荷蘭畫(huà)家 Jan Steen 常以身懷春疾之少女為主題
此其《醫生看診》（“Doctor’s Visit” or “The Lovesick Girl”）二幀
五百八十六
潘閬《逍遙集》一卷。北宋初晚唐體不似南宋晚唐體之多張致、落小樣。蓋逍遙只尊閬仙，而“四靈”兼推武功，師法亦微異也。
《雪夜有感》：“向曉酒力減，背壁燈影微?！?/span>
《憶賈閬仙》：“風(fēng)雅道何玄，高吟憶閬仙。人雖終百歲，君合壽千年。骨已西埋蜀，魂應北入燕。不知天地內，誰(shuí)為讀遺編?！?/span>
《歲暮自桐廬歸錢(qián)塘晚泊漁浦》：“新月無(wú)朗照[1] ，落日有餘輝?！?/span>
《渭上秋夕閒望》：“殘陽(yáng)初過(guò)雨，何樹(shù)不鳴蟬？”
《夏日宿西禪院》：“夜涼如有雨，院靜若無(wú)僧?！卑础掇藦]詩(shī)話(huà)》卷中謂：“此本僧保暹‘涼生初遇雨，靜極忽歸僧?！喑鲮端{?！?/span>
《寄陳希夷》：“清宵無(wú)好夢(mèng)，白日有閒愁?！卑磪蜗Ｕ堋秴问想s記》卷下云：“魏野之門(mén)人潘閬欲往京師，其師止之不聽(tīng)。既至而後悔之，作詩(shī)曰：‘不信先生語(yǔ)，剛來(lái)帝里遊。清宵無(wú)好夢(mèng)，白日有閑愁?！孀诼勚粣偂痹圃?，《宋詩(shī)紀事》卷五未引此。
五百八十七
連文鳳《百正集》三卷。即“月泉吟社”徵詩(shī)第一名之羅公福也。江湖派晚唐體，琢潤而無(wú)警策，惟《春日田園雜興》一律（卷中）為佳。
五百八十八
Jottings:
Letters of J.M. Barrie, ed. Viola Meynell, p. 48: “I have another cold. I think it came because a dog wagged its tail at me in passing, thus creating a draught.” Cf. Tristan Bernard & Albert Centurier, L’école des Charlatans, Acte II: M.Glandier: “Je suis tellement sensible au froid et aux variations de températures...” Mme Merminod: “Oh, pas tant que moi.” M.Glandier: “Si je vous avouai que le simplement déplacement d’air provoqué par le passage d’une personne, à deux mètres de moi, me donne une sorte de crispation nerveuse...” Mme de la Joux: “Deux mètres, mais qu est-ce que c’est que ?a, mais une personne qui passe de l’autre c?te de la rue...” Mme Merminod: “Il suffit qu’on ouvre un journal brusquement pour que je me sente glacée jusqu’aux moelles.” Mme Sartelli: “Oh! un journal qu’on ouvre!” Mme d’Avully: “Une feuille de papier qu’on déchire...” (La Petite Illustration, 2 Ao?t 1930, p. 9). One thinks of the obscene catchphrase reply as to “how a male has caught a cold”: “He [I, You] must have been sleeping near a crack” — the “crack” being anatomical, as Eric Partridge explains in his Dictionary of Slang, 4th ed., p. 781. Also 馮夢(mèng)龍《廣笑府》卷九：“人有暴富者，曉起看花，啾啾稱(chēng)疾。妻問(wèn)何疾，答曰：‘今日看花，被薔薇露滴損了……’妻曰：‘當初和你乞食時(shí)[2]，在苦竹林下被大雨淋了一夜，也只如此！”G. Basile, Il Pentamerone, I. x: “quei brutti cancheri, che d’ogni minima cosa mormoravano e borbottavano, ora dicendo che un gelsomino, cascato dalla finestra aveva fatto loro un livido sulla testa, ora che una lettera strapatta, avea loro indolenzito una spalla, ora che un po’ di polvere aveva loro contuso una coscia” (testo tradutto di B. Croce, p. 99).
Heine: “Einleitung zur Prachtausgabe des Don Quixote”: “Nichts ist t?richter als die Frage: welcher Dichter gr?sser sei als der andere? Flamme ist Flamme, und ihr Gewicht l?sst sich nicht bestimmen nach Pfund und Unze” (Gesammelte Werke, hrsg. Gustav Karpeles, VIII, S. 226). Cf. Lyly, Euphues: “To give reason for fancie were to weighe the fire, & measure the winde” (Complete Works, ed. R.W. Bond, I, p. 245); L.A.G. Strong: “Yeats at His Ease”: “‘William Morris used to say, to the people who claimed that they could only read Shakespeare, “Rubbish. Flame is flame wherever you find it.”’” (The London Magazine, vol. II, no. iii, p. 59). H.W. Garrod wittily characterises Matthew Arnold’s famous method of “using the poetry of the great classics as a sort of touchstone” as essentially the method of Aristophanes’Frogs, i.e. “it consists in selling poetry by the pound” (The Study of Good Letters, pp. 23-4). 《文史通義?外篇二?墓銘辨例》：“但以誌銘字數較量多寡為言，是相馬而存屠沽賣(mài)肉之心，鑒鼎而用市販秤銅之見(jiàn)?！?/span>
“Sind den Interessen wahrer Kunst dergleichen Illustrationen f?rderlich? Ich glaube nicht... sie sind ein Zeichen mehr, wie die Kunst, herabgezerrt von dem Piedestale ihrer Selbst?ndigkeit, zur Dienerin des Luxus entwürdigt wird” (Ibid., Gustav Karpeles, VIII, S. 229-230). This view complements that of Wordsworth: “Clement Shorter founded The Sketch, quoting against himself Wordworth’s sonnet on illustrated books & newspapers: “Now prose & verse sunk into disrepute / Must lacquey a dumb Art that best can suit / The taste of this once-intellectual Land” (D.N.B. 1922-1930, p. 772). There is, however, no hard-&-fast rule governing the relation between Heine’s Dienerin & Wordsworth’s lackey. On the one hand, “a grotesque little animal is supposed to illustrate ‘Tiger! Tiger’” & “Thackeray’s smirky caricature of Becky Sharp has hardly anything to do with the complex character in the novel” (Rene Wellek & Austin Warren, Theory of Literature, “Penguin Books”, p. 128). On the other hand: “The older novelists were very precise in enumeration of their characters’ physical parts, & yet if any reader could see in the flesh the person whom the author has thus elaborately described, I do not believe he would recognise him. We have a clear & precise picture of what the great characters of fiction looked like only when an illustrator like Phiz with Pickwick or Tenniel with Alice has forced his own visualisation on us” (Somerset Maugham, A Writer’s Notebook, p. 198; cf. 第二百十則 on The Deipnosophists, XIII, 604) — to which one is tempted to add: “or Johannot & Daumier with Don Quixote” whom Coleridge called “l(fā)ean & featureless” (Essays & Lectures, “Everyman’s Library”, p. 249) and “Sidney Paget with Sherlock Holmes” (see J.D. Carr, The Life of Sir Arthur Conan Doyle, p. 63). For “vagaries of book illustration”, i.e., how a cosmopolitan classic like the Vicar of Wakefield fares in the hands of German & French illustrators, see Austin Dobson, A Bookman’s Budget, pp. 42-3. Incidentally, as to the futility of word painting, Antoine Furetière had anticipated Maugham: “Certainement la questeuse [gavotte] estoit belle... N’attendez pas pourtant que je vous la décrive icy...; car, quand je vous aurois dit qu’elle estoit de la riche taille, qu’elle avoit les yeux bleus & bien fendus, les cheveux blonds et bien frisez, & plusieurs autres particularitez de sa personne, vous ne la reconnoistriez pas pour cela” (Le Roman Bourgeois, “édition Porteret”, p. 10).
Thomas Hardy has a profound saying: “A physician cannot cure a disease, but he can change its mode of ex-pression” (quoted in William Plomer, Double Lives, pp. 20-1). The best illustration of this truth is Tristan Bernard’s grimly humorous story Les Médecins specialists: Siméon who weighed 270 lbs. “voulut maigri” & Dr Belarthur, “l(fā)e soumit à un régime de marches prolongés” which succeeded in reducing his weight to 245 lbs. with one drawback that his feet began to give him serious trouble; then DrSchitzmer prescribed “des ba?ns de pieds dans de la boue” which cured the feet but caused a “mal de gorge”; then Dr Cholamel “l(fā)e soumet au traitement à l’éléctricité” which proved very efficacious as to the throat complaint but brought upon him “crises de nerfs”; then Dr Langlevent made him take bromide which again tocca e sana, as the Italians say, though unfortunately working havoc on his digestion; so Prof Diridoff “l(fā)e mit au régime des féculents” which restored his queasy stomach with the result that he came to weigh no less than 322 lbs. — “c’était trop”; & the rest must be told in Bernard’s own words: “Le docteur Lerenchéry préconise surtout l’équitation. Siméon choisit un cheval très fort et commen?a ses exercises. Hé bien après sa première sortie son poids a déjà diminué de 36 kilos. Il faut vous dire qu’il a fait une chute “de cheval et qu’on a du lui couper la jambe gauche, qui pesait exactement 36 kilos” (Pierre Mille,Anthologie des Humoristes Fran?ais contemporains, p. 400). Cf. Sainte-Beuve, Lundis, I, p. 16: “Le mal n’a fait que changer et se déplacer. C’est ce qui arrive de presque toutes les maladies de l’esprit humain qu’on se flatte d’avoir guéries. On les répercute seulement, comme on dit en médecine, et on leur en substitue d’autres.”【Tom Jones, V, 2: “For love may again be likened to a disease in this, that when it is denied a vent in one part, it will certainly break out in another. What her lips, therefore, concealed, her eyes, her blushes, & many little involuntary actions, betrayed” (Everyman’s, I, p. 151).】【“When they said: ‘let’s try a little socialism for a change’, it seemed to Chesterton that for lack of a clear picture of health one disease was being offered as remedy for another” (DNB, 1931-40, p. 173).】【Proust, Sodome & Gomorrhe, I (à la Recherche du temps perdu, “La Pléiade”, II, p. 625.)
“Cominciansi le guerre quando altri vuole, ma non quando altri vuole fi finisicono,” wrote Machiavelli in his Istorie fiorentine, III, 7 (Il Principe e altri scritti minori, “Biblioteca Classica Hoepliana”, p. 511). Cf. Adlai, E. Stevenson, Call to Greatness: “It is a sign of strength, not of weakness to be able to keep a war limited” (quoted in T.L.S., Oct. 29, 1954, p. 683).
《鶴林玉露》（日本寬文刻本）卷八：“杜少陵詩(shī)云：‘莫笑田家老瓦盆，自從盛酒長(cháng)兒孫；傾銀注玉驚人眼，共醉終同臥竹根?！w言以瓦盆盛酒，與傾銀壺而注玉杯者同一醉也。昔有僕嫌其妻之陋者，主翁聞之，召僕至。以銀杯瓦各一，酌酒飲之。問(wèn)曰：‘酒佳乎？’對曰：‘佳?！y杯者佳乎？瓦椀者佳乎？’對曰：‘皆佳?！魑淘唬骸芯?，酒無(wú)分別，汝亦知此，則無(wú)嫌於汝妻之陋矣！’……少陵詩(shī)意正如此?！保?/span>Cf.《文選》江淹《望荊山》詩(shī)注、謝靈運《石門(mén)新?tīng)I》詩(shī)注引曹植“金樽玉杯，不能使薄酒更厚?！保┥蚝胗睢稖喨缙?西江月?論下妓休嫌》云：“熄火安用好水，風(fēng)流豈在標致。金壺瓦器同酒，總是一般滋味?！?/span>Alfred Perlès, My Friend Henry Miller, pp. 22, Wambly Bald on a woman with a beautiful face: “What’s the face got to do with it?” Cf. Alfred de Musset,La Coupe et les Lèvres, “Dédicace”: “Aimer est le grand point, qu’importe la ma?tresse? / Qu’importe le flacon, pourvu qu’on ait l’ivresse?” (Poésies, “Collection du Flambeau”, p. 128). Goethe: “überall trinkt man guten Wein, / Jedes Gef?ss genügt dem Zecher; / Doch soll es mit Wonne getrunken sein, / So wünsch’ ich mir künstlichen griechischen Becher” (S?mt. Werk., Der Tempel Verlag, Bd. III, “Spruchweisheit”, S. 213).
Johnson’s crushing epigram on Lord Chesterfield, “This man, I thought, had been a lord among wits; but I find he is only a wit among lords” (Boswell’s Life, ed. Hill-Powell, I, p. 266), an imitation of as well as an improvement upon lines of Shakespeare, Pope, & others, has supplied a formula of neat antitheses to Scott & Macaulay (see Bartlett’s Familiar Quotations, 11th ed., p. 215). Coleridge also says: “The young lady is said to be the most literary of the beautiful, & the most beautiful of the literatae” (Collected Letters, ed. E.L. Griggs, I, p. 109). The following biting mot on “Herr Eissel” is on the same pattern: “Als Hof- und Kom?dien-Berater vereinigst du beides so: Bist Hofrat im Theater und Kom?diant im Büro” (Grillparzers Gesammelte Werke, hrsg. E. Rollett und A. Sauer, Bd. II, S. 103).
Speaking of his education, Massimo d’Azeglio paid a grateful tribute to Bidone: “Il Bidone, si potrebbe dire, mi veniva raffazzonando il cervello a somiglianza dei chirurghi o delle levatrici, che al fanciullo appena nato cercano dar forma regolare alle molli pareti del cranio” (I Miei Ricodi, “Biblioteca classica Hoepliana”, p. 48). A very happy simile this. The practice was apparently also common in France, cf. Maupassant: “J’ai la tête si ronde que je ne trouve jamais rien de tout fait [c.e.d. le chapeau]... Le vieux médecin, qui nous a re?us à notre arrivée dans ce monde, nous a aussit?t pris entre ses genoux, nous a fortement massé la tête” (quoted in Georges Normandy [3], La Fin de Maupassant, p. 66; Maupassant Infine, p. 121). Also Giuseppe Giusti in La Lettera autobiografica [4]: “Mio padre non volle che la levatrice m’accomodasse il cranio come usano fare, sebbene l’avessi cacciato fuori della forma di un pane di zucchero” (Prose e Poesie Scelte, “Biblioteca Classica Hoepliana”, p. 54) — incidentally the sugar-loaf or oxycephalic form of head is supposed to be a sign of criminal mentality (see Havelock Ellis, The Criminal, 5th ed., pp. 45-6) [5].
Havelock Ellis, Studies in the Psychology of Sex, IV, p. 257: “Homosexual passion in women finds more or less complete ex-pression in kissing, sleeping together, & close embraces, as in what is sometimes called ‘lying spoons,’ when one woman lies on her side with her back turned to her friend & embraces her from behind, fitting her thighs into the bend of her companion’s legs, so that her mons veneris is in close contact with the other’s buttocks, and a slight movement then produces mild erethism.” “And embraces” must be a misprint for “who embraces”, cf. Collete’s classic on Lesbian love, Ces Plaisirs, “Le Livre Moderne Illustré”, p. 12: “Elles s’endormirent tout aussit?t, le ventre de l’une moulé à la croupe de l’autre, comme des cuillers dans le tiroir à l’argenterie.” Cf.《豫章黃先生文集》卷二十一《跛奚移文》：“寢匙覆椀，……牡牝相當?！?/span>Cf.《疑雨集》卷四《即席口占絕句》：“枕上不妨頻轉側，柔腰偏解逐人彎。[6]”In modern English slang, to adopt this posture is to “dad[d]le”, which, according to E. Partridge’sDictionary, 4th ed., p. 1027, means “cunnum contra sedum aut pueriaut puellae atterere; quod plus inter puellas quam inter feminas fieri solet.”
Augustus John feelingly described his tribulations in drawing Winston Churchill: “I soon discovered that my model, however efficient in other ways, was no great shakes at keeping still. My target turned out to be a moving one... He was evidently unhappy under my scrutiny. How else to explain the fits & starts, the frequent visits to the mirror etc.? It was all I could do to keep calm myself & avoid an explosion” (“Some Portraits from Memory” in The London Magazine, vol. II, no. ii, pp. 60-62). Cf. Wyndham Lewis, The Diabolical Principle & The Dithyrambic Spectator, p. 181: “Art asks for nothing better than a corpse, & it thrives upon bones. Did not Cezanne bellow at his sitter when he fell off the chair, ‘You’re moving! Les pommes, ?a ne bouge pas!’”
Winston Churchill, Great Contemporaries, p. [7]: “Trotsky had raised the poor against the rich. He had raised the penniless against the poor. He had raised the criminal against the penniless... In the deepest depth he sought with desperate energy for a deeper... In vain he turned his gaze upon the wild beasts. The apes could not appreciate his eloquence. He could not mobilize the wolves.” This eloquent passage is an unconscious echo of Grillparzer’s epigram in “Die Reaktionszeit”: “Der Weg der neuern Bildung geht /Von Humanit?t / Durch Nationalit?t / Zur Bestialit?t” (Gesammelte Werke, hrsg. E. Rollett & Sauer, Bd. II, S. 95) — perhaps the best prophecy as well as epitaph on Nazism & Fascism (cf. S. 79 on “Franz?sische Zust?nde” written in 1859: “Legitimit?t, Autorit?t, Nationalit?t, / Absurdit?t, Servilit?t, Bestialit?t”). Cf. Henry James on Kipling: “I have quite given that [i.e. the hope that K. may become an English Balzac] up in proportion as he has come steadily from the less simple in subject to the more simple — from the Anglo-Indians to the natives, from the natives to the Tommies, from the Tommies to the quadrupeds, from the quadrupeds to the fish, & from the fish to the engines and screws” (Letters, ed. P. Lubbock, I, p. 271); E. Legonis on Wordsworth’s primitivism which looks for illumination backwards & downwards: “the ignorant and illiterate, above all children... then the crazy & idiotic... then the plants” (quoted in I. Babbitt, On Being Creative, p. 51).
Gil Blas, Liv. II, ch. 7: “L’h?te m’apporta... un civet de matou, que je mangeai avec la même avidité que s’il e?t été de lièvre ou de lapin” (éd. Garnier Frères, p. 102). Cf. The Ingoldsby Legends, “The Bagman’s Dog”: “She fish’d up the meat, & she help’d him to that, / She help’d him to lean, & she help’d him to fat, / And it look’d like Hare — but it might have been Cat” (Grant Richards, p. 129).
The problem “pourquoi le plus souvent, quand on pisse, on vesse ou on pette” intrigues the ingenious Tabarin very much. One of his explanations is “quand un tonneau est plein... il luy faut donner vent pour en tirer quelque chose” (Oeuvres de Tabarin, “Classiques Garnier”, p. 50). In a footnote to the entry “Then had girl, merely saluberrima lumbis”, Boswell on the Grand Tour: Germany & Switzerland, “Trade Edition”, p. 132 I came across “an old rhyming Latin tag which lauds the healthful effect of breaking wind while emptying the bladder (Mingere cum bumbis / Saluberrimum est lumbis).” Incidentally, the whole passage (“Yet again I went with those easy street girls, & between their thighs —, merely for health... Then had girl, merely saluberrima lumbis”) anticipates such dialogues in modern French novels & plays: “L’HOMME: ‘Dans votre monde, on se marie.’ MADELEINE: ‘Je tiens à ma liberté.’ L’HOMME: ‘Ah! oui, je comprends. Votre amant: c’est de l’hygiène.’” (Michel Duran, La Liberté provisoire, I). For the conception of sex as a hygienic necessity see: Faust, Erster Theil, ll. 2023 ff.: “Besonders lernt die Weiber führen; / Es ist ihr ewig Weh und Ach / So tausendfach / Aus einem Punkte zu kurieren” [8]; Journal des Goncourt, V, p. 335 (éd. definitive): “Un mot d’une vieille poétesse. Elle disait à un ami d’un étudiant en médecine, qui était son amant dans le moment : ‘Eh bien, qu’est-ce qu’il est devenu votre ami… voici plus de 15 jours que je ne l’ai vu… et à mon age, et avec mon tempérament… est-ce là, croyez-vous, de l’hygiène?’”; Freud’s “Zur Geschichte der psychoanalytischen Bewegung” as epitomised in Havelock Ellis,Views & Reviews, I, pp. 262-3: “Freud records how, at one of Charcot’s evening receptions, he heard the honoured master narrating... the serious sufferings of a young wife with an impotent husband... ‘Mais dans des cas pareils c’est toujours la chose génitale, toujours — toujours — toujours.’... When a little later he began practice in Vienna, & Chrobak, à propos of exactly such a case as Charcot had narrated, told him that, though it could not be given, the best prescription was: ‘? penis normalis dosim repetatur’”; C.H.B. Kitchin’s short story “A Cottage in Cornwell”, in which a Dr Bates said to two “trick cyclists” in a mental hospital for what Yvette Guilbert les demivielles: “If I could have a couple of buck-niggers here, you two psychiatrists would soon be out of job” (The London Magazine, I, vi, p. 44). Cf.《肉蒲團》第一回 on “女色”: “只宜長(cháng)服，不可多服，只可當藥，不可當飯” etc.; 《笑得好》二集“藥柤”; 褚人穫《堅瓠集三集》卷二[9]：“吾郡陸天池采博學(xué)能文……有寓言曰：某帝時(shí)，宮人多懷春疾，醫曰：‘須勅數十少年藥之?！廴缪?。後數日，見(jiàn)宮人皆顏舒體胖，拜帝曰：‘賜藥疾愈，謹謝恩?！T少年俯伏於後，枯瘠蹣跚，無(wú)復人狀。帝問(wèn)是何物，對曰：‘藥渣?！保ㄖ祚辞濉堵駪n(yōu)集》卷四“藥渣”）; 王弇州《西城宮詞》: “兩角鵶青雙筋紅，靈犀一點(diǎn)未曾通。自緣身作延年藥，憔悴春風(fēng)雨露中”（《野獲編》：“嘉靖中葉，選女八歲至十四歲者入宮，從陶仲文言煉藥用。其法名‘先天丹鉛’，弇州詩(shī)云云”）; Boifran [10], Les Bains de la Porte S. Bernard, II, iv, a physician on the illness of a girl: “La maladie de votre fille s’appelle en grec, Mariagibilis potentia et impatienha” (H.M. Peyre, ed., Essays in Honor of Albert Feuillerat, p. 110); E. Fuchs, Illustrierte Sittengeschichte, Erg?nzungsband I, 92 on the symbolic meaning of the clyster & the fish in Jan Steen’s “The Physician & the Love-sick Girl” & “The Love-sick Woman”. In Apuleius, Metamorphoses, X, 2, love-sickness is called “the malady beyond the doctors’ ken” (Heu medicorum ignarae mentes!).
“Un vieillard qui a la teste blanche, mais la queue verte” (Oeuv. de Tabarin, p. 227; cf. p. 242). The Italian saying “Esser come gli agli, che hanno il capo bianco e la coda verde”, i.e. to be vigorous in old age.Decamerone, Intrduzione della Giornatta Quarta: “... il porro abbia il capo bianco, che la coda sia verde” (Ed. Hoepli, p. 247). Chaucer, Reeve’s Prol. 25: “To have an hoor heed & a grene tayl / As hath a leek; for though our might be goon, / Oure wil desireth folie ever in oon” [11]; Thomas Dekker, The Honest Whore, Pt. II, Act I, sc. ii, Orlando: “Tho my head be like a Leeke, white: may not my heart be like the blade, greene?”
The Pickwick Papers, ch, 25: “‘And such a man [Mr Nupkins] to speak,’ said Mr Muzzle. ‘How his ideas flow, don't they?’ ‘Wonderful,’ replied Sam; ‘they comes a-pouring out, knocking each other’s heads so fast, that they seems to stun one another.’” Cf. Heine, Die romantische Schule, Buch III, Kap. 3: “Jean Pauls Periodenbau besteht aus lauter kleinen Stübchen, die manchmal so eng sind, dass, wenn eine Idee dort mit einer anderen zusammentrifft, sie sich beide die K?pfe zerstossen” (Gesammelte Werke, hrsg. G. Karpeles, Bd. V, S. 266); Hegel, ?sthetik, IIter Teil, iiiter Abschnitt, 3tes Kap.: “Besonders bei Jean Paul t?tet eine Metapher, ein Witz, ein Spass, ein Vergleich den anderen” (Aufbau verlag, 1955, S. 565).
五百八十九
張聯(lián)桂《延秋吟館詩(shī)鈔》四卷、《續鈔》四卷。丹叔自丞尉存陟開(kāi)府，而詩(shī)格輕滑，始終未脫隨園以後風(fēng)氣。卷二《七夕》絕句云：“洞裏仙人方七日，千年已過(guò)幾多時(shí)。若將此意窺牛女，天上曾無(wú)片刻離?！薄端谙闶译S筆》卷二極稱(chēng)道之。參觀(guān)第二百九十二則，李方叔《濟南集》卷二《七夕》五古已發(fā)此意。
五百九十
王蘋(píng)《二十四泉草堂集》十二卷。秋史以山薑為師法，得漁洋之賞音，所作卻不染邊、李以來(lái)魯風(fēng)，蓋當時(shí)之宋詩(shī)也。卷十《大水泊過(guò)門(mén)人于無(wú)學(xué)東始山房論詩(shī)輒成三十六韻》有云：“杜韓蘇黃陸，指授真吾師。少陵乃大宗，昌黎其本支。坡谷力排奡，彌天鵬翼垂。劍南盈萬(wàn)首，瀼西燈未衰。俎豆實(shí)相承，依歸衹在茲?！弊汜缱谏??！尽盀徫鳌敝干倭?，少陵詩(shī)中屢及“瀼西”也?！坑炔节厔δ?，故集中七律最多，而枯窘生湊，絕尟圓脫渾成之語(yǔ)?！就瑫r(shí)同鄉馮大木廷櫆亦學(xué)放翁，較妥濶?！恶T舍人遺詩(shī)》卷五《論詩(shī)十首》亦以劍南終焉?！?/span>
卷一《辛酉秋懷?之四》：“俗情轉益秋雲薄，生事侵尋蜀道難?！卑础秲号⑿蹅鳌返谌嘶卣劆栆粼疲骸奥繁M纔知蜀道平，恩深便覺(jué)秋雲厚?！?/span>
《南園》：“何處箖箊有敝廬，空存老樹(shù)與青渠。亂泉聲裏誰(shuí)通屐，黃葉林間自著(zhù)書(shū)。草色又新秋去後，菊花爭放雁來(lái)初。菘畦舍北餘事少，取次呼童一荷鋤?！卑慈?、四為漁洋所賞，故卷七《讀南海集感懷新城公?之三》云：“可笑王黃葉，孤懷二十年。得名自公始，失路復誰(shuí)憐”；又《寒夜讀池北偶談感題卷首》云：“才名零落王黃葉，孤負尚書(shū)二十年”；卷九《題漁洋詩(shī)話(huà)卷尾?之二》云：“人間也自呼黃葉，卻少崔華七字詩(shī)”；卷十一《讀孫宮贊莪山黔行日記感題卷首》云：“憑誰(shuí)為道王黃葉，海上飄零竟欲還”；又《大水泊過(guò)門(mén)人于無(wú)學(xué)東始山房論詩(shī)輒成三十六韻》云：“黃葉滿(mǎn)詞場(chǎng)，前輩詎我欺自注：謂新城公?！鄙w生平得意事也，漁洋撰此《集》序亦道及之?！都分杏谩包S葉”處甚多，如卷一《秋懷詩(shī)?之五》云：“鐙挑硯北青衫淚，心繞江南黃葉時(shí)”；《秋居赤霞山莊感詠》云：“黃葉下時(shí)牛背晚，青山缺處酒人行”；卷二《雪中?之七》云：“歸路巾車(chē)黃葉滿(mǎn)，逐門(mén)村徑白雲濃”；卷三《雨泊丹陽(yáng)》云：“多少六朝風(fēng)景在，一帆黃葉落漁莊”；卷四《香坡言有為余延譽(yù)者》云：“老至詩(shī)篇黃葉少，春來(lái)門(mén)巷白楊多”；卷五《山行即目》云：“鈴兒花名亂放碧磵底，鐘子蟲(chóng)名忽鳴黃葉中”；卷六《與勾容孔上舍竹巢話(huà)鹿床明府往事感賦》云：“春雨白楊隨屋去，秋墳黃葉向煙啼”；《十月六日述懷?之一》云：“奔走頻年黃葉老，登臨何處夕陽(yáng)明”；《題寓舍?之一》云：“客子復何益，重來(lái)黃葉深”；卷十《顧秀野贈詩(shī)感舊用韻奉懷?之二》云：“席帽刁刁黃葉寒，偶為前輩許登壇”；卷十一《小雪日》云：“眼中但有幾黃葉，竹外新添寒綠肥”，皆不佳。
卷三《甲戌春日獨游》：“春湖水暖鴨先知，又是東風(fēng)楊柳時(shí)。樹(shù)上殘陽(yáng)偏戀客，亭中獨我不題詩(shī)。由來(lái)光景關(guān)懷少，近日篇章脫手遲。衹對雲山添寂寞，渚禽沙鳥(niǎo)莫相疑?！卑辞謇嫌姓路?。
《春日述懷?之四》：“詩(shī)如上水船難進(jìn)，身似沾泥絮不飛?！?/span>
卷五《己卯正月初八日》：“半生殘卷輸丁卯，十載長(cháng)綸敵癸辛?！卑淳砹稓q暮感懷雜詩(shī)?之十一》云：“丁卯卷多叨折柬，癸辛街冷頓懷人”，卷七《送吳鏡菴寄食真定郡齋?之二》云：“廢簏癸辛排雜識，閒軒丁卯繕全詩(shī)”，皆割湊不妥貼。
卷十一《淄川遇唐檢討豹巖墓》自注：“檢討昔以一第相勉，謂：‘以君之才，不自?shī)^厲，將來(lái)淪於山人墨客，豈不可惜！’”按蔣子瀟《春暉閣詩(shī)鈔選》卷六《長(cháng)夏無(wú)俚拉雜書(shū)懷不加詮次》第八首自注云：“吳侍讀師臨終謂：‘湘南曰：詩(shī)人宜作，烏紗亦宜戴也?！奔创艘??！笆套x師”者，吳巢松也。
《十二月廿五日底泉上》：“水舊鶯初門(mén)外路，雪殘山暖竹間春?！?/span>
[3]“Normandy”原作“Normandie”。
[4]“autobiografica”原作“autobiographica”。
[7] 此處頁(yè)數留空未註，似當為 167。
[8]“kurieren”原作“curiren”。
[10]“Boifran”原作“Boisfran”。
[11]“heed”原作“head”。又他本“goon”多作“doon”。
