The Project Gutenberg eBook of 幽夢影 This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: 幽夢影 Author: Chao Zhang Release date: May 7, 2008 [eBook #25381] Language: Chinese Credits: Produced by Cheng Li Yun *** START OF THE PROJECT GUTENBERG EBOOK 幽夢影 *** Produced by Cheng Li Yun 幽夢影 作者:張心齋 讀經宜冬,其神專也;讀史宜夏,其時久也;讀諸子宜秋,其致別也;讀諸集宜春,其機暢也。 經傳宜獨坐讀;史鑑宜與友共讀。 無善無惡是聖人(如:帝力何有於我,殺之而不怨,利之而不庸;以直報怨,以德報德;一介不與,一介不取之類。),善多惡少是 賢者(如:顏子不貳過,有不善未嘗不知;子路,人告有過則喜之類。),善少惡多是庸人,有惡無善是小人(其偶為善處,亦必有 所為。),有善無惡是仙佛(其所謂善,亦非吾儒之所謂善也。)。 天下有一人知己,可以不恨。不獨人也,物亦有之。如菊以淵明為知己,梅以和靖為知己,竹以子猷為知己,蓮以濂溪為知己,桃以 避秦人為知己,杏以董奉為知己,石以米顛為知己,荔枝以太真為知己,茶以盧仝、陸羽為知己,香草以靈均為知己,鱸以季鷹為 知己,蕉以懷素為知己,瓜以邵平為知己,雞以處宗為知己,鵝以右軍為知己,鼓以禰衡為知己,琵琶以明妃為知己。一與之訂,千 秋不移。若松之於秦始、鶴之於衛懿,正所謂不可與作緣者也。 為月憂雲,為書憂蠹,為花憂風雨,為才子佳人憂命薄。真是菩薩心腸。 花不可以無蝶,山不可以無泉,石不可以無苔,水不可以無藻,喬木不可以無藤蘿,人不可以無癖。 春聽鳥聲,夏聽蟬聲,秋聽蟲聲,冬聽雪聲。白晝聽棋聲,月下聽簫聲。山中聽松風聲,水際聽款乃聲。方不虛生此耳。若惡少斥辱 、悍妻詬誶,真不若耳聾也。 上元須酌豪友,端午須酌麗友,七夕須酌韻友,中秋須酌淡友,重九須酌逸友。 鱗蟲中金魚,羽蟲中紫燕,可雲物類神仙。正如東方曼倩避世,金馬門人不得而害之。 入世須學東方曼倩,出世須學佛印了元。 賞花宜對佳人,醉月宜對韻人,映雪宜對高人。 對淵博友,如讀異書;對風雅友,如讀名人詩文;對謹飭友,如讀聖賢經傳;對滑稽友,如閱傳奇小說。 楷書須如文人,草書須如名將。行書介乎二者之間,如羊叔子緩帶輕裘,正是佳處。 人須求可入詩,物須求可入畫。 少年人須有老成之識見,老成人須有少年之襟懷。 春者天之本懷,秋者天之別調。 昔人雲:若無花、月、美人,不願生此世界。予益一語雲:若無翰、墨、棋、酒,不必定作人身。 願在木而為樗(不才終其天年。),願在草而為蓍(前知。),願在鳥而為鷗(忘機。),願在獸而為廌(觸邪。),願在蟲而為蝶 (花間栩栩。),願在魚而為鯤(逍遙遊。)。 黃九煙先生雲:古今人必有其偶雙,千古而無偶者,其惟盤古乎?予謂盤古亦未嘗無偶,但我輩不及見耳。其人為誰,即此劫盡時最 後一人是也。 古人以冬為三餘。予謂當以夏為三餘:晨起者,夜之餘;夜坐者,晝之餘;午睡者,應酬人事之餘。古人詩雲:「我愛夏日長。」洵 不誣也。 莊周夢為蝴蝶,莊周之幸也;蝴蝶夢為莊周,蝴蝶之不幸也。 藝花可以邀蝶,纍石可以邀雲,栽松可以邀風,貯水可以邀萍,築臺可以邀月,種蕉可以邀雨,植柳可以邀蟬。 景有言之極幽,而實蕭索者,煙雨也;境有言之極雅,而實難堪者,貧病也;聲有言之極韻,而實粗鄙者,賣花聲也。 才子而富貴,定從福慧雙修得來。 新月恨其易沉,缺月恨其遲上。 躬耕吾所不能,學灌園而已矣;樵薪吾所不能,學薙草而已矣。 一恨書囊易蛀,二恨夏夜有蚊,三恨月臺易漏,四恨菊葉多焦,五恨松多大蟻,六恨竹多落葉,七恨桂荷易謝,八恨薜蘿藏虺,九恨 架花生刺,十恨河豚多毒。 樓上看山,城頭看雪,燈前看月,舟中看霞,月下看美人,另是一番情境。 山之光,水之聲,月之色,花之香,文人之韻致,美人之姿態,皆無可名狀,無可執著。真足以攝召魂夢,顛倒情思! 假使夢能自主,雖千里無難命駕,可不羨長房之縮地;死者可以晤對,可不需少君之招魂;五嶽可以臥遊,可不俟婚嫁之盡畢。 昭君以和親而顯,劉蕡以下第而傳,可謂之不幸,不可謂之缺陷。 以愛花之心愛美人,則領略自饒別趣;以愛美人之心愛花,則護惜倍有深情。 美人之勝於花者,解語也;花之勝於美人者,生香也。二者不可得兼,捨生香而取解語者也。 窗內人於紙窗上作字,吾於窗外觀之,極佳。 少年讀書,如隙中窺月;中年讀書,如庭中望月;老年讀書,如臺上玩月。皆以閱歷之淺深,為所得之淺深耳。 吾欲致書雨師:春雨,宜始於上元節後(觀燈已畢。),至清明十日前之內(雨止桃開。),及穀雨節中;夏雨,宜於每月上弦之前 ,及下弦之後(免礙於月。);秋雨,宜於孟秋、季秋之上下二旬(八月為玩月勝境。);至若三冬,正可不必雨也。 為濁富不若為清貧,以憂生不若以樂死。 天下唯鬼最富,生前囊無一文,死後每饒楮鏹;天下唯鬼最尊,生前或受欺淩,死後必多跪拜。 蝶為才子之化身,花乃美人之別號。 因雪想高士;因花想美人;因酒想俠客;因月想好友;因山水想得意詩文。 聞鵝聲如在白門;聞櫓聲如在三吳;聞灘聲如在浙江;聞羸馬項下鈴鐸聲,如在長安道上。 一歲諸節,以上元為第一,中秋次之,五日、九日又次之。 雨之為物,能令晝短;能令夜長。 古之不傳於今者,嘯也,劍術也,彈棋也,打球也。 詩僧時復有之,若道士之能詩者,不啻空谷足音,何也? 當為花中之萱草;毋為鳥中之杜鵑。 物之「禾犀」者,皆不可厭,惟驢獨否。 女子自十四五歲至二十四五歲,此十年中,無論燕、秦、吳、越,其音大都嬌媚動人。一睹其貌,則美惡判然矣。耳聞不如目見,於 此益信。 尋樂境乃學仙,避苦趣乃學佛。佛家所謂極樂世界者,蓋謂眾苦之所不到也。 富貴而勞悴,不若安閒之貧賤;貧賤而驕傲,不若謙恭之富貴。 目不能自見,鼻不能自嗅,舌不能自舐,手不能自握,惟耳能自聞其聲。 凡聲皆宜遠聽,惟聽琴則遠近皆宜。 目不能識字,其悶尤過於盲;手不能執管,其苦更甚於啞。 並頭聯句,交頸論文,宮中應制,歷使屬國,皆極人間樂事。 《水滸傳》武鬆詰蔣門神雲:「為何不姓李。」此語殊妙。蓋姓實有佳有劣:如華、如柳、如雲、如蘇、如喬,皆極風韻;若夫毛也 、賴也、焦也、牛也,則皆塵於目而棘於耳也。 花之宜於目而復宜於鼻香,梅也、菊也、蘭也、水仙也、珠蘭也、蓮也。止宜於鼻者,櫞也、桂也、瑞香也、梔子也、茉莉也、木香 也、玫瑰也、臘梅也。餘則皆宜於目者也。花與葉俱可觀者,秋海棠為最,荷次之。海棠、酴醾、虞美人、水仙,又次之。葉勝於花 者,止雁來紅、美人蕉而已。花與葉俱不足觀者,紫薇也、辛夷也。 高語山林者,輒不喜談市朝事。審若此,則當並廢《史》、《漢》諸書而不讀矣。蓋諸書所載者,皆古之市朝也。 雲之為物,或崔巍如山,或瀲灩如水;或如人,或如獸;或如鳥毳,或如魚鱗。故天下萬物皆可畫,惟雲不能畫;世所畫雲,亦強名 耳。 值太平世,生湖山郡,官長廉靜,家道優裕,娶婦賢淑,生子聰慧。人生如此,可雲全福。 天下器玩之類,其製日工,其價日賤,毋惑乎民之貧也。 養花膽瓶,其式之高低大小,須與花相稱。而色之淺深濃淡,又須與花相反。 春雨如恩詔,夏雨如赦書,秋雨如輓歌。 十歲為神童,二十、三十為才子,四十、五十為名臣,六十為神仙,可謂全人矣。 武人不苟戰,是為武中之文;文人不迂腐,是為文中之武。 文人講武事,大都紙上談兵;武將論文章,半屬道聽途說。 斗方止三種可取:佳詩文一也,新題目二也,精款式三也。 情必近於癡而始真,才必兼乎趣而始化。 凡花色之嬌媚者,多不甚香;瓣之千層者,多不結實。甚矣全才之難也。兼之者,其惟蓮乎? 著得一部新書,便是千秋大業;註得一部古書,允為萬世宏功。 延名師,訓子弟;入名山,習舉業;丐名士,代捉刀。三者都無是處。 積畫以成字,積字以成句,積句以成篇,謂之文。文體日增,至八股而遂止。如古文、如詩、如賦、如詞、如曲、如說部、如傳奇小 說,皆自無而有。方其未有之時,固不料後來之有此一體也。逮既有此一體之後,又若天造地設,為世必應有之物。然自明以來,未 見有創一體裁新人耳目者。遙計百年之後,必有其人,惜乎不及見耳。 雲映日而成霞,泉掛岩而成瀑。所托者異,而名亦因之。此友道之所以可貴也。 大家之文,吾愛之、慕之,吾願學之;名家之文,吾愛之、慕之,吾不敢學之。學大家而不得,所謂刻鵠不成,尚類鶩也;學名家而 不得,則是畫虎不成,反類狗矣。 由戒得定,由定得慧,勉強漸近,自然鍊精化氣,鍊氣化神,清虛有何渣滓。 南北東西,一定之位也;前後左右,無定之位也。 予嘗謂二氏不可廢,非襲夫大養濟院之陳言也。蓋名山勝景,我輩每思蹇裳就之。使非琳宮梵剎,則倦時無可駐足,飢時誰與授餐。 忽有疾風暴雨,五大夫果真足恃乎?又或邱壑深邃,非一日可了,豈能露宿以待明日乎?虎豹蛇虺,能保其不人患乎?又或為士大夫 所有,果能不問主人,任我之登陟憑弔而莫之禁乎?不特此也。甲之所有,乙思起而奪之,是啟爭端也。祖父之所創建,子孫貧力不 能修葺,其傾頹之狀,反足令山川減色矣!然此特就名山勝境言之耳。即城市之內,與夫四達之衢,亦不可少此一種。客遊可作居停 ,一也;長途可以稍憩,二也;夏之茗、冬之薑湯,復可以濟役夫負戴之困,三也。凡此皆就事理言之,非二氏福報之說也。 雖不善書,而筆硯不可不精;雖不業醫,而驗方不可不存;雖不工弈,而楸枰不可不備。 方外不必戒酒,但須戒俗;紅裙不必通文,但須得趣。 梅邊之石宜古;松下之石宜拙;竹傍之石宜瘦;盆內之石宜巧。 律己宜帶秋氣;處世宜帶春氣。 厭催租之敗意,亟宜早早完糧;喜老衲之談禪,難免常常佈施。 松下聽琴;月下聽簫;澗邊聽瀑布;山中聽梵唄,覺耳中別有不同。 月下談禪,旨趣益遠;月下說劍,肝膽益真;月下論詩,風致益幽;月下對美人,情意益篤。 有地上之山水,有畫上之山水,有夢中之山水,有胸中之山水。地上者妙在邱壑深邃;畫上者妙在筆墨淋漓;夢中者妙在景象變幻; 胸中者妙在位置自如。 一日之計種蕉;一歲之計種竹;十年之計種柳;百年之計種松。 春雨宜讀書;夏雨宜弈棋;秋雨宜檢藏;冬雨宜飲酒。 詩文之體,得秋氣為佳;詞曲之體,得春氣為佳。 抄寫之筆墨,不必過求其佳,若施之縑素,則不可不求其佳;誦讀之書籍,不必過求其備,若以供稽考,則不可不求其備;遊歷之山 水,不必過求其妙,若因之卜居,則不可不求其妙。 人非聖賢,安能無所不知。祇知其一,惟恐不止其一,復求知其二者,上也;止知其一,因人言,始知有其二者,次也;止知其一, 人言有其二而莫之信者,又其次也;止知其一,惡人言有其二者,斯下之下矣。 史官所紀者,直世界也;職方所載者,橫世界也。 先天八卦,豎看者也;後天八卦,橫看者也。 藏書不難,能看為難;看書不難,能讀為難;讀書不難,能用為難;能用不難,能記為難。 求知己於朋友易,求知己於妻妾難,求知己於君臣則尤難之難。 何謂善人,無損於世者則謂之善人;何謂惡人,有害於世者則謂之惡人。 有工夫讀書,謂之福;有力量濟人,謂之福;有學問著述,謂之福;無是非到耳,謂之福;有多聞直諒之友,謂之福。 人莫樂於閒,非無所事事之謂也。閒則能讀書,閒則能遊名勝,閒則能交益友,閒則能飲酒,閒則能著書。天下之樂,孰大於是。 文章是案頭之山水,山水是地上之文章。 平上去入,乃一定之至理。然入聲之為字也少,不得謂凡字皆有四聲也。世之調平仄者,於入聲之無其字者,往往以不相合之音隸於 其下。為所隸者,苟無平上去之三聲,則是以寡婦配鰥夫,猶之可也;若所隸之字自有其平上去之三聲,而欲強以從我,則是乾有夫 之婦矣,其可乎?姑就詩韻言之,如東、冬韻,無入聲者也,今人盡調之以東、董、凍、督。夫督之為音,當附於都、睹、妒之下; 若屬之於東、董、凍,又何以處夫都、睹、妒乎?若東、都二字俱以督字為入聲,則是一婦而兩夫矣。三江無入聲者也,今人盡調之 以江、講、絳、覺,殊不知覺之為音,當附於交、教之下者也。諸如此類,不勝其舉。然則如之何而後可?曰:鰥者聽其鰥,寡者聽 其寡,夫婦全者安其全,各不相干而已矣。(東、冬、歡、桓、寒、山、真、文、元、淵、先、天、庚、青、侵、鹽、咸諸部,皆無 入聲者也。屋、沃內如禿、獨、鵠、束等字,乃魚、虞韻內都、圖等字之入聲;卜、木、六、僕等字,乃五歌部之入聲;玉、菊、獄 、育等字,乃尤部之入聲;三覺、十藥,當屬於蕭、餚、豪;質、錫、職、緝,當屬於支、微、齊。質內之橘、卒,物內之鬱、屈, 當屬於虞、魚;物內之勿、物等音,無平上去者也;訖、乞等,四支之入聲也。陌部乃佳、灰之半,開、來等字之入聲也。月部之月 、厥、謁等及屑、葉二部,古無平上去,而今則為中州韻內車、遮諸字之入聲也。伐、髮等字及曷部之括、適及八黠全部,又十五合 內諸字,又十七洽全部,皆六麻之入聲也。曷內之撮、闊等字,合部之合、盒數字,皆無平上去者也。若以緝、合、葉、洽為閉口韻 ,則止當謂之無平上去之寡婦,而不當調之以侵、寢。緝、咸、喊、陷、洽也。) 《水滸傳》是一部怒書;《西遊記》是一部悟書;《金瓶梅》是一部哀書。 讀書最樂,若讀史書,則喜少怒多,究之怒處亦樂處也。 發前人未發之論,方是奇書;言妻子難言之情,乃為密友。 一介之士,必有密友。密友不必定是刎頸之交,大率雖千百裡之遙,皆可相信,而不為浮言所動;聞有謗之者,即多方為之辯析而後 已;事之宜行宜止者,代為籌畫決斷;或事當利害關頭,有所需而後濟者,即不必與聞,亦不慮其負我與否,竟為力承其事。此皆所 謂密友也。 風流自賞,祇容花鳥趨陪;真率誰知,合受煙霞供養。 萬事可忘,難忘者名心一段;千般易淡,未淡者美酒三杯。 芰荷可食而亦可衣,金石可器而亦可服。 宜於耳復宜於目者,彈琴也,吹簫也。宜於耳不宜於目者,吹笙也,擫管也。 看曉妝宜於傅粉之後。 我不知我之生前,當春秋之季,曾一識西施否;當典午之時,曾一看衛玠否;當義熙之世,曾一醉淵明否;當天寶之代,曾一睹太真 否;當元豐之朝,曾一晤東坡否。千古之上,相思者不止此數人,而此數人則其尤甚者,故姑舉之以概其餘也。 我又不知在隆萬時,曾於舊院中交幾名妓,眉公伯虎若士赤水諸君,曾共我談笑幾回。茫茫宇宙,我今當向誰問之耶! 文章是有字句之錦繡,錦繡是無字句之文章。兩者同出於一原,姑即粗跡論之,如金陵、如武林、如姑蘇,書林之所在,即杼機之所 在也。 予嘗集諸法帖字,為詩字之不複而多者,莫善於千字文。然詩家目前常用之字,猶苦其未備。如天文之煙霞風雪,地理之江山塘岸, 時令之春霄曉暮,人物之翁僧漁樵,花木之花柳苔萍,鳥獸之蜂蝶鶯燕,宮室之臺檻軒窗,器用之舟船壺杖,人事之夢憶愁恨,衣服 之裙袖錦綺,飲食之茶漿飲酌,身體之鬚眉韻態,聲色之紅綠香艷,文史之騷賦題吟,數目之一三雙半,皆無其字。千字文且然,況 其他乎! 花不可見其落,月不可見其沉,美人不可見其夭。 種花須見其開,待月須見其滿,著書須見其成,美人須見其暢適,方有實際。否則皆為虛設。 惠施多方,其書五車。虞卿以窮愁著書,今皆不傳。不知書中果作何語?我不見古人,安得不恨! 以松花為糧,以松實為香,以松枝為麈尾,以松陰為步障,以松濤為鼓吹。山居得喬松百餘章,真乃受用不盡。 玩月之法:皎潔則宜仰觀,朦朧則宜俯視。 孩提之童,一無所知;目不能辨美惡,耳不能判清濁,鼻不能別香臭,至若味之甘苦,則不第知之,且能之棄之。告子以甘食,悅色 為性,殆指此類耳! 凡事不宜刻,若讀書則不可不刻;凡事不宜貪,若買書則不可不貪;凡事不宜癡,若行善則不可不癡。 酒可好不可罵座,色可好不可傷生,財可好不可昧心,氣可好不可越理。 文名可以當科第,儉德可以當貨財,清閒可以當壽考。 不獨誦其詩、讀其書,是尚友古人;即觀其字畫,亦是尚友古人處。 無益之施捨,莫過於齋僧;無益之詩文,莫過於祝壽。 妾美不如妻賢,錢多不如境順。 創新庵不若修古廟,讀生書不若溫舊業。 字與畫同出一原。觀六書始於象形,則可知已。 忙人園亭,宜與住宅相連;閒人園亭,不妨與住宅相遠。 酒可以當茶,茶不可以當酒;詩可以當文,文不可以當詩;曲可以當詞,詞不可以當曲;月可以當燈,燈不可以當月;筆可以當口, 口不可以當筆;婢可以當奴,奴不可以當婢。 胸中小不平,可以酒消之;世間大不平,非劍不能消也。 不得已而諛之者,寧以口,毋以筆;不可耐而罵之者,亦寧以口,毋以筆。 多情者必好色,而好色者未必盡屬多情;紅顏者必薄命,而薄命者未必盡屬紅顏;能詩者必好酒,而好酒者未必盡屬能詩。 梅令人高,蘭令人幽,菊令人野,蓮令人淡,春海棠令人艷,牡丹令人豪,蕉與竹令人韻,秋海棠令人媚,松令人逸,桐令人清,柳 令人感。 物之能感人者,在天莫如月,在樂莫如琴,在動物莫如鵑,在植物莫如柳。 涉獵雖曰無用,猶勝於不通古今;清高固然可嘉,莫流於不識時務。 所謂美人者:以花為貌,以鳥為聲,以月為神,以柳為態,以玉為骨,以冰雪為膚,以秋水為姿,以詩詞為心。吾無間然矣。 蠅集人面,蚊嘬人膚,不知以人為何物! 有山林隱逸之樂而不知享者,漁樵也、農圃也、緇黃也;有園亭姬妾之樂,而不能享、不善享者,富商也、大僚也。 黎舉雲:「欲令梅聘海棠,棖子(想是橙。)臣櫻桃,以芥嫁筍,但時不同耳。」予謂物各有偶,儗必於倫。今之嫁娶,殊覺未當。 如梅之為物,品最清高;棠之為物,姿極妖艷。即使同時,亦不可為夫婦。不若梅聘梨花,海棠嫁杏,櫞臣佛手,荔枝臣櫻桃,秋海 棠嫁雁來紅,庶幾相稱耳。至若以芥嫁筍,筍如有知,必受河東獅子之累矣。 五色有太過、有不及,惟黑與白無太過。 許氏《說文》,分部有止有其部,而無所屬之字者,下必註雲:「凡某之屬,皆從某。」贅句殊覺可笑,何不省此一句乎! 閱《水滸傳》,至魯達打鎮關西、武鬆打虎,因思人生必有一樁極快意事,方不枉在生一場。即不能有其事,亦須著得一種得意之書 ,庶幾無憾耳。(如李太白有貴妃捧硯事,司馬相如有文君當爐事,嚴子陵有足加帝腹事,王渙、王昌齡有旗亭畫壁事,王子安有順 風過江作滕王閣序事之類。) 春風如酒,夏風如茗,秋風如煙,冬風如薑芥。 冰裂紋極雅,然宜細、不宜肥,若以之作窗欄,殊不耐觀也。(冰裂紋須分大小,先作大冰裂,再於每大塊之中,作小冰裂方佳。) 鳥聲之最佳者,畫眉第一,黃鸝、百舌次之。然黃鸝、百舌,世未有籠而畜之者,其殆高士之儔,可聞而不可屈者耶。 不治生產,其後必致累人;專務交遊,其後必致累己。 昔人雲:婦人識字,多致誨淫。予謂此非識字之過也。蓋識字則非無聞之人,其淫也,人易得而知耳。 善讀書者,無之而非書:山水亦書也,棋酒亦書也,花月亦書也;善遊山水者,無之而非山水:書史亦山水也,詩酒亦山水也,花月 亦山水也。 園亭之妙,在邱壑佈置,不在雕繪瑣屑。往往見人家園亭,屋脊墻頭,雕磚鏤瓦,非不窮極工巧,然未久即壞,壞後極難修葺,是何 如樸素之為佳乎。 清宵獨坐,邀月言愁;良夜孤眠,呼蛩語恨。 官聲採於輿論,豪右之口與寒乞之口,俱不得其真;花案定於成心,艷媚之評與寢陋之評,概恐失其實。 胸藏邱壑,城市不異山林;興寄煙霞,閻浮有如蓬島。 梧桐為植物中清品,而形家獨忌之,甚且謂「梧桐大如鬥,主人往外走。」若竟視為不祥之物也者。夫翦桐封弟,其為宮中之桐可知 。而卜世最久者,莫過於周,俗言之不足據,類如此夫! 多情者不以生死易心,好飲者不以寒暑改量,喜讀書者不以忙閒作輟。 蛛為蝶之敵國,驢為馬之附庸。 立品須發乎宋人之道學,涉世須參以晉代之風流。 古謂禽獸亦知人倫。予謂匪獨禽獸也,即草木亦復有之。牡丹為王,芍藥為相,其君臣也;南山之喬,北山之梓,其父子也;荊之聞 分而枯,聞不分而活,其兄弟也;蓮之並蒂,其夫婦也;蘭之同心,其朋友也。 豪傑易於聖賢,文人多於才子。 牛與馬,一仕而一隱也;鹿與豕,一仙而一凡也。 古今至文,皆血淚所成。 情之一字,所以維持世界;才之一字,所以粉飾乾坤。 孔子生於東魯;東者生方,故禮樂文章,其道皆自無而有。釋迦生於西方;西者死地,故受想行識,其教皆自有而無。 有青山方有綠水,水惟借色於山;有美酒便有佳詩,詩亦乞靈於酒。 嚴君平以卜講學者也,孫思邈以醫講學者也,諸葛武侯以出師講學者也。 人謂女美於男,禽則雄華於雌,獸則牝牡無分者也。 鏡不幸而遇嫫母,硯不幸而遇俗子,劍不幸而遇庸將;皆無可奈何之事。 天下無書則已;有則必當讀;無酒則已,有則必當飲;無名山則已,有則必當遊;無花月則已,有則必當賞玩;無才子佳人則已,有 則必當愛慕憐惜。 秋蟲春鳥,尚能調聲弄舌,時吐好音。我輩搦管拈毫,豈可甘作鴉鳴牛喘! 媸顏陋質,不與鏡為仇者,亦以鏡為無知之死物耳。使鏡而有知,必遭撲破矣。 吾家公藝,恃百忍以同居。千古傳為美談。殊不知忍而至於百,則其家庭乖戾暌隔之處,正未易更僕數也。 九世同居誠為盛事,然止當與割股廬墓者作一例看。可以為難矣,不可以為法也。 作文之法:意之曲折者,宜寫之以顯淺之詞;理之顯淺者,宜運之以曲折之筆;題之熟者,參之以新奇之想;題之庸者,深之以關繫 之論。至於窘者舒之使長,縟者刪之使簡,俚者文之使雅,鬧者攝之使靜,皆所謂裁製也。 筍為蔬中尤物;荔枝為果中尤物;蟹為水族中尤物;酒為飲食中尤物;月為天文中尤物;西湖為山水中尤物;詞曲為文字中尤物。 買得一本好花,猶且愛護而憐惜之,矧其為解語花乎? 觀手中便面,足以知其人之雅俗,足以識其人之交遊。 水為至污之所會歸,火為至污之所不到。若變不潔為至潔,則水火皆然。 貌有醜而可觀者,有雖不醜而不足觀者;文有不通而可愛者,有雖通而極可厭者。此未易與淺人道也。 遊玩山水,亦復有緣。苟機緣未至,則雖近在數十里之內,亦無暇到也。 貧而無諂,富而無驕,古人之所賢也;貧而無驕,富而無諂,今人之所少也。足以知世風之降矣。 昔人欲以十年讀書,十年遊山,十年檢藏。予謂檢藏儘可不必十年,只二三載足矣。若讀書與遊山,雖或相倍蓰,恐亦不足以償所願 也。必也,如黃九煙前輩之所雲:人生必三百歲而後可乎! 寧為小人之所罵,毋為君子之所鄙;寧為盲主司之所擯棄,毋為諸名宿之所不知。 傲骨不可無,傲心不可有。無傲骨則近於鄙夫,有傲心不得為君子。 蟬為蟲中之夷、齊,蜂為蟲中之管、晏。 曰癡、曰愚、曰拙、曰狂,皆非好字面,而人每樂居之;曰姦、曰黠、曰強、曰佞,反是,而人每不樂居之,何也? 唐虞之際,音樂可感鳥獸。此蓋唐虞之鳥獸,故可感耳。若後世之鳥獸,恐未必然。 痛可忍,而癢不可忍;苦可耐,而酸不可耐。 鏡中之影,著色人物也;月下之影,寫意人物也。鏡中之影,鉤邊畫也;月下之影,沒骨畫也。月中山河之影,天文中地理也;水中 星月之象,地理中天文也。 能讀無字之書,方可得驚人妙句;能會難通之解,方可參最上禪機。 若無詩酒,則山水為具文;若無佳麗,則花月皆虛設。 才子而美姿容,佳人而工著作,斷不能永年者,匪獨為造物之所忌。蓋此種原不獨為一時之寶,乃古今萬世之寶,故不欲久留人世以 取褻耳! 陳平封曲逆侯,《史》、《漢》註皆雲:「音去遇。」予謂此是北人土音耳。若南人四音俱全,似仍當讀作本音為是。(北水於唱曲 之曲,亦讀如去字。) 古人四聲俱備,如「六、國」二字,皆入聲也。今梨園演蘇秦劇,必讀六為溜,讀國為鬼,從無讀入聲者。然考之《詩經》,如「良 馬六之、無衣六兮」之類,皆不與去聲,而祝告燠;國子皆不與上聲,而入陌質韻,則是古人似亦有入聲,未必盡讀六為溜 、讀國為鬼也。 閒人之硯,固欲其佳;而忙人之硯,尤不可不佳。娛情之妾,固欲其美;而廣嗣之妾,亦不可不美。 如何是獨樂樂,曰鼓琴。如何是與人樂樂,曰奕棋。如何是與眾樂樂,曰馬弔。 不待教而為善為惡者,胎生也。必待教而後為善為惡者,卵生也。偶因一事之感觸,而突然為善為惡者,濕生也。(如周處、戴淵之 改過,李懷光反叛之類。)前後判若兩截,究非一日之故也,化生也。(如唐玄宗、衛武公之類。) 凡物皆以形用。其以神用者,則鏡也、符印也、日晷也、指南針也。 才子遇才子,每有憐才之心;美人遇美人,必無惜美之意。我願來世托生為絕代佳人,一反其局而後快。 予嘗欲建一無遮大會,一祭歷代才子,一祭歷代佳人。俟遇有真正高僧,即當為之。 聖賢者,天地之替身。 天極不難做,只須生仁人君子有才德者二三十人足矣。君一、相一、冢宰一,及諸路總制撫軍是也。 擲陞官圖,所重在德,所忌在贓。何一登仕版,輒與之相反耶? 動物中有三教焉:蛟龍麟鳳之屬,近於儒者也;猿狐鶴鹿之屬,近於仙者也;獅子牯牛之屬,近於釋者也。植物中有三教焉;竹梧蘭 蕙之屬,近於儒者也;蟠桃老桂之屬,近於仙者也;蓮花薝蔔之屬,近於釋者也。 佛氏雲:「日月在須彌山腰。」果爾則日月必是遶山橫行而後可。苟有升有降,必為山巔所礙矣。又雲:「地上有阿耨達池,其水四 齣,流入諸印度。」又雲:「地輪之下為水輪,水輪之下為風輪,風輪之下為空輪。」餘謂此皆喻言人身也:須彌山喻人首,日月喻 兩目,池水四齣喻血脈流通,地輪喻此身,水為便溺,風為洩氣。此下則無物矣。 蘇東坡和陶詩,尚遺數十首。予嘗欲集坡句以補之,苦於韻之弗備而止。如責子詩中不識六與七,但覓梨與慄七字。慄字皆無其韻也 。 予嘗偶得句,亦殊可喜,惜無佳對,遂未成詩。其一為「枯葉帶蟲飛」,其一為「鄉月大於城」。姑存之,以俟異日。 「空山無人,水流花開」二句,極琴心之妙境。「勝固欣然,敗亦可喜」二句,極手談之妙境。「帆隨湘轉,望衡九面」二句,極泛 舟之妙境。「胡然而天,胡然而帝」二句,極美人之妙境。 鏡與水之影,所受者也;日與燈之影,所施者也。月之有影,則在天者為受,而在地者為施也。 水之為聲有四:有瀑布聲,有流泉聲,有灘聲,有溝澮聲。風之為聲有三:有松濤聲,有秋葉聲,有波浪聲;雨之為聲有二。有梧蕉 荷葉上聲,有承簷溜竹筒中聲。 文人每好鄙薄富人,然於詩文之佳者,又往往以金玉珠璣錦繡譽之,則又何也? 能閒世人之所忙者,方能忙世人之所閒。 先讀經,後讀史,則論事不謬於聖賢。既讀史,復讀經,則觀書不徒為章句。 居城市中,當以畫幅當山水,以盆景當苑囿,以書籍當友朋。 鄉居須得良朋始佳。若田夫樵子,僅能辨五穀而測晴雨,久且數,未免生厭矣。而友之中,又當以能詩為第一,能談次之,能畫次之 ,能歌又次之,解觴政者又次之。 玉蘭,花中之伯夷也。(高而且潔。)葵,花中之伊尹也。(傾心嚮日。)蓮,花中之柳下惠也。(污泥不染。)鶴,鳥中之伯夷也 。(仙品也。)雞,鳥中之伊尹也。(司晨。)鶯,鳥中之柳下惠也。(求友。) 無其罪而虛受惡名者,蠹魚也;(蛀書之蟲,另是一種,其形如蠶蛹而差小。)有其罪而恆逃清議者,蜘蛛也。 臭腐化為神奇,醬也、腐乳也、金汁也。至神奇化為臭腐,則是物皆然。 黑與白交,黑能污白,白不能掩黑;香與臭混,臭能勝香,香不能敵臭。此君子、小人相攻之大勢也。 恥之一字,所以治君子;痛之一字,所以治小人。 鏡不能自照,衡不能自權,劍不能自擊。 古人雲:「詩必窮而後工」。蓋窮則語多感慨,易於見長耳。若富貴中人,既不可憂貧歎賤,所談者不過風雲月露而已,詩安得佳? 苟思所變,計惟有出遊一法,即以所見之山川風土物產人情,或當瘡痍兵燹之餘,或值旱潦災祲之後,無一不可寓之詩中,借他人之 窮愁,以供我之詠歎,則詩亦不必待窮而後工也。 *** END OF THE PROJECT GUTENBERG EBOOK 幽夢影 *** Updated editions will replace the previous one—the old editions will be renamed. 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