七八一[1]
［補七六一則］
〈天問〉：「上下未形，何由考之？（中略）馮翼惟像，何以識之」；洪《注》：「《淮南》言：『天墜未形，馮馮翼翼』，注云：『馮翼，無形之貌』；又曰：『古未有天地之時，惟像無形。』」按《老子》四十一章云：「大象無形」；〈樂記〉云：「在天成像，在地成形」；《莊子‧庚桑楚》云：「以有形者象無形者而定矣」；《呂覽‧君守篇》云：「天無形而萬物以成，至精無象而萬物以化」；唐太宗〈聖教序〉云：「二儀有像，四時無形」；《禮記‧月令》孔穎達《正義》云：「道與大易自然虛無之氣，無象不可以形求」；《皇朝文鑑》卷二周邦彥〈汴都賦〉云：「先生類辯士，其言似能碎崑崙而結溟渤，鏤混沌而形罔象」【郭璞〈江賦〉：「類肧渾之未凝，象太極之構天」，《文選》善注：「言雲氣杳冥，似肧胎渾混，尚未凝結，又象太極之氣，欲構天也。《春秋命歷序》曰：『冥莖無形，濛鴻萌兆，渾渾混混』」】，皆形、像不別，相沿成習，有象必有形，無體則無貌。屈子「未形」、「惟像」之語，遂若自相椎鑿矣。申明古誼，辨而析之，窮理談藝，或有小補焉。夫物胥具體，質乃賦形，然始事之雛形與終事之定形不同。積塼如阜，比材如櫛，未始無形也。迨夫版築經營，已成室宇，則其特起高驤、洞開交映者為形，而如阜如櫛者不足語於形矣。亦猶未理之璞，未始無形，然必玉琢而成器，方許具形也。乾坤未奠，元氣混淪，自有其「形」，及兩儀既判，「馮馮翼翼」之貌乃降而名「像」。元氣之象，形之璞也；天地之形，象之琢而成器者也。由塼而反溯未煅之土，由材而回顧未伐之樹，則塼與材有「形」，而土與林為「惟像」。它可仿是類推。【《鄧析子‧無厚篇》：「故見其象，致其形；循其理，正其名；得其端，知其情。若此，何往不復，何事不成」；曹植〈七啓〉：「譬若畫形於無象，造響於無聲。」】Schiller: “Der Nachahmer und der Genius”: “Selbst das Gebildete ist
Stoff nur dem bildenden Geist” (Tabulae
Votivae, in Gesam. Werke in 8 Bänden, Aufbau, 1959, Bd. I, S. 240)，即此旨。參觀 Aristotle, Metaphysics, Bk.
II, ch. 4 論 Nature 有五義，其四及五云：“the primary material of which any natural object consists or out of
which it is made, which is relatively unshaped... The form or essence, which is
the end of the process of becoming” (The Basic
Works of Aristotle, The Random House, pp. 755-6); Plotinus, Enneads, I. vi. 2: “All shapelessness whose kind admits of pattern & form,
as long as it... has not been mastered by Reason, the matter not yielding... to
Ideal Form” etc. (The Essence of Plotinus,
ed. Grace H. Turnbull, p. 43)。所謂 “relatively shaped”, “all shapelessness... not
mastered by Reason”，「未形」、「惟像」也。Goethe: “Den
Stoff sieht jedermann vor sich, den Gehalt findet nur der, der etwas dazuzutun
hat, und die Form ist ein Geheimnis den meisten” (Spruchweisheit in Vers und Prosa, Sämtl. Werke, “Tempel-Klassiker”, Bd. III, S. 332)；以築室論之，則土與林為 Stoff，進而至於磚與材為 Gehalt，終而美輪美奐為 Form，循序升階云爾。
七八二[2]
［補八二則］
W.L. Schwartz[3],
The
Imaginative Interpretation of the Far East in Modern French Literature, pp. 99-100, gives a synopsis of Georges
Clemenceau’s one-act play Le Voile du
Bonheur (1900). The blind mandarin-literatus Tchang-I loved his wife, his
son, his friend Tou-Fou & his secretary Li-Kiang, & was happily secure
in their requital of his affection. One day, a European healer gave him a phial
of medicine that would restore his sight. The potion worked, & he
discovered to his unspeakable sorrow the son mockingly mimicing him, the wife
comitting adultery with the friend, & the
secretary setting up as the author of his poems — he caught all 4 with their
pants down, so to speak. I have not read the play, but I can imagine Clemenceau
at his most hilariously cynical. The situation is a stark one. For example,
Thomas Hood’s “Tim Turpin” has the same theme: “Tim Turpin he was gravel-blind,
/ And ne’er had seen the skies: / For Nature, when his head was made, / Forgot
to dot his eyes. // ... // But when
his eyes were opened thus [by a doctor], / He wished them dark again: / For
when he looked upon his wife, / He saw her very plain” etc. (J.M. Cohen, More Comic & Curious Verse, p. 149).
Similarly, the blind beggar in Synge’s The
Well of the Saints, as well as in Yeats’s The Cat & the Moon recovers his eyesight only wish to lose it
again (cf. V. Mercier, The Irish Comic Tradition,
p. 35). As Nietzsche says: “Wenn man dem Bucklichten seinen Buckel nimmt, so
nimmt man ihm seinen Geist — also lehrt das Volk. Und wenn man dem Blinden
seine Augen giebt, so sieht er zuviel schlimme Dinge auf Erden: also dass er
Den verflucht, der ihn heilte” (Also
sprach Zarathustra: “Von der Erlösung”, Werke,
hrsg. K. Schlechta, II, 392). The moral of course is: “Where ignorance is bliss
/ ’Tis folly to be wise”【Thomas Gray: “Ode on a Distant Prospect of Eton
College”: “No more; where ignorance is bliss, / ’Tis folly to be wise”】. Cf.
Adam’s exclamation when his “eyes were opened” by Michael to the disastrous
consequences of his disobedience: “O visions ill foreseen! Better had I / lived
ignorant of future” etc. (Paradise Lost,
XI, 763 ff., Milton, Poetical Works, “Everyman’s
Lib.”, p. 251); Rousseau: “L’ignorance est encore préférable. Que ne suis-je resté toujours dans
cette imbécile mais douce confiance qui me rendit durant tant d’années la proie
et le jouet de mes bruyants amis, sans qu’enveloppé de toutes leurs trames j’en
eusse même le moindre soupçon!... Ces douces illusions sont détruites... Ainsi
toutes les expériences de mon âge sont pour moi dans mon état sans utilité
présente, et sans profit pour l’avenir” (Les
Rêveries du Promeneur solitaire, 3e Promenade, Confessions et Rêveries, “Bib. de la Pléiade”,
pp. 666-7). See 七○五則 on 《列子‧周穆王篇》, Horace, Epist.,
II. ii, 128.[4]【Matthew
Prior: “To the Honourable Charles
Montague”: “If we see
right we see our woes: / Then what avails it to have eyes? / From ignorance our
comfort flows: / The only wretched are the wise” (Literary Works, ed. H.B. Wright & M.K. Spears, p. 109); Swift, A Tale of a Tub, Sect. IX[5]:
“This is the sublime & refined point of felicity, called the possession of
being well deceived; the serene peaceful state, of being a fool, among knaves”
(Oxford, p. 497).】【Burton, Anatomy
of Melancholy, Part II,
Sect. III, Mem. VIII: “Some think fools & dizzards live the merriest lives,
as Ajax [554] in Sophocles, Nihil scire vita jucundissima, ’tis the
pleasantest life to know nothing [Seneca, Oedipus,
515]; iners malorum remedium ignorantia,
ignorance is a down-right remedy of evils”[6]
(Bell, II, p. 238).】
七八三[7]
《五燈會元》卷二十大慧云：「祇為分明極，翻令所得遲。」按此裴說〈鴛鴦〉詩頸聯，「祇」字原作「却」字。大慧取喻禪悟須斷思惟、默聰明始中，可謂妙於立譬者。晁文元《法藏碎金錄》卷五曰：「梁氏所刪《止觀》云：『明者難晦，辨者難默。』予因觸類增語云：『慧者難定。』是三者皆妨入道」，正大慧意也。竊謂修德造藝亦正如是：Goethe: “All unser redlichstes Bemühn / Glückt nur
im unbewussten Momente. / Wie möchte den die Rose blühn, / Wenn sie der Sonne
Herrlichkeit erkennte!” (Spruchweisheit in Vers und Prosa, in Sämtl. Werke, “Tempel-Klassiker”, Bd.
III, S. 212); “Selbst
Schiller, der ein wahrhaft poetisches Naturell hatte, dessen Geist sich aber
zur Reflexion stark hinneigte und manches, was beim Dichter unbewusst und
freiwillig entspringen soll, durch die Gewalt des Nachdenkens zwang” (Epoche der forcierten Talente, in G.F.
Senior & C.V. Bock, Goethe the Critic,
p. 53)[8]。餘見第十九則論 Sainte-Beuve, Portraits
Littéraires, I, p. 305、第四四八則論 Volkelt,
System der Ästhetik, Bd. III, S. 157。【Amiel,
Journal Intime, I, p. 164: “Le besoin
de connaître, replié sur le moi, est puni, comme la curiosité de Psyché, par la
fuite de la chose aimée.”】
七八四[9]
［補二九一則論 Tasso, Aminta, I. ii. Coro: “Ma legge aurea e felice, / Che natura
scolpi: s’ei piace, ei lice” (Tasso, Poesie, a cura di F. Flora, p. 633)］
Long
before Schiller’s Philosophen,
Aristotle enjoins in all seriousness: “Now in everything the pleasant or
pleasure is most to be guarded against... We ought, then, to feel towards
pleasure as the elders of the people felt towards Helen, & in all
circumstances repeat their saying; for if we dismiss pleasure thus we are less
likely to go astray” (Nicomachean Ethics,
Bk. II, ch. 9, The Basic Works of
Aristotle, Random House, pp. 963-4). In other words, virtue is more likely
to be associated with what is unpleasant; cf. Spinoza, Ethics, Pt. IV, Appendix, §31: “Superstition... seems to affirm
that what brings sorrow is good, &, on the contrary, that which brings joy
is evil” (Selections, ed. J. Wild, p.
362). Conversely, pleasure loses its attraction when imposed as a duty or
virtue. Rousseau says: “En toutes choses la gêne et l’assujettissement me sont
insupportables, ils me feraient prendre en haine le plaisir même. On dit que
chez les mahométans un homme passe au point du jour dans les rues pour ordonner
aux maris de rendre le devoir à leurs femmes. Je serais un mauvais Turc à ces
heures-là” (Confessions, Liv. V; cf. Les
Rêveries du Promeneur solitaire, 6e Promenade, à propos of “coeur” vs. “obligation” or “devoir”:
“les appelle à remplir les devoirs de leur état”[10]
— Confessions
et Rêveries, “Bib. de la Pléiade”, pp. 187 & 707). The story of
whitewashing board fence in Mark Twain’s The
Adventure of Tom Sawyer (ch. 2; “Jacket Library” ed., pp. 16 ff.) is also
well-known, & the moral that “Work consists of whatever a body is obliged to do, & Play consists of
whatever a body is not obliged to do” (p. 22) succintly sums up what Croce
expounds in one of his lay sermons: “Lavorano persino i bambini, i cui giuochi
sono per essi, cioè sono in realt à, lavoro... Il lavoro penoso è quel lavoro
che non riusciamo a far nostro, che non si fonde con le nostre disposizioni e
tendenze o non diventa nostra disposizione e tendenza, che non impegna tutto
noi stessi” ecc.[11] (Frammenti di Etica, no. XIV, p. 63).
Phrases like “painful duty” & “free play” are therefore not idle clichés. Iris
Murdoch, A Severed Head, p. 17: “Its
being clandestine is of the essence of our love. Knowledge, other people’s
knowledge, does
inevitably modify what it touches. Remember the legend of Psyche, whose child, if
she told about her pregnancy, would be mortal, whereas if she kept silent it
would be a god”【Eros fled when Psyche turned the lamp upon him】; Arthur
Schnitzler, Anatol: “Agonia”: Anatol:
“Mir ist manchmal, als werde die Sage vom bösen Blick an mir wahr... Nur ist
der meine nach innen gewandt, und meine besten Empfindungen siechen vor ihm hin”[12]
(J. Schondorff, Österreichisches Theater
des XX. Jahrhunderts, S. 89); George Sand, Indiana: “Elle n’aima pas son mari, par la seule raison peut-être
qu’on lui faisait un devoir de l’aimer, et que résister mentalement à toute
espèce de contrainte morale était devenu chez elle une seconde nature, un
principe de conduite, une loi de conscience”; Kahlil Gibran: “When you enjoy
loving your neighbor
it ceases to be a virtue” (A. Richmond, Modern
Quotations, p. 346); “Southey used to say that ‘the moment anything assumed
the shape of a duty, Coleridge felt himself incapable of discharging it” (The Table-Talk of Samuel Rogers, in James
Thornton, ed., Table Talk,
“Everyman’s Lib.”, p. 133).
七八五[13]
［補七三○則］
Although
Goethe holds that “Die Würde der Kunst erscheint bei der Musik vielleicht am
eminentesten” (Spruchweisheit in Vers und
Prosa, in Sämtl. Werke, “Tempel-Klassiker”,
Bd. III, S. 368), he shrinks from the romatic confusion of the arts. In a
letter to Schiller (Dez. 23, 1797), à propos of H.-H. Meyer’s observation that
all the figurative arts strive to be painting & the crop of bad plays
resulting from the tendency of presenting the novels on the stage, Goethe
firmly lays down the rule: “Diesen eigentlich kindischen, barbarischen,
abgeschmackten Tendenzen sollte nun der Künstler aus allen Kräften widerstehen,
Kunstwerk von Kunstwerk durch undurchdringliche Zauberkreise sondern, jedes bey
seiner Eigenschaft und seinen Eigenheiten erhalten”[14] (G.F. Senior & C.V. Bock, Goethe the Critic, p. 45). I have not seen this passage quoted
anywhere in connection with the question of Andersstreben
(e.g. in I. Babbitt, The New Laokoon).【Cf.
Stendhal, Hist. de la Peinture on Corrège:
“Son art fut de peindre comme dans le lointain même les figures du premier
plan... C’est de la musique, et ce n’est pas de la sculpture” (quoted H.
Delacroix, Psycologie de Stendhal, p.
223).】
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