《容安馆札记》读书笔记253则

The Poems of Leopardi（莱奥帕尔迪，贾科莫·莱奥帕尔迪，意大利十九世纪著名浪漫主义诗人）, ed. by Geoffrey L. Biekersteth（杰弗瑞L·比克斯特）. 不免力取，遂致詞費。

Vauvenargues（沃夫纳格，法国学者）所云：“cette splendeur d’ex-pression qui emporte avec elle la preuve des grandes pensées（焦头烂额之际难有急智）.” (Oeuvres choisies, éd. Garnier Frères, p. 388) 固無取於橫說豎說，每恨斯人平典，似道德論耳。

P. 21: “La noia si disannoia（无聊渐渐消失（意大利语））” (cf. Lo Zibaldone《拉链》, I, 351; p. 69: “Man gets rid of his lack of feeling by feeling his lack of it intensely（人通过强烈地感受自己的缺乏来摆脱自己缺乏的感觉）.”) “L’uomo si disannoia per lo stesso sentimento vivo della noia universale e necessaria（人类被普遍而必要的无聊感所打发）.” (Zibaldone, ed. F. Flora, I, p. 254) 按此意本之 La Rochefoucault, Maximes Posthumes: “L'extrême ennui sert à nous désennuyer（极端的烦恼让我们无聊）.” (Oeuv. compl., Bibliothèque de la Pléiade（《翻阅图书馆》）, p. 327) 亦即 Leo Stein, Journey into Self 所謂：“Boredom is an emptiness filled with insistence（无聊是一种充满坚持的空虚）.” (Clifton Fadiman & Charles van Doren, The American Treasury, p. 899) 正即 Martin Heidegger, Was ist Metaphysik?, S. 20: “Das Nichts nichtet（什么都没有（德语））”。

P. 47: “Poetry should present to the mind a crowd of ideas simultaneously or succeeding one another so rapidly that they appear to be simultaneous（诗歌应该同时迅速地向大脑传递一组想法，使它们看起来是并发的）’ etc. A multiplicity of images ‘confonde l’anima gl’ impedisce di vedere i confini di ciascheduna（形形色色的“迷惑”让你看不到真实的边界（意大利语））’ etc. The reader may compare Keat’s saying, ‘Load every rift of your subject with lore（自圆其说）.’” 按引 Keats: “Poetry should surprise by a fine excess（诗歌应该是令人惊讶的）.” (Letter to John Taylor, 27 Feb. 1818) 更切。Leopardi（莱奥帕尔迪） 師法希臘、羅馬，此處却非古典主義宗旨也。Corinna 誡 Pindar 曰：“Sow with the hand, & not with the whole sack（分条缕析而非囫囵吞枣）.” (Lyra Graeca, ed. & tr. by J.M. Edmonds, “The Loeb Classical Library”, vol. III, p. 7)；Isocrates 誡 Nicocles 曰：“Choose to fall short rather than to overreach your opportunities; for the happy mean is to be found in defect rather than in excess（选择落空总比错过机会要好，而快乐亦意味着缺一点比过度要好）.” (Isocrates, tr. by George Norlin, “The Loeb Classical Library”, vol. I, p. 59)；Cicero 論修詞曰：“Etsi suus cuique rei modus est, tamen magis offendit nimium quam parum.” (Orat., xxii)。然 Keats（济慈，18世纪末英国诗人） 雖早殤，亦正自絢爛歸於平淡，與 Spenser, Milton, Ruskin 之老去更成，初無二致。參觀 E.E. Kellett, Fashion in Literature, pp. 231-3 (“There are signs that, young as he was, Keats was beginning to see that an occasional bare rift is no unpleasing discovery, even for the explorer in the realms of gold（有迹象表明，尽管济慈很年轻，但他已经开始意识到，即使是在黄金领域的探险家，偶尔发现一个裸露的裂缝也不是什么不愉快的发现）” etc.)。

P. 48: “The effect of clearness is not to make the reader conceive a clear idea of a thing in itself, but a clear idea of the precise state of our mind, whether it be seeing clearly or seeing obscurely（彦按，即把话说明白）.” (Zibald., III, 120) 按即余論 “不隔”之旨，C.E. Montaigne, A Writer’s Notes on His Trade 所謂 “ex-pression of obscurity（因费解而压力）” vs. “obscurity of ex-pression（因压力而费解）” 。

“A distant voice or sound... is pleasant through il vago dell’ idea（遥远的声音或声音...而模糊的概念是让人愉快的）.” (Zibald., VII, 240); “quel vago, quell’indefinito ch’è la principal cagione dello charme dell’antica poesia e bella letteratura（模糊的，不确定的，这是古代诗歌和优美文学魅力的主要来源）.... Il pubblico, il popolo, l’antichità, gli antenati, la posterità: nomi grandi e belli, perché rappresentano un’idea indefinita（公众，人民，古代，祖先，后人：伟大而美丽的名字，因为它们代表着一个个不确定的概念）.”(Zibald., V, 3); p. 421: “Il grande spazio frapposto tra Saffo e noi confonde le immagini, e dà luogo a quel vago ed incerto che favorisce sommamente la poesia.”

按此意始發于 Demetrius, On Style, V, 253-4: “Conciseness is so favourable to this forcible style that a sudden lapse into silence is often yet more forcible... Even obscurity often produces force, since what is distantly hinted is more forcible, while what is plainly stated is held cheap（简洁是如此有利于这种强迫性的风格，以至于突然陷入沉默往往更为有力...即使是默默无闻也常常产生力量，因为遥远的暗示更为有力，而明白的陈述却被认为是廉价的）.” (“The Loeb Classical Library”, tr. by W. Rhys Roberts, p. 457)。

後來Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime & Beautiful, Pt. II, sect. iii: “To make anything very terrible, obscurity seems in general to be necessary（不言之言）... No person seems better to have understood the secret of... judicious obscurity（沉默是金）, than Milton” etc.; sect. iv: “It is one thing to make an idea clear, & another to make it affecting to the imagination（言之尤者，乃及于行）” etc. (Works, G. Bell & Sons, vol. I, pp. 89 ff.)。而Joubert 道之尤數，Pensées (“Librairie Académique《学术研究》”), Tit. XXII, 23: “Pour qu’une ex-pression soit belle, il faut qu’elle dise plus qu’il n’est nécessaire, en disant pourtant avec précisionce qu’il faut; qu’il y ait en elle abondance et économie; que l’étroit et le vaste, le peu et le beaucoup s’y confondent; qu’enfin le son en soit bref, et le sens infini”; 32: “Il serait singulier que le style ne fût beau que lorsqu’il a quelque obscurité, c.-à-d. quelques nuages”; 33: “C’est un grand art de mettre dans le style des incertitudes qui plaisent”; 34: “Quelquefois le mot vague est préférable au terme propre. Il est, selon l’ex-pression de Boileau, des obscurités élégantes; il en est de majestueuses; il en est même de nécessaires: ce sont celles qui font imaginer à l’esprit ce qu’il ne serait pas possible à la clarté de lui faire voir（具象则止于象，唯无象乃得窥造化玄妙）.”。

近世 Poe, Marginalia: “Theindefinite in an element in the true poiêsis. A suggestive indefinitiveness of meaning with the view of bringing about a definitiveness of vague & therefore of spiritual effect... I know that indefinitiveness is an element of the true music... Give to it any undue decision — imbue it with any very determinate tone — & you deprive it, at once, of its ethereal, its ideal, its intrinsic & essential character.（真正意义上的有限元。一种暗示意义的不确定性，其目的是使人产生一种模糊的确定性，从而产生精神效果...我知道不确定性是真正音乐的一个元素...给它任何不适当的决定-给它任何非常确定的音调-你立刻剥夺了它的虚幻，它的理想，它的内在和本质特征。）” (Works, ed. E.C. Stedman & G.E. Woodberry, vol. VII, p. 310); Baudelaire, Fusées: “J’ai trouvé la définition du Beau, de mon Beau. C’est quelque chose d’ardent et de triste, quelque chose d’un peu vague, laissant carrière à la conjecture.... Le mystère, le regret sont aussi des caractères du Beau.（美丽的定义，一个热烈而悲伤的东西，一个有点模糊的东西，秘密、悔恨通常也是美丽的特征。）” (Journaux intimes, éd. par Ad. Van Bever, pp. 18-9)，遂成象徵詩派談藝常言矣。

Turner’s remark “indistinctness is my fault（模糊是我的错）” was misquoted by his first biographer as “indistinctness is my forte（模糊是我的特长）” & thus literary evidence of Romantic delight in vagueness（从而证实了模糊中的浪漫情趣）. (T.L.S., 13 April, 1979, p. 523)

Wordsworth（华兹华斯，英国浪漫主义诗人）: “Personal Talk（《私人谈话》）”: “...sweetest melodies. / Are those that are by distance made more sweet（最甜美的旋律/而远处的尤甚）.”

P. 49: “Ideas are attached to words: in fact a man cannot conceive an idea.... until he has discovered the word that which he can signify the idea（思想附在文字上：事实上，一个人不能构建一种思想....直到他发现一个能代表这个想法的词）.” (Zibald., V, 95) 按此即歐陽建《言盡意論》《世說新語‧文字篇》注、《全晉文》卷一百九所謂：“欲辨其實，則殊其名；欲宣其志，則立其稱。名逐物而遷，言因理而變。猶聲發響應，形存影附，不得與為二矣。苟其不二，則言無不盡矣。”近世行為主義心理學亦昌言之。

Montgomery Belgion, The Human Parrot（《拾人牙慧》）, pp. 19-20: “It may well be that writers often do not know what their meaning really is until they set down words which say something else. It remains that for them to be able to recognize the inadequacy of their words they must have in mind a meaning which is not those words. It is the quest of words to express real meaning that truly establishes the wordlessness of thought... For if when we thought to find words, we thought in words, in what words should we be thinking（很可能作家在写下那些话之前，往往不知道自己真正的意思。然而，要使他们能够认识到自己所说的话的不足，他们必须记住一个不是这些话的意思。正是对语言表达真实意义的追求，才真正确立了思想的无言性... 因为当我们想找词的时候，我们用词来思考，那当我们用思考来思考时，又应该用什么呢）?” 可謂摧陷廓清者，參觀 F. Brunot, La Pensée et la Langue, p. 16: “Les formes du langage, si nombreuses qu’elle soient, sont toujours en quantité bien moindre que les formes de la pensée（语言的形式虽然很多，但比起思想的形式来说总是少很多）”; H. Delacroix, Le Langage et la Pensée（《语言与思想》）, p. 139: “L’unité de fonction sous la diversité des forms, la diversité des fonctions sous l’unité des formes, la discordance de la fonction et de la forme — l’indépendance de la pensée psychologique vis- à-vis de la logique et de la langue（函数的统一以形式的多样性，函数的多样性以形式的一致性，函数和形状的不一致性，心理思维的独立性，相对于逻辑和语言的独立性）.” 。

P. 70 引 de Sanctis 論 “Bruto minore” 一詩云：“By thus arguing a man certainly shows the legitimacy of suicide, but no longer commits it.” 按 Paolo Ferrari 寫自殺劇本題目為 “Chi lo dice non lo fa（《谁说没有》）” 即此意也。J.M. Robertson, A History of Free Thought in the 19th Century, I, p. 191: “When Schopenhauer, teaching renunciation of life, fled to escape a pestilence, men were entitled to say that he had not assimilated his own doctrine. Pessimism which figures as a mood to live by & not to die by is in a manner its own confutation... To follow up the conception that we are Puppets of the Will to Live with a doctrine which would make us Puppets of the Will to Die is to leave the philosophic situation unchanged（叔本华在教导人们放弃生命，逃离瘟疫时，人们有权说他没有延续自己的教义。悲观主义被认为是一种生活方式，而不是死亡的方式，这在某种程度上是它自己的困惑... 如果我们认为自己是生活意志的傀儡，而生活意志的教义会使我们成为死亡意志的傀儡，那么我们的哲学处境就不会改变）.”參觀 R.W.B. Lewis, The Picaresque Saint, pp. 75-6 論 Dostoevsky, Conrad, Camus 書中論自殺；G. Picon, L’usage de la lecture, pp. 220 ff. 論Blanchot 論自殺與藝術。

Byron to Moore: “Mme de Staël, who hath published an Essay against Suicide, which, I presume, would make somebody shoot himself（德斯塔尔夫人发表了一篇反对自杀的文章，我想，这篇文章会让人想要自杀）; — as a sermon by Blinkensop, in proof of Christianity, sent a hitherto most orthodox acquaintance of mine out of a chapel of ease a perfect atheist（布林肯索的一个布道者，为了证明基督教，把我认识的一个迄今为止最正统的信徒，从一个安逸的小教堂里，送出了一个完美的无神论者）.” (Letters, Everyman’s Lib, p. 76)

J.B. Chassinet: “C’est peu de cas de vivre, un tel bien est permis / Egalement à tout, jusqu’aus moindres fourmis / Qui vivent en commun dessous la terre espaisse, / Mais delaisser la vie en resolution, / Et mourir gouverneur de son affection, / C’est là le plus haut point de l’humaine sagesse（大千世界，最小的蚂蚁亦可作为财产／在西班牙土地上共同生活／在分辨中放弃生命／在爱情中死去，这即是人类智慧的最高点）.” (A.J. Steele, Three Centuries of French Verse, p. 89);

Paradise Lost, X. 998 ff.; A. Majocchi, Life & Death, pp. 340-1: “The most pessimistic of authors, those who cursed life & invoked death as the sole liberator, showed a clean pair of heels when they caught sight of it. Leopardi fled from Naples when the cholera broke out（最悲观的作家，那些诅咒生命并以死亡作为唯一解放路径的人，一看到它就露出一双干净的高跟鞋。当霍乱爆发时，利奥帕迪从那不勒斯逃了出来）... Schopenhauer would never hear death mentioned.” Cf. Anatomy of Melancholy, Part. I, Sect. II, Mem. IV, Subs. Vii, Bell, I, p. 420 (Axiochus).

P. 73: “Canti VIII, Inno ai Patriarchi, is more original than a Protestant Englishman with his heritage of the Authorised Version will at first find it easy to understand... Italian literature possesses no Bible.” 按參觀Albert Guérard, Literature & Society, p. 107: “In England, the Bible has become a standard for the vernacular; it has generously given of it treasures to all comers, but it has received much in return（在英国，《圣经》已成为白话文的标准；它慷慨地把它的宝藏送给了所有人，同时它也得到了很多回报）.... In France, the Bible has not becomerooted in the literary soil（但在法国，圣经并没有融入文学的土壤）” etc.

VII. Alla Primavera o delle Favole Antiche: “Vivi tu, vivi, o santa / Natura?...” (p. 184) “Né dell’umano affanno,/ Rigide balze, i luttuosi accenti / voi negletti ferîr, mentre le vostre / paurose latèbre Eco soling / ... Ma non cognato al nostro / il gener tuo...” (p. 186) 按參觀 XX. Il Risorgimento: “... So che natura è sorda, / Che miserar non sa” etc. (p. 252) 庾子山《思舊銘》所謂：“所謂天乎，乃曰蒼蒼之氣；所謂地乎，其實摶摶之土。怨之徒也，何能感焉？”（《史記‧伯夷列傳》概乎言之，至云：“所謂天道，是邪非邪？”柳子厚《天說》亦即此意）；王仲任《論衡‧雷虛篇》所謂：“天怒殺人，地宜哭之，不聞地哭，何耶？”；少陵《新安吏》所謂：“眼枯即見骨，天地終無情”；淮海《河傳》詞所謂：“瘦殺人天不管”者也，非復斯多噶派。參觀 Cicero, De Divinatione, II, 34: “coniunctio naturae et quasi concentus atque consensus”; Epictetus, I, 14: “what is on earth feels the influence of that which is in heaven” etc., “The Loeb Classical Library”, vol. I, p. 101。

自基督教大行，黜 Leopardi 詩中之 “Favole Antiche” 為邪說。Heine, Zur Geschichte der Religion und Philosophie in Deutschland, Ites Buch: “Das Christentum verkehrte diese Ansicht [Paganism], und an die Stelle einer durchgötterten Natur trat eine durchteufelte”; “Die christliche Kirche... die altgermanische Nationalreligion so tückisch verkehrt, daß sie die pantheistische Weltansicht der Deutschen in eine pandämonische umgebildet.” (Sämtl. Werk., Verlag von A. Weichert, Bd. VIII, S. 7, 23) 然而質旁臨上，人神可以感應，物我可以契合，禱已久而誠則靈至。至十九世紀，乃并此而無之。

J.S. Mill, Nature論此最妙，所謂：“Their cosmic forces perfect & absolute recklessness（这巨大的力量完美且绝对的鲁莽）... In sober truth, nearly all the things which men are hanged or imprisoned for doing to one another are nature’s everyday performances（在清醒的事实中，几乎所有人类因互相伤害而被绞死或囚禁的事情都是大自然的日常表现）. Killing, the most criminal act recognized by human laws, Nature does once to every being that lives（杀戮，人类法律承认的最罪恶的行为，大自然对每一个活着的人都做过一次）.” (Three Essays on Religion, New Impression, Longmans, Green & Co., 1923, p. 28); “All this Nature does with the most supercilious disregard both of mercy & of justice（这一切都是出于对仁慈和正义的傲慢漠视）” (p. 29);

“Even when she does not intend to kill she inflicts the same tortures in apparent wantonness... Even the love of ‘order,’ which is thought to be a following of the ways of Nature, is in fact a contradiction of them. All which people are accustomed to deprecate as ‘disorder’ & its consequences is precisely a counterpart of Nature’s ways. Anarchy & the Reign of Terror are overmatched in injustice, ruin, & death by a hurricane & a pestilence（即使她不打算杀人，她也会肆无忌惮地施以同样的折磨...即使是对“秩序”的热爱，也被认为是对自然方式的一种追随，实际上是它们之间的矛盾。人们习惯于将其贬为“无序”&其后果恰恰与自然的方式相对应。无政府状态和恐怖统治在不公正、毁灭和死亡中被飓风和瘟疫所压倒）.” (pp. 30-1)

Cf. Basil Willey: “The Turn of the Century”: “Nature was rescued from Satan & restored to God. For the physical world, in spite of its divine origin, was traditionally held to have shared in the fatal consequences of the fall of man & to have become the chosen abode of the apostate spirits.... Science played an all-important part in producing the ‘divinized’ Nature of the 18th century & ultimately of the Romantic generation.” (17th Century Studies Presented to Sir Herbert Grierson, p. 375)

大塊冥頑，造物不仁，宜Leopardi 蒼茫獨立，尤覺身世之悠悠也。使能更進一境，則如Paul Claudel, Cinq Grandes Odes: “Toute la nature sans moi est vaine: c’est moi qui lui confère son sens（世界因我而存在）”; Franz Werfel, Nur Eines: “Und ich bin Mensch, in meinem Menschenleben, / Dem Schein ein Sein, dem Unsinn Sinn zu geben.” 便萬物皆備於我，“能為萬象主，不逐四時凋”矣。參觀下論 XII. L’Infinito。

IX. Ultimo Canto di Saffo: “... Ahi di cotesta / Infinita beltà parte nessuna / Alla misera Saffo i numi e l’empia / Sorte non fenno（无处可寻的无尽的美丽）...” (p. 196); “Alle sembianze il Padre, / Alle amene sembianze eterno regno / Diè nelle genti; e per virili imprese, / Per dotta lira o canto, / Virtù non luce in disadorno ammanto.” (p. 198) 又 p. 421: “Il fondamento di questa Canzone sono i versi che Ovidio scrisse in persona di Saffo, Epist.XV, 31: ‘Si mihi difficilis formam natura negavit’ ecc. La cosa più difficile del mondo, e quasi impossibile, si è d’interessare per una persona brutta（世上最困难的事，也是几乎不可能的事，就是对一个丑陋的人感兴趣）;” “Leopardi was painfully conscious of his own unattractive outward appearance（莱奥帕尔迪痛苦地意识到自己的外表不吸引人）. Writing to Giordani 2nd March, 1818, he complains（在1818年3月2日写给乔达尼的信中，他抱怨道）...: ‘è costretto a desiderare che la virtù non sia senza qualche ornamento esteriore（他迫切的希望美德能延续成为外表的装饰）... Nessuna sapienza può vincere, quasi non ha coraggio d’amare quel virtuoso in cui niente è bello fuorché l’anima（再高的智慧，再大的勇气，也无法去爱那种除了灵魂其他一无是处的人）’”; 423: “L’uomo d’immaginazione di sentimento e di entusiasmo, privo della bellezza, è verso la natura appresso a poco quello eh’ è verso l’amata un amante ardentissimo e sincerissimo, non corrisposto nell’amore” ecc. (Zibald., II, 148) (ed. F. Flora, I, 507); Boccaccio, Decamerone, VI, 2: “Io non so da me medesima vedere che più in questo si pecchi, o la natura apparecchiando a una nobile anima un vil corpo, o la fortuna apparecchiando a un corpo dotato d’anima nobile vil mestiero.（颜值与正义不可得兼）”

按相傳 Sappho 黑而侏，貌甚陋（Scholiast on Lucian, Imag., 18，見 J.M. Edmonds, Lyra Graeca, “The Loeb Classical Library”, I, p. 161 引），故 Ovid 詩中以無貌而有才為解嘲（ingenio formae damna rependo meae），蓋尚不如 Leopardi 此首之親切真實也。

Aristotle,Nicom. Eth., I, vii, 8 論 “Happiness is the End, the Supreme Good” (“The Loeb Classical Library”, tr. by H. Rackham, p. 31)，而 I, viii, 15-6: “Happiness also requires external goods in addition（幸福还需要一些其他的东西）... there are certain external advantages, the lack of which sullies supreme felicity, such as good birth, satisfactory children, & personal beauty: a man of very ugly appearance or low birth, or childless & alone in the world, is not our idea of a happy man（有一些外在的优点，缺乏这些则会影响到至高无上的幸福感，例如好孩子、令人满意的孩子和高颜值：一个外表丑陋或出身低微的人，或是一个没有孩子的孤独的人，都不会是我们心目中认为的幸福的人）.”

Journal des Goncourt, 5 avril, 1868: “‘Une femme qui n’a pas été jolie, n’a pas été jeune.’ Je lis cela dans un livre de cabinet de lecture, où un crayon de femme a écrit en marge: ‘C’est tristement vrai!（“一个不漂亮的女人从未年轻过。”我在一本阅读室的书中读到了这一点，一支女性的铅笔笔迹在书里写着：“这是可悲的事实！”）’” (Éd. definitive, III, p. 150);

Nietzsche, Morgenröte, IV, 282 (Werke, K, Schlechta, I, p. 1184): “Gefahr in der Schönheit — Diese Frau ist schön und klug: ach, wie viel klüger aber würde sie geworden sein, wenn sie nicht schön wäre!（美丽中的危险—这个女人是美丽而聪明的：哦，如果她不是如此美丽的话，她也许会变得更加聪明）”;

若 Jane Eyre，乃過屠門而大嚼，聊作快意浪漫主義之汗漫語，所謂 “the Beauty of the Medusa（美杜莎之美）” (參觀 Mario Praz, The Romantic Agony, pp. 37 ff.)。且使 Charlotte Bronte 貌果得似 Jane Eyre，則何致如 Thackeray 所云：“The poor little woman of genius! The fiery little eager brave tremulous homely-faced creature!... you see is a little bit of a creature without a penny worth of good looks, 30 years old, buried in the country, & eating up her heart there, with no chance to fulfill the burning desire” etc. (The Letters & Private Papers of W.M. Thackeray, ed. By Gordon N. Ray, vol. III, p. 233)

Gosse 致Hardy 書有云：“There is a poem, of which I have a copy, not published, in which she [Charlotte Bronte] tells her heart that love is not for her, that she is plain & unattractive & cannot awaken desire.” (The Life & Letters of E. Gosse, by E. Charteris, p. 349)

Samuel Butler 為Eliza Mary Ann Savage 作詩亦云：“Hard though I tried to love I tried in vain. / For she was plain & lame & fat & short. / Forty & over-kind... / Ah! had she been more beauteous or less kind / She might have found me of another mind.” 傷哉陋也！

XII. L’Infinito: “Ma, sedendo e mirando, interminati / Spazi di lá da quella, e sovrumani / Silenzi, e profondissima quiete / Io nel pensier mi fingo... / ... e mi sovvien l’eterno, / E le morte stagioni, e la presente / E viva, e il suon di lei. Cosí tra questa / Immensitá s’annega il pensier mio; / E il naufragar m’è dolce in questo mare.” (p. 208)

按較之 Pascal, Pensées, 206: “Le silence éternel de ces espaces infinis m’effraie.”（Pensées et opuscules, éd. Hachette, p. 428 有 L. Brunschvieg 註云：“Or cet univers infini est ‘muet’, il est destitué de toute vie morale... Ce monde qui emplit l’esprit du savant est comme un désert pour celui qui cherche Dieu. A la parole, de Pascal il convient d’opposer la célèbre pensée de Kant” etc.

蓋指 Krit. d. prakt.Vern., “Beschluss” 之 “Der bestirnte Himmel über mir, und das moralische Gesetz in mir.” 以為天行人事，道歸一貫也。

J.S. Mill, “Nature”: “The enormous extension in space & time, or the enormous power they exemplify, constitutes their sublimity; a feeling in all cases, more allied to terror than to any moral emotion.” (Three Essays on Religion, New Impression, Longmans, Green & Co., 1923, p. 27)則 Pascal 之旨矣）；

王子安《滕王閣記》：“天高地逈，覺宇宙之無窮；樂極悲來，識盈虛之有數”；陳子昂《登幽州台詩》：“前不見古人，後不見來者。念天地之悠悠，獨愴然而涕下”，可謂別有會心，亦如柳州《對賀者》所謂：“詎知吾之浩浩，非戚戚之尤者？”

XIII. La Sera del Dì di Festa: “Or dov’è il suono / di que’ popoli antichi?”ecc. (pp. 210-2) 按 E. Gilson, Les Idées et les Lettres, pp. 10 ff. 歷數詩中用 “La formula ubi sunt” 者，於十九世紀意大利作者，舉 Carducci 兩首，而漏却此篇。“Nella mia prima etá, quando s’aspetta / Bramosamente il dí festivo, or poscia / Ch’egli era spento, io doloroso” ecc. (p. 213); p. 433: “Osservate ancor che dolor cupo e vivo sperimentavamo noi da fanciulli, terminato un divertimento, passata una giornata di festa ec.” (Zibald., II, 44)

按余嘗論《淮南子》云：浩汗瑰瑋，却與《南華》有仙凡之別。襲《莊子》而竄易一、二字，尤貽“點金成鐵”之譏。然如《原道訓》：“建鐘鼓，列管弦，席旃（zhān）茵，傅旄（máo）象，耳聽朝歌北鄙靡靡之樂，目齊靡曼之色，陳酒行觴，夜以繼日；强弩弋高鳥，走犬逐狡兔。此其爲樂也，炎炎赫赫，怵然若有所誘慕。解車休馬，罷酒徹樂，而心忽然若有所喪，悵然若有所亡也。”則《莊子》心不攖哀樂，正未能體會及此曲終宴罷、人散花殘一段境界。少陵《觀打魚歌》所謂“既飽歡娛亦蕭瑟”，《觀公孫大娘弟子舞劍器行》所謂“玳筵急管曲復終，樂極哀來月東出”是矣。彭甘亭《懺摩錄》云：“每搭臺演劇時，便欣然有春生之氣；到拆臺時，便凄然有秋肅之氣。恍然有悟於‘世無不散的筵席’一句”云云。

王維《酬諸公見過》：“登車上馬，倏忽雲散。雀噪荒村，鷄鳴空館。還復幽獨，重欷累歎”；張子平《西京賦》：“於是衆變極，心酲醉，盤樂極，悵懷萃”；《抱朴子‧內篇‧暢玄第一》：“然樂極則哀集，至盈必有虧，故曲終則歎發，燕罷則心悲也。實理勢之攸召，猶影響之相歸也。”

《兒女英雄傳》十八回闡說“大事已完，如喪考妣”二句尤淋漓暢透，更進一境，於熱鬧時忽憬然有感，悵然不樂，義山《錦瑟》詩所謂：“此情可待成追憶，只是當時已惘然”，樊川《上宰相求湖州第二書》所謂：“在群眾歡笑之中，常如登高四望，但見莽蒼大野，荒墟廢壟，悵望寂默，不能自解”者也。參觀三三五則論右軍《蘭亭序》、七三一則論李嶠《楚望賦》。

彦按，是荒江野老屋中素心人于今何及见也。

XXXV. Imitazione (p. 356). 按 A.V. Arnault 原作 La Feuille: “Je vais où le vent me mène（我将乘风而去）” etc. (p. 496) 較之 Verlaine, Chanson de l’Automne: “Je m’en vais / Au vent mauvais / De çà, de là, / Pareil à la / Feuille morte.” 更質直無致。一衹有理趣，一遂有情韻，詩中有人無人之別也。

XXXII. Palinodia: “Quale un fanciullo, con assidua cura” ecc.; “La natura crudel, fanciullo invitto” ecc. (p. 326)

Zibaldone, ed. F. Flora, II, 1233: “La Natura è come un fanciullo（大自然就像一个孩子）” ec. 論此尤詳。

按 Fr. Th. Vischer, Auch Einer 則比造化為輕浮而靈巧之婦女： “Die Natur sei das Produkt eines Urwesens weiblichen Geschlechts” usw. (Insel Verlag, S. 67-70)。Plato, Laws, 644d, 803c 及 Plotinus, Enneads, III, ii, 15 皆早言上帝以人為玩具，而未言其有童心、好兒戲。

Plautus, Captivi, Prolog. XXII: “Di nos quasi pilas homines habent (The gods play games with men as balls（神把人当球一样的游戏）)”; Rudens, III, I, 1 & Mercator, II: “Miris modis di ludos faciunt hominibus (In wondrous ways do the gods make sport with men（神以奇妙的方式与人嬉戏）).”

Greek Anthology, X. 80, Palladas: “The life of men is the plaything of Fortune（生命是造化的玩物）... Some whom she had cast down she casteth on high again like a ball（她抛弃了一些人，又像一个球一样把另外的一些抛到高处）...”

Donne, Letter to Sir Henry Wotton: “That Erle of Arundell that last dyed (that tennis ball whome fortune after tossing & banding brikwald into the hazard)...” (Complete Poetry & Selected Prose, ed. J.Hayward, p. 442) ，Cf. Jean Rousset, Circé et le Paon, pp. 136 ff.: “ein Ball des falschen Glücks（一团虚假的幸福）.”

Pliny, Nat. hist., VII. I 僅言造物凶酷，如後世 Vigny, “La Maison du Berger” [La Nature]: “On me dit une mère et je suis une tombe,” cf. Vigny, Journal d’un Poète in Oeuv. comp., la Pléiade, II, p. 1005.

XXXIV. La Ginestra 亦云：“Madre è di parto e di voler matrigna.” (p. 344)。此詩遂活畫出杜審言所謂“造化小兒”（見《唐書》本傳）矣。可與《後西游記》第二十九回“小天公”參觀（陳簡齋《次韻樂文卿北園》所謂“造化小兒真薄相”）。

姬翼《鷓鴣天》：“造物兒童作劇狂，懸絲傀儡戲當場。般神弄鬼翻騰用，走骨行屍晝夜忙。隨聲逐色誰敲點，拍手歸來笑一場。”（《全金元詞》一二一四頁）

XXVII. Amore e Morte: “Bella Morte, pietosa / Tu sola al mondo dei terreni affann（若是一人苦苦独活，死亡是美丽的）i” (p. 298);

Pensieri, VI: “La morte non è male: perché libera l’uomo da tutti i mali（死亡并不坏，因为它能使人摆脱一切罪恶）” ec. (p. 486) 而 XX. Il Risorgimento: “Che non del ben sollecita [Nature] / Fu, ma dell’esser solo.” (p. 252) 知天地之好生，而復言人生之樂死，遂遜 Chamfort 一籌。

Caractères et Anecdotes, DIX: “La nature, en nous accablant de tant de misère et en nous donnant un attachement invincible pour la vie, semble en avoir agi avec l'homme comme un incendiaire qui mettrait le feu à notre maison, après avoir posé des sentinelles à notre porte. Il faut que le danger soit bien grand, pour nous obliger à sauter par la fenêtre（大自然让我们承受了如此多的苦难，又给了我们无穷无尽的生命关怀，好像是在我们门口铺排了哨兵之后，又与之一起纵火焚烧了我们的家。要让我们从窗户跳下去）.” (éd. par Ad. van Bever, pp. 179-80) 可謂驚心動魄、罕譬而喻者矣。

Hume 有云：“If these views be natural & obvious, they would have occurred of themselves, without the assistance of philosophy; if they be not natural, they can never have any influence on the affections.” (Essays, ed. T.H. Green & T.H. Grose, I, p. 224) 更可為 De Sanctis 所謂 “legitimacy” 進一解。

又按A. Straccali 稱 XXVII. Amore e Morte 云：“Se in altri poeti trovi detto frequentemente che la morte è la fine dei dolori（如果你发现其他诗人常说死亡是痛苦的终结）... in nessuno incontri（不曾遭遇）... una quale si voglia figurazione（无法想象）... che presenti la morte in forme altrettanto leggiadre（以同样清晰的形式呈现死亡）（意大利语）” ec. (p. 468)

Bickersteth 則引 Whitman,Memories of President Lincoln，謂可相比，是也。此詩稱 “死”云：“l’altra ogni gran dolore / ogni gran male annulla（一至彼岸，诸业皆消）” (p. 292)，可與《莊子‧大宗師》、《列子‧天瑞》論生為勞苦，死為歸息參觀。

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彦按，此则混杂意大利、法语、西班牙及英语，有的单独标出了，有的没有。外文部分限于手写稿本（复印非原件）的局限性，识读较有难度，存疑的地方较多，所以翻译及理解均有不确之处。又读书笔记本就是个段落的意思，此时我了然，未必后来我亦了然，推己及人，亦然。

所以，就这样吧。