鐔津文集 11.14

11.14

移石詩君子之美移石也。始其棄於道傍。雖其瑰怪偉然可觀。而路人不顧。無辯師思取而顯之。乃用工者計不崇朝。遂致于戶庭。巉崒嵌虛若山聳洞壑。前瞰清沼後蔭茂樹。左右益闢三堂。曰石筵。曰照古。曰禪燕者。臨之使人悠然有幽思。自是誇者相告觀者趨來。石之美一旦遂顯。無辯復作詩以歌之。賢士大夫與方袍能詩者。亦從而賦之。必欲余為序。然人皆有所嗜之事。而有雅有俗有淫有正。視其物則其人之賢否可知也。若石之為物也。其性剛其質固。其形靜其勢方。方者似乎君子彊正而不苟也。靜者似乎君子不為不義而動也。固者似乎君子操節而不易也。剛者似乎君子雄銳而能立也。然移石之名益美乎是。其外峯岠似乎賢人嚴重而肅物也。其中空洞似乎至人虛心而合道也。今無辯以吾道為禪者師以翰墨與儒人游。取其石而樹之於庭朝觀夕視必欲資其六者。以為道德之外獎。操修之默鑒也。及讀其詩。求其所以為意者。則未始與此不合。然無辯其心如此之遠也。而與世俗之虛玩物者固不足相望。諸君美而賦詩。不亦宜乎。其詩凡若干首。皆詩之豪者也視之可見。豈卑論所能悉評。某歲日月某序。

The poems on moving the stone are the gentlemen's praise for the relocation of the stone. At first, it was abandoned by the roadside. Although magnificent, extraordinary, and well worth viewing, passers-by paid it no heed. Master Wubian thought of taking it and bringing it into prominence. He employed workmen, and with less than a morning's labor, he had it brought into his courtyard. Rugged, towering, pitted, and hollowed, it stands like a soaring mountain with caves and ravines. In front it overlooks a clear pond; behind it is shaded by lush trees. To the left and right he further opened three halls, named 'Stone Banquet', 'Illuminating Antiquity', and 'Chan Repose'. Facing it makes one feel tranquil and gives rise to secluded musings. From then on, those who praised it told one another, and viewers came rushing. The beauty of the stone thus suddenly became manifest. Wubian again composed poems to sing of it, and worthy scholar-officials along with monks skilled in poetry followed suit in writing verses on it. They insisted that I write a preface. Yet all people have their predilections, and these may be refined or vulgar, excessive or upright. By observing the things [they favor], one can know whether the person is worthy or not. As for the stone as an object: its nature is unyielding, its substance is solid, its form is still, and its posture is upright. Being upright resembles the gentleman's resolute righteousness and freedom from carelessness. Being still resembles the gentleman's refusal to be moved by unrighteousness. Being solid resembles the gentleman's holding to integrity without altering. Being unyielding resembles the gentleman's vigorous resolve and ability to stand firm. Yet the praise for moving the stone goes even beyond this: its outer crags resemble the worthy man's gravity and awe-inspiring presence; its inner hollows resemble the ultimate person's empty mind that accords with the Way. Now Wubian takes our Way as a master of Chan, and wanders with literati through brush and ink. Taking this stone and erecting it in the courtyard, viewing it morning and evening, he surely intends to draw upon these six qualities as an external encouragement to virtue and a silent mirror for spiritual cultivation. When I read his poems and sought his underlying intent, it never failed to accord with this. Thus Wubian's mind reaches this far; he cannot be compared with worldly people who vainly play with objects. Is it not fitting that all the gentlemen praised it and composed poems? There are several poems in all, all of them masterpieces of verse, as anyone who views them can see. How could a humble discourse fully evaluate them? Written on [such-and-such] day, of [such-and-such] month, of [such-and-such] year, as a preface by so-and-so.