葛飾北齋〈富嶽三十六景‧駿州江尻〉
百六十六[1]
嚴繩孫蓀友《秋水集》十卷。心摹手追，以義山為主，偶參少陵。僅工七律一體。雖思力不深，乏壯藻微情，而頗得纏綿宛轉之致，不似他人學玉溪之悶塞也。斯已難能可貴。明、清兩代吾鄉詩人，要無出藕漁之上者矣。
卷一〈無題〉：「凌波何許慰陳思，不誤湔裙水上期。醉淺去留俱未可，語深悲喜竟難持。珠簾曲轉迴燈夜，畫舸風移却扇時。多少尋常堪憶在，不將愁賦定情詩。」
〈秋日雜感三〉：「春雨曾過九曲堤，雷塘官柳半萋迷。飄來畫角纔江北，數去青樓是竹西。極浦風驚聞馬渡，重城燈暗失烏栖。試看明月三分夜，猶有簫聲雜鼓鼙。」李符分虎《耒邊詞》〈揚州慢〉（廣陵驛舍對月遇山左調兵南下）：「竹西歌吹，甚聽來、都換笳音。」【「心上檀郎陌上簫。〈一剪梅〉見卷九」】
〈淹泊〉：「盡處淹留類賈胡，淡烟流水即三吳。魚鱗淺瀨明孤鶩，犢背微陽坐晚烏。人事驚心公幹網，歲華回首嗣宗塗。冬來未得江南住，歸到寒梅試蘂無。」
卷二〈生涯〉：「牢落生涯一惘然，河陽霜鬢此經年。已空北海盈尊酒，又賣南山種豆田。妄意豈難消破甑，危機終怯傍驚弦。五湖烟水三秋月，簡點蒙莊第一篇。」
〈湖上竹枝詞〉：「空王臺殿入清虛，昭慶房頭駐客車。免得放生池上稅，佛珠纏臂看叉魚。三」「日斜伐木去駸駸，翠柏青松給羽林。愁煞西陵蘇小小，不知何處結同心。七」
卷三〈病瘧口占〉：「賸魄殘形費錯磨，大雲雪浪兩嵯峨。莫言此際暄涼甚，飽歷人情不啻過。」
卷五〈萬柳堂柳枝詞〉：「問訊平泉金縷枝，陌頭飛絮可同時。移根獨近金莖露，不向春風管別離。二」按本義山〈詠柳〉，參觀百四十七則 B 金檜門詩。
百六十七[2]
The
Notebooks of Leonardo da Vinci, Eng. tr. by Edward MacCurdy. 格物研幾，自具心眼。至於泛論天人，每錄陳言，初非己出。“O Time, thou that consumest all things” 一節之本於 Ovid, Metamorphoses, XV,
232-6，Gerolamo Calvi 已言之 (I,
pp. 67-8)；“In life beauty perishes & does not endure” 一句之逕取 Petrarch, Sonnets, CXC，則 Eric Maclagan
已言之 (I, p. 98)。The Times Literary Supplement, April 17, 1953, p. 253: J. Gwyn Griffiths 通訊考 “O God, dost
sell us all good things at the price of labour” (Tu, o Iddio, ci vendi tutti li
béni per prezzo di fatica) 不特如 J.R. Richter 所謂，本之 Horace, Satires, I, ix,
59-60: “Nil sine magno / vita labore dedit mortalibus” (cf. MacCurdy,... p. 91)，而遠承 Hesiod, Works and Days, 289; Epicharmus
(in Xenophon, Mem. ii. I. 20)，亦即
Lucian, A Professor of Public Speaking
所謂之 “Blessings
were engendered of toil.” (“The Loeb Class. Lib.”, tr. by A.M. Harmon, IV, p.
145) 也。其他類此者尚夥，MacCurdy 茫然不知也，例若 I, p. 74: “One ought not to desire the impossible.”
按此本之 Bias: “It is a disease of the soul to be enamoured
of things impossible of attainment.” (Diogenes Laertius, I, 86, “The Loeb
Classical Library”, I, p. 87) (參觀下論 p. 80)；又 I, . 78: “Truth alone was the daughter of Time.” 按此古諺也，Samuel Chew, The Virtues
Reconciled: “Veritas filia temporis...
The Truth is Time’s daughter & his heir is visualized in a curious
conflation of the two personifications when a winged woman has Time’s scythe
& his hour-glass, & hold the candle of Truth & a book labelled ‘Veritas’
(Daniel Meisner, Sciographia cosmica,
1637, plate E-43).” (pp. 69, 88)。又 II, p. 489: “When fortune comes, seize her with a
firm hand. In front, I counsel you, for behind she is bald.” 按此古諺也，Dicta Catonis, II, 26: “Fronte capillata, post est occasio calva.”
(Minor Latin Poets, ed. J.W. &
A.M. Duff, “The Loeb Classical Library”, p. 608)；又 Phaedrus, Fab. V, viii □□；Oxford Book of English Proverbs, p. 411: “Take occasion by the forelock, for she
is bald behind: The Greek god Καιρός, Occasio,
used to be represented with a full forelock: fronte capillata.” 安得方聞之士，一一訂正，物歸其主哉？MacCurdy 分類編次而歧出複見者頗多 (I, p. 52: “The desire of good men is knowledge,”
p. 95, ditto; p. 62: “Demetrius said” etc., p. 73, ditto; p. 90: “Every action
of nature is made along the shortest possible,” p. 82, p. 253 with slightest
varied; etc. etc.)，亦其疏也。
Vol. I, p. 62: “Demetrius said” etc.
按參觀第二則。
P. 69: “Man and the animals are
merely a passage and channel for food, a tomb for other animals, a haven for
the dead... a coffer full of corruption.” 按見第七七三則論《史記‧滑稽列傳》。按此節宜與 p. 91: “The earth has a spirit of growth; its flesh is the soil, its bones the
rocks, its blood the water” etc. 一節合觀，所謂 Hylozoism 也 (參觀
Joseph T. Shipley, ed. Dictionary of
World Literature, p. 427, art. “Pathetic Fallacy”)。[3]
P. 78: “What is it that is much desired by men, but which they know not
while possessing? It is sleep.” 按 Meredith, Diana
of the Crossways 言此更妙，有云：“Slumber... a paradoxical thing you must battle
for, & can only win at last when utterly beaten.”
P. 79: “That which is termed
nothingness” etc. 按參觀第四十六則。
P. 80: “Behold now the hope or
desire of going back to one’s own country or returning to primal chaos, like
that of the moth to the light... This longing is in its quintessence the spirit
of the elements, which, finding itself imprisoned within the life of the human
body, desires continually to return to its source”[4]
etc. 按異哉！浪漫主義之 Sehnsucht,
Rückkehr 均發於此。(參觀 Fritz Strich, Deutsche Klassik und Romantik, s. 40: “Die klassische Liebe... ‘eine Liebe des
Besitzes’... konnte nicht Sehnsucht bleiben”; S. 75: “Sein sein ist die
Sehnsucht, und seine Heimat ist die unendliche Ferne”; S. 107-8: “Die Seele der
Romantik war die Sehnsucht ohne Ziel und Grenze und Gegenstand. Aber jetzt deute
Fr. Schlegel diese: sie ist die Sehnsucht der einsamen Seele zu der unendlichen
Gemeinsamkeit in Gott. Die Sehnsucht zu Gott ist die Erinnerung an ihre und Rückkehr
zu ihren”; S. 301: “Der Weg des Geistes als seine Rückkehr in das verlorene
Paradies... Hölderlin: ‘Ideal ist, was einst Natur war.’”) 又按浪漫主義之企羨，希臘人已道之。Diogenes Laertius, I, 8: Bias: “It is a disease of
the soul to be enamoured of things impossible of attainment” (Eng. tr. by D.
Hicks, “The Loeb Classical Library”, vol. I, p. 87); Pindar, Pyth. III: “She [Corônis] was enamoured
of things otherwhwere — that passion which many, ere now, have felt. For, among men, there is a foolish company of
those, who, putting shame on
their home, cast their glances afar, & pursue idle dreams in hopes that
shall not be fulfilled”; Nem. XI: “It
is right to pursue the due measure; but far too keen are the pangs of madness
that come from unattainable longings” (Eng. tr. by John Sandy, “The Loeb
Classical Library”, pp. 187, 433; cf. pp. 529-31) 早逗
Shelley: “The desire of the moth for the star” 矣。MacCurdy
附會 “To go
to make arrangements for my garden” (vol. II, p. 592) 為
Voltaire: “Il faut cultiver notre jardin” 之意 (the
formula of renunciation)，此處却了無會心，何耶？
P. 86: “Lo Some who can call
themselves nothing more than a passage for food, producers of dung, fillers up
of privies” etc. 按吾國斥人，於「酒囊飯袋」之外，復有「糞桶」、「造糞機器」，正此之謂。Cf. Ariosto, Satire,
II, 31-3: “Unga il suo schidon pur o il suo tegame / sin a l’orecchio a ser
Vorano il muso, / Venuto al mondo sol per far letame” (Opere minori, ed. Cesare Segre, Riccardo Ricciardi, p. 512).
P. 96: “Iron rusts from disuse;
water loses its purity from stagnation... even so does inaction sap the vigour
of the mind.” 按即「流水不腐，戶樞不蠹」，“If I rest, I rust” 之意。參觀第八十一則。
P. 106: “The act of procreation”
etc. 按參觀第百五十則。
P. 210: “A dead woman lies face
downwards in water, a man the opposite way.” 按又見 p.
212。吾國俗信，適與此反。《參同契》中篇：「男生而伏，女偃其軀。及其死也，亦復效之。」《東坡題跋》卷一〈書左傳醫和語〉（亦見《志林》卷三）：「男子之生也覆，女子之生也仰。其死於水也亦然。」《朱子語類》卷七十六云：「男生必伏，女生必偃，其死於水也亦然。」
Pp. 330-2, 349-50, 351-9 皆論高山上有蛤蚌遺介及海藻，事與《朱子語類》卷九十四舉高山螺蠣殼以證天地變遷兩條用意相同，而論據詳明。唐才常《覺顛冥齋內言》卷四〈朱子語類已有西人格致之理〉篇，取朱子片言隻語，單文孤證，引申傅會，分天、地、氣、重、化、礦、電、光、聲諸門，而獨遺此。惟江叔海《孔學發微》卷下云：「地隨天動之說，著於《張子正蒙‧參兩篇》。月借日光之論，見於〈月令〉孔氏《正義》引京房說。沈括《夢溪筆談》又《容齋五筆》述劉孝榮語（《癸巳存稿》卷二則駁此說），朱子亦言嘗見『高山有螺蚌殼』，則西人所謂地質學」云云。又按徐昂發《畏壘筆記》卷三：「利瑪竇論月食曰：『日射地球，地球反影射月。』此即張衡『當日之衝，光蔽於地，是為闇虛之說。』」博明《西齋偶得》卷上云：「古人說天文者，惟朱子實有見解。」又云：「潮汐之理，惟朱子月光之說，的是千古不易。」又按《酉陽雜俎‧卷二十‧肉攫部》云：「凡禽獸，必藏匿形影同於物類也。是以蛇色逐地，茅兔必赤，鷹色隨樹」云云，此已發生物學所謂「保護色」之旨，牽類記於此（看第百六十九則上方[5]，又第四百五則）。【Samuel Butler, Characters &
Passages from Note-Books, ed. A.R. Waller, p. 359: “The Backs of all Fishes
are very neare of the cullour of the water that they are bred in, to avoyd the discovery
of those that prey upon them. As the Antients usd to cullour those boates that
they usd for discovery, & dy the sayles and the garments of the mariners
that went in them, of the cullour of the Sea.”（補第百六十七則）】
II, pp. 227-9 論「詩之不如畫，緣耳之不如目」云云。按後世較量詩畫異同得失，蓋昉於此，詳見 W.G.
Howard: “Ut Pictora Poesis” (PMLA,
1909, pp. 48 ff.; 53 ff.)。古人論散文亦以畫為比，如 Croce, Brutus,
70: “Similis in pictura ratio est.” 又Dionysius of Halicarnassus, Isaeo, cap. 3 (參見 S.F. Bonner, The
Literary Treatises of Dionysius of Halicarnassus, p. 54)。
P.235: “The mind of the painter
should be like a mirror” etc. 按 Leonardo
Da Vinci 數用此喻，後來 Dürer 亦然，參觀 Gilbert &
Kuhn, A History of Esthetics, p. 164。
P. 281: “In representing wind,in
addition to showing the bending of the boughs and the inverting of their leaves
at the approach of the wind, you should represent the clouds of fine dust
mingled with the troubled air.”[6]按前半吾國畫家慣技，王維〈山水論〉所謂「有風無雨，只看樹枝」；韓拙《山水純全論》所謂「風雖無迹，而草木衣帶之形，雲頭雨脚之勢，毋少逆也」（《佩文齋書畫譜》十三）；朱新仲《灊山集》卷一〈謝人惠淺灘一字水圖〉：「風本無形不可畫，遇水方能顯其質。[7]畫工畫水不畫風，水外見風稱妙筆」；江弢叔《伏敔堂詩錄》卷七〈彥沖畫柳燕〉詩云[8]：「柳枝西出葉向東，此非畫柳實畫風。風無本質不上筆，巧借柳枝相形容」是也。竊謂《莊子‧齊物論》寫風之聲，柳子厚〈袁家渴記〉云：「每風從四山而下，振動大木，掩苒眾草，紛紅駭綠，蓊勃香氣，衝濤旋瀨，退貯谿谷，搖颺葳蕤」，善寫風態，皆具捕風之手者。黃公度《人境廬詩草》卷三〈不忍池晚游詩‧之十二〉云[9]：「柳梢斜掛月如丸，照水搖搖頗耐看。欲寫真容無此鏡，不難捉影捕風難」，則真難畫，蓋月動漾而仍完整也。余見日本 Hokusai 畫風三幅 (Künstler-Monographien,
LXVII, Pl. 17, 29, 58)，灑然泠然，欲生紙上。後半則東方畫家所不屑為者也。
P. 424: “At every arch there should
be a spiral staircase; it should be round because in the corners of square ones
nuisances are apt to be committed.” 按絕倒！確有此事。在中國，則牆角為便遺之地，正以其方而非圓也。石天基《傳家寶》一集〈知世事新言〉云[10]：「揚州俗：橋梁并牆角或刻或寫『佛』字，意使人見而敬畏，不敢出恭作污也。槩不知世間不識字草率者多，我佛如來乃成看守糞污，輕褻極矣。凡刻寫『佛』字處，急宜削去，以鱉甲懸掛，粘紅紙云：『作污者變此物』。識字不識字者，皆見而知此不甚妙。」據 Herbert
Giles, Dictionary of the Chinese Language「東」字條謂：「禁止便溺，牆上懶於畫龜，以此字代之（
）。」尤奇聞也。
）。」尤奇聞也。
P. 437: “Music has two ills, the one
mortal, the other wasting; the mortal is ever allied with the instant which
follows that of the music’s utterance, the wasting ill lies in its repetition,
making it seem contemptible & mean.” 按前之說可參觀 vol. I, p. 85: “Shun those studies in which the work that results dies
with the worker.” 陸容《菽園雜記》卷二：「淮雲寺僧惟寅語人曰：『凡人學藝，須學有跡者，無跡者不能傳後。如琴、奕皆為無跡，書、畫、詩、文有跡可傳也。』」《紀錄彙編》卷一百五十三《餘冬序錄》記：「前輩言士大夫游藝必審輕重，且當先有跡者」云云，皆此意。後之說則由於貴目賤耳，不解聲音低迴反復之趣也。Bergson, Les Données Immédiates 論此最妙，德國浪漫主義文家謀篇布局每仿 the third movement of sonatas & symphonies (參觀
Margaret E. Atkinson: “Musical Forms in Some Romantic Writings,” Modern Language Review, April 1949)，蓋窺見 repetition 之秘矣。
P. 464: “The fall of snow” etc. 按參觀第百四十八則。
百六十八[11]
貝青喬子木《半行盦詩存稿》八卷。子木《咄咄吟》二卷，曩於《嘉業堂叢書》中見之。事頗當行，意刻峭而體仍風華，時時失之纖薄，故未許與伏敔堂比戶開門（參觀黃富民〈序〉又卷七〈贈江少尉湜）[12]。其身世坎壈，意思鬱勃，則略相似耳。
卷一〈春閨怨〉：「膠鬢慵盤鏡裏鴉，香幬愁掩日西斜。歸期衹有春光準，樓外輕寒又落花。」
〈山塘即席〉：「金隨歸路盡，鬢比故山蒼。」
〈雨夜渡上崦至礀上草宿雜成六絕句〉：「跨路泉紳瀉一條，老禪門外晝蕭寥。苔花寸厚無人跡，豆大蝦蟇歷亂跳。」按末句襲汪東山〈郊園雜興‧之五〉，見五百六十九則。
〈為葉丈廷琯題詩壇點將錄〉，蓋即《乾嘉詩壇點將錄》也，故曰「人才蔚起乾嘉會」。足證俗傳舒鐵雲作之訛。
〈詠燕〉：「海燕歸來亦斷魂，雕梁掃盡故巢痕。人間衹重金環報，莫恃當年舊主恩。」「楊花如雪撲烟莎，易主樓台掠影過。何似秋風遼海上，棲身自帶小行窩。」
卷二〈詠熟梅〉：「止渴其如眾望何，此中酸味已無多。有人重索梅花笑，用作調羹衹解和。」
卷三〈夜抵狼洞〉：「一星如月大，硤角照微明。四壁天窺井，千盤澗入城。更闌投店急，裝薄卸鞍輕。顧影寒燈畔，霜猿不住鳴。」
〈初抵歸化營答程七顧二〉：「如此天涯漫致詢，却將何語為君陳。沈沈瘴雨常疑夜，慘慘蠻花也算春。山不成名偏遇我，魅猶遁跡況求人。客愁都入高堂夢，莫過柴門話苦辛。」
〈寄酬林師〉：「破甑邊情誰復顧，漏巵財力漸將乾。」
卷六〈羣公〉：「清時袞袞炫輕肥，多故方知粉飾非。百爾歸思懸晝錦，萬幾樞務任宵衣。臨戎有策談心學，封事無章競腹誹。終望羣公憂國淚，盡情揮洒到民依。」
子木飽經喪亂，集中詠英人攻浙（可與《咄咄吟》參觀），及洪、楊軍入蘇諸作，哀時述事，詞意痛切，亦詩史也。詠貴州風土如卷三〈苗妓詩七律六首〉、卷四〈跳月歌〉（與陸雲士《峝谿纖志》不甚脗合），殊廣異聞。
百六十九[13]
Wyndham Lewis, Blasting and Bombardiering 拉雜絮煩，力求生警，衹成滯相耳。
P. 17: “The function of Karl Marx is
that of the Marx Brothers; to disrupt.” 按Harold
Acton, Memoirs of an Aesthete, p.
146: “Many miss their marks in spite of Marx... Auden, Spender, Day-Lewis &
MacNeice grafted political messages on to T.S. Eliot’s technique. Through the
clowning of the Marx Brothers they were approaching Father Marx.”
P. 106 論 Huline 好辨難而學識不足，有云：“He was a journalist with a flair for philosophy & art, not a
philosopher.” 按余觀 Huline, Speculations
盛氣凌人耳，而無識者誤以為漢庭老吏，殊可笑。Richard Aldington, Life for Life’s Sake, p. 169: “F.S. Flint translated Bergson &
Huline revised & put his own name on the translation.” 又
Aldington, p. 172: “An Old Lady: ‘Don’t
you men are dying for civilisation?’ Intellectual:
‘Certainly, & I am the civilisation
they are dying for.’” Lewis, p. 183: “There were the tales of how a certain
famous artist would sit in the Café Royal & addressing an admiring group
back from the Front, would exclaim: ‘We are the civilization for which you are
fighting.’” Humbert Wolfe, Portraits By
Inference, pp. 131-2: “It was he [H.W. Garrod] who, tottering up Whitehall
from having been rejected for active service for the fifth time, was offered a
white feather by some tricoteuse with
the words, ‘Don’t you know that young men like you are dying in France for
civilization?’ Flattered though he was at being fallaciously described as young,
he instantly replied, ... ‘And, madam, don’t you know that I am the
civilization for which they are dying?’”
P. 297 記俄國革命時，一女子匿鐵路臥車中，為紅軍一師輪姦後至巴黎，人稱為 “Notre-Dame
des Wagons-Lits”。按 Maurice
Barrès 稱 Marie
Bashkirtseff 為 “Notre-Dame
du Sleeping” (A. Thibaudet, Réflexions
sur la Critique, p. 7)，又 Maurice
Dekobra 有小說亦名 Madonne des Sleepings。
百七十[14]
費丹旭曉樓《依舊草堂遺稿》一卷。曉樓以畫名，詩淺弱因襲，似女郎閨課。有曹柳橋〈序〉。憶柳橋《籀書續編‧三》有〈答黃淑芬女士夢中書〉，自注：「癸酉暮春望夜，夢得女士黃淑芬書，約余同生極樂，作此報之」云云，嘗為絕倒。曉樓詩末一首題云：「余寓汪氏蔭園，十月十二日夜，夢一老嫗貽余畫幅，上題絕句云：『記曾二月別儂時，兩岸垂垂柳未絲。歸燕一雙簾半捲，畫成妝閣寄相思。』欵書：『東芙女史沈某』，展讀時心頗異之。余年來心如止水，客館寒宵，何來芳訊？夢中說夢，信有之耶。早起彷彿圖成，復次韻於後」云云。二事無獨有偶，而曹所為，猶痴人也。
[7]「方」原作「本」。
[12]「伏敔堂」原作「服敔堂」。
