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芝娜道﹕『下面一首是RED AFTERGLOW﹕
6 d% v8 L" }2 L( Z# \% r8 t% B1) Lo, the red afterglow,
( `/ L; R3 Q" k, D3 k& ` Against the sky blue!
0 X8 @4 \/ h f5 x$ J) w Is it the blush of Heaven,
3 }& _, w' i. @7 G' S0 P4 s As on a maiden's cheeks,
+ o8 ^* ~& j' [/ c) Q+ X+ @+ N8 w When she catches sight% y/ p5 e8 d g. ]
Of her coming lover?6 B) q1 P) M2 H7 z* X; l
2) Lo, the red afterglow,
3 @6 m8 S4 E, O2 X. |! T2 w Against the sky blue!
1 F2 Z" f: p7 ?+ M7 d Is it the fire of bivouac
0 d, c2 L) A- y+ E* g Kindled by Nymphs and Naiads8 D0 h7 D* E; y4 B* |: P7 J1 y/ {
On the banks of Milky Way
" O4 H) X o6 E Holding a celestial picnic?! ?7 e! l K: T: a) W
3) Lo, the red afterglow,6 [2 @3 A7 H, J3 I2 f
Against the sky blue!
$ V- q' @# R4 H6 c" G" G( d Is it the ruddy gauze veil6 b4 {( S, c) l+ |- H' W7 t) S+ ~
That veiled the face of Juno7 j2 k6 M* O6 W( ]* K
On her holy nuptial day
% S2 @/ l" r5 q B4 o2 A+ A When she married Jupiter?
: r# n3 y$ y) {/ W4) Lo, the red afterglow,
9 q* o: ]$ r# h- }) x Against the sky blue!6 N/ r/ s- i& F# E4 h
Is it the fire of Mt. Olympus
d& L" Z$ }; p! g9 ]1 A Stolen by noble Prometheus,/ R7 g) ?- y; l6 i7 p
And in his careless down-flight
9 K K) |* A% m# {0 d9 f9 P Set the fleecy clouds aflame?
! q9 \; q' {( y6 X: g& U5) Lo, the red afterglow,
! ~: f( E1 F7 R1 m% d9 H# E6 U S' a+ q6 E Against the sky blue!( t# ]: `- u _ U* U! I7 N$ S
Is it the blood of the heroes2 y# m1 i/ ~( M* u: W" T- l) v) x; f
That died on battlefields2 ?! E! W4 `( p
In the sacred defense
7 M8 X. Z! u6 ]% Z Of their dear motherland?* n3 i! ?5 b* }* X# U+ C6 L
6) Lo, the red afterglow,9 _. J. s$ k2 e. {
against the sky blue!! M$ V' l3 O4 z: h! c% ^
If it the Isle of Coral8 M$ H$ t4 I) v0 m4 g3 H9 W" N
Removed by a white witch9 U- ^* e1 l h2 N) R' }5 ]
From the Pacific deep
5 F9 A' R3 f/ h8 v& K To the heavens above?( k2 W, r; t; l5 ^' u
7) Lo, the red afterglow,+ i, B. D6 A* u2 A
Against the sky blue!3 z1 x7 r% U, U/ s
Is it a cluster of peach trees,
; r$ E1 v$ V2 e" N) z* E) V% L1 r Their blossoms in full bloom,
6 c X0 I' g7 H# _ Grown by the daughters of God+ p8 k5 u8 X2 }7 J8 g! | L4 P. _
And watered with nectar?
8 R) ? \+ {8 g4 Q+ w. k8) Lo, the red afterglow,
0 x7 o: _* h9 | {: I" O1 l) B4 n Against the sky blue!
0 t2 _& M0 R7 q& v) z2 l! C Is it Flora's rouge
# e: F9 z }* \, B e" q7 i Spread all over the sky' [2 k3 N& w4 f
By her frightened maids3 `, ?* N& R/ Y" A
In escape from her anger?# L6 r& m" z* A6 L! y4 _
9) Lo, the red afterglow,
! K3 R% l) B8 X; e. K Against the sky blue!
. O% h# N8 D7 o Is it a large piece of sponge4 \0 b E( X4 z- i0 D) y: R
Soaked through with claret' r( W4 Z& Y3 X* j- k& V# h& q
Upset from the Holy Grail* K% i# D4 R* B9 f& w( f ^
By a rash cosmic pilot?』
, b9 K' T$ i1 b9 [* V* 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% p) {$ a! N" @& Q- 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
" R: M; H* m5 T2 R" {% q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 H* L; m: C, Z
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5 V: F, i! i1 D" f3 s% N
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# U3 z& Z; M" d! E/ S. P$ S$ K8 y
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
P7 M- X6 Y5 Y; v5 `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。 8 C4 N$ t0 |0 _( w" n8 \1 ~
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﹕
6 ]9 V7 k( K3 ?- D. x* G/ kWhen young, I don't have any notions what woes really mean,
7 T( P: a G g2 t Just love to get on floors so high.
$ W, u0 E# k) q' G, I Just love to get on floors so high,& N8 A0 L! V9 \( J" y" p3 O
To write new poems, I try to say the words of woe and spleen.' Y& y# K3 E6 v z4 J B7 V/ B
) v( ?3 `+ {! D6 O% z5 I" C! h. i
But now I fully have ideas of what woe really is,6 p, u6 A2 D! `9 X& g& @
Afraid to get on floors so high.
* s. i1 F) A- Z. M Afraid to get on floors so high,/ D+ s! a( M# j0 u% p/ g3 `, S
I only say in poems how good and cool the Autumn is.』
* d/ x2 r# I/ l, z* I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
$ A3 h2 }9 @0 y' d" l T7 w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。" k+ k) Z; \6 b# m6 z8 z) Y
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﹕
0 Z, j/ C) n9 |6 M: _『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
' b' u4 X6 x/ Q2 ~$ D+ B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+ S( d p) y$ h3 J' `
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1 p% G+ W( U0 \0 H& ^ |' 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﹐, w1 `8 `" k% E; _4 C9 d
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
. U0 o0 z/ p; O" O; `; {: k; ^3 C4 o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1 i2 ~3 G# r6 c# E
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/ Q" ^* |1 H: B$ E( b
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' ] E F u5 k( ^* P, |
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! }' A9 n5 ~! {* I0 |( h" J
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
6 J9 ?% T5 ?& U; A8 g2 B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﹕
: O6 {5 U( v; ] ]5 J- t' bPoor Odipus, a scapegoat he was! Accused of three great crimes, he 5 T) q7 ^, q; P
suffered a terrible tragic death ----a punishment inflicted on him by @, i6 G0 c) v! h
the gods on Olympus. When he learned his fate decided by the almighty ( e" q7 d4 \: U7 t
gods to kill his father, marry his mother and bring destruction on his , J* C( Q% o2 `
native city, he wished to escape from it. But destiny was unavoidable,and
/ A/ N3 L% h1 N( Yunawares he fulfilled the assigned tasks. If the gods had decided his + w. i3 l% }. z: H& t
fate otherwise, he would not have been a criminal, receiving an unjust ! r8 [8 a0 g0 A3 l, R- n
punishment and bearing an ill-fame for thousands of years. He was only # e- k4 D% L* V; {. _. v
an executor of the wills of the gods who, struck perhaps with a whimsical - z$ O+ g) i: O* P6 [5 a9 k' Z; G
fantasy, played a practical joke on the helpless mortal. The gods were - u: K0 M5 ]$ ~6 h/ y$ n. k" f
the plotters. Who then deserved the punishment? The gods on Olympus rather
0 {& Q6 ]- x! } n5 q* ^; @than poor Odipus!』
2 h+ s% n S! Z5 a0 c; G7 @9 ^% 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﹐
7 L0 k. U- @, @% Q5 ~6 `1 W6 b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﹕! k. r4 I) ^: N+ S" e
『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﹕
. a( a+ t5 H( w' Z: Z7 H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
T( S$ S8 y( xADDRESSES TO MONEY﹕
! F! M3 {2 z* S3 K; v2 x+ g1) Oh, Money! My darling Money! My respected Money! I'm your admirer, 2 ?5 C6 Y5 o/ q9 f7 j0 d3 f; v9 m
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
! L9 Y9 l( S: }+ } xyour slave. With you I can get food to keep me alive. With you I can ; r+ h1 E3 S, s
get clothes to keep warm. And with you I can get whatever I want, a 2 Y/ D! B5 M( G- L) r0 \4 ~& I
grand mansion to live in and all the superfluities of life for ostentation. : z( C! D- {# R' Q! v8 i
But without you my love will desert me. Without you my friends will 2 w9 u) E' j* L: I" Z
turn back on me. And without you I'll go a-begging like a poor dog $ g2 p" g9 I; N3 W
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come 4 n" B$ ~1 C5 r; ]. _6 j
to me, I implore you! Pray, endow me with your favor and be sure that I'm " H) o5 m$ \* H. g+ v2 d9 ?5 v
willing to receive every small coin from you on my knees by which to show
# y( [9 b U0 imy deep-hearted gratitude. 』7 A1 Q4 }# g, a R1 m& h7 G
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。』3 F$ H* P# p$ Z" ^' S
芝娜又唸道﹕『第二﹕
- n) M/ y7 ~1 c& a1 p: G0 m2) Oh, money, my obedient servant, my faithful slave! I'm your master,
P9 R% k! d' W9 gyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
9 A$ G( E1 e8 U- gyour disposer. With you I can start my enterprises. With you I can carry . }6 `0 @. {3 k9 x, p, A
on my great plans. And with you I can make the little world around me
0 V( F9 Y+ |5 Ngo at my will. If without you I can still have a large store of learning. % N! P5 y/ w/ W6 Z! ?$ ?5 n
If without you I can still have an unpolluted name. And if without you 0 J. q( n1 A: ~* G, ?
I can still live like a hermit writing books of great thoughts.
& S) H" [' I9 sOh, servile money, come to me; my lad, I command you! Serve me well # }; _8 }9 z [' X( e: F
and don't be naughty, or I'll punish you.』# [/ p( f0 ?' t7 p5 E, p. o1 `: \
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
( U" C$ m5 K' z0 e$ M/ X3 K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﹐3 X5 K6 V8 o+ O: Y* }/ Z
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
+ z5 U9 S3 H; Y7 t" |(談美)﹕6 v9 L- p: `9 v# @ L+ _
Beauty often dwells in youth. At sight of a charming girl, everyone ' t7 }5 s4 y* C3 P7 C
will exclaim, "My eyes! What a great beauty!" The male stares with 6 y! N, i. z# o2 |. O
a thrill of admiration; the female gazes with a sigh of envy. Wherever
- \+ a) X. G" i+ zshe goes, she becomes the focus of the attention. Men all yearn to win 3 C# X u6 z' V& R
her heart; women all feel a regret unable to stand in her shoes. A glance
, \/ K# }' Y- v4 ~ z7 C4 e! Oor a smile from her makes the stingy empty his hoard of gold and the 5 X* W* _& D ]0 r8 V
coward give up his life for her. She enjoys her queenly position in society,
5 S+ y% J; u1 o' n2 N proud of the possession of such a beauty. But the merciless Time 2 }) A7 o4 L1 |4 c& [
dogs her steps, too. Her beauty is worn out with the years. She begins to
5 N1 I6 m+ X2 Zfade away and the hardship in life, if any would befall her, will bring $ ?+ e0 R l' M) \
more wrinkles on her face. Then men turn their backs on her politely with
8 l- G! K* ?3 L ja bow; women look at her with indifference. The younger generation is magnetized
5 L3 C2 h) X6 Q3 Iround another focus. The old queen has to abdicate and leave the throne ' O, C: S3 z/ s4 k- s3 ~( f
for a young one to occupy. Only a photo or portrait can preserve her beauty 1 I9 k' {# e( C) [. e8 O
in youth and no Time is capable of doing any injury to her preserved beauty / P5 |; ^" l: h+ s' q, l8 J S. `; x
but the preserver itself. n) |4 u, V" G/ Y" ]% ~7 Y
Therefore, admire not the beauty without, but the beauty within. Such
" c* `( P$ s& U9 r# `$ la beauty will never wither though Time also plots to do it harm. In the
, W1 R1 S; |5 n5 g- c; Dstruggle against the adversities of life and the ruthlessness of Time, # ^6 ~( E& s- J: H
it grows radiant, or even dazzling, just like a rock in midstream made % l* w5 P: y. e* q
smooth and glossy by the current of both the stream and Time. Everyone, 9 R3 [# ]2 q) F' a3 i) R- d3 Q
in spite of the age and sex, if aware of it, will sing its praise either
" d# }; M& j j7 L0 C openly in words and letters or secretly in mind. It lives as long
' j0 e- Z2 E1 Uas the possessor, or even much longer after her dust may be blended into 2 i% S6 M# m- O" o u- j, c% u% {% {
a vase with the clay around it. & e" ]; N, m! j5 T2 S% t, \/ {% z# c
The outward beauty can only be the object of admiration or envy while - ?9 G8 s2 V5 m, ^" m. C5 d4 n5 h
the inward beauty, besides being a theme of the ode, can serve as an - `7 m1 f4 l$ _- s7 S: u/ H
example to learn from, for the former is always endowed by birth, but
1 A+ q5 O g* cthe latter by self-acquirement. However, every man is free to hold
8 A) p) e1 _3 v( z3 k his own notion of what the beauty is and to choose whichever of the two
1 p8 _% C5 W/ U/ \8 V7 N. a5 bbeauties he prefers. Only his love for his bride select should not degenerate
' j- e' W4 \" x! p. Z$ c) xwith the shrunken beauty.』
/ M' c! e+ B% z/ C3 s5 a2 K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
) L% a3 M5 i2 E8 D# g( ^5 W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
7 \. g4 Z5 K Q( x4 x* {9 Z. Y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 。』
& O4 B% S4 V) o x0 f6 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
& p, r. }( T, K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" `8 o0 v: M. ]
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1 x/ Z& h0 B% T6 ~9 f( O
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。
8 E" ~7 D1 n9 b. }+ |; Z- e你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
( y* M# Q; M, b& J( q% W6 `1 W A little boy walks by his mother's side, with one hand in hers and a balloon ! A; r8 c& a8 u. I5 p6 v1 B7 c
in the other. A sudden gust of wind snatches the balloon away from
! s, n- L( P% j2 l# n the boy's hand and bears it skyward. As it flies higher, the excited
& }- D& q% d& e3 `people in the street all look up. "Surely," the balloon says to itself, # t' e2 ~2 t o0 N) N7 p7 Y' r
feeling proud of its uprising, "they all envy me of my ascent." Then in its
" D, {& ^; t& Uupward flight it passes by a balcony on which a group of boys and girls - N/ v3 y2 L$ O" V" |* P
are standing, giving a cry of excitement when seeing an escaped balloon ; N6 u& h. a1 M8 ~. p- g: l
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
2 ~. f- _4 U! J% R) S6 othinks. Up and up it soars, above the roof, above the spire, through a $ s- m$ O! _; g: y& L& F& F
thin cloud, into the blue sky. Then a dove hovers near, but after a glance 2 ^: A. P( y8 v
at it, flies away with indifference. "Of course, the bird nears to
& P( Q( V' \ B+ z) [* J: C4 W Hsalute me," The buoyant balloon flatters itself in exultation, "but as 1 s a2 j V; c/ S" {3 B0 ~
I ignore her to keep my dignity, she takes herself away in awe and respect."
4 ~# u, r4 P6 [. ?6 }2 s) { The higher it clambers, the haughtier it becomes, till it reaches the . L* d5 l. o$ K/ a$ C' U, B" O
zenith where it means to stay for millions of years, but, alas, it bursts!
' a5 q! p- |2 H! i* E』
& Y5 X& v( t9 A& O1 q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
0 }& B( t- p2 ^6 c2 N* s好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
) H: D5 b% P0 j/ {- d! Q4 I Etiquette is to society what apparel is to the individual. Without 5 Z( \' _6 y# W! O
apparel men would go in shameful nudity, which would surely lead to the 2 W" F; t" y5 l4 |4 ^' }
corruption of morals; and without etiquette society would be in a pitiable 6 z( X8 @7 o) K. h. L
state and the necessary intercourse between its members would be interfered % |, @$ A7 k- \: \
by needless offences and troubles. If society were a train, the etiquette
& U" @# M1 j0 y) `7 F: twould be the rails, along which only the train could rumble forth; if $ S3 T& m) N ?4 w, X( k
society were a state coach, the etiquette would be the wheels and axis, 5 F3 h1 T8 j2 n, J# z
on which only the coach could roll forward.
2 z* k2 U( b+ ^. @# h5 e The lack of proprieties would make the most intimate friends turn to
$ I; a0 ~- T$ gbe the most decided enemies and the friendly or allied countries declare
7 M. ]4 T* x1 d5 C$ r& ^4 P' d. d& iwar against each other. We can find many examples in the history of mankind.. Z0 Q! h& e- G8 G& m5 L- s
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed 3 B, `: Z! f. x: r; @! J* D
by his favorite knight for a joking word. therefore, I advise you to stand . ^; _1 ^6 Y% x( j6 D; z8 P5 \$ q
on ceremony before anyone else and to take pains not to do anything stupid
" K" ^$ f5 e1 j3 `8 K2 Y: Oagainst etiquette lest you give offences or make enemies.』
- |" d/ r1 `- b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( _' Q! i B8 R7 {; T/ W& ^
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 V- Q0 l) I$ K6 `
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) ` e) A& q1 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。4 S! s& T+ d' O" ~1 r9 C
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﹕4 s. j& }, G K. c" \3 a) \) [ ]
『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﹕
3 e# {+ v, ~! L. N; J, C# z) c『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﹐
& ? E. _0 w# a0 L" D1 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9 N$ h, u' u! \' Q5 ^
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- w& u8 \) ^$ t' h7 l
銘」的譯文7 K) J7 N. t& P l P
AN EULOGY ON MY HUMBLE ABODE﹕
1 n2 Y; S& M$ ?. L* f7 Q' R4 p( J Known will the hills be if fairies dwell, no matter high of low; and # s2 O/ r) @. c; X* {) t9 ?/ U
charmed will the waters be if dragons hidden, no matter deep or shallow.
- u( o( `4 b d7 f, T' U+ X8 W" y A humble abode though this is, my virtues make it smell sweet. Verdant 8 s- E& w- u' V
are the stonesteps overgrown with moss, and green seems the screen 1 C% r$ \) o0 T( p5 ~0 q
as the grass seen through it. I chat and laugh only with great scholars 7 o8 T& z9 i) y) e
and have no intercourse with the ignorant. I can play lute and read my
7 A4 G" R4 N2 _) q, O" N0 r) X( xsutras; no unpleasant music to grate on my ears and no red-tape to make
8 N3 P0 p2 s. g' Q7 }/ m( ~/ D, ?me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
4 O& ?7 v3 ~5 W$ @9 Sin Xishu are both like what Confucius quoth, "How canth it be humble?" . H. E; c' n) L( {( M
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。+ K5 ?7 b! _$ [4 O+ ?
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﹕- r7 |8 d. R( N& e: @( o
『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
8 ~! r: [+ e w6 i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
4 [5 {% b( D4 R0 l" h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。』8 Z1 f1 r0 e2 P5 \% ~- R/ \& f
% Q J. p/ ]8 Z0 O/ K! S. V( K
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 x/ l- H( C1 `! W! P* x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
3 W! F5 L6 Y' F! S! O/ _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。』
a- n! X- p$ s- t0 Y( d1 o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
5 `, V v- U A$ I# h資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
6 `) H+ `6 L6 h8 a S 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" `! Z; u$ R- `+ [: q
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* D. O: g. t9 L: s) @5 Y$ p. L
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﹕
% H, [- R f. [" }# ~4 J* A. n『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6 q6 h+ F! C i4 Y* V0 |! X) y5 h6 M
音樂跳起舞來﹐直至興盡而散。
6 W* t& [ q; u 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
2 A) H% K: q+ [- C# P9 L: g+ 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/ }5 ^ D* n" g3 X$ W
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
. M+ K. w8 E8 v; E) U9 H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
; m" f* @) N1 M3 G( t! A3 U( y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﹐
$ a, {. O1 ^1 A: I( a) H7 ^: Y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
/ k$ @) h% G1 x+ @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' U- E6 t# V, U# H. K# w
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5 a& D; q9 B7 a+ V4 p' p) @
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。 e. k( M- q5 w, c) m# Y7 x+ ]
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 w4 f( t0 V5 M. L( X( T3 `
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
& x, n, s1 t' P+ Y: 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$ l4 K) H, \) U2 o0 H2 q0 X
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2 E8 @% H# l6 y/ F
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
4 M/ Y& |+ ~: T( `$ }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$ r9 W5 m0 D6 ~+ W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﹐
* M5 d8 w1 j, Z [5 }5 `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/ @$ R, c2 n# ^1 Y, ?
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」
; Y+ s* y. }( E0 m5 J" M- k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
: v8 u2 F$ v' i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" w- P/ r7 `+ i8 L3 W+ s$ y E
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
3 r! c" L! E1 W/ s0 ^- @( g/ ^+ d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
& ^- u& f9 y% Q7 S) i0 @, _0 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
5 G) C M7 v S; e* T: U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
1 T0 a: U6 @1 y. H) D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1 R8 T$ J: d2 T8 a( h8 r* A
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6 [2 e* ^4 o* L) o3 ~( i& N% a8 Y
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5 @1 ^" n# [3 n% p5 Q0 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。』# s- j' z3 T1 i. {7 z: V7 A5 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
0 j$ q _- z" j1 x8 Q3 x4 M* u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0 ?. v6 w0 e& v9 z3 O4 |
評論才會公允。』 |
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