第三十八回

第三十八回 林潇湘魁夺菊花诗 薛蘅芜讽和螃蟹咏

话说宝钗湘云二人计议已妥，一宿无话。湘云次日便请贾母等赏桂花。贾母等都说道：“是他有兴头，须要扰他这雅兴。”至午，果然贾母带了王夫人凤姐兼请薛姨妈等进园来。贾母因问“那一处好？”王夫人道：“凭老太太爱在那一处，就在那一处。”凤姐道：“藕香榭已经摆下了，那山坡下两颗桂花开的又好，河里的水又碧清，坐在河当中亭子上岂不敞亮，看着水眼也清亮。”贾母听了，说：“这话很是。”说着，就引了众人往藕香榭来。原来这藕香榭盖在池中，四面有窗，左右有曲廊可通，亦是跨水接岸，后面又有曲折竹桥暗接。众人上了竹桥，凤姐忙上来搀着贾母，口里说：“老祖宗只管迈大步走，不相干的，这竹子桥规矩是咯吱咯喳的。”

一时进入榭中，只见栏杆外另放着两张竹案，一个上面设着杯箸酒具，一个上头设着茶筅茶盂各色茶具。那边有两三个丫头煽风炉煮茶，这一边另外几个丫头也煽风炉烫酒呢。贾母喜的忙问：“这茶想的到，且是地方，东西都干净！”湘云笑道：“这是宝姐姐帮着我预备的。”贾母道：“我说这个孩子细致，凡事想的妥当。”一面说，一面又看见柱上挂的黑漆嵌蚌[1]的对子，命人念。湘云念道：

芙蓉影破归兰桨，菱藕香深写竹桥[2]。

贾母听了，又抬头看匾，因回头向薛姨妈道：“我先小时，家里也有这么一个亭子，叫做什么‘枕霞阁’。我那时也只像他们这么大年纪，同姊妹们天天顽去。那日谁知我失了脚掉下去，几乎没淹死，好容易救了上来，到底被那木钉把头碰破了。如今这鬓角上那指头顶大一块窝儿就是那残破了。众人都怕经了水，又怕冒了风，都说活不得了，谁知竟好了。”

凤姐不等人说，先笑道：“那时要活不得，如今这大福可叫谁享呢！可知老祖宗从小儿的福寿就不小，神差鬼使碰出那个窝儿来，好盛福寿的。寿星老儿头上原是一个窝儿，因为万福万寿盛满了，所以倒凸高出些来了。”未及说完，贾母与众人都笑软了。贾母笑道：“这猴儿惯的了不得了，只管拿我取笑起来，恨的我撕你那油嘴。”凤姐笑道：“回来吃螃蟹，恐积了冷在心里，讨老祖宗笑一笑开开心，一高兴多吃两个就无妨了。”贾母笑道：“明儿叫你日夜跟着我，我倒常笑笑觉的开心，不许回家去。”王夫人笑道：“老太太因为喜欢他，才惯的他这样。还这样说，他明儿越发无礼了。”贾母笑道：“我喜欢他这样，况且他又不是那不知高低的孩子。家常没人，娘儿们原该这样。横竖礼体不错就罢，没的倒叫他从神儿似的[3]作什么。”

说着，一齐进入亭子，献过茶，凤姐忙着搭桌子，要杯箸。上面一桌，贾母、薛姨妈、宝钗、黛玉、宝玉；东边一桌，史湘云、王夫人、迎、探、惜；西边靠门一小桌，李纨和凤姐的，虚设坐位，二人皆不敢坐，只在贾母王夫人两桌上伺候。凤姐吩咐：“螃蟹不可多拿来，仍旧放在蒸笼里，拿十个来，吃了再拿。”一面又要水洗了手，站在贾母跟前剥蟹肉，头次让薛姨妈。薛姨妈道：“我自己掰着吃香甜，不用人让。”凤姐便奉与贾母。二次的便与宝玉，又说：“把酒烫的滚热的拿来。”又命小丫头们去取菊花叶儿桂花蕊熏的绿豆面子[4]来，预备洗手。

史湘云陪着吃了一个，就下座来让人，又出至外头，令人盛两盘子与赵姨娘周姨娘送去。又见凤姐走来道：“你不惯张罗，你吃你的去。我先替你张罗，等散了我再吃。”湘云不肯，又令人在那边廊上摆了两桌，让鸳鸯、琥珀、彩霞、彩云、平儿去坐。鸳鸯因向凤姐笑道：“二奶奶在这里伺候，我们可吃去了。”凤姐儿道：“你们只管去，都交给我就是了。”说着，史湘云仍入了席。凤姐和李纨也胡乱应个景儿。

凤姐仍是下来张罗，一时出至廊上，鸳鸯等正吃的高兴，见他来了，鸳鸯等站起来道：“奶奶又出来作什么？让我们也受用一会子。”凤姐笑道：“鸳鸯小蹄子越发坏了，我替你当差，倒不领情，还抱怨我。还不快斟一钟酒来我喝呢。”鸳鸯笑着忙斟了一杯酒，送至凤姐唇边，凤姐一扬脖子吃了。琥珀彩霞二人也斟上一杯，送至凤姐唇边，那凤姐也吃了。平儿早剔了一壳黄子送来，凤姐道：“多倒些姜醋。”一面也吃了，笑道：“你们坐着吃罢，我可去了。”

鸳鸯笑道：“好没脸，吃我们的东西。”凤姐儿笑道：“你和我少作怪。你知道你琏二爷爱上了你，要和老太太讨了你作小老婆呢。”鸳鸯道：“啐，这也是作奶奶说出来的话！我不拿腥手抹你一脸算不得。”说着赶来就要抹。凤姐儿央道：“好姐姐，饶我这一遭儿罢。”琥珀笑道：“鸳丫头要去了，平丫头还饶他？你们看看他，没有吃了两个螃蟹，倒喝了一碟子醋，他也算不会揽酸了。”平儿手里正掰了个满黄的螃蟹，听如此奚落他，便拿着螃蟹照着琥珀脸上抹来，口内笑骂“我把你这嚼舌根的小蹄子！”琥珀也笑着往旁边一躲，平儿使空了，往前一撞，正恰恰的抹在凤姐儿腮上。凤姐儿正和鸳鸯嘲笑，不防唬了一跳，嗳哟了一声。众人撑不住都哈哈的大笑起来。凤姐也禁不住笑骂道：“死娼妇！吃离了眼了，混抹你娘的。”平儿忙赶过来替他擦了，亲自去端水。鸳鸯道：“阿弥陀佛！这是个报应。”

贾母那边听见，一叠声问：“见了什么这样乐，告诉我们也笑笑。”鸳鸯等忙高声笑回道：“二奶奶来抢螃蟹吃，平儿恼了，抹了他主子一脸的螃蟹黄子。主子奴才打架呢。”贾母和王夫人等听了也笑起来。贾母笑道：“你们看他可怜见的，把那小腿子脐子给他点子吃也就完了。”鸳鸯等笑着答应了，高声又说道：“这满桌子的腿子，二奶奶只管吃就是了。”凤姐洗了脸走来，又服侍贾母等吃了一回。黛玉独不敢多吃，只吃了一点儿夹子肉就下来了。

贾母一时不吃了，大家方散，都洗了手，也有看花的，也有弄水看鱼的，游玩了一回。王夫人因回贾母说：“这里风大，才又吃了螃蟹，老太太还是回房去歇歇罢了。若高兴，明日再来逛逛。”贾母听了，笑道：“正是呢。我怕你们高兴，我走了又怕扫了你们的兴。既这么说，咱们就都去罢。”回头又嘱咐湘云：“别让你宝哥哥林姐姐多吃了。”湘云答应着。又嘱咐湘云宝钗二人说：“你两个也别多吃。那东西虽好吃，不是什么好的，吃多了肚子疼。”二人忙应着送出园外，仍旧回来，令将残席收拾了另摆。宝玉道：“也不用摆，咱们且作诗。把那大团圆桌就放在当中，酒菜都放着。也不必拘定坐位，有爱吃的去吃，大家散坐岂不便宜。”宝钗道：“这话极是。”湘云道：“虽如此说，还有别人。”因又命另摆一桌，拣了热螃蟹来，请袭人、紫鹃、司棋、待书、入画、莺儿、翠墨等一处共坐。山坡桂树底下铺下两条花毡，命答应的婆子并小丫头等也都坐了，只管随意吃喝，等使唤再来。

湘云便取了诗题，用针绾在墙上。众人看了，都说：“新奇固新奇，只怕作不出来。”湘云又把不限韵的原故说了一番。宝玉道：“这才是正理，我也最不喜限韵。”林黛玉因不大吃酒，又不吃螃蟹，自令人掇了一个绣墩[5]倚栏杆坐着，拿着钓竿钓鱼。宝钗手里拿着一枝桂花玩了一回，俯在窗槛上[6]了桂蕊掷向水面，引的游鱼浮上来唼喋[7]。湘云出一回神，又让一回袭人等，又招呼山坡下的众人只管放量吃。探春和李纨惜春立在垂柳阴中看鸥鹭。迎春又独在花阴下拿着花针穿茉莉花。宝玉又看了一回黛玉钓鱼，一回又俯在宝钗旁边说笑两句，一回又看袭人等吃螃蟹，自己也陪他饮两口酒。袭人又剥一壳肉给他吃。

黛玉放下钓竿，走至座间，拿起那乌银梅花自斟壶来，拣了一个小小的海棠冻石蕉叶杯。丫鬟看见，知他要饮酒，忙着走上来斟。黛玉道：“你们只管吃去，让我自斟，这才有趣儿。”说着便斟了半盏，看时却是黄酒，因说道：“我吃了一点子螃蟹，觉得心口微微的疼，须得热热的喝口烧酒。”宝玉忙道：“有烧酒。”便令将那合欢花浸的酒烫一壶来。黛玉也只吃了一口便放下了。

宝钗也走过来，另拿了一只杯来，也饮了一口，便蘸笔至墙上把头一个《忆菊》勾了，底下又赘了一个“蘅”字。宝玉忙道：“好姐姐，第二个我已经有了四句了，你让我作罢。”宝钗笑道：“我好容易有了一首，你就忙的这样。”黛玉也不说话，接过笔来把第八个《问菊》勾了，接着把第十一个《菊梦》也勾了，也赘一个“潇”字。宝玉也拿起笔来，将第二个《访菊》也勾了，也赘上一个“绛”字。探春走来看看道：“竟没有人作《簪菊》，让我作这《簪菊》。”又指看宝玉笑道：“才宣过总不许带出闺阁字样来，你可要留神。”

说着，只见史湘云走来，将第四第五《对菊》《供菊》一连两个都勾了，也赘上一个“湘”字。探春道：“你也该起个号。”湘云笑道：“我们家里如今虽有几处轩馆，我又不住着，借了来也没趣。”宝钗笑道：“方才老太太说，你们家也有这个水亭叫‘枕霞〔一〕阁’，难道不是你的。如今虽没了，你到底是旧主人。”众人都道有理，宝玉不待湘云动手，便代将“湘”字抹了，改了一个“霞”字。

又有顿饭工夫，十二题已全，各自誊出来，都交与迎春，另拿了一张雪浪笺[9]过来，一并誊录出来，某人作的底下赘明某人的号。李纨等从头看起：

　　忆菊　　　　蘅芜君

怅望西风抱闷思，蓼红苇白断肠时[10]。

空篱旧圃秋无迹，瘦月清霜梦有知。[11]

念念心随归雁远，寥寥坐听晚砧痴。

谁怜我为黄花病，慰语重阳[12]会有期。

　　访菊　　　怡红公子

闲趁霜晴试一游，酒杯药盏莫淹留[13]。

霜前月下谁家种，槛外篱边何处秋[14]。

蜡屐远来情得得[15]，冷吟[16]不尽兴悠悠。

黄花若解怜诗客，休负今朝挂杖头〔二〕[18]。

　　种菊　　　怡红公子

携锄秋圃自移来，篱畔庭前故故[19]栽。

昨夜不期经雨活，今朝犹喜带霜开。

冷吟秋色[20]诗千首，醉酹寒香酒一杯[21]。

泉溉泥封勤护惜，好知井径绝尘埃[22]。

　　对菊　　　枕霞旧友

别圃[23]移来贵比金，一丛浅淡一丛深。

萧疏篱畔科头坐，清冷香中抱膝吟。[24]

数去更无君傲世，看来惟有我知音[25]。

秋光荏苒休辜负，相对原宜惜寸阴[26]。

　　供菊[27]　　枕霞旧友

弹琴酌酒喜堪俦，几案婷婷点缀幽。

隔座香分三径露[28]，抛书人对一枝秋。

霜清纸帐来新梦[29]，圃冷斜阳忆旧游[30]。

傲世也因同气味，春风桃李未淹留。[31]

　　咏菊　　潇湘妃子

无赖诗魔昏晓侵，绕篱欹石自沉音。[32]

毫端蕴秀临霜写[33]，口齿噙香[34]对月吟。

满纸自怜题素怨[35]，片言谁解诉秋心[36]。

一从陶令平章后[37]，千古高风说到今。

　　画菊　　蘅芜君

诗馀戏笔不知狂[38]，岂是丹青费较量[39]。

聚叶泼成千点墨[40]，攒花染出几痕霜[41]。

淡浓神会风前影[42]，跳脱秋生腕底香[43]。

莫认东篱闲采掇[44]，粘屏聊以慰重阳[45]。

　　问菊　　潇湘妃子

欲讯秋情众莫知，喃喃负手叩东篱[46]。

孤标傲世偕谁隐，一样花开为底迟？[47]

圃露庭霜何寂寞，鸿归蛩病[48]可相思？

休言举世无谈者，解语[49]何妨片语时。

簪菊[50]　　蕉下客

瓶供篱栽日日忙，折来休认镜中妆[51]。

长安公子因花癖，彭泽先生是酒狂。[52]

短鬓冷沾三径露，葛巾香染九秋霜。[53]

高情不入时人眼，拍手凭他笑路旁。[54]

　　菊影　　　枕霞旧友

秋光叠叠复重重，潜度偷移三径中。[55]

窗隔疏灯描远近，篱筛破月锁玲珑。[56]

寒芳留照魂应驻[57]，霜印传神梦也空[58]。

珍重暗香[59]休踏碎，凭谁醉眼认朦胧[60]。

　　菊梦　　　潇湘妃子

篱畔秋酣一觉清[61]，和云伴月不分明[62]。

登仙非慕庄生蝶[63]，忆旧还寻陶令盟。

睡去依依随雁断[64]，惊回故故恼蛩鸣[65]。

醒时幽怨同谁诉，衰草寒烟无限情。

　　残菊　　　蕉下客

露凝霜重渐倾欹，宴赏才过小雪时。[66]

蒂有馀香金淡泊，枝无全叶翠离披。[67]

半床落月蛩声病，万里寒云雁阵迟。

明岁秋风知再会，暂时分手莫相思。

众人看一首，赞一首，彼此称扬不已。李纨笑道：“等我从公评来。通篇看来，各人有各人的警句。今日公评：《咏菊》第一，《问菊》第二，《菊梦》第三，题目新，诗也新，立意更新，恼不得要推潇湘妃子为魁了；然后《簪菊》《对菊》《供菊》《画菊》《忆菊》次之。”宝玉听说，喜的拍手叫“极是，极公道。”黛玉道：“我那首也不好，到底伤于纤巧些。”李纨道：“巧的却好，不露堆砌生硬。”

黛玉道：“据我看来，头一句好的是‘圃冷斜阳忆旧游’，这句背面傅粉。‘抛书人对一枝秋’已经妙绝，将供菊说完，没处再说，故翻回来想到未折未供之先，意思深透。”李纨笑道：“固如此说，你的‘口齿噙香’句也敌的过了。”探春又道：“到底要算蘅芜君沉着，‘秋无迹’，‘梦有知’，把个忆字竟烘染出来了。”宝钗笑道：“你的‘短鬓冷沾’，‘葛巾香染’，也就把簪菊形容的一个缝儿也没了。”湘云道：“‘偕谁隐’，‘为底迟’，真个把个菊花问的无言可对。”李纨笑道：“你的‘科头坐’，‘抱膝吟’，竟一时也不能别开，菊花有知，也必腻烦了。”说的大家都笑了。

宝玉笑道：“我又落第。难道‘谁家种’，‘何处秋’，‘蜡屐远来’，‘冷吟不尽’，都不是访，‘昨夜雨’，‘今朝霜’，都不是种不成？但恨敌不上‘口齿噙香对月吟’、‘清冷香中抱膝吟’、‘短鬓’、‘葛巾’、‘金淡泊’、‘翠离披’、‘秋无迹’、‘梦有知’这几句罢了。”又道：“明儿闲了，我一个人作出十二首来。”李纨道：“你的也好，只是不及这几句新巧就是了。”

大家又评了一回，复又要了热蟹来，就在大圆桌子上吃了一回。宝玉笑道：“今日持螯赏桂，亦不可无诗。我已吟成，谁还敢作呢？”说着，便忙洗了手提笔写出。众人看道：

持螯[68]更喜桂阴凉，泼醋擂姜兴欲狂。

饕餮王孙[69]应有酒，横行公子[70]却无肠。

脐间积冷[71]馋忘忌，指上沾腥洗尚香。

原为世人美口腹，坡仙曾笑一生忙。[72]

黛玉笑道：“这样的诗，要一百首也有。”宝玉笑道：“你这会子才力已尽，不说不能作了，还贬人家。”黛玉听了，并不答言，也不思索，提起笔来一挥，已有了一首。众人看道：

铁甲长戈死未忘，堆盘色相喜先尝。[73]

螯封嫩玉[74]双双满，壳凸红脂[75]块块香。

多肉更怜卿八足，助情谁劝我千觞。

对斯佳品酬佳节，桂拂清风菊带霜。

宝玉看了正喝彩，黛玉便一把撕了，令人烧去，因笑道：“我的不及你的，我烧了他。你那个很好，比方才的菊花诗还好，你留着他给人看。”宝钗接着笑道：“我也勉强了一首，未必好，写出来取笑儿罢。”说着也写了出来。大家看时，写道是：

桂霭[76]桐阴坐举觞，长安涎口[77]盼重阳。

眼前道路无经纬[78]，皮里春秋空黑黄[79]。

看到这里，众人不禁叫绝。宝玉道：“写得痛快！我的诗也该烧了。”又看底下道：

酒未敌腥还用菊，性防积冷定须姜。

于今落釜成何益，月浦空馀禾黍香[80]。

众人看毕，都说这是食螃蟹绝唱，这些小题目，原要寓大意才算是大才，只是讽刺世人太毒了些。说着，只见平儿复进园来。不知作什么，且听下回分解。

[1] 嵌蚌——即螺钿，将蚌壳有光泽的部分加工嵌入器物表面的装饰工艺。

[2] “芙蓉”一联——上句说水动影破方知小船归来。芙蓉：荷花；兰浆：代指小船。下句说竹桥一带菱藕幽深，香气四溢。写：同“泻”。

[3] 从神儿似的——庙中供奉的主神两旁随从侍奉之神谓“从神儿”。此语是说不要受拘束呆板的意思。

[4] 绿豆面子——即绿豆粉，经桂花和菊花叶之类熏过以去腥。

[5] 绣墩——有文饰彩绣或彩绘的坐墩。其上或加绣花套子。

[6] （qiā掐）——“掐”的俗写。

[7] 唼喋（shà　zhá霎闸）——鱼或水鸟聚食声。这里指鱼嘴开合，咂水吞食。

〔一〕 “枕霞”，原系“秋露”点改，己卯本同。梦稿、蒙府、戚序、甲辰、舒序本均作“枕霞”，从。

[9] 雪浪笺——一种白色诗笺，纸中有波浪形暗纹。此外，还有一种厚的生宣纸，也叫雪浪纸。

[10] “蓼红”句——蓼：这里指红蓼，干叶均呈紫红色，夏秋之际开粉红小花。苇：芦苇，夏秋之际扬白絮。断肠：形容极度悲伤的情怀，这里喻忆菊心情之切。

[11] “空篱”二句——空篱：菊篱之中空荡无物。旧圃：去年的花圃。秋无迹：即菊无迹，没有菊。瘦月清霜：极言秋夜寂冷的景色。梦有知：在梦中才能见到。知：见。

[12] 重阳——即阴历九月初九日。《易经》以阳爻为九，故以九为阳数，因九月九日都逢阳数，故重九亦称重阳。旧俗多在重阳节赏菊饮酒。

[13] “酒杯”句——谓不要因为贪杯饮酒或因病吃药而被绊住，不出访菊。淹留：久留，滞留。

[14] 何处秋——秋：秋色，在这里指菊花。

[15] “蜡屐（jī基）”句——蜡屐：屐，有齿的木底鞋，古时多着以登山。屐上打蜡，可防湿耐用。得得：犹“特特”，特地。这里作情致很高解。

[16] 冷吟——即秋吟，冷秋吟诗。

〔二〕 “挂杖头”，各本同。底本“挂”似为“拄”改成。

[18] “黄花”二句——解：懂得，理解。怜：爱怜。诗客：诗人，作诗者自指。挂杖头：与首联对句呼应，指诗人杖头挂钱，沽酒访菊。

[19] 故故——故意；特意。宋代杨万里《癸巳省宿咏南宫小桃诗》：“孤坐南宫悄，桃花故故红。”

[20] 秋色——指菊。

[21] “醉酹（lèi类）”句——酹：洒酒以祭。寒香：以菊花清冷的幽香代指菊。

[22] “好知”句——好知：须知。井径：田间小路，此指种菊处。绝：弃绝。尘埃：喻指世俗社会。全句是说，愿同井径亲近，而与尘埃相绝，意含愿与秋菊偕隐，超尘拔俗，息绝世俗的交游。

[23] 别圃——即远圃。别：远。屈原《离骚》：“余既不难夫离别兮”，王逸注云：“近曰离，远曰别”。

[24] “萧疏”二句——萧疏：指秋天萧条疏落的景象。科头：指不戴帽子，表示疏狂不羁。清冷香：指菊花。清代爱菊主人《花史》：“王龟龄十朋取庄园卉目为十八香，以菊为冷香。”

[25] 知音——知己好友。本意为闻琴声而解弹奏者的心意。见《列子·汤问》载钟子期听俞伯牙弹琴事。

[26] 惜寸阴——爱惜时间。阴：光阴。《晋书·陶侃传》：“大禹圣者，乃惜寸阴，至于众人，当惜分阴。”

[27] 供菊——折菊插于瓶中，放置室内供玩赏。

[28] “隔座”句——隔着座位就闻到供菊散发的香气。分：散发。三径露：与下句“一枝秋”互文，均指菊。三径，指栽菊的庭院。陶渊明《归去来辞》：“三径就荒，松菊犹存。”

[29] “霜清”句——霜清：指秋天，秋日有霜。纸帐：明代高濂《遵生八笺》：“纸帐，用藤皮茧纸缠于木上，以索缠紧，勒作绉纹；不用糊，以线拆缝之；顶不用纸，以稀布为之，取其透气；或画以梅花，或画以蝴蝶，自是分外清致。”全句意谓，因室中供菊，使得清秋季节纸帐中睡觉也出现别具新意的梦境。

[30] “圃冷”句——全句回忆未折未供之前在夕阳残照中游赏清冷菊圃时的情景，以衬托和加强当前供菊为友的喜悦亲切心情。这就是下文黛玉说的“背面傅粉”手法。

[31] “傲世”二句——说自己同秋菊情操一样，故对在春风中摇曳弄姿的桃花李花从不驻足欣赏。同气味：情趣相同。春风桃李：喻追求世俗荣利的人。

[32] “无赖”二句——无赖：纠缠不舍。诗魔：指诗人不可抑止的创作冲动。佛家以扰乱身心、迷恋外物、妨碍修行的心理活动为魔。昏晓：犹言早早晚晚。侵：侵扰。欹（qī七）石：即倚石。欹：倾斜。沉音：即沉吟，沉思低诵。

[33] “毫端”句——毫端：笔尖。蕴秀：谓饱含隽逸的才思和辞藻。临霜：迎霜。

[34] 噙香——口含菊的清香。“香”也兼喻丽辞佳句。

[35] 素怨——秋怨。

[36] 秋心——感秋而生的情怀。合即“愁”字。

[37] “一从”句——一从：自从。陶令：即陶渊明，曾做过彭泽县令。

[38] “诗馀”句——诗馀：吟诗之后。戏笔：随兴挥笔作画。不知狂：不觉得自己兴态狷狂。

[39] “岂是”句——丹青：绘画用的红色、青色颜料，代指绘画。较量：斟酌构思。

[40] “聚叶”句——聚叶：绘画术语，指画叶章法。要有聚有散，疏密有致。画谱上有“攒三聚五”之说。泼墨：中国绘画的画法之一，笔力奔放，宛如水墨泼在纸上。

[41] “攒花”句——攒花：绘画术语，指花头画法。染：在花瓣上涂颜色。霜：指画面上的菊花瓣。

[42] “淡浓”句——淡浓：指用水墨的浓淡表现出菊花的姿态。神会：充分领会掌握描绘对象的精神，再形之于画，即追求神似。风前影：指在风中摇曳的菊花。

[43] “跳脱”（tiáo　duó条夺）句——跳脱：也作“条脱”、“条达”。手镯的别称，后引申为灵活生动。这里因写到“腕”，故兼含两义，既巧妙点出画菊者是女子，又形容画得很生动。所以下文说，腕底画出的秋菊似乎散发出香气来。

[44] “莫认”句——东篱：陶渊明《饮酒》诗：“采菊东篱下，悠然见南山。”采掇（duō多）：采摘。全句意谓不要认为这是东篱边栽的真菊花就随手去采。

[45] “粘屏”句——粘屏：把菊画粘贴在屏风上。聊：姑且。慰重阳：重阳佳节借观画代赏菊，聊作慰藉。

[46] “喃喃”句——负手：倒背手若有所思的样子。叩：问。东篱：代指菊。

[47] “孤标”二句——孤标：孤高的风操。标：树梢之最上部，引申为出众之意。一样花开：同样是开花。为底迟：为什么你开得这样迟？底：何。

[48] 鸿归蛩病——秋雁南归，蟋蟀悲鸣。鸿：雁。蛩病：喻蟋蟀凄切的叫声。

[49] 解语——会说话；解人意。参阅第253页注①。

[50] 簪菊——采菊插在头上。古时重阳节民间有簪菊的风俗，宋代周密《乾淳岁时记》对此曾有记载。

[51] 休认镜中妆——不要认为是妇女平常对镜的妆饰，因簪菊是重阳节的风俗。

[52] “长安”二句——长安公子：或指晚唐诗人杜牧，因其祖父杜佑在唐德宗、宪宗两朝为相，故称他为长安公子。杜牧《九月齐山登高》诗：“尘世难逢开口笑，菊花须插满头归。”彭泽先生：即陶渊明，他爱菊，亦嗜酒。南朝梁萧统《陶渊明传》：“江州刺史王弘欲识之（指陶渊明），不能致也。……尝九月九日无酒，出宅边菊丛中坐，久之，满手把菊，忽值弘送酒至，即便就坐，醉而归。”又云：“郡将尝候之，值其酿熟，取头上葛巾漉酒，漉毕，还复着之。”

[53] “短鬓”二句——三径露、九秋霜：均代指菊。九秋：秋季三个月九十天，故称秋天为三秋或九秋。葛巾：东晋士人戴的一种用葛布做的便帽。

[54] “高情”二句——意谓时俗之人在路旁拍手嘲笑醉酒簪菊之人。高情：即簪菊的高尚情趣。拍手笑：这里系化用前人诗意，李白《襄阳歌》：“襄阳小儿齐拍手，栏街争唱白铜鞮。傍人借问笑何事？笑杀山公醉似泥。”又陆游《小舟游近村舍舟步归诗》：“儿童共道先生醉，折得黄花插满头。”

[55] “秋光”二句——秋光：秋季的风光，代指菊影。潜度偷移：菊影随着日光悄悄移动。

[56] “窗隔”二句——隔着窗纱透出疏淡的灯光，描绘出远近不同的菊影。月光透过缝隙如筛的竹篱，投射到地上，被隔成片片碎块，好像将玲珑透剔的菊影幽闭了起来似的。

[57] “寒芳”句——寒芳：指菊花。留照：留影。魂应驻：菊花的精神应当留在菊影里。驻：留；住。

[58] “霜印”句——霜印：指菊影。传神：指菊影表现出菊花的精神。梦也空：像梦一样空幻不实。

[59] 暗香——指月夜菊影。

[60] “凭谁”句——承上句“休踏碎”意，说月光下的菊影朦胧，就像醉眼看花一样。凭谁：不论是谁。

[61] “篱畔”句——篱畔秋菊酣睡一场，梦境也清雅不俗。酣：沉睡。

[62] “和云”句——和云伴月：菊花在梦中伴随云月飘然高举。不分明：指菊花梦中迷离恍惚的境界。

[63] “登仙”句——登仙：指菊花梦中宛如登临仙境。庄生蝶：庄生，即庄周，庄生梦化蝴蝶事，见《庄子·齐物论》。

[64] “睡去”句——意谓菊花依恋地随着鸿雁南归而入梦。依依：留恋依慕的样子。雁断：飞雁远逝。

[65] “惊回”句——惊回：睡醒梦回。故故：屡屡。全句意谓令人着恼的蟋蟀悲鸣，屡屡惊醒好梦。

[66] “露凝”二句——露凝霜重：指由秋至冬的气候次第变化。露凝：秋露因冷而凝。晋代陆机《秋咏》诗：“肃肃素秋节，湛湛浓露凝。”霜重：指初冬的霜威。唐代杜甫《萤火诗》：“十月清霜重，飘零何处归。”倾欹（qī欺）：指菊衰残倾斜。宴赏：指重阳设宴赏菊。小雪：二十四节气之一，在阴历十月。承上句谓自重阳迄于小雪，菊花由盛趋衰。

[67] “蒂有”二句——蒂有馀香：指菊花蒂上残留的花瓣。金：黄金色。淡泊：指花的颜色消褪。翠：指绿叶。离披：散乱的样子。

[68] 螯（áo熬）——螃蟹夹子。

[69] 饕餮（tāo　tiè滔帖）王孙——饕餮：本为传说中一种贪食的恶兽，后常以喻人贪馋嗜吃，贪婪无厌。这里似用明代徐渭《钱王孙饷蟹》诗：“鲰生（徐渭自称）用字换霜螯，待诏将书易雪糕。并是老饕营口腹，管教半李（半个李子）夺蛴螬（金龟子）。”“老饕”典出苏轼《老饕赋》，这里饕餮，义亦本此。王孙：旧称贵族子弟为王孙。在此语义双关，既关合徐渭诗题上的钱王孙，又兼宝玉自指。

[70] 横行公子——指蟹。宋代傅肱《蟹谱》称蟹为“横行介士”；晋代葛洪《抱朴子》称蟹为“无肠公子”。金时元好问《送蟹与兄》诗：“横行公子本无肠，惯耐江湖十月霜。”宝玉此句，即本于元诗。

[71] 脐间积冷——脐：肚脐，这里指腹部。蟹性冷，多食，会积冷腹内，故食时用生姜解之。

[72] “原为”二句——坡仙：苏东坡的别称。他在《老饕赋》中用铺张的笔法嘲笑一个贪馋忙吃的老饕，在《初到黄州》诗亦云：“自笑平生为口忙，老来事业转荒唐。”此联盖融汇苏轼赋意诗境而成，自嘲为饱口腹而忙于吃蟹的狂态。

[73] “铁甲”二句——铁甲：喻蟹壳。长戈：喻蟹螯和蟹脚。色相：佛家语，指一切可感触有形质之物的形状。这里指熟蟹的形状。

[74] 嫩玉——喻蟹螯内的白色嫩肉。南宋罗大经《鹤林玉露》：“杨诚斋呼尤延之为蝤蛑（螃蟹），尝寄诗曰：‘文戈却日玉无价，宝气蟠胸金欲流。’”

[75] 红脂——母蟹蒸熟后，腹内的脂状物呈橙红色，俗称蟹黄。

[76] 桂霭——桂花香气。霭：云气。

[77] 长安涎口——代指京都那些好吃馋嘴的人。用杜甫《饮中八仙歌》：“汝阳（唐玄宗时汝阳郡王李）三斗始朝天，道逢车口流涎。”

[78] “眼前”句——说螃蟹横行，从不管眼前道路的纵横。经纬：这里指纵横、法度。

[79] “皮里”句——说蟹壳里仅有黑的膏膜和黄的蟹黄而已，讽寓世人心黑意险。皮里春秋：《晋书·褚裒（póu剖阳平）传》载，桓彝品评褚裒的为人“有皮里春秋”，意即表面上不露好恶而内心深藏褒贬。

[80] “月浦”句——蟹食稻伤农，今蟹死，月夜水边只留下禾黍的芳香。浦：水边。

CHAPTER 38. River Queen triumphs in her treatment of chrysanthemum themes And Lady Allspice is satirical on the subject of crabs

THE last chapter concluded with Bao-chai and Xiang-yun retiring for the night after their plans for the morrow had been completed. This one begins next morning, when Xiang-yun invited Grandmother Jia and the rest to a cassia-viewing party in the Garden. Touched by her enthusiasm, the grown-ups readily agreed to go.

‘She is so excited, bless her!’ said Grandmother Jia. ‘We ought to let her do this, even though she is our guest.’

And having promised, she was as good as her word, and arrived in the Garden at noon, bringing Lady Wang, Wang Xi-feng and Aunt Xue with her and a number of attendant maids.

‘Now where is it going to be?’ she asked them.

‘Wherever you like, Mother,’ said Lady Wang dutifully.

‘I think they’ve already prepared for us in the Lotus Pavilion,’ said Xi-feng. ‘The blossom on the two cassia-trees is particularly fine there this year, and there is that lovely clear, emerald water. When you sit in the little centre pavilion, you have water all round you, which gives you a wonderful feeling of spaciousness. And looking at water is so restful for the eyes.’

‘Very well,’ said Grandmother Jia, and began to lead the way to the Lotus Pavilion.

The pavilion was built in the middle of the Garden’s little river at one of the places where it broadened into a wide, deep pool. It had windows all round it and could be approached either circuitously from one side by way of one of the two many-angled covered piers leading to its left- and right-hand verandahs, or more directly from the other by means of a bamboo bridge leading to the centre of the verandah at the back. It was towards this bamboo bridge that the party was now making its way. As Grandmother Jia stepped on to it, Xi-feng hurried forward to support her.

‘You can put your feet down as hard as you like, Grannie,’ she said. ‘Bamboo bridges always creak like this when you go over them. They are meant to.’

The Lotus Pavilion was in reality not one pavilion but two, for the main pavilion properly so called gave on to a smaller pavilion, referred to simply as ‘the water pavilion’ or ‘the centre pavilion’, which was in the very middle of the little lake.

When they were all inside the main pavilion, they noticed that two bamboo tables had been set out on the verandah. On one of them were ranged winecups, chopsticks and all things needful for serving wine, and on the other were teacups, teapots, tea-whisks, saucers, and various other tea-things. Beside the tea-table two or three maids were busy fanning a little tripod stove on which water for tea-making was being boiled, while at the other end of the verandah maids were fanning a stove on which water for warming the wine-kettles was being heated. Grandmother Jia was particularly impressed by the arrangements for tea-making and remarked with pleasure how clean everything looked – including the spot that had been chosen for the party.

‘Cousin Bao-chai helped me get it ready,’ said Xiang-yun.

‘Well, I’ve always said she was a thoughtful child,’ said Grandmother Jia. ‘A lot of thought has certainly gone into these preparations.’

As she was speaking, her eye fell on a pair of boards that hung from two of the pillars. The couplet inscribed on them was in mother-o’-pearl inlay on a black lacquer background. She asked Xiang-yun to read it out to her. This is what it said:

Lotus reflections shatter at the dip of a lazy oar-blade

Lotus fragrances float up from the swirl round a bamboo bridge-pile

After hearing the couplet, Grandmother Jia glanced up at the horizontal board which bore the name of the pavilion and was in characters large enough for her to read herself. She turned to Aunt Xue, who was standing beside her.

‘When I was a girl, there was a pavilion like this one in our garden at home. It was called – let me see – “Above the Clouds” – because of the sky reflected in the water below, you see. When I was about the same age as these young people are now, I used to go with the others every day there to play. One day I slipped and fell down into the water. I nearly drowned. They had a terrible job getting me out. And even then I caught my head on one of the wooden pegs on the way up. I’ve still got a place big enough to put the tip of a finger in where it hit me. It’s on the side here, just where the hair begins. Of course, at the time everyone thought it was all up with me. They were sure that after being all that time in the water I’d catch my death of cold. But I got over it.’

‘If you hadn’t,’ said Xi-feng before anyone else could speak, ‘what would have happened to all the good fortune you’ve enjoyed, Grannie? It’s obvious you were meant to have it, otherwise why would you have been given that dent in your head? The guardian spirits must have put it there to store your good fortune in. Old Longevity has got a dent in his head, too; only his has got so much good fortune packed into it that it bulges out a bit.’

This comical allusion to the God of Longevity’s enormous cranium set all of them laughing – including, of course, the old lady herself.

‘Naughty monkey!’ she said. ‘Make fun of me, would you? I’d like to tear that wicked mouth of yours!’

‘It’s because I wanted to make you laugh, Grannie. Laughter makes the humours circulate. We’re going to be eating crabs shortly, and I was afraid that the cold of the crab-meat might settle on your heart. If I can make you laugh and stir your humours up, you’ll be able to eat as much crab as you like without taking any harm from it.’

‘In that case I shall have to keep you with me all the time, so that I am always laughing,’ said Grandmother Jia. ‘I’ll have to stop you going home at night.’

‘It’s because you indulge her so much that she is so cheeky, Mother,’ said Lady Wang. ‘By saying things like that to her you will make her even worse.’

‘But I like her cheekiness!’ said Grandmother Jia. ‘After all, there’s no harm in it. She knows what’s what underneath it all, of course she does. I think it’s nice that the young people should feel free to joke and laugh a bit when we are all on our own together. We don’t want them behaving like a lot of stuffed dummies, surely?’

While she was saying this, they all passed into the smaller pavilion, where tea was served, after which Xi-feng came bustling in with winecups and chopsticks and began to lay. Grandmother Jia sat with Aunt Xue, Bao-chai, Dai-yu and Bao-yu at a centre table, and Xiang-yun, Lady Wang, Ying-chun, Tan-chun and Xi-chun at a table on the east side of the room. A little table was laid for Xi-feng and Li Wan on the west side of the doorway, but this was only for form’s sake, since both of them remained on their feet in order to wait on the other two tables.

‘We shan’t want all the crabs at once,’ said Xi-feng to the servants bringing them in. ‘Ten will be enough to start with. The others can go back into the steamer.’

She called for some water, and after washing her hands, stood at the centre table facing Grandmother Jia and began shelling the crabs. She offered the first meat, as a courtesy, to Aunt Xue.

‘No thank you,’ said Aunt Xue. ‘I don’t need anyone to do it for me. I like doing it myself and getting crabby fingers. I think they taste better when you eat them with your fingers.’

Xi-feng gave the crab-meat she had prepared to Grandmother Jia. The second lot she offered to Bao-yu. Then she called for some ‘really hot wine’. She also sent a little maid to fetch mung-bean flour scented with chrysanthemum leaves and cassia for cleaning the fingers with and removing the smell of crab.

Xiang-yun sat with the others at her own table for a while, but as soon as she had finished her first crab, got up to look after her guests. She also went outside and gave orders for a plate of crabs to be taken to Aunt Zhao and another to Aunt Zhou. At once Xi-feng came bearing down on her.

‘You’re not used to this. You get on with your eating and leave this to me! I’ll have mine when the rest of you have finished.’

But Xiang-yun, refusing to be put off, ordered a long table to be laid on the verandah at the far side of the Lotus Pavilion and invited the maids Faithful, Amber, Sunset, Suncloud and Patience to come and sit at it.

Faithful glanced laughingly in Xi-feng’s direction.

‘I can’t very well sit down and eat while Mrs Lian is waiting on everybody.’

‘That’s all right,’ said Xi-feng. ‘You all go and sit down. I’ll take care of everything.’

At that Xiang-yun, too, went back to her seat.

Li Wan and Xi-feng now made a brief pretence of joining in the party, but Xi-feng was soon on her feet again ministering to the rest. After a few minutes she went out on to the verandah, where Faithful and the other maids were regaling themselves with great gusto. They rose to their feet when they saw her come.

‘What have you come out here for, Mrs Lian?’ said Faithful. ‘Can’t you leave us alone to enjoy ourselves for a bit?’

‘Well, aren’t you disagreeable!’ said Xi-feng. ‘Here am I doing all the work for you, but instead of thanks I get grumbled at! I was hoping you would offer me a drink.’

Faithful, laughing, quickly filled a winecup and held it to Xi-feng’s lips. Tilting her head back, Xi-feng drained it at a gulp. Amber and Sunset followed suit, and two more cupfuls went down in the same way. Meanwhile Patience had been scooping out some ‘yolk’ – the delicious golden crab-spawn – which she now offered to her mistress. Xi-feng told her to put lots of ginger and vinegar on it, then, having quickly disposed of it, ‘You can all sit down now and get on with your party,’ she said. ‘I’m going.’

‘What a nerve!’ said Faithful. ‘Scrounging off us like that!’

‘You’d better be careful what you say to me, my girl,’ said Xi-feng with a smile. ‘I suppose you realize that Mr Lian has taken a fancy to you and is going to ask Her Old Ladyship if he can have you for his Number Two?’

Faithful tutted and shook her head. It was easy to see that she was blushing.

‘Huh!’ she said. ‘Fancy a lady saying a thing like that! I’m going to wipe my smelly fingers on your face, Mrs Lian, if it’s the last thing I do.’

‘No, no! Please! Forgive me!’ said Xi-feng, as Faithful stood up to carry out her threat.

‘Even if she does,’ said Amber, laughing, ‘I wouldn’t be too sure that Patience will. Look at her, all of you! She hasn’t eaten two crabs yet, but she’s already finished a saucerful of vinegar!’

Patience, who had in her hand a crab richly endowed with ‘yolk’ that she had just finished shelling, held it up when she heard this jibe and advanced on Amber, intending to smear her face with it.

‘You nasty, spiteful little creature!’ she said, both laughing and indignant. ‘I’1l —’

But Amber dodged aside, and Patience, losing her balance, plastered the crab smack on to her mistress’s cheek. Xi-feng, at that moment still preoccupied with Faithful, was taken completely by surprise. Her startled ‘Aiyo!’ was too much for the maids, who collapsed in uncontrollable laughter. Xi-feng presently joined in, though cursing Patience as she did so.

‘Stupid cow! Are you too drunk to see straight? All over my face!’

Patience hurriedly wiped it off and fetched water for her to wash with.

‘Holy Name!’ said Faithful. ‘That was a judgement, if ever there was one!’

Hearing the laughter outside, Grandmother Jia eagerly asked to know its cause.

‘What is it? What have you seen that’s so funny? Tell us, so that we can share the joke.’

Faithful shouted back, amidst laughter.

‘Mrs Lian came over here and stole some of our crab. Patience didn’t like it, so she smeared crab-yolk all over her mistress’s face, and now the two of them are having a fight.’

Hoots of laughter from Grandmother Jia and Lady Wang.

‘Poor Mrs Lian!’ said Grandmother Jia. ‘You ought to feel sorry for her. Couldn’t you spare her a few of the legs or some of the underneath bits?’

There was renewed laughter from the maids. Faithful shouted back again.

‘She can have all the crab’s-legs on this table, and very welcome to them!’

Xi-feng, taking all in good part, finished washing her face and went back to help Grandmother Jia and the others at the centre table with their crabs.

Dai-yu dared not eat very much because of her delicate health, and after consuming a little of the claw-meat, excused herself from the table. Soon Grandmother Jia, too, had finished eating, and everyone washed their hands and broke off for a while to amuse themselves, some going off to admire the flowers, some to drop things in the water and watch the fish rise.

‘It’s rather windy for you here, Mother,’ said Lady Wang, ‘– especially after you’ve just been eating crab. Perhaps you ought to go back to your own room now and rest. If you have enjoyed it, we could come again tomorrow.’

‘Yes, perhaps you are right,’ said Grandmother Jia. ‘I hadn’t been going to leave, because I could see how much they were all enjoying themselves and was afraid of spoiling the fun. But perhaps you and I ought to be getting along now.’

As she rose to leave, she turned to address Xiang-yun.

‘Don’t let your Cousin Bao-yu eat too much!’

‘No, Grandma.’

She turned once more as she was leaving, this time including Bao-chai in her admonition.

‘And don’t you two eat too much, either. Crab is very good to eat, but it isn’t very good for you. If you eat too much of it, it will give you stomach-ache.’

‘Yes, Grandma.’

The two girls saw her out of the Garden. When they were back again, they gave orders for the tables to be cleared and a new set of places to be laid; but Bao-yu objected.

‘No, don’t lay again,’ he said. ‘We want to get on with the poetry. Put the big round table in the middle with all the food and drink on it so that we can help ourselves when we feel like it and sit where we like. That will be much nicer than having set places.’

Bao-chai agreed; but Xiang-yun reminded them that there were others besides themselves to be considered, and having first ordered a separate table to be laid and some good hot crabs to be selected, she invited Aroma, Nightingale, Chess, Scribe, Picture, Oriole and Ebony to come and sit at it. After that she had a couple of carpets spread out on the ground beneath the cassia-trees at the foot of the rockery and made the old nannies and junior maids sit down on them and eat and drink to their hearts’ content, insisting that they need only get up to wait on them if they were specially called for. Then she took the list of poem-titles and pinned it to the inside wall of the pavilion.

Very original!’ the others commented when they had finished reading the titles, but went on to express the fear that they might find them difficult to write on.

Xiang-yun explained what they had decided about rhymes: viz. that there should be no set rhyme-scheme and everyone should be free to choose their own.

‘Now that’s what I call sensible!’ said Bao-yu. ‘I can’t stand set rhymes.’

Dai-yu had a barrel-shaped porcelain tabouret moved up to the verandah’s edge, and having selected a fishing-rod for herself, sat leaning on the railing, fishing.

Bao-chai sat for some time silently contemplating a spray of cassia she had picked, then, leaning over the railings and idly plucking off the flowerets, dropped them one by one into the water and watched the fish swim up from below and nibble at them with plopping noises as they floated on the surface.

Xiang-yun for the most part sat quietly musing, occasionally getting up to look after Aroma and the other maids at the table outside, or to make sure that the people sitting on the carpets were getting enough to eat and drink.

Tan-chun stood with Li Wan and Xi-chun in the shade of a weeping willow, watching the water-fowl.

Ying-chun sat apart from the rest beneath a flowering tree, stringing jasmine blossoms into a flower-chain with a needle and thread.

Bao-yu watched Dai-yu fishing for a bit, then went over and leaned on the railings and talked with Bao-chai for a bit, and finally, after watching Aroma and the other maids eating and drinking at their table, ended up by drinking with them himself while Aroma shelled a crab for him.

Presently Dai-yu put down her fishing-rod, went over to the central table, took up a silver ‘self-service’ wine-kettle whose surface was carved with a nielloed plum-flower pattern, and, having selected a little shallow, rose-quartz winecup, was just about to pour herself a drink, when a maid observed her and came hurrying up to do it for her.

‘No, let me pour it myself,’ said Dai-yu. ‘That is half the fun. You get on with your party.’

So saying, she proceeded to half-fill the tiny receptacle with liquor from the silver kettle. But it proved to be yellow rice-wine, whereas what she wanted was spirits.

‘I only ate a small amount of crab,’ she said, ‘but it has given me a slight heart-burn. What I really need is some very hot samshoo.’

‘We have some,’ said Bao-yu, and quickly ordered a kettle of special mimosa-flavoured samshoo to be heated for her. Dai-yu took only a sip of it before putting the winecup down again.

Presently Bao-chai strolled up and helped herself to the samshoo. She, too, put her cup down after taking only a tiny mouthful of it. Then she moistened a brush with ink, and going over to the list of titles, put a tick over the first one, ‘Remembering the Chrysanthemums’, and wrote the word ‘Allspice’ underneath it.

‘Please leave Number Two for me, Chai,’ said Bao-yu anxiously. ‘I’ve already thought of four lines for it.’

Bao-chai laughed.

‘I’ve had a hard enough job thinking of lines for this first one. You’ve nothing to worry about as far as I’m concerned.’

Dai-yu, without saying a word, quietly relieved Bao-chai of the brush, ticked first ‘Questioning the Chrysanthemums’ and then the eleventh title, ‘The Dream of the Chrysanthemums’, and wrote ‘River’ underneath each of them.

After her, Bao-yu took up the brush and ticked ‘Seeking the Chrysanthemums’. He signed himself ‘Green’.

Tan-chun now drifted over and looked at the list.

‘Oh, hasn’t anyone chosen “Wearing the Chrysanthemums” yet?’ she said. ‘Let me do that one.’

She turned, smilingly, to Bao-yu and pointed a warning finger at him.

‘We’ve just made a new rule, by the way. No naked ladies this time, please. You have been warned!’

Xiang-yun strolled up while she was saying this and ticked Numbers Four and Five – ‘Admiring the Chrysanthemums’ and ‘Arranging the Chrysanthemums’ – in rapid succession. She signed herself ‘Xiang’ underneath them.

‘You ought to have a pen-name like the rest of us,’ said Tan-chun.

‘There are various pavilions and studios at home, of course,’ said Xiang-yun, ‘but I don’t live in any of them. It would be rather pointless to call myself after a building like the rest of you.’

‘What about that water pavilion “Above the Clouds” that Lady Jia was telling us about?’ said Bao-chai. ‘You could call that yours. Even if it doesn’t exist any more, you can pretend that it would have been yours. You should call yourself “Cloud Maiden”.’

‘Yes, yes,’ said the others; and before Xiang-yun herself could do anything, Bao-yu had crossed out the ‘Xiang’ and substituted the word ‘Cloud’ beneath it.

In less time than it would take to eat a meal, poems had been completed for each of the twelve titles. The young poets then wrote out their poems and handed them in to Ying-chun, who copied them out, each with the full pen-name of its author, on to the finest Snow Wave notepaper.

Li Wan then read them all through, the others overlooking her.

Remembering the Chrysanthemums by Lady Allspice

The autumn wind that through the knotgrass blows Blurs the sad gazer’s eye with unshed tears; But autumn’s guest, who last year graced this plot, Only, as yet, in dreams of night appears. The wild geese from the North are now returning; The dhobi’s thump at evening fills my ears. Those golden flowers for which you see me pine I’ll meet once more at this year’s Double Nine.

Seeking the Chrysanthemums by Green Boy

The crisp day bids us go on an excursion –Resistant to the wineshop door’s temptation –Some garden, where, before the frosts, was planted The glory of autumn, being our destination: Which after weary walk having found, we’ll sing An autumn song with unsubdued elation. And you, gold flowers, if all the poet told You understood, would not refuse his gold!

Planting the Chrysanthemums by Green Boy

Brought from their nursery and, with loving hands, Planted along the fence and by the door –A shower last night their wilting leaves revived, Opening the morning-buds all silver-hoar. Sweet flowers! a thousand autumn songs I’ll sing To praise your beauty, and libations pour, And water you, and ridge with earth around. No dust on my wet well-path shall be found!

Admiring the Chrysanthemums by Cloud Maiden

Transplanted treasures, dear to me as gold –Both the pale clumps and those of darker hue! Bare-headed by your wintry bed I sit And, musing, hug my knees and sing to you. None more than you the villain world disdains; None understands your proud heart as I do. The precious hours of autumn I’ll not waste, But bide with you and savour their full taste.

Arranging the Chrysanthemums by Cloud Maiden

What greater pleasure than the lute to strum Or sip wine by your delicate display? To hold the garden’s fragrance in one vase, And see all autumn in a single spray? On frosty nights I’ll dream you back again, Brave in your garden bed at close of day. Since with your shy disdain I sympathize,’Tis you, not summer’s gaudy blooms I prize.

Celebrating the Chrysanthemums by River Queen

Down garden walks, in search of inspiration, A restless demon drives me all the time; Then brush blooms into praises, and the mouth Grows acrid-sweet, hymning those scents sublime. Yet easier ’twere a world of grief to tell Than to lock autumn’s secret in one rhyme. That miracle old Tao did once attain; Since when a thousand bards have tried in vain.

Painting the Chrysanthemums by Lady Allspice

The brush that praised them, eager for more tasks, Would paint them now – for painting’s no great cost When cunning black-ink blots the flowers’ leaves make, And white the petals, silvered o’er with frost. Fresh scents of autumn from the paper rise, And shapes unmoving by the wind are tossed. No need at Double Ninth live flowers to pluck: These living seem, upon a fine screen stuck!

Questioning the Chrysanthemums by River Queen

Since none else autumn’s mystery can explain, I come with murmured questions to your gate: Who, world-disdainer, shares your hiding-place? Of all the flowers why do yours bloom so late? The garden silent lies in frosty dew; The geese return; the cricket mourns his fate. Let not speech from your silent world be banned: Converse with me, since me you understand!

Wearing the Chrysanthemums by Plantain Lover

Just to admire and not for our adornment Were these reared and arranged with so much care; Yet young Sir Fop, with whom flowers are a passion, And drunk old Tao both dote on flowers to wear. One’s head-cloth reeks of autumn’s acrid perfume; Chill dew of autumn pearls the other’s hair. The vulgar crowd, which nothing understands, Stops in the street and, jeering, claps its hands.

The Shadow of the Chrysanthemums by Cloud Maiden

The autumn moonlight through the garden steals, Filtered in patches variously bright. Flowers by the house as silhouettes appear; Flowers by the fence are flecked with coins of light. In the flowers’ wintry scent their souls reside, Not in those frost-forms, than a dream more slight. Even the gross vandal, squinting through drunken eyes, Can, by their scents, the crushed flowers recognize.

The Dream of the Chrysanthemums by River Queen

Light-headed in my autumn bed I lie And seem to chase the moon across the sky. Well, if immortal, I’ll go seek old Tao, Not imitate Zhuang’s flittering butterfly! Following the wild goose, into sleep I slid; From which now, startled by the cricket’s cry, Midst cold and fog and dying leaves I wake, With no one by to tell of my heart’s ache.

The Death of the Chrysanthemums by Plantain Lover

The feasting over and the first snow fallen, The flowers frost-stricken lie or sideways lean, Their perfume lingering, but their gold hue dimmed And few poor, tattered leaves bereft of green. Now under moonlit bench the cricket shrills, And weary goose-files in the cold sky are seen. Yet of your passing let me not complain: Next autumn equinox we’ll meet again!

Each poem was praised in turn, and the reading of the whole twelve concluded amidst cries of mutual admiration.

‘Now just a moment!’ said Li Wan, interrupting their encomiums. ‘Let me first try to give you an impartial judgement. I think there were good lines in all of the poems, but comparing one with another, it seems to be that one is bound to place “Celebrating the Chrysanthemums” first, with “Questioning the Chrysanthemums” second and “The Dream of the Chrysanthemums” third. The titles themselves were original, and – particularly in their treatment of the subject – these are three highly original poems. So I think that today the first place must undoubtedly go to River Queen. After those first three I would place “Wearing the Chrysanthemums”, “Admiring the Chrysanthemums”, “Arranging the Chrysanthemums”, “Painting the Chrysanthemums” and “Remembering the Chrysanthemums” in that order.’

Bao-yu clapped his hands delightedly.

‘Absolutely right! A very fair judgement!’

‘I’m afraid mine aren’t really all that good,’ said Dai-yu. ‘They are a bit too contrived.’

‘There’s nothing wrong with a bit of contrivance,’ said Li Wan. ‘One doesn’t want the structure of a poem to stand out too ruggedly.’

‘I very much like that couplet of Cloud Maiden’s,’ said Dai-yu:

‘On frosty nights I’ll dream you back again, Brave in your garden bed at close of day.

It’s a technique that painters call “white-backing”. That marvellous couplet that comes before it:

To hold the garden’s fragrance in a vase, And see all autumn in a single spray

already sums up all there is to be said on the subject of flower-arrangement. You feel that she’s left herself nothing else to say. So what does she do? She goes back to the time before the flowers were arranged – before they were picked, even. That going back in her “frosty nights” couplet is a very subtle way of throwing the main theme into relief, just as the artist’s white-backing sharpens the highlights on the other side of the painting.’

Li Wan smiled.

‘That may be so; but your own “acrid-sweet” couplet is more than a match for it.’

‘I think Lady Allspice dealt with her subject most effectively,’ said Tan-chun. ‘That couplet of hers:

But autumn’s guest, who last year graced this plot, Only as yet in dreams of night appears

seems to bring out the idea of remembering so vividly.’

‘Well, your “head-cloth reeking of autumn’s acrid perfume” and “chill dew of autumn pearling the hair” give a pretty vivid image of wearing chrysanthemums,’ said Bao-chai with a laugh.

‘And River Queen’s “who shares your hiding place?” “why do you bloom so late?”,’ said Xiang-yun, smiling mischievously, ‘make so thorough a job of questioning them, that one feels the poor things must have been quite tongue-tied!’

‘For that matter,’ said Li Wan, entering into the spirit of the thing, ‘your persistent haunting of the chrysanthemums – “sitting bare-headed by their wintry bed” and “hugging your knees and singing to them” – makes one suspect that if the chrysanthemums really had consciousness, they might, in the end, have grown just a tiny bit tired of your company!’

The others all laughed.

‘I seem to be bottom again,’ said Bao-yu ruefully. ‘Though I must say I should have thought that

… to go on an excursion –Some garden where … was planted The glory of autumn being our destination

and so forth was a perfectly satisfactory exposition of “seeking the chrysanthemums”; and that

A shower last night the wilting leaves revived, Opening the morning-buds all silver-hoar

dealt with the theme of transplanting chrysanthemums rather successfully. Heigh-ho! I suppose it’s just that I couldn’t produce anything quite as good as River Queen’s “acrid-sweet” line, or Cloud Maiden’s “bare-headed by your wintry bed”, or Plaintain Lover’s “reeking head-cloth” or “few poor, tattered leaves”, or Lady Allspice’s “autumn guest in dreams of night appears”.

‘Well, never mind,’ he went on, after a moment’s reflection. ‘Perhaps tomorrow or the day after, if I’ve got the time, I’ll try to do all twelve of them again on my own.’

‘Your poems were perfectly all right,’ said Li Wan consolingly. ‘It’s simply – as you yourself have just said – that they didn’t have anything quite as good as the lines you have mentioned.’

Discussion of the poems continued a little longer, after which they called for another lot of hot crabs and sat down at the large round table to eat them.

‘Eating crab and admiring the cassia like this is itself a good theme for a poem,’ said Bao-yu. ‘I’ve already thought of one. Is anyone else game to have a try?’

He quickly washed his hands and taking up a brush, wrote down the poem he had thought of. The others then read what he had written:

How delightful to sit and a crab’s claw to chew In the cassia shade – with some ginger-sauce, too! Old Grim-chops wants wine, though he’s got no inside, And he walks never forwards, but all to one side. The ‘yolks’ are so tasty, who cares if we’re ill! Though our fingers we’ve washed, they are crab-scented still. ‘O crabs,’ Dong-po said (and his words I repeat) ‘You have not lived in vain if you’re so good to eat!’

‘One could churn out that sort of poem by the dozen,’ said Dai-yu.

‘You’ve used up all your inspiration,’ said Bao-yu; ‘but instead of admitting that you can’t write any more, you make rude remarks about my poem!’

Dai-yu made no reply, but tilted her head back, lifted up her eyes, and for some minutes could be observed muttering softly to herself; then, picking a brush up, she wrote out the following poem rapidly and without hesitation:

In arms and in armour they met their sad fate. How tempting they look now, piled up on a plate! The white flesh is tasty, the pink flesh as well –Both the white in the claws and the pink in the shell; And we’re glad he’s an eight- not a four-legged beast When there’s plenty of wine to enliven the feast. So with crab let us honour the Double Ninth Day, While chrysanthemums bloom ’neath the cassia’s spray.

Bao-yu had read this and was just beginning to say how good he thought it was when Dai-yu impetuously tore it up and told one of the servants to take away the pieces and burn them.

‘It’s not as good as yours,’ she said. ‘It deserves to be burnt. Actually yours is very good – better even than the chrysanthemum ones. You ought to keep it to show people.’

‘I’ve thought of one too,’ said Bao-chai. ‘It was rather a struggle, so I’m afraid it won’t be very good; but I’ll write it down anyway for a laugh.’

Then she wrote down her poem, and the others read it.

With winecups in hand, as the autumn day ends, And with watering mouths, we await our small friends. A straightforward breed you are certainly not, And the goodness inside you has all gone to pot –

There were cries of admiration at this point.

‘That’s a very neat bit of invective!’ said Bao-yu. ‘I can see I shall have to burn my poem now!’

They read on.

For your cold humours, ginger; to cut out your smell We’ve got wine and chrysanthemum petals as well. As you hiss in your pot, crabs, d’ye look back with pain On that calm moonlit cove and the fields of fat grain?

When they had finished reading, all agreed that this was the definitive poem on the subject of eating crabs.

‘It’s the sign of a real talent,’ they said, ‘to be able to see a deeper, allegorical meaning in a frivolous subject – though the social satire is a trifle on the harsh side!’

Just then Patience arrived back in the Garden.

But what then ensued will be told in the following chapter.