原文

白沙逸事

白沙先生尝戴玉台巾，扶青玉杖，插花帽檐，往来山水之间。有诗云：“惟有白头溪里影，至今犹戴玉台巾。”又云：“拄地撑天吾亦有，一茎青玉过眉长。”又云：“两鬓馨香齐插了，赛兰花间木犀花。”又尝披藤蓑垂钓，有诗云：“何处思君独举杯，江门薄暮钓船回。风吹不尽寒蓑月，影过松梢十丈来。”其风流潇洒，油然自得。身在万物之中，而心出万物之外，斯乃造化之徒，可以神遇而不可以形迹窥者，所谓古之狂者非耶。王青萝云：“白沙之学，从孔颜之乐而得。”然乐有虚实，颜子之乐实，曾点之乐虚，白沙其得颜子之实者耶。

白沙初应聘至广，车由城南至藩台，观者数千万人，图其貌者以百数十计，市井妇孺，皆称为陈道统，其感人若是。为人身长八尺，面方而玉润，左脸有七黑子，如北斗状。耳长贴垂，两目炯然如星，望而知为非常人。甘泉面上亦有黑子，具日月南北斗之异。宠振卿有瞻甘泉遗像诗云：“精华日月在颅首，两耳之旁南北斗。”洪觉山云：“先生生相甚异，颡中双颅隆然若辅弼，两耳旁各有黑子，左七类北斗，右六类南斗。噫，天之生有道君子，固皆有以异于人乎哉。”

白沙先生受官，而康斋不受。一以处士，一以监生也。先生每题碑碣，必书翰林院简讨官衔，盖不敢忘君之赐。其不出而就职，非为高也，以终养故也。当宪庙之升遐也，哀诏至，先生如丧考妣。有诗云：“三旬白布裹乌纱，六载君恩许卧家。”临终朝服北拜曰，吾辞吾君也，则忠爱之终也。

邓制府之于白沙，常令本县月给白米一石，岁致人夫二名。白沙辞之曰：“执事所称逋、野，诚隐逸士。如今日之赐，使逋、野受之宜也。其不受，未见其让之过也。章何敢自列于古之名流哉。章无寸善可以及人，有田二顷，耕之足以自养，而又受赐于当道焉。以自列于古之名流，其怠于自修亦甚矣。”李副使又欲为买园池，亦辞之，其介如此。

白话

中文

关于陈白沙先生的一些逸闻趣事

陈白沙先生曾经头戴玉台巾，手拄青玉杖，帽檐上插着花，在山水之间悠游往来。他有诗写道：“只有溪水中白发苍苍的倒影，至今还戴着那顶玉台巾。”又写道：“我也有能拄地撑天的东西，那就是一根超过眉毛长度的青玉杖。”又写道：“两边鬓角都插上了散发馨香的花朵，赛过那兰花和木樨花（桂花）。”他还曾经披着藤制的蓑衣钓鱼，有诗写道：“在何处思念你独自举杯？江门傍晚时分钓鱼船回来了。风吹不散映在冰冷蓑衣上的月光，身影掠过松树梢头长达十丈。”他那风度翩翩、洒脱不羁的样子，自然而然地流露出内心的满足。身体虽处在万物之中，但心境却超越于万物之外，这真是与造化同游的人，只能用心灵去领会而无法从外在形迹去窥探，这不就是古时候所说的“狂者”吗？王阳明（号青萝）曾说：“白沙先生的学问，是从孔子、颜回那种安贫乐道的乐趣中得来的。”然而乐趣有虚实之分，颜回的乐趣是实在的（内在德行的快乐），曾点的乐趣是虚的（外在情致的快乐），白沙先生大概是得到了颜回那种实在的乐趣吧。

白沙先生初次受邀来到广州时，车驾从城南走到藩司衙门，观看的人有数千乃至上万，为他画像的人数以百计，市井中的男女老少，都称他为“陈道统”（意指陈先生是儒家道统的继承者），他感化人心的力量就是这样。他身高八尺，面庞方正而肤色如玉石般温润，左边脸颊上有七颗黑痣，排列像北斗七星的形状。耳朵长而下垂贴面，两眼炯炯有神如同星辰，望之便知不是寻常人物。（白沙弟子）湛甘泉（湛若水）脸上也有黑痣，具有像日月和南北斗那样奇异的排列。宠振卿有瞻仰甘泉遗像的诗写道：“日月精华汇聚在头颅，两耳旁边是南斗北斗星。”洪觉山（洪有恒）说：“先生（指湛甘泉）的生相非常奇特，额头中央两骨隆起如同辅弼星，两耳旁边各有黑痣，左边七颗像北斗，右边六颗像南斗。唉，上天生育有道行的君子，本来就都有异于常人的地方吗？”

白沙先生接受了朝廷授予的官职，而他的学生湛若水（号康斋）则没有接受。一个是以隐士（处士）身份，一个是以国子监生（监生）身份。白沙先生每次题写碑文墓志，必定会写上“翰林院检讨”的官衔，大概是不敢忘记君王的恩赐。他没有出山就任实际官职，并非是为了标榜清高，而是因为要在家奉养父母（终养）。当明宪宗皇帝（宪庙）驾崩时，讣告传来，先生悲痛得如同失去了父母一般。有诗写道：“三十天用白布缠裹着乌纱帽（服丧），（感念）六年来君王的恩典允许我在家闲居。”临终时，他穿着朝服向北叩拜说：“我向我的君王告辞了。”这就是他忠君爱国情怀的最终体现。

广东布政使邓公对于白沙先生，曾下令其所在县每月供给白米一石，每年拨给仆役两名。白沙先生婉言谢绝说：“您所称赞的林逋（逋）、陆鸿（野），确实是隐逸之士。像今天这样的赏赐，让林逋、陆鸿那样的人接受是合适的。他们不接受，也看不出他们推让得有什么过分。我陈献章（章）怎敢将自己排列在古代名流之中呢？我没有丝毫可以惠及他人的善行，只有田地二顷，耕种它足以养活自己，却还要接受官府的赏赐。如果（接受赏赐）把自己列入古代名流，那我在自我修养方面就太懈怠了。”后来副使李公又想为他购买园林池塘，也被他谢绝了，他的品格就是如此耿介。

英文

Anecdotes about Master Baisha

Master Chen Baisha once wore a "Yutai" style kerchief, leaned on a green jade staff, tucked flowers into his hat brim, and wandered amidst mountains and waters. One of his poems reads: "Only the white-haired reflection in the stream, still wears the Yutai kerchief today." Another says: "I too have something to prop up earth and sky, a stalk of green jade longer than my eyebrows." And another: "Fragrance fills both temples, adorned with flowers, rivaling orchids and osmanthus." He also once fished wearing a rattan rain cape, with a poem saying: "Where, thinking of you, do I raise my cup alone? At Jiangmen dusk, the fishing boat returns. Wind cannot blow away the moon on the cold cape, its shadow stretches ten zhang past the pine tips." His manner was elegant and unrestrained, naturally content. His body was amidst the myriad things, yet his mind transcended them. Such is a companion of Creation, understandable only through spirit, not traceable by form – isn't this what the ancients called a "noble eccentric" (kuáng zhě)? Wang Yangming (style name Qingluo) said: "Baisha's learning derives from the joy of Confucius and Yan Hui." However, joy can be substantive or ephemeral; Yan Hui's joy was substantive (joy in inner virtue), Zeng Dian's joy was ephemeral (joy in external moods). Perhaps Baisha attained the substantive joy of Yan Hui.

When Baisha was first invited to Guangzhou, his carriage traveled from the south gate to the Provincial Administration Commission. Thousands upon thousands watched, hundreds sketched his likeness, and commoners, men, women, and children alike, called him "Chen Daotong" (Chen, Inheritor of the True Way). Such was his impact on people. He stood eight chi tall, with a square face, smooth and lustrous like jade. On his left cheek were seven black moles arranged like the Big Dipper. His ears were long and hung close to his head, his eyes shone brightly like stars. One look told you he was no ordinary man. (Baisha's disciple) Zhan GanQuan (Zhan Ruoshui) also had moles on his face, possessing the strangeness of the sun, moon, and the Northern and Southern Dippers. Chong Zhenqing wrote a poem upon viewing GanQuan's portrait: "The essence of sun and moon resides in the skull, beside the ears are the Northern and Southern Dippers." Hong Jueshan (Hong Youheng) said: "The Master's (referring to GanQuan) physiognomy is quite strange; on his forehead, two bumps rise like assisting ministers, beside each ear are black moles, seven on the left like the Big Dipper, six on the right like the Southern Dipper. Alas, when Heaven gives birth to virtuous gentlemen, do they always possess features distinguishing them from ordinary people?"

Master Baisha accepted an official appointment, while Kangzhai (Zhan Ruoshui) did not. One was considered a scholar-recluse (chǔshì), the other an Imperial Academy student (jiànshēng). Whenever the Master inscribed steles or epitaphs, he always wrote his official title, "Compiler of the Hanlin Academy," likely unwilling to forget the emperor's favor. His reason for not taking up office was not to appear lofty, but for the sake of caring for his parents in their old age (zhōngyǎng). When Emperor Xianzong (Temple name Xianmiao) passed away and the mourning edict arrived, the Master grieved as if he had lost his own parents. A poem reads: "For thirty days, white cloth wrapped the black gauze cap (mourning attire), for six years, the emperor's grace allowed me to stay home." On his deathbed, he donned court attire, bowed northwards (towards the capital), and said, "I bid farewell to my sovereign," thus demonstrating his lifelong loyalty and love for his ruler.

Governor Deng ordered the local county to provide Baisha with one shi of white rice monthly and assign two servants annually. Baisha declined, saying: "The hermits Lin Bu (Bu) and Lu Hong (Ye) whom Your Excellency praises were truly reclusive scholars. If such gifts as offered today were given to Bu or Ye, it would be fitting for them to accept. If they refused, one wouldn't see their refusal as excessive modesty. How could I, Chen Zhang, dare to rank myself among the famous figures of antiquity? I have not a single good deed that benefits others. I have two qing of land; farming it is sufficient for my sustenance. Yet, I am offered gifts from the authorities. To rank myself among the ancient worthies (by accepting), I would become exceedingly lax in my self-cultivation." Later, Vice Commissioner Li also wished to buy him a garden and pond, which he also declined. Such was his integrity.

文化解读/分析

这段“白沙逸事”生动地描绘了明代著名岭南学者陈献章（号白沙）的形象、生活、声望及其精神世界，具有重要的文化和历史价值：

1. 理想文人形象的塑造：文章通过服饰（玉台巾、青玉杖、插花）、活动（游山玩水、垂钓）、诗歌以及“风流潇洒，油然自得”的评价，塑造了一个超脱世俗、与自然融合、追求内心自由与乐趣的理想文人形象。这种形象既符合儒家“孔颜之乐”的内省修养，又带有道家和禅宗的“心出万物之外”的超然色彩。
2. 地方文化偶像与社会影响力：记述了陈白沙抵达广州时万民争睹、“称为陈道统”的盛况，凸显了他在岭南地区无与伦比的声望和作为文化符号的地位。他被视为儒家道统在地方的代表，其学问和品行对社会风气产生了巨大感化力。
3. “异相”与圣贤崇拜：详细描述陈白沙（以及其弟子湛若水）面上的“七星痣”等异相，并引用时人评论，反映了中国传统文化中“相术”（physiognomy）的观念，即将非凡的相貌与非凡的品德、天命联系起来。这种描述将历史人物传奇化，增添了其作为“有道君子”的神秘色彩和被崇拜的基础。
4. 儒家伦理的实践：文章强调了陈白沙在儒家核心伦理上的坚守。他接受“翰林院检讨”虚衔并用于题款，是“不敢忘君”的忠君表现；不出仕是为了“终养”，践行孝道；临终北拜，是“忠爱之终”。这展示了其在个人精神追求与儒家社会责任之间的平衡。
5. 士人风骨与清介品格：陈白沙婉拒地方官的物质馈赠，强调自食其力、不慕虚名、警惕“怠于自修”，充分体现了传统士人所推崇的“介”（耿介、气节）和清高品格。他以古代隐士自谦，展现了其道德上的自我要求。
6. “狂”的精神：将陈白沙比作“古之狂者”，这里的“狂”并非贬义，而是指一种率性真诚、不拘泥于世俗礼法、追求精神本真的境界，与《论语》中孔子所欣赏的“狂狷”精神相通。

总而言之，这段文字不仅是关于陈白沙的生平轶事记录，更是通过具体事例，集中展现了中国传统文化（特别是岭南地域文化）中对于理想人格、学问境界、道德操守以及社会影响力的理解和推崇。陈白沙的形象成为后世文人向往和地方民众敬仰的典范。

关键词

陈白沙, 陈献章, 白沙先生, 广东新语, 屈大均, 岭南文化, 明代, 儒家, 心学, 孔颜之乐, 逸事, 玉台巾, 青玉杖, 风流潇洒, 陈道统, 相术, 七星痣, 湛若水, 翰林院检讨, 忠君, 孝道, 终养, 清高, 隐逸, 士人风骨, 狂者