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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。









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