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芝娜道﹕『下面一首是RED AFTERGLOW﹕
! W' a' h1 Y0 [7 i8 O# J; v9 T# L6 D1) Lo, the red afterglow,
! V J6 U0 _8 _" t4 K1 `: } Against the sky blue! 1 x/ _/ F+ S6 u; J. G; G' X
Is it the blush of Heaven,
1 c3 i. M& h& w% ^4 p As on a maiden's cheeks, % S" f" b5 t& r
When she catches sight2 A0 I+ {* K$ z' M3 N
Of her coming lover?
6 V4 M: T4 P* a4 I2 c0 a2) Lo, the red afterglow,5 O, u' C. |2 \) C+ u
Against the sky blue!( u5 @) W3 g* y; J
Is it the fire of bivouac, t, g5 m7 i0 h( I- g/ ~9 p, V/ h
Kindled by Nymphs and Naiads8 v" |+ g- |/ B! j7 _: t& ^
On the banks of Milky Way
V7 @3 k6 ]! I, ~- p Holding a celestial picnic?
8 D- M- H2 V' z! |0 R% Q3) Lo, the red afterglow,
+ {# {# M: `! }$ Q* {/ X( M" J Against the sky blue!
& h W) C, i' ]0 P, a# n Is it the ruddy gauze veil
1 Y$ l+ O% S2 J# d+ R; K9 W7 j9 S2 B That veiled the face of Juno7 a7 }# N+ M0 [' T6 `) b o/ c
On her holy nuptial day% O8 b5 O8 H4 [/ l3 b& O
When she married Jupiter?0 Y0 Q( i& H: x, a+ c1 m
4) Lo, the red afterglow,
0 ?: V' m3 [+ U5 J; Q ~ Against the sky blue!
( `$ h$ g7 [+ @- @+ D' w6 I9 n: Q Is it the fire of Mt. Olympus$ z5 }- F4 p6 }8 b6 g% t
Stolen by noble Prometheus,
( e% M6 n% z1 B0 J! F0 p5 P And in his careless down-flight0 k r! Y$ K- z3 w% d2 {) v2 g
Set the fleecy clouds aflame?9 O& X) k, a5 Z& k' O# \; x/ o# g7 B
5) Lo, the red afterglow,
& [' a, ~4 l% ]) X Against the sky blue!
6 _: B; S! o1 q Is it the blood of the heroes
8 s5 {# Z' W, y That died on battlefields
; O$ `0 [: ?' ] C+ y( c In the sacred defense
$ @$ V" @1 l% R! l$ ~; G4 W3 M Of their dear motherland?2 }7 C6 `: b8 }( [0 {6 B; W
6) Lo, the red afterglow,6 l! @8 @ A1 }+ { `' W$ ?; G+ w
against the sky blue!
& M( q7 i" g8 v2 [5 |7 T& T) b. G If it the Isle of Coral
4 n/ U6 ]5 _! l* w Removed by a white witch" l: G5 ?/ a* ~
From the Pacific deep* n) `) q1 B5 D. S: w* s7 u
To the heavens above?
2 |* P7 Q; s7 C' n* h7) Lo, the red afterglow,
! [4 b, j! K; j% y4 [ Against the sky blue!
8 m( J! V$ k: L# }5 M( J `+ ]3 v Is it a cluster of peach trees,
# g4 R' r9 Q o. v* T% A Their blossoms in full bloom,
0 B' C" j5 t9 A- D7 \ Grown by the daughters of God
# L7 b" m1 D) X1 Y2 A& L( e And watered with nectar?, O+ C! k s5 D" M4 r! r- V
8) Lo, the red afterglow,& i* ]$ |, r/ I1 G0 A: L, w
Against the sky blue!: t$ `8 l4 M: q7 [
Is it Flora's rouge) x+ G0 d$ f+ ~9 m. O9 B& [
Spread all over the sky1 m f" s& g/ ]
By her frightened maids7 n' j, T6 \5 ?! I8 J3 z
In escape from her anger?
* s. _, j/ ?* f5 f: n' q9) Lo, the red afterglow,
0 G1 D8 V$ Q# t. S- W& f& S% Q; n Against the sky blue!% o: Z/ H1 o. i, u- x% x3 ]2 \
Is it a large piece of sponge3 d3 W4 k# R/ Q) b& Q; w
Soaked through with claret. O$ I; Y9 O% Z8 Y9 }7 f
Upset from the Holy Grail y% e2 o( O4 H P
By a rash cosmic pilot?』
: t# t W& K& \; G, q. F3 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/ w+ v. c$ F! [6 j2 U
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; Y# _; y5 N$ `) \% ~7 @
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' i5 Z% H# J" v* y5 |
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6 M% d' q2 }3 p0 C! U& S
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. c6 F+ Z4 {- e$ h* a9 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
$ `, O7 B* _2 q. A: Y/ _0 [! s: _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。 : u% A) N( R/ ` p4 i9 v4 V
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 V- Z! q# Q* m' p( N
When young, I don't have any notions what woes really mean,
8 G1 m# v. h# R6 \ Just love to get on floors so high.
* j% g; M' P3 j/ P& { Just love to get on floors so high," Z% `) E% f% |7 }, U
To write new poems, I try to say the words of woe and spleen.
1 J0 {4 F. T1 t# b4 K0 U( q) Y/ d n+ u8 d' i
But now I fully have ideas of what woe really is,
& ^7 C0 ?8 P) w$ ~% m Afraid to get on floors so high. ( E7 ?, q6 Q" ?) m' |/ @/ y
Afraid to get on floors so high,
. e3 x: t3 M/ E8 q8 l. q, h- ZI only say in poems how good and cool the Autumn is.』
0 V q, ]" t8 D5 S' G, 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* ~; r4 w/ V- m) ]: s! D. 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。! d$ h. U+ y% Z$ n( U2 P8 T7 v7 t
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﹕" ]- x% W8 V5 i& H1 F9 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
* f1 Z! M8 [1 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8 B( `* u1 r+ X" Z3 o3 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
0 ? i; P- |1 k# O9 j4 \4 `; [3 f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﹐
8 B4 @. \4 ?! p, _0 |* M& E; n Y$ `3 ]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
# l, B) E, s: x5 D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
9 ?2 l3 i( W! f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' A+ z5 m, @! s8 ~
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
( r/ ~# t& S) |5 ?! \6 C4 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* n3 X/ \; e1 L+ ]7 j( i
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
. N @+ D7 k, |2 |. g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﹕
: ?, P* g, j A3 D Q0 zPoor Odipus, a scapegoat he was! Accused of three great crimes, he
8 }( J- [2 \9 g, C6 Jsuffered a terrible tragic death ----a punishment inflicted on him by
* H# i- g" n7 [4 ~/ a. f0 `0 zthe gods on Olympus. When he learned his fate decided by the almighty * {8 ^6 t* l8 E
gods to kill his father, marry his mother and bring destruction on his " Q$ {4 R6 u2 A9 h
native city, he wished to escape from it. But destiny was unavoidable,and 4 Y+ u, ^! z/ Q4 b$ E
unawares he fulfilled the assigned tasks. If the gods had decided his
6 o Z0 v1 N. o6 w4 \2 O2 wfate otherwise, he would not have been a criminal, receiving an unjust
4 g) N% U- s! Cpunishment and bearing an ill-fame for thousands of years. He was only
, o: d8 Y9 G2 N+ E5 s) pan executor of the wills of the gods who, struck perhaps with a whimsical
3 ?# l- |1 n$ P6 P) `' ]; Z, ~; Ofantasy, played a practical joke on the helpless mortal. The gods were T+ W F! q1 H$ i+ R3 h$ r
the plotters. Who then deserved the punishment? The gods on Olympus rather ; n6 Q, m) v8 {; A* @
than poor Odipus!』' N7 v& x% t( E! P! }4 c& Y" y7 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﹐* ?( n9 Y' p2 X1 U- K* a
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' d3 _8 a9 ]$ m( g* Y# L『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﹕
1 ^& E9 z+ @% g' b3 [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 : i [, f& [; y0 N
ADDRESSES TO MONEY﹕
9 l0 I" W1 q& T1) Oh, Money! My darling Money! My respected Money! I'm your admirer, : q! z) ]2 y/ E1 G
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
; \+ @( G4 T& {6 G; N' Ayour slave. With you I can get food to keep me alive. With you I can
1 D( U$ o) j+ k4 @2 c7 oget clothes to keep warm. And with you I can get whatever I want, a , Z& S/ C# ^. E/ c( C
grand mansion to live in and all the superfluities of life for ostentation. 3 W: \, I `3 ]4 `
But without you my love will desert me. Without you my friends will
6 E* j5 Z; K6 ?, Fturn back on me. And without you I'll go a-begging like a poor dog
, d( e T! H" E2 c/ G2 W6 Eand sleeping alone at night in a ruined porch. Oh, Almighty Money, come 3 |/ o4 l* p. v% [# t
to me, I implore you! Pray, endow me with your favor and be sure that I'm % r: S0 P' w! W* Z
willing to receive every small coin from you on my knees by which to show
& A' _' ? ^- g; N, ymy deep-hearted gratitude. 』
: |# V6 h( _3 w" |/ k$ U3 W/ a9 C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。』
2 l' n; I+ X2 f8 x! I芝娜又唸道﹕『第二﹕8 w( p8 Z$ z8 ?- P9 e
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
. A( t" l6 T3 q* vyour owner. OH, money, my passe-partout, my almighty tool! I'm you user, 0 ]* f6 n/ W$ r: I* X( e
your disposer. With you I can start my enterprises. With you I can carry . r4 f2 @- I0 K8 H; V6 n1 E) r- k
on my great plans. And with you I can make the little world around me % M! V2 I. m7 U( K9 O* [
go at my will. If without you I can still have a large store of learning.
8 U2 S$ O* a! P. D If without you I can still have an unpolluted name. And if without you 9 [, P2 {6 R1 y( V ~- s6 y" `: h
I can still live like a hermit writing books of great thoughts.
/ i6 t; Y- s$ p0 j3 h+ S$ o, w& A2 tOh, servile money, come to me; my lad, I command you! Serve me well
$ G4 b7 k3 e: { L% { and don't be naughty, or I'll punish you.』
/ C- h% S$ |* N/ Q5 L4 t 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8 N# d! ]! T3 {% ?% _; \
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﹐& T2 d2 a) ^+ z/ H
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 R- U1 o4 |" V3 ^0 L( c(談美)﹕
2 z: [- \5 o5 V- G6 w0 s8 H Beauty often dwells in youth. At sight of a charming girl, everyone 5 G a) V {. L& z" G# r: C* B3 b6 o9 G
will exclaim, "My eyes! What a great beauty!" The male stares with
# N& Q- [0 w7 Y V( n3 s6 x3 ua thrill of admiration; the female gazes with a sigh of envy. Wherever
/ R# U4 q& J$ K6 D% U, ^9 ?she goes, she becomes the focus of the attention. Men all yearn to win X% Y6 M- }8 N; |
her heart; women all feel a regret unable to stand in her shoes. A glance 3 h w* \9 A8 x+ B
or a smile from her makes the stingy empty his hoard of gold and the
4 u1 Q1 t# j4 w1 Ncoward give up his life for her. She enjoys her queenly position in society,
( }& J; x) |: c1 g8 E proud of the possession of such a beauty. But the merciless Time
T% m- a* @) }- Q5 _dogs her steps, too. Her beauty is worn out with the years. She begins to
; @7 d# f& N& o* r, {: ^fade away and the hardship in life, if any would befall her, will bring # X5 Y4 J4 H- c
more wrinkles on her face. Then men turn their backs on her politely with
% o( X% z- \& |" Q4 X9 x& ca bow; women look at her with indifference. The younger generation is magnetized 5 j/ U0 w0 ~$ a; }' F/ `# k G8 e
round another focus. The old queen has to abdicate and leave the throne 8 |- O7 B% F+ f: z
for a young one to occupy. Only a photo or portrait can preserve her beauty ( H& q. m& X) ^% F
in youth and no Time is capable of doing any injury to her preserved beauty # i, r0 N' P5 y5 D& _* b y
but the preserver itself.
1 |8 x6 F' k, \ Therefore, admire not the beauty without, but the beauty within. Such ) |" V# D: Q u- n5 q6 l
a beauty will never wither though Time also plots to do it harm. In the 1 m* {$ @( W) l+ s
struggle against the adversities of life and the ruthlessness of Time, 5 ~4 D4 q% }: Z0 k/ b& B6 q
it grows radiant, or even dazzling, just like a rock in midstream made
/ D0 k" G: n1 h. J7 Y) T smooth and glossy by the current of both the stream and Time. Everyone,
0 a C& @1 `( X, B8 U1 Cin spite of the age and sex, if aware of it, will sing its praise either
5 x0 O% x% }; L; ?1 j openly in words and letters or secretly in mind. It lives as long r' @1 D3 T& e' m
as the possessor, or even much longer after her dust may be blended into , x Q. r' j0 b& L
a vase with the clay around it.
& r4 W5 ?4 P% z4 q2 Q( l! K The outward beauty can only be the object of admiration or envy while
3 S: {1 h4 W5 E# Sthe inward beauty, besides being a theme of the ode, can serve as an
0 F1 F# J5 O$ M. w) G* gexample to learn from, for the former is always endowed by birth, but ; {; j) @+ x& \
the latter by self-acquirement. However, every man is free to hold
7 K; P. g! l/ m& n' |' a4 Z* y his own notion of what the beauty is and to choose whichever of the two
' s, o) {. [: I( a4 x. vbeauties he prefers. Only his love for his bride select should not degenerate 3 @6 C9 l; F& n9 I, G& c9 m
with the shrunken beauty.』) o6 ?% p+ r3 s7 \4 p
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
' d9 w9 ~# {7 g3 t& H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1 v0 }+ {# d% W1 r
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 。』# P* [0 k/ o1 C) a0 L. k9 _% B0 k
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
: H+ ^0 F$ [+ A+ O$ ?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
' F5 ?' u+ O. Z5 o9 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- P$ B, [% o$ r: x
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。/ q( Y; k: E; K$ g+ W
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
5 w ]% x0 a( F% Z% T3 p2 A K A little boy walks by his mother's side, with one hand in hers and a balloon
, r6 r2 @. _; j& ?+ F0 o in the other. A sudden gust of wind snatches the balloon away from 6 d2 F* W: B' L$ \2 c/ M) d
the boy's hand and bears it skyward. As it flies higher, the excited 0 d" r1 } h* q2 x0 g5 H$ M( l
people in the street all look up. "Surely," the balloon says to itself, + m, S, x- ^3 m
feeling proud of its uprising, "they all envy me of my ascent." Then in its
' L9 j! B" Z: ?+ v7 I7 f" Nupward flight it passes by a balcony on which a group of boys and girls
. |9 `6 [& X2 Z: s' J- Mare standing, giving a cry of excitement when seeing an escaped balloon 2 j$ Y) }) q$ y' M& s4 v4 S8 y
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon 2 {3 D3 T" h" V; T8 \; S
thinks. Up and up it soars, above the roof, above the spire, through a 0 Q6 m4 }+ u/ M! V- s* o+ T
thin cloud, into the blue sky. Then a dove hovers near, but after a glance
' w8 {: K" [2 Jat it, flies away with indifference. "Of course, the bird nears to
7 |5 ~8 G) \/ R; g( O. gsalute me," The buoyant balloon flatters itself in exultation, "but as
: d: B- S, J0 Q1 r. z$ DI ignore her to keep my dignity, she takes herself away in awe and respect."
) y, }: C5 ?0 b u4 a The higher it clambers, the haughtier it becomes, till it reaches the
! z, K, t" ]% m* q Vzenith where it means to stay for millions of years, but, alas, it bursts!: D! I: {1 t- h4 z+ _& e" B/ _
』: ~ a' |4 O- e; z8 {+ X- N/ r( i
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
8 p6 ^4 n- K; v! i3 ]" ]& K+ e好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕& i3 w5 ^* ]1 p2 u, X0 t
Etiquette is to society what apparel is to the individual. Without
% m: t. G3 f2 E: s5 o/ |' ]apparel men would go in shameful nudity, which would surely lead to the % S! x A1 @1 R1 D* e8 ?8 J: d
corruption of morals; and without etiquette society would be in a pitiable
7 J& U4 z) [% [5 ~; z& S- Xstate and the necessary intercourse between its members would be interfered
9 S; F& Z( @) d. m4 Bby needless offences and troubles. If society were a train, the etiquette
^5 X8 w1 D& m% ]4 ?would be the rails, along which only the train could rumble forth; if & M5 @5 k' ~' w! e& m( S1 ]
society were a state coach, the etiquette would be the wheels and axis, / V/ W% c. r7 P6 o) `
on which only the coach could roll forward.4 ^4 f. K6 n* e$ Y# f6 Q
The lack of proprieties would make the most intimate friends turn to
2 N. P# r- l4 ~" x. _5 h. X4 gbe the most decided enemies and the friendly or allied countries declare # M6 ^0 W& u* [! Z/ i q$ ?
war against each other. We can find many examples in the history of mankind.
. R, S8 n8 K1 f4 Z' C A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
" d( I# p, K( nby his favorite knight for a joking word. therefore, I advise you to stand * n5 v8 t+ B1 j1 w
on ceremony before anyone else and to take pains not to do anything stupid 2 I; g+ H9 h6 D
against etiquette lest you give offences or make enemies.』/ L3 n/ @" t a' K4 r4 T
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
1 {- L/ c- @4 i: [; k, 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2 Y6 s; Z2 k) ?" ]) Y/ ]
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
8 ?- K) A# ?# i7 l4 e( M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。. a& \; L5 _8 \
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﹕! e0 F* O+ X; {# {3 F2 o: |$ o9 o
『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﹕6 h% @- T5 m" S5 B: U! F
『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﹐
( N8 o/ ?* }# a4 `6 C7 i) Z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% Y, D# r& P5 i; Q) j9 g4 O2 i# G
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
+ o4 Z, s4 Y7 k7 X) x& o: P銘」的譯文
! O4 Z" E- U4 l, Q' M9 _8 e9 dAN EULOGY ON MY HUMBLE ABODE﹕* s+ B; r; z/ k; P+ ]7 ]
Known will the hills be if fairies dwell, no matter high of low; and ; Q' R! a6 v7 ?( q! p+ m! M5 m$ K
charmed will the waters be if dragons hidden, no matter deep or shallow.
4 ^7 J% M/ _9 t) I$ s A humble abode though this is, my virtues make it smell sweet. Verdant % b8 W5 M/ g3 |6 B- [' S: [
are the stonesteps overgrown with moss, and green seems the screen
, T7 o/ r2 T, r5 q+ }1 g( B2 q3 Z as the grass seen through it. I chat and laugh only with great scholars
* I# W- V; f" M3 w# Jand have no intercourse with the ignorant. I can play lute and read my
' b; U9 `1 [& X6 z1 j2 nsutras; no unpleasant music to grate on my ears and no red-tape to make
! i2 j' Q7 Y0 I( r: u$ Xme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance L# G$ ]. N6 e1 b
in Xishu are both like what Confucius quoth, "How canth it be humble?" 2 z; s: d% Q4 Y0 S( 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。
6 U& T& y( o7 D, F, n: K7 s! C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﹕% V- l* K5 \, U- q" M8 e$ k
『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
2 q# b9 d$ A* u8 u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
9 ^. W/ J: e8 h! U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。』4 j- m8 a1 e% r# K7 ^
2 {% l& l; A5 i- I$ m
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: {" {. U# I8 `; f; @
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) g7 f4 p% O. A* 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。』; f+ m4 r7 S, ?; C! L" Y. w6 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8 P6 u9 E5 Z. L
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
- L" K/ P0 f, A 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% e9 k! J; Q" @2 D3 v* 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
. L% A$ Y+ W1 P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﹕; K! Z# ]# X, p+ X7 S: J; Z
『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 {) w) M( F; d: W" T6 j
音樂跳起舞來﹐直至興盡而散。* t# T- ?& b' n; j* S7 d" P
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
1 Q) I n. P6 n" P2 G& l7 B, h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
0 J, b" Y( B. o4 Q0 L" o; 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
6 J# @1 ~! z( _. E" p4 v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
& ~# ^- g# r" V0 Z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﹐. D% d5 p D. T: D g6 W4 s! q6 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
, \1 Y2 ~% w3 g" w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1 k2 V; s0 R. E- h. N- w. Q# M. \9 s
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
% i+ ^# w4 G. j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。3 M4 d! R# ]7 f& b$ T
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( S% v' n9 A! P/ U8 m- s
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
; T( x- z5 [. ~$ e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 J# m0 y% Q5 V3 }, A
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
# [8 P, t' y0 C6 Y- u' ]( c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 Y6 W5 a9 I. P% i1 ~. h8 C! \. \1 P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7 V: D4 E& T$ `7 t5 Z7 o
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﹐
7 \. f% B5 e+ x' @$ Q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( U3 h8 k& g! y* R1 v- f X
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」
# L* s4 o5 H8 @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) r9 f; K7 [3 H/ _
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
1 A7 Z/ h& B, F2 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
/ K A2 S3 m* q& g; V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- s3 d0 V7 W( u: f1 U0 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1 V5 x$ r; j; S7 G4 F- w: n7 L, n, |- C; V
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. w# y# ^1 e0 W6 J0 C
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
" s* _% G, t f& u, r% h( Z% n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 [% m- E7 C# w; l ~2 s
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
7 w2 Z# Q2 H* b$ j- W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。』
8 v" ]# h. j6 o1 d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
" l" V1 p3 o( K/ [* p& t$ V- I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
' z# T! U4 c& v1 K0 H評論才會公允。』 |
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