg voer den Weg”; 張子野〈踏莎行〉云：「重牆繞院更重門，春風無路通深意」，又區以別矣。
〇《水滸全傳》第二十四回稱王婆云：「端的這婆子：開言欺陸賈，出口勝隋何。（中略）使阿羅漢抱住比丘尼，（中略）教李天王摟定鬼子母。（中略）教唆得織女害相思，調弄得嫦娥尋配偶。」按後世屢仿此，見第六三三則眉論王鑨院本《秋虎丘》第九折、《野叟曝言》三十四回[76]。【《警世通言》卷十六〈小夫人金錢贈年少〉：「這兩個媒人端的是：開言成匹配，舉口合姻緣。傳言玉女，用機關把臂拖來；侍案金童，下說詞攔腰抱住。調唆織女害相思，引得嫦娥離月殿」；《醒世恒言》卷三〈賣油郎獨占花魁〉：「劉四媽道：『老身是個女隨何，雌陸賈，說得羅漢思情，嫦娥想嫁。』」】然張平子〈西京賦〉刻劃嬋娟此豸一顧傾城云：「展季桑門，誰能不營？」「桑門」指佛【《四十二章經》、秦少游詞】；崔駰〈七依〉刻劃聲色之娛云：「當此之時，孔子傾於阿谷，柳下忽而更婚，老聃遺其虛靜，楊雄失其太玄」，即逕此意。【The
Miser, Mrs
Cheatly: “I bring people together, & make work for the parsons & the midwives.
If I had liv’d in that time I would have been hang’d if I had not Married the
Pope to Queen Elizabeth” (ed. Montague Summers, II, p. 39).】
七六四[77]
Harry Clarke 繪歌德《浮士德》中魔鬼以金寶利誘靜女一景 (1927)
黃石牧《𢈪堂集》卷九〈中晚唐三傑詩苕穎集序〉謂：「四唐之為唐，猶四時之成歲。帝神遞嬗，溫、暑、涼、寒之旋斡無迹，而氣機蒸變於自然，及其至也，而劃然剖矣。」葉橫山《已畦文集》卷八〈黃葉村莊詩集序〉、吳孟舉〈重刊瀛奎律髓序〉、《四庫提要》卷一八九《唐詩品彙》條【「然限斷之例，亦論大概耳。寒溫相代，必有半冬半春之一日，遂可謂四時無别哉？」】，皆有此論。Burke, Thoughts on the Causes of
the Present Discontents: “No lines can be laid down for civil or political
wisdom. They are a matter incapable of exact definition. But, though no man can
draw a stroke between the confines of day & night, yet light & darkness
are upon the whole tolerably distinguishable” (Selected Works, E.J. Payne, I, p. 39)，取譬用意正同，Leibniz 論 “Law of Continuity” 所謂 “régions d’inflexion et de rebroussement” (The Monadology & other Philosophical
Writings, tr. R. Latta, p. 38)【“All
the species which border upon or which occupy, so to speak,
disputable territory, being necessarily ambiguous & endowed with
characteristics which may equally be ascribed to neighboring species”】。近人 Morris Cohen 亦有 “twilight zones” 之說：“yet we must grant that of things in transition there are time when
opposite predicates are equally true. We cannot, in fact, draw an
aboslutelysharp dividing line between day & night” etc. (A Preface to Logic, p. 74)。而 Leibniz, Nouveaux Essais sur L’Entendement humain 主張 “la nature ne fait jamais des sauts”[78] (Philosophischen Schriften, hrsg. C.J.
Gerhardt, V, S. 49)，與 Hegel, Wissenschaft der Logik 駁 “Es gibt keinen Sprung in
der Natur” (Reclams “Universal-Bibliothek” ed., Bd. I, S. 490) 相反而實相成。Francis Galton: “Natural groups have nuclei, but no outlines” (Havelock
Ellis, The Criminal, 5th ed.,
p. 21引) 最為得之。【Wm Sidney Walker: “Too solemn for day, too sweet for night, / Come not
in darkness, come not in light; / But come in some twilight interim, / When the
gloom is soft, & the light is dim” (The
Oxford Book of English Verse, ed. A. Quiller-Couch, p. 746).】【Cf. W.J. Jones, The Romantic
Syndrome, p. 24 f. “The Continuity/Discreteness Axis”; p. 28 ff. “The
Sharp-Focus/Soft-Focus Axis.”[79]】
〇Leopardi: “Detti memorabili di Filippo Ottonieri”: “Diceva altresì che
ognuno di noi, da che viene al mondo, è come uno che si corica in un letto duro
e disagiato: dove subito posto, sentendosi stare incomodamente, comincia a
rivolgersi sull’uno e sull’altro fianco, e mutar luogo e giacitura a ogni poco;
e dura così tutta la notte, sempre sperando di poter prendere alla fine un poco
di sonno” (Opere, a cura di S. Solmi,
I, p. 579). 按 Zibaldone 一節亦云：“Il tale
diceva che noi venendo in questa vita, siamo come chi si corica in un letto
duro e incomodo, che sentendovisi star male, non vi può star quieto, e però si
rivolge cento volte da ogni parte, e proccura in vari modi di appianare,
ammollire ec. il letto, cercando pur sempre e sperando di avervi a riposare e
prender sonno” esc. (Zibaldone, a
cura di F. Flora, II, p. 928)。前書編註者未引後書，後書編註者未引前書，可謂疏略矣。而皆引 Manzoni 語參驗，其語見 I Promessi sposi, cap. 38: “L’uomo, fin che sta in questo mondo, è un infermo che si
trova sur un letto scomodo più o meno, e vede intorno a sé altri letti, ben
rifatti al di fuori, piani, a livello: e si figura che ci si deve star benone”
esc. (Opere,
Riccardo Ricciardi, p. 958)。實則 Dante
呵斥其故國云：“E se ben ti ricordi e vedi lume, / vedrai te
somigliante a quella inferma / che non può trovar posa in su le piume, / ma con
dar volta suo dolore scherma”[80] (Purg., VI. 148-151)，已導先路。而 Baudelaire: “Anywhere out of the world”: “Cette vie est un hôpital où
chaque malade est possédé du désir de changer de lit. Celui-ci voudrait
souffrir en face du poêle, et celui-là croit qu’il guérirait à côté de la
fenêtre” etc. (Oeuv. comp., “la
Bibliothèque de la Pléiade”, p. 355)，則後來能繼，皆未見有人拈出。André Maurois, Les Silences du Colonel
Bramble, ch. 3 中 Le Dr O’Grady
論革命如臥者轉側[81]，實亦本此。
〇Lamartine: “Le Lac”: “Ô temps, suspends ton vol ! et vous, heures
propices, / Suspendez votre cours! / Laissez-nous savourer les rapides délices
/ Des plus beaux de nos jours!” (A. Hartley, The Penguin Book of French Verse, III, p. 11). 談藝者胥謂其本 A.-L. Thomas: “Ode sur le Temps”: “Ô Temps, suspends ton vol, respecte
ma jeunesse!” (A.J. Steele, Three
Centuries of French Verse 1511-1819,
p. 249)，尚屬皮相。其用意實即 Faust 臨歿所謂 “Zum Augenblicke dürft’
ich sagen: / Verweile doch, du bist so schön!” (Faust, 1181-2, hrsg. E. Trunz, S. 348; cf. 1699-1700, S. 57)。Publilius Syrus: “Dum est vita grata, mortis condicio optima est” (Mior Latin Poets, “The Loeb Classical
Library”, p. 30); Decamerone, IV. 7: “O
felici anime, alle quali in un medesimo dì addivenne il fervente amore e la
mortal vita terminare” (ed. Hoepli, p. 290); Hugo, Hernani, V. iii: “Je me sentais joyeuse et calme, ô mon amant! / Et
j'aurais bien voulu mourir en ce moment”; Rousseau, La Nouvelle Héloïse, Julie: “O mort! viens quand tu voudras, je ne
te crains plus, j’ai vécu... tu n’as plus rien à me dérober” (éd. Daniel
Mornet, t. IV, p. 258); Les Rêveries du Promeneur
solitaire, 5e Promenade: “A peine est-il dans nos plus vives
jouissances un instant où le coeur puisse véritablement nous dire: Je voudrais que cet instant durât toujours”
(Confessions et Rêveries, “Bib. de la
Pléiade”, p. 701); Byron, Don Juan,
Canto IV, st. 27: “Mix’d in each other’s arms, & heart in heart, / Why did
they [Juan & Haidee] not then die?
— they had lived too long / Should an hour come to
bid them breathe apart; / years could but bring them cruel things or wrong” (Don Juan, ed. T.G. Steffan & W.W.
Pratt, II, p. 358); Terence, Eunuchus,
550: “Jupiter, now assuredly is the time when I could readily consent to be
slain, lest life should sully this ecstasy with some disaster (Nunc est
profecto, interfici cum perpeti me possum, Ne hoc gaudium contaminet vita aegritudine)”
(quoted in Anatomy of Melancholy, “Everyman’s”,
III, p. 144); Jean Lorrain,: “Fleur de Berge”: “Le ciel est canaille, / Il faut
mourir quand on est heureux” (quoted in A. Lanoux, Bonjour, Monsieur Zola, p. 269) 亦復貌異心同。
〇Margaret 初晤 Faust 返家，獨處冥想，有云：“Er sah gewiss recht wacker aus, / Und ist aus einem edlen Haus; / Das könnt’
ich ihm an der Stirne lesen — / Er wär auch sonst nicht so keck gewesen” (2680-3,
S. 86)。讀此可解歌德稱 Byron 云：“Byrons Kühnheit, Keckheit und Grandiosität, ist das alles nicht bildend?”
(J.-P. Eckermann, Gespräche mit Goethe,
16 Dez. 1828, Aufbau Verlag, 1956, S. 443)。正以色胆如天為貴介公子應有之品題也，參觀 Byron 斥 Petrarca：“I detest the fellow so much that I would not be the man even to have
obtained his Laura, which the metaphysical, whining dotard never could” (Letters & Journals, ed. Prothero,
II, p. 379)，即嗤其無色胆耳。
〇Helena: “Ein Ton scheint sich dem andern zu bequemen, / Und hat ein Wort
zum Ohre sich gesellt, / Ein andres kommt, dem ersten liebzukosen” (9369-71, S.
282)[82], Trunz 注云：“Helena meint den ihr unbekannten Reim” (S. 591)。按妙喻。Fénelon, Lettre sur les
occupations de l’Académie française: “Il y a un bon mot fort connu. Voilà deux mots bien étonnés de se trouver
ensemble, a dit un homme d’esprit, en se moquant d’un mauvais assortiment de
mots. J’applique cela à la rime” (F. Brunetière, L’Évolution de la Poésie lyrique en France
au 19e
Siècle, p. 引)[83]，貌同心異。D. Bianchi, Il fantasma fuggente
della vita: “Il poeta che dà caccia alla rima... / scopre alfin la parola
che combaci / come se bocca scocca a bocca baci” (D. Provenzal, Dizionario
delle Immagini, p. 700);
Karl Kraus 亦謂：“Er ist das Ufer, wo sie landen, / sind zwei
Gedanken einverstanden”，參觀 La Parnasse moderne, 1830, p.37: “J’aime à voir s’accoupler deux
pensers ennemis, / qui de se fuir toujours semblaient s’être promis” (Margaret
Gillman, The Idea of Poetry in France,
p. 162 引)；Edmond Jabès: [In translating] “Les mots qui se
cherchent ont le regard triste des amants séparés” (Reuben A. Brower, ed., On Translation, p. 87 引)。
〇Faust 命 Mephistopheles 以金寶餽贈 Margaret，蓋靜女亦可利誘也。故
Mephistopheles 云：“Sitzt nun unruhvoll, /
Weiss weder, was sie will noch soll, / Denkt ans Geschmeide Tag und Nacht, /
Noch mehr an den, der’s ihr gebracht” (2849-52, S. 91)。而 Margaret 亦自慨云：“Nach Golde
drängt, / Am Golde hängt / Doch alles. Ach wir Armen!” (2802-3, S. 90)。此意 Orlando Furioso 反復言之，如 Canto XXVIII. 46 Iocondo 語
Astolfo 云：“Ambi gioveni siamo, e di
bellezza, / Che facilmente non troviamo pari; / Qual femina sarà che n’usi
asprezza, / Se contra i brutti ancor non han ripari? / Se beltà non varrà né
giovinezza, / Varranne almen l’aver con noi danari”[84] (Orl. Fur., ed. Ulrico Hoepli, p. 304)，謂愛鈔勝於愛俏（元曲《金線池》第一折卜兒白：「正是：小娘愛的俏，老鴇愛的鈔」；《醒世恒言》卷三：「常言道：『妓愛俏，媽愛鈔』」）；XLIII. 38 金杯主人自述易形試妻，云：“Turbossi nel
principio ella non poco, / Divenne rossa, ed ascoltar non volle; / Ma il veder
fiammeggiar poi, come fuoco, / Le belle gemme, il duro cor fe’ molle”[85] (p.
460)，48 Rinaldo 勸慰之，云：“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”[86] (p.
461) (“Né prima ella” ec. 參觀
Mephistopheles: “Sie ist die Erste nicht”, S. 137)。至 138-9 寫 Il Dottore Anselmo 見廣厦而貪羨欲得，不惜為黑人龍陽：“La forma, il sito, il ricco e bel lavoro / Va contemplando, e
l’ornamento regio; / 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. / De la brutta domanda e disonesta, / Persona lo
stimò bestiale e matta. / Per tre repulse e quattro egli non resta; / E tanti
modi a persuaderlo adatta, / Sempre offerendo in merito il palagio, / Che fe’
inchinarlo al suo voler malvagio”[87] (p.
470-1)，尤極嘲諷之致，參觀 Gespräche Friedrichs des
Grossen mit Henri de Catt, Leipzig, 1885, S. 11[88]: “Die
Hauptsache, wenn man die Menschen leiten will,
besteht darin, ihren Geschmack, ihre Ansichten und ihre Schwächen zu kennen. Schwächen
haben wir alle. Meine Grossmutter von Hannover fragte den französischen
Gesandten einmal, wie es möglich fei, dass so viele Französinnen sich verführen
liessen. ‘Majestät,’ erwiderte er, ‘Dramanten!’ ‘Aber, wer wird sich für Diamanten
verkanfen?’ ‘Nun, für hunderttausend Taler!’ ‘Abscheulich, für Geld!’ ‘Ein
schönes Perlenhalsband!’ ‘Ich bitte Sie, um Gottes willen, Marquis, hören Sie
auf!’ Meine Grossmutter hatte eine grosse Vorliebe für Perlen, das war ihre
Leidenfchaft” (I. Bloch, Die Prostitution,
I, S. 14 引)；J. Volkelt, System der Ästhetik,
II, S. 513 引隽語：“Die Frau ist
um so hingebender je hargebender der Mann”；《湘綺樓日記》光緒十九年正月十七日論《封神榜》有云：「未有無財而能耽色者也。」又 Il Dottore Anselmo 可與 Frank Harris: “Homosexuality! No, I know nothing of the joy of
homosexuality... But I must say that if Shakespeare had asked me I should have
had to submit” (Vincent Brome, Frank
Harris, p. 6; David Cecil, Max,
p. 164: “Max went home & drew a cartoon of Harris, stark naked & with
his moustache bristling, looking coyly over his shoulder at Shakespeare, who
shrinks back at the alarming
prospect. Underneath was written, ‘Had Shakespeare
asked...’”) 一語相映成趣。
〇Faust 自言：“Zwei Seelen wohnen, ach!
in meiner Brust, / Die eine will sich von der andern trennen” (1113-4, S. 41)。按七六二則論 Paul Fleming: “Wider streit in sich selbst”、Baudelaire: “L’Héautontimorouménos” 二詩可以合觀。Jacques Barzun, Romanticism &
the Modern Ego, p. 70: “The classic objection to romantic psychology is that it accepts an inner dualism — the two souls in one breast” etc. 即隱指 Faust 語；p. 80: “When Racine was
melancholy, he wrote a simple song [the third of his Cantiques spirituels] in which he says he feels two souls within
his breast”，原句云：“Mon Dieu,
quelle guerre cruelle! / Je trouve deux hommes en moi”。涉略所及，足資比勘者，并書於此：Jean de Sponde: “Je sens dedans mon ame une guerre civile: / D’un parti
ma raison, mes sens d’autre parti, / Dont le bruslant discord ne peut estre
amorti / Tant chacun son tranchant l’un contre l’autre affile” (J.M. Cohen, The
Baroque Lyric, p. 21); Buffon, Histoire
Naturelle, t. IV, Discours sur la
nature des animaux, ch. “Homo Duplex”:
“L’homme intérieur est double; il est composé de deux principes différents par
leur narture, et contraires par leur action. L’âme, ce principe spirituel, ce
principe de toute connaissance, est toujours en opposition avec cet autre
principe animal et purement matériel... Si nous nous observons dans cet état
[on cette maladie à laquelle on a donné le nom de vapeurs], notre moi nous
paraîtra divisé en deux personnes, dont la première, qui représente la faculté
raisonnable, blâme ce que fait la
seconde, mais n’est pas assez forte pour s’y opposer
efficacement et la vaincre” (Pages
choisies, “Classiques Larousse”, pp. 33, 34-5); Montaigne, Essais, III. x: “Le maire et Montaigne
ont toujours été deux, d’une séparation bien claire... Je ne sais pas m’engager
si profondément et si entier” (Pléiade, p. 974, cf. p. 911); Hugo, La Légende des siècles, XVII. 2: “Homo
Duplex”: “Il vit sous un grand arbre un ange auprès d'un singe. / ... / ‘Tu
vois ici ton âme à côté de ton corps’...” (Oeuvres
Poétiques Complètes, Montréal: Éd. B. Valiquette, p. 501)，靈肉二者，如 Cicero: “Homo constat ex duabus partibus, corpore et anima” etc.，非此之謂；Les Rayons et les Ombres, 10: “Comme dans les Étangs”: “Comme dans les étangs assoupis sous les
bois, / Dans plus d’une âme on voit deux choses à la fois, / Le ciel, qui teint
les eaux à peine remuées / Avec tous ses rayons et toutes ses nuées, / Et la
vase, — fond morne, affreux, sombre et dormant, / Où des reptiles noirs
fourmillent vaguement” (p. 227)，則此意也；Arrigo Boito: “Dualismo”: “Son luce ed ombra; angelica / farfalla o
verme immondo, / sono un caduto chèrubo / dannato a errar sul mondo, / o un
demone che sale, / affaticando l’ale, / verso
un lontano ciel. / ... / Ecco perchè m’affascina / ’ebbrezza di due canti, /
ecco perchè mi lacera / l’angoscia di due pianti, / ecco perchè il sorriso /
che mi contorce il viso / o che m’allarga il cuor” ecc. (L. Baldacci, Poeti minori dell’ottocento, I, p. 904);
Piron: “Deux Tonneaux”: “Deux Moi sans cesse en moi se font sentir, / L’un tire
au ciel , l’autre tient à la terre. / Un Moi troisième, établi pour entendre / Et
pour juger, ne sait quel parti prendre; / Lui-même, en deux, se subdivise aussi.
/ ... / C’est trop souffrir un abus importun. / Messieurs les Moi, je prétends
n’être qu’un!” (Ch. Lalo, L’Expression de
la vie dans l’art, p. 27 引); Journal des Goncourt, 14 mars, 1864: “Gautier
parle du profond ennui qu’il a toujours éprouvé, de ce tiraillement perpétuel
de deux hommes en lui: l’un qui lui dit, quand tous ses effets sont prêts pour
aller en soirée: ‘Couche-toi, qu’est-ce que tu irais faire là!’ Et l’autre qui
lui dit, quand il est couché: ‘Tu aurais dû y aller, tu te serais amusé!’”;
Hegel, Phänomenologie des Geistes, Berlin:
Akademie Verlag, 1964, S. 158: “Das unglückliche Bewusstsein ist das
Bewusstsein seiner als des gedoppelten nur widersprechenden Wesens”。至 R.L. Stevenson, The Strange Case
of Dr Jekyll & Mr Hyde 末節：“H.J.’s Full Statement of the Case” 論 “the thorough &
primitive duality of man”, “these polar twins”，尤深切著明矣。【Pietro Pomponazzi, On the Immortality of the Soul: “Man is
clearly not of simple but of multiple, not of certain but of ambiguous (ancipitis) nature” (E. Cassirer, P.O.
Kristeller, & J.H. Randall, Jr. ed., The
Renaissance Philosophy of Man, p. 282); Thomas Browne, Religio Medici:
“This is man that great and true Amphibium”
etc.; Plato, Rep., 588B et. seq. (見一一一則論 W. Jaeger, Paideia, E. T., II, p. 353); cf. Karl Miller’s
book Doubles (1987) on “duality” or “Protean”
multiple identity of human nature.】【Cf.
Augustine, Confessions, VIII. V, “Loeb”,
I, p. 424: “duae voluntates meae, una vetus, alia nova, illa carnalis, illa
spiritalis, confligebant inter
se atque discordando dissipabant animam meam”;
Pascal, Pensées, Sect. VI, §412: “Guerre
intestine de l’homme entre la raison et les passions” (Oeuvres, “Grands Écrivains de la France,” XIII, p. 311; Brunschwig’s
note quoting Balzac, pp. 311-2); Shaftesbury, Soliloquy, I. ii: “two persons in one individual self... both good
& bad, passionate for virtue & vice, desirous of contrarys”, I. iii: “Whatever
we were employed in, whatever we set about, if once we had acquired had
acquired the habit of this mirror we should, by virtue of the double
reflection, distinguish ourselves into two different parties” (Characteristics, ed. J.M. Robertson, I, pp. 121, 127). In Orphic
theology, all the gods are dei ambigue,
animated by a law of self-contrariety, & in the Renaissance legend, Proteus
is ambiguus (A. Bartlett Giamatti, in
P. Demetz, T. Greene & L. Nelson, The
Disciplines of Criticism, p. 443).】【又七六六則眉。[89]】【［補七六四則］Faust: “Ach! Zwei Seelen” etc. Gérard de Nerval, Aurélia: “Une idée terrible me vint: ‘L’homme est double’, me
dis-je. ‘ Je sens deux hommes en moi’, a écrit un Père de l’Église... Il y a en
tout homme un spectateur et un acteur, celui qui parle et celui qui répond... En
tout cas, l’autre m’est hostile” (Oeuvres, Pléiade, I, p. 391). Cf.
Nietzsche, Menschliches, Allzumenschliches, Bd. II, Abt. i, §284: “Die Frauen und die
Künstler meinen, dass wo man ihnen nicht widerspreche, man nicht widersprechen
könne; Verehrung in zehn Punkten und stillschweigende Nichtbilligung in anderen
zehn scheint ihnen nebeneinander unmöglich, weil sie Bausch- und Bogen-Seelen
haben”[90]
(Werke, K. Schlechta, I, 840).】
〇Eduard
Fuchs, Illustrierte Sittengeschichte,
Bd. II, S. 108: “An die Stelle des wirklich Schönen das Pikant trill. Pikant
ist zum Beispiel an der Gesichts farbe die interessante Blässe: das Symbol der
physischen zartheit und ausserdem der Stempel, den der Liebe geweihten Nächte
dem Gesichte aufprägen. Im ‘Kuriosen Antiquarius’ vom Jahre 1712 heisst es: ‘Das
Frauenzimmer liebet keine Röthe im Gelicht, sondern halten blass sein für eine
Schönheit’”; Shenstone,
Essays on Men
& Manners, no. 50: “Poetry & consumption are the most
flattering diseases”; The Journal of
Thomas Moore, 19 Feb. 1828, ed. P. Quennell, p. 179: “Lord Sligo described
Byron after his illness at Patras looking in the glass and saying, ‘I look pale;
I should like to die of consumption.’ — ‘Why?’ ‘Because the ladies would all
say, “Look at that poor Byron — how interesting he looks in dying”’”; Francesco
De Sanctis: “Ugo Foscolo”, in Saggi
critici, a cura di Luigi Russo, III, pp. 110-1: “Il pallore divenne interessante;
la tisi fu una poesia, ciascuno si sentia consumare del mal di Jacopo [Ortis]”;
Théophile Gautier, Histoire du Romantisme, ed. Charpentier, p. 31: “Il était de mode alors dans l’école
romantique d’être pâle, livide, verdâtre, un peu cadavéreux, s’il était
possible. Cela donnait l’air fatal, byronien, giaour, dévoré par les passions
et les remords. Les femmes sensibles vous trouvaient intéressant, et,
s’apitoyant sur votre fin prochaine, abrégeaient pour vous l’attente du bonheur
pour qu’au moins vous fussiez heureux en cette vie”; Alexandre Dumas fils, Le Demi-Monde, I. iii, Théâtre Complet, éd. Calmann-Lévy: II,
pp. 43-4, Oliver: “L’automne dernier... Tiens, voilà une saison dangereuse, à
la campagne surtout, où la solitude donne carrière à l’imagination, où chaque
feuille qui tombe est une élégie toute faile, où l’on sent le besoin de devenir poitrinaire.pour
être dans le ton de la nature mélancolique et décolorée”; II. v, p. 86,
Marcelle: “Moi, je me porte bien, c’est ennuyeux. Quand une femme se porte
toujours bien, personne ne fait plus attention à elle.” Suzanne: “Je vous ai
entendue tousser quelquefois, quand vous aviez passé la nuit”; Jules Bertaut, L’Époque romantique, pp. 20-1: “Avoir la
physionomie romantique!... on ne mange plus, dit Véron dans ses Mémoires d’un Bourgeois de Paris, on se
met à l’eau: les femmes du bel air prétendent ne plus se nourrir que de
feuilles des roses! En outre, il faut
paraître alanguil, mourante... sous ces airs
glaces, un tempérament de feu. Être pâle, c’est bien, mais qu’il est mieux
encore de faire passer dans sonregard des ‘lueurs infernales’” (參觀 J. Bithell, Modern German Literature 1880-1950, 3rd
ed., p. 210 引 Felix Dorman 詩 “Ich liebe die Fahlen und
Bleichen, / die Frauen mit müdem Gesicht, / aus denen in flammenden Zeichen / verzehrende
Sinnenglut spricht”); Léon-Paul Farque, Lanterne
magique, pp. 170 et suiv.: “Il fut un temps que, pour réussir dans
l’épineuse carrière de poète fréquentant le monde, il fallait avoir l’air d’un
poitrinaire. On se le donnait. Et l’on en mourrait parfois. Balzac, dans la Mode n’hésitait pas à soutenir les Théories
les plus sangrenues: ‘L’ambitieur mange peu, le savant est sobre, etr l’homme à
sentinent a l’obésité en horreur.’ Barbey d’Aurevilly... ne s’accordait qu’un
repas par jour. Les Jeune France... ingurgitaient de citrons à la donzaine et
bouvaient le vinaigre a franche rasade afin de ressempler aux hèros, tous pâles,
du théâtre et du roman” (Ch. Braibant, Le
Métier d’Écrivain, p. 55 引); Louis
Maigron, Le Romantisme
et la Mode, pp. 181-2: “On allonge, on amincit, on amenuise, on éffile tout ce qu’on
peut et tant qu’on peut. L’unique ambition du couturier est de ‘faire du corps
un fuseau’” (cf. p. 185, Véron: “on ne mangea plus”; p. 199: “Être pâle, c’est
bien”; p. 214: “se noyer ainsi l’estomac de vinaigre et de jus de citron”)，數則可以合觀。【Laurence Sterne,
Sentimental Journey[91]: “It
was a face... not critically handsome, but... it was interesting” (“The World’s
Classics”, p. 27); Shelley to Keats: “This consumption is a disease particularly
fond of people who write such good verses as you have done” (H.E. Rollins, ed., The Letters of John Keats, II, 310).】
〇Tasso, Gerusalemme Liberata, I.
iii: “e che ’l vero, condito in molli versi / i più schivi allettando ha
persuaso: / così a l’egro fanciul
porgiamo aspersi / di soavi licor
gli orli del vaso” (Poesie, a cura di Flora, p. 4). 按 Dante, Inferno, IX: “O voi
ch’avete li ’ntelletti sani, / mirate la dottrina che s’asconde / sotto ’l
velame de li versi strani”[92] (Divina Commedia, a cura di N. Sapegno, p.
108); Purgatory, VIII: “Aguzza qui,
lettor, ben li occhi al vero, / ché ’l velo è ora ben tanto sottile, / certo
che ’l trapassar dentro è leggero”[93] (ib., p. 478); Marino, L’Adone, I. x: “Ombreggia il ver Parnaso
e non rivela / gli alti misteri ai semplici profani, / ma con scorza mentita
asconde e cela, / quasi in rozzo Silen, celesti arcani” (Marino e i Marinisti, a cura di G.G. Ferrero, p. 36) 皆謂寓意比興之體也。Florian, Les Fables: “La Fable
et la Vérité”: “Dit la fable, et, sans vanité, / Partout je suis fort bien
reçue: / Mais aussi, dame vérité, / Pourquoi vous montrer toute nue? / Cela
n'est pas adroit: tenez, arrangeons-nous; / Qu’un même intérêt nous rassemble:
/ Venez sous mon manteau, nous marcherons ensemble. / Chez le sage, à cause de
vous, / Je ne serai point rebutée; / A cause de moi, chez les fous / Vous ne
serez point maltraitée” (Oeuvres,
“Collection des Grands Classiques”, p. 3 之喻尤妙。又按《高僧傳三集》卷二十五〈少康傳〉系曰：「康所述偈讚，皆附會鄭衛之聲，變體而作。（中略）譬猶善醫以餳蜜塗逆口之樂，誘嬰兒之入口耳。」與 Tasso 用意全同【依隱】。餘見第三四九則、七五三則。
〇W. Kayser, Das Sprachliche
Kunstwerk, 4te Aufl., 1956, S. 192: “So fällt zu einem Teil dem
Titel die Aufgabe zu, in dem Aufnehmenden die rechte Stimmung zu schaffen. Das ser
dabei zu viel vorwegnimmt, wie es Lessing an manchen Dramatiteln tadelt; ist
in der Lyrik kaum zu befürchten.” 按
Lessing 語見 Hamburg. Dramat., 21 Stück: “Ein Titel muss kein Küchenzettel sein. Je weniger er von
dem Inhalt verrät, desto besser ist er”，蓋以菜單為喻。Fielding, Tom Jones, I, ch. 1 亦有此喻，而用意適相反：“... we have condescended to take a hint from these honest victuallers, &
shall prefix not only a general bill of fare to our whole
entertainment, but shall likewise give the reader particular bills
to every course which is to be served up in this & the ensuing volumes” (“Everyman’s
Library”, I, p. 1)。
〇George Orwell, Animal Farm,
ch. 10: “All animals are equal, but some
animals are more equal than others” (“Penguin Books”, p. 114) 為世傳誦。按 Emily Faithful, Three Visits to
America (1884), p. 326 記一女權主義者演說云：“Miss President, feller wimmin & male trash generally: I believe
sexes were created perfectly equal, with the woman a little more equal than the
man” (E.J. Dingwell, The American Woman,
p. 100 引)。參觀 Hesketh Pearson, Conan Doyle: His Life & Art, p. 182:
“Adrian Doyle can only recall one occasion when his father did — more than
administer a reproof. At the age of 16 he happened to speak of a certain woman
as ugly, upon which his father boxed his ears & said, ‘No woman is ugly, Every
woman is beautiful. But some are more beautiful than others’”，即 Byron, Don Juan, XIII. 3: “The
fair sex should be always fair; & no man, / Till thirty, should perceive
there’s a plain woman” (Don Juan, ed.
T.G. Steffan & W.W. Pratt, III, p. 359) 之意。
〇Marino, A Carlo Emanuele I: “Ed
oltracciò sì come in quella favolosa selva incantata l’arbore innaffiata
dal ruscello et il ruscello adombrato dall’arbore scambievolmente insieme si
compartivano il nodrimento
e l’ornamento, così con bellissime vicende
l’un di loro communica e somministra all’altro parte della propria qualità:
quello con gli spaziosi
rami della sua protezione favoreggiando questo, e
questo porgendo a quello con le vive acque della sua feconda vena vita
immortale”[94]
(G.G. Ferrero, Marino e i Marinisti,
p. 24). 按此本之 Tasso, Gerusalemme Liberata, XVIII. 20: “bagna
egli [il canaletto] il bosco e ’l bosco il fiume adombra / con bel cambio fra
lor d’umore e d’ombra” (Poesie, a
cura di Flora, p. 437)。Sir
Philip Sidney, Arcadia: “Sometimes
angling to a little river near hand, which, for the moisture it bestowed upon
roots of some flourishing trees, was rewarded with their shadow” (ed. 1674, p.
58 quoted in J. Dunlop, The History of
Fiction, 4th ed. p. 341); Webster, The Duchess of Malfi, III. ii:
Bosola: “For know, an honest statesman to a prince / Is like a cedar planted by
a spring: / The spring bathes the tree’s root, the grateful tree / Rewards it
with his shadow...” (Plays by Webster & Ford, , “Everyman’s Library”, p.
138) 亦正用此典。【C.A. Bécquer, Rimas,
ix: “Y hasta el sauce, inclinándose a su peso, / al río que le besa, vuelve un
beso.”[95]】Keats: “I Stood tip-toe upon a little Hill” 見本則。[96]【［補本則 Marino, A Carlo Emanuele I］Keats: “I Stood Tip-toe upon a Little Hill”: “The ripples seem right
glad to reach those cresses, / And cool themselves among the em’rald tresses; /
The while they cool themselves, they freshness give, / And moisture, that the
bowery green may live: / So keeping up an interchange of favours, / Like good
men in the truth of their behaviours” (Poems,
“Everyman’s”, p. 3).】
七六五[97]
拜倫《唐璜》第七章手稿
Reading Byron’s Don Juan in the handsome edition brought out by T.G. Steffan &
W.W. Pratt. Capital story-telling in verse, but the story-telling is of the
discursive kind — what the Italians call “saggistico” (cf. Sergio Solmi’s essay
“Riposta a una inchiesta sul romanzo” in A. Moravia & E. Zolla, ed., Saggi Italiani 1959, p. 146). The long
digressions & asides (III. 96: “... I must own, / If I have any fault, it
is digression” etc., II, p. 331), which often prove tedious even in the works
of Fielding & Thackeray, are in Byron’s poem highly enjoyable, & no
reader — at least I myself — would skip them to pick up the thread of the
story. (Oliver Elton is quite right in saying that “the novel, in the hands of
Dickens & Thackeray, was timid beside Don
Juan — as timid in comment as in topic” — Survey, 1780-1830, II, p. 180). Querry:
Is it because no story told in verse qua
story can be so absorbing as one told in prose? or because no prose, however
excellent, can have the appeal of good verse & consequently a prose passage
has to be self-effacingly functional and is rarely an end in itself? In other
words, in poetry Form dominates & in prose Matter. Dante tacitly admits the
comparative thinness of matter in narrative poetry as a result of the shackles
of verse when he laments a propos of Cerchio VIII, Bolgia 9: “Chi poria mai pur
con parole sciolte / dicer del sangue e de le piaghe a pieno / ch’i’ ora vidi,
per narrar più volte?”[98]
(Inferno, XXVIII, 1-3; La Divina Commedia, a cura di N. Sapegno, p.
319). George Sampson also shrewdly points out: “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 short & simple as verse, most
ballad-stories would be immemorable” (Seven
Essays, p. 33).
Canto I, St. 62: “Wedded she was
some years, & to a man / Of fifty, & such husbands are in plenty; / And
yet, I think, instead of such a ONE / ’Twere better to have TWO of
five-and-twenty” (vol II, p. 56). Cf. Douglas Jerrold: “My notion of a wife at
forty is that, a man should be able to change her, like a bank note, for two 20’s”
(Blanchard Jerrold, Specimens of Douglas
Jerrold’s Wit, pp. 93-4).
I. 84: “Never could she survive that common loss; / But just suppose
that moment should betide, / I only say suppose it — inter nos. / (This should be entre
nous, for Julia thought / In French, but then the rhyme would go for nought)”
(II, p. 67). Cf. Marjorie Fleming: “His [the pug’s] cast is of the roman / He
is a very pretty weoman / I could not get a rhyme for roman / And was obliged
to call it weoman”; “He [James II] was killed by a cannon splinter, / Quite in
the middle of the winter; / Perhaps it was not at that time, / But I can get no
other rhyme” (Marjorie Fleming’s Book,
“Modern Library”, pp. 143, 144-5); “Underneath
this ancient pew / Lie the remains of
Jonathan Blue; / His name was Black, but that wouldn’t do” (D. McCord, What Cheer, p. 349); “Here lies John
Bun, / He was killed by a gun,./ His name was not Bun, but Wood, / But Wood
would not rhyme with Gun, / but Bun would” (A. Silcock, Verse & Worse, p. 123); “All this I am writing in autume / Sitting
down here on my botom / ... / It is winter, not the autume / But I had to rhyme
with botom” (E. Holder, in New Statesman,
14 Feb. 1964, p. 265); Guyau, Les Problèmes
de l’esthétique contemporaine, pp. 236 ff.: “La recherche de la rime,
poussée à l’extrême, tend à faire perdre au poète l’habitude de lier
logiquement les idées... car penser, c’est unir et lier. Rimer, au contraire,
c’est juxtaposer des mots nécessairement décousus... Le nombre des idées se
trouve diminué par cela seul qu’est diminué le nombre des mots; il y a
relativement peu de mots aux rimes pleines, rappelons que Hugo lui-même trop
souvent se voit forcé da rimer juif-suif,
lueur-sueur, tombeau-flambeau, arbre-marbre,
aigle-règle”; Boileau, Sat., I, 19-20: “Si je pense exprimer un
auteur sans défaut, La raison dit Virgile et la rime Quinault”; P.
Gsell, Propos d’Anatole France, p.
184: “Gallet [qui a mis en scène le roman Thaïs]
me confia qu’il ne pourrait conserver à mon héros le nom de Paphnuce, parce qu’il
lui était difficik de le faire rimer avec des mots nobles. Il trouvait bien puce et prépuce. Mais cela ne le contentait point. Il choisit donc un autre
nom, celui d’Athanaël. Athanaël rime
avec ciel, autel, irréel, miel”; Morgenstern: “Das ästhetische
Wiesel”: “Ein Wiesel / sass auf einem Kiesel / inmitten Bachgeriesel. // Wisst
ihr / weshalb? // Das Mondkalb / verriet es mir / im Stillen: // Das raffinier-
/ te Tier / tats um des Reimes willen” (W. Rose, A Book of Modern German Lyric Verse, p. 37);
I. 115: “.../ And then — God knows what next — I can’t go on; / I’m
almost sorry that I e’er begun” (II, p. 83). Many examples of such skitishness.
Demetrius, On Style: “There is a
peculiarly Sapphic grace due to recantation. Sometimes Sappho will say a thing &
then recant, as though she had a fit of repentance” (Loeb, p. 395), & in a
note Rhys Roberts quotes from Don Juan,
I. 53: “For there [at college] one learns — ’tis not for me to boast, / Though
I acquired — but I pass over that.” T.L.S., April 22, 1977, p. 474: “A
reader familiar with the changing metaphors for the runaway horse at the
opening of La vida es sueño — hippogriff,
wind, dark lightning, dull-plumed bird, scaleless fish — will remember Shelley’s
manner of deploying imagery in ‘To a Skylark’.”
I. 116: “Oh Plato! Plato!” etc. (II, p. 84). Cf. 第七四四則 on L. Casaburi’s poem “Invettiva di bella donna al suo marito filosofo”
(G.G. Ferrero, Marino e i Marinisti, p. 1060).
II. 1: “Oh
ye! who teach the ingenuous youth of nations, / Holland, France, England,
Germany, or Spain, / I pray ye flog them upon all occasions, / It mends their
morals, never mind the pain” (II, p. 157). Cf. the aptronyms
(essing’s “redende Namen”) for schoolmasters in English fiction: Fielding’s Dr
Thwackum, Thackeray’s Dr Birch, Mr Swishtail, Miss Tickeltoby,
etc. Menander, Monosticha, 422: “The
man that has never been flogged has never been taught” (The Oxford Book of English Proverbs, p. 449); W. Drummond, Ben Ionsiana, §12: “Owen is a poor
pedantic schoolmaster, sweeping his living from the posteriors of little
children” (Table Talk, ed. J.
Thornton, “Everyman’s Library”, p. 6). Swift: “A Riddle on the Posteriors”: “Through
me, though sore against my will, / Instructors
every art instil” (A. Chalmers, English
Poets, XI, p. 438); J.E. Morpurgo, The
Road to Athens: “Teachers regard tails as more important than heads for the
inculcation of knowledge” (The Penguin
Dict. of Modern Quotations, p. 162). H. Küpper, Wörterbuch der deutschen Umgangssprache, Bd. I, 3tte
Auf., 1963, S. 156: “Erziehungsfläche: Gesäss”; S. 375: “Pauker: Lehrer (der
Lehrer schlägt auf das Gesäss des unbotmässigen Schülers wie auf eine Pauke)”;
also S. 75: “Arschpauker”, S. 460: “Steissklopper, trommler”; E. Partridge, A Dictionary of Slang & Unconventional
English, 4th ed., p. 106: “Bum-brusher: A schoolmaster”; p. 285:
“Flaybottomist: A schoolmaster... punning phlebotomist.”【 “Lashed into Latin by the
tingling rod.”】
II. 19: “And,
oh! if e’er I should forget, I swear — / But that’s impossible, & cannot be — / Sooner shall this blue ocean melt to air, / Sooner shall Earth
resolve itself to sea, / Than I resign thine image, oh, my fair! / Or think of
anything, excepting thee; / A mind diseased no remedy can physic — (Here the
ship gave a lurch, & he grew sea-sick.)” (II, p. 166); 20: “Sooner shall heaven
kiss earth — (here he fell sicker) / Oh, Julia! what is every other woe — / (For
God’s sake let me have a glass of liquor, / Pedro, Battista, help me down
below.) / Julia, my love! — (you rascal, Pedro, quicker) — / O Julia! — (this
curst vessel pitches so) — / Beloved, Julia, hear me still beseeching!’ / (Here he grew inarticulate with retching.)”
(II, p. 167). Wicked debunking of lovers’ vows by burlesquing the rhetoric device
of “adynaton” (cf. A. Preminger, Encyclopedia
of Poetry & Poetics, p. 5; 第六九四則 on《元秘史》卷二; 第七九五則 on《漁樵記》第二折. The
delightful burlesque of another rhetorical device “multiple metaphor” (cf. 一一九則 on 羅璧《識遺》卷七; cf.
Thibaudet on “l’image tangentielle”: “L’image, comme une tangente, ne touche la
courbe de l’idée qu’en un point et un seul; puis elle obéit à son destin, s’évanouit
dans la nuit comme un éclair, tandis que la phrase suit son cours, touchée, ça
et là, par la rencontre d’autres images, fulgurantes, météoriques, et qui, après
avoir ébloui l’imagination, s’effacent en laissant la place libre à d’autres
images sans rapport avec premières”
— H. Morier, Dictionnaire
de Poétique et de Rhétorique, p. 201), occurs in Canto XVI, St. 9: “The
evaporation of a joyous day / Is like the last glass of champagne, without / The
foam which made its virgin bumper gay; / Or like a system coupled with a doubt;
/ Or like a soda bottle when its spray / Has sparkled & let half its spirit
out; / Or like a billow left by storms behind, / Without the animation of the
wind” (vol III, p. 504); St. 10: “Or like an opiate, which brings troubled
rest, / Or none; or like — like nothing that I know / Except itself...” (p.
505); cf. Vision of Judgement, §61: “When
Michael saw this host, he first grew pale, / As Angels can; next, like Italian
twilight, / He turn’d all colours — as a peacock’s tail, / Or sunset streaming
through a Gothic skylight / In some old abbey, or a trout not stale, / Or
distant lightning on the horizon by
night, / Or a fresh rainbow, or a grand review / Of thirty regiments in red,
green, & blue.”[99] “The
evaporation of a joyous day” etc. (DJ,
XVI. 9) is reminiscent of the famos passage in Burns’s Tom O’Shanter: “But pleasures
are like poppies spread, / You seize the flow’r, its bloom is shed; / Or like
the snow falls in the river, / A moment white — then melts forever; / Or like
the borealis race, / That flit ere you can point their place; / Or like the
Rainbow’s lovely form / Evanishing amid the storm” — also an example of
multiple metaphor. Jean Rousset mentions “la métaphore multiple” as a stylistic
trait of baroque poetry, citing Crashaw’s “Bulle”, & Martial de Brives’s Benedicite, etc. as examples (La Littérature de l’âge baroque en France,
nouvelle éd., 1954, pp. 191-2). But like all stylistic devices, it can
degenerate into amere gimmick and the array of similes reminds one of Bacon’s
shrewd verdict in The Colours of Good
& Evil on the array of
reasons, that to give too many suggests that no single one of them is good —
witness its mechanical application & frigid effect in the two following
examples chosen at random: “Clizia, che’l sole hai di mirar costume, / ma stai
fissa nel suol d’impuri affetti; / Iri, ch’all’occhio alto tesor prometti, / ma
stringerti la man invan presume; / cigno, che polpe hai nere e bianche piume; /
serpe, che nel lambir di tòsco infetti; / polpo ch’a naufragargli abbracci i
petti; / mar, ch’hai rigidi scogli in molli spume; / lampo, ch’offri splendori
e tuoni hai tratti; / usignuol, ch’hai bei canti e forze inferme; / talpa, che
cieca i fondamenti abbatti; / remora, ch’i’ navigli arresti inerme; / ape, che
gli aghi in ala d’oro appiatti; / lucciola, ch’astro assembri e pur sei verme”
(Lorenzo Casaburi’s “Contro l’ipocrisia”, in G.G. Ferrero, Marino e i Marinisti, pp. 1061-2); “Was sind wir Menschen doch! Ein
Wohnhaus grimmer Schmerzen / Ein Ball des falschen Glücks, ein Irrlicht dieser
Zeit, / Ein Schauplatz herber Angst, besetzt mit scharfem Leid, / Ein bald
verschmelzter Schnee und abgebrannte Kerzen” (Andreas Gryphius:
“Menschliches Elende”, in Max Wehrli, Deutsche
Barocklyrik, 3tte, erweiterte Auf., 1962, S. 55). When Keats
spoke to Joseph Severn of Byron’s “paltry originality” in Don Juan, namely, “that of being new by making solemn things gay
& gay things solemn” (Hyder E. Rollins, The
Keats Circle, II, p. 134), he probably had such burlesque in his mind.
II. 92: “[The
rainbow]... / And blending every colour into one, / Just like a black eye in a
recent scuffle” (II, p. 205). This is what is known as a “diminishing metaphor”
“acceptable to Baroque sensibility” (R. Wellek & A. Warren, Theory
of Literature, “Peregrine Books”, p. 198), but here its purpose is
burlesque or low-falutin; the baroque is often unintentionally burlesque, see
some of the examples quoted in 第一四七則 (a) a propos of Hegel’s quaint phrase “dieser
Licht-Auschlag” in Die Naturphilosophie,
§268 (Sämtl. Werk., hrsg. H.
Glockner, Bd. IX, S. 118).
II. 211: “... that which / Men call inconstancy is nothing more / Than
admiration due where Nature’s rich / Profusion with young beauty covers o’er / Some
favour’d object...” (II, p. 269). Thomas Stanley: “Chang’d, yet Constant”: “Wrong
me no more / In thy complaint, / Blam’d for inconstancy; / I vow’d t’adore / The
fairest Saint, / Nor chang’d whilst thou wert she: / But if another thee
outshine, / Th’ inconstancy is onely thine” etc. (G. Saintsbury, The Minor
Poets of the Caroline Period, III, p.113); Henry King: “The Change”: “Yet
will I not your levitie accuse; // Continuance sometimes is the worse abuse. / In
judgment I might rather hold it strange, / If like the fleeting world, you did
not change” etc. (p. 209); Liaisons dangereuses,
Lettre 141 [dictée par la Marquise de Merteuil su Vicomte de Valmont pour être
envoyée à Mme de Tourvel]: “On s’ennuie de tout, mon Ange, c’est une
loi de la Nature; ce n’est pas ma faute” (ed. Bib. de la Pléiade, p. 408). See
also Jean Rousset, Anthologie
de la Poésie baroque française, I, “Introduction”, pp. 6-9 on “l’inconstance
blanche, légère et heureuse” in contradiction to “l’inconstance noire, lourde
et sombre” the former being essentially “l’inconstance amoreuse”; cf. D’Aubigné,
Le Printemps, II: “Toute vertu est
donc légère, / Tout vice constant et pesant”[100] etc.
(Rousset, I, p. 65). I should like to put the distinction in more precise terms”
“l’inconstance qui s’excuse” vs. “l’inconstance accusée”. Cf. Diderot, Supplément au voyage de Bougainville (Oeuv.comp., ed. Assézat, II, p. 224,
quoted in Sainte-Beuve, Les Grands Écrivains
fr., éd. Maurice Allem, VII, p. 151?). See 第七○三則 on Marino’s “L’amore incostante”.
III. 6: “For
instance — Passion in a lover’s glorious, / But in a husband is pronounced
uxorious”; 7: “Men grow ashamed of being so very fond: / ...” (II, p. 278).
This refers to what Nivelle de La Chaussée called “Le préjugé à la mode”; see 第二二八則 for other examples.
III. 23: “An
honest gentleman at his return” etc. (II, p. 287). See 第七四四則 on L. Casaburi’s “Rimprovero di bella donna al suo marito, che propone
d’andare alla guerra”.
III. 97: “...
but ’twould not be hard to bring / Some fine examples of the epopée, / To prove its grand ingredient
is ennui” (II, p. 332); 111: “I feel
this tediousness will never do — / ’Tis being too epic...” (II, p. 342). Cf.
Horace Walpole’s mot: “Epic poetry is
the art of being tiresome in verse.”
IV. 4: “If I
laugh at any mortal thing” etc. (II, p. 346). See 第七三七則 on《全唐文》卷五八五柳宗元〈對賀者〉.
IV. 5: “Some
have accused me” etc. (II, p. 365). See 第六五八則.
IV. 27: “Mix’d
in each other’s arms” etc. (II, p. 358). See第七六四則 on Lamartine: “Le Lac”.
VII. 84: “But Glory’s glory; and if you would find / What that is — ask
the pig who sees the wind” (III, p. 108).[101]
The editors quote Hudibras, III. 1107 & explain: “Pigs are proverbially
said to see the coming tempest, which makes them restless” (IV, p. 167). The
note is entirely based on The Oxford
Dict. of English Proverbs, p. 358: “Pigs see the wind”; cf. the Chinese
proverb: “豬顛風，狗顛雨”.《成實論》卷二：“世間事中，兔角、龜毛、蛇足、鹽香、風色等，是名無”, hence the phrase “風色”, “善觀風色” for something subtle or someone highly sensitive or perceptive. Cf.《埤雅》卷二〈鼉〉：“㹠將風則踴”（《續博物志》卷一亦云）.《文選‧賦‧物色類》李善注：“有物有文曰色；風雖無正色，然亦有聲。” Anonymes: “Le Peintre”: “Je peins bon le son des
cloches et le visage de vent” (J. Rousset, Anthologie de la Poésie
baroque française, I, 93).
VIII. 59: “And
therefore all we have related in” etc. (vol. III, p. 142). See 第七五三則 on Inferno, XII. 123-5.
IX. 1: “Oh,
Wellington! (or ‘Villainton’ — for Fame / Sounds the heroic syllables both ways;”
etc. (III, p. 183). The editors in a note quote Béranger’s “Complainte d’une de
ces Demoiselles à l’occasion des Affaires du Temps”: “Faut qu’ lord Villain-ton ait tout pris” etc.
(IV, p. 190); they have overlooked Byron’s compatriot and correspondent as well
as Wellington’s petite amie Harriette Wilson who recorded in her notorious Memoirs, ch. 22 (ed. Peter Davies, 1929,
p. 553): “‘Hélas!’ reiterated the Italian, ‘Milord Villainton, ne veut rien
faire, pour moi, non plus.’”
IX. 35: “Care,
like a housekeeper, brings every week / His bills in” etc. (III, p. 243). See 第四八五則 on J. Hone, The life of Henry
Tonks, p. 279. Cf. also I. 183, p. 122 on experience as “A sort of
income-tax laid on by fate.” Cf. Stecchetti, Postuma, XXXVII: “Conosci tu il paese / Dove non s’è mortali, /
Dove alla fin del mese / Non scadon le cambiali?” (G. Fumagalli, Chi l’ha detto?, p. 271).
IX. 82: “[Miss
Protasoff] Named from her mystic office ‘l’Eprouveuse’” (III, p. 224). The
heroine of a modern sensational American novel Duchess Hotspur is more direct: She “examines men in the nude
before admitting them to her bed-chamber” (G. Legman, Love & Death, p. 61). “L’éprouveuse” was aslo called “l’essayeuse”,
cf. Andrea de Nerciat’s note on the attractive maid Célestine in his Les Aphrodites: “...à peine 20 ans,
grande et belle blonde au plus frais embompoint, richement pourvue de toutes
les rondeurs et potelures que peuvent désirer tous les genres d’amateurs... Elle a
de plus la gloire d'avoir remporté au concours la place de première essayeuse
[chez l’ordre des Aphrodites]” (L’oeuvre
du chevalier Andrea de Nerciat, “Les Maîtres
de l’Amour” series, I, p. 223). Cf. 無名氏《魚籃記》第九齣〈宮差〉（武則天授尹若蘭以“秘冊”：“都是些選龜的祕法，採戰的奇方”，勅其化男粧：“巡行天下，照依書中之法，為朕選擇壯陽男子，多多益善，惟以偉然傑出者，即便馳驛送進”, in which the chaste & virtuous lady-in-waiting does not “essayer”
or “éprouver” personaly but chooses according to specifications laid down in a
book;《晉書‧庾亮傳》：“懌嘗以白羽扇獻成帝，帝嫌其非新，反之。侍中劉劭曰：‘柏梁雲構，大匠先居其下；管弦繁奏，夔牙先聆其音。懌之上扇，以好不以新’”；〈四夷傳‧大宛國〉：“其俗娶婦，……以三婢試之，不男者絕婚。”
XI. 3: “For
ever and anon comes Indigestion” etc. (III, p. 269). See 第七三○則 on La vida de Lazarillo de Tormes,
trat. II & Feuerbach’s essay “Die Naturwissenschaft und die Revolution.”
XIII. 3: “The
fair sex should be always fair” etc. (III, p. 359). See 第七六四則 on G. Orwell’s Animal Farm,
ch. 10.
XIII. 13: “Cervantes
smiled Spain’s chivalry away” (III, p. 364). See 第四四四則 on Don Quixote.
XIII. 95: “Society
is now one polish’d horde, / Form’d of two mighty tribes, the Bores & Bored” (III, p. 402). Cf. Edouard Pailleron’s famous comedy, Le Monde où l’on s’ennuie, I. ii Paul: “Il
n’y a que deux sortes de gens au monde: ceux qui ne savent pas s’ennuyer et qui
ne sont rien, et ceux qui savent s’ennuyer et qui sont tout… après ceux qui
savent ennuyer les autres.”
XIV. 1: “One
system eats another up” etc. (III, p. 410). See 第七三四則 on Hebbel, Werke, hrsg. Th.
Poppe, I, S. 181: “Philosophie und Kunst.”
XIV. 76: “Eureka!
I have found it! What I mean / To say is, not that Love is Idleness, / But that
in Love such Idleness has been / An accessory, as I have cause to guess. / Hard
labour’s an indifferent go-between; / Your men of business are not apt to
express / Much passion” etc. (III, p. 443). See 第四一六則 on Ovid, Remediorum amoris, 139,
143 & 149. Burton cites many authorities to prove that “love tyranniseth in
an idle person,” & holds that “the poets therefore did well to feign all
shepherds lovers, because they lived such idle lives” (Anatomy of Melancholy, “Evryman’s Library”, III, pp. 62-3); hence occupari in multis et magis negotiis is
a pricipal “cure of love-melancholu” (p. 190).
XIV. 89: “But
when it was, she had that lurking demon / Of double nature, & thus doubly
named — / Firmness yclept in heroes,
kings, & seamen, / That is, when they succeed; but greatly blamed / As obstinacy, both in men & women, /
Whene’er their triumph pales, or star is tamed” (III, p. 448). Cf. Martin Chuzzlewit, ch. 6 quoted in 第五○三則 in connexion with
W.M. Urban, Language
& Reality, p. 163.
XIV. 98: “Whether
they rode, or walk’d, or studied Spanish / To read Don Quixote in the original,
/ A pleasure before which all others vanish” (III, p. 453). Byron must have the
following anecdote in his mind: “It was Lord Oxford who advised Rowe to learn
Spanish; & after all his pains & expectations, only said; ‘Then, Sir, I
envy you the pleasure of reading Don Quixote in the original’... (Pope)” (Joseph
Spence, Anecdotes, Observations, & Characters
of Books & Men, ed. S.W. Singer, “Centaur Classics”, 1964, p. 119).
XV. 76: “I
sometimes almost think that eyes have ears: / ... / ’Tis wonderful how oft the
sex have heard / Long dialogues which passed without a word” (III, p. 489). See 第七三二則 in connexion with G.
Manzini’s Venti Racconti in D.
Provenzal, Dizionario delle Immagini, p. 76.
Shakespeare, Sonnets, XXIII: “O let
my looks be then the eloquence / And dumb presagers of my speaking breast, /
... / To hear with eyes belongs to love’s fine wit”; Troilus & Cressida, IV. v, Ulysses: “Fie, fie upon her! / There’s
language in her eye, her cheek, her lip; / Nay, her foot speaks” (546). 祝世祿《祝子小言》：“瘖者眉睫能言，盲者通身是眼，其神之所為乎”；李斗《揚州畫舫錄》卷七：“明月樓茶肆，飲者往來不絕，人聲喧闐，雜以籠養鳥聲，隔席相語，恒以眼為耳”；《聊齋志異》卷四〈青梅〉：“梅亦善候伺，能以目聽，以眉語”；卷十二〈苗生〉但明倫評：“有下第者，歸而憤，妻勸解不得，迎母來勸之。妻母請誦闈中作，贊之曰：‘無怪婿憤，我聞之亦覺好聽，上司不中，當是瞎了耳朵。’” The phrase “目聽” was very old but meant
originally “聽 or 察目”, i.e. to watch or examine the look in a person’s eyes; cf.《周禮注疏》卷三十五〈小司寇〉：“以五聲聽獄訟，求民情，一曰辭聽，二曰色聽，三曰氣聽，四曰耳聽，五曰目聽”——賈公彥疏：“案下五事惟辭聽一是聲，而以五聲目之者，四事雖不是聲，亦以聲為本故也”[102]；鄭玄注：“觀其出言，不直則煩；觀其顏色，不直則赧然；觀其氣息，不直則喘；觀其聽聆，不直則惑；觀其眸子，視不直則毦然。” Nietzsche, Also sprach
Zarathustra, IIIter Teils, “Der Genesende”: “Höre mich auch mit
deinen Augen” (Alfred Kröner Verlag, S. 314-5). D.G. Rossetti, The House of Life, XIX: “The visible
silence, still as the hour-glass.”《兒女英雄傳》三十八回：［安老爺逛天齊廟］ “忽見旁邊兒又過來了個年輕的小媳婦子，……不必開口，兩條眉毛活動的就像要說話；不必側耳，兩隻眼睛積伶的就像會聽話”；《綠野仙踪》六十回：［齊蕙娘］ “亦且甚是聰明，眼裏都會說話。”
[3]「卷五」原脫「五」字。
[4]「終日悶睡」原脫「睡」字。
[5]「女右行」原作「男右行」，「小運起寅」、「小運起申」原作「小命起寅」、「小命起申」。
[6]「改乎」原脫「乎」字。
[7]「若將」原作「如將」。
[9]「將至」原作「將止」。
[12]《野客叢書》此節前半重引於本頁行間。
[13]「蒥荑」見《文選》，洪興祖《楚辭補註》作「留夷」，《堯峯文鈔》則作「蒥夷」。《手稿集》此處「荑」字據四庫本《堯峯文鈔》「夷」字書法，拆為上「大」下「弓」，《管錐編‧楚辭洪興祖補註‧二‧離騷》原稿殆亦如此，手民遂誤植作「芎」（三聯書局 2007 年版，911 頁）。
[15] 黃國彬譯但丁《神曲‧天堂篇‧第二十二章》：「我隨著視線一層層地探伸，╱回望了七重天，發覺我們的小球╱微不足道，不禁笑意難忍」；「我跟著永恆的雙子星座旋繞，╱得睹叫我們發狂的小小打穀場，╱由丘陵以至河谷都無從遁逃。」
[17]「集」原作「止」。
[18]「飲食」原作「飲酒」。
[19]「法達」原作「洪達」。
[20]「卷十一」原作「卷四十一」。
[23]「洞監風騷之情者」原脫「洞」、「者」二字。
[25]「之」原作「而」。
[26]「更索」原作「求索」。
[30]「九辯」原作「九章」。
[31]「九辯」原作「九章」。
[32]「歸魂賦」原作「魂歸賦」。
[33]「歸魂賦」原作「魂歸賦」。
[34]「矊些」原作「矊視」。
[35]「體便娟只」原脫「只」字。
[36]「中有一人長眉青」原作「中有一人長目青」。
[37]「將升兮」原作「將上兮」。
[38]「加上」原作「在上」。
[53]「好詩可比氣味投合之人，覿面傾心，一見如故，有似曾相識之感。其意態初不陌生，彷彿偶曾夢見，或不記何時底處嘗一經眼，今賴詩人昭示，赫然斯在。柏拉圖所持宿記論，苟削其荒唐寓言，未嘗不深入情理也。」（同上；香港中華書局補訂本 573-4
頁；北京三聯書局重排版 732 頁）。
[54] “[T]he best thoughts in
poetry are so proportionable to essential human nature that, upon first
annunciation, they come home to all men as though innovation were reminiscence.”
[57]「容齋續筆」原作「容齋隨筆」。
[59]「專乎」原作「專于」。
[63]「可不忘」原作「不可忘」。
[65]「景東」原作「京東」。
[72] 馬克思與恩格斯《德意志意識形態》：「如果在全部意識形態中，人們和他們的關係就像在照相機中一樣是倒立呈像的，那麼這種現象也是從人們生活的歷史過程中產生的，正如物體在視網膜上的倒影是直接從人們生活的生理過程中產生的一樣。」
[74]「第三賦」原作「第一賦」。
[76]《手稿集》1228-30
頁眉王鑨《秋虎丘》此節已全塗去。又「三十回」（〈李嫂兒病榻說風情〉）原作「三十四回」，《管錐編‧全上古三代秦漢三國六朝文‧五二‧全後漢文卷四四》亦誤（三聯書局 2007 年版，1595 頁）。
[81] The Silence of Colonel Bramble, English translation by Thurfrida Wake & Wilfrid Jackson：“Humanity lies on an uncomfortable bed. When the sleeper aches too much
he turns over, that is a war or an insurrection. Then he goes to sleep again
for a few centuries.”
[84] Barbara Reynold 英譯（下同） : “We
are both young, our looks exceptional. / What woman could resist us or refuse?
/ If so such brutes so easily they fall, / We shall possess as many as we
choose. / If youth and beauty are of no avail, / With money in our purse we
cannot lose.”
[85] “At first she frowned and
blushed and shook her head, / And she refused to hear another word; / But when
she saw those lovely jewels shed / Their fiery radiance, her heart was stirred.”
[86] “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...”
[87] “To
the design, the site, the taste, the skill, / The opulence, the judge attention
pays. / ‘Not all the gold on earth would meet the bill / For such a noble
edifice,’ he says. / The Moor replies, ‘There’s one thing which I will / Accept
for it and which the price defrays: / Not gold or silver, but a payment which /
Costs you so little that it leaves you rich.’ // And to the judge he put the
same request / Which to his wife Adonio had made. / Anselmo thinks, so deep is
his disgust, / The Ethiop is bestial and mad. / Rejected thrice four times, the
Moor still pressed, / In many ways attempting to persuade. / The palace won the
day and, as he hoped, / To his vile wish at last Anselmo stooped.”
[93]《煉獄篇》第八章：「在此呀，讀者，請擦亮眼睛看真理。╱因為這時候，那幅帷紗實在╱薄得很。要走進裏面已十分容易。」
[102]「四事」原作「四聲」。
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