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芝娜道﹕『下面一首是RED AFTERGLOW﹕
9 Z7 ~. E- H/ w: T1) Lo, the red afterglow,/ e* F+ a+ h$ u4 u8 B0 {
Against the sky blue!
" T6 X* A0 S7 R' E- B# e& G$ ? Is it the blush of Heaven,
* \# G; z7 D/ z6 g$ `- V9 q$ U( V As on a maiden's cheeks, 6 q% ~4 t' t9 b7 L/ i
When she catches sight' h: |# h; D6 k l
Of her coming lover?
" {$ V6 J# ]& d/ x& j, l2 ]$ B2) Lo, the red afterglow,
' }' Y2 ?2 P' l Against the sky blue!
7 W. z+ A6 x, i- H* R6 v Is it the fire of bivouac( @! A4 c' M0 I
Kindled by Nymphs and Naiads
' O- e) Z4 U9 a, }4 V On the banks of Milky Way& _& _9 L& ?& T, v
Holding a celestial picnic?
( E/ ?( X1 k( s# q9 _3) Lo, the red afterglow,# w* A" d! V( D+ E; J/ N
Against the sky blue!) d1 ~) Z) b4 R3 q* m
Is it the ruddy gauze veil
! g+ ]2 E0 O) s1 E1 d8 [0 ]) i That veiled the face of Juno% { u- ]& E3 ~# G
On her holy nuptial day# l0 e' O( H% {3 Q; l% o, t
When she married Jupiter?: }; |. \% P* L u2 w
4) Lo, the red afterglow,: `1 z: R) a- E4 z
Against the sky blue!% }! e8 ]- x1 G- l: y- {" R
Is it the fire of Mt. Olympus
. d E- q2 G! h8 K2 z* u: d9 K. q& ] Stolen by noble Prometheus,
6 [) B& W- M, X( E% S And in his careless down-flight
' ?% h; V, e; J8 k Set the fleecy clouds aflame?/ P7 R5 I; b; x2 s7 X, ]8 X, g, }
5) Lo, the red afterglow,
( P4 C. o; p, m c Against the sky blue!
4 N/ w* Y1 d4 c# U) E3 ? k- x# p Is it the blood of the heroes V5 i; i* G$ n5 B) ]/ t1 \- S
That died on battlefields
j! a) B2 x0 i# c" e4 M In the sacred defense
6 q" ?9 N0 m* M. @; s$ R1 D Of their dear motherland?
9 m$ O! o) b: P1 e6) Lo, the red afterglow,
6 @; }0 G( S6 L& w# i; Y) N5 l against the sky blue!
/ _! c4 p+ X( Q; y! S/ R W If it the Isle of Coral
5 `$ F$ Y0 [# E J: R Removed by a white witch0 |5 ^$ Q. A5 n1 V9 T( c
From the Pacific deep
8 D @# Z; M2 c7 _ To the heavens above?
' @3 ]/ t* y" m! P$ _% p% T7) Lo, the red afterglow,0 u; V0 x! n8 P
Against the sky blue!5 d# s) Z: s" _& \
Is it a cluster of peach trees,
6 G% ~& l, F+ U8 l$ ~' ?2 \5 x Their blossoms in full bloom,( X, w! V" m) _9 v0 B) t
Grown by the daughters of God
! k! `6 x" x) E And watered with nectar?: C8 q& f" H0 V0 _9 G
8) Lo, the red afterglow,
" x4 u; y0 V! G6 N5 P/ D" f Against the sky blue!
7 A: d& X8 R. z, q Is it Flora's rouge
' P- M8 L; S" K9 D! L, ~ Spread all over the sky8 c$ ^& W# [3 n( S' a) z
By her frightened maids8 Z% k% Q- e. c {0 c" n
In escape from her anger? C4 W- f% H8 o0 M
9) Lo, the red afterglow,' I$ m! C9 U! r0 N
Against the sky blue!
$ O7 O8 o: @' u! U# j Is it a large piece of sponge
; z. s. W: S" x/ a& ^" q Soaked through with claret
" V, W: K. N! c& L) d2 d$ K Upset from the Holy Grail
5 u* K0 i9 J1 [2 [ c1 K By a rash cosmic pilot?』
$ @( D- `5 ~1 h; k, S+ p2 M% p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
- l) G4 I( q7 B0 W& R: 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+ p) {! H6 q y; H! W; B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
% u8 K! O- j7 Q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 {$ R0 e7 _$ w
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) D/ v* a5 Y* K- [" O& r& j
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% D/ w5 v" V3 {% ^2 B
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。 + f9 G7 `2 C2 D
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﹕) g2 l* k( C" Y1 G W8 ^$ q
When young, I don't have any notions what woes really mean,
/ `- l' N! |- b# J4 s; r Just love to get on floors so high.
) O+ ~4 v/ m7 p1 ]" W8 y! S Just love to get on floors so high,
8 K" O4 c$ D* CTo write new poems, I try to say the words of woe and spleen.% _8 z* m- A- L6 L1 O" D! M
' j4 E& ~+ C8 o3 \2 O1 MBut now I fully have ideas of what woe really is,4 W! A' X2 Z4 n$ P
Afraid to get on floors so high.
9 _0 R% M {0 @" k Afraid to get on floors so high,2 z$ m. N, f2 F- @7 h. L5 Z
I only say in poems how good and cool the Autumn is.』, a- r; w! b, j! G4 z3 ?: Q- D
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# I9 e2 B& m$ |$ t
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。
/ B- o; E- K& s) z) _& U6 m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﹕+ o6 L) k3 I5 h# _% L6 r+ X
『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
2 Q& x9 Y" W7 k: O* ~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
) Z1 [" o! ^! [" y* B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
7 E3 j# }% i/ f$ U" l: N! W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﹐0 S0 z) `' U7 A* K7 r% h( \% 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9 ^- L9 R' U* ^, l" R% c
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3 v( Z$ b) h- V, i; _! a
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7 u3 Q( q. r# D3 O
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$ L4 u0 g8 }. o) ?, P+ ]4 P. y% q
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
7 p6 P9 _' [0 @# b0 u: b3 l% W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* F: u+ P2 ]' G6 M3 w" O/ q
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﹕) S! F) h/ z0 A* E+ k) p
Poor Odipus, a scapegoat he was! Accused of three great crimes, he ' W4 r, ?3 s$ I+ l @
suffered a terrible tragic death ----a punishment inflicted on him by ! ?; N2 ]3 B- I) n+ w+ l
the gods on Olympus. When he learned his fate decided by the almighty 5 a$ [* q8 o$ m9 m8 G- U; T( w
gods to kill his father, marry his mother and bring destruction on his ' x: \3 C4 ^4 Q- x- r! i2 b
native city, he wished to escape from it. But destiny was unavoidable,and
: F8 g- m6 l; f" a/ p6 g! uunawares he fulfilled the assigned tasks. If the gods had decided his 7 ^, E6 o2 c" \$ ]" N* h/ @
fate otherwise, he would not have been a criminal, receiving an unjust : Y% R1 D* O% g" n: w, ~4 m7 `
punishment and bearing an ill-fame for thousands of years. He was only : b8 p) M( u* ]6 f6 q) r3 M
an executor of the wills of the gods who, struck perhaps with a whimsical
, M+ r1 M- \$ `. m* Nfantasy, played a practical joke on the helpless mortal. The gods were - ^6 W# F; t1 V% v8 I3 e# {
the plotters. Who then deserved the punishment? The gods on Olympus rather 6 V& C' Q7 ]& J' j( }
than poor Odipus!』& k1 r2 r( l7 e2 k8 H1 [. S' N
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﹐+ t7 G n# A/ ]3 o4 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﹕
% |0 {5 h1 ]9 g9 w, f6 i6 a# C. c『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﹕! f% w3 t/ t6 U; t% ^4 N
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 T5 f7 o) h$ n: Y; d+ kADDRESSES TO MONEY﹕
# `4 m" y* l9 b4 u! Y+ V5 a* e1) Oh, Money! My darling Money! My respected Money! I'm your admirer, E8 X: r# d% {: V! k- C5 _
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
* A } G) |9 Z9 V& M0 nyour slave. With you I can get food to keep me alive. With you I can # M L/ f* Z$ G0 r
get clothes to keep warm. And with you I can get whatever I want, a 8 {) ]# T* o1 r" Q
grand mansion to live in and all the superfluities of life for ostentation. 2 S# X3 k: p m+ {! V
But without you my love will desert me. Without you my friends will
- ?" J/ Z% j1 pturn back on me. And without you I'll go a-begging like a poor dog
: Q; H2 [9 p. J0 kand sleeping alone at night in a ruined porch. Oh, Almighty Money, come 2 s& C8 \$ \7 g& C. ]
to me, I implore you! Pray, endow me with your favor and be sure that I'm
) s. A: R5 E! _: \! i" m1 Hwilling to receive every small coin from you on my knees by which to show z; ?" [3 d, {0 P" Q# V1 m/ a
my deep-hearted gratitude. 』
- \2 P* ^5 B, B& v. l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。』
! L5 a9 K; Y4 r* u+ h- `& ]4 T( I芝娜又唸道﹕『第二﹕7 k' X! `7 V0 _% W! \' ?- d1 v
2) Oh, money, my obedient servant, my faithful slave! I'm your master, + A2 y/ @' f+ k% B- }$ v- [+ ?
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
G% i% b7 X: x) p3 a* myour disposer. With you I can start my enterprises. With you I can carry $ s( c5 Q( ?% C& k6 n. d8 U' J! g
on my great plans. And with you I can make the little world around me . h) `, B2 K, F) t/ r) y
go at my will. If without you I can still have a large store of learning. 1 E. x) b4 G0 [& s$ a
If without you I can still have an unpolluted name. And if without you 9 d# h# i4 _0 h9 s% c. R( Q9 p
I can still live like a hermit writing books of great thoughts. , W/ M4 j% j) x
Oh, servile money, come to me; my lad, I command you! Serve me well
& _7 s/ B9 n5 a% Z! R7 y: {( t and don't be naughty, or I'll punish you.』
7 |# u6 W W. T/ e' E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% K. a" w. c7 Y4 J4 S
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﹐
; v8 g8 F0 O/ `9 \6 x# ^4 O0 Q3 p* s- ?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 BEAUTY8 w+ ~3 H: ?( J# o+ W m! u
(談美)﹕
* m5 t& b0 z) ] Beauty often dwells in youth. At sight of a charming girl, everyone ' N* E! q: U/ W5 s7 Y2 L
will exclaim, "My eyes! What a great beauty!" The male stares with
& T! d3 ~9 y3 j2 {. ?a thrill of admiration; the female gazes with a sigh of envy. Wherever 3 e, c/ a" q; C N2 x3 r% c: O
she goes, she becomes the focus of the attention. Men all yearn to win % `* s0 h2 V& L
her heart; women all feel a regret unable to stand in her shoes. A glance 1 w4 R. s7 \% C& t
or a smile from her makes the stingy empty his hoard of gold and the
0 t7 d# m. s8 t+ ~; |7 N( w/ bcoward give up his life for her. She enjoys her queenly position in society,3 _- e% M+ l5 G c% Q& T7 Y
proud of the possession of such a beauty. But the merciless Time
( Y ]+ C. k2 c, a% ]dogs her steps, too. Her beauty is worn out with the years. She begins to
0 M0 {' m+ `# p A1 @2 kfade away and the hardship in life, if any would befall her, will bring
% z! H* r+ B# h6 B# ~more wrinkles on her face. Then men turn their backs on her politely with
; G( e) z/ ]5 h1 A ` Ha bow; women look at her with indifference. The younger generation is magnetized
2 [5 R7 o0 O6 M( d, f+ h! r/ w* ]round another focus. The old queen has to abdicate and leave the throne
% v9 z3 n# k3 }, {8 F- Ifor a young one to occupy. Only a photo or portrait can preserve her beauty 9 F* y. u: U% u. D) Z
in youth and no Time is capable of doing any injury to her preserved beauty
$ U( ~5 J2 f9 P& L7 _& l: k0 b' J# jbut the preserver itself.
3 W. A6 U1 `" U Therefore, admire not the beauty without, but the beauty within. Such
& E8 Q* A8 }6 p" a* C0 La beauty will never wither though Time also plots to do it harm. In the + i# c* G" G: j8 l0 K
struggle against the adversities of life and the ruthlessness of Time,
" w, P/ q$ k% t. c3 k it grows radiant, or even dazzling, just like a rock in midstream made & d K- f- ^4 m8 ^$ q9 `6 P
smooth and glossy by the current of both the stream and Time. Everyone,
K% }, i( n% S* D4 U' b/ |in spite of the age and sex, if aware of it, will sing its praise either 7 V c2 ~8 \) B. E# m( }
openly in words and letters or secretly in mind. It lives as long
2 d. U/ j: I, _( j8 ^: d5 jas the possessor, or even much longer after her dust may be blended into 4 ?! B; H! U, Z8 w6 W
a vase with the clay around it.
$ p- t! I7 J1 U* f, q0 g+ f4 k The outward beauty can only be the object of admiration or envy while " p. W% K) J/ M8 M/ H
the inward beauty, besides being a theme of the ode, can serve as an
( g4 k- W. v6 \example to learn from, for the former is always endowed by birth, but
8 R! m) b0 g, J3 [the latter by self-acquirement. However, every man is free to hold ' `5 ?& u" @7 p3 U2 i/ Z! R n1 e
his own notion of what the beauty is and to choose whichever of the two / O' h5 T& ~* } w- z
beauties he prefers. Only his love for his bride select should not degenerate
* ]+ A2 }( Z6 H$ u5 V' z: b' _with the shrunken beauty.』0 A. W( w! O5 ^$ J( 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" r6 F% {( |1 l* f5 s" x, |( K+ J
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
3 z) I1 n6 W7 y0 ], y" 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 。』
- I/ R; b# V! _. y! y$ f! J! b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
% ~0 ~/ n$ E" {- l/ V9 n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 n. [2 v- N) U* s! Q1 s
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: G* m0 z, h% z! b
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。
2 ~+ e; K( j" t8 ]. I7 j3 J) A你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕. [" j5 ?( ~. w& N; [" ]$ w
A little boy walks by his mother's side, with one hand in hers and a balloon - c1 U) i# ~6 H+ D1 O3 o: {$ K
in the other. A sudden gust of wind snatches the balloon away from
3 U+ }$ `* W: u N, \6 u the boy's hand and bears it skyward. As it flies higher, the excited
- k1 Q* W3 F/ n) k& R+ Gpeople in the street all look up. "Surely," the balloon says to itself,
2 e, P( D* ~, ~& ~4 ]feeling proud of its uprising, "they all envy me of my ascent." Then in its
, I* k* ?1 v; M& pupward flight it passes by a balcony on which a group of boys and girls ) s" p* S& i# a7 d+ T6 S, ~
are standing, giving a cry of excitement when seeing an escaped balloon
( o; a8 h6 k5 H* ?hurry on its way of freedom. "They are cheering me, I'm sure." The balloon 2 [7 e# K: p& P; M6 ]' _
thinks. Up and up it soars, above the roof, above the spire, through a
8 B6 K: L/ o8 A9 t; jthin cloud, into the blue sky. Then a dove hovers near, but after a glance
" ~8 ^8 C3 g5 e. D% v, d4 Eat it, flies away with indifference. "Of course, the bird nears to 5 X+ J& P7 m+ [& m
salute me," The buoyant balloon flatters itself in exultation, "but as / a2 r" S/ E# D% i# U& o6 m, _+ o
I ignore her to keep my dignity, she takes herself away in awe and respect." ! M' W. M. n: J1 g# }; I
The higher it clambers, the haughtier it becomes, till it reaches the
& z# E* F8 J; w/ O4 p; C Yzenith where it means to stay for millions of years, but, alas, it bursts!9 ^% y) M G1 G, I
』+ g- c& B) U' a% \1 w$ G
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
. i( X9 D& R8 O7 p3 W+ V好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
3 h0 ?! {" \, r$ R7 X Etiquette is to society what apparel is to the individual. Without
4 O" i; t' \- F2 B; e- iapparel men would go in shameful nudity, which would surely lead to the 2 L1 @1 N ]( o8 p4 Z+ Z7 Z
corruption of morals; and without etiquette society would be in a pitiable
/ B9 ]9 g/ M( \" b+ {0 M2 F- m# ?' lstate and the necessary intercourse between its members would be interfered
( @* p* h; h) s7 N5 J$ }by needless offences and troubles. If society were a train, the etiquette
1 Z) R9 N/ R: f' [1 S1 J) nwould be the rails, along which only the train could rumble forth; if 2 B" B" x% z+ a- l
society were a state coach, the etiquette would be the wheels and axis, 4 j9 N1 _; D( z J! {( w) B
on which only the coach could roll forward.& u! T& p/ w# c1 S$ W
The lack of proprieties would make the most intimate friends turn to ) b* u# ?, X! i* V A0 p& j* ~: h/ Z$ H+ f
be the most decided enemies and the friendly or allied countries declare
$ \6 C0 }& l0 D* w, U( Ewar against each other. We can find many examples in the history of mankind.( S( b7 I+ q1 m' K
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
& _8 A; i$ A6 c+ V* K1 w" d* y* U4 dby his favorite knight for a joking word. therefore, I advise you to stand 5 D$ m6 R$ S4 }8 b
on ceremony before anyone else and to take pains not to do anything stupid
! w, b( s# `3 w D7 sagainst etiquette lest you give offences or make enemies.』8 X. h2 a f1 f: L. r
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
3 ~) f7 p3 A, m3 y9 R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, c+ ]9 z V, i
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
7 {8 u8 q2 V D% d2 H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 F- V) B o4 D' \: {
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﹕! x1 m' n/ ]" F5 d: 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﹕: R( R$ l4 g$ G4 V
『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﹐; b z: c4 `0 K4 O G" f2 W! @
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
* V3 n5 ~ |. @5 I7 G- K! s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) ~0 i2 I. I4 N6 d
銘」的譯文9 C* r5 V+ D2 D( \2 _: P" z/ w
AN EULOGY ON MY HUMBLE ABODE﹕
/ F. X# M A; {0 }: `8 X: \! l$ `) l, h# _ Known will the hills be if fairies dwell, no matter high of low; and 5 Q- s5 Y- {' a9 a5 }# D
charmed will the waters be if dragons hidden, no matter deep or shallow.
4 E6 a8 S$ }% Y A humble abode though this is, my virtues make it smell sweet. Verdant 2 y s% n* M# _% o. { N
are the stonesteps overgrown with moss, and green seems the screen
" X$ W2 c4 R! L0 ] as the grass seen through it. I chat and laugh only with great scholars 0 S& D2 v: d0 j6 J, |" b
and have no intercourse with the ignorant. I can play lute and read my
+ O9 [/ w2 b" J( h/ u) u: Fsutras; no unpleasant music to grate on my ears and no red-tape to make
) ^5 w( k: ~8 O* L- Y! Yme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance / X- w+ ~) c; C
in Xishu are both like what Confucius quoth, "How canth it be humble?" $ X1 |* O" H1 ]
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。
- i( ~) r/ b* G- e1 k6 Y x/ I0 J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﹕$ g3 U$ x. b0 }; ~% j
『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, q* p O9 j4 X! g+ M/ O$ w
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! P- |7 v& i" U; p
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。』
' j- R( v; O, `) o) M+ `+ U2 y* l; g5 P- x5 j( q
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3 f, z5 U2 V' p$ e) 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4 z$ ^; n1 x) G" \
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。』
. ^1 P! y1 }9 |: N F: v# @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( b; N8 E+ I/ T, k4 [
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
2 @2 O$ _- E; c) j, O% ~" q, K! j 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9 T% w) p) l0 y
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8 i9 p/ d- k) r( T; W" J9 _( K* Z1 E
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﹕; g8 x6 f- s$ \: R0 K* j6 `
『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; j1 q+ t' x* }9 `4 @
音樂跳起舞來﹐直至興盡而散。' @) z7 x" h. _4 \1 p& k
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
* G) O& B& W7 c* r3 C# p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# C% m$ f p* U/ S7 a. m; d5 d
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
& T8 N# n9 g8 O! t5 J4 Q+ x% z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
: K* i: x- F$ B) i/ p/ a1 R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﹐
: \+ X8 X! ~9 G, d/ ~# r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 e! r# w3 H; G
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
6 U9 U# S- A# b, c- E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
+ [ A9 v% M+ U/ I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。
5 n8 ]/ v( F7 H6 Z! {) m. k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 @3 Z+ b' R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
) B) V0 t' \/ r( K3 z1 l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4 I# P, J( c( l1 n( K0 U+ q) w6 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2 p( U2 G, x1 @0 { j
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
) i5 M r, Z" s: A* C9 M# ~ i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3 B D' T3 ^# Y7 y
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﹐
, ?% a, Y2 K: g0 O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 H( x3 q4 e/ o3 t) A! [( L
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」
: K5 Y% B- {" G" c+ R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
3 \$ l e' I3 v5 l g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
3 m+ `$ F9 p8 j: @9 I7 b$ T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
/ s# {/ ~' q- k2 l9 X. 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! }- h7 a. {- q! n: H( P1 I
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. V8 W8 j. e( r+ e
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. s. r) ~# y$ j
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
8 P$ b9 m- @+ [/ g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
9 ^+ C: v$ L8 P$ O3 k, y7 A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
+ @2 P, K' {( r9 b: `" l8 s) A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。』4 B$ {$ A/ L; |5 Q1 p @$ 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' ^ k% V7 W5 C: S5 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
9 r$ q Q `6 I) B1 |3 T9 m/ W" W評論才會公允。』 |
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