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芝娜道﹕『下面一首是RED AFTERGLOW﹕5 t" J4 N2 \9 R
1) Lo, the red afterglow,6 P( y5 [' Y9 R7 @+ j: z1 L
Against the sky blue!
& S" s' I' [" L Is it the blush of Heaven, # U6 r O! B8 K+ _2 j# [, g
As on a maiden's cheeks,
7 R, t- ~0 R. N1 f2 T9 E: N0 h. R When she catches sight$ j) D( b+ ~, O
Of her coming lover?' U& D- _+ \/ w" y' E$ J
2) Lo, the red afterglow,
# K e" ^ F+ h9 c+ H- Z Against the sky blue!
/ ]' I! @. r$ w1 x0 ^) E% R' J# _" }: y Is it the fire of bivouac
7 c9 R# V4 t9 B( |" `5 ` Kindled by Nymphs and Naiads- l3 Z* n2 }0 o3 C
On the banks of Milky Way& q5 l$ C# W v6 m8 @* j2 q7 d R
Holding a celestial picnic?
3 {* n, H1 @$ n$ B7 ~* M3) Lo, the red afterglow,
" Z7 }: R9 W |/ A7 A6 s$ x/ x Against the sky blue!9 X* n$ X7 M6 ~; o- b! |3 N8 M
Is it the ruddy gauze veil
. n; `# K" a& Z* c! {* i# X& A1 i& S That veiled the face of Juno* x# ^4 r4 ?1 o
On her holy nuptial day$ [% _8 d$ P# y) m
When she married Jupiter?
: V5 M& K7 U$ B$ T0 G& o4) Lo, the red afterglow,
- i% h0 H) h1 V2 e- v" n8 G& p+ E! ?/ Q Against the sky blue!' G( q2 F+ P$ Z4 x% i
Is it the fire of Mt. Olympus- e& s9 r/ m6 p# i, Q
Stolen by noble Prometheus,
4 Q* D' y9 a8 h4 W3 J) r0 q And in his careless down-flight0 P6 @( r1 O1 l# C1 _! C
Set the fleecy clouds aflame?
d0 o5 j ^# B! G q$ s% `5) Lo, the red afterglow,
& ]) R8 C% F# E/ l5 U Against the sky blue!
" K w) B% D" C5 Z4 _ Is it the blood of the heroes
5 C8 K9 p. f+ E5 K$ X, J6 ]- r: ] That died on battlefields) A1 y6 d( V1 q; C9 [3 Y1 ?# {
In the sacred defense2 K9 ]3 C! m' V0 l* o6 ?
Of their dear motherland?
, V* P1 s# ^3 L( Y; i6) Lo, the red afterglow,
% E7 q/ q4 ^/ N/ b& k f+ Z5 R$ N against the sky blue!
/ }* c9 R* k! p( G* V8 n+ I& v$ m$ s If it the Isle of Coral
5 X5 Z/ q1 x# f2 r! W( Z" c( d- D Removed by a white witch
- x* |7 E- n2 k$ c! s6 R" |0 h9 O From the Pacific deep8 V) |% X1 D3 x2 ] ]* @4 C
To the heavens above?4 M8 |0 Z: m8 A) E* y$ c2 Z
7) Lo, the red afterglow,) [8 d- o1 s% v6 n2 g
Against the sky blue!
$ h3 I- ^, L& E6 q; I Is it a cluster of peach trees,
( q. p' |+ r& j5 G/ X( U Their blossoms in full bloom,
& y* \8 w) Y0 |/ P Grown by the daughters of God* |4 \ l# H; C; f, ^* E; Q
And watered with nectar?& |# J# u. e& f7 \/ O" F( K1 c' |8 Y
8) Lo, the red afterglow,
: f: c" H, C' o }, M9 h Against the sky blue!. X7 q8 S5 F: l
Is it Flora's rouge
! {. c! T1 F0 L3 m Spread all over the sky
" V! v9 v8 c9 Z5 f5 P+ D By her frightened maids2 t; r4 p0 E+ t# H7 K) ?+ D4 v
In escape from her anger?
$ M6 F8 e3 | C9) Lo, the red afterglow,
4 `3 i6 T- X; g5 z+ Q4 {/ y Against the sky blue!
8 o* A) J0 V* Q* l$ f# T Is it a large piece of sponge
5 C, Z2 k6 r6 A) B( } Soaked through with claret
& u5 i; g; y/ z! v: u Upset from the Holy Grail* e0 `! X5 B7 L
By a rash cosmic pilot?』
9 w0 v% C/ k% B8 d) ]4 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+ s& b8 f- O# ]2 r, `
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
5 i9 y/ @- t. E: s, r6 E1 k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; L4 P6 @6 r) t
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 n6 Z" i9 |/ r
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7 s( A" q/ }8 C$ O# F
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
5 N+ S$ U/ u) \" A( p M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。 $ p, s2 g5 m% {* o5 x* B" l
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﹕
/ c( b/ i8 s& G3 j7 ]! Z& qWhen young, I don't have any notions what woes really mean,$ |3 v9 P4 \0 M4 _
Just love to get on floors so high.
) z% k5 Q1 e3 t1 P Just love to get on floors so high,
3 r6 Z4 r/ C1 G* LTo write new poems, I try to say the words of woe and spleen.: e$ B$ C$ ^$ v4 Q
) x+ Q( m, a, |: l, `
But now I fully have ideas of what woe really is,
, H& Q8 @) n7 E+ ~, K" F4 V5 T0 J' I4 j Afraid to get on floors so high.
N$ G! _* n3 P( v4 d$ v Afraid to get on floors so high,
9 e; F4 p3 \/ s7 t9 g& II only say in poems how good and cool the Autumn is.』* K& a @, {2 e$ W
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, Q" [0 B8 ^4 A9 U1 i/ E5 V2 B
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。
7 L+ N: e! N d' [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﹕4 c. e; d2 J/ A x' O3 x$ V
『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
( M4 w- Y3 ^+ G. V7 P3 ^$ X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+ S1 n4 @# L* ^+ L! J8 K, T' e
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' ^) U) K0 ?9 X0 [$ \) U2 N% D! Z
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﹐5 a0 W8 f3 @0 E$ w! M" U. K
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 W3 ^* a3 W e. N3 u3 g8 `/ c0 q; v
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; J( a# \8 u: y' T
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
/ Z3 T; x! e& y) P3 U; [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
( G2 h' B, u6 y) [( ^7 z0 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+ S: m, x; P9 Y* H" Y. |5 @
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
- Z% O& t' B1 D! o; x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﹕
" t' Y* x# F o$ ]+ P; A# J0 v9 ]Poor Odipus, a scapegoat he was! Accused of three great crimes, he
* ^( S! |+ n8 m* s3 g2 fsuffered a terrible tragic death ----a punishment inflicted on him by # I) C! x+ ^# x9 a! j( C
the gods on Olympus. When he learned his fate decided by the almighty
* s9 ?- n/ g' N0 |- F& sgods to kill his father, marry his mother and bring destruction on his
4 H( @# y s0 H8 d7 O" wnative city, he wished to escape from it. But destiny was unavoidable,and
, |% H. A+ ?2 z+ l3 ?0 sunawares he fulfilled the assigned tasks. If the gods had decided his # D& e0 ~6 d; r# k& K, S9 v8 A" f
fate otherwise, he would not have been a criminal, receiving an unjust ) t8 i4 n' t. ^4 \2 N% M+ A
punishment and bearing an ill-fame for thousands of years. He was only
( B* f( v2 N9 B5 x* fan executor of the wills of the gods who, struck perhaps with a whimsical " r: u" ~; _- L1 C
fantasy, played a practical joke on the helpless mortal. The gods were
9 v3 O* L; p5 a( Xthe plotters. Who then deserved the punishment? The gods on Olympus rather
3 Z% s) M$ H! C7 N$ Y$ Kthan poor Odipus!』
/ A3 ]0 x* e/ R: }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﹐
+ g' k3 k& z. e+ 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﹕+ B5 {& {- f* 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﹕+ C! [/ b* w" }
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 7 f; ]+ }. M7 L; a9 E% B3 u" L( o
ADDRESSES TO MONEY﹕
, {% A- G7 J4 s* q& j( D1 p1) Oh, Money! My darling Money! My respected Money! I'm your admirer, ( `) |0 |! J% W' d+ S
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
8 B% X$ p$ ]/ ~- g* Cyour slave. With you I can get food to keep me alive. With you I can / L8 ` }& k- u
get clothes to keep warm. And with you I can get whatever I want, a
& u* J; Q$ N+ W% Vgrand mansion to live in and all the superfluities of life for ostentation.
7 z" T! b7 Y2 ^7 L8 B FBut without you my love will desert me. Without you my friends will / M% R# B. a8 ?& [% t
turn back on me. And without you I'll go a-begging like a poor dog ) T6 P" M: a$ U
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
: n, e \1 j+ Z. Qto me, I implore you! Pray, endow me with your favor and be sure that I'm
& K( j. a( x& \; x2 owilling to receive every small coin from you on my knees by which to show
8 c' m' C' r- }# I/ Lmy deep-hearted gratitude. 』
( q* p# z0 Z5 g* Z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。』" D G8 r6 q3 }+ j2 r1 @& N
芝娜又唸道﹕『第二﹕8 [2 [* N3 {4 @; I5 Y
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
. L" F7 G& w' C. }1 Wyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
$ |) I+ n: Z4 ]- l1 J, k! Zyour disposer. With you I can start my enterprises. With you I can carry # w* J; P' ?1 V6 D6 m/ ^$ |
on my great plans. And with you I can make the little world around me 8 G, z4 ~% ^* \, U
go at my will. If without you I can still have a large store of learning. 1 Z% L7 I5 E4 L$ ~2 a
If without you I can still have an unpolluted name. And if without you 1 Q* M: v5 j" [) B9 P: l1 _
I can still live like a hermit writing books of great thoughts. " x/ |6 z1 S3 B( d
Oh, servile money, come to me; my lad, I command you! Serve me well " p1 ] O Q" l6 g5 Z0 J
and don't be naughty, or I'll punish you.』# U# D# p; v% i% x
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+ a/ Y0 y! Z d( B: s5 M$ h$ 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﹐
; R1 w7 ^; m- y# x. x, a' q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
. c( O: k0 B# F8 \1 R" n# d `5 a(談美)﹕
6 K- |! h4 x2 S Beauty often dwells in youth. At sight of a charming girl, everyone & s( j, Y/ n% `. i& _5 }
will exclaim, "My eyes! What a great beauty!" The male stares with 1 z# z; m. _3 D2 [5 n" Y# H, y
a thrill of admiration; the female gazes with a sigh of envy. Wherever : C$ o" n# V( s) S
she goes, she becomes the focus of the attention. Men all yearn to win $ s) a7 `- G! w
her heart; women all feel a regret unable to stand in her shoes. A glance
% q c% n1 R5 oor a smile from her makes the stingy empty his hoard of gold and the
: L, I/ K; E7 S9 ?0 Wcoward give up his life for her. She enjoys her queenly position in society,
( r, s" i8 `' H' p proud of the possession of such a beauty. But the merciless Time ) R( E9 P! o7 Y1 ~- i* y
dogs her steps, too. Her beauty is worn out with the years. She begins to 9 q" m9 t5 k2 `4 _ ]
fade away and the hardship in life, if any would befall her, will bring & h% v; l% r9 z
more wrinkles on her face. Then men turn their backs on her politely with
2 a$ V" R# A( n, s0 q2 i% ia bow; women look at her with indifference. The younger generation is magnetized
0 F0 E3 {# i/ `8 [round another focus. The old queen has to abdicate and leave the throne
. n4 ^2 r* I' ^7 y4 Yfor a young one to occupy. Only a photo or portrait can preserve her beauty
" l$ ^' ~5 H0 R% u- gin youth and no Time is capable of doing any injury to her preserved beauty
* P) }4 k. v0 U# x5 {4 l+ A$ W4 Ebut the preserver itself.% q$ q3 X K! b
Therefore, admire not the beauty without, but the beauty within. Such
& ]4 ?- _9 L) c8 J, n! Q3 qa beauty will never wither though Time also plots to do it harm. In the
; a" _' ]4 q5 Z# O3 }struggle against the adversities of life and the ruthlessness of Time, . v& K; {8 @$ O1 U
it grows radiant, or even dazzling, just like a rock in midstream made
3 d( e- e+ U' D5 D smooth and glossy by the current of both the stream and Time. Everyone,
# G% [% f! e+ ]9 k* Y6 Hin spite of the age and sex, if aware of it, will sing its praise either 5 m+ D3 e9 F- l$ c
openly in words and letters or secretly in mind. It lives as long
4 i7 ^; q6 Y& t: O2 aas the possessor, or even much longer after her dust may be blended into
0 d$ R" }% Y, Za vase with the clay around it. ' x* Z) O3 T3 d& f7 \$ w: B
The outward beauty can only be the object of admiration or envy while ( N" q# W9 N r1 Y0 P
the inward beauty, besides being a theme of the ode, can serve as an # \' T5 Y6 H' g* p; d9 M# k5 l& g
example to learn from, for the former is always endowed by birth, but + W1 ~/ k* Z4 ]( d, d$ P: i0 V
the latter by self-acquirement. However, every man is free to hold 6 Q/ j. V- X( [4 S0 t g
his own notion of what the beauty is and to choose whichever of the two 0 _5 J) C! o7 i
beauties he prefers. Only his love for his bride select should not degenerate
& W" [, [: E; o: p! p. Q8 `with the shrunken beauty.』+ x( R) m1 x7 E+ x
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, {: |7 _& t8 N4 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$ N0 V% k' {! O5 B
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 。』7 A* _/ Q5 V0 p2 u7 V) q P
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
2 D% O: J: Q$ d, w7 h- l6 r* a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
4 J. N; q% {+ r3 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
4 [( i# Y! J2 V! S8 J0 z% c: Q/ q! q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。! q9 O5 v2 t4 V: X% I# l f
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕% E8 Z) o; Y* `- Y3 A" _* Z
A little boy walks by his mother's side, with one hand in hers and a balloon / |) q$ u) @8 T2 F/ U
in the other. A sudden gust of wind snatches the balloon away from
# \# U, J' _7 b/ ]* P the boy's hand and bears it skyward. As it flies higher, the excited
. i9 P6 a* K; Q- Lpeople in the street all look up. "Surely," the balloon says to itself,
* g' F8 k8 H, j. f( ufeeling proud of its uprising, "they all envy me of my ascent." Then in its " |; z: b/ ?2 L, g; v# b4 }- |
upward flight it passes by a balcony on which a group of boys and girls 1 i9 A* V; |, ~2 J
are standing, giving a cry of excitement when seeing an escaped balloon
& K: `" |: a# t8 i( L: fhurry on its way of freedom. "They are cheering me, I'm sure." The balloon
' X, o, T, P/ H; ], f+ T; |1 athinks. Up and up it soars, above the roof, above the spire, through a $ Z& w8 ]; Z0 n8 F. E7 D
thin cloud, into the blue sky. Then a dove hovers near, but after a glance
! @. x' Z( D; |at it, flies away with indifference. "Of course, the bird nears to
; p! _5 V; G) L9 Vsalute me," The buoyant balloon flatters itself in exultation, "but as ' ^& M6 p4 i: U8 [ X9 p
I ignore her to keep my dignity, she takes herself away in awe and respect." & q. H u- J- E2 K+ f8 [& g+ F
The higher it clambers, the haughtier it becomes, till it reaches the * S( n: {9 g+ ?( i; ]- V; G
zenith where it means to stay for millions of years, but, alas, it bursts!* Q5 f* n& I: I0 J! b
』! a }. ?5 k+ O! B6 `9 q. 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
w+ Y* p; D9 r$ x. d, y2 z2 [' ]好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕+ ]2 r3 |/ D3 u; G: m: x$ S8 {
Etiquette is to society what apparel is to the individual. Without
: X7 T% H$ s1 y1 {/ japparel men would go in shameful nudity, which would surely lead to the
7 J( G+ T6 ?, W9 C6 `. l+ xcorruption of morals; and without etiquette society would be in a pitiable ) v( B1 Z" |0 V9 @
state and the necessary intercourse between its members would be interfered 1 R% e9 b- c0 S$ Q% A
by needless offences and troubles. If society were a train, the etiquette " L( W& K5 L) \5 j4 o# z- ?: }
would be the rails, along which only the train could rumble forth; if
4 g) y- K& A* Gsociety were a state coach, the etiquette would be the wheels and axis,
9 b" d- \6 a+ c# |% u& N2 I. Z [ on which only the coach could roll forward.' Z) w0 h; Q: h& ^' f* D
The lack of proprieties would make the most intimate friends turn to 6 M8 e8 X% ^1 ~
be the most decided enemies and the friendly or allied countries declare 8 }2 B7 _9 [$ }% {5 x, U+ f- Q
war against each other. We can find many examples in the history of mankind.7 u1 F6 S U& H4 R2 j' B
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed . G' S2 k, b! H l8 K: S- Q
by his favorite knight for a joking word. therefore, I advise you to stand
6 h. M* C N: ?7 gon ceremony before anyone else and to take pains not to do anything stupid 3 T4 [2 O$ K; Y; b: @ V
against etiquette lest you give offences or make enemies.』) a% T. W0 |, \% C+ o6 `
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
, T0 L. U9 }( n7 v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
8 ^2 c! e. x% \9 D% L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 g, \, _2 E9 u8 i& J) I: Y) A
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。0 N0 e. g+ e0 E0 [2 H& e) e
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﹕) K- u0 U* i" `1 K6 x! s6 l) Z
『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﹕. }* m7 A" Z* r
『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﹐
5 J/ u2 L" j2 P1 A( _- B- |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
" y6 @ n# h, G- [2 g M/ P: @& A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# r& |0 r& c6 _
銘」的譯文) U) K ~, i% P5 @& k! x
AN EULOGY ON MY HUMBLE ABODE﹕6 j) ]9 e3 x" N5 X; ]9 K$ s
Known will the hills be if fairies dwell, no matter high of low; and ) s8 H$ m( R3 D/ }, E, y8 x
charmed will the waters be if dragons hidden, no matter deep or shallow. , ~1 {& `# g: R, n3 R3 _/ @
A humble abode though this is, my virtues make it smell sweet. Verdant
/ a% B7 ]/ ?6 W s- {1 m( x4 z+ Xare the stonesteps overgrown with moss, and green seems the screen : G6 m; W: x) K
as the grass seen through it. I chat and laugh only with great scholars $ A- D0 E' R( E/ f$ a& i0 C% k
and have no intercourse with the ignorant. I can play lute and read my
7 q$ _' v2 U! {4 M% e! s" csutras; no unpleasant music to grate on my ears and no red-tape to make / b7 _5 q: S! }" w
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance , c! q% W; N& Q7 w8 f) C
in Xishu are both like what Confucius quoth, "How canth it be humble?" * c5 P- N( y* @0 `6 T; |; t
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。
# ^5 l, k1 w# B+ {4 L; u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﹕
( W5 _" Z$ R0 E0 g$ 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0 X% U8 G$ y* b" e
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
) o. D& N: X) r. u6 U7 n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。』6 n# A, C6 ~3 F/ K5 M$ r& g
" h& m$ i% u3 B: x4 [7 u- G
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
1 f+ m; k1 ?$ k) f% b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2 J. o+ H, d- n
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。』8 D C+ k3 |' n% ^' X
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
& k5 \2 o# W! L1 n/ c資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
# C; m- h9 B x, N% J% m8 T 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/ E2 u6 c1 E" ?2 M
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
( n4 E' V1 }0 x7 t# w+ h" \+ ?& c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﹕' q# n; n1 t7 j5 B" F0 s
『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/ K; `4 [0 n- o+ U \
音樂跳起舞來﹐直至興盡而散。
1 a+ V9 i8 |9 S- @0 S( A$ g9 ^ 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﹐約他們去看一9 g) p7 R+ Q# d; `
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
$ D" P: Z& ]- ~: d9 o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
* n# f' \6 ~ J) 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
7 f0 ^5 X+ B1 o' \' m5 J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﹐* w6 F P3 O3 m, l' w
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
% q6 _, Q5 I8 @5 {0 ?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 ~( ]6 i5 [$ `; P# \
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" N. _' A) J. V0 f+ P' Q
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。7 t+ o& l; ?! D4 Y+ |0 Y: W% B
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
7 I# a2 ], ^/ }0 w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﹖』八1 e3 q# [. L6 K) l" ]& p* U7 Z
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
. F0 X! A, c+ y8 {5 W q1 y: k5 W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
, V+ {9 i1 P0 ^8 T$ i2 X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
2 T1 } F( E0 t% S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
2 F* S4 }* ?3 U) J3 {0 g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﹐
/ k J% t% k1 d! ]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
- `) P. p5 R3 _8 F8 ]" X( y j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」! @1 \7 E0 {3 I! y0 t
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, K5 s. r- X/ s/ E8 T/ q- |" z l
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; a; T3 M/ G# W0 ]3 a
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﹐新作萬千7 S: t5 y: A8 e4 B& t2 S/ K# m3 I
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
! O& p( @" |) O) S, |0 e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7 n) M# B8 N4 |3 Y( _
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
% Q- G- I( Y, a% 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
+ p7 z/ S$ m$ Y7 d' d4 \' F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
4 a& l& ?- s% \3 H# Z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0 ?1 o( b7 Y1 r
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。』! U1 [" A! r# s7 m0 w r9 B
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 M4 f$ A+ |( l3 L: z3 u 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
. N8 i' {( [0 Y: O3 T4 Q評論才會公允。』 |
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