《容安馆札记》732则

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七三二

Jottings:

An article in Philological Quarterly, April 1957, after having demonstrated the undeniable influence of Warburton’s discussion of the primitive language on French writers like Court de Gebelin, A.-Y. Goguet, the President de Brosses & other (pp. 221-230), argues that the Divine Legation, rather than the Principi di Scienza nuova, was the ultimate source of the emotionalist & ex-pressionist theories of language (p. 232; cf. alsoPMLA, Dec. 1960, p. 530 on the theory of the priority of poetic language held by Condillac, Rousseau, Diderot, etc.). One up to poor old Warburton, the arrogant & pretentious pedant (see Mark Pattison, Essays, “The New University Library”, II, pp. 107-8)! One can imagine Croce’s reaction to that. What interests me more than the question of priority is: Does Vico mean by “caratteri poetici” or “universali fantastici” all that his modern exegetes have made them out to mean? “... i primi uomini, come fanciulli del genere umano, non essendo capaci di formare i generi intelligibili delle cose, ebbero naturale necessità di fingersi i caratteri poetici, che sono generi o universali fantastici, da ridurvi, come a certi modelli, o pure ritratti ideali, tutte le spezie particolari a ciascun genere somiglianti...” (Scienza nuova, §209, in Opere, a cura di F. Nicolini, ed. Riccardo Ricciardi, p. 453; cf. §401-402, p. 517-8; §412-27, pp. 527-30; §460, p. 551). This is rich in implications; one can read into it the Hegelian “das sinnliche Scheinen der Idee”, the Coleridgean “class individualized” or “genera intensely individualized” (T.M. Raysor,Coleridge’s Shakespearean Criticism, I, pp. 72, 137; II, p. 33), and even the Eliotean “objective correlative” (cf. supra 第七○一則 a propos of Goethe’s “Mignons Lieder”).【Wm. von Humboldt, Ausgewählte Philosophische Schriften, hrsg. J. Schubert, “Über die Aufgabe des Geschichtschreibers”, S. 98: “Zwei Dinge dass in Allem, was geschieht, eine nicht unmittelbar wahrnehmbare Idee waltet, dass aber diese Idee nur an den Begebenheiten selbst erkannt werden kann.”】Erich Auerbach, e.g., equates theuniversali fantastici wih “the concrete & sensuous ex-pression of general conceptions” (Studia Philologica et Litterarie in Honorem Leo Spitzer, 1958, p. 36); the Hegelian undertone is quite audible. Indeed, Hegel says something to the same effect in connetion with the priority of poetry to prose: “Sie [die Poesie] ist das ursprüngliche Vorstellen des Wahren, ein Wissen, welches das Allgemeine noch nicht von seiner lebendigen Existenz im einzelnen trennt, Gesetz und Erscheinung, Zweck und Mittel einander noch nicht gegenüberstellt und aufeinander dann wieder räsonierend bezieht, sondern das eine nur im anderen und durch das andere fasst” usw. (Ästhetik, Aufbau Verlag, 1955, S. 879). To me, Vico seems to be not so much talking of “archetypal imagination” as making a virtue of the necessity of thinking without the tool of concepts. Cf. the following six extracts[1]: Vauvenargues, Connaissance de l’esprit humain: “J’appelle imagination le don de concevoir les choses d’une manière figurée, et de rendre ses pensées par des images” (Oeuvres choisies, “Classiques Larousse”, p. 52); Coleridge: “On Poesy or Art”: “[art] is the figured language of thought” (Lectures on Shakespeare, etc., “Everyman’s Library”, p. 312; Biog. Lit., ed. J. Shawcross, II, p. 255); Belinsky: “The poet thinks in images” (Belinsky, Chernyshevsky & Dobrolyubov, Selected Criticism, ed. R.E. Matlaw, p. x, cf. pp. 35, 37) (cf. D.W. Fokkema & Elrud Kunne-Ibsch, Theories of Literature in the 20^th Cnet., p. 185, note 3, R. Wellek, History of Modern Criticism, III, pp. 252, 363 has shown that Belinsky derived the formula from Tagliabue, L’Esthétique contemporaine: une Enquête, p. 311); Rivarol: “Le poète n’est qu’un sauvage très ingénieux et très animé chez lequel toutes les idées se présentent en images” (Conversation notée par Chênedollé, in Rivarol, Écrits politiques et littéraires, choisis par V.-H. Debidour, p. 58); Condillac, Logique: “... et la réflexion qui fait ces images prend le nom d’imagination” (Oeuv. philosophiques, ed. G. Le Roy, II, p. 385); Freud, The Interpretation of Dreams, tr. James Strachey, p. 49: “According to Schleiermacher [Psychologie, 1862], what characterizes the waking state is the fact that thought-activity takes place in concept & not in images. Now dreams think essentially in images” (Nun denkt der Traum hauptsächlich in Bildern — Die Traumdeutung, 6^te Auf., S. 34); Coleridge, Collected Letters, ed. Earl Griggs, I, p. 646 [To Josiah Wedgwood]: [on the lack of Imagination] “A whole Essay might be written on the Danger of thinking without Images”; “A universal should preferably enter a poem not as an abstract universal... It should be a concrete & radically implicit universal, which is to say the universal idea cannot be divorced from the given context, cannot be logically explicated, without distorting it. For its universality exists by analogy only, & not by definition... The Goethean archetype exists only in & through the particular...” (Philip Wheelwright, The Burning Fountain, pp. 87-9); “Men, taken historically, reason by analogy long before they have learned to reason by abstract characters. In all primitive literature, we find persuasion carried on exclusively by parables & similes... ‘An empty sack can’t stand straight’ will stand for the reason why a man with debts may lose his honesty[2]; & ‘a bird in the hand is worth two in the bush’ will serve to back up one’s exhortations to prudence. Instead of giving the reason for a fact, we give another example of the same fact” (Wm James, Principles of Psychology, II, p. 363-4).【《後漢書‧南蠻西南夷列傳》：“莋都夷，其人皆被髮左袵，言語多好譬類。”】【Cf. Emerson: A Modern Anthology, ed. A. Kazin & D. Aaron, p. 111.】Cf. Goethe: “Der denkende Mensch hat die wunderliche Eigenschaft, dass er an die Stelle, wo das unaufgelöste Problem liegt, gerne ein Phantasiebild hinfabelt, das er nicht loswerden kann, wenn das Problem auch aufgelöst und die Wahrheit am Tage ist” (Spruchweisheitin Sämtl. Werk., Der Tempel Verlag, III, S. 386); see also supra 第一七則 on the exploitation of metaphor in philosophical thinking; 第七二則 on the fanciful literal-mindedness of scholars in reading poetry, where Matthew Arnold is quoted. Cf. Kant, Anthropologie, §38, Werke, hrsg. E. Cassirer, VIII, S. 79 on the speech of the barbarians who “nur symbolisch ausdrücken kann”, e.g. the American Indian’s “wir wollen die Streitaxt begraben” for “wir wollen Friede machen.”【Lord Haldane said in 1919: “The trouble with Lloyd George is that he thinks in images not in concepts (Penguin Book of Modern Quotations, p. 91).】【Wundt, Grundzüge de physiologischen Psychologie, 6^te Auf., Bd. III, S. 606: “So ist die Phantasietätigkeit ein Denken in Bildern”; Wundt, Völkerpsychologie, Bd. IV, 3 Auf., S. 33: “Der Subsumtion unter den Begriff des Symbols... hängt auf das engste mit jenem ‘Denken in Bildern’ zusammen, das dem Mythus zugeschrieben wird”; Th. Vischer: “Das Symbol”, Kritische Gänge, ed. Robert Vischer, IV, 432 ff.】【A.W. Schlegel: “bildlich anschauender Gedankenausdruck” & K.F.E. Trahndorff (“Die Poesie... denkt Bilder”); Dilthey, Das Erlebnis und die Dichtung, p. 83 on imagination as “ein Denken in Bildern” (Wellek, vol. IV, p. 324).】

Francesco Perri, Il discepolo ignoto: “Le allodole sgranavano nel cielo le perle del loro limpido gorgheggio” (Dino Provenzal, Dizionario delle Immagini, p. 23). Cf. D’Annunzio, La Leda senza cigno: “Mi pareva di vedere la nota nella sua gola come la perla nella conchiglia” (Ib., p. 138); C. Govoni, La Strada sull’acqua: “un usignuolo batteva instancabilmente col suo marttellino dargento sulla sua incudine di diamante, facendo sprizzare in giro tante vive scintille di lucciole” (Ib., p. 943); G. Mazzoni, Poesie: “perle vocali ne' gorgheggi effonde” (Ib., p. 944); F. Paolieri, Il libro dell’amore: “Perle solirons contro la gran coppa azzurra rovesciato sul mondo furente, gemme iridescenti ne ricaddero, sgranandosi in una successione di note sul vetro del cielo”(Ib., p. 944); Gentucca, Il giardino: “un pazzo imperversar di risa, come / cento perle sgranata”(Ib., p. 746). Odd enough, Provenzal has left out the following bavura passage in D’Annunzio’s L’innocente: “L’usignolo cantava. Da prima fu come uno scoppio di giubilo melodioso, un getto di trilli facili che caddero nell’aria con un suono di perle rimbalzanti su per i vetri di un’armonica.” Cf. George Du Maurier, Trilby: “Every separate note was a highlyfinished gem of sound, linked to the next by a magic bond” (“Everyman’s Library” ed., p. 251); G.M. Hopkins’s graphic poem “The Sea & the Skylark” (Poems, ed. R. Bridges, p. 11; his explanation: “The skein & coil are the lark’s song, which from his height gives the impression, not to me only, of something falling to the earth & not vertically quite but tricklingly or wavingly” etc. in C,C, Abbott, ed., The Letters of G.M. Hopkins to R. Bridges, p. 164). See supra 第七○一則 on Annette von Droste-Hülshoff’s poem “Im Grase” & my article on “通感”[3] .

【Ada Negri, Fatalità: “Al ciel velato gli alberi tendono i rami storti, / come preganti braccia di scheletri contorti” (Ib., p. 19). Cf. Jules Renard, Journal, éd. NRF, p. 327: “Saules. Des troncs d’arbres sans branches sortent de terre comme des poings”;Histoires naturelles, p. 41: “Les peupliers se dressent comme des doigts en l'air et désignent la lune.” Also Stefania Plona. Botte vecchia, vino nuovo: “cipressi che davanti il cimitero, — alti nell’aria, fati al cielo; gesto del silenzio col lungo dito nero” (p. 201); Wm Blake already spoke of a lightning-scathed oak, which “As threatening Heaven with vengeance, Holds out a withered hand” (quoted in Gilbert & Kuhn, Hist. of Esthetics, p. 505).】

F. Cazzamini Mussi, Lacrime e Sole: “Ad uno ad uno cadono dal ramo / della vita che incalza, / come le fogli nel’autunno tardo / i vecchi amici” (Ib., p. 26). Cf.《冬心先生集》卷一《秋來》：“故人笑比中庭樹，一日秋風一日疏”[4] ; Thomas Moore: “Oft in the Stilly Night”: “When I remember all / The friends, so link’d together, / I’ve seen around me fall, / Like leaves in wintry weather.”

Carlo Dossi, Note Azzurre: “[Amicizia] è come l’ombra che ci segue finché dura il sole” (Ib., p. 27). Cf. Hugo: “La plupart des amis sont comme le cadran solaire; ils ne marquent que les heures où le soleil vous luit” (Littérature et Philosophie Mêlées, “Reliquat”, Éd. Albin Michel, p. 227). See also Donne’s ingenious “A Lecture Upon the Shadow” (Complete Poetry & Selected Prose, ed. John Hayward, p. 54).

Pitigrilli, Mammiferi di lusso: “L’amore è per gli uomini ciò che l’aceto è per i cetriolini: li conserva” [i.e. un uomo innamorato si mantiene sempre giovane] (Ib., p. 34). Cf.《定盫續集‧己亥雜詩》：“一番心上溫黁過，明鏡明朝定少年”; 何士顒《南園詩選》卷一《偶題》：“老尚多情或壽徵”; Goethe, Spruchweisheit in Vers und Prosa: “Einem bejahrten Manne verdachte man, dass er sich noch um junge Frauenzimmer bemühte. ‘Es ist das einzige Mittel,’ versetzte er, ‘sich zu verjüngen, und das will doch jedermann’” (Sämtl. Werk., “Tempel-Klassik”, III, S. 294; G.-A. de Caillavet et R. de Flers, L’Amour veille, I. xiii: “Une femme ne peut être préservée que par l’amour, non pas celui qu’elle inspire, mais celui qu’elle ressent.”[5]

G. Manzini, Venti racconti: “È come miope una bocca offuscata da baffi umidicci che cerca una gotta” (Ib., p. 76). A fine example of “transferred epithet”, reminiscent of Marino’s “ma tu, lasso!, non senti, / perché sorda hai la vista, i miei lamenti” (“La Ninfa avara”, in G.G. Ferrero, Marino e i Marinisti, p. 529). Cf. Garrone, Sorriso degli Etruschi: “Egli ci guarda, masticando ci lentamente con le pàlpebre” (Ib., p. 807); A. Gatto, La Coda di paglia: “[Gente intimidita] Balbettavano perfino con gli occhi” (Ib., p. 808). John Cleveland’s riotous promiscuity of the senses in the “Hecatomb to his Mistress”: “As the philosophers to every sense / Marry its object, yet with some dispense, / And grant them a polygamy with all, / And these their common sensibles they call: / So is ’t with her who, stinted unto none, / Unites all senses in each action. / The same beam heats & lights; to see her well / Is both to hear & feel, to taste and smell. / For, can you want a palate in your eyes, / When each of hers contains a double prize, / Venus’s apple? Can your eyes want nose / When from each cheek buds forth a fragrant rose? / Or can your sight be deaf to such a quick / And well-tuned face, such moving rhetoric? / Doth not each look a flash of lightning feel / Which spares the body’s sheath, and melts the steel? / Sweet magic, which can make five senses lie / Conjured within the circle of an eye!” (G. Saintsbury, ed., The Caroline Poets, p. 231; G.L. Sempronio’s “Non poteva aver dalla sua donna altro che sguardi” seems to contain a hint for Cleveland’s poem: “Parlo con gli occhi a’ tuoi begli occhi, e spesso / con gli occhi ancora i tuoi begli occhi ascolto; / s’abbraccian gli occhi nostri in dolce amplesso, / e baccian gli occhi nostri il nostro volto” — G.G. Ferrero, Marino e i Marinisti, p. 756). Cf. Byron, Don Juan, XV. 76: “I sometimes almost think that eyes have ears” etc. (Variorum ed., by T.G. Steffan & W.W. Pratt, III, p. 487)[6]; Keats, Hyperion, A Vision: “There was a listening fear in her regard” (also in Endymion, Bk. I, Poems, “Everyman’s”, p. 265, 273). “The common sensible” is the “l’oggetto comune” of Purgatorio, XXIX. 47.[7]

V. Brancati, Don Giovanni in Sicilia: “Quel pezzo di donna chefa fermare gli orologi” (Ib., p. 93, under the heading “Beltà”). What a “false friend” for tranlators! In English, on the contrary, “a clock-stopper”, “clock-stopping”, “a face to stop the clock or train”, etc. refer to ugliness (see Lester V. Berrey & Melvin Van den Bark, American Thesaurus of Slang, 2^nd ed., 1954, pp. 37, 136, 372); for a couple of examples: “But then there’s one or two faces ’ere that ’ud stop a clock, never mind a party” (J.B. Priestley, When We are Married, Act III, The Plays of J.B. Priestley, II, 214)【cf. infra 287 marginalia on “salcigno”】; “She had a face that would stop a clock” (H.S. Keeler, The Five Silver Buddhas, p. 96). The Cambridge Italian Dictionary (1962) does not record the phrase. Cf. K. Spalding & K. Brooke, An Historical Dictionary of German Figurative Usage, p. 552: “der Eierkopf, imbecile.... in strange contrast to Am. ‘egg-head”; cf. also the German catch-phrases for an ugly mug: “Dein Kopf auf einen Blitzableiter und das Gewitter macht einen Umweg!”; “dein Kopf auf der Briefmarke, unde die Post geht pleite” (H. Küpper, Wörterbuch der deutschen Umgangssprache, Bd. II, S. 72 & 76).【“So ugly the flies won’t light on her face” (A. Taylor & B.J. Whiting, A Dict. of Am. Proverbs, p. 141)】

A. Orvieto, Primavera della comamusa: “Il biancospino, / neve odorosa” (Ib., p. 96). Cf. D’Annunzio, Il Piacere: “[Certe rose] parevano pezzi di neve odorante” (Ib., p. 765). A borrowing, perhaps, from Hugo: “Des pommiers en fleurs et une brise tiède fait pleuvoir sur nous ce que Hugo a si admirablement appelé la’neige odorante du printemps’” (G. Walch, Anthologie des Poètes français contemporains, I, p. 432)[8] .

T. Gnoli, Canti di sogno: “Io che nei libri il cor tutto già posi, / or fo la guardia, eunuco nel serraglio / a libri intonsi e a libri polverosi” (Ib., p. 97). Cf. Edward Young, Sat., II, 83-4: “Unlearned men of books assume the care, / As eunuchs are the guardians of the fair”; Hugo: “Il y’a des gens qui ont une bibliothèque comme les eunuques ont un harem” (Littérature et Philosophie Mêlées, “Reliquat”, éd. Albin Michel, p. 247); Fausto Nicolini, Croce, p. 33: “... certi più bibliomani che bibliofili, non a torto paragonati dall’ abate Galiani agli ‘ennuchi dei serragli I quali non toccano e non lasciano toccare’.” Cf. Piron’s epigram “Contre l’abbé des Fontaines”: “Que fait le bouc en si joli bercail? / S’y plairait-il? Penserait-il y plaire? / Non. C’est l’eunuque au milieu du sérail: / Il n’y fait rien, et nuit à qui veut faire.”【Pope to Martha Blount: “Sir Sam. Garth says, that for Ratcliffe to leave a Library was as if an Eunuch should found a Seraglio” (Correspondence, ed. G. Sherburn, I, p. 269).】

R. Bacchelli, Il mulino del Po: “La natura non si sapeva se avesse inteso di tirarlo su dritto per ingobbarlo, o gobbo per raddrizzarlo a metà dell’opera: un pentimento d’uomo” (Ib., p. 114). Cf. Maria Borgese, Le meraviglie crescono nell’orto: “una donna brutta come un rimorso”; G. Manzini, Tempo innamorato: “Era simile a una poesia scritta male, su una cartaccia, con molti sbagli”; G. Marotta, in Cor. d. Sera, 23 ott. 1950: “Chi mi disegno in un momento di cattivo umore certo mi butto via stizzito: ma, invece che nel cestino, cadi nel mondo” (Ib., p. 115). The idea is as old as Decamerone, VI. 6: “... i Baronci furon fatti da Domenedio al tempo che egli avea cominciato d’apparare a dipignere” ecc. (ed. Ulrico Hoepli, pp. 390-1); see Hamlet, III. ii: “O, there be players that... have so strutted & bellowed that I have thought some of Nature’s journeymen had made men & not made them well...” Cf. Bandello, Novelle, III, p. 50. Cf.《甌北詩鈔》七古卷一《十不全歌》：“得非女媧摶土未定稿”;《定庵古今體詩》卷上《人草稿》：“因念造物者，豈無屬稿辰。”【John Earle, Microcosmography, “Acquaintance”: “Is the first draught of a friend”; Edith Sitwell, Taken Care Of, p. 42: “Though Dorothy Parker was of completely contemporary human origin, yet she aroused in me the conjecture that the Almighty had been trying on her His apprentice hand.”】【Henri Bauche, Le Langage populaire, p. 132: “Va dire à ta mère qu’elle te refasse! = tu es laid...”】【Suetonius, V. iii, Claudius’s mother called him “a monster of a man, not finished, but merely begun by Dame Nature”: “eum hominis dictitabat, nec absolutum a natura, sed tantum inchoatum” (Loeb, II, p. 7).】【“Paul Bourget a coutume de dire que les grands écrivain s généralement un double inferior, qui les précede comme si la nature avait dû se reprendre à deux fois pour mettre au monde des cerveaux si puissants. Ainsi Ratron est le pithécanthrope de Corneille, Auguste Lafontaine celui de Stendhal. Et Balzac aussi a le sien, qui est Restif de la Bretonne” (É. Henriot, Les Livres du second rayon, p. 299).】

Pascoli, Italy: “Buio come a chiuder gli occhi” (Ib., p. 116). Cf. John Gunther, Inside Africa, p. 53: “Senegalese black as blindness.”

A. Panzini, Gelsomino, buffone del Re: “Cioccolate che piangevano dai neri occhi lagrime di crema e di rosolio” (Ib., p. 198). Cf. D. Deledda, La fuga in Egitto: “La stearica, buona parte dalla quale s’era sciolta in un grappolo di lagrime bianche” (Ib., p. 134); Cesare Abbeli’s poem “Vindemia” on ripe grapes: “de gli occhi aprendo il lagrimoso varco” (G.G. Ferrero, Marino e i Marinisti, p. 824); Federico Meninni’s “Gli alberi e la sua donna”: “per dolcezza d’amore il fico piange” (Ib., p. 1048; cf. Basile, Il Pentamarone, II, tr. B. Croce, ed. 1957, p. 145: “alcuni fichi freschi, chi con la veste di pezzente, il collo d’impiccato e le lacrime di meretrice...”);《雲仙雜記》卷二《金陵記》：“程皓以鐵牀熁肉，肥膏見火則油焰淋漓，戲曰：‘羔羊揮淚矣’”;《類說》卷一三《茶錄》：“謝宗論茶曰：‘觀蝦目之沸湧’”;《說郛》卷三十龐士英《談藪》：“湯之未滾者曰‘盲湯’，以其無眼，初滾曰‘蟹眼’，漸大曰‘魚眼’”; 劉弇《龍雲集》卷四《宿法藏禪院》：“高梧泣液涼參差”,“白汗泣珠霍如洗”;《漢書‧西域傳上》樓蘭國“出胡桐”，師古注：“蟲食其樹而沫出下流者，俗名為‘胡桐淚’，言似眼淚也”; Ben Jonson, Bartholomew Fair, II. i, Ursula: “How do the pigs, Mooncalf?” Mooncalf: “Very passionate, mistress, one of ’em has wept out an eye [on the roastig spit]” (Complete Plays, Everyman’s, II, 202).【Cf. Augustine, Confessions, III. x on the Manichean belief that a fig tree wept “milky tears” (lacrimis lacteis) when plucked (Loeb, I, pp. 134-6).】【Hugo Charteris, The Lifeline, p. 62: “Sweat was wept from every little eye in his body.”】【李賀《將進酒》：“烹龍炮鳳玉脂泣”; Zola, L’Assommoir, ch. 7: “L’oie venait de laisser échapper un flot de jus par le trou béant de son derrière; et Boche rigolait: ‘Moi, je m’abonne...pour qu’on me fasse comme ça pipi dans la bouche.’”】

D. Garrone, Il Sorriso degli Etruschi: “Le conchiglie, accosto all’orecchio, non tardano a divenire ricevitori telefonico in comunicazione diretta con le sirene” (Ib., p. 208). Cf. Landor, Gebir, Bk. I, ll. 170 ff. on “sinuous shells of pearly hue within”: “Shake one & it awakens, then apply / Its polished lips to your attentive ear, / And it remembers its august abodes, / And murmurs as the ocean murmurs there” (see Edith J. Morley, ed., The Correspondence of H.C. Robinson with the Wordsworth Circle, I, p. 21 on Wordsworth’s supposed borrowing of this image in The Excursion, Bk. V).

“Nel mediocre componimento in versi, la Lezione di anatomia di Bernardino Zendrini l’autore si ribella all’idea che un volgare muscolo sia la sede dei sentimenti e delle passioni e ogni strofa ha il ritornello: ‘Ah, professore, alla à in errore, / codesta muscolo, non, non è il cuore” (Ib., p. 222, Provenzal’s Introdution to the heading “Cuore”; cf. Coleridge: “The heart in its physical sense is not sufficient for a kite’s dinner; yet the whole world is not sufficient for it” — Allsop’s Recollections). Cf. Croce, La Poesia, 5^a ed., p. 5: “Di Giosue Carducci, a rifiuto della idolatria allora usuale del ‘cuore’ come genio della poesia, sono noti i sarcasmi e le invettive contro quel ‘vil muscolo nocivo alla grand’arte pura’...”; Vauvenargues: “Les grandes pensées viennent du coeur” (Oeuv. choisies, “La Renaissance du Livre”, p. 159); André Chénier: “Épilogue”: “L’art ne fait que des vers, le coeur seul est poëte” (Oeuv. comp., Bib. d. l. Pléiade, p. 614); Musset, Namouna (Chant II, st. IV): “Sachez-le, — c’est le coeur qui parle et qui soupire / Lorsque la main écrit, — c’est le coeur qui se fond;” etc. (Poésies complètes, Bib. d. l. Pléiade, pp. 264-5). Also Sir Philip Sidney, Astrophel & Stella, I: “Fool, said my Muse to me, look in thy heart & write” (Poems, ed. W.A. Ringler, Jr., p. 165); see七三三則眉.[9] 【［補七三二則］Provenzal, p. 222. Flaubert to Louise Colet: “La passion ne fait pas les vers, et plus vous serez personnel, plus vous serez faible” (Correspondance,éd. Louis Conard, III, p. 30; again “C’est avec la tête qu’on écrit” — p. 50). Émile Henriot, Maîtres d’hier et contemporains, p. 129 quoting a scene from Porto-Riche’s Amoureuse “un détail d’Époque savoureux”: the heroine reads the latest books Un coeur de femme [Bourget], Notre coeur [Maupassant], Leur coeur [Lavedan], Trois coeurs[Édouard Rod] — “des histoires d’amour, de l’adultère, des chagrins de femme.” Chateaubriand, Génie du christianisme, I^ère Préface: “ma conviction est sortie du coeur; j’ai pleuré et j’ai cru.”】

T. Colsalvatico, Sempre festa: “[Finto tonto] Come l’albero dice a tutti i venti di sì, ma resta fermo nelle sue radice” (Ib., 287). Cf. Eckermann, Gespräche mit Goethe, 1827, April 11: “Er [Wieland] war einem Rohre ähnlich, das der Wind der Meinungen hin und her bewegte, das aber auf seinem Wurzelchen immer feste blieb” (Aufbau, 1950, S. 307); Auguast von Platen’s charming little poem: “Im Wasser wogt die Lilie, die blanke, hin und her; / Doch irrst du, Freund, sobald du sagst, sie schwanke hin und her. / Es wurzelt ja so fest ihr Fuss im tiefen Meeresgrund, / Ihr Haupt nur wiegt ein lieblicher Gedanke hin und her” (Neue Ghaselen, n^r. 181; Sämtliche Werke, hrsg. M. Koch & E. Petzet, Bd. Iii, S. 130). Julien Benda, writing on “l’abstrait rendu charnel”, handsomly praises the following image in the works of his bête noire: “Telle est la célèbre image... de Bergson comparant nos élats de conscience superficiels aux feuilles de nénuphar immobiles à la surface d’un étang dont le fond est agité” (Du Style d’Idées, p. 233). In Chinese, 楊柳 is a symbol of spineless pliancy; in Italian “salcigno” (from “salcio”) applied to meat means tough, & is used on unmanageable, intractable, stubborn person (The Cambridge Italian Dict., p. 688). A good example of the semiotic neutrality or indifference of metaphor: one & the same vehicle can be fitted to diverse & evenopposite tenors (cf. Gottlieb Frege, Über Sinn und Bedeutung on the same reference or Sinn with different meanings or Bedeutungen) one might indeed have a “metaphorical polygon” beside the usual “semantic triangle”. Indeed, the tree nodding in the breeze & the lily swaying in the pnd can themselves serve as metaphors for the mataphor: the vehicle remains unchanged in its character, accomodating & pliant it may be, in its relationship to various tenors. Cf.《談藝錄》三六七頁“鏡花水月”喻[10]; & supra 第三二○則 on 曹植《蝙蝠賦》; 第六六一則 on metaphors for dialectics; 第七三一則論《全唐文》卷二六七; 第七七○則 on《谷風》; 七七三則《史記‧司馬相如列傳》; Jean Rousset, Anthologie de la poésie baroque française, I, p. 267 on M^me Guyon’s use of the usually derogeatory images of the ball, the weathercock, the straw in the wind, etc. to symbolize the quietist virtue of abandon or indifference.【Provenzal, p. 287[11]. “鏡花水月” applicable to opposite tenors: Baldi, Cento Apologi: “Uno specchio si vantava di far ritratti più al naturale di qualsivoglia pittore [cf. German idiom: ‘Das Bild ist wie aus dem Spiegel gestohlen’]. La cui arroganza non essendo sofferta, udì: Sì, ma le tue immagini spariscono con lo sparir dell’obietto” (Leopardi, La crestomazia italiana, ed. Ulrico Hoepli, p. 72). See also 七二四則 on the metaphor of the waves in Shelley & Gotthelf.】

C. Dossi, Note azzurre: “[Il gatto] Lo scaldamani delle poverette” (Ib., p. 325). A variation on the convention of calling the cat the reading-lamp of poor scholars; cf. Tasso’s sonnet on the cats of Lo Spedale di Sant’Anna: “veggio un’altra gattina, e veder parmi / l’Orsa maggior con la minore: o gatte, / lucerne del mio studio, o gatte amate” (Rime di vario argomento, no. 106; Poesie, a cura di F. Flora, p. 881); Tommaso Stigliani: “Desiderio di lucciole”: “poiché non ho più gli occhi / della gatta gentil, che mi fuggiò, / lucerna antica dello mio studio” (G.G. Ferrero, Marino e i Marinisti, p. 654). In old Chinese tradition the cat serves as a timepiece, see e.g.《埤雅》卷四：“貓眼早暮則圓，日漸午狹長，正午則如一線爾”; 《物類相感志》：“貓兒眼知時，有歌云：‘子午線，卯酉圓，寅申已亥銀杏樣，辰戌丑未側如錢’”;《瑯嬛記》卷下引《志奇》：“及掘，貓身已化，惟得二睛，堅滑如珠，中間一道白，橫搭轉側分明，驗十二時無誤，與生不異。胡人恠之”. As Baudelaire said in “L’Horloge”: “Les Chinois voient l’heure dans l’oeil des chats” (Oeuv. comp., éd. la Pléiade, p. 303, cf. p. 1443).

C. Govoni, Il quaderno dei sogni e delle stelle: “[La luna] L’unghiata pallida del primo quarto” (Ib., p. 417). Cf. the poem on 新月 attributed to 建文帝：“誰將玉指甲，抓破碧天痕；影落江湖上，蛟龍不敢吞”（《列朝詩集》乾上引鄭曉《遜國記》; 錢謙益 says that the poem is in fact by 楊維楨, but I have not found it in《東維子集》&《鐵崖樂府》; 陳惟崧《湖海樓詞集》卷二《眉峯碧》：“半鈎纖月柳梢頭，問誰偷把青天掐”; E.F. Benson, Paying Guests, Tauchnitz ed., p. 208: “There was a nail-paring of a moon in the west.”

G. Gozzano, Colloqui: “La luna sopra il campanile antico / pareva un punto sopra un’ i gigante” (Ib., p. 417). Cf. Mariani, Il tramonto di don Giovanni: “Il corno della luna splende sul minareto come un accento d’oro sopra un i d’argento” (Ib., p. 419). Both derived from Musset’s notorious “Ballade à la lune”: “C’était, dans la nuit brune, / Sur le clocher jauni, / La lune / Comme un point sur un i” (Poésies complètes, éd. la Pléiade, p. 95). Cf. C. Salsa, Il ritorno degli amanti: “La finestra era aperta sul cielo: una rondine indiavolata spruzzava di virgole quella pagina cilestrina” (Ib., p. 761)[12]; E. Praga, Memorie del presbiterio: “Mi parevi [il campanile] un punto d’interrogazione lanciato nell’infinito, una domanda rivolta all’ignoto che non risponde” (Ib., p. 132); E. De Marchi, Nuove storie: “con una piccola virgola al posto della barba” (Provenzal, p. 87); A. Gatti, Ilia ed Alberto: “Aveva un barbiglio a punta che, quando la bocca si si chiudeva, cadeva giù come un punto esclamativo” (Ib., p. 87); G. Lopez, Il campo: “il fumo saliva nell’aria come un punto di domanda” (p. 314); Salsa, Il ritorno degli amanti: “La finestra era aperta sul cielo: una rondine indiavolata spruzzava di virgole quella pagina cilestrina” (Ib., p. 761). D.V. Liliencron: “Auf einem Bahnhof”: “Der neue Mond schob wie ein Komma sich / Just zwischen zwei bepackte Güterwagen”; P.H. Newby, A Guest & His Going, p. 159: “... that remote exclamation mark in water color, the factory chimney”; Jane Rule, The Desert of the Heart, p. 9: “Over the roofs of the next residential block there was the inverted exclamation mark of a church spire.” Another variety of typographical conceit applies to the features of human being or animals. Bruno, Spaccio de la Bestia Trionfante, Dialogo I: “... cominciando da gli angoli de la bocca... da l’uno e altro canto comincia a scoprirsi la forma di quattro parentesi, che ingeminate par che ti vogliano, stringendo la bocca, proibir il riso con quegli archi circonferenziali...” (Opere di Bruno e di Campanella, ed. A. Guzzo & R. Amerio, p. 485); Bettinotti in Secolo XIX, 12 febbr. 1948: “La coda del maiale sembra una virgola che si snodi fra due parentesi” (Ib., p. 704); Maria Luisa Astaldi, Una ragazza cresce: “La piccola ruga, come una virgola all’angolo della bocca”; F. Bondioli, Cecilia o gli affetti perduti: “due rughe le chiudevano ai lati la bocca tra due parentesi...” (Ib., p. 769); Willy Dias, L’ora di amore: “Le rughe le mettevano una parentesi dolorosasulle guance, presso la bocca” (Ib., p. 770); Gianna Manzini, Tempo innamorato: “La virgola di una ruga vicino alla tempia” (Ib., p. 771); Pitigrilli, Oltraggio al pudore: “Le rughe verticali che le mettevano tra parentesi la bocca” (Ib., p. 772); G. Maggiore, Gli occhi cangianti: “un sorriso chiuso tra due parentesi oscure ai due lati della bocca” (p. 853). 七三三則眉.[13] 【［補七三二則］Provenzal, p. 417. Hugo, Les Années funestes, 10.“Bord de la mer”: “La route qui descend des plaines à la grève / Ouvre en la rencontrant les deux bras de l’Y grec / Par où les chariots vont chercher du varech”;Toute la lyre, “La Fantaisie”, 18, “Mascaron”: “Il avait le front bas, le rire d’un pirate, / Le poil noir, l’oeil chinois, la mine scélérate; / Un turban le coiffait comme Nostradamus / Et, se rejoignant presque à son gros nez camus, / Moustaches et sourcils d’une énorme envergure / Lui dessinaient un X à travers la figure” (Oeuvjres poétiques complètes, Montréal, Éditions Bernard Valiquette, p. 751 & p. 1174); Nathanael West, The Dream Life of Balso Snell: “His mouth formed an O with lips torn angry in laying duck’s eggs from a chicken’s rectum” (Complete Works, Secker & Warburg, p. 37); Peter Towry, Trial by Battle, p. 5: “His teeth were yellowish, with an exclamation of pure gold on the left-hand side”; Herve Bazin, Lève-toi et marche, pp. 27-8: “j’éternuai. Le plus discrètement possible: une simple lettre russe, un ‘tché’ dévié par le nez et presque étouffé dans le mouchoir.”【Góngora, Soledades on the meanders on a river “dividing to form islands which make leafy parentheses in the period of their current” (G. Brennan, The Literature of the Spanish People, p. 248).】Cf.《考工記‧梓人》：“作其鱗之而”，孫詒讓《周禮正義》：“戴震云：頰側上出者曰‘之’，下垂者曰‘而’，鬚鬣屬也”（）;《南齊書》卷 27《李安民傳》[14]：“面方如‘田’”;《貴耳集》卷一：“孝皇聖明，亦為左右者所惑。……有宦者奏知：來日有川知州上殿。……外面有一語云：‘裹上幞頭“西”字臉’，恐官家見了笑。……面大而横濶，故有此語“;《清稗類鈔‧爵秩類‧大挑知縣》：“大挑論品貌，以‘同田貫日，身甲氣由’八字為衡。‘同’則面方長，‘田’則面方短，‘貫’則頭大身直長，‘日’則肥瘦長短適中而端直，皆中選。‘身’則體斜不正，‘甲’則頭大身小，‘氣’則單肩高聳，‘由’則頭小身大，皆不中選”;《清平山堂話本‧刎頸鴛鴦會》：“止做得個‘呂’字兒而散”;《肉蒲團》第十回：“豈有下面寫了‘中’字，上面不寫‘呂’字之理”;第十五回：［一男兩女］“上面寫‘呂’字，下面寫‘串’字”;《通俗編》卷二十二《元池說林》：“狐之相接也，必先‘呂’，‘呂’者、以口相接。傳奇中猥褻廋語所本”;方干詩：“路尋之字見禪關”;劉昭禹詩：“之字上危峯”;《元詩選丙集》張伯淳《雨餘出郊》：“瘦筇支彳亍，狹路寫之玄”,etc. Antony & Cleopatra, IV. vii, Scarus: “I had a wound here that was like a T, / But now ‘tis made an H”^{^[15]} (Complete Works, ed. G.L. Kittredge, p. 1318). Cf. 六三三則眉[16]. Cf. Luigi Pirandello, Uno, nessuno e centomila, Lib. I, cap. 1: “Le mie sopracciglia parevano sugli occhi due accenti circonflessi, ^ ^...” (Opere, I, Tutti I Romanzi, a cura di C. Alvardo, p. 1285); V. Nabokov, The Gift, p. 153: “She was slowly mixing a white exclamation mark of sour cream into her borshch”; Kathrin Perutz, A House on the Sound, p. 59: “Edward looked at Nickie & his left eyebrow formed a high circumflex”; p. 94: “She moved her leg towards him, trembling as the V of her thighs widened”; P.B. Abercrombie, The Little Difference, p. 25: “The rain-drops made exclamation marks on the window-pane”; V. Nabokov, Lolita, Olympia Press, p. 38: “The question mark of a hair inside the tub”; Erwin Strittmatter, Tinko (1956), S. 64: “Es kommt ein graugestprenkelter Schneewind. Er löscht die sonne von Himmel, wie man ein Null mit dem Schwamm von der Schulwandtafel wischt”; Jules Renard, Journal, éd. NRF, p. 132: “Raide comme un I enceint”; Reade, The Cloister & the Hearth, ch. 8 (“Modern Library”, p. 70): “A hare came cantering, then sat sprightly, and her ears made a capital V.” In American slang, “Exclamation marks” means a girl’s legs (!!) & “Parentheses” means bow legs (( )). German “X-beinig” & “O –beinig” & French “avoir les jambes en X” & “avoir les jambes en parenthèses” for knock-knees & bow-legs respectively. Sinclair Lewis, Babbitt, Ch. X, sect. 3: “... & village lamps like exclamation-points” (p. 146). Hector France, La vache enragée: “Le sourcil en accent circonflexe et l’oeil en point d’interrogation” (quoted in Richard Burton, The Book of the Thousand Nights & a Night, X, p. 171); Anthony Burgess, Honey for the Bears, p. 92: “The kohled girl gave a loud yawn, a huge red capital O”; Dashiell Hammett, The Maltese Falcon, “Modern Lib.”, p. 3 on “the V-motif” in Spade’s features. Dante’s wonderful simile in Purgatorio, XXIII, 31-3 is the archetype of all these: “Parean l’occhiaie anella senza gemme; / chi nel viso degli uomini legge omo / bene avria quivi conosciuto l’emme” (Opere, ed. E. Moore & P. Toynbee, p. 86; the words “omo dei” were supposed to be legible on the human face, see Dorothy L. Sayers, tr., The Divine Comedy, “The Penguin Classics”, II, p. 251). E.R. Curtius quoted Dante’s lines as an exaple of the Buchenstaben symbol (Europäische Literatur und Lateinisches Mittelalter, 2^teAufl., S. 333), but did not pursue its ramifications & elaborations.Paolo Zazzaroni’s ingenious conceit in his sonnet “Per un neo bruno, ch'aveva la sua donna nel volto”: “Ch’Amore, in terminar faccia sì bella, / lasciò de l’opra al fin quel neo per punto” (G.G. Ferrero, Marino e i Marinisti, p. 977). Manzoni, I Promesi sposi, cap. 1: “La strada si divideva in due viottole, a foggia d’un ipsilon” (Ed. Ulrico Hoepli, p. 7); Viani, Parigi: “La bocca tagliata a V maiuscolo” (Provenzal, p. 107); Annie Vivanti, Zingaresca: “Bocca sprezzante rivolta all’ingiú come un accento circonflesso” (Ib., p. 107); cf. 第三八九則.

Gianna Manzini, Rive remote: “Le rondini, con nette gugliate di volo, tra pungevano il cielo” (Ib., p. 760). Cf.《石林詩話》引唐末諸子詩“魚躍練江拋玉尺，鶯穿絲柳織金梭”[17] .

M. Viscardini, Giovannino o la vita romantica: “[Di due sorelle] sempre unite a mai d’accordo, come due occhi strabici” (Ib., p. 251). Cf. E. Fuchs, Illustrierte Sittengeschichte, II, S. 122-3: “Als besondre Schönheit des weiblichen Busens galt jedoch — dies freilich zu allen Zeiten — wenn die beiden Brüste weit von einander abstehen und beide noch auswärts gerichtet sind zwei feindliche Schwestern, die sich gegenseitig niemals ansehen” (cf. Havelock Ellis, Man & Woman, p. 158: “‘The breasts should always live at enmity,’ a sculptor oncc said to E. Brücke; ‘the right should look to the right & the left to the left’ (The Human Form, p. 72).”

D’Annunzio, Il trionfo della morte: “Il mare mosso da un tremolìo sempre eguale e continuo, rispecchiando la felicità diffusa del cielo pareva come frangerla in miriadi di sorrisi inestinguibili” (Ib., p. 454). An elaboration of Aeschylus’s famous simile in Prometheus Bound: “The multitudinous laughter of the waves of ocean”, see 三二一則 on《平齋文集》卷四《泥溪》. Cf. Milton, Comus, 119: “By dimpled brook & fountain-brim”; Cardinal de Bernis: “Les Petits Trous”: “Ainsi qu’Hébé, la jeune Pompadour, / A deux jolis trous sur sa joue! / Deux trous charmants où le plaisir se joue, / Qui furent faits par la main de l’Amour. / L’emprente de son doigt forma ce joli trou, / Séjour aimable du sourire, / Dont le plus sage seroit fou”; R.D. Blackmore, Lorna Doone, ch. 19: “... & in the midst a tiny spring arose with crystal beads in it, and a soft voice as of a laughing dream, & dimples like a sleeping babe” (“Everyman’s”, p. 121); especially in Thoreau, Walden: “The Ponds”: “... which the fishes dart at & so dimple it again”; “the dimpling circles”; “in circling dimples”; “the perch... rising to the surface & dimpling it”; “some dimples on the surface” etc. (“Modern Lib.”, pp. 169, 170, 171, 172).