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芝娜道﹕『下面一首是RED AFTERGLOW﹕
: I9 }' Y- O ^, Z+ U+ d1) Lo, the red afterglow,+ C+ ~: W8 M3 x7 M
Against the sky blue! # J O! m: u8 b( ^
Is it the blush of Heaven, - X& h2 O! v5 ?( I/ F! ~
As on a maiden's cheeks, : j) [: B5 w: j7 K
When she catches sight% l/ A+ W' V& |. ?1 g
Of her coming lover?
1 B! C7 |: T+ S9 A% N- h+ r( P* f2) Lo, the red afterglow,
8 Q1 D) A1 v' G1 m: ^1 f0 f: \ Against the sky blue!6 U t) G( Q* E0 s( Z$ f* \
Is it the fire of bivouac! I- h3 D9 J4 l" Z3 C( Y& Z" X0 o% t$ b9 d
Kindled by Nymphs and Naiads
' S, r' A) v" w( o/ F( ` On the banks of Milky Way
2 I$ t* G5 ^% H' ^! | Holding a celestial picnic?
) n/ l0 e: A! l8 I3) Lo, the red afterglow,
1 \ X( |3 c/ S' V( F3 D1 C Against the sky blue!
4 o4 \) U& ^6 w3 f) a/ { Is it the ruddy gauze veil, g3 K# k* R z
That veiled the face of Juno
, h1 p4 @' I- Q& L( q On her holy nuptial day+ d! l% F1 g8 i8 n: @3 U
When she married Jupiter?8 d; |) p# {8 J# R( }9 @7 g
4) Lo, the red afterglow,) z2 b8 ?; }2 k1 k2 {2 S
Against the sky blue!% G9 l- J/ D) b9 i% }( d
Is it the fire of Mt. Olympus: H) B3 M3 Y" E9 E; | W |
Stolen by noble Prometheus,6 d4 A' d) }! X5 \# Q6 Z: l: X7 d
And in his careless down-flight" H b" I; Z1 i+ Q6 n) i' ~
Set the fleecy clouds aflame?! w2 t7 M6 P% M+ d
5) Lo, the red afterglow,
; U4 w9 j- s/ X/ S Against the sky blue!
0 X! W7 ]* ?, D+ J' V4 R- e Is it the blood of the heroes
& o% W$ {9 J" i) q9 J That died on battlefields, ?, ], F" k: q2 B. W. k
In the sacred defense. \* e* M# O% {
Of their dear motherland?
# |' _/ B+ ]+ f; I6) Lo, the red afterglow,8 }$ H* |! V' m, r1 c( U0 A
against the sky blue!
" Y( c, A$ M+ n If it the Isle of Coral, }- V2 c: X6 m2 J3 j3 W$ b8 U, s. c( r
Removed by a white witch: E, x. @3 z( t* I& Z b
From the Pacific deep% L& s9 p. }5 f" h7 G
To the heavens above?, b$ ^& b" C& P5 e
7) Lo, the red afterglow,$ w4 Y# \, `% W" }" K' z; f
Against the sky blue!2 a+ S. H2 O+ P; v3 C
Is it a cluster of peach trees,
2 h/ c6 ~- b, e- j; @3 R2 D ~ Their blossoms in full bloom,
* p; w5 x& x+ S# R2 T; U: d Grown by the daughters of God
/ |( V" j) q' D9 [! _; } And watered with nectar?/ o/ b& n% s N: [& Z9 L
8) Lo, the red afterglow,: a5 L% q6 C8 ^
Against the sky blue!
0 J/ _/ T+ ]! R+ \* a9 Q Is it Flora's rouge& t4 O/ C7 h0 @+ b E1 j
Spread all over the sky) z7 a9 S9 g z7 ?8 f4 J" m; _
By her frightened maids2 C* M4 ~, C& c: E
In escape from her anger?+ ]7 k3 e9 V% {. H- ]
9) Lo, the red afterglow," H* V( |' r. \. Z; W
Against the sky blue!! r" D0 J4 ^8 c% u# d- `
Is it a large piece of sponge0 L- n/ m n. E! G0 Y }) Q& N
Soaked through with claret
) U9 u2 _6 {. S5 l Upset from the Holy Grail( B, I5 l/ h) G& c' ^+ A
By a rash cosmic pilot?』" Z8 K# f; `% Z9 [
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" y# N" c' t* A* j; a8 `' c S
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& C% D8 T, I8 Y% I z
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/ }* a7 B& @9 X$ 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
* Z2 e5 ?7 Y5 Y9 h9 G, m. A0 |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# P3 H4 Z+ y, z0 m' r" R
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( z6 a* u( r+ t
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。 . e, l' A; ?5 v% M. J4 b# q
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﹕
. a! @+ ?/ A* G. B4 S+ KWhen young, I don't have any notions what woes really mean,: o3 W" I* `, P; N0 s& R6 |- p
Just love to get on floors so high. + x, a# p3 u0 B8 U) L A6 u
Just love to get on floors so high,0 L3 h" G5 j6 R4 t" ?& y
To write new poems, I try to say the words of woe and spleen.
1 t" o- N# Q* n% v( l0 {( H7 `% A, U T0 ]; {% T! q
But now I fully have ideas of what woe really is,
3 K n2 [( A7 \& \ Afraid to get on floors so high. # }4 ?- ]( I3 A8 V$ x' d- E2 r
Afraid to get on floors so high,1 n8 W0 }3 X. M* ]) g
I only say in poems how good and cool the Autumn is.』
1 f, ]+ Y7 E' O; H m: c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
: X3 P* |# i+ @1 Q5 s: f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。
% }& l1 L# P1 o! t" B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﹕; k' N5 M S0 f0 H
『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8 n4 p# T. x4 x& |" j( @
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 x& q3 s7 c$ o( ]$ x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
& W. \& g- U i5 j2 z; ]& u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﹐
V# N8 {& R7 X' V9 Y& U1 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
: \7 h; @; z X8 m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( f/ j% J9 q- J
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* `$ |- ~4 t, ^, e! o2 Y N
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
6 ]9 O0 Q; U6 D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$ n$ q, n, k, t4 o, n/ \
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
7 ]( Y" {$ Z# z. N; E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﹕- h( g/ b, }8 i! U$ d
Poor Odipus, a scapegoat he was! Accused of three great crimes, he ) K' f! ^/ a+ k4 L1 p% k g
suffered a terrible tragic death ----a punishment inflicted on him by
0 h: j' w0 i) T: o6 q( vthe gods on Olympus. When he learned his fate decided by the almighty 9 }/ P5 i3 u4 k
gods to kill his father, marry his mother and bring destruction on his
7 z( u- \5 n8 Z! z( Inative city, he wished to escape from it. But destiny was unavoidable,and 5 b. @1 X+ E% S
unawares he fulfilled the assigned tasks. If the gods had decided his * y$ o$ }& d+ W' _. G
fate otherwise, he would not have been a criminal, receiving an unjust
+ w( f9 O! K3 y1 \+ Kpunishment and bearing an ill-fame for thousands of years. He was only $ B( {: }" |) `1 q+ ^0 i* w
an executor of the wills of the gods who, struck perhaps with a whimsical & \" d' m& w+ S+ y0 K3 A
fantasy, played a practical joke on the helpless mortal. The gods were
' m3 _& J: a% \! E% ^the plotters. Who then deserved the punishment? The gods on Olympus rather 4 b4 n& ~& O" ?( a1 g
than poor Odipus!』' S" _0 t6 U) R3 f. W0 |) Y' g4 h; t+ s; u
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﹐
# K# l0 r" v2 {3 v6 g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﹕ x- y7 v3 W# p# m
『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﹕
$ g- Q# N7 G' t/ _5 p7 a* c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
2 y6 k0 a; ]) Q1 i+ d) DADDRESSES TO MONEY﹕
4 n6 r% m) P( z& k0 j+ s5 G1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
: Y6 Y( g U. b: b, f4 [/ v `your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, + O, j& {! W" O+ L; ^
your slave. With you I can get food to keep me alive. With you I can
' _8 w9 w" F, F$ s. \8 wget clothes to keep warm. And with you I can get whatever I want, a 5 t1 `: E3 X" \5 ^! x
grand mansion to live in and all the superfluities of life for ostentation. * ]4 ]2 w4 w+ J, R
But without you my love will desert me. Without you my friends will
' T! c8 |/ f* w# `turn back on me. And without you I'll go a-begging like a poor dog & e, b# j4 ^8 u& g$ I% n
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
5 @; u; f% r& H3 [to me, I implore you! Pray, endow me with your favor and be sure that I'm 1 J* [- f2 |3 X7 b* G+ K2 e
willing to receive every small coin from you on my knees by which to show " G: y- c: s9 k+ T
my deep-hearted gratitude. 』5 T- Z0 s9 O% K* \
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。』1 C9 u$ W U" d
芝娜又唸道﹕『第二﹕% a4 q! R) h4 f2 E ]
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
* n8 G7 p) q, o5 J# [- Gyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
6 e) b, o$ G3 ?- {your disposer. With you I can start my enterprises. With you I can carry
. R) C9 P5 G1 v* n/ p" Bon my great plans. And with you I can make the little world around me
; M+ m, l& ^8 T2 H) w0 n# e$ ^go at my will. If without you I can still have a large store of learning.
6 Z$ V. F2 C0 R: a. v" k If without you I can still have an unpolluted name. And if without you
, [$ O4 ~# R7 k4 h6 J; g) v5 J, V. {! P' L I can still live like a hermit writing books of great thoughts.
7 E) w) T) _$ [0 x. tOh, servile money, come to me; my lad, I command you! Serve me well
7 T0 x4 c; D8 t, J# x and don't be naughty, or I'll punish you.』
; H6 F. N1 x+ U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
+ p: `3 I3 Y8 ~* t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﹐7 W) ?+ r+ o" o1 U3 M0 j2 N
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
5 h( U7 d: W' Z6 K' q& P(談美)﹕3 v/ G1 {) s4 P+ ^ q
Beauty often dwells in youth. At sight of a charming girl, everyone C# r0 J7 D- t* G, D7 i
will exclaim, "My eyes! What a great beauty!" The male stares with " w/ W4 y& s: M8 }) x4 w* L
a thrill of admiration; the female gazes with a sigh of envy. Wherever
Z8 k, O8 p$ z1 b( |$ jshe goes, she becomes the focus of the attention. Men all yearn to win 3 q; }& T% C0 ~! r3 ]+ s; C
her heart; women all feel a regret unable to stand in her shoes. A glance
- Z m& x+ a: \9 q2 B9 xor a smile from her makes the stingy empty his hoard of gold and the ( Y s k* R& X8 }; l2 q
coward give up his life for her. She enjoys her queenly position in society,; x( F7 z' D* @6 }- E8 C
proud of the possession of such a beauty. But the merciless Time
: o" X3 M0 E6 B9 @5 x" n( gdogs her steps, too. Her beauty is worn out with the years. She begins to
+ S8 W7 H) s1 M5 O& s+ Q) Kfade away and the hardship in life, if any would befall her, will bring
( c& v: M" J' N8 i* g4 {more wrinkles on her face. Then men turn their backs on her politely with
- y9 v/ [/ j" o' m+ r! La bow; women look at her with indifference. The younger generation is magnetized
* g; ]6 R9 [2 j3 B& o. A7 Q s$ `round another focus. The old queen has to abdicate and leave the throne
, N3 v4 T8 i, I! h5 D" zfor a young one to occupy. Only a photo or portrait can preserve her beauty
- ]( \) ]: r! E1 r8 g) ^in youth and no Time is capable of doing any injury to her preserved beauty
& M" F! h/ o8 |1 ebut the preserver itself. S2 |. S0 [6 U1 T7 m6 f
Therefore, admire not the beauty without, but the beauty within. Such
+ o( Q. h! ^9 q/ }" A! q: n; Sa beauty will never wither though Time also plots to do it harm. In the / W, S% l, I9 u7 P4 y& W
struggle against the adversities of life and the ruthlessness of Time,
% n3 s! D4 j5 G$ V0 P it grows radiant, or even dazzling, just like a rock in midstream made X. \, ^* J/ [
smooth and glossy by the current of both the stream and Time. Everyone,
( |0 D8 k f0 T) z' Y6 \- }in spite of the age and sex, if aware of it, will sing its praise either
1 v9 z2 | Z. g. ~; y( r. d8 V openly in words and letters or secretly in mind. It lives as long " c2 M2 L1 Q# o8 X+ Y' y) ~) Z# D
as the possessor, or even much longer after her dust may be blended into 9 W3 _- Y7 q" a
a vase with the clay around it. 2 m: N4 T/ Q& U* T! S0 ~/ d
The outward beauty can only be the object of admiration or envy while
3 w) S6 q# J* N4 y) [- J! p& Wthe inward beauty, besides being a theme of the ode, can serve as an
A) o" F: p( W1 T$ Cexample to learn from, for the former is always endowed by birth, but
O* }+ v) j9 v# c- y1 L2 Kthe latter by self-acquirement. However, every man is free to hold
! p9 Y& m7 s% F1 }5 Z/ T his own notion of what the beauty is and to choose whichever of the two 9 q- t0 k9 a6 u7 O- ^) g
beauties he prefers. Only his love for his bride select should not degenerate
2 b- {% g; h, `4 zwith the shrunken beauty.』
# ]+ T5 q* s/ z+ N! R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
6 V. c Y- z7 v+ u* n: K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
) Y& a6 |1 x4 E; q* A# q& h& }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 。』
% H% V: t+ S, @4 A, E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
$ y1 \- y! \3 u8 a! D* X# Y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 b, X4 Y9 `! T& p; S7 r
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
8 @* C1 } s+ b& {+ l# h) j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。
& V8 t& J" X$ T0 \你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕3 f3 k: v& o9 Q" R
A little boy walks by his mother's side, with one hand in hers and a balloon $ ^) f6 p/ G8 h. ?: L( R
in the other. A sudden gust of wind snatches the balloon away from 6 X, f, }/ r4 }; Z
the boy's hand and bears it skyward. As it flies higher, the excited
' W) s ]: @, b) L! e" X; @people in the street all look up. "Surely," the balloon says to itself, . ^' Q5 X% G: A# T0 O0 `
feeling proud of its uprising, "they all envy me of my ascent." Then in its
% N9 K% @, A4 J8 M$ h3 x' K: Yupward flight it passes by a balcony on which a group of boys and girls
. l0 A# d" Z+ f2 ~( w4 ^% Xare standing, giving a cry of excitement when seeing an escaped balloon . S/ [. F6 N) ^- |
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon 5 E1 N' x& i5 Y, U
thinks. Up and up it soars, above the roof, above the spire, through a ) K% q- r; x( U. j7 c8 T/ y B
thin cloud, into the blue sky. Then a dove hovers near, but after a glance / y- D" u$ J- ?& ~/ a
at it, flies away with indifference. "Of course, the bird nears to - g1 U9 _1 d* j( o
salute me," The buoyant balloon flatters itself in exultation, "but as
4 Y6 r& n3 v+ k& eI ignore her to keep my dignity, she takes herself away in awe and respect."
5 E/ z' ^# m# S% n( H$ s( X The higher it clambers, the haughtier it becomes, till it reaches the 9 s( b+ i6 M/ c8 K
zenith where it means to stay for millions of years, but, alas, it bursts!2 ~2 Q1 D, o1 O- [5 x" R) b
』
* e0 O4 I/ \+ E1 W6 f2 Z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
: F1 [6 @: ^" h/ H. n/ z好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕. T4 ]. e4 X3 R/ p! l( O
Etiquette is to society what apparel is to the individual. Without
) w& y. m4 {6 z8 _apparel men would go in shameful nudity, which would surely lead to the
4 q. s$ I% Y( L4 N6 Qcorruption of morals; and without etiquette society would be in a pitiable 6 t; A) |" J! F7 g' L
state and the necessary intercourse between its members would be interfered
& e( l+ x5 [9 T% `3 Q& _% ~by needless offences and troubles. If society were a train, the etiquette
( r; o5 @9 N4 E- zwould be the rails, along which only the train could rumble forth; if ( [( Z/ X: `% t- W
society were a state coach, the etiquette would be the wheels and axis, 6 G6 m$ R6 { W; ?, B' W; T$ b$ B
on which only the coach could roll forward.* [& y3 z# y2 _) T0 b) X7 H- q6 u
The lack of proprieties would make the most intimate friends turn to & E+ {& T& r% `
be the most decided enemies and the friendly or allied countries declare
@/ n1 O* j! f6 @war against each other. We can find many examples in the history of mankind.( J- X. f: I5 {6 n. o6 X
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed 3 q. E% N a) h( t; Y6 n1 F
by his favorite knight for a joking word. therefore, I advise you to stand
l8 O% k9 A8 N, hon ceremony before anyone else and to take pains not to do anything stupid
0 n4 v% r: c/ P; b3 K6 ^against etiquette lest you give offences or make enemies.』6 K' a' i7 r, M1 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2 o5 _/ o1 H; O4 \" x0 o" Y. z
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) `6 [! B" p9 N. c; S
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
/ a& m& P4 S- f1 G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 \8 W$ J# E, t7 B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﹕
. Z- j* T! ?% Q% k) q『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﹕
7 z& f7 | w, q1 p7 {『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﹐
2 B, d$ s! N, Z( r7 O Y6 b4 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
3 G$ {: {& ]9 q1 N' v/ R0 c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! p& m% O, |1 l2 B8 r) B0 H, r
銘」的譯文
: G7 X8 y: j# MAN EULOGY ON MY HUMBLE ABODE﹕
4 I% C$ b s2 {, i$ z1 F! k- R Known will the hills be if fairies dwell, no matter high of low; and
+ I5 P. |& U" Ycharmed will the waters be if dragons hidden, no matter deep or shallow.
- Z, U. ^- H! |# t% d A humble abode though this is, my virtues make it smell sweet. Verdant
8 \9 k2 s' l& K( c/ Hare the stonesteps overgrown with moss, and green seems the screen 1 L7 @4 L7 |) n( `. E! K6 a' W
as the grass seen through it. I chat and laugh only with great scholars 4 S) k' x2 E [& z. M! b
and have no intercourse with the ignorant. I can play lute and read my ; P" k7 T* b. F8 |; o1 D. x A
sutras; no unpleasant music to grate on my ears and no red-tape to make : @3 R8 ]0 A- C
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance . X6 n( {" j1 L4 M
in Xishu are both like what Confucius quoth, "How canth it be humble?"
L4 c% B; ?2 x6 G8 A5 ?9 w- }+ P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。/ y7 G+ R6 x) h4 _) J1 Z
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﹕- h& H& [. f" N# l' Y( C D% @0 X
『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* v6 S# j$ ~+ X% @! V
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! z' E# D+ x9 R6 q( 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。』$ f8 `. t" Z% l4 ]$ R6 m% e
C# |. W$ H: |8 d2 e 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# G: o! v, P1 \4 F D% y U5 ?
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
. M9 r0 e. U- I9 {# 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。』
+ X& [' P/ O. d' d( Z1 O; r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
% F9 t. t t D7 _% W" W資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
. E6 L& F$ n- V/ ?/ b' F 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/ p! Q; \' Z% ~/ S. C( U+ P$ y+ V
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, J4 w, `4 k/ ]+ m9 A
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﹕8 s5 L) k/ ^' V5 B7 B9 ]
『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
7 m4 ]& P4 c8 M/ M6 l: P. _音樂跳起舞來﹐直至興盡而散。4 g( P: a+ g! p6 J% a; M5 P. x! f- ~
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
0 p4 o6 N; N: ~- c. j7 b1 a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
) J1 N2 F: e1 h& p- d) I! v1 T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0 q k4 E$ [) _5 [; u
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
' j$ v3 F8 v3 d* ]) J6 `! }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﹐
9 n, m5 [% {4 a; P" K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
6 G6 c6 y, @5 `7 c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 n2 ^- q! z! `8 c6 R( h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 t, t: N; s6 j- Y
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。
6 U. u! [0 f5 h! j/ {% ]9 Q) _7 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
+ D, C# Q5 e3 M& E. m7 _8 B1 c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﹖』八0 {6 I3 e( x4 _4 M$ O
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
1 B9 P0 O3 i/ q4 U4 I- N/ G0 E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0 x# F0 f5 L" u2 ]" m7 d+ b
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7 f$ q+ T% B2 Q) Y; J
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# `/ b& E; L( z; h) O% ?; [% L
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﹐. ?/ ^% s2 _# {2 _1 ?
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 c( @9 Y5 I% b0 J& ]8 _! f
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」
* v) ]8 O. g/ E; ~6 `+ H% F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
! x" Z3 e" ^( [+ U1 C. d6 j: z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) z9 z A$ b" C4 c! ]+ f5 x
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﹐新作萬千0 J9 [$ i+ G0 U Y
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8 Y5 i2 P8 D% z% r. Y# V
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0 C8 l+ z2 a! y \: m
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 b, B4 p$ i: N2 n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, d2 b. J4 M* @5 |, d& Y
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# h' j; ^* x& w% z* g0 t ]
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8 q4 s S; V, b, S L+ u0 f
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。』
7 H o$ w$ s% g5 a; `7 r* ^2 a, J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
- p) q' O! Q* Y9 ^0 N6 ~! 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- W, G' v1 R! v- I, p* Z4 j! A
評論才會公允。』 |
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