維多利亞與艾伯特博物館所藏乾隆年間廣彩外銷磁器

（ca. 1740-70，所謂繪有“少年維特”情景者，當屬其後所製，而與之類似）

百五十六

         Ursula Aurich, China im Spiegel der deutschen Literatur des l8. Jahrhunderts 多承前人，殊尟創獲，敘述亦不簡要。未道 G.-Ch. Lichtenberg: “Von den Kriegs- und Fast-Schulen der Schinesen” (1796) (Vermischte Schriften, VI, S. 92-110) 一妙文，尤疏漏。

            S. 45 引 Zachariä, Renomist 詠當時飲茶與飲咖啡者之爭 (Der Wettstreit zwischen dem spiessbürgerlich gewordenen Kaffee und dem modernen Tee)，可補 Disraeli, Curiosities of Literature, II, pp. 317-326: “Introduction of Tea, Coffee, & Chocolate” 所未備。“Die Stutzer dieser Stadt sind meist von dir [Kaffee] getrennt, / Indem ihr Wankelmuth den Tee als Gott erkennt. / Und hat die Mode nicht die Neuerung ersonnen, / Und die Galanterie den Tee nicht liebgewonnen?” 按 Patin 論茶云：“l’impertinente nouveauté du siècle”；M^me de Sévigné 論咖啡云：“La mode d'aimerRacine passera comme le cafe.” (Voltaire, Irene, preface) 合而觀之，可以徵世變矣。

          J.W.L. Gleim [1]: “Den braunen Trank der Türken trink ich des Nachmittages / Zur Ehre der Brünetten. Den weissen Trank der Serer, / Den Tee trink ich des Morgens zur Ehre der Blondinen.” (S. 45) 按可與 Dorat: “J’ai toujours soif, j’aime sans fin / Rouge et blanc, brune et blonde; / Je voudrais boire tout le vin / Et baiser tout le monde!” 參觀。

            S. 55 引 Herder: “Von der Bildhauerkunst fürs Gefühl”: “Ein kleiner Fuss, der sich kaum zeigt, lässt raten; eine enge Taille lässt raten... Woher der kleine Fuss? Weil eine chinesische, gothische, christliche Zucht die Kleider bis zur Erde hängen last, muss sich etwas Kleines zeigen!” 按可為 Sir John Suckling: “A Ballad upon a Wedding”: “Her feet beneath her petticoat, / Like little mice, stole in and out, / As if they feared the light.” 注腳，但非吾國之金蓮也。【Albert Samain, Carnets intimes: “Il y a des petits pieds fins et malicieux qui, passant leure pointe sous la robe , ont positivement l’air de vous raconteur un tas de choses.” (La Petite Illustration, 12 août 1939, p. 2 de la couverture) 參觀 Nicholas Nickleby, ch. 28: “Lady Flabella, inserting her mouse-like feet in the blue satin slippers.”】L.A. Unzer (“Vou-ti bey Tsin-nas Grabe”: “wie geschmeidig war ihr kleiner Fuss!”, Aurich, S. 165) 與 Goethe (“Die Lieblichste”: “Auf Wasserlilien hüpftest du / Wohl hin den bunten Teich; / Dein winziger Fuss, dein zarter Schuh / Sind selbst der Lilie gleich”; cf. Elizabeth Selden, China in German Poetry from 1773 to 1833, p. 194 on Goethe’s derivation from P.P. Thomas, Chinese Courtship on “golden lilies”) 皆津津樂道中國婦人之纖足。Goethe, Die Wahlverwandtschaften, Erster Teil, XI^tes Kap. 中 Der Graf 稱 Charlotte 足美云：“Ein schöner Fuss ist eine grosse Gabe der Natur. Diese Anmut ist unverwüstlich... noch immer möchte man ihren Schuh küssen, und die zwar etwas barbarische, aber doch tief gefühlte Ehrenbezeugung der Sarmaten wiederholen, die sich nichts Besseres kennen, als aus dem Schuh einer geliebten und verehrten Person ihre Gesundheit zu trinken.” (Werke, hrsg. Karl Alt, VIII, S. 66) 幾類中國之“鞋杯”，亦見其與 Restif de la Bretonne 有同好也。Heine, Die Bäder von Lucca, §V 寫 Francesca 纖足亦云：“weissen, blühenden Lilienfuss”，疑即本之 Goethe，又 Die romantische Schule, III, 1: “eine Prinzessin, deren Füsschen noch kleiner waren als die der übrigen Chinesinnen”。後來 Gautier: “Chinoiserie,” “Fortunio”，幾於《方氏五種》之癖矣。參觀第五十五則。【James Beattie, Essay on Laughter & Ludicrous Composition, p. 667: “The foot of a Chinese beauty is whiter, no doubt, & prettier, than that of a Scotch highlander; yet I would advise those who are curious to know the parts & proportions of that limb, to contemplate the clown rather than the lady.” (S.M. Tave, The Amiable Humorist, p. 82)】

            S. 56 引 Goethe: “Doch was fördert es mich, dass auch sogar der Chinese Malet mit ängstlicher Hand Werthern und Lotten auf Glas?” 按此見 Venetianische Epigramm, xxxiv。據 Wm Rose, Men, Myths, & Movements in German Literature, p. 144: “Even the Chinese painted the unhappy love-story of Werther & Charlotte on glass. A porcelain breakfast service, decorated with Werther scenes, is now in the Victoria & Albert Museum in London.” 余未之見也。Elizabeth Selden, China in German Poetry from 1773 to 1833, p. 290 引 von Leonhardi 語謂一七九九年登東印度人輪船 (Kauffahrer aus Ostindien): “In des Kapitäns Kajüte fand ich mehrere chinesische Gemälde, Werthers Leiden vorstellend”。Heine, Geständnisse: “Wenn mein Kollege Wolfgang Goethe wohlgefällig davon singt, ‘dass der Chinese mit zitternder Hand Werthern und Lotten auf Glas male’, so kann ich... dem chinesischen Ruhm einen noch weit fabelhaftern, nämlich einen japanischen entgegensetzen.” (Sämtliche Werke, hrsg. von Oskar Walzer, Bd. X, S. 205) 正指此詩。

            以 Goethe 之才，而迻譯漢詩限於 P.P. Thomas 所譯底下俗書，如《百美新詠》(S. 99 et seq. 論 “Die Lieblichste”) 及《花箋記》(S. 150 et seq. 論 “Chinesisch-deutsche Jahres-und Tageszeiten”)，雖曰點鐵成金，亦不免如刻脂鏤氷矣。（《百美新詠圖》，顏希源作，《隨園詩話補遺》卷五及之。）令人惜恨！Mérimée, Lettres à une inconnue, nov. 1, 1860 深鄙《花箋記》中篇什，有云：“Dans tous ces quatrains, il n’est question que d’hirondelles blanches et de lotus bleus; Il est impossible de trouver quelque chose de plus baroque et de plus dépourvu de passion” etc. (見 W.L. Schwartz, The Imaginative Interpretation of the Far East in Modern French Literature, p. 21 引)，識力高於 Goethe多多許。Aurich 尤推 Goethe 所譯第八首 (“Dämmerung senkte sich von oben, / Schon ist alle Nähe fern” u.s.w.)，以為：“Diese Strophen bilden den Höhepunkt des ganzen Zyklus. Goethes ‘Über allen Gipfeln ist Ruh’ löst wohl in zusammengedrängtere Form die gleiche Stimmung aus.” (S. 155) 則尚有見。O. Münsterberg, Chinesische Kunstgeschichte, Bd. I, S. 222: “Goethes ‘Über allen Gipfeln ist Ruh’ und Heines Lied von ‘Fichtenbaum und der Palme’ entsprechen jener lyrischen Stimmung, die fast dreitausend jahre vorher in China begonnen... war.” R.C. Trevelyan, Windfalls, p. 119: “There are poems of Goethe & Heine that might have been written by a Chinaman. Our own Hardy too has a Chinese side to him, though he is usually too dramtic & not exquisite enough. Shelley’s song — ‘A widow bird sat mourning for her love’ etc. — might almost have been composed in 9^th-century China if it were not emotionally dominated by its first line.” 然而自運之什簡遠超妙，略具漢詩神韻，較之依傍《花箋記》者，界判仙凡矣。

百五十七

          G.K. Chesterton, Autobiography 不能敘事，每以議論亂之，咬文嚼字，為翻案鑿空，殊苦葛籐煙瘴。Edward  Anthony 詩 “Paradoxygen” 所嘲 “the shallowness of the profound” (見 Maisie Ward, G.K. Chesterton, p. 569) 是也。

            P. 32: “All my life I have loved frames & limits; & I will maintain that the largest wilderness looks even larger seen through a window.” 按 Baudelaire: “Avez-vous observé qu’un morceau de ciel aperçu par un soupirail, ou entre deux cheminées, deux rochers, ou par une arcade, donnait une idée plus profonde de l’infini que le grand panorama vu du haut d’une montagne?” (Lettres: 1841-1866, “Mercure de France”, 1917, p. 238, 見 Henri Peyre, Le Classicisme francais, p. 98 引) (Maurice Betz: “Un trou d’obus. / Dans son eau. / A gardé tout le ciel.” (W.L. Schwartz, The Imaginative Interpretation of the Far East in Modern French Literature, p. 211 引)

            P. 32: “When Browning says that he likes to know a butcher paints & a baker writes poetry, he would not be satisfied with the statement that a butcher plays tennis or a baker golf.” 按 Marx, German Ideology: “We should look forward to the time when there will be no mere painters, but men who, among other things, also paint. Each man will practise his occupation without being completely absorbed in & identified with his work.”

P. 99: “I will not say that I wrote a book on Browning; but I wrote a book on love, liberty, poetry, etc.... in which the name of Browning was introduced from time to time” etc. 按此書記事，舛謬百出，為人所糾議，見 Maisie Ward 書 p. 179，故 Chesterton 遁詞解嘲（其語仿 Carlyle 嘲 Masson，見第四百十八則）。André Gide, Journal, 11 octobre 1918: “Une etude de Browning par Chesterton. Quelques remarques très perspicaces, voyées dans un flot de dialectique... Un grand nombre de ses paragraphes commencent sur ce ton: ‘This is a truth little understood in our time...,’ou ‘none of the students of Browning seems to have noticed...,’ phrases par quoi il semble vouloir donner de la rareté à, parfois, la plus banale des remarques. Je ne puis supporter ce bluff.” (“Bibliothèque de la Pléiade”, p. 657) 評語甚的，而尟稱引者。

            P. 100: “I once had the honour of constituting the whole of Prof. Ker’s audience.” 按 E. Denison Ross, Both Ends of the Candle, p. 39: “On arriving at the College de France, I tremblingly inquired where M. Renan was lecturing, & if I should be admitted. The concierge, pointing to a door, told me to go in, assuring me that ‘Tout le monde peut assisté il y a déjà un monsieur!’ Renan lectured to two students.”大師座下，寂寥乃爾。（又見第百五十五則眉[2]）

          Pp. 185-6: “I remember when it was announced that Bohemia was to cease to exist, at the very moment when it came into existence. It was to be called Czechoslovakia, & I went about asking people in Fleet Street whether this change was to be applied to the metaphorical Bohemia of our own youth. When the wild son disturbed the respectable household, was it to be said, ‘I wish Tom would get out of his Czechoslovakian ways’ etc.” 按參觀 Osbert Sitwell, Sing High! Sing Low!, pp. 94-7: “A worthless book can achieve more ill than a good book can ever achieve good. La Bohème must have sullied Bohemia even more than Carmen tainted the idea of Spain. The name became an reproach equally to the genuine artist, to the Bohemian by nationality & to the Gypsy... When Bohemia recovered its independence... the provisional government very naturally shied at the implication of the word ‘Bohemia” & coined the word ‘Czechoslovakia.’” 又第六百六十八則。

            Pp. 223-4: “I think Wells thought the object of opening the mind is simply opening the mind. Whereas I am incurably convinced that the object of opening the mind, as of opening the mouth, is to shut it again on something solid.” 按參觀 F.H. Bradley, Aphorisms, §59: “‘His mind is open.’ Yes, it is so open that nothing is retained. Ideas simply pass through them.” Samuel Butler: “An open mind is all very well in its way, but it ought not to be so open that there is no keeping anything in or out of it. It should be capable of shutting its doors sometimes, or it may be found a little drafty.” (W.H. Auden & L. Kronenberger, The Faber Book of Aphorisms, p. 354)

            P. 283 記 A.E. Housman云：“This great College, of this ancient University, has seen some strange sights. It has seen Wordsworth drunk & Porson sober. And here am I, a better poet than Porson & a better scholar than Wordsworth, betwixt & between.” 按 Laurence Housman, The Unexpected Years, p. 365: “Prof. R.W. Chambers told me of how on one occasion at a dinner where speeches were not expected, but where the wine had been good, A.E. rose slowly to

his feet &, to the amazement of all, began speaking: ‘There were two things it was very difficult to meet in Cambridge a hundred and twenty years ago; the one was Wordsworth drunk, the other was Porson sober. I am a better scholar than Wordsworth; I am a better poet than Porson. Here I stand, half-way between Wordsworth & Porson.” 較可徵信。Laurence Housman, A.E.H., p. 101 又記此語，字句小異。J.H. Shorthouse: “In all probability, ‘Wordsworth’s standard of intoxication was miserably low.’” (Oxford Dictionary of Quotations, 2^nd ed., p. 501)

百五十八

          The Letters & Private Papers of W.M. Thackeray, ed. by Gordon N. Ray. Letter 19 (vol. I, p. 63), Letter 26 (vol. I, p. 85) 兩函中，“snob” 一字，皆指 Townsman 言，以別於 Gownsman 也。Letter 79 (vol. I, p. 273): “She is a snob of the first water, she puts rouge on her cheeks” etc. 則涵意漸廣矣。至後來 “He who meanly admires mean things is a snob.” (Works, VI, p. 311)，本義盡失。此字演變之迹，略與 Philistine 一字同 (參觀 Modern Language Review, Jan. 1938)。特以 Thackeray 一人之筆為轉移，斯其異耳。[3]

          Letter 20 (vol. I, p. 67): “An Oxonian addressed the waiter: ‘Fellow — Do you sell appetite at this inn? ’” 按參觀 Spence’s “Anecdotes”, A selection by John Underhill, p. 189: “There was a Lord Russell who, by living too luxuriously, had quite spoiled his constitution. He did not love sport, hut used to go out with his dogs every day, only to hunt for an appetite... It was he who, when he met a beggar, & was entreated by him to give him something because he was almost famished with hunger, called him ‘a happy dog !’ & envied him too much to relieve him”; Johnson, Rasselas, ch. 3 (ed. G.B. Hill, p. 44): “The Prince: ‘That I want nothing, or I know not what I want, is the cause of my complaint... I have already enjoyed too much; give me something to desire’”; Journal des Goncourt, Février 1859 (Éd. definitive, T. I, p. 210): “Au café Riche, un vieillard était à côté de moi. Le garçon, après avoir énuméré tous les plats lui demanda ce qu’il désirait: ‘je désirerais, dit le vieillard, je désirerais... avoir un désir.’ C’était la vieillesse, ce vieillard”; Capponi: “Ho fame di versi, cioè desiderio del desiderio” (Croce, La Poesia, p. 336); Rückert: “Mein einziger Wunsch ist meiner Wünsche Ruh.” Gathered Leaves from the Prose of Mary Coleridge, p. 257: “[A propos of Dichtung und Wahrheit]: He’s always saying, once I was young, & I did this — and then he gives an old man’s reason for it.” 可參觀。若夫 Leopardi, I Canti, XXXIII: Il Tramonto della Luna: “La vecchiezza, ove fosse / Incolume il desio, la speme estinta” (Poems, ed. G.L. Bickersteth, p. 336) 註者云：“Cp. Pensiero, no. vi: ‘La vecchiezza è male sommo: perché libera l’uomo di tutti i piaceri, lasciandogliene gli appetiti; e porta seco tutti i dolori’ — a thought the exact contrary to that expressed by Plato (quoting Sophocles), Repub., 329, c. 5. Old age, as conceived by L., corresponds with Dante’s Limbo: ‘Senza speme vivemo in disio.’ (Inf., IV, 42) & recalls Petrarch’s sonnet S’amor novo consiglio, l. 4: ‘che ’l desir vive e la speranza e morta.’” (p. 483) 蓋由若人貌寢體弱，未老已翁，終其身不得暢所欲，故云之耳（參觀第六百六則論 Maugham, A Writer’s Notebook, p. 282）。惜漏引 Bruno, Opere, acura di A. Guzzo, pp. 586, 597。Remy de Gourmont, Sixtine, p. 165 引 Dante 句而論之云：“une âme qui veut, une âme qui sait l’inutilité du vouloir, une âme qui regarde la lutte des deux autres et en rédige l’iliade.”【La Nouvelle Héloïse, éd. Daniel Mornet, pp. 7-8: “[M^me de Wolmar] “Je suis trop heureuse; le bonheur m’ennuie. Malheur à qui n’a plus à desirer.”】

            Vol. II, pp. 127-8 記 Thackeray 與 Amalia 事略似 Dickens 之與 Dora-Flora。[4]

         Diary (vol. I, p. 213): “Reading Wilhelm Meister, & a wretched performance I thought it — without principle & certainly without interest.” 按 Samuel Butler: “Wilhelm Meister... seems perhaps the very worst I ever read. I cannot remember a single good page or idea, & the priggishness of W is the finest of its kind that I can recall to mind.” (H.F. Jones, Samuel Butler, I, p. 216) 皆不隨聲附和者也。【[Francis Jeffrey called Wilhelm Meister “absurd, puerile, incongruous & affected.] H.W. Thompson, A Scottish Man of Feeling, pp. 350-1: “I dislike kicking an author with 4 adjectives when he has been laid flat by one. Yet I think that the adjectives are judiciously selected.”】

            Letter 69 (vol. I, p. 253): “The Frenchmen are very anxious to know what a dandy means — a fellow asked me & I pointed him out a rakish Englishman of the name of Clive.” 按至 Baudelaire, Curiosités Esthétiques: “Le Peintre de la Vie Moderne”: 9. “Le Dandy” 及 Barbey d’Aurevilly, Du dandyisme，此字遂為法人所熟知矣。

            Letter 701 (vol. II, p. 668): “You don’t know yet to make good bad verses — to make bad ones is dull work.” 按參觀《魏書‧胡叟傳》：“好屬文，既善為典雅之詞，又工為鄙俗之句。”C.S. Lewis, Rehabilitations, p. 98: “[The head of a great college on the novels of Anthony Hope:] They are the best ‘bad’ books I have ever read”; George Orwell, Critical Essays, p. 111: “There is a great deal of good bad poetry in English”; Shooting an Elephant, p. 174: “What Chesterton called the ‘good bad book’ is the kind of book that has no literary pretensions but which remains readable when more serious productions have perished. Who has worn better, Conan Doyle or Meredith?”; Picasso on Augustus John: “The best bad painter in England.” (New Statesman, 27 Sept., 1974, p. 422); Léon Gozlan: “Renan: Le plus doux des hommes cruels.” (P. Mille, Anthologie des Humoristes fr. Contemporains, p. 49); B. Rosenberg & D.M. White, ed., Mass Culture, p. 295: “Current American films have produced the image of the good bad girl. She is a good girl who appears to be bad.”; Angela Thirkell, High Rising, ch. II, M^rs Morland wrote “good bad books”; Lawrence Durrell & Henry Miller, A Private Correspondence, ed. G. Wickes, p. 94: “A vicious thing good writing is. I wish I wrote worse — in the good sense” 字法相同。Samuel Butler 稱 Gladstone 為 “A good man in the very worst sense of the word” (H.F. Jones, Samuel Butler, II, p. 34) 【Henry Taylor, Autobiography, I, p. 228: “Gladstone is said to have more of the devil in him than appears — in a virtuous way, that is.”】可參觀。

            書中道吾國人者兩處：Letter 767 (vol. II, p. 768), Letter 948 (vol. III, p. 200)。

百五十九

          施朝幹鐵如《一勺集》（文）一卷、《正聲集》（詩）四卷。詩、文皆講求格律義法，而才思窘儉，無足觀覽。詩尤自負（《正聲集‧自序》云：“貴以復古之才，運獨造之意。”《與小尹書》云：“至今日其變已極，當世所推能者，大率以考據為吟咏，以辨論為風雅。用事則貪多而無擇，措詞則好盡而無餘。家家韓、白，人人蘇、黃。”卷四《陳卦峯歸田園二首》後自識云：“卦峯謂此等絕句氣魄之大，神韻之遠，真是太白復生，劉夢得輩所不能也”云云，居之不疑，了無遜讓語），尚不如文之作議論而修詞潔飭也。

          《蔡芷衫詩序》：“今號為詩家者，知貌為唐人之非，而不知其貌為宋人之陋。隄毀而決，燄烈而煽。無他，避難就易而已。宋人之詩，才多者猖狂奔放，才寡者委瑣局促，而又無不可徵之事，無不可綴之語。於是言詩者樂其易而日趨於宋也，而惡知夫六義之源‘溫柔敦厚’之教哉。”

          《晚香堂詩序》：“今之詩人，有以不學而不工者，有以學而愈不工者。夫不學而不工，譬猶瘖者之欲語而不啻箝其口，痿者之欲行而不啻縶其足，其失人人而知之也。若夫《山經》、《地志》，鋪張恢奇；《說文》、《玉篇》，穿鑿隱僻。方其伸紙揮毫，自謂綜千年、包六合。”

         【《梧門詩話》（楊亨壽鈔訂本）卷一：“余最喜小鐵《悼亡》詩：‘白水貧家味，紅羅嫁日衣。’絕無傷悼字，而深於傷悼矣。”《北江詩話》卷五亦稱此聯（題為《哭亡婦》），并以錢載、施、錢澧、任大椿為過於袁、王、蔣、趙。】

百六十

          歐陽輅念祖《礀東詩鈔》二卷，光緒中王益吾選本，非陶文毅原刊十卷本，故《清詩滙》卷一百九所選有溢出者，如“寒星映水乍明滅，細雨颺風時有無”一首，即不見此本中。益吾集句作礀東《傳》，而曾賓谷《賞雨茅屋集》卷十六稱礀東詩者凡三，竟未采及。礀東詩筆健詞鍊，時時染指宋人，友吳蘭雪、鄧湘臯而不著浮囂，自是一作手也。五古、七律尤佳。

          卷一《遠行》：“窮年抱名刺，四顧無可造。人生各有得，於義未容撓。安能隨波流，弓身以求飽。”

          《羇懷》：“誰言終歲勞，不給朝夕須。始虞歸無期，轉有歸時虞。”

          《山居》：“眾芳倏焉綠，蜂蝶亦已靜。流鶯尚多情，伴我吟晝永。”

          卷二《宿南陂》：“破屋夜涼知雨過，空林鴉噪有僧歸。”

          《送高德醇》：“瘦馬立風鞭在手，亂沙捲地月當頭。”

          《晚涼獨坐》：“燈影自搖人散後，茶香恰到酒醒時。”

          【李景僑《抱一遺箸》第五十卷《抱一寺聞》記：“礀東狂傲，嘗當街而溺曰：‘市無人焉，溺亦奚咎。’又嘗篝燈晝行曰：‘市陰沉有鬼氣，非燈胡以行也。”】