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芝娜道﹕『下面一首是RED AFTERGLOW﹕
" A+ z' U7 Y* p& F4 `! y( M8 p1) Lo, the red afterglow,
8 P1 t% C- [. w3 U Against the sky blue! 0 I# Z9 V# ^/ l
Is it the blush of Heaven,
: _; V& J2 s4 P, ?# p/ u6 P4 r As on a maiden's cheeks, 7 v% \/ E* L7 m; P* T
When she catches sight! w% t! ~: B7 `% O; ]% A
Of her coming lover?4 L# k) X; B4 B
2) Lo, the red afterglow,' M" @; K7 | U- P
Against the sky blue!
7 }' c2 N- v8 O# V) U Is it the fire of bivouac
, i: C4 J5 Q7 Y1 N! G- ^1 v Kindled by Nymphs and Naiads. k( g" C! X$ N. |- M
On the banks of Milky Way
- C4 T" X7 k; u% X" @# f Holding a celestial picnic?1 {9 M/ |1 W7 I5 T; K
3) Lo, the red afterglow,
1 j5 J" H6 g: w9 i; `. E6 g5 G Against the sky blue!
! J& M4 I; J' O" e1 _ Is it the ruddy gauze veil+ {& r( |" H& t
That veiled the face of Juno
) I* J- d$ h3 h# c# b6 B- L On her holy nuptial day1 ~# v8 }+ J E, M
When she married Jupiter?- m# Y- B$ i1 C4 E9 c
4) Lo, the red afterglow,
5 q0 c- a3 C1 K; b% W) Z" |+ \ Against the sky blue!& E3 k0 X; f' y( M( i# o: d- U8 O
Is it the fire of Mt. Olympus
0 K. p' D9 n- P2 y* Z Stolen by noble Prometheus,
0 W' x! {' Q. d0 x! A p- j And in his careless down-flight7 D! R V, D0 r- m
Set the fleecy clouds aflame?) Q: [( {# B: E5 d- T2 m) U, D/ o$ o% K: O
5) Lo, the red afterglow,8 v" X u: @8 ~; {
Against the sky blue!7 F: k! P7 B$ B/ O% y9 |
Is it the blood of the heroes& N# d% v4 p- x( v8 i
That died on battlefields
5 w* c! p6 A$ [3 ]+ e0 B* E5 y In the sacred defense, `3 ?% w: C* X+ q
Of their dear motherland?0 {& W8 O- }# C7 I, S* t
6) Lo, the red afterglow,
( ?$ v% b8 K4 F4 F; q6 C against the sky blue!
- G' b3 K$ P# y) g If it the Isle of Coral
- r( U5 D7 n: V! ^, x) ] Removed by a white witch3 Q# }2 T& R/ w2 W. K* B3 h
From the Pacific deep
* O0 ^- b, i% J R ` To the heavens above?
6 e( l) x3 i1 a' T" K" h& o, P4 }7) Lo, the red afterglow,
e* R+ Q& P9 E Against the sky blue!* A3 H+ H4 B, L) T& P
Is it a cluster of peach trees,1 u( H$ P1 B$ ?6 Z+ z; \
Their blossoms in full bloom,
8 ~% }" F1 t5 @) V3 v/ M Grown by the daughters of God
2 P( C+ m( V- z# ~5 O5 ?1 e$ B. m And watered with nectar?
( d' K) m+ {+ J/ O2 B. `8) Lo, the red afterglow,
8 }. r0 C2 ?: u) Q- E5 U Against the sky blue!% ]9 G5 l4 [0 q5 a9 b
Is it Flora's rouge( \2 g$ H0 a- B1 Z
Spread all over the sky
! l! f( y; f3 \ By her frightened maids. q( d4 C% y& [ B4 `
In escape from her anger?1 b6 } s" {4 v- I) H
9) Lo, the red afterglow,# \1 X7 ?+ |, m. m
Against the sky blue!: {; c* s1 a0 B6 l7 [& z* g
Is it a large piece of sponge
: V$ e K- O' u; z3 M Soaked through with claret
' `( T: d9 v' R3 L' s- `- C Upset from the Holy Grail
3 [. U& x" ]: `4 H By a rash cosmic pilot?』
4 G$ j; s# W- s7 b2 m$ M: c0 c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
( k, |3 Y! l( }8 Y) B. [! M/ _1 H' g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
3 \+ {- B; |. x% m+ P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
* V3 ^: T P8 A( d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
2 T* c& Q/ o Q: a* Q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& Y8 G3 `: S8 k3 w( p6 U8 `; I
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( U& W6 w c l( |+ ~# C) U
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。 3 V6 T2 {. b I* \: D4 Y8 V8 C
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﹕
! \% f/ B3 R% n, A. ^; z5 S7 [% \When young, I don't have any notions what woes really mean,! y0 t7 h ?# `- ]2 ^
Just love to get on floors so high.
; D3 q, K& k- e* i3 L Just love to get on floors so high,5 L* D5 P5 |/ B) Q) s
To write new poems, I try to say the words of woe and spleen.! m6 F6 n) J5 W3 {9 `$ G5 q
9 [7 \, i( N% k* X; g1 ^
But now I fully have ideas of what woe really is,
/ w% B& E+ \ v% h! D Afraid to get on floors so high. 6 { W9 ]) W) X' y/ T0 D; ~0 I
Afraid to get on floors so high,
9 x* E5 d) S* l8 d' ^: MI only say in poems how good and cool the Autumn is.』
. E5 G! \+ X1 L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8 F, t3 v! {7 g
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。
4 h" {- ]% d& Y3 }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﹕
# z% e6 z1 g4 ]% g- x. f) ^8 [『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! A9 |/ z( G" V2 @) b' T
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1 c+ V/ B) P/ W" G: B, J. h
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
! n! y. ?! I& i. \2 h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﹐
$ Z: ] _8 c9 J9 n7 p! _+ E2 _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! h/ p0 k8 m: f1 A
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/ m3 c/ P. T7 v. U* y P
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
; B2 j" U( m: J' }3 p$ A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; {0 P+ T/ u$ k
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) J# Z/ N0 e/ S( G+ X2 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
' B( F1 m2 `2 D" z9 T; g% L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﹕" n% [7 ~- |) W
Poor Odipus, a scapegoat he was! Accused of three great crimes, he $ I# ?6 [, l, J! o; k
suffered a terrible tragic death ----a punishment inflicted on him by
. h( X$ U3 O) C4 B) g Qthe gods on Olympus. When he learned his fate decided by the almighty % {% [' @' S) r4 I9 K
gods to kill his father, marry his mother and bring destruction on his
, H+ |1 \1 T; l2 Z; a; snative city, he wished to escape from it. But destiny was unavoidable,and
" B: H9 ^2 H# D2 t* ]3 x3 junawares he fulfilled the assigned tasks. If the gods had decided his & ]( Z: W1 M; R' _' S
fate otherwise, he would not have been a criminal, receiving an unjust Z) P8 @$ b6 A1 ]9 D9 M
punishment and bearing an ill-fame for thousands of years. He was only
! V+ o5 O* F/ {9 }/ @an executor of the wills of the gods who, struck perhaps with a whimsical i' u, {' p1 Z: u: \
fantasy, played a practical joke on the helpless mortal. The gods were
0 k1 E5 j- z! N3 Q5 i2 gthe plotters. Who then deserved the punishment? The gods on Olympus rather
+ Q0 R! H% K8 E. O$ R: T J: F: mthan poor Odipus!』5 M! r# H q1 P: E+ a7 W; O
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﹐7 M* i7 e& N4 p7 Q" o
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﹕
! F9 X! \8 A4 M+ o8 x4 k『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﹕; d E2 m7 r R# x8 Y. D
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 : o, h' Q4 c! g0 p8 F# h8 I: P" U {
ADDRESSES TO MONEY﹕
. B! Q3 E# k8 t- A# c) A5 x1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
+ y% ~1 { Q F! {; pyour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
# B6 N# I6 J* C% Zyour slave. With you I can get food to keep me alive. With you I can
0 z6 m8 g) s* C V. v3 i/ oget clothes to keep warm. And with you I can get whatever I want, a
1 R* h+ f' h. U5 x, Ogrand mansion to live in and all the superfluities of life for ostentation. " R6 r; j! j& L
But without you my love will desert me. Without you my friends will
( d! |3 w# x5 ]5 T9 v# Kturn back on me. And without you I'll go a-begging like a poor dog
1 z1 n! p1 }) I) _- d. Fand sleeping alone at night in a ruined porch. Oh, Almighty Money, come 9 g" H: }% N W# _( Y7 q. g
to me, I implore you! Pray, endow me with your favor and be sure that I'm
' n; p7 E K5 W/ Gwilling to receive every small coin from you on my knees by which to show
7 N+ d* L6 [# {- y6 u1 Q: Gmy deep-hearted gratitude. 』
8 k6 _. Z# ]% }# K7 [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。』+ b+ b' G) }7 O
芝娜又唸道﹕『第二﹕
# ^- K8 R0 t& e5 x3 L5 m' i# k2) Oh, money, my obedient servant, my faithful slave! I'm your master,
$ x! R6 z, y6 L5 ^ Q0 e Hyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
" t# U& I) c7 @: f: [your disposer. With you I can start my enterprises. With you I can carry
7 h" g+ f+ U% B/ n/ k7 ^7 ]on my great plans. And with you I can make the little world around me
5 |' m8 t9 s! O7 L4 C$ {go at my will. If without you I can still have a large store of learning.
: v% t1 j8 N, Z! }. a8 M' y& b If without you I can still have an unpolluted name. And if without you
' r6 ]. H4 G; b8 q7 { I can still live like a hermit writing books of great thoughts. ; d) n8 l0 c1 M: H, O, E5 Z4 T
Oh, servile money, come to me; my lad, I command you! Serve me well
. G) b" O+ A; v8 H0 w! a' v and don't be naughty, or I'll punish you.』9 F* G! z1 R: s" |" G$ K
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2 q& P! ?1 h2 ~, B, }$ D, ^
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﹐
% ]9 Q) o1 m( I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# A& O, T8 n( S" E5 o* q; p2 S! T& Z
(談美)﹕
$ X. Q" i2 L! R7 l2 L) @/ O& T Beauty often dwells in youth. At sight of a charming girl, everyone ( @& T( i2 J- [# |/ F' O1 @
will exclaim, "My eyes! What a great beauty!" The male stares with
. }$ L0 k/ V* ^+ I9 T9 Ba thrill of admiration; the female gazes with a sigh of envy. Wherever
3 f8 R t; U" p( ~she goes, she becomes the focus of the attention. Men all yearn to win % _0 [) `+ M. x2 C# m4 F
her heart; women all feel a regret unable to stand in her shoes. A glance # G& \- [& u, j) {8 x! v
or a smile from her makes the stingy empty his hoard of gold and the ' M8 e4 f9 f8 g5 @: c% J* h2 K
coward give up his life for her. She enjoys her queenly position in society,
( Z( D1 ^ \) Q; D4 N proud of the possession of such a beauty. But the merciless Time
& n% t# s- }7 U8 ~: cdogs her steps, too. Her beauty is worn out with the years. She begins to 1 k+ z" E/ a* @2 }
fade away and the hardship in life, if any would befall her, will bring ) I( _% r5 s$ j( C$ u1 F; v
more wrinkles on her face. Then men turn their backs on her politely with + G# j0 E8 g) a: j8 L
a bow; women look at her with indifference. The younger generation is magnetized 7 _( M/ }+ i3 Q- n
round another focus. The old queen has to abdicate and leave the throne
; e! Q) h6 i' J* R+ P/ Qfor a young one to occupy. Only a photo or portrait can preserve her beauty
1 V E* b/ g7 A* Vin youth and no Time is capable of doing any injury to her preserved beauty 1 j7 Y8 y0 Q% v* Y; g
but the preserver itself.
- o" d8 [5 W6 H8 u Therefore, admire not the beauty without, but the beauty within. Such
, O/ x$ q8 s# O V+ ba beauty will never wither though Time also plots to do it harm. In the
( u) O% y/ ?; Astruggle against the adversities of life and the ruthlessness of Time, + l5 T G6 Y9 V; T; v% r# c
it grows radiant, or even dazzling, just like a rock in midstream made ( _, C% v6 s9 a; x/ A" W5 q
smooth and glossy by the current of both the stream and Time. Everyone,
, T8 c# u7 C* o* c& ein spite of the age and sex, if aware of it, will sing its praise either
& `- T* d( Y3 N5 z4 k openly in words and letters or secretly in mind. It lives as long - M! r5 _& ^) v
as the possessor, or even much longer after her dust may be blended into
/ z, @5 P% s. k$ z4 x8 Qa vase with the clay around it. , J* o; T# x4 K6 N) G# c
The outward beauty can only be the object of admiration or envy while
. I. S- Z; j f0 e- Dthe inward beauty, besides being a theme of the ode, can serve as an
9 _) |2 P1 @( Z$ h- q! uexample to learn from, for the former is always endowed by birth, but
3 S4 m* U3 O" Y* x- |( n, @$ W. mthe latter by self-acquirement. However, every man is free to hold
+ F3 N2 `7 Y! i his own notion of what the beauty is and to choose whichever of the two 0 D( o! j$ s: }0 y) |! g- p( H$ r
beauties he prefers. Only his love for his bride select should not degenerate ) Z, n/ {( f4 j( r
with the shrunken beauty.』; j& p5 h( b! a6 `2 z1 B/ \
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
* f$ ] p$ {; h" i' ?) k' c1 L6 O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
. D( _0 p9 x4 F/ m0 G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 。』
6 g V8 k, d" j( d2 ?1 z" A" I) [ x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
3 q ^8 X/ h4 w4 t4 P4 ]7 |0 W9 q, @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7 O7 r( ]3 V# W* }! v
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
% F( P, v; U2 Y1 {* Z* t7 s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。' N: B3 C: K( T- z9 B2 u, T+ b, H: f
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
2 z$ u) L% ~" W- o A little boy walks by his mother's side, with one hand in hers and a balloon & F; b6 b# Z( P6 D" o; J% y) j) H* Y6 ~
in the other. A sudden gust of wind snatches the balloon away from : m/ P0 A5 ^: p0 `1 w) h
the boy's hand and bears it skyward. As it flies higher, the excited 7 v! q* n% {7 u& i
people in the street all look up. "Surely," the balloon says to itself,
7 @; Z" w# \3 Y. x8 q+ Dfeeling proud of its uprising, "they all envy me of my ascent." Then in its 2 Z& x3 B4 c& [6 O" G9 z2 h l& [8 V# p
upward flight it passes by a balcony on which a group of boys and girls 6 |& |: E$ A1 r9 o2 p! D
are standing, giving a cry of excitement when seeing an escaped balloon
2 J. D0 W( e6 H, mhurry on its way of freedom. "They are cheering me, I'm sure." The balloon ; H J: p. P1 }0 c6 k2 q3 m
thinks. Up and up it soars, above the roof, above the spire, through a
9 |3 T) [9 d$ ]( ?, ethin cloud, into the blue sky. Then a dove hovers near, but after a glance
+ y0 V8 Q, p/ A, m* Wat it, flies away with indifference. "Of course, the bird nears to $ l$ e" ^# J+ Z# [; g) P. k
salute me," The buoyant balloon flatters itself in exultation, "but as ; Q5 B( G9 C: d) z' M
I ignore her to keep my dignity, she takes herself away in awe and respect."
3 n& w% g' t% s The higher it clambers, the haughtier it becomes, till it reaches the
# e) z* J5 [% K% P( Kzenith where it means to stay for millions of years, but, alas, it bursts!) f' z2 r1 V0 q5 I; J
』: p e5 h$ e( T
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
( H2 Z5 o$ y1 ~好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
. g6 ~7 n: ^$ C- I% K& C# b+ t3 X Etiquette is to society what apparel is to the individual. Without
; u" @# l/ d+ J, ^apparel men would go in shameful nudity, which would surely lead to the
3 S+ Q2 O8 ~- t2 }# bcorruption of morals; and without etiquette society would be in a pitiable 3 [+ F& d! F2 y" U9 e) u2 `
state and the necessary intercourse between its members would be interfered
! ^* M3 C g% M o) h: g, v) X: Oby needless offences and troubles. If society were a train, the etiquette % e4 h* t" x9 w) P. v
would be the rails, along which only the train could rumble forth; if 6 q$ _8 p' r7 W1 g
society were a state coach, the etiquette would be the wheels and axis, 3 s) k/ C1 j: b% D8 ]7 s
on which only the coach could roll forward.
3 R9 y' {. F! |: i5 S1 C$ W The lack of proprieties would make the most intimate friends turn to
# ^( X, C; \ F! _8 vbe the most decided enemies and the friendly or allied countries declare
$ I) F8 b U. _war against each other. We can find many examples in the history of mankind.
) a' [ T7 N: S! D/ B0 J0 J/ b A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed 6 T$ w: m2 N4 i! P q4 a
by his favorite knight for a joking word. therefore, I advise you to stand
# o. b4 w$ U# b8 hon ceremony before anyone else and to take pains not to do anything stupid
6 }' W2 p0 O- ?& W6 s$ c4 Dagainst etiquette lest you give offences or make enemies.』
8 ^; u: b) l. Y' d; V3 m ?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
, i* S Y% p) D4 K1 c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9 z3 l2 F; X" m& z$ H
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
6 \6 u x! B& z. W4 w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。' q1 [! a! U5 y: F$ j& L
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﹕" f1 @* ?% D7 K' Y
『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﹕
4 `7 l" R4 K$ W0 ^3 m5 e『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﹐
# s- w I; C5 G3 U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
, a% m. e5 e m S1 z1 D/ \* w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4 P8 P7 U2 \( }* v- T
銘」的譯文, |) N7 M8 p, F4 P) z
AN EULOGY ON MY HUMBLE ABODE﹕/ G8 Z% \1 ]4 O* I
Known will the hills be if fairies dwell, no matter high of low; and
+ x2 o5 w8 q' a2 _charmed will the waters be if dragons hidden, no matter deep or shallow. $ q+ k/ F& c) i3 R5 q+ q; d7 c
A humble abode though this is, my virtues make it smell sweet. Verdant : v) q/ j: I2 q4 S8 e
are the stonesteps overgrown with moss, and green seems the screen
3 S* v. Y% G! T: u* [7 b$ I2 y6 f as the grass seen through it. I chat and laugh only with great scholars
3 K: h/ G' I+ N/ P$ I; l8 \! xand have no intercourse with the ignorant. I can play lute and read my
! i9 @& y: D! ]0 Isutras; no unpleasant music to grate on my ears and no red-tape to make 1 W6 c8 H' n3 b* R
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance . P. G- Q! p( I( \$ n
in Xishu are both like what Confucius quoth, "How canth it be humble?"
7 y. Q5 G4 M+ v- m' E' ]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。3 c4 B* J- C2 D9 L# \; g
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﹕( G/ f8 X; s: C- Y4 I) J A9 J; b
『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
1 l; V" Q8 ~# ?, @' \: b7 S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
" j- ?5 e. A) x3 @, s ?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 D( `' R' s. ]4 ]
2 }' I( a; [/ d* }
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4 o6 I8 m; ]8 y5 b) o5 z$ A6 T
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7 \" @7 H9 I3 D+ j; I
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。』" o" m$ f' G" V; q
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 ?! U' ^% ^5 T
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
: d6 f- D" D9 @( m& @" h, L 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
$ k* N5 x! u5 I$ e' e7 s, J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
3 a! j6 z& ?, M# R' Z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﹕1 R0 ?; r0 Z0 A) P
『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
. I! Y3 Y# ^. N D5 b4 b2 P音樂跳起舞來﹐直至興盡而散。1 r+ \3 J( t1 S( E! R! b O, v7 i
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, d4 f3 @( r, ` H" j
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) v& R- C. X) G1 `
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8 F+ K) ^: Q2 u+ y% [* s+ ]* r9 N* P
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$ _3 S/ C7 C1 Q" u* G* \3 ^& Q
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﹐' ?) c" g. \* S! m! ~+ m# d# z
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
' D+ x# y; i. H* o5 Y+ R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
8 W0 t( E0 W9 y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
8 X" G( j9 C3 }( f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。) p+ ?5 t8 |9 s+ ^
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. \9 g4 M; y6 k9 h* ]
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
5 h; \9 Y* s" x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
% n! [. A: y5 v) Q# c4 @& m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+ d" M b5 o7 [. o" W5 {+ _
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
. l7 N: h: }5 E" B7 A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 r, A2 s+ w3 `( C0 v A
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﹐
" S. E0 e7 A4 _' E1 p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, s+ L4 {: q, Q G
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」8 O! i: S8 r; ^: j7 n
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
. f& x' m9 |: C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4 C$ M w# @' c
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: j! @! g/ O3 f1 c% F
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
P1 K. R: \# H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' o7 u9 x# L- M" b& z3 Q
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
" R, {" p+ d+ R+ V0 `8 ` W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
0 r' q; R' V% z; K e9 c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0 J L- Y5 N0 B$ Z0 E. P
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+ j8 K/ A$ l& k/ o3 I. x' q6 f* Q
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。』
/ G! @# a3 u6 ?9 [4 _8 s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7 F: g3 E, i+ ?; x8 e0 B
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
& l/ b5 J+ t W% {. _評論才會公允。』 |
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