且說徐子雲請了屈公來，並請南湘、仲清、文澤、春航、王恂、子玉作陪，仍在梅崦中。王恂是日為孫亮功請去有事，因李元茂吉期已定，要招贅過來。亮功因兩位賢郎是不懂事的，一切皆托王恂料理，王恂所以不能前來。
子雲因屈道生是個高雅好靜的人，名旦中止叫了四個，寶珠、漱芳、蕙芳、素蘭。漱芳有恙不能前來，格外又知會了琴言。是日屈公先到，與子雲、次賢敘了好些舊話。
且將屈公的出身述其大概。屈公是湖北武昌府人，為三閭大夫之後。學貫天人，神通六藝，但一生運蹇時乖，家道清寒，除了書籍之外，一無所有。
其父由宏詞科授了翰林院檢討，未滿三十歲，即行去世。
那時道生才得四歲，尚有祖父母在堂，其太夫人苦節多年，教養兼任。道生到了十六歲上入了學，即丁祖父憂。三年服滿，將要應舉，又丁了祖母憂，又是三年。那年服闋後，太夫人又相繼去世。道生一連丁了九年憂，已到二十五歲了。娶妻閔氏，賢慧無雙。道生奔走衣食，筆耕餬口，歷走燕、趙、吳、越，並滇南、黔省，為諸侯幕客。縱橫萬餘里，遨遊二十年，名重一時，愛其才品者咸比為杜少陵、孟東野。但其賦性高曠，不善治家，常為貧乏所累。後復遊京師應舉，兩試不第，館於劉尚書家，教過文澤兩年。繼為華公子請去教書，又逗留了三年，仍歸鄉里。守令欽其賢，舉了孝廉方正，銓選了江西一個苦缺知縣，任滿題升了南昌府通判。去年夫人又病故了，剩了孑然一身，並無親丁骨肉。
有幾個下人，也是外面薦來的。只有一個長隨叫劉喜，跟了有五六年，頗有良心，其餘是些不關痛癢的。屈公雖則一肩行李，生平所藏金石玩器、名書古畫，倒有好幾箱。到京來，劉尚書念舊，見其宦囊蕭索，贈了他二百金。
華公子知道他來，出城拜了他，送了三百金。屈公得了五百金，又到那些古玩鋪買了好些書籍、名帖等類。從前相好中有寒士者，也分送了好些，目下所餘無幾了。
從前徐中堂在京時，也與他相好，並有些事情請教他，又請他代代筆，作些詩文，所以子雲以長者相待。史南湘是同鄉後輩，不消說是認識的了。
田春航前日已經會過，唯仲清、子玉初次識荊，見了那仙風道骨的相貌，況且又是父執，自然十分恭敬。道生見仲清骨秀神清，知是不凡。又看子玉溫然玉立，皎若珠光，秀外慧中，神怡氣肅，又不是那徒有外貌的一派，心中十分大喜，想道：「梅鐵庵可為有子矣。」便與子玉說些江西事情，說道：「令尊大人嚴拒情面，杜絕苞苴，一省人都比他為司馬光、文彥博。士子們感戴是不用說了。」又問些子玉去年鄉試的事，子玉一一答了。道生看他言詞清藹，氣象虛沖，自然已是個飽學，心裡要想試試他，且到飲酒時慢慢的考他。
只見四旦約齊同來，蕙芳已經認識，四人都上前請安。道生拱了手，命他們坐了，細細看了一番，又問了三人名號，謂子雲道：「如今京裡的相公，一發比從前好了。」子雲道：「今日本不應叫他們來伺候，因他們尚不十分惡劣，還可以捧研拂箋。況他們前日聽得先生來了，要瞻仰瞻仰老名士。若得齒頰餘芬，褒揚一字，則勝於拳金之賞，想先生決不責子雲之荒謬也。」道生笑道：「你為我是孝廉方正出身，故有此說。對花飲酒，何損於品行？不是我恭惟你，我看這四位倒不像個梨園子弟。你們自然是極熟的，我卻頭一回見面，我試將他們的大概說出來，看對與不對。」眾人聽了，倒要細細的聽他怎麼講。次賢道：「我知道尊兄是精於風鑒的，但以後的話不要講他，倒要講講從前的是。什麼千金事業、兩子收成的話，我也會說的。你能將各人的性情脾氣講出來，我才服你。」諸旦聽了皆笑。子雲道：「這個未必相得出。」道生道：「不難，待我說給你們聽。」說到此，已擺了席。子雲敬酒，分了東西兩席。東首是道生不消說了。
西首定要南湘，南湘道：「這是我鄉前輩，如何敢抗禮。」才定了仲清。東席第二是南湘，西席第二是春航。東席三是子玉，西席三是文澤。子雲東席作主，次賢西席作陪。寶珠、琴言在東，蕙芳、素蘭在西，一一坐了。主人讓酒，客皆飲了幾杯。道生道：「我將前日先見的蘇媚香談起。」西席的人個個細聽。道生道：「我這看相不論氣色，部位是要論的，然尚在其次。我看全身的神骨、舉止行動、坐相、立相，並口音言語，分人清濁，觀人心地，以定休咎。但頭一句就恐有些不對，我看媚香是個好出身，不是平常人家的子弟，你們自必知道，對不對呢？」眾人心上有些詫異，猶疑他知道他的出身，所以頭一個就拿他來開場，要顯他的本事。次賢道：「你不要訪了他的根底來。」
道生道：「這也何必要訪？我知道他聰慧異常，肝膽出眾，是個敢作敢為的。但雖是個好出身，未免幼年受盡了苦，所謂死裡逃生。據我看，他一二年內，必有一番作為，就要改行的。後來收成怎樣，此事還遠，我也不必說。若說，靜宜又要駁我了。」再看素蘭、寶珠，大致相仿，與蕙芳也不差什麼，就沒有講他們出身。又道：「出污泥而不滓，就是他們三人的大概了。」看到了琴言，道生道：「這位有些不像，如今還在班裡麼？」次賢道：「現在班裡，而且是個五月榴花照眼明，雅俗共賞，是個頂紅的。」琴言笑了一笑。道生道：「雅或有之，俗恐未必。我看他身有傲骨，斷不能與時俯仰，而且一腔心事，百不合宜。此人若念了書，倒與我一樣，斷不能發科發甲的。」眾人聽他說得很切，也就笑了。
又要琴言的手看了一看，道：「可惜了，有文在手，趁早改行，雖非富貴中人，恰是清高一路。你這片心與人兩樣，不是你願意的，恰一點委屈受不得。是你願意，恰又死而無怨。如遇著忠孝節義的事，倒能行人所不能行的出來。但有一句話，心從寬厚上用，可以造命立運，惟怕壽元不足。然而修身以俟，也可挽回造化。」眾人聽他說得真切，便知道真能看相，不是瞎話。琴言因這幾句話，說到心坎上，便也十分快活。又看那屈道生有飄飄欲仙之概，便也待他親厚起來。
道生與南湘並坐，便問道：「令尊到任可有些施為？請把善政講講。」南湘道：「家嚴初任外官，況且才三個月，尚未辦什麼事，就訪得了一個土豪、兩個蠹役，地方上很稱快。制臺寫信來，也說了幾句好話，其餘也沒有什麼。」道生道：「我知道你令尊是耿直人，定有作為的。說起土豪、蠹役，何處沒有？即如江西，我到任的時候，那土豪、蠹役最甚，民遭其殃者，不計其數。一連七任知縣都裝聾作啞，不敢辦他，因此越發膽大了。有個口號：『東鄉有一虎，西鄉有一狼，虎食人之肉，狼食人之腸。狼虎食完剩殘血，猶飽饞蛇與餓蠍。公門蕩蕩開，蛇蠍齊進來。縣官坐堂如土偶，蠍爬其背蛇盤首。』那狼、虎是土豪，蛇、蠍是蠹役。東鄉的捐了個衛千總，西鄉是親兄弟。一個武舉、一個武生，他手下的都是賊盜，他作個窩藏盜首，結交了東鄉虎，包攬詞訟，把持衙門，又有蛇、蠍二役勾連。我到任時，查三年之內已換了七任知縣，盜案、命案共有二百餘件。我費了半年心力，辦了這五個人，已後就太平無事，也沒有個命、盜案出來。」子雲道：「這功勞卻也不小，感恩受惠的人也不止一縣。」道生道：「我也不敢居功，地方上應辦的我總要辦，盡力作去，也不管身家性命，且到什麼地位再說。」又與諸名士談講了好些事情。
子雲見上菜的家人一件新衣上爬著個蝨子，候他上好了菜，叫他拈掉了。道生即問關子玉道：「世兄博覽經史，不知方才這個蝨子見於何書為古？詩詞雜說是不用講的。」子玉劈頭被他一問，呆了一呆，想道：「這個字卻也稀少，他說見於何書為古，這些捫蝨、貫蝨就不必講了。」婉言答道：「小姪寡聞淺見，讀書未多。見於書史者也只有數條，大約要以阮籍《大人先生論》『君子之處域內，何異蝨之處□中』為先了。」南湘道：「還有《史記》『搏牛之虻，不可以破蟣蝨。』」道生道：「此二條尚在《商子》之後，古有蝨官，見於《商子》。《漢書藝文志》傳《商君書》二十九篇，後來亡其三篇，只傳二十六篇。內有仁義禮樂之官為蝨官。杜牧之書其語於處州孔子廟碑陰曰：『彼商鞅者，能耕能戰，能行其法，基秦之強，曰：彼仁義蝨官也。』蓋仁義自人心生，猶蝨由人垢生。譯蝨字之義似易生且密之意，不知是否？」南湘、子玉拜服。次賢道：「今日道翁要開書箱了，幸這些陪客都還可以領教。若單是我一個，我就不准你講。」道生笑道：「你們都是些才人詞客，無書不覽，我這老朽，豈敢班門弄斧。況且少年時也是些耳食之學，隨聽隨忘，如今都不記得了。」子雲道：「前日次賢見過大著內有一種《醒睡集》，此書可在身邊麼？」
道生道：「此板早已劈化了，這是少年時無賴，作這些東西，豪無道理。」子雲道：「又聞得有些對戲目的對子。」道生道：「有數十條，也記不得了。」次賢道：「我們前日幾個人，也湊了好些。」又指琴言、蕙芳、寶珠三人道：「這三個還有一個王桂保，他們也對了許多，比我們還好些。」便叫人到他書房拿出一個單子，並上次所行之令也寫在上面，注了各人姓名。道生看了，連聲贊好，道：「不料這四位竟能如此，竟是我輩，老夫今日真有幸也。他們貴行中我卻也見過許多，不過寫幾筆蘭竹，涂幾首七言絕句，也是半通不通的。要似這樣，真生平未見。怪不得諸公相愛如此。可惜老夫早生四十年，不然也可附裙屐之列。」諸人見他欣賞，個個喜歡。
那邊仲清問道：「先生所藏金石甚富，且精於考辨。不知篆隸碑板，究以何本為最？」道生道：「古篆近人不甚講究，如《衡岳碑》，相傳七十七字，在衡岳密雲峰。至宋嘉定中何致子一遊南嶽，拓其文刻於嶽麓，楊用修又刻於滇南，楊時喬又刻於棲霞，輾轉相刻，姑為弗論，余嘗譯其文曰：
承帝曰嗟，翼輔佐卿。
洲渚與登，鳥獸之門。
參身洪流，而明發禹興。
久旋忘家，宿嶽麓庭。
智營形折，心罔弗辰。
往求平定，華嶽泰衡。
宗疏事裒，勞餘神□。
鬱塞昏徙，南潰衍亨。
永制食備，萬國其寧，竄舞永奔。
凡七十七字。王元美曰：『銘詞未諧聖經，類周篆、穆天子語。』此為知言。
其次如周武王《銅盤銘》云：
左林右泉，後岡前道。
萬世之寧，茲焉是寶。
亦豈三代語耶？其為贗作無疑。石鼓文，鄭樵謂秦惠文後及歐陽三疑皆不足據。韋應物謂文王之鼓，宣王刻詩。馬子卿謂宇文周時作，更為妄論。唯董、程二氏以《左傳》成王有歧陽之搜證之，鑿鑿可據。以後則秦《嶧山銘》，為宋淳化中鄭文寶刻，尚不失為古篆。漢隸之最佳也，以《孔廟禮器碑》為第一，次則漢《曹景完碑》，一則神奇渾璞，一則豐贍高華。至魏之《勸進碑》、《受禪碑》、《祀孔子碑》，後魏魯耶太守《張君頌》、李仲璇《修孔子廟碑》等等，優劣互見。漢隸已失，況其後乎。」仲清稱善。
春航道：「蘭亭聚訟紛紛，即定武本亦有二刻。真偽已分，究何以辨？」道生道：「蘭亭刻於唐太宗貞觀年，先太宗為秦王時，得於僧辨才處。貞觀十年，始命湯普、馮承素、諸葛貞、趙模，各臨拓以賜近臣。當時褚遂良、歐陽詢各有臨本，人並崇尚。所謂定武本者，歐臨是也。唐絹本者，褚臨是也。彼時歐臨石刻在禁中，後石晉之亂，契丹輦石投於殺虎口，既為定武太守李景文所得，入於庫中。熙寧間，薛師正出牧，刊一別本，以應求者。此定武有真贗二刻。其子薛道祖又摹之他石，潛易古刻，又剔損古刻湍、流、帶、左、右，五字為識。大觀中詔向其子嗣昌取龕宣和殿，後靖康之亂失去。及明弘治間，得於天師庵中，置於太學，而歐本復顯。褚摹絹本，當時廣賜各郡學宮，如潁上石、長治縣石皆得之，後明代潁上井中夜放光如虹，縣令荀公異之，掘地得蘭亭，並門銅□，舍利數顆，即為荀令攜至家。至今不知流落何處矣。至於各家臨本，不可勝數，諸公自有法眼，無俟鄙人陳說也。」
春航又道：「人說漢之碑，宋之帖，可以只立千古，淳化、大觀、絳帖、潭帖，此四帖可好？」道生道：「以鄙見論，以淳化為第一，次大觀，次絳帖，又次潭帖。然宋人常謂潭帖在閣帖之上，又謂淳化創始，兼以王著摹手不高，未及大觀之精美。然淳化氣運樸厚，大觀光彩浮動，比之詩，則盛而漸晚矣。」
眾人盡皆拜服。
子玉問道：「先生方才說唐詩中晚之分，小姪以唐詩自然推李、杜、韓三家，而王荊公定詩則稱杜、李，又選杜、韓、歐、李四家詩，則以李太白居四。元微之亦謂杜在李上，其優劣之意見於《工部墓志》。以太白天才，竟有不滿人意處。韓昌黎則云：『李杜文章在，光燄萬丈長。不知群兒愚，何用故謗傷。蚍蜉撼大樹，可笑不自量。』乃自真心傾倒之意，究何所折衷？」
道生道：「詩以性情所近，近李則好李，近杜則好杜，李、杜兼近則兼好矣。元微之粗率之文，頹唐之句，於李豈能相近？自然尊杜而貶李。王荊公謂李只是一個家法，杜則能包羅眾體，殊不知李亦何嘗不包羅眾體，特以不屑為瑣語，人即疑其不能。大抵論太白之詩，皆喜其天才橫逸，有石破天驚之妙。《蜀道》、《天姥》諸篇，摹擬甚多，而我獨愛其《烏棲曲》、《烏夜啼》等篇，如《烏棲曲》云：
姑蘇臺上烏棲時，吳王宮裡醉西施。
吳歌楚舞歡未畢，西山欲銜半邊日。
銀箭金壺漏水多，起看秋月墜江波，東方漸高奈樂何！
其《烏夜啼》云：
黃雲城邊烏欲棲，歸飛啞啞枝上啼。
機中織錦秦川女，碧紗如煙隔窗語。
停梭悵然憶遠人，獨宿空房淚如雨。
其高才逸氣，與陳拾遺同聲合調。且其論詩云：『梁陳以來，豔薄斯極，沈休文又尚以聲律。將復古道，非我而誰。』故律詩殊少。常言寄興深微，五言不如四言，七言又其靡也。以鄙見論之，李詩可以紹古，而杜詩可以開今，其中少有分辨，故非拘於聲調俳優者之所可擬議也。昌黎古詩，直追雅頌，有西京之遺風，其五七古尤好異鬥奇，怪誕百出，能傳李、杜所未傳。讀《南山》等篇，而《三都》、《兩京》不能專美於前。人既無其博奧，又無其才力，盡見滿紙黝黑，嶄嶄□□，所以目為文體，至有韻之文不可讀之說。此何異聽《鈞天》之樂，而謂其音節未諧。特其五七言絕句及近體詩非其所好，只備詩中一格，原不欲後人學詩，僅學其五七言絕句小詩也。」此一番議論，議論得個個首肯，寶珠、蕙芳等亦頗能領會。
子玉道：「詩之妙論，既聞命矣。韻有通轉之分，且處魏晉而始，如李登之《詩韻》，呂靜之《集韻》，齊周□作《四聲切韻》，梁沈約撰《四聲》一卷，而韻譜成。隋陸法言、劉臻等，本沈約之旨又為《廣韻》，唐郭知玄又為《切韻》，孫□又為《唐韻》，丁度、宋祁為《集韻》。景雲已後，又有《禮部韻》，王宗道之《切韻》，吳棫之《韻補》，元陰時夫之《韻府群玉》，其合韻、分韻，究以何韻為是？」
道生道：「韻學之辨，諸家通轉各有依據。沈約以越音而定八方之音，豈能盡合？而同一字也，而舌與齒為一音，齒與舌又為一音。即如五方土音，甚難吻合，所以支元之韻最雜，正不知何方人才能念出一韻來。昔分在韻為二百六部，自淳▉中，平水劉淵始並為一百七部。《廣韻》計二萬六千一百九十四字，《集韻》計五萬三千五百二十五字，《禮部韻》止收九千五百九十字，毛晃增韻，較《禮部韻》增二千六百五十五字，劉平水之《禮部韻略》又增出四百六十三字，而古書盡變。說者謂韻之失不在二百六部之分，而在一百七部之合，陰時夫又較《禮部韻》、毛晃、劉平水韻，刊落三千一百餘字，有去古雅而入訛俗者。又黃公紹之《韻會》分並依毛、劉韻而箋注頗博，增添一萬二千六百五十二字，不為無補。第其次序泥於七音三十六母，又為後人所議。今之韻即沈約之韻，但古韻之通，似較今韻為是。章黼之《韻學集成》校定四聲，而古韻之通轉亦可類推。請以《雅》、《頌》、《離騷》古歌詩核之，古今通轉之異可想見矣。」子玉避席而謝。
南湘道：「古人講《易》言理不言數，今人講《易》言數不言理。數竟可以該得理麼？且數自康節先生之後無真傳。今之所為太乙數者，可以驗運祚災祥刀兵水火，並知人之貴賤。其考陽九百六之數，歷歷靈驗，其說可以得聞否？」
道生道：「宋南渡後，有王湜著《太乙肘後備撿》三卷，為陰陽二遁，繪圖一百四十有四。以太乙孝治人君之善惡，其專考陽九百六之數者，以四百五十六年為一陽九，以二百八十八年為一百六。陽九奇數也，陽數之窮；百六偶數也，陰數之窮。王湜之說云：『後羿寒浞之亂，得陽九之數七；赧王衰微，得陽九之數八；桓靈卑弱，得陽九之數九；煬帝滅亡，得陽九之數十。』此以年代考之，歷歷不爽。又云：『周宣王父厲而五幽，得百六之數十二；敬王時，吳越相殘，海內多事，得百六之數十三；秦滅六國，得百六之數十四；東晉播遷，十六國分裂，得百六之數極，而反於一；五代亂離，得百六之數三。』此百六之數，確有可驗。但又有不驗者：舜禹至治，萬世所師，得百六之數七；成康刑措四十餘年，得百六之數十一；小甲、雍己之際，得陽九之數五，而百六之數九；庚丁、武乙之際得陽九之數六；不降享國五十九年，得百六之數八；盤庚、小辛之際，得百六之數十；漢明帝、章帝繼光武而臻泰定，是百六之數十五；至唐貞觀二十三年，得百六之數二。此皆不應，何也？甚至夏桀放於南巢，商紂亡於牧野，王莽篡漢，祿山叛唐，陽九百六之數，皆不逢之，又是何故？所以我說數不敵理。理生於自然，數若有預定。故聖人言理不言數，數止理中之一端耳。」
南湘道：「是真快論，可破古今之疑。」次賢道：「休論世上升沉事，且斗樽前現在身。我有一個極瑣屑鄙俚之理要請教請教。我見《越絕書》有慧種生聖、癡種生狂、桂實生桂、桐實生桐之說，我往往見愚夫蠢婦，倒生出絕慧絕美的兒女來。看其父母，先天後天，皆無此種宿因，何竟得此妙果？」
道生笑道：「這個理倒有些難講。然《齊民要術》內說種梨法，一梨十子，唯二子生梨，餘皆為杜。段氏曰：鶻生三子，一為鴟。《禽經》曰：鸛生三子，一為鶴。造化權輿，夏雀生鶉，楚鳩生▉，《南海記》曰：鱷生子百數，為鱷者才十二，餘為鱉，為鼋，隨氣而化。且推之，聖不生聖，賢不生賢。先儒謂揚雄宜有後，張湯宜無後，以人之私智，豈能定天之理？且理有常，亦有變，豈無為氣所感，可以變化氣質。抑或愚夫愚婦，外貌雖蠢，其七情六欲之間亦有一樣不蠢，從此解了這點靈氣，就借此結成，也未可知。」說得眾人大笑。
子雲道：「古人美人多矣，其形之妙麗，唯在人之筆墨描寫。見於文詞詩賦者，亦指難勝屈，究以何處形容得最妙，先生肯指示一二處否？」
道生道：「古人筆墨皆妙，何能枚舉。但形容的美人得體，又要人人合眼稱妙者，莫如衛莊姜。《碩人》之詩，先曰：『碩人其頎，衣錦□衣。』這兩句，就寫得光華射目。『領如蝤蠐』，至『美目□兮』，便字字形容絕妙，不著一襯帖語，不用一假借語，正所謂詠月詠月滿，寫花寫花開，掃去烘雲托月之法，是為最難。若寫服飾之盛，體態之研，究未見眉目鼻口之位置何如也。宋玉《神女賦》未嘗不想形容，但云：『其始來也，耀乎若白日初出照屋樑；其少進也，皎若明月舒其光。』極言其光亮而已。明日猶可，而白日、屋樑，則比之不倫。而曹子建《洛神賦》復用其意，有『遠而望之，皎若太陽升朝霞』。《神女賦》又云：『忽兮改容，婉若游龍乘雲翔。』而《洛神賦》復用其句云：『翩若驚鴻，婉若游龍。』是真不善體會，以游龍比美人，吾不知其何所見而然。再如宋玉《好色賦》云：『增之一分則太長，減之一分則太短。』只概而言之，不求其實可也。若必細核其人之長短，亦有語病。既云增之一分則太長，則此人真長，減一分必不為短。既云減之一分則太短，則此人真短，增一分必不為長。此又文章之過情語也。小說中有刻劃盡致，言人所不忍言，而令諸者目眩意移，其神情活現紙上，則莫如《雜事秘辛》之描寫女瑩身體，令人絕倒。你們細想：『女姁以詔書如瑩寢處，屏斥接侍，閉中閣之時，日晷薄辰，穿照蜃窗，光送著瑩面上，如朝霞和雪，豔射不能正視，目波澄鮮，眉嫵連娟，朱口皓齒，修耳懸鼻，輔靨頤頷，位置均適。姁尋脫瑩步搖，伸髻度髮，如黝髹可鑒，圍手八盤，墜地加半握。已，乞緩私小結束，瑩面發赬抵攔。姁告瑩曰：官家重禮，借見朽落，緩此結束，當加鞠翟耳。瑩泣數行下，閉目轉面內向，姁為手緩捧著日光，芳氣噴襲，肌理膩潔，拊不留手。規前方後，築脂刻玉，胸乳菽髮，臍容半寸許珠。私處墳起，為展兩股，陰溝渥丹，火齊欲吐。此守禮謹嚴處女也。約略瑩體，血足榮膚，膚足飾肉，肉足長骨。長短合度，自顛至底，長七尺一寸，肩廣一尺六寸，臀視肩廣減三寸，自肩至指長各二尺七寸，指去掌四寸，肖十竹萌削也。髀至足長二尺二寸，足長八寸，脛跗豐妍，底平指斂，約縑迫襪，收束微如禁中，久之不得音響。姁令催謝皇帝萬年，瑩乃徐拜稱皇帝萬年。若微風振簫，幽嗚可聽。』雖文章穢褻，然刻劃之精，無過於此。」
眾人說道：「極是，從古以來，未有量及身體者。」子玉道：「纏足之始，謂始於陳後主之潘貴妃，今《秘辛》之『約縑迫襪，收束微如禁中』，非纏足之始麼？」
道生道：「此不過略為纏束，不使放散，讀『脛跗豐妍，底平指斂』，似又非今日之緊緊纏小，必使尖如蓮瓣也。」蕙芳道：「這個尺寸是怎樣？身長七尺一寸，肩廣一尺六寸，怎樣算法？若依今日之尺寸，只怕沒有這般長大人。」道生道：「這是漢尺，比起今日工部營造尺來，只得七寸五分。而營造尺比起民間裁尺，只得九寸三分。依營造尺折算則七七四尺九，五七三寸五，再加七分五，為五尺三寸二分半長。若核如今的裁尺折算，則五九四尺五，三九二寸七，再加上二分二，共長四尺八寸許。這身也就長了，似乎與你差不多，還要略高些。肩廣一尺六寸，核營造尺則一尺一寸五分，核裁尺一尺一寸有零，臀視肩廣減三寸，下體核今裁尺只廣八寸有零，是個纖瘦身材。手自肩至指長二尺七寸，核營造尺長二尺零二分半，依裁尺只得一尺八寸有零。髀至足長三尺二寸，依營造尺長二就四寸，依裁尺長二尺一寸六分，上下長短倒相稱的。足長八寸，依營造尺實長六寸，依裁尺得五寸四分，究與纏足相異，也不為過小。通身算起來，身材覺長了些。要不然，古之美人，總是身長玉立的。」次賢道：「你也實在算得細。當日女姁量的時候，或者量錯了，多說了一寸，也未可知。」說得眾人皆笑。
道翁又道：「都中現有一個極博雅的人，年紀雖輕，與我是舊交，也是個南京巨族。論起世家來，與子雲、星北不相上下，想諸公自必相熟的。」子雲道：「是那一位？」道翁道：「此君姓金名栗，號吉甫，可相好麼？」眾人同道：「久聞其名，恨未一見。」道翁道：「若論考據學問品行，當今可以數一數二了。他也有一部說部，是說平倭寇的事，我將他這書的名字忘了。曾經看過一遍，筆下極為雄健。將兩個逆首定江王、靜海丞相罵得真真痛快，實在是才人之筆。」次賢道：「此輩叛賊荼毒生靈，害人多矣，也是人人言之髮指的。既有此罵，也是快事，將來倒要找一部讀讀。」道翁道：「但其人時運太壞，未能大用其才，真真可惜。」寶珠忙接道：「何幸此君，今日竟遇知己。」道翁道：「瑤卿與此君相好麼？」素蘭在旁道：「他的畫畫彈琴，皆是此君教的。前月他們還逛了兩天翠微山呢。他之待此君，也不亞於蕙芳之待湘帆了。」寶珠一笑，道：「何至於此？」子玉道：「前在瑤卿處，見其筆墨高雅之至，大有唐六如的光景。」道翁道：「不特筆墨似六如，命宮磨蠍也似六如，卻是怪事。何以古今若合，此又不可以言理不言數了。我明日尚要拜他去。」子雲忙道：「何不為我先容？得此良友，也是快事。」道翁道：「妙極，妙極！」
寶珠道：「此君疏懶太甚，不好交遊的。」道翁道：「想與此數君自必水乳。」這一日，屈道翁足足講了一日，人也乏了。吃完了飯，散坐了一會，也就二更光景。劉文澤係舊學生，不敢問難。寶珠問子雲要柄扇子，求道翁題詩，子雲索性叫取四柄扇子出來，給四旦每人一柄。於是寶珠拂幾，蕙芳移研，素蘭磨墨，琴言潤毫，共求道翁留題。道翁也十分高興，遂將各人的大概，每人寫了七律一首，半行半草的一筆虞世南，並落了雙款。四旦謝了，談了一會各散。不知後事如何，且聽下回分解。
Xu Ziyun invited Mr. Qu and also invited Nanxiang, Zhongqing, Wenze, Chunhang, Wang Xun, and Ziyu as companions, still within Meiyan. Wang Xun was unable to attend that day as he was helping Sun Lianggong with some matters. Due to the fixed auspicious date for Li Yuanmao, a marriage arrangement was to be made. Since Lianggong’s two sons were not capable of handling matters, he entrusted everything to Wang Xun, which is why Wang Xun couldn’t come.
Ziyun knew that Qu Daosheng was a refined and quiet person, so he called four of the famous courtesans: Baozhu, Sufang, Huifang, and Sulan. However, Sufang was ill and couldn’t come, so he specially informed Qinyan instead. On that day, Mr. Qu arrived first and chatted about many old stories with Ziyun and the others.
Let us briefly describe the background of Mr. Qu. He was from Wuchang Prefecture in Hubei, a descendant of the famous minister Qu Yuan. He was well-versed in both heaven and earth, and mastered the six classical arts, but his life was marked by bad luck and unfortunate timing, and his family was poor, with nothing but books.
His father was granted the position of Imperial Hanlin Academy Reviewer through the Hongci examination system, but he passed away before reaching the age of thirty.
At that time, Daosheng was only four years old, and his grandparents were still alive. His mother, the dowager, upheld a life of hardship and took on the role of educating and nurturing him. When Daosheng was sixteen and enrolled in school, his grandfather passed away. After three years of mourning, when he was about to participate in the imperial examinations, his grandmother passed away, requiring another three years of mourning. After completing the mourning period, his mother also passed away in succession. Daosheng endured nine years of mourning in total and was already twenty-five years old. He married Min Shi, a woman of unparalleled wisdom and virtue. Daosheng struggled to make ends meet, surviving through his writing, traveling extensively across Yan, Zhao, Wu, Yue, Yunnan, and Guizhou, serving as an advisor to various lords. He traveled more than ten thousand miles and wandered for twenty years, gaining fame at the time. Those who admired his talents compared him to Du Fu and Meng Jiao. However, his nature was lofty and carefree, and he was not adept at managing household affairs, often suffering from poverty. Later, he traveled to the capital to take the imperial examinations but failed twice. He was hosted by Minister Liu’s family and taught Wenze for two years. He was then invited by Master Hua to teach, where he stayed for another three years before returning to his hometown. The local magistrate, impressed by his virtue, recommended him as a filial and upright scholar, and he was appointed as a county magistrate in Jiangxi, a bitter post. After completing his term, he was promoted to Deputy Magistrate of Nanchang Prefecture. Last year, his wife also passed away, leaving him alone without any close relatives.
He had a few servants, recommended from outside. Only one long-time attendant named Liu Xi, who had been with him for five or six years, was loyal. The others were indifferent. Although Mr. Qu had only a small amount of luggage, he possessed several boxes of precious items, including books, ancient paintings, and artifacts. Upon arriving in the capital, Minister Liu, out of old friendship, saw his official salary was sparse and gifted him two hundred gold pieces.
Master Hua, knowing of his arrival, went out of the city to greet him and gave him three hundred gold pieces. With five hundred gold pieces in hand, Mr. Qu purchased many books, famous calligraphy pieces, and other such items from antique shops. He also distributed many of these to impoverished scholars he had befriended in the past, leaving him with little left.
Back when Minister Xu was in the capital, he was also on good terms with Mr. Qu, consulting him on various matters and asking him to write poetry and essays on his behalf. Therefore, Ziyun treated him with great respect. Shi Nanxiang was a fellow countryman and a younger generation, so naturally, they knew each other.
Tian Chunhang had already met Mr. Qu the other day, but Zhongqing and Ziyu were meeting him for the first time. Upon seeing his immortal-like demeanor, and considering his status as a friend of their father, they naturally showed great respect. Daosheng noticed Zhongqing’s refined and clear appearance, recognizing him as an extraordinary person. He also observed that Ziyu was calm and graceful, as bright as a pearl, both outwardly and inwardly gifted, with a serene and respectful demeanor, not merely possessing external beauty. In his heart, he was greatly pleased and thought, “Mei Tie’an is indeed blessed with such a son.” Then, he spoke to Ziyu about matters in Jiangxi, saying, “Your esteemed father is known for his strictness and refusal to bend to personal interests, earning him a reputation akin to that of Sima Guang and Wen Yanbo in the entire province. The scholars naturally revere and appreciate him.” He also inquired about Ziyu’s experience in the provincial examinations last year, to which Ziyu answered everything in detail. Daosheng, noting his eloquent and humble manner, could see he was well-learned and thought to himself that he would gradually test him during the drinking session.
The four actors arrived together. Huifang was already acquainted, and the four of them came forward to pay their respects. Daosheng clasped his hands in greeting, asked them to sit down, and carefully observed them. He then asked for the names of the three he didn’t know and said to Ziyun, “The gentlemen in the capital now are indeed better than before.” Ziyun replied, “Today, I shouldn’t have called them here to serve, but since they are not entirely bad, they can still help with grinding ink and preparing paper. Moreover, when they heard that you were coming, they wanted to pay their respects to the renowned old scholar. If they could receive just a word of praise, it would be better than receiving a reward of gold. I believe you won’t blame me for being inappropriate.” Daosheng smiled and said, “You must think I am so upright and proper because I have the reputation of being filial and honest. Drinking wine with flowers around, what harm is there to one’s character? To be honest, I don’t mean to flatter you, but these four gentlemen don’t seem like ordinary theater performers. You all must be very familiar with them, but it’s my first time meeting them. Let me try to describe their general characteristics and see if I’m right.” Everyone listened carefully, curious to hear his analysis. Cixian said, “I know that my esteemed brother is an expert in physiognomy, but let’s not talk about modern matters. Instead, talk about the past. I can also say things like ‘a thousand gold coins worth of work’ and ‘two sons achieving success.’ If you can describe their personalities and temperaments accurately, then I will truly admire you.” The actresses all laughed at this. Ziyun said, “This may not be easy to do.” Daosheng said, “It’s not difficult; let me explain it to you.” At this point, the banquet was already set. Ziyun offered a toast, and the group was divided into two tables, east and west. Daosheng naturally sat at the east table.
For the west table, Nanxiang was supposed to sit first, but he said, “This is my senior from our hometown, how could I dare to sit in a higher position?” So, Zhongqing was placed there instead. Nanxiang took the second seat at the east table, while Chunhang took the second seat at the west table. Ziyu sat third at the east table, and Wenze took the third seat at the west table. Ziyun hosted the east table, and Cixian was the companion host at the west table. Baozhu and Qinyan sat at the east, while Huifang and Sulan sat at the west. Everyone took their seats. The host offered wine, and the guests drank several cups. Daosheng then said, “Let me start by discussing Su Meixiang, whom I met the other day.” Everyone at the west table listened attentively. Daosheng said, “When I evaluate someone’s appearance, I don’t just look at their complexion; I consider the overall structure of their body. However, that’s secondary. I observe their posture, movements, sitting position, standing position, as well as their speech and tone. By distinguishing the clarity or muddiness of their voice, I gauge their character and determine their fate. However, my first statement might not be entirely accurate. From what I see, Meixiang comes from a good family background, not an ordinary one. You must already know that, am I right?” The others were somewhat surprised, wondering if he already knew his background, which is why he started with him, to showcase his skill. Cixian said, “You must have inquired about his background.”
Daosheng replied, “There’s no need to inquire. I can tell that he is extraordinarily intelligent, with a strong spirit, and is daring and decisive. However, despite his good background, he must have suffered greatly in his youth, narrowly escaping death. From what I see, within the next year or two, he will likely make a significant change in his life and switch his profession. As for what the future holds, it’s still far off, so there’s no need to say more. If I did, Jingyi would argue with me.” Then, looking at Sulan and Baozhu, Daosheng said that their situations were quite similar, and they were not much different from Huifang, so he didn’t elaborate on their backgrounds. He added, “They are like lotus flowers that rise unsullied from the mud.” When he looked at Qinyan, Daosheng remarked, “This one seems different; is he still in the troupe?” Cixian replied, “Yes, he’s still in the troupe, and he’s like a blooming pomegranate flower in May, admired by both the refined and the common people. He’s very popular.” Qinyan smiled at this. Daosheng said, “Refinement may be present, but I doubt the common appeal. I see a proud spirit in him, someone who cannot easily conform to the world. Moreover, he harbors many thoughts that are out of sync with others. If he had studied, he would be like me, unable to succeed in the exams.” Everyone laughed, finding his assessment very accurate.
Daosheng then asked to see Qinyan’s hand and said, “What a pity, there’s a scholarly mark on your hand. You should change professions early on. Although you may not become wealthy or noble, you will walk a path of purity and honor. Your mindset is different from others; you can’t bear any grievance unless it’s something you are willing to endure, and if it is, you would accept it without regret. If faced with matters of loyalty, filial piety, or righteousness, you would be capable of actions others wouldn’t dare to take. However, I have one piece of advice: if you cultivate a kind and generous heart, you can shape your destiny. I only worry that your lifespan might be insufficient. But if you cultivate yourself and wait, you may still alter your fate.” Everyone, hearing how precise and sincere his words were, realized that he truly had the ability to read people, and wasn’t just speaking nonsense. Qinyan, hearing these words that touched his heart, also felt very pleased. He began to feel a deeper respect and warmth toward Daosheng, who seemed to have an ethereal, almost immortal air about him.
Daosheng sat with Nanxiang and asked, “Has your esteemed father taken any measures since assuming office? Please tell us about the good governance.” Nanxiang replied, “My father just assumed the role of an external official three months ago, so he hasn’t done much yet. However, he did investigate and bring down a local tyrant and two corrupt clerks, which was well received by the locals. Even the provincial governor wrote to commend him, but there’s nothing else notable.” Daosheng said, “I know your esteemed father is an upright man and will surely make a difference. Speaking of local tyrants and corrupt officials, where are they not found? For instance, in Jiangxi, when I took office, the local tyrants and corrupt clerks were rampant, causing endless suffering to the people. Over the span of three years, seven county magistrates were replaced, all of whom turned a blind eye, not daring to act against them, which only emboldened them further. There was a saying: ‘In the east, there is a tiger, in the west, there is a wolf. The tiger eats the flesh, the wolf eats the intestines. After the wolf and tiger have eaten, the leftover blood still satisfies the greedy snakes and hungry scorpions. The gates of the government are wide open, and the snakes and scorpions enter together. The county magistrate sits like a clay figure, with scorpions climbing on his back and snakes coiled around his head.’ The ‘wolf’ and ‘tiger’ referred to the local tyrants, and the ‘snakes’ and ‘scorpions’ were the corrupt clerks. The tyrant in the east paid to become a military officer, and the one in the west was his brother, a military graduate. Their subordinates were all bandits, with one acting as the leader of a gang, forming alliances with the eastern tiger, controlling lawsuits, and manipulating the government. The two corrupt clerks assisted them. When I took office, I found that within three years, seven county magistrates had been replaced, with over two hundred cases of robbery and murder. I spent six months dealing with these five people, and after that, the area became peaceful, with no further cases of robbery or murder.” Ziyun said, “That’s quite an achievement, and many people must have been grateful.” Daosheng replied, “I don’t dare to claim credit. I simply did what needed to be done for the area, without regard for my own safety or life. We’ll see where it all leads.” He then engaged in further discussions with the various scholars about numerous topics.
Ziyun noticed that a servant who was serving the dishes had a louse crawling on his new clothes. After the servant finished serving, Ziyun asked him to remove the louse. Daosheng then asked Ziyu, “My dear friend, you are well-read in the classics and histories. Do you know in which ancient text this louse is mentioned? You can skip poetry and miscellaneous sayings.” Ziyu was caught off guard by the question and paused to think. He thought to himself, “This character is indeed rare. Since he asks where it is mentioned in ancient texts, there’s no need to talk about common sayings like ‘searching for lice’ or ‘stringing lice together.’” He then replied politely, “I have limited knowledge and have not read many books. The references to lice in literature are few, but the earliest might be Ruan Ji’s Essay on the Gentleman, where it says, ‘The gentleman lives within the boundaries, much like the louse within the fold of a garment.’” Nanxiang added, “There’s also a line in Records of the Grand Historian: ‘A gadfly on an ox cannot be compared to a louse on a man.’” Daosheng responded, “These two references come after Shangzi. In ancient times, there was an official title related to lice mentioned in Shangzi. The Treatise on Literature in the Book of Han records that the Book of Lord Shang originally had twenty-nine chapters, but three were lost, leaving twenty-six chapters. Among them was a chapter about the officials of benevolence and righteousness, referred to as ‘lice officials.’ Du Mu inscribed these words on the back of the Confucius Temple stele in Chuzhou: ‘That Lord Shang was capable of farming and warfare, and enforced his laws, laying the foundation of Qin’s strength. He said, “Those officials of benevolence and righteousness are like lice.” Benevolence and righteousness arise from the human heart, just as lice arise from human filth.’ The meaning of the word ‘lice’ seems to imply something that is easily born and spreads rapidly. What do you think?” Nanxiang and Ziyu expressed their admiration. Cixian remarked, “Today, Master Dao seems ready to open his treasure chest of knowledge. Fortunately, the guests here can still appreciate it. If it were just me alone, I wouldn’t allow you to speak.” Daosheng laughed and said, “You all are talented scholars, well-read in every book. How could this old man dare to show off in front of you? Besides, when I was young, my knowledge was shallow, and I would forget what I learned as soon as I heard it. Now, I barely remember anything.” Ziyun said, “The other day, Cixian saw a book titled Collection of Waking and Sleeping Thoughts among your works. Do you have it with you?”
Daosheng replied, “That edition was long ago destroyed. It was something I wrote in my youth, full of nonsense.” Ziyun said, “I also heard that you wrote some couplets for theater performances.” Daosheng replied, “There were dozens, but I can’t remember them now.” Cixian said, “The other day, a few of us also came up with some. These three—Qinyan, Huifang, and Baozhu—along with Wang Guibao, also created many, and theirs are even better than ours.” He then asked someone to bring a list from his study, with the couplets written on it, along with the names of the contributors. Daosheng looked at it and praised it repeatedly, saying, “I never expected these four to be so talented. They are truly one of us. I am very fortunate today. In your esteemed profession, I have seen many who only draw a few strokes of orchids and bamboo or write some seven-character quatrains, but their skills are half-baked at best. To see such talent as this is truly a first in my life. No wonder you all hold each other in such high regard. It’s a pity I was born forty years too early, or I could have joined in with you.” Everyone was pleased to see his appreciation.
On the other side, Zhongqing asked, “Sir, you have a rich collection of ancient inscriptions and are skilled in their examination. Among the seal script and clerical script inscriptions, which one do you consider the best?” Daosheng replied, “Modern scholars do not pay much attention to ancient seal script, like the Stele of Mount Heng, which is said to have seventy-seven characters, located on the Mifeng Peak of Mount Heng. During the Song dynasty, in the Jia Ding era, He Zhizi visited the Southern Mountain and made a rubbing of it, which was later engraved by Yang Yongxiu in Yunnan, and by Yang Shiqiao in Qixia. These rubbings were passed around and re-engraved, but we won’t discuss that now. I once translated the text as follows:
‘The Emperor said, Alas, my ministers and assistants.
On the islets and riverbanks, the doors of birds and beasts.
In the midst of the great flood, and the brilliance of Yu’s rise.
Long have I wandered, forgetting my home,
Resting in the courtyard of Mount Lu.
My wisdom failed, my form bent,
My heart weary with no respite.
Seeking peace, I visited Hua, Tai, and Heng.
Distant from the ancestral hall, I performed offerings,
Labored beyond my strength,
And in the gloom, moved southward.
Eternal peace and sustenance prepared,
All nations shall find peace, and dances shall be everlasting.’
These seventy-seven characters. Wang Yuanmei said, ‘The inscription’s words do not harmonize with the sacred texts but resemble the seal script of the Zhou dynasty and the language of King Mu’s travels.’ This is a knowledgeable critique.”
Next, as in the Bronze Basin Inscription of King Wu of Zhou, it is written:
“On the left, forests; on the right, springs.
Behind, hills; in front, roads.
Eternal peace for generations;
This is the treasure here.”
Is this really the language of the Three Dynasties? It is undoubtedly a forgery. Regarding the Stone Drum Inscriptions, Zheng Qiao claimed that they were made after King Huiwen of Qin, and Ouyang Xiu had three doubts, which are not credible. Wei Yingwu said they were the drums of King Wen, with poems engraved by King Xuan. Ma Ziqing claimed they were created during the Yuwen Zhou period, which is even more absurd. Only the scholars Dong and Cheng supported the evidence from Zuo Zhuan, where King Cheng is said to have conducted a hunt at Qiyang, which is a reliable basis. Later, the Inscription of Mount Yi from Qin, carved by Zheng Wenbao during the Song dynasty’s Chunhua period, still qualifies as ancient seal script. The best of Han clerical script is the Ritual Vessel Stele in the Confucius Temple, followed by the Cao Jingwan Stele. The former is divine and unrefined, while the latter is rich and magnificent. As for the Wei dynasty, the Inscription Encouraging the Emperor to Ascend the Throne, Inscription on the Abdication, and the Stele for the Worship of Confucius, along with the Eulogy for Zhang Jun by Governor Lu of the Later Wei, and the Stele for the Renovation of the Confucius Temple by Li Zhongxuan, all vary in quality. The art of Han clerical script has been lost, so what can be said of the periods that followed?” Zhongqing praised these insights.
Chunhang then asked, “There has been much debate over the Lanting Preface, and even the Dingwu version has two different carvings. The authenticity has been determined, but how can one tell the difference?” Daosheng replied, “The Lanting Preface was carved during the Zhenguan era of Emperor Taizong of the Tang dynasty. When Taizong was still Prince of Qin, he obtained it from the monk Bianzai. In the tenth year of Zhenguan, he ordered Tang Pu, Feng Chengsu, Zhuge Zhen, and Zhao Mo to make copies and gave them to his close ministers. At that time, both Chu Suiliang and Ouyang Xun made copies, and people revered them. The so-called Dingwu version is Ouyang’s copy. The so-called Tang silk version is Chu’s copy. Ouyang’s engraved stone was kept in the imperial palace, but during the chaos of the Later Jin, the Khitans transported the stone to Shatuo Pass. It was later obtained by Li Jingwen, the Prefect of Dingwu, who stored it in a warehouse. During the Xining era, Xue Shizheng, while serving as governor, carved another version to meet demand. Thus, there are two Dingwu versions, one authentic and one forged. His son, Xue Daozu, made a rubbing from another stone, secretly replacing the ancient carving, and chiseled off the words ‘torrent, flow, belt, left, right’ as marks of identification. During the Daguang era, an imperial edict required that his son Xuchang deliver it to the Xuande Hall. After the Jingkang incident, it was lost. During the Hongzhi era of the Ming dynasty, it was found in the Tianshi Temple and placed in the Imperial Academy, where Ouyang’s version was revealed again. The silk version copied by Chu was widely distributed to the academies in various prefectures at the time, and both the Ying and Changzhi County steles received it. Later, during the Ming dynasty, there was a strange phenomenon at the Ying well where a rainbow-like light shone at night. The county magistrate, Lord Xun, was curious and dug out the Lanting Preface, along with a copper temple ornament and several relics, which he brought home. To this day, its whereabouts are unknown. As for the various copies by different artists, they are too numerous to count. You gentlemen have discerning eyes, so there is no need for me to explain further.”
Chunhang then asked, “It is said that the inscriptions of the Han dynasty and the calligraphy of the Song dynasty can stand for a thousand years. What do you think of the Chunhua, Daguang, Jiang, and Tan collections?” Daosheng replied, “In my humble opinion, the Chunhua collection is the best, followed by the Daguang collection, then the Jiang collection, and finally the Tan collection. However, the Song people often said that the Tan collection was superior to the Ge collection and that the Chunhua collection was the original but lacked the high level of skill seen in the Daguang collection. Nonetheless, the Chunhua collection has a simple and solid charm, while the Daguang collection is more flashy and superficial. Compared to poetry, it can be said that the former is grand yet increasingly late in style.”
Everyone expressed their admiration.
Ziyu then asked, “Sir, you just mentioned the distinction between early and late Tang poetry. As a junior, I naturally regard the poetry of Li Bai, Du Fu, and Han Yu as paramount among Tang poets. However, Wang Jinggong ranked poetry by placing Du and Li first, and then selected works from Du Fu, Han Yu, Ouyang Xiu, and Li Bai, placing Li Bai fourth. Yuan Zhen also placed Du above Li, as seen in his Epitaph for Du Fu. Considering Li Bai’s exceptional talent, it seems there are some aspects that do not fully satisfy people. Han Yu said, ‘The works of Li and Du shine with a brilliance that will last for ten thousand ages. I don’t understand why foolish critics would slander them. It’s like an ant trying to shake a tree—how laughable!’ This clearly shows his deep admiration. So where should we find the middle ground?”
Daosheng replied, “People’s preference for poetry is influenced by their temperament. Those inclined toward Li will favor Li, while those inclined toward Du will favor Du. If one is inclined toward both, then they will favor both. Yuan Zhen’s rough and decaying style could not be closer to Li Bai, so naturally, he respected Du and belittled Li. Wang Jinggong claimed that Li Bai had only one poetic style, while Du Fu encompassed many. However, it’s not that Li Bai didn’t also encompass many styles—he simply disdained trivial words, which led people to mistakenly believe he couldn’t write them. In general, when discussing Li Bai’s poetry, people praise his genius for being wild and free, with a talent that astonishes like a thunderbolt. Many have imitated his works like The Road to Shu and The Song of Everlasting Sorrow, but I particularly love his pieces like The Song of the Crow Perching and The Night Song of the Crow. For instance, in The Song of the Crow Perching, it is written:
‘When the crows perch on the Suzhou Tower,
In the palace of the Wu King, Xi Shi is drunk.
The songs of Wu and dances of Chu are not yet over,
As the western mountains are about to swallow half the sun.
The silver arrows and golden vessels overflow with water,
Rising to see the autumn moon fall into the river waves,
As the eastern dawn gradually rises, how can joy last?’
And in The Night Song of the Crow:
‘At the edge of Yellow Cloud City, the crow wishes to perch,
Returning, it flies silently, crying on the branch.
The girl weaving brocade by the loom in Qin River,
With green gauze like smoke separating the window’s speech.
She pauses her shuttle, lost in thought, remembering someone far away,
Sleeping alone in an empty room, her tears fall like rain.’
His extraordinary talent and lofty spirit resonate with the works of Chen Zi’ang. Moreover, he once commented on poetry, saying, ‘Since the Liang and Chen dynasties, poetry has become shallow and frivolous, with Shen Xiuwen valuing sound and rhythm. If the ancient way is to be revived, who else but me will do it?’ Hence, he rarely wrote regulated verse. He often remarked that to convey profound meaning, five-character poems are not as good as four-character ones, and seven-character ones are too ornamental. In my humble opinion, Li Bai’s poetry could be a continuation of the ancient tradition, while Du Fu’s poetry could herald the modern era. There is little distinction between the two, so it’s not something that can be easily judged by those who focus merely on the rhythm and performance of poetry. Han Yu’s ancient-style poetry directly follows the tradition of the Odes and the Hymns, carrying the legacy of the Western Capital. His five- and seven-character ancient poems are particularly good at being strange and unconventional, full of bizarre and imaginative ideas, surpassing what Li Bai and Du Fu conveyed. Reading pieces like The South Mountain and others, one realizes that The Three Capitals and The Two Capitals cannot claim sole excellence. Since people lack his broad learning and talent, they can only see his pages filled with dark ink and awkward phrases, hence calling his style unreadable. How is this different
from listening to the music of the Qun Tian and claiming that its rhythm is not harmonious? However, Han Yu’s five- and seven-character quatrains and recent-style poems were not his strong points; they merely served as a supplementary style in poetry. He never intended for later generations to learn poetry by only imitating his short quatrains.” After this discussion, everyone nodded in agreement, and even Baozhu, Huifang, and the others were able to understand and appreciate the conversation.
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Here is the translation of the provided text, paragraph by paragraph:
Ziyu said, “I have heard your profound discussion on the subtleties of poetry. Now, regarding rhymes, there is a distinction between ‘common’ and ‘transitional’ rhymes, which began during the Wei and Jin periods. For instance, Li Deng’s Rhymes of Poetry, Lü Jing’s Collected Rhymes, the Four Tones and Rhymes composed by Qi and Zhou, and the Four Tones compiled by Shen Yue of the Liang dynasty, marked the establishment of rhyme patterns. Later, during the Sui dynasty, Lu Fayan and Liu Zhen followed Shen Yue’s principles to create the Guangyun. During the Tang dynasty, Guo Zhixuan created the Qieyun, and Sun Yan created the Tangyun. During the Song dynasty, Ding Du and Song Qi compiled the Jiyun. After the Jingyun period, there was also the Li Department Rhymes, Wang Zongdao’s Qieyun, Wu Yu’s Supplement to Rhymes, and during the Yuan dynasty, Yin Shifu’s Rhyme Treasury of Precious Jade. Among these works, the combination and division of rhymes varied greatly. Which of these rhyme systems is correct?”
Daosheng replied, “The study of rhymes involves various interpretations, with each school having its own basis. Shen Yue, using the Yue dialect, established the eight regional sounds, but how could they completely align? For instance, the same word may have one sound when pronounced with the tongue against the teeth, and another when pronounced with the teeth against the tongue. The regional dialects of the five regions are difficult to harmonize, so the rhymes of the Zhiyuan period are the most mixed. It’s unclear how people from different regions could pronounce a single rhyme. In the past, rhymes were divided into two hundred and six categories. Since the Chunhua period, Liu Yuan of Pingshui combined them into one hundred and seven categories. The Guangyun contains 26,194 characters, the Jiyun contains 53,525 characters, while the Li Department Rhymes includes only 9,590 characters. Mao Huang’s Zengyun added 2,655 characters to the Li Department Rhymes, and Liu Pingshui’s Li Department Rhyme Abridged added 463 more characters, leading to a complete transformation of ancient texts. Some argue that the fault in rhymes lies not in the division into two hundred and six categories, but in the combination into one hundred and seven. Yin Shifu further reduced the Li Department Rhymes, Mao Huang, and Liu Pingshui Rhymes by eliminating over 3,100 characters, removing those that deviated from the classical form and fell into vulgar usage. Additionally, Huang Gongshao’s Rhyme Collection expanded on the annotations of Mao and Liu’s rhymes by adding 12,652 characters, which was not without merit. However, its arrangement based on the seven sounds and thirty-six initials was later criticized. The current rhymes still follow Shen Yue’s system, but ancient rhymes seem more appropriate than modern ones. Zhang Fu’s Collected Works on Rhyme corrected the four tones, and the transitions of ancient rhymes can also be inferred. By examining ancient poetry such as the Odes, Hymns, and Songs of Chu, one can observe the differences between ancient and modern rhyme transitions.” Ziyu rose from his seat to express his gratitude.
Nanxiang said, “The ancients spoke of the Book of Changes in terms of principles, not numbers, while today people discuss it in terms of numbers, not principles. Can numbers truly encompass principles? Moreover, the transmission of numbers has been lost since Master Kangjie’s time. The current Taiyi Numbers are used to predict fortunes, disasters, military conflicts, and even a person’s social status. The calculations of Yang Nine and Hundred Six are said to be highly accurate. Could you explain this concept?”
Daosheng replied, “After the Southern Song dynasty, Wang Shi authored The Posthumous Notes on Taiyi in three volumes, covering the two escapements of Yin and Yang, with 144 illustrations. He used the Taiyi system to evaluate the virtues and vices of rulers, focusing specifically on the numbers Yang Nine and Hundred Six. Yang Nine is considered an odd number, the limit of the yang numbers; Hundred Six is an even number, the limit of the yin numbers. Wang Shi’s theory states: ‘During the chaos of Houyi and Han Zhuo, the Yang Nine number was seven; during the decline of King Nan, the Yang Nine number was eight; during the weak reigns of Emperors Huan and Ling, the Yang Nine number was nine; during the fall of Emperor Yang, the Yang Nine number was ten.’ These calculations, based on years, are quite accurate. He also said: ‘During the reign of King Xuan of Zhou, when his father King Li was cruel, the Hundred Six number was twelve; during the reign of King Jing, when Wu and Yue fought each other and the nation was in turmoil, the Hundred Six number was thirteen; during the Qin dynasty’s conquest of the six states, the Hundred Six number was fourteen; during the Eastern Jin’s relocation and the division of the Sixteen Kingdoms, the Hundred Six number reached its limit and returned to one; during the chaos of the Five Dynasties, the Hundred Six number was three.’ These Hundred Six numbers are indeed verifiable. However, there are cases where they do not apply: during the virtuous reigns of Shun and Yu, which were models for all time, the Hundred Six number was seven; during the peaceful rule of Cheng and Kang, when punishments were suspended for over forty years, the Hundred Six number was eleven; during the reigns of Xiao Jia and Yong Ji, the Yang Nine number was five and the Hundred Six number was nine; during the reigns of Geng Ding and Wu Yi, the Yang Nine number was six, yet they ruled for fifty-nine years, with the Hundred Six number being eight; during the reigns of Pan Geng and Xiao Xin, the Hundred Six number was ten; during the reigns of Emperor Ming and Emperor Zhang of the Han dynasty, who followed the rule of Guangwu and brought peace and stability, the Hundred Six number was fifteen; by the twenty-third year of the Tang dynasty’s Zhenguan era, the Hundred Six number was two. None of these match. Why is that? Even in cases like King Jie of Xia being exiled to Nan Chao, King Zhou of Shang falling at Muye, Wang Mang usurping the Han throne, and An Lushan rebelling against the Tang dynasty, the numbers Yang Nine and Hundred Six do not correspond. Why is this? Therefore, I say that numbers cannot surpass principles. Principles arise naturally, while numbers seem predetermined. This is why the sages spoke of principles, not numbers, with numbers being only a small part of principles.”
Nanxiang said, “This is indeed an insightful argument, capable of resolving doubts from ancient times to the present.” Cixian added, “Let’s not discuss the rise and fall of the world but focus on enjoying the present with wine in hand. I have a very trivial and vulgar question to ask for your guidance. In the Book of Yuejue, it is said that wise seeds produce sages, foolish seeds produce madness, osmanthus seeds produce osmanthus, and phoenix tree seeds produce phoenix trees. Yet, I often see foolish and clumsy parents giving birth to exceptionally wise and beautiful children. Looking at their parents, both by nature and nurture, there is no trace of such exceptional traits. How can they produce such remarkable offspring?”
Daosheng laughed and said, “This reasoning is indeed difficult to explain. However, the Essential Techniques for the Welfare of the People mentions the method of planting pears, where one pear produces ten seeds, but only two of them grow into pear trees, while the others turn into wild trees. The Duan family said, ‘A hawk gives birth to three chicks, one of which is an owl.’ The Classic of Birds states, ‘A crane gives birth to three chicks, one of which is a stork.’ Nature is mysterious; summer sparrows give birth to quails, and cuckoos from Chu give birth to hawks. The Records of the South Sea says that crocodiles give birth to hundreds of offspring, of which only twelve become crocodiles, while the rest turn into turtles or tortoises, transforming according to the energy they receive. Furthermore, sages do not necessarily give birth to sages, nor do virtuous people always give birth to virtuous offspring. Ancient scholars believed that Yang Xiong should have had descendants, while Zhang Tang should not have had any. How could human wisdom determine the laws of heaven? Additionally, principles have constancy but also change. Isn’t it possible that external factors can alter one’s innate qualities? Or perhaps foolish parents, though outwardly dull, might have one aspect of their seven emotions and six desires that is not foolish. This could be the source of their wisdom, and it could manifest in their offspring. Who knows?” His explanation made everyone laugh heartily.
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Ziyun said, “There have been many beautiful women throughout history, but their exquisite forms are only captured through the brush and ink of others. The descriptions found in literature and poetry are often too limited to do them justice. Could you point out some of the most remarkable depictions?”
Daosheng replied, “The brushwork of the ancients is indeed masterful, and it is difficult to list them all. However, when it comes to describing a beautiful woman in a way that everyone would agree is perfect, none surpasses Weizhuang Jiang. The poem Shuoren first says, ‘The lady is tall and elegant, wearing embroidered garments.’ These two lines alone make her radiance blinding. The lines ‘Her neck is like the tree grub’ to ‘Her beautiful eyes’ are absolutely exquisite in their description, without using any redundant or borrowed words. It is like praising the moon by simply saying the moon is full or describing a flower by saying it is in bloom—this is the most difficult to achieve. However, when it comes to depicting the splendor of her attire and the refinement of her figure, we do not get to see the exact placement of her eyebrows, nose, and mouth. Song Yu’s Rhapsody of the Goddess attempts to describe beauty but only says, ‘When she first appears, she shines like the sun rising and illuminating the beams of a house; when she steps forward, she is as radiant as the bright moon.’ This speaks only of her brilliance. While the comparison to the sun and moon may work, the analogy of the sun to the beams of a house is inappropriate. Cao Zhi’s Rhapsody on the Goddess of the Luo River follows this idea with the line, ‘From afar, she is as bright as the sun rising through the morning mist.’ In Rhapsody of the Goddess, it also says, ‘Suddenly, she changes her expression, graceful like a dragon soaring through the clouds.’ Cao Zhi also used this line, saying, ‘She flits like a startled swan, graceful like a dragon soaring.’ This shows a lack of understanding; comparing a beautiful woman to a dragon is beyond my comprehension. Similarly, in Song Yu’s Rhapsody on Lust, he says, ‘If she were any taller, she would be too tall; if she were any shorter, she would be too short.’ This is merely a generalization without seeking accuracy. If one were to precisely measure her height, there would be a flaw in the expression. If she were indeed tall, then adding an inch would not make her too tall. If she were indeed short, then taking away an inch would not make her too short. This is an example of over-exaggeration in writing. In novels, there are more vivid descriptions that capture what one might find difficult to express, bringing the character to life on the page. The description of the woman’s body in Secret Anecdotes is a prime example, so accurate that it makes one dizzy. Consider this passage: ‘The woman’s sleep chamber was illuminated by sunlight streaming through the dragon-patterned windows, casting a light on her face that made it impossible to look directly at her, as if bathed in morning glow and snow. Her eyes were clear, her eyebrows graceful, her lips red, her teeth white, her ears well-shaped, her nose perfectly placed, her cheeks and chin smooth. She removed her ornaments and loosened her hair, which fell down like glossy black lacquer, coiled eight times and hanging past her waist. She asked for a gentle tightening of her small waistband, her face blushing deeply. She said, “The emperor values proper conduct, so I must restrain this belt tightly.” Tears rolled down her cheeks as she turned her face inward, and her fragrance filled the air. Her skin was smooth and clear, as if made of jade. Her chest and breasts were like finely carved jade, her navel no more than half an inch deep. The flesh of her private parts was smooth and red, and her thighs were rounded and soft. She was a chaste and strict virgin. Her body was perfectly proportioned, with skin covering her muscles, muscles covering her bones. Her height from head to toe was seven feet one inch; her shoulders were one foot six inches wide, with her hips narrower by three inches. Her arms were two feet seven inches long, with fingers four inches long, thin like bamboo shoots. Her thighs were three feet two inches long, her feet eight inches long, with delicate arches and smooth toes. Her body was slender and tall.’ Although the writing may be crude, the precision of the description is unparalleled.”
Everyone said, “Indeed, since ancient times, there has never been such an accurate measurement of the body.” Ziyu said, “The practice of foot-binding is said to have originated with Empress Pan of the Chen dynasty. In the Secret Anecdotes, it mentions ‘tightened with silk and bound like in the inner palace’—isn’t this the beginning of foot-binding?”
Daosheng replied, “This was merely a slight binding to prevent spreading, as indicated by ‘with full calves and rounded arches, and toes closed.’ It doesn’t seem to be the tight and small binding like the modern-day lotus petals.” Huifang asked, “What are these measurements? A height of seven feet one inch, with shoulders one foot six inches wide—how do we calculate this? If we use today’s measurements, this would be quite large for a person.” Daosheng explained, “This was measured using the Han dynasty’s measurements, where one inch is only seven-tenths of today’s construction unit of measure. The construction unit is nine-tenths of the common household unit. So, when converted to construction units, her height would be four feet nine inches. Using the common household unit, it would be four feet eight inches. This height is indeed tall, but perhaps not as tall as you think. Her shoulders would be one foot one and a half inches wide using construction units, or one foot one inch using the common household unit. Her hips, being narrower by three inches, would be about eight inches wide in modern terms, which describes a slender figure. The arms, measured from shoulder to fingertips, would be two feet two inches in construction units, or one foot eight inches in common units. Her thighs are similarly proportioned, with a length of two feet four inches in construction units, or two feet one inch in common units. Her feet, eight inches long, would be six inches in construction units, or five inches in common units—so it isn’t necessarily small enough to be considered bound feet. Overall, her figure seems quite tall and well-proportioned. Perhaps ancient beauties were generally taller and more statuesque.” Cixian remarked, “You have calculated this in great detail. Perhaps when she was measured, there was an error, and they added an inch by mistake.” Everyone laughed at this.
Daosheng continued, “There is currently a highly learned person in the capital, young in age, but an old acquaintance of mine. He is from a prominent family in Nanjing. In terms of lineage, he is on par with Ziyun and Xingbei. I’m sure you all must know him well.” Ziyun asked, “Who might that be?” Daosheng replied, “His surname is Jin, his given name is Li, and he goes by the style name Jifu. Are you acquainted?” Everyone said, “We have heard of him for a long time but have not yet met him.” Daosheng said, “In terms of scholarly research and conduct, he is one of the foremost of our time. He also wrote a book about the suppression of the Wokou pirates, though I’ve forgotten the title. I read it once and found his writing to be extraordinarily powerful. He denounced the rebel leaders, King Dingjiang and Prime Minister Jinghai, with such vigor that it was truly satisfying—a work worthy of a great talent.” Cixian said, “Those traitorous rebels caused untold suffering to the people, and their crimes have been widely condemned. Such a scathing rebuke must be a joy to read. I will have to find a copy and read it myself.” Daosheng replied, “But his fate has been unfortunate, and his talents have not been fully utilized. It’s truly a pity.” Baozhu quickly interjected, “How fortunate for him to have found a kindred spirit in you today.” Daosheng asked, “Is Yaoqing on good terms with him?” Sulan, who was standing by, replied, “He taught her painting and zither playing. They even spent two days together at Cuiwei Mountain last month. Her regard for him is no less than Huifang’s for Xiangfan.” Baozhu smiled and said, “Not to that extent!” Ziyu remarked, “When I was at Yaoqing’s place, I saw some of his calligraphy, which was as refined as that of Tang Bohu.” Daosheng replied, “Not only does his calligraphy resemble that of Tang Bohu, but even his fate seems similar, which is quite strange. How can there be such a coincidence between ancient and modern times? This cannot be explained by principles or numbers alone. I plan to visit him tomorrow.” Ziyun eagerly said, “Why not introduce me to him? It would be a pleasure to make such a good friend.” Daosheng replied, “Excellent, excellent!”
Baozhu said, “But he is very reclusive and doesn’t enjoy socializing.” Daosheng replied, “It seems he would get along well with you gentlemen.” That day, Daosheng talked at length, and everyone was exhausted by the end. After finishing their meal, they sat and chatted for a while, and it was already late into the night. Liu Wenze, being an old student, did not dare to ask any questions. Baozhu asked Ziyun for a fan and requested Daosheng to write a poem on it. Ziyun decided to take out four fans and gave one to each of the four actors. Baozhu dusted the table, Huifang prepared the ink, Sulan ground the inkstick, and Qinyan moistened the brush, all asking Daosheng to inscribe something. Daosheng, in high spirits, wrote a seven-character quatrain for each of them, half in cursive, half in regular script, and signed each with his name. The four actors expressed their gratitude, and after chatting for a while, they all dispersed. What happened next will be revealed in the next installment.