乾隆刻本《香雪文鈔》
百七十六[1]
陳元祿抱潛《十二種蘭亭精舍詩集》十卷、《潞河漁唱》一卷。按三十年前閱張祖廉《娟鏡樓叢刊》中有《抱潛詩存》，因論之曰：「鍾駿聲《養自然齋詩話》卷四謂小鐵有《十二種蘭亭精舍集》，引其七律四首。今檢《詩存》未得，蓋非全集也。向在王少鶴《龍壁山房詩鈔》覩與小鐵贈答詩，《詩存》題詞亦以少鶴及孫琴西為最多，傾倒備至。李蓴客識語至以『出入李、杜、韓、孟、蘇、黃、范、陸』相許，真鄭板橋所謂『隔靴搔癢贊何益』者。小鐵才情馨逸，詞華流艷。七絕最妙，得乃師羽琌山民之秘，時參以金冬心。七律泰半艷體，頗嫌佻易，未為婉雅，出入定盦〈秋心〉、仲則〈綺懷〉，如〈春風〉第三首之『且拼清酒三升倚，未許明珠十斛量』，豈非仲則之『買得肯拼珠十斛，賺來定費豆三升』耶？小鐵好友蘇虛谷汝謙即最嗜仲則者（見〈暮秋病起閉門多暇懷人感物雜成短章〉）。五、七古亦尚遒健」云云。今之所見，亦無以遠過。詞氣飄舉輕快，苦乏奇情遐思，故作勢騰騫，而不免空滑浮艷。《詩存》諸題詞亦冠《集》首。
卷一〈拉家桐屋遊憫忠寺有懷仁和龔先生先生童年嘗嬉戲於此也〉：「定公往矣蓮花國，與子重來弔夕陽。紅淚淋痕向誰哭，秋心一樹白丁香。」
〈道光壬寅冬十二月奉兩大人命親迎杭州同人餞於萬柳堂作詩留別〉。按學定盦〈己卯雜詩〉甚似，如：「二十萬言論其品，當事喑啞旁觀嗟。周秦之間有此客，位置宜在縱橫家湯郎中鵬」；「其人酷似成容若，與我同師龔愛吾。莫負東華好春夜，高燒紅燭夢西湖」兩詩尤似。【袁爽秋〈五君憶〉亦學定盫絕句。定盦〈己卯雜詩〉似得法於金壽門《冬心先生集》卷一〈懷人絕句三十首〉而出藍者。】
〈抱素見迎因贈〉：「長爪通眉太瘦生，小詩淒絕有秋聲。綃衣不管春寒重，明日看花又出城。」
卷三〈憶陳鳳孫〉：「我家阿鳳最清奇，爛醉金門已有時。慣炧秋燈論古畫，自磨春水寫新詩。溪邊銀鯉定盈尺，門外碧桃空滿枝。莫遣湘君怨蕭瑟，畫船三月好歸期。」
〈早行〉：「峰頭殘霧尚瞢騰，石屋鱗鱗遠見燈。一嶼春波寒不動，斷橋殘月挂魚罾。」
〈憶牡丹〉：「紅闌干下青苔石，一一都留屐齒痕。誰捨殘灰葬花骨，暗蟲尋穴叫黃昏。」
〈憶亡書〉：「七葉搜羅一炬焚，祖龍著意喪斯文。近來位置唯高閣，不敢逢人哭此君。」
卷五〈李官莊〉：「意外逢荒店，如饑享太牢。壁盤蝸篆古，門壓馬通高。水混知民儉，村空笑客饕。雛鬟偏昵我，回眼顧錢刀。」
〈徐渭寫蝦〉：「落落長鬚擁盾行，十年滄海氣縱橫。被人強作天厨饌，不向江湖老此生。」
卷七〈落花〉：「小徑伶俜不自妍，隨風飛向畫簾前。無言只覺匆匆去，薄命偏供楚楚憐。縱化春泥猶護惜，莫逢飛絮便纏綿。年來冷却尋芳夢，只費吟紅尺幅箋。」
〈車轍謠〉：「緊十八，慢十八。滄州師子景洲塔，東光縣裏大菩薩。華山輸了趙匡胤，劉秀走國扳倒井。琉璃河上看鐵篙，邯鄲好借黃梁枕。多帶繩，少帶人。郯城媳婦唱曲兒，勸君且莫留交情。上車一聲說再見，有錢難買回頭看。」按此組織車轍所經各地俚諺名勝而成，頗供嗢噱。《野獲編》卷二十四〈畿南三大〉條記北方諺語曰：「滄州獅子景洲塔，真定府裏大菩薩。」周壽昌《思益堂日札》卷九：「《南史》[2]：『宗道暉好著大屐，冀州人語曰：「顯公鐘，宋公鼓；宗道暉屐[3]，李洛姬肚」，謂之「四大」。』今京師亦有『四大』：『喇嘛勢力大，相公優伶之稱情面大，摃行摃大[4]，翰林院字大庶常名柬。』俗稱直隸有『三大』：『滄州獅子景洲塔，真定寺裏大菩薩。』」
〈定甫學士說某太史云古文虛字多不足學會海客貽定甫書虛字輒不得通戲作長句呈定甫〉：「美人肉多肥不妍，舉袖欲舞然蹁躚。八珍滿案少鹽豉，便欲下箸嫌腥羶。泥塗四壁窒不宣，腸肝壅塞難雕鎸。物空則靈閟則死，以論文筆將毋然。」
《集》中有兩篇備掌故。卷六〈題韻香道人墨蘭二絕‧序〉謂：「韻公慧心靈捥，風枝婀娜，得卞玉京家法」云云。按此即吾鄉雙修菴尼王嶽蓮號清微道人者是也，蔣寶齡《墨林今話》記其事甚詳[5]。此外如楊掌生《辛壬癸申錄》云：「京伶第一美男子林韻香，吾師吳石華與錫山尼王韻香相識，稱其弟子定保為平生所見女子第一真天人也。」張亨甫《金臺殘淚記》卷二：「小金山曉放舟遲，水似柔綿雨似絲。不向雙修菴下醉，怕看眉嫵似伊時。」自注：「此去年過錫山作。錫山有尼僧曰韻香，負盛名二十年，與〇侍郎、〇中丞、〇制軍先後交狎。楊生韻香因與同名，屬便道訪之未果。此尼去年小除夕竟為情死。」齊玉溪《見聞隨筆》卷十五記玉溪父曾宰無錫，為韻香書「素心堂」額，韻香亦為玉溪題畫，年五十餘投繯而死。丁杏舲《聽秋聲館詞話》卷五云：「蒹塘顧丈嘗謂余書中有三不可信：武功、道學、美人是也。一日，與暢之叔語及。時方承平，叔言武功、道學未可知，美人則洵如所言，即才女亦然。昔船山太守寓吳中，眷蓮緣校書，繩之甚至。同時文士，咸賦詩張之。叔慕名往見，肥黑而麻，非但不美而已。吾鄉女冠韻香，能書能畫蘭，貌己容為〈空山聽雨圖〉，梁山舟首題一詩，遍徵名流題詠，享艷名二十餘年。然聞對客酬和之作，咸複壁中人為，叔亦捉刀中人也。余在裝潢鋪見便面上韻香自書詩詞，曾錄〈采桑子〉質叔，叔曰：『此雖不知伊誰筆墨，然韻香不籍詞傳，詞或藉韻香傳，又何必辨為。』余幼時及見韻香，面圓體腴。已四十餘，因失所歡意，自經死。陸祁生悼以詩，末云：『如何病榻都無分，海燕驚飛出畫樓[6]。』一時膾炙。」吳仰賢《小匏菴詩話》卷六比為魚玄機。石琢堂《晚香樓集》卷三有〈題韻香空山聽雨圖〉四絕句。繆蓮仙《塗說》卷三記韻香於歲戊辰游杭，寓城東福寧尼菴，為菴主弘通作一書畫便面甚工。葉苕生《楙花菴詩外集‧病中摘句懷人詩》云：「舊藏清微道人墨蘭小幀，前寓碧城時所見貽也，有絕句」云云。袁潔《蠡莊詩話》卷八載韻香詩。謝堃《春草堂詩話》卷二載韻香〈咏團扇〉絕句三四云：「夜來携向園中坐，欲撲流螢恐碍花。」又丁杏舲「美人不可信」之論，可參觀《閱微草堂筆記》卷九云：「《西樓記》稱穆素暉豔若神仙，吳林塘言其祖幼時及見之，短小而豐肌，一尋常女子耳。」《萇楚齋三筆》卷六云：「寶竹坡任福建試差，買江山船女為妾，革職。先文莊公督蜀，問成都將軍惠元，將軍謂：『見過，並無中人之姿，面有小痘斑。竹坡短視，燈紅酒綠，看視未真。以此去官，殊不值也。』」
卷七〈近刊盾筆隨聞錄紀東南兵事於道州何編修家窮極醜詆除何見機一事餘皆無關大局所紀失守州縣直隸之東明亦列其內而順德並降為縣其妄可知憤而有作余與編修固無半面識也〉一絕句。按此書余嘗見之，痛詆何子貞與黃宗漢，且據《夷堅志》「道州民乃猿種」之說，謂：「子貞自署『蝯叟』，分明自認其母如唐人〈白猿傳〉故事矣」云云。
百七十七[7]
曹學詩以南《香雪文鈔》十二卷。向讀《西青散記》，知震亭名（卷四尤稱引之）。【《子不語》卷二十四〈漢江冤獄〉條記曹震亭，可參觀《散記》卷四記震亭俠骨折誣事。】【《華陽散稿》卷下〈松槐雙蔭初稿序〉記震亭論詩語曰：「詩濬性靈而汰俗套，潰漢、魏之槽粕，錮唐、宋之桎梏，摹擬愈工，性靈愈蝕，非解脫法也[8]。」】嘗謂《散記》中王、趙、張、段諸家詩[9]，雖皆失之調啞澀、詞纖仄，尚有微情秀語可采，獨震亭之作無足觀。此集題：「沈歸愚夫子鑒定。」按之歸愚〈序〉，蓋乾隆戊辰典試禮闈，震亭其所得士也。《歸愚詩鈔餘集》卷六〈懷舊詩十三章‧之十‧曹震亭〉有云：「文宗庾信工金玉。」【《梧門詩話》（楊亨壽鈔訂本）卷一：「史梧岡詩如『窮交剰燕投空幕，拙宦隨鳩寄破巢』皆修潔可愛。著有《西青散記》，俶詭不恒，惜已失傳。」卷一：「曹震亭耽於吟詠，得宋人三昧，如『濕雲似墨人成雁，野水迎潮屋化螺』皆其警句。垂老尚與黃仲則同遊黃山唱和。史梧岡、袁子才稱其好禪，不甚作詩。如余所見『鶴邊芳草蘭居半，牛背青蓑錦不如』，皆能造意造句，清妙絕倫。」卷三：「隨園不喜震亭詩，然震亭詩幽峻，時有拔俗之致，如『遠岫靜如睡，東風吹不醒』，殊不可及也。」】
駢文九卷，散文三卷。駢文格調鄙俗，使事屬對類村學究取兔園冊，排比者竭蹶牽強，無所謂「伐山」、「伐材」也。散文亦俚冗。卷一〈西青散記序〉（結聯云：「籠中剪翮，靜觀百鳥翱翔；世外同心，願倩雙魚寄贈云爾。」傍加密圈，蓋其得意語也。二事作對，意思如何貫得下？「靜」字尤可笑），卷二〈金沙史悟岡詩文集序〉，卷七〈致金沙史悟岡大兄書〉（有云：「憶昔長安道上風雪一燈，極樂峯頭烟霞一屐」，即指《散記》卷四同遊戒壇，土人所謂「氣老分」是也）。按屈復《弱水集》卷十八〈楊花七律十首‧序〉云：「雙卿，綃山農家女，生即夙慧，能詩、詞、小楷。所適非人，姑與夫遇皆酷虐，而雙卿力操井臼，無怨色。賃王氏舍，佃其田。或與諸文士遙唱和，而貞潔自守。有以〈楊花詩〉寄示雙卿者，甚嘆賞之。金壇史公度為余言如此。余亦作十首，即託公度寄雙卿。乾隆二年二月也。」董潮《東臯雜鈔》卷三云：「慶青，姓張氏，潤州金壇農家婦也。工詩詞，不假師授。然不以村愚怨其匹。有鹽賈某，百計娶之，終不可得。以艷語投之者，罵絕不答。」近見其詩詞如「孤鴻」云云、「殘燈」云云，雖純疵參半，亦頗不俗。七古頗學長吉、飛卿，惜不能全記。詞則《別調集》卷六選雙卿詞十二首。又黃燮清《國朝詞綜續編》卷二十二選雙卿詞十首，稱為「天籟」、「奇才」、「直接三百篇」、「農家周某室」。于源《燈窗瑣話》卷四、陳廷焯《百雨齋詞話》卷五、卷七皆稱雙卿詞。謝枚如《稗販雜錄》卷三稱雙卿〈鳳凰臺上憶吹簫〉詞。陳銳《抱碧齋文集》有〈弔賀雙卿文〉；張問安《亥白詩草》卷一附刻其亡妻陳慧殊〈書西青散記後〉七絕四首；顧敬恂《筠溪詩草》卷一（《辟疆園遺集》卷八）〈蘆葉詩〉七古（詠雙卿寫詩於蘆葉上）[10]；楊夔生《真松閣詞》有〈賀新涼‧感賀雙卿事〉；顧翰《拜石山房詞》亦有〈賀新涼‧感賀雙卿事〉。連類記之。
【譚復堂極稱《散記》詩文，見《日記》卷三（「致語幽清，有唐人說部風，諸詩玄想微言，瀟然可誦」），又《日記補錄》光緒二年八月初九日、十二年二月初四日，又《續錄》二十三年四月十九日。《賭棋山莊集‧詞話續一》亦稱《西青散記》多隽語。】
百七十八[11]
李拔可丈〈春盡遣懷〉云：「不經風雨連番劫，爭得池塘盡日陰。」對仗動盪，語意藴藉，余最賞之。《晚晴簃詩滙》卷七十云：「熊文泰，字退中，潛山人。有《四十賢人集》。」蓋取唐劉得仁語。詩專學唐，僅存五律一體。其子象垣記其逸句〈落花〉云：「不是五更風雨惡，池塘爭得綠成陰。」用心相似，而出語佻薄，風致遠不如矣。此意古詩中亦數見之。如北宋程琳〈冬近〉云：「世間剝復每相尋，此理幾幾喚得應。萬木凍僵梅有信，黃河氷合井如蒸。」要以拔丈一聯為後來居上。炎蒸裸臥，盼雨甚切，忽憶斯篇，不勝感愴。【韓稚圭《安陽集》卷五〈霜〉云：「不寤春仁入根本，只憑秋慘及皮膚。」歐公〈夜聞風聲〉即云：「苦暑君勿厭，初涼君勿歡。暑在物猶盛，涼歸歲將寒。」《黄氏日抄》卷六十一稱其「感慨有味」。】
百七十九[12]
Desmond MacCarthy, Portraits, I, p. 197 引
George Moore 語：“Henry James takes out a pack of hounds to hunt a
rat.” 按參觀 Valéry
謂：“Claudel... n’a ni élégance ni économie — Il se
sert d’une grue pour soulever une cigarette” (Dorothy Bussy, “Some
Recollections of Paul Valéry,” in Cyril Connolly, The Golden Horizon, p. 362).
P. 245 引 Home Life with Herbert Spencer 云：“He laughingly remarked: ‘I have come down to fire
off a joke before I forget it! Your criticisms of my photograph — which you
expect to be grave & gay at the same time — remind me of the farmers, who
are never contented unless simultaneously it is raining on the turnips while
the sun shines on the corn.’” 按劉禹錫〈何卜賦〉：「同涉於川，其時在風；沿者之吉，溯者之凶。同藝於野，其時在澤；伊穜之利，乃穋之厄。」東坡〈泗州僧伽塔詩〉云：「耕田欲雨刈欲晴，去得順風來者怨。」吾鄉諺語亦有「做天難作四月天，秧要日頭麻要雨」之說。東坡詩又有「不瘦又不俗」、「人間安得揚州鶴」，又〈次韻王滁州見寄〉：「斯人何以似春雨，歌舞農夫怨行路」（用許敬宗語，見馮《注》卷三十四【許敬宗對唐太宗：「春雨如膏，農人喜其澤潤，行人惡其泥濘」】）。《容齋四筆》：「兩商人入神廟，其一陸行欲晴，許賽以豬頭，其一水行欲雨，許賽羊頭。神顧小鬼言：『晴乾喫豬頭，雨落喫羊頭，有何不可？』」西詩云：“Can the Burbanks of the glorious West / Either
make or buy or sell / An onion with an onion’s taste / But with a violet’s
smell?” 參觀第五百九十八則《柯山集》卷十〈有感〉第三首。《江湖長翁集》卷九〈田家歎〉云：「秧惡久晴雨害麥，兼收並得寧庶幾」，又云：「秧欲雨，麥欲晴。」又七百十八則、七百三十七則。然而為政之道，求人人而悅，則巧為之說，一若鑿枘者可相車輔，水火者可相水乳，此愚民之要術。山谷〈宮亭湖〉僅以「左手畫圓右手方」歎人心之機巧，真淺乎言之矣。Julien Benda, Du
Style d’Idées, p. 140: “Un mode de penser qui conduit fatalement à des
affirmations totalement vaines, souvent risibles est la volonte de concilier à
tout prix des notions qui par définition, s’excluent l’une l’autre. Ces moeurs,
qui reviennent à proclaimer qu’une chose est en meme temps un cercle et un carré,
s’observent éminemment dans la vie politique, l’orateur ne pouvant avouer aux
masses, sous peine d’impopularité” (cf. p. 142, Charles Maurras: “Le perfection
n’arrête pas le progrès”). 是矣而未盡也。至 George Orwell, Nineteen
Eighty-Four 論 “Double
think”，遂抉發無遺：“To hold simultaneously two opinions which
cancelled out” etc. (p. 37)[13]。蓋愚人者，必至於自愚也。楊升菴〈遊山記〉謂點蒼山十景之一曰「晴川秧雨」：「每歲五月，溪上日日有雨，田野時時放晴，故刈麥、插秧，兩無所妨。」《倘湖樵書初編》卷六引此，論之曰：「天下亦豈無兩順人情之雨哉！」The
Oxford Dict. of English Proverbs, p. 326: “Not God above gets all men’s love.” Theognis, 20: “Not even
Jove can please all, whether he rains or does not rain.”
百八十[14]
Martha Dickinson Bianchi, The Life & Letters of Emily Dickinson.
文筆扭捏，幾不可讀。Emily Dickinson 與人書牘，選字造句亦矯揉造作，欲為悱惻玄微處，更使人憎厭。
P. 80: “The dictionary was no mere
reference book to her, she read it as a priest his breviary — over & over, page by page, with utter
absorption.” 按 F.
Holmes Dudden, Henry Fielding, I, p.
167: “For style... William Pitt is... alleged to have twice read through the
whole of Nathan Bailey’s Universal
Etymological Dictionary.” Mrs Sutherland Orr, Life of Robert Browning, p. 51 記
Browning 好讀 Johnson《大字典》：“He qualified himself for it [the profession of
letters] by reading & digesting the whole of Johnson’s dictionary.” Pater, Appreciations: “Style” 謂文家宜作 “systematic
reading of a dictionary”; Baudelaire, Curiosités
esthétiques: “Théophile Gautier”: “Il me demanda... comme pour m’éprouver,
si j’aimais à lire des dictionnaires” etc; Léon Cladel, Bonshommes 亦記 Baudelaire 改稿時，遍檢各種語言字典。Anatole France, La vie littéraire,
II, p. 278 引 J.M. de Hérédia: “La lecture du dictionnaire de
Jean Nicot procure plus d’agrément, de plaisir et d’émotion que celle de Trois Mousquetaires!” Austin Dobson, Later Essays, 1917-1920, p. 160-1: “Chatham
boasted he had been twice through Bailey... I trust it was not the folio of
1736... Ruskin assured the late Sir James Murray that he read the first part of
O.E.D. from beginning to end...
R.L.S. too seems seriously to have advocated the occasional perusal of
dictionaries... Returning a book which had been submitted to him, H.T. Buckle cheerfully
declared that it was one of the few dictionaries he had read through with any enjoyment!” 據 Charles
Chassé, Les clés de Mallarmé (1954) 所謂 “La clé de
Mallarmé est chez Littré” (見T.L.S., Oct. 8, 1954, p. 642 引)，則 Mallarmé 亦讀字典、求字根，供作詩資也。
P. 276: Emily Dickinson to Colonel
T.W. Higginson: “If I read a book & it makes my whole body so cold no fire
can ever warm me, I know that is poetry. If I feel physically as if the top of
my head is taken off, I know that is poetry. These are the only ways I know it.
Is there any other way?” 按徐文長《青籐書屋文集》卷一七〈答許北口〉云：「試取所選者讀之，果能如冷水澆背，陡然一驚，便是興觀羣怨之品。如其不然，便不是矣。」張謙宜《絸齋詩談》卷七論毛稚黃云：「讀毛君詩，無冷水澆背、新茶醒脾之意。」參觀二百八十七則。Wm Morris: “I always know a thing is good by making
me feel warm across here [the seat of diaphragm]”; J.R. Lowell: “I like the
poetry that sends a sort of a cold thrill through one (not an unpleasant one), &
brings tears into one’s eyes” (Letters,
ed. C.E. Norton, I, p. 18); Wm James, Principle
of Psychology, vol. II, p. 470: “A glow, a pang in the breast, a shudder, a
fullness of the breathing, a flutter of the heart, a shiver down the back, a
moistening of the eyes, a stirring in the hypogastrium and a thousand unnamable
symptoms besides, may be felt the moment beauty excites us”[15]; A.E. Housman, The Name & Nature of Poetry, pp.
13-16: “When I am shaving, if a line of poetry strays into my memory, my skin bristles
so that the razor cease to act. This particular symptom is accompanied by a
shiver down the spine; there is another which consists in a constriction of the
throat & a precipitation of water to the eyes; & there is a third which
I can only describe by borrowing a phrase from one of Keats’s last letters,
where he says, speaking of Fanny Brawne, ‘everything that reminds me of her
goes through me like a spear.’ The seat of this sensation is the pit of the
stomach” (Selected Prose, ed. J.
Carter, p. 193). 參觀第三百五則。Robert Graves, The
White Goddess (“Creative Age Press,” N.Y.), p. 7: “[The reader of a poem is
affected with a strange feeling between delight & horror, of which the
purely physical effect is that the hair literally stands on end. A.E. Housman’s
test of a poem was simple & practical” (cf. pp. 10-11).
P. 31: To Miss Maria Whitney: “To
relieve the irreparable degrades it.” 按 p. 48 引此誤作：“Alleviation of the irreparable degrades it.”
[6]「畫樓」原作「畫梁」。
[10]「詩草」原作「詩鈔」。
[13] 此節上下文如下：“His
mind slid away into the labyrinthine world of doublethink. To know and not to
know, to be conscious of complete truthfulness while telling carefully
constructed lies, to hold simultaneously two opinions which cancelled out,
knowing them to be contradictory and believing in both of them, to use logic
against logic, to repudiate morality while laying claim to it, to believe that
democracy was impossible and that the Party was the guardian of democracy, to
forget, whatever it was necessary to forget, then to draw it back into memory
again at the moment when it was needed, and then promptly to forget it again,
and above all, to apply the same process to the process itself — that was the
ultimate subtlety; consciously to induce unconsciousness, and then, once again,
to become unconscious of the act of hypnosis you had just performed. Even to
understand the word ‘doublethink’ involved the use of doublethink.”
