范旭仑︱杨绛对钱锺书笔记的袭用

《钱锺书手稿集·外文笔记》（第一辑），商务印书馆2014年5月出版
杨绛学术文章的论点论据大多源自钱锺书的笔记。杨绛的袭用是双重的，袭用钱锺书的笔记，袭用钱锺书笔记里的引据。这里列举刊登于《文学研究》1957年6月号的《斐尔丁在小说方面的理论和实践》和《文学评论》1964年6月号的《堂吉诃德和〈堂吉诃德〉》的袭用。
其一
斐尔丁同时的人就佩服他能够跟各个阶层各种职业的人（Persons of every situation and calling）交往谈心，“不让自己的谈锋起锈”。见司密斯（J. T. Smith）《诺勒根斯及其时代》（Nollekens and His Times）第五章——世界经典丛书版（The World’s Classics）八〇页。
按钱锺书“F. Homes Dudden, Henry Fielding: His Life, Works and Times (1952)”笔记：630: Both J. T. Smith (Nollekens and His Times, “World’s Classics”, 80) and James Harris (Works, 1781 ed. III, 163-4) comment on Fielding’s fondness of “promiscuous intercourse”, of “conversing with persons of every situation and calling”.
其二
但也有读者如十九世纪的小说家斯各特和乔治·艾略特（George Eliot）对这几章十分赞赏。斯各特说，这些议论初看似乎阻滞故事的进展，但是看到第二三遍，就觉得这是全书最有趣味的几章。艾略特很喜欢《汤姆·琼斯》里节外生枝的议论，尤其每卷的第一章；她说斐尔丁好像搬了个扶手椅子坐在舞台上和我们闲谈，那一口好英文讲来又有劲道，又极自在。注：《小说家列传》(Lives of the Novelists）——世界经典丛书版二二页；《米德马区》（Middlemarch）第十五章——世界经典丛书版一四七页。
按Dudden书第673页起：It need only be added that two critics of distinction — Sir Walter Scott and George Eliot — have borne testimony to their interest and value. ‘Fielding’, wrote Scott, ‘considered his works as an experiment in British literature, and therefore he chose to prefix a preliminary chapter to each book, explanatory of his own views and of the rules attached to this mode of composition. Those critical introductions, which rather interrupt the course of the story and the flow of the interest at the first perusal, are found, on a second or third, the most entertaining chapters of the whole work’ (Scott, Lives of the Novelists, World’s Classics ed. 22). George Eliot, for her part, evinced high appreciation of Fielding’s ‘copious remarks and digressions’, and especially of ‘those initial chapters to the successive books of his history, where he seems to bring his armchair to the proscenium and chat with us in all the lusty ease of his fine English’. ‘But’, she went on, ‘Fielding lived when the days were longer (for time, like money, is measured by our needs), when summer afternoons were spacious, and the clock ticked slowly in the winter evenings. We belated historians must not linger after his example; and if we did so, it is probable that our chat would be thin and eager, as if delivered from a campstool in a parrot-house’ (George Eliot, Middlemarch, book ii, ch. 15).钱锺书笔记约敛作：Scott (Lives of the Novelists, World’s Classics ed. 22) and George Eliot (Middlemarch, ii. 15) praised three prefatory disquisitions.
其三
他自己说，《汤姆·琼斯》每卷的第一章，读者看来也许最乏味，作者写来也最吃力；又说，每卷的第一章写来比整卷的小说还费事。注：见《汤姆·琼斯》第五卷第一章。第十六卷第一章。
按Dudden书第665页： Fielding himself singled out these disquisitions as the parts of his ‘prodigious work’ which had ‘given the author the greatest pains in composing’; he even declared, ‘I can with less pains write one of the books of this history, than the prefatory chapter to each of them (Tom Jones, v. I; xvi. I).钱锺书笔记节作：These initial essays in Tom Jones, which had given Fielding “the greatest pains in composing” ( v. 1; cf xvi. 1; ix. 1). 《斐尔丁在小说方面的理论和实践》所用Fielding文字，几无外乎Dudden书。举此以概。
其四
斐尔丁的小说理论大多就依据法国十七世纪的批评家，尤其是勒·伯需（René Le Bossu）的《论史诗》（Traité du Pome épique）。注：参看狄容《斐尔丁的小说》二八四页。
按Dudden书笔记：328: The conception of a prose epic had been defended by Le Bossu in his Traité du Pome épique, a classic to which Fielding was indebted for many of his ideas on literature (see A. Digeon, The Novels of Fielding, 233-4); examples of the prose epic were afforded by Heliodorus’s Aethiopica and Fénelon’s Télémaque.
其五
他的《马吉悌斯》（Margites）和喜剧的关系，就恰像《伊里亚德》、《奥狄赛》和悲剧的关系。《马吉悌斯》就是斐尔丁所说已经遗失的喜剧性史诗。
按Dudden书第328页：A comic epic had long ago been produced in the lost Margites of Homer, which according to Aristotle bore the same relation to comedy that Iliad and Odyssey did to tragedy (Aristotle, Poetics, iv. 9. Fielding refers to the lost Margites in Joseph Andrews, Preface; iii. 2).钱锺书笔记作： A comic epic had long ago been produced in the lost Margites of Homer (cf Aristotle, Poetics, iv. 9), to which Fielding refers in Joseph Andrews (Preface; iii. 2).
其六
《阿米丽亚》摹仿维吉尔。注：《花果市周报》（The Covent-Garden Journal）第八期——建生（G. E. Jensen）编注本第一册一八六页。
斐尔丁在他办的《花果市周报》上为《阿米丽亚》辩护，说这是自己最宠爱的孩子，按照大师们的规则写成；公正而饱学的读者可以看出来，他这次取法的是维吉尔。注：《花果市周报》第八期——建生编注本第一册一八六页。
按Dudden书第876页：Nay, when I go further and avow that of all my offspring she is my favourite child. I can truly say that I bestowed a more than ordinary pains in her education; in which I venture to affirm, I followed the rules of all those who are acknowledged to have writ best on the subject; and if her conduct be fairly examined, she will be found to deviate very little from the strictest observation of all those rules; neither Homer nor Virgil pursued them with greater care than myself, and the candid and learned reader will see that the latter was the noble model which I made use of on this occasion.引自The Covent-Garden Journal, 28 Jan. 1752。“18 July 1752”即“第八期”。
其七
法国贝尔加德（Abbe Bellegarde）写过一篇论可笑的文章，却没有追溯出可笑的根源。斐尔丁认为可笑的根源出于虚伪。虚伪又有两个原因：虚荣和欺诈……可笑的事物形形色色，但追溯根源，无非出自虚伪。注：见《约瑟·安柱斯》序。
按Dudden书笔记：333: With the Abbé J-B. Morvan de Bellegarde’s Réflexions sur le Ridicule (4th ed. 1727, i. 58) and Chesterfield’s essay (Common Sense, 3 Sept. 1737; cf The World, 17 April 1755) in mind, Fielding did not hesitate to adopt the theory that “affectation” is “the only source of the true ridiculous”, while vanity and hypocrisy are in turn the source of affectation (Joseph Andrews, Preface).
其八
他根据康格利芙（Congreve）和班·江生（Ben Jonson），以为偏僻的性格使人物举动可笑。注：见《花果市周报》第五十五期，建生编注本第二册六二页。
按Dudden书笔记：913: Quoting from Congreve’s essay Concerning Humour in Comedy and Jonson’s Every Man Out of His Humour, Fielding put forward the view that humour is “a violent bent or disposition of the mind to some particular point.” But “No passion or humour of the mind is absolutely either tragic or comic in itself” (The Covent-Garden Journal, 18 July 1752).又334: The theory is not sufficiently comprehensive, and Fielding later put forward an amended theory in The Covent-Garden Journal, 18 July 1752.
“第五十五期”即“18 July 1752”。
其九
这类传记在十八世纪的英国非常风行，英国小说家笛福（Defoe）也学到诀窍，他的《鲁滨孙飘流记》、《女流氓弗兰德斯传》、《罗克莎娜夫人传》等都是这类捏造的历史。所以斯狄尔在《闲谈者》（Tatler）上嘲笑法国传记说：“我以后要通知一切书店和翻译家：法国人所谓传记（memoir），只是小说（novel）的别称。”注：一七〇九年十月二十二日《闲谈者》——波士登（Boston: Little Brown & Co.）一八六六年版第二册二九六—七页。
按钱锺书“Revue d’Histoire littéraire de la France, Avril-Juin 1955”笔记：165: Daniel Defoe écrivit aussi un grand nombres de mémoires apocryphes (cf D. A. Stauffer, The Art of Biography in Eighteenth Century England, p.79). Steele: “Some merry gentlemen of the French nation...have written very advantageous histories of their exploits in war, love and politics, under the title of memoirs...I do hereby give notice to all booksellers and translators whatsoever, that the word ‘Memoir’ is French for a novel” (Tatler, 22 Oct. 1709).
所札为Georges May文“L’histoire a-t-elle engendré le Roman? Aspects franais de la Question au seuil du siècle des lumières”。
其十
所以枯立支（Coleridge）以为自古以来布局完密无间的作品有三部，《汤姆·琼斯》居其一。注：《枯立支语录》（The Table-Talk and Omniana of S. T. Coleridge）庞标准丛书（Bohn’s Standard Library）版二九四—五页。
司各特和萨克利也赞叹它的布局。注：司各特《乃杰尔的遭遇》（The Fortunes of Nigel）书信代序（Introductory Epistle）牛津版一九一—二〇页）。又萨克利《英国滑稽家》（English Humourists）第五讲——一八七九年伦敦版《萨克利集》第二十三册二九七页。

Henry Fielding: His Life, Works and Times第616页
按Dudden书笔记：616: Coleridge: “What a master of composition Fielding was! Upon my word, I think the Oedipus Tyrannus, the Alchemist, and Tom Jones, the three most perfect plots ever planned” (Table Talk, 5 July 1834). Scott repeatedly praised this “regularly built”, “well-planned tale” (Lives of the Novelists, “World’s Classics” ed. 68; The Monastery, Introduction; The Fortunes of Nigel, Introductory Epistle). Thackeray pronounced it, “as a work of construction, quite a wonder” (English Humorists, Lect. V).
其十一
萨克利在他的小说《潘丹尼斯》（Pendennis）序里对斐尔丁胆敢据实描摹表示钦佩，只恨在他自己所处的时代里文学作品不敢这样描写。
按Dudden书笔记：629: Cf Thackeray in the Preface to Pendennis on Fielding’s courageous truth-speaking.又按下句“and laments the lack of this quality in the literature of his age”未录，“on”原作“admires”。
其十二
斐尔丁只求写得贴合实情，也不肯落小说家的窠臼。历来西洋小说里写恋爱，总不脱中世纪骑士式的《恋爱法典》，例如想念情人就必定饭也不吃，觉也不睡。注：参看斯当达《恋爱论》（De l’Amour）卷二附录十二世纪《恋爱法典》第二三条——沙发（Le Divan）版第二册第二八九页。
按钱锺书“The History of Tom Jones, by H. Fielding”笔记：The famous first chapter of the sixth book contains more practical wisdom than the Phaedrus and more honest passion than all Stendhal’s De l’ Amour—Saintsbury. 札诸Everyman’s Library本Saintsbury所作叙论。钱锺书《小说识小》：斐尔亭（Fielding）小说《汤姆·琼斯传》（History of Tom Jones）卷六第一章详说恋爱心理，圣茨伯雷先生（George Saintsbury）颇叹赏之。
其十三
斐尔丁说《约瑟·安柱斯》是仿《堂吉诃德》作者赛万提斯的笔法写成的……亚当斯虽属吉诃德型，个性并不一样。像他这种带三分傻气的忠厚好人后来英国文学上出现不少，像斯登（Laurence Sterne）投贝叔叔（Uncle Toby）、戈尔斯密兹（Goldsmith）的普林姆柔斯（Dr Primrose）和哈卡塞先生（Mr. Hardcastle），萨克利的纽康上校（Colonel Newcome），狄更斯的匹克威克先生（Pickwick）等，都是亚当斯牧师同一类型的人物。
按Dudden书笔记：327: Joseph Andrews is described on the title-page as “written in Imitation of the Manner of Cervantes, Author of Don Quixote”. 337: Parson Adams is obviously modelled Cervantes’s hero. 355: Adams is the centre of interest. The prototype of “my uncle Toby”, Dr Primrose and Colonel Newcome.
又按此节重出于《堂吉诃德和〈堂吉诃德〉》。
其十四
一个人凭一时情感，干错了事，说不定自己也后悔，不能就此断定他的一生。人的好坏看他的居心，好人居心仁厚，常常推己及人，跟人休戚相关，自然而然的愿意助成人家的幸福，解除他们的困苦。注：参看斐尔丁散文《论知人之明》（An Essay On the Knowledge of the Characters of Men）——一八三三年庞（Bohn）版《斐尔丁集》六四五页。
按Dudden书笔记： 273: “An Essay On the Knowledge of the Characters of Men”: “Good-nature is that benevolent and amiable temper of mind, which disposes us to feel the misfortunes, and enjoy the happiness of others; and consequently pushes us on to promote the latter and prevent the former; and that without any abstract contemplation on the beauty of virtue, and without the allurements or terrors of religion” (Works, ed. W. E. Henley, xiv. 285).
又按上文“霍布斯以为笑是自己得意而对人轻侮的表现[参看《勒外顿》（Leviathan）第一部第六章，汝德雷吉版（George Routledge and Sons）三三页]”，“《斐尔丁集》六四五页”亦道及——“Mr. Hobbes tells us that laughter arises from pride”。
其十五
例如法国十九世纪批评家艾米尔·蒙泰居（mile Montégut）在他的《文学典型和美学幻想》（Types littéraires et fantaisies esthétiques, 1833）里，把堂吉诃德、哈姆雷特、少年维特、维尔海姆·麦斯特（Wilhelm Meister）四个角色称为合乎美学标准的四种典型。
按钱锺书“PMLA, March, 1961”笔记：100: mile Montégut objected to “rhétongue savante”… “constructions artificiellement logiques” occurs in his essay on Wilhelm Meister (Types littéraires et fantaisies esthétiques, pp. 154-5).为Richard M. Chadbourne的论文“The Essay World of mile Montégut”。Types littéraires et fantaisies esthétiques出版于1882年（mile Montégut 1825年生），作者似未尝手触。
其十六
艾狄生把《堂吉诃德》和勃特勒（Samuel Butler）的《胡迪布拉斯》（Hudibras）并称为夸张滑稽的作品。注：《旁观者》（Spectator）二四九期，《每人丛书》版第二册二九九页。夏夫茨伯利（Shaftesbury）也把《堂吉诃德》看作夸张的讽刺，见《论特性》（Characteristics），罗伯生（J. M. Robertson）编注本第二册三一三页。
按全袭Stuart Malcolm Tave著The Amiable Humorist，钱锺书“Stuart M. Tave, The Amiable Humorist (1960）”笔记札之：153: Addison regularly couples Hudibras and Don Quixote (Spectator, no. 227) and calls Cervantes’s novel an example of burlesque or mock-heroic (no. 249) — a view also held by Shaftesbury and Pope (Characteristics, II, 313; Postscript to the Odyssey). 又按“a view also held by Shaftesbury and Pope”为Tave书To Shaftesbury, too, the book was a burlesque, to Pope “the perfection of the Mock-Epick”, and this was standard; as late as 1801, Don Quixote was “a burlesque hero, whose example we are to shun”的隐括。

The Amiable Humorist第616页

钱锺书The Amiable Humorist笔记
其十七
谭坡尔（William Temple）甚至责备塞万提斯的讽刺用力过猛，不仅消灭了西班牙的武侠小说，连西班牙崇尚武侠的精神都消灭了。注：谭坡尔《论古今学术》（On Ancient and Modern Learning）——斯宾冈（J. E. Spingarn）编《十七世纪批评论文集》（Critical Essays of the Seventeenth Century）第三册七一页。
按Tave书笔记：153: The only objection raised against Cervantes was that his satire had been too effective and had killed Spanish greatness along with its false chivalry (Sir William Temple, “Of Poetry” and “Of Ancient and Modern Learning”, in Spingarn, Critical Essays, III, 71-2, 101-2, 307.
其十八
散文家斯蒂尔（Richard Steele）、小说家笛福、诗人拜仑等对塞万提斯都有同样的指责。注：详见上书三〇七页注释。
按Tave书笔记：153: Steele, Tatler, no. 219; Hurd, Moral and Political Dialogues, 1759, p.115).“307”作：The theory that ‘Cervantes smiled Spain’s chivalry away’ (Byron, Don Juan, xiii. 11) has persisted in English literature since Temple first gave expression to it in this passage; cf. Steele, in the Tatter, no. 219, Defoe’s Memoirs of Captain Carleton, Motteux’s preface to Don Quixote, 1700 (Becker, Don Quixote in der englischen Literatur, p. 26 sq.).
其十九
约翰生说：“堂吉诃德的失望招得我们又笑他、又怜他。我们可怜他的时候，想到了自己的失望；我们笑他的时候，自己心上明白，他并不比我们更可笑。”注：《漫步者》（Rambler）第二期，《每人丛书》版七页。
按Tave书第16页：Dr. Johnson said (1750), the visions and disappointments of Don Quixote raise mirth or pity, but we cannot deny that “When we pity him, we reflect on our own Disappointments; and when we laugh, our Hearts inform us that he is not more ridiculous than ourselves”[Samuel Johnson, Rambler, No.2 (March 24, 1749-50)].
其二十
英国诗人蒲柏也注意到堂吉诃德有理性、讲道德的方面。他首先看到堂吉诃德那副严肃的神情，并且说他是“最讲道德、最有理性的疯子，我们虽然笑他，也敬他爱他，因为我们可以笑自己敬爱的人，不带一点恶意或轻鄙之心。”注：《笨伯咏》（Dunciad）卷一，二一行。舍本（George Sherburn）编《蒲伯书信集》（Correspondence）第四册二〇八页。
按Tave书第153页起：Pope’s reference in the Dunciad to “Cervantes’ serious air” shows “a truer insight” into the significance of the book, it has been said [James Fitzmaurice-Kelly, Cervantes in England, p. 16. Dunciad Variorum, I, 19, or Dunciad in Four Books, I, 21 (ed. J. R. Sutherland, pp.62, 270)]…A more interesting bit is a letter Pope wrote to Lyttelton in 1739: “As He loves Don Quixote, for the Most Moral and Reasoning Madman in the world. For I maintain, and I know it, that one may smile at Those one loves, nay esteems, and with no more Malice or Contempt, than one bears to an Amiable schoolboy” (Correspondence, IV, 208).
其二十一
英国十九世纪批评家海兹利特（William Hazlitt）认为《堂吉诃德》这个可笑的故事掩盖着动人的、伟大的思想感情，叫人失笑，又叫人下泪。注：《论英国小说家》（On the English Novelists），郝欧（P. P. Howe）编《海兹利特全集》第六册一〇八页。
按Tave书笔记：234: Hazlitt notices that “the ludicrous blends with the tender” in Shakespeare, that “the pathetic and sentimental” is mixed “with the quaint and humorous” in Cervantes, etc. (Works, IV, 338; VI, 33-5, 11, 108, 110).
又按“一〇八页”为“一一〇页”之误。
其二十二
按照兰姆（Charles Lamb）的意见，塞万提斯创造堂吉诃德的意图是眼泪，不是笑。注：《现代艺术创作的缺乏想象力》，鲁加斯（E. V. Lucas）编《兰姆全集》第二册二三三页。
按Tave书笔记：234: Cf Lamb on the wretched illustrator of Don Quixote: “That man has read his book by halves; he has laughed, mistaking his author’s purport, which was—tears.”—“Barrenness of the Imagination”, Works, ed. E. V. Lucas, II, 233）。
其二十三
例如海兹利特就认为塞万提斯是借堂吉诃德来发扬过去的骑士道——贺欧编《全集》第六册一〇八页。
按Tave书笔记：163: To Hazlitt, Don Quixote is “an enthusiast of the most amiable kind”, through whose through “crazed and battered figure” the “spirit of chivalry shines out with undiminished lustre” (Comic Writers, in Works, VI, 108).
其二十四
又《重读堂吉诃德》（《外国文学研究集刊》第一辑）：美国当代小说家司各特·费兹杰拉尔德（Scott Fitzgerald）在他的《富家子》（The Rich Boy)开头说：你动笔写一个具有个性的人（an individual）会发现自己创出了一个典型（created a type）；你从典型入手，会发现自己什么也没有创出来（created—nothing）。注：梅尔康·考雷（Malcolm Cowley）编《司各特·费兹杰拉尔德全集》第五册二八六页。
按出自钱锺书“MLN, Oct. 1975”笔记：Cf Scott Fitzgerald story The Rich Boy, opening sentence, “Begin with an individual, and before you know it you find that you have created a type; begin with a type, and you find that you have created—nothing” (The Bodley Head Scott Fitzgerald, ed. Malcolm Cowley, V, 286).节抄自1975年10月号Modern Language 上Notes Michael Morley所作“Truth in Masquerade”: Structure and Meaning in Brecht’s Die Bestie。