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芝娜道﹕『下面一首是RED AFTERGLOW﹕
. D; w! ~, t0 F9 s/ Y0 l1) Lo, the red afterglow,
- h4 E9 x Q. I% q" e Against the sky blue!
0 ^! @0 X: x5 A4 c5 }+ l Is it the blush of Heaven,
7 q* r& E/ O+ l2 F As on a maiden's cheeks,
- Z0 j+ ~. t3 Z% j, A When she catches sight
9 ^4 T* W2 e0 P' B, O8 ~" X( E/ W Of her coming lover?
8 P2 ? `% z: @2) Lo, the red afterglow,, Q% |. u2 S' n) M- Y
Against the sky blue!
6 R# f8 y6 V& P! F* X9 @; m Is it the fire of bivouac
# _6 V8 S/ i3 E Kindled by Nymphs and Naiads3 u! f1 ]. \ r' }/ j
On the banks of Milky Way
9 L! Q5 x; ?! M$ w( Y Holding a celestial picnic?: m) c" K+ t$ S. C) T8 Y) s! {
3) Lo, the red afterglow,, w+ S) e# K! [9 u9 M) D) S
Against the sky blue!1 [/ m& F, _2 }% s
Is it the ruddy gauze veil
: a( ~1 Z, ^5 m8 n# Q That veiled the face of Juno
+ V$ o9 f3 y, M On her holy nuptial day
$ \7 X, V) h; D$ l; h3 L; T5 w When she married Jupiter?" ]8 w' [3 Y7 z0 _* S
4) Lo, the red afterglow,. t' i$ P( e9 a& m2 ?* c& Y
Against the sky blue!! G+ [, N C4 ]! _4 U- o L
Is it the fire of Mt. Olympus. g. ^, j! \1 h1 X
Stolen by noble Prometheus,
$ T5 a. V* Z' J" @ And in his careless down-flight- Z& V+ a, q1 Y. n8 P% }
Set the fleecy clouds aflame?3 v& \9 M: U# X' q6 g
5) Lo, the red afterglow,4 g) q/ C+ D, ~6 ?
Against the sky blue!
. K/ U: t# h H/ N" Y y% T Is it the blood of the heroes. y$ K/ z# g- @2 \' J5 R
That died on battlefields4 Q2 t' r6 z2 L" R" \ O( C. u2 }- M
In the sacred defense
# f6 {5 j6 w* R, i Of their dear motherland?6 `8 d( [) q8 F* R
6) Lo, the red afterglow,* p$ `/ Y, V9 L! x4 E" J3 _0 {9 K
against the sky blue!
3 x* ~$ m. O: X' x, s9 m1 J0 ` If it the Isle of Coral
9 ^* y( L: a' c% a3 s. t Removed by a white witch
) m0 O" q2 q- X3 X From the Pacific deep$ [* y' z# y4 ?5 y
To the heavens above?
4 ], b/ A; A" i7) Lo, the red afterglow,
/ X! x t9 T4 h' |9 O$ p8 k Against the sky blue!
, c" F9 d% m% C' z7 d; C( x2 V Is it a cluster of peach trees,
L. p' H9 J6 u0 m' ? Their blossoms in full bloom,) z( l, e: n1 _. N( `* r% b
Grown by the daughters of God
3 f1 p1 q4 F8 K And watered with nectar?! B2 j* f/ u% G" L' O/ j
8) Lo, the red afterglow,% O- @+ K1 |! y5 D4 Q
Against the sky blue!
, ^$ x9 S5 j( V" s6 C* w Is it Flora's rouge
" O; y- w, W, _' V Spread all over the sky3 i1 y) e( a% `# W
By her frightened maids
! c( f! O/ {. U# z1 P In escape from her anger?
$ o& n1 `, ]/ _) b9 M, v& }! Z- G9) Lo, the red afterglow,7 @" }4 N' ?! x7 C; u) B( ?
Against the sky blue!/ m4 f# u0 d0 A6 A2 F; e4 G1 H8 }
Is it a large piece of sponge
" X4 }/ g" T* ]5 a Soaked through with claret+ S T& Q+ |) B7 I1 X
Upset from the Holy Grail U d- O, A/ r! V* u" ]
By a rash cosmic pilot?』
7 k4 C" \2 c' V# `2 O文倩道﹕『這首詩裡詩人表現出豐富的想像力。他把晚霞比喻成各種東西﹔一會兒
: B5 w8 a! \7 }/ w$ D比作天公的赧顏﹐一會兒比作銀河畔的篝火﹐又比作希臘女神臉上的紅色面紗﹐又
( E* ^+ K! n- y Y* e比作移向天上的紅珊瑚島﹐再比作花神的胭脂被侍女打翻而把晚霞染紅。最後一節$ O: R" N4 s& c8 k6 c% O
裡﹐詩人把晚霞比作一塊浸透了紅色酒的大海綿﹐而這紅色的酒是一個魯莽的宇宙
@0 N h* L. }& P8 f" C$ e飛航員撞翻了天上的聖杯而流出來的。』盛靳云說﹕『詩本來就是想像的產物﹐語0 H0 w5 A4 |" H) D! g
言文字描述的最高境界。』芝娜又翻過幾頁道﹕『這裡有一首辛棄疾「采桑子」詞+ D! v7 g$ [9 w! a
的英譯。其原詞為「少年不識愁滋味﹐愛上層樓。愛上層樓﹐為賦新詩強說愁。 ! d- h# I: x; N; U
而今識盡愁滋味﹐怕上層樓。怕上層樓﹐卻道天涼好個秋。」其英譯為﹕
9 N1 s% D6 k( eWhen young, I don't have any notions what woes really mean,
, n" `. b3 k6 }2 }/ n0 l6 Q Just love to get on floors so high. 6 O) S* A+ R6 v
Just love to get on floors so high,* y9 K# ?* M- a6 ]/ L/ s. v x3 D5 L
To write new poems, I try to say the words of woe and spleen.! k; ]0 N" ~& D5 B! {& M
- @5 G$ e. ^( H" X9 g2 W" k1 Y
But now I fully have ideas of what woe really is,) Y Q& m! i& n Q* r
Afraid to get on floors so high.
: |' o3 V1 j/ K$ P1 x- T Afraid to get on floors so high,
0 q* @% F$ m+ W" \. p/ t- s( AI only say in poems how good and cool the Autumn is.』" z% t+ I& b+ g: H5 W" g" q$ a
彥君道﹕『譯者根據詞的長短句特點﹐也分別譯成長短句。長句六個半音步﹐短句% O, v" _+ m1 T# u' D0 \
四個音步﹐為抑揚格。這是譯詞的新嚐試。』張明生道﹕『英詩格律我一竅不通。! a1 c. S" X6 U% Z+ V# q7 t" P
你別對龍彈琴了。』盛靳云問﹕『有何出典﹖』張明生道﹕『我屬龍。』芝娜笑道﹕7 X6 E5 s% ~: W9 r. S# c
『那我們以後可用一套十二句成語﹕對鼠彈琴﹐對虎彈琴等。但別忘先問對方的生
$ |+ r( q* s7 @+ o肖是什麼。』說得大家都笑起來。盛靳云說﹕『原詩後半闋裡是「欲語還休」﹐不& E3 A. e) B5 s
是「怕上層樓」。不知譯者怎麼會有「怕上層樓」之說。』張明生道﹕『恐怕另有
; r2 D( R4 h' A7 B+ i0 V抄本。』彥君道﹕『這首譯詞尚有可修改之處。』張明生道﹕『你的魄力到不小﹐: Y; F6 e$ y2 N$ f0 b
居然想改起古人的詩來。』彥君反駁道﹕『這有什麼稀奇的。許多古人不是改了他$ s+ [) ?7 C+ m8 S& v3 {( y
們前人的詩嗎﹖當然﹐改好改壞又作別論。』張明生笑道﹕『那你準備改好﹐還是2 M( n4 F! y6 _! N; H* D' B9 j- o3 l
改壞﹖』彥君道﹕『我還沒改呢﹐怎知好壞。且改別人詩的人主觀上都想改好﹐只
9 m3 v0 O' {' O Z) F是由於功力不逮古人﹐反而改壞了。有趣的是﹐有時改壞了﹐自己還不知道﹐卻沾 [' ] W! ?0 |, l* h+ `
沾自喜﹐以為在文壇上立下了不世奇功。』對這篇謬論﹐大家禁不住笑起來。張明* X$ T4 q+ o- p: C% r
生道﹕『好吧﹐等你改畢﹐讓大家評評﹐看究竟改得如何。』芝娜笑道﹕『論戰又) J- a, \) l/ ]& m
一回合結束。讓我們再看下面的吧。散文部份的第一篇題為ON ODIPUS﹕. F( }% J" z1 H: z7 a
Poor Odipus, a scapegoat he was! Accused of three great crimes, he $ s. E4 u, G m3 a" }/ s T$ f% E
suffered a terrible tragic death ----a punishment inflicted on him by 2 f% i' K" M6 U5 |! ~
the gods on Olympus. When he learned his fate decided by the almighty
; ?, s; `0 h9 \gods to kill his father, marry his mother and bring destruction on his
! r A, P0 y+ nnative city, he wished to escape from it. But destiny was unavoidable,and * w# y' D) W3 ?6 t# n! Y
unawares he fulfilled the assigned tasks. If the gods had decided his
. l0 i& x- h( ~- c1 B7 I0 R2 ffate otherwise, he would not have been a criminal, receiving an unjust . d% I8 L; {6 w( D
punishment and bearing an ill-fame for thousands of years. He was only ' H( N& L) v6 \5 o$ t
an executor of the wills of the gods who, struck perhaps with a whimsical
. ` f2 S5 ~, vfantasy, played a practical joke on the helpless mortal. The gods were
8 `; @. n. h! v0 bthe plotters. Who then deserved the punishment? The gods on Olympus rather & P# ^3 _! v& |; r, _+ S
than poor Odipus!』
2 k4 @ R1 H. G鄭莉道﹕『我讀希臘神話時﹐一直覺得ODIPUS在代人受過。不料古人已給他翻了案﹐
* ?: t( P" X) e. {/ O% v真是大快人心。』張明生道﹕『既然他本人確實做了﹐他也難辭其咎。』文倩道﹕
+ f5 X! {0 f$ X- _9 ]『那麼﹐這些神至少也應是幕後策劃者﹐罪加一等。』芝娜道﹕『借用一句俗語﹕7 m' K( K' G5 o6 p i
你們真是「看戲發愁﹐為古人擔憂」。下面是兩篇類似演說詞的文章TWO SUPPOSED
" S! S& |7 T. k1 s( T& T9 aADDRESSES TO MONEY﹕
" d7 }1 z; ~8 n0 P: K$ `$ Y1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
3 t1 L' Y; y, ?+ m+ u; Q! E; oyour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
' P, D0 A/ j- i2 t2 [% xyour slave. With you I can get food to keep me alive. With you I can
0 A8 ^9 p/ s2 C u5 t4 z8 e8 hget clothes to keep warm. And with you I can get whatever I want, a
* {/ v+ i& I% @3 W5 V5 bgrand mansion to live in and all the superfluities of life for ostentation. / z- W; p8 F8 J' w; u* B
But without you my love will desert me. Without you my friends will
! S7 v% c$ T( }6 v* Hturn back on me. And without you I'll go a-begging like a poor dog
* O% ]8 R8 h+ w" z4 }and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
5 W; h6 V& h6 ]; y2 b! x! L0 Fto me, I implore you! Pray, endow me with your favor and be sure that I'm ( r) L' b k3 K3 w% Z: O- ?1 }
willing to receive every small coin from you on my knees by which to show $ n8 v- E' W; o0 Z
my deep-hearted gratitude. 』/ \- P5 J; u" W+ P
盛靳云說﹕『世上確有許多做金錢奴隸的人﹐把他們的可憐相勾劃出來示眾﹐很好。』
# Q. j% u$ J f. K7 \芝娜又唸道﹕『第二﹕
7 z3 m+ h1 v- `4 N) Z( k& Y& O2) Oh, money, my obedient servant, my faithful slave! I'm your master, / M" Z' C& M+ Z% T+ _' a
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
: {& r* Z% j; d0 B2 N+ g9 g y2 Iyour disposer. With you I can start my enterprises. With you I can carry
& P; A- F5 ]* T, x# \7 @on my great plans. And with you I can make the little world around me " s# I) G$ p$ W+ I$ ^7 b( }5 P0 c
go at my will. If without you I can still have a large store of learning.
+ W2 F( K% r: W7 }) J9 R) C# Y If without you I can still have an unpolluted name. And if without you
2 f m" `- ?1 y g" I# q8 p I can still live like a hermit writing books of great thoughts. / A3 ~2 |2 ?, H9 e/ U, j; w
Oh, servile money, come to me; my lad, I command you! Serve me well
! q. N6 r0 s4 v% r0 c and don't be naughty, or I'll punish you.』$ P4 E K. t3 A& l, d; M
文倩道﹕『第二篇寫得更有趣。就是不知作者如何去懲罰鈔票。』張明生道﹕『燒
8 m# X4 z$ g$ n3 L8 G2 l3 V掉它。』盛靳云說﹕『那反過來等於在懲罰你自己。』鄭莉道﹕『如果由作者來寫﹐) V4 C5 K, A; h3 ^* M
一定會有個有趣的懲罰方式。』芝娜翻過幾頁說﹕『這裡有一篇題為ON BEAUTY
2 g3 V' R0 }, D' T. R(談美)﹕
% f6 H# p4 o6 K2 |9 W& H Beauty often dwells in youth. At sight of a charming girl, everyone
: E) j ^3 ~" J6 p/ w6 Pwill exclaim, "My eyes! What a great beauty!" The male stares with # }6 W" H6 g4 q( p/ \0 n3 q- x
a thrill of admiration; the female gazes with a sigh of envy. Wherever 2 C% u( X! d/ X: y F1 A
she goes, she becomes the focus of the attention. Men all yearn to win ! s% V" A$ @$ c0 G* _' u0 o
her heart; women all feel a regret unable to stand in her shoes. A glance
( b G# E( b6 W; W: nor a smile from her makes the stingy empty his hoard of gold and the - K8 N1 m) Q& _' }, F
coward give up his life for her. She enjoys her queenly position in society,
* N/ w w; U$ \# `! b) g+ S proud of the possession of such a beauty. But the merciless Time / R3 Q% M% M' q" s
dogs her steps, too. Her beauty is worn out with the years. She begins to % v3 c* c9 s9 x: ]% Y
fade away and the hardship in life, if any would befall her, will bring
# c- @# y4 k2 \$ n! b( Tmore wrinkles on her face. Then men turn their backs on her politely with 6 _# Y, w# _) ^9 v7 J2 U% b( J
a bow; women look at her with indifference. The younger generation is magnetized 7 @* p `* {4 m! n1 k
round another focus. The old queen has to abdicate and leave the throne
0 Q3 b, P# q9 M3 ufor a young one to occupy. Only a photo or portrait can preserve her beauty
1 z- f- y" r) x; `in youth and no Time is capable of doing any injury to her preserved beauty
; X& x7 O& y4 e$ ^# Bbut the preserver itself.
7 b, d) g/ {5 i+ G Therefore, admire not the beauty without, but the beauty within. Such * v2 D8 P# w4 g |4 G
a beauty will never wither though Time also plots to do it harm. In the
) U3 t0 R. |- P \' X% ~ {struggle against the adversities of life and the ruthlessness of Time, |, q& H) c( o2 k4 l5 a
it grows radiant, or even dazzling, just like a rock in midstream made
: W' W" z A* W smooth and glossy by the current of both the stream and Time. Everyone, 2 V2 z( G0 ^# a2 A' _
in spite of the age and sex, if aware of it, will sing its praise either
1 D! p& C0 P8 K openly in words and letters or secretly in mind. It lives as long ! M2 s7 @$ F- T7 {* Z6 o& u
as the possessor, or even much longer after her dust may be blended into 1 C! R) w6 m, [3 ]5 b% D6 f5 r; E
a vase with the clay around it. # a- Z+ a5 |( T$ |; @- f* q/ a
The outward beauty can only be the object of admiration or envy while
2 Z( L& E+ A$ [0 x' }the inward beauty, besides being a theme of the ode, can serve as an ' C- o* t6 I8 B4 m$ f
example to learn from, for the former is always endowed by birth, but
4 ]$ j% t( L; ]& Dthe latter by self-acquirement. However, every man is free to hold
$ O4 ]; i' f! g( N! j: B his own notion of what the beauty is and to choose whichever of the two
* u! J2 u8 m2 |' k$ hbeauties he prefers. Only his love for his bride select should not degenerate . r- j# Z5 f' ?1 b2 ] T
with the shrunken beauty.』; U/ Q/ @4 z/ q1 C
彥君道﹕『這篇文筆甚好﹐有古典散文之美。排比句似脫胎於被喻為美國文學之父
z- _1 V3 N, L G的華盛頓‧歐文所著的《遊歐雜記》一書。立論也好。古來好德不如好色者往往為
* i0 ]7 \. l% D n e+ S色受累﹐甚至身敗名裂。』盛靳云道﹕『我將來娶妻一定要先好德後好色 。』& |/ a/ V/ h5 v9 _+ [' w: q
查雄道﹕『我看還是好德兼好才﹐色會衰﹐才不會衰。』張明生道﹕『那你娶妻貌. r8 W f4 o9 ~# r. W! Z% |
似無鹽如何﹖』芝娜看著查雄直笑。查雄自嘲道﹕『我恐怕連無鹽也沒福消受。將( c& Y- y; I$ v- ~* J
來還是娶過無頭的吧。』大家又笑了起來。張明生說﹕『那你娶個凶殺電影裡的無. A, v+ r3 g. h; Z- ]* y5 T3 R) B$ y
頭屍吧。』查雄道『好吧。你以後留心替我介紹一個。』張明生道﹕『我從不做媒。
0 r$ o' j' C, h你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
% x. y" n- z# r" k A little boy walks by his mother's side, with one hand in hers and a balloon
7 {/ A4 ?3 Q) [, v6 [" V* m8 Q" x in the other. A sudden gust of wind snatches the balloon away from - ]$ o; q9 e$ V/ F9 s: J
the boy's hand and bears it skyward. As it flies higher, the excited 4 ` m5 x5 A: M; o) N. I+ u: a1 D
people in the street all look up. "Surely," the balloon says to itself, . ^ {4 q% H/ o
feeling proud of its uprising, "they all envy me of my ascent." Then in its
0 A# U3 R& Z" \0 eupward flight it passes by a balcony on which a group of boys and girls
- ^: k: M7 P$ ?. vare standing, giving a cry of excitement when seeing an escaped balloon
. ]* |2 C: U+ fhurry on its way of freedom. "They are cheering me, I'm sure." The balloon
" ^5 k2 u. Z7 i* T# d4 pthinks. Up and up it soars, above the roof, above the spire, through a
: f$ [( B- O! w/ u( P* @$ Sthin cloud, into the blue sky. Then a dove hovers near, but after a glance ; x0 |& t# p; V, M) {# e$ r! z
at it, flies away with indifference. "Of course, the bird nears to ) s2 Q, K ^& J% ^3 n2 g
salute me," The buoyant balloon flatters itself in exultation, "but as ! u% N% G/ z. W: s( T! n9 R
I ignore her to keep my dignity, she takes herself away in awe and respect." . Y' e2 R0 U* p: c
The higher it clambers, the haughtier it becomes, till it reaches the
/ }' s# h' S3 H* w0 H& }* z( czenith where it means to stay for millions of years, but, alas, it bursts!; ?2 h- o% T- q4 q
』
* E! h P* T5 h d4 n盛靳云說﹕『這篇短文諷喻得好。從一個小小的汽球引發出大道理來。』芝娜翻過4 O% U; V0 n+ s" L" m% n8 q4 e
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕- V2 I* {) `! y( z6 t2 w) I
Etiquette is to society what apparel is to the individual. Without
) j/ G0 J" ~* z2 S) `3 f' G& \apparel men would go in shameful nudity, which would surely lead to the
, M& p5 R6 b) acorruption of morals; and without etiquette society would be in a pitiable
/ L& `* g" l3 ?2 W+ `0 r5 }! d7 {state and the necessary intercourse between its members would be interfered
' q8 F. g- D1 G6 U3 Fby needless offences and troubles. If society were a train, the etiquette " m0 _" w* m3 w% p
would be the rails, along which only the train could rumble forth; if ( @/ k, g4 I3 d6 k. k
society were a state coach, the etiquette would be the wheels and axis, : ^& S3 n& u/ B( |9 h1 S
on which only the coach could roll forward.! m$ L7 N3 T2 M6 y4 M+ U# k0 Q
The lack of proprieties would make the most intimate friends turn to
) j2 W( L0 B( n8 ?+ Nbe the most decided enemies and the friendly or allied countries declare / P- U; P: k: w8 ]4 @/ _/ o i2 c
war against each other. We can find many examples in the history of mankind." S" t! G) w3 K9 j6 I! Y
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed ) R$ s1 |# X P* C9 n6 K
by his favorite knight for a joking word. therefore, I advise you to stand " m/ U# _6 f& H4 N
on ceremony before anyone else and to take pains not to do anything stupid ' F. Q( O- J) b M
against etiquette lest you give offences or make enemies.』
0 Z+ n3 @0 \$ w' \4 a盛靳云道﹕『我是最討厭俗禮的﹐但必需的禮貌還是要的。歷史上確有許多因無禮
) }3 C8 ^0 H: ^) b- ?! J而引出的悲劇。』鄭莉道﹕『作者這些雜文確實寫得很好﹐即使冒充是再古的人寫
: }$ A3 I2 N% _; ~的﹐給有眼無珠的人看了也分辨不出。』文倩道﹕『不告訴你的話﹐如果冒名是HAZLITT寫/ q8 _- b" n( O% h
的﹐你分辨得出嗎﹖』鄭莉道﹕『最後的例子說明這篇文章不可能是外國人寫的。
9 n$ Q. _, j; H- g/ c' _$ R! s5 ]外國人一般不會用中國典故。』文倩問﹕『如果拿掉最後的例子呢﹖』鄭莉道﹕* X- Y2 O4 y* \+ X- k
『要辨別古人文字的真偽需要有很高的文學水平。我自認沒有這種本領。』芝娜道﹕( M# F2 Z1 D I% H. k% z5 v3 _
『冒充古人有什麼意思呢﹖』文倩道﹕『或許開個玩笑﹐或許由於自己尚未出名﹐
' {' ]$ t F( R+ b: ], W; `作品難以發表﹐只得冒名古人。這種事也並非絕無僅有。』芝娜道﹕『這不關我們# R9 w! O3 [7 Y9 v" O- D8 U) o
的事。我們只有欣賞的資格。』翻過幾頁﹐芝娜又唸道﹕『我來唸篇劉禹錫「陋室
: S, _$ N5 R( ?$ ^( R9 g銘」的譯文
3 P U$ V% O' |. @" y8 _. G* v3 IAN EULOGY ON MY HUMBLE ABODE﹕) Y2 Z' P4 i6 T
Known will the hills be if fairies dwell, no matter high of low; and
- r6 j7 p& P' W& I( rcharmed will the waters be if dragons hidden, no matter deep or shallow.
1 p" J+ @) w4 e% ^- d0 L2 Q# i A humble abode though this is, my virtues make it smell sweet. Verdant # S6 a( c+ V& j" z8 ^. t- l
are the stonesteps overgrown with moss, and green seems the screen
: A* Y [0 S5 \2 O6 c as the grass seen through it. I chat and laugh only with great scholars
$ T, _" m d+ X/ B9 kand have no intercourse with the ignorant. I can play lute and read my
& E7 @- y. _6 L7 O0 D' gsutras; no unpleasant music to grate on my ears and no red-tape to make 2 t7 b$ y; k# S g* `: `7 t* e5 x8 ^
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
1 D$ j* a7 Q c7 zin Xishu are both like what Confucius quoth, "How canth it be humble?"
& H/ t' ~' G. q& q# Z彥君道﹕『這篇譯文意思都譯出來了。文筆尚可。文句排比與中文原文是一致的。
* }8 ~+ u9 ?% c1 g z+ r只是我沒看見別的古人是否也譯有此文。要有比較才能分出優劣。』張明生道﹕1 R0 i4 V, y' A9 D' w
『你這也太苛求了吧。你們這些搞文的人總是想貶低別人的。似乎不這樣就不能抬
$ p8 |6 \" o5 D2 O! n& ]高自己。其實適得其反。尤其是有些已有虛名而並無實學之輩。我想﹐要表示你有
6 m5 x0 K; G! a1 c I2 `. J才學的最好辦法是拿出比別人更好的作品來。所謂「桃李無言﹐下自成蹊」者也。』1 P" p6 @% W$ f/ f' l
' x) {* t2 a6 x/ U 芝娜闔上書說﹕『我到書店去沒見過這本書。幾時得空我到舊書店去看看﹐也% J# U; f5 @: L5 ]* k, \; C
買一本。』彥君道﹕『舊書店也不一定有。借給你到學校圖書館用微縮機複印一本
1 Z D2 l U+ U) I# g, t好了。』芝娜道﹕『那就多謝你了。』文倩道﹕『多複印兩本。我與郭如儀也要。』: L2 k n% v+ e
鄭莉說﹕『幫我也複一本吧。』當時各學校都有微縮機﹐能讓學生以成本價把書或0 l' @' |. {6 x' ?
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。) l2 [# E# G( s7 @2 z; v: e3 x- G
晚餐以後﹐查雄提議跳舞﹐無人反對。只有悟空沙僧不跳。悟空笑道﹕『俺只
0 F, D; Y, C! h7 c# U會跳高跳遠﹐跳上跳下﹐跳來跳去﹐就是不會跳舞。』八戒自上次出乖露醜後﹐再: g9 F1 I3 m. ^' J2 T
也不敢跳舞了。張明生故意逗八戒說﹕『胖兄﹐請一起來跳舞。』八戒直搖手說﹕% b) v: j; q# W$ O
『不跳了﹐不跳了。』其他人把中間桌椅折起來﹐搬放在走廊裡﹐伴隨著激光電子# a2 E1 J$ K7 X L5 \( ?
音樂跳起舞來﹐直至興盡而散。5 U9 `. `% {2 }+ s+ r D
匆匆又過了一星期。星期五一早﹐芝娜與鄭莉一起來查雄寢室﹐約他們去看一
) n" V, t/ Z3 F; M- _) A! k個新開的畫展。張明生說﹕『咱們把孫兄胖兄也請來一起去。』大家知道沙僧總是
; r0 {* l& {( X. N在房裡或圖書館裡度過週末和假日﹐手不釋卷地看書﹐一般情況下是不隨他們一起) X5 w J1 I: O9 c7 L
去玩的。所以﹐不是特殊而有趣的地方﹐他們不去邀他的。悟空八戒跟著大家乘車
* k; }" r, |. O1 G4 F來到美術館。裡面按年齡職業或作品類別分成幾個展室。每一展室出口處有一桌子﹐
# f' t. i4 {/ f8 y$ n( q上有紙墨筆硯等﹐供觀眾發揮才能的﹐可題詩作畫﹐或寫些評論等。第一展室乃幼
2 Q) t& U: i3 I兒畫﹐當然畫得幼稚可笑。八戒不知﹐看後說﹕『這樣的畫﹐俺也能畫。』居然在4 \1 V- H, u. {8 B7 @% |
出口處的桌上﹐拿起紙筆來﹐畫出一座歪斜的宮殿﹐兩匹馬不像馬﹐驢不像驢的動6 ]5 k6 s1 \# H6 |+ E' t
物﹐一個穿官服的人不像人﹐猴不像猴的高等動物。他的意思是要畫弼馬瘟看馬。
2 @4 G; G5 o$ _7 O1 G! |5 j& o5 C旁觀者看著哂笑不止。張明生問﹕『胖兄﹐你這畫是什麼意思﹖』八戒道﹕『不能" C8 ]* n" C& I4 V* t
說的。你們自己看吧。』盛靳云道﹕『畫總得有個題目。你這畫題目是什麼﹖』八/ E% G$ R% C( [4 E% h
戒想﹐如果說是『弼馬瘟看馬』﹐師哥必要生氣﹐忽然想起他看到的有些幽默諷刺
, ^' D5 n1 i. N B畫旁寫著『無題』兩字﹐於是就說﹕『俺這畫是無題的。』眾人一笑置之。在工農* ^, [) _4 D) O/ M
展室裡﹐有一幅『秋風紈扇圖』。一個古裝美人﹐手執紈扇一把﹐凌風飄逸﹐眼神3 u' x3 _+ ~, U+ ~- U2 H
流波。但大部份畫都是反映當代生活﹐生產勞動﹐體育文娛等。在出口處﹐盛靳云 D1 B6 ]" \: v, U
說﹕『我想在此題詩一首﹐曰「詠秋風紈扇圖」。』於是寫道﹕『誰人惹起秋波橫﹐
( f* `+ w0 c2 b/ I% u, y千種嬌媚一處生。任是姮娥降月殿﹐亦應自愧避邢娙。』查雄道﹕『你把漢成帝時
" ~9 H' ^( a% I5 a尹邢相避之典中的邢娙娥三字去尾使用﹐似無先例﹐教人怎懂﹖至少該用「娙娥」( C l& L9 B' U3 k( I! i/ w
兩字吧。』盛靳云說﹕『用「娥」字結句不能葉韻﹐故只能去尾﹐不能去頭。且文5 t: L7 T8 U0 g' J- ~) q$ ?
開先例之事古來不少﹐何我不可開此先例﹖』張明生道﹕『你不要專做怪詩。做詩還
" n& o& |- l3 p! ~是質樸些好。我也來試做一首。』說罷就坐下來寫道﹕『揮紅點紫寫群雄﹐新作萬千
$ Q+ d' L9 ^* V7 c9 O6 H, R/ |各不同。欲問精珠誰孕育﹐無窮智慧是農工。』芝娜道﹕『你這首詩雖然質樸﹐除
; v+ T4 P& G& P S了「揮紅點紫」四字較好外﹐還有不少詩病。「千」字犯了孤平。「精珠」有何出
" t! P0 b: i1 n; \: |: @典﹖你說「無窮智慧是農工」﹐那麼科學家﹐哲學家等就沒有無窮智慧了﹖』張明' }: [2 e8 X) f. S' x4 H% Z
生辯道﹕『我本不會作詩﹐所以說是試作。且上星期六在彥君家唸詩﹐那位古人說/ O0 s1 I2 S7 o* G
作詩不必拘於平仄﹐你自己唸的﹐難道這麼快就忘了﹖再說我把好的作品喻為「精& S# i# E4 @+ W' j
珠」﹐有何不可﹖何必非要有什麼出典才能用。我說「無窮智慧是農工」﹐因為這
4 M+ j0 b- S9 L# Y4 d是「工農展室」。我沒說科學家等沒有無窮智慧。你這就是欲加之罪﹐何患無辭。』
& j0 H* ^3 o% p; N芝娜笑道﹕『你們聽聽﹐我說了一句話﹐他說了一大車。算你有理。其實當代人評
1 R3 Q5 a9 M" W6 o- j論都難免由於利害或妒忌等關係﹐或拍馬因素﹐從而失之偏頗。只有讓後代子孫去
# Q" ~: J) P, u& s9 e! Z0 g評論才會公允。』 |
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