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芝娜道﹕『下面一首是RED AFTERGLOW﹕+ N' K& l" T ? |3 I c* x
1) Lo, the red afterglow,$ K3 U/ j; g: }, i
Against the sky blue! ) {8 ]) F: Z K+ V5 i5 ~8 e
Is it the blush of Heaven,
! Z$ [. @) j0 ~4 s: s As on a maiden's cheeks, ' E! x1 O# h% a5 j" x
When she catches sight
- ^3 J- J/ r% N: F" x g Of her coming lover?! d, p5 g" q% G( e1 u
2) Lo, the red afterglow,0 i7 E8 Y' A4 ~/ Z9 b' R' H
Against the sky blue!8 R T& ^1 f0 l0 g/ |6 r
Is it the fire of bivouac
' @3 c: c6 A: d4 h* }: ] Kindled by Nymphs and Naiads1 `' F* I9 \9 K$ p: s- ^2 L
On the banks of Milky Way
5 p# d* l7 U7 ?9 U4 ] Holding a celestial picnic?# Z8 R% D; n# }( ~# ]
3) Lo, the red afterglow,* g1 u8 n! G+ N; o1 I+ n
Against the sky blue!
% J( W F3 J7 R+ O Is it the ruddy gauze veil2 [4 _* t u2 U0 M
That veiled the face of Juno7 W* `0 J0 @; F/ Q4 ^1 \
On her holy nuptial day, L6 I( O2 K; T3 E+ Y) q
When she married Jupiter?
6 W. |% w7 N. o; h8 Y5 g* G4) Lo, the red afterglow,7 n _4 o( H, m% ^' `% l/ p
Against the sky blue!
! a! [9 r9 ?2 Q; w% }# Z4 G' L Is it the fire of Mt. Olympus/ k* a! Y) q# c+ ?% f( h$ K
Stolen by noble Prometheus,
1 Z, ^8 t" X; p And in his careless down-flight
1 V5 ]% N2 M1 n Set the fleecy clouds aflame?5 F3 W" Z1 V+ `. }' ]1 T8 F4 f
5) Lo, the red afterglow,, u' n! B5 C8 {2 ^
Against the sky blue!2 D; N% Z1 f' q5 T8 x: n2 D+ ]3 `
Is it the blood of the heroes
C* U$ W, v) M. S$ z9 x That died on battlefields9 \* Z5 ~. ]6 P6 e9 y
In the sacred defense
% B I% c9 L2 O! ^8 o Of their dear motherland?
6 F2 y! e, a+ T! c6) Lo, the red afterglow,+ B. L+ x+ Y7 M7 |+ b
against the sky blue!$ W8 B. j, O; Q! D0 d# O8 ]; `
If it the Isle of Coral
! S- A% k- V* R7 Z Removed by a white witch: |; w1 F2 A% b' x) J
From the Pacific deep0 s1 |# {1 A( `2 \
To the heavens above?" H8 Q X* u8 a+ Q& a4 M
7) Lo, the red afterglow,
9 Y# H& b6 }2 h& S Against the sky blue!9 B9 q2 f# C$ c
Is it a cluster of peach trees,
) j+ y7 K, r' W. {+ i, R Their blossoms in full bloom,
o1 e; d8 Q; \3 ?! F, l Grown by the daughters of God6 ^$ \9 e, l. W. h1 v
And watered with nectar?
% @# y8 v) v& `' S9 d3 H8) Lo, the red afterglow,: V% A8 J4 O: v4 }
Against the sky blue!
3 Q$ u( d: q: [' o0 d: c Is it Flora's rouge
; m" D" j$ v. b$ h Spread all over the sky. M# ^. b/ i F( o* E+ c$ V2 a* `
By her frightened maids1 E! l9 K$ m( Q( b- G. f
In escape from her anger?7 m* s* W9 _* v& F! o8 G
9) Lo, the red afterglow,
^0 B# L; g* k# @; F7 ]' v: F; ~ Against the sky blue!. f- M% M! L6 ?/ q' [) e6 u# r7 I
Is it a large piece of sponge
# ?7 P: v" I6 q I Soaked through with claret" Z1 w- F( u+ A: S; A
Upset from the Holy Grail
7 T% q) l0 j9 k4 V+ T$ O" ` By a rash cosmic pilot?』4 \' L9 e0 a4 Y% A
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- C% U, a+ R) y& ?7 G
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$ o) s! w% n3 R0 r
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
5 A! k; N6 t3 G, [& n: T* F: M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
9 n! G$ b! _1 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
[- [! U+ e$ }! B2 j( Q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7 B; d& S1 ^0 T" P
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。
4 e+ [+ O% W" \! ` 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﹕
+ x0 Z; K% A9 u5 Q3 A4 J1 @When young, I don't have any notions what woes really mean,5 N* w6 ?9 |1 }0 X- K2 F2 u" e8 s
Just love to get on floors so high.
# n, x* G4 p7 K" C9 x! e7 t* E9 S' l Just love to get on floors so high,
; M& z$ E4 T- k$ P7 F* ~& ~To write new poems, I try to say the words of woe and spleen.
- D6 d% }! ^6 V$ f3 C3 q& m B; ^$ s) U# V$ s* U0 p+ _. A6 a. s
But now I fully have ideas of what woe really is,
1 q$ h; L+ }5 X3 Q Afraid to get on floors so high.
- q$ a2 F- X' h8 D9 W Afraid to get on floors so high,
$ V. j; E5 d$ M7 oI only say in poems how good and cool the Autumn is.』
7 K' Z' Y( C; r: 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
- v. G, F% u g k1 {' R* 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。* w* n' q0 I: z `
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 |' B" ~# P$ ?『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
1 ~) r* C4 f( h# y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
2 v( W! C* U$ J3 J! D- s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
2 H1 j z; K- E! l& G# m5 b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﹐; E7 C4 h4 ~9 Z" I8 r. Y& O( 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
" ~* M2 C, |$ c7 N @/ P9 {; h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
: z2 k* _) ?2 e# ~ Q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
$ ?, f7 L) w; \2 D0 j9 p y P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
) j! ~8 ^' s# k n) u& E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
3 X( T$ s# {" ]: j _8 x* U+ m' y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$ E- Y, l& |9 M" L( Y
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﹕' V$ ?# `& i0 [/ h
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
9 s& S7 d5 ~ a) E: c: S* n, lsuffered a terrible tragic death ----a punishment inflicted on him by
" Z0 R( P. g) W# o0 k* m; ?the gods on Olympus. When he learned his fate decided by the almighty
2 h7 m t- X& Y3 z3 }& Kgods to kill his father, marry his mother and bring destruction on his
9 Q2 e0 `6 l, g4 ~native city, he wished to escape from it. But destiny was unavoidable,and ) z$ p$ f; {0 v u0 ^
unawares he fulfilled the assigned tasks. If the gods had decided his
" U4 r7 {1 U; C+ xfate otherwise, he would not have been a criminal, receiving an unjust + L T3 Z" h( H. ~. ?5 k* f
punishment and bearing an ill-fame for thousands of years. He was only |+ K% _- Q! u& R7 T8 J
an executor of the wills of the gods who, struck perhaps with a whimsical . a( w9 N0 N; O% \( E* l+ }' g
fantasy, played a practical joke on the helpless mortal. The gods were # D% h/ z: M2 C( ^4 R; s) p
the plotters. Who then deserved the punishment? The gods on Olympus rather 0 L, G2 c0 {6 p
than poor Odipus!』! [* F# Y, L3 U% P4 @9 H
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﹐3 o/ W/ W% N4 q$ a5 k( _0 q/ 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﹕7 Z; I( Z% A0 t- S: |! J [! ~2 n
『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﹕
8 n: N' \- f% P4 S" 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
% n7 Z. ]% G* z. s8 `& W8 A. W: tADDRESSES TO MONEY﹕, F8 P6 z: E. h5 \' ]
1) Oh, Money! My darling Money! My respected Money! I'm your admirer, , g+ T+ W) Q, Y, g# W
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, & \6 t O/ T$ f) p
your slave. With you I can get food to keep me alive. With you I can 6 h" I" f g+ }# C- X# M3 t
get clothes to keep warm. And with you I can get whatever I want, a ' h5 g4 S5 g! e; B* F, e5 u
grand mansion to live in and all the superfluities of life for ostentation. 3 _, ] Y! [# o# c
But without you my love will desert me. Without you my friends will 8 x. Z& r4 I0 l/ c6 n
turn back on me. And without you I'll go a-begging like a poor dog " W( t2 h) w/ g7 f
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come 4 P3 c' P- z& \0 d0 x
to me, I implore you! Pray, endow me with your favor and be sure that I'm
; p2 y+ K/ O+ S i( ?) }* @willing to receive every small coin from you on my knees by which to show Y( f6 }! g0 Z" _
my deep-hearted gratitude. 』
& g. a! ?, N7 D, l3 B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。』; F6 @4 H1 |. M5 t6 ]/ N1 L8 z
芝娜又唸道﹕『第二﹕
1 H& W# ] n. ?2 W) Q4 f+ S# U2) Oh, money, my obedient servant, my faithful slave! I'm your master,
5 z: h4 M1 C3 l1 h& vyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
/ { } i w$ |: @, N5 A Yyour disposer. With you I can start my enterprises. With you I can carry
4 G) z% F( r2 ]' j9 d" H8 ion my great plans. And with you I can make the little world around me
" x* c4 q7 h, Q, y7 Kgo at my will. If without you I can still have a large store of learning. T/ _* c; X! v+ c& p0 X, @0 s
If without you I can still have an unpolluted name. And if without you
, t( n) |! k/ S7 W* c6 D I can still live like a hermit writing books of great thoughts.
4 a8 S$ k# T" H1 g* u( SOh, servile money, come to me; my lad, I command you! Serve me well 5 k5 [, M4 `, r( F
and don't be naughty, or I'll punish you.』6 \" r! j) S- s
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+ ~6 B7 z; P4 `. g: g* B
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﹐& v; @! e! F2 ^6 _8 A+ x6 ]
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' Y- K7 c$ U- _+ ~7 s
(談美)﹕
8 x0 p* Q+ Z4 N* C5 P Beauty often dwells in youth. At sight of a charming girl, everyone
" ]; H9 u1 A% g% T5 E: ?, Uwill exclaim, "My eyes! What a great beauty!" The male stares with - q' \: `0 X' m8 H, ]# H
a thrill of admiration; the female gazes with a sigh of envy. Wherever J, y/ v, z# C2 u2 z$ c
she goes, she becomes the focus of the attention. Men all yearn to win 4 X( r9 |2 i9 M8 F/ a1 }
her heart; women all feel a regret unable to stand in her shoes. A glance
* X6 H( P* M; ? w' O' |- R/ Yor a smile from her makes the stingy empty his hoard of gold and the
; S% q' s0 T/ ~$ R' W& m# c) J: Icoward give up his life for her. She enjoys her queenly position in society,
. r7 |- l7 k% @- H proud of the possession of such a beauty. But the merciless Time
" t" Q: B4 N& _3 Ddogs her steps, too. Her beauty is worn out with the years. She begins to
5 O$ \8 W7 A8 y! z# S$ n, Y9 ~. Sfade away and the hardship in life, if any would befall her, will bring
. R* o# G" x* Q; S) Q) u. P/ Mmore wrinkles on her face. Then men turn their backs on her politely with " j& ]; f# o% K, c/ p1 g7 `. Z( J9 S' i
a bow; women look at her with indifference. The younger generation is magnetized
' D; e; z. B- J- {: N; N+ oround another focus. The old queen has to abdicate and leave the throne % o2 b5 [8 B8 S# U* a1 _9 x
for a young one to occupy. Only a photo or portrait can preserve her beauty
* p/ k/ A& O( ?" }. g5 W+ `7 Din youth and no Time is capable of doing any injury to her preserved beauty 4 }' ?& @9 I4 ~
but the preserver itself.7 p5 x# i5 n& _, W( I+ J' T8 ~2 x
Therefore, admire not the beauty without, but the beauty within. Such & ^* Q( t" |* g
a beauty will never wither though Time also plots to do it harm. In the
2 i4 ~1 W9 H% o" E! ^struggle against the adversities of life and the ruthlessness of Time,
! \0 U; [# M( K7 `. Z it grows radiant, or even dazzling, just like a rock in midstream made , H0 J# z8 {' U7 J4 N
smooth and glossy by the current of both the stream and Time. Everyone,
1 Q& A/ [ R; Q2 j" B: X' r& Kin spite of the age and sex, if aware of it, will sing its praise either , f: ]. v1 z! b; @3 }
openly in words and letters or secretly in mind. It lives as long 1 U" F/ y* Z3 u5 O; y0 J6 L6 R9 D
as the possessor, or even much longer after her dust may be blended into
8 Q( `' q6 u$ K+ H4 L/ `# ca vase with the clay around it.
1 ]) ]7 x( B8 I" C2 } The outward beauty can only be the object of admiration or envy while % a% N3 H/ p7 x# a2 ?% b
the inward beauty, besides being a theme of the ode, can serve as an
$ {7 ]+ T5 ]; G$ Z& D% V' U" wexample to learn from, for the former is always endowed by birth, but ) F3 S, p/ Q% s' r5 G
the latter by self-acquirement. However, every man is free to hold
* z. j# h$ a" u. e5 ~4 F. H his own notion of what the beauty is and to choose whichever of the two
( a! O* u, d$ ?: E% h4 O9 nbeauties he prefers. Only his love for his bride select should not degenerate 4 _/ q8 y B/ l# }
with the shrunken beauty.』
3 y! X. E5 J' J9 x( 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
- F" b- P0 c* m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* ^8 U/ a# d- 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 。』
# a% j( h; b, h: x8 C" ~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8 U& m, U: F2 `! u% i% }! N6 ]
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
0 O) N0 L3 t8 [0 r4 A) ~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
2 _# o" |8 y6 C1 e- V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。
$ k8 @. \ F3 p) t# T你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕9 C- v. O+ i9 M' ?, f
A little boy walks by his mother's side, with one hand in hers and a balloon
4 I! D7 l5 i' C7 P& r' |* r7 l in the other. A sudden gust of wind snatches the balloon away from
: t2 }' s9 B2 Q( G) R the boy's hand and bears it skyward. As it flies higher, the excited
' T2 N" g% \9 e+ N" Speople in the street all look up. "Surely," the balloon says to itself,
+ E) x4 e7 _, p& l# r+ z+ {feeling proud of its uprising, "they all envy me of my ascent." Then in its
7 y* n5 D& z g. [( |9 |3 Supward flight it passes by a balcony on which a group of boys and girls 6 t: ~2 F" V0 C. H; u
are standing, giving a cry of excitement when seeing an escaped balloon % [8 \& v [/ x8 F0 Z7 p
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
1 h3 y2 {7 l9 r( I2 y: hthinks. Up and up it soars, above the roof, above the spire, through a
6 e' W. s# b* ethin cloud, into the blue sky. Then a dove hovers near, but after a glance ; t( I4 D0 [8 E! s P' r
at it, flies away with indifference. "Of course, the bird nears to
; q+ ^( _& V( r! R! Msalute me," The buoyant balloon flatters itself in exultation, "but as
. Q3 C9 e+ N$ w6 U) ]" RI ignore her to keep my dignity, she takes herself away in awe and respect."
$ t9 f' b% ~/ |* ~8 y0 F5 S The higher it clambers, the haughtier it becomes, till it reaches the 3 N! m' S8 ]) b4 X
zenith where it means to stay for millions of years, but, alas, it bursts!6 L! E# C5 H4 K
』
0 m7 @& m( I5 g+ B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
. `4 N) p) p6 Y+ M, C5 a0 u* a8 n好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
' E9 ^4 ~# q& T% B Etiquette is to society what apparel is to the individual. Without
+ U- C/ x9 R5 w1 U1 |( C+ f6 @apparel men would go in shameful nudity, which would surely lead to the
$ y& |* u9 y% R) ^corruption of morals; and without etiquette society would be in a pitiable , Z- j7 a8 l) H' b
state and the necessary intercourse between its members would be interfered 8 Y& }5 W6 I! `9 v0 _1 |
by needless offences and troubles. If society were a train, the etiquette + r& W! U* r/ O" p+ t
would be the rails, along which only the train could rumble forth; if
- R! L: J' Q) u9 i8 R+ rsociety were a state coach, the etiquette would be the wheels and axis, 8 u) g7 y; z# G
on which only the coach could roll forward.2 A \8 Q* ~) {/ [0 h
The lack of proprieties would make the most intimate friends turn to 0 `8 Y6 a& }/ n4 v9 m( O" c
be the most decided enemies and the friendly or allied countries declare / f+ F5 d+ |( C4 v
war against each other. We can find many examples in the history of mankind.
& O3 u) Z, o- @3 v& y, y A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
% i c W5 s* l; ]6 h: D" A0 tby his favorite knight for a joking word. therefore, I advise you to stand ) Y) c6 W# B2 L3 t$ g
on ceremony before anyone else and to take pains not to do anything stupid
) C( ?1 Y) d+ V0 g7 y( kagainst etiquette lest you give offences or make enemies.』
: r6 c6 C1 m2 O! `4 U9 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& x- J1 }; g( y( 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 ?5 n# x; P. O% V3 Z1 t6 I- u
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& N; h. _- ]; E; p
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。
O9 s" r9 @3 w3 E0 ?; g6 Z+ A% 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﹕9 n1 X+ l: q p( l) @; 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﹕
+ B! P [1 d% {" 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﹐
9 L' t# @0 T- i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7 E) R6 b& l( q5 g; S( u
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. U; S6 R+ y/ l6 i2 ]0 J3 j銘」的譯文! d" \/ L+ M/ L, @: {8 t
AN EULOGY ON MY HUMBLE ABODE﹕
, U# {% [2 d6 {' \ Known will the hills be if fairies dwell, no matter high of low; and ( {6 B/ w4 x8 i( e7 h1 v3 c
charmed will the waters be if dragons hidden, no matter deep or shallow.
5 O) \7 ^# C% u& M A humble abode though this is, my virtues make it smell sweet. Verdant 6 p" ~: u; A* M
are the stonesteps overgrown with moss, and green seems the screen
8 Q; F% o) ~* u q/ x1 W as the grass seen through it. I chat and laugh only with great scholars
* l/ J1 A: J3 |and have no intercourse with the ignorant. I can play lute and read my
: p9 z7 E8 @6 y. f* A" ~sutras; no unpleasant music to grate on my ears and no red-tape to make . P# v0 L+ @& s3 Z- A; I; d7 Q6 o
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
, h2 p: q% r; _% J. J$ I7 Win Xishu are both like what Confucius quoth, "How canth it be humble?"
) j# U0 ]4 t x! B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。: l# K! s2 A" s0 D) j, h
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﹕
, u' }' D1 U2 q( S9 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' a2 t" k- C* n8 d3 n- x4 B
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; }$ u1 e. |' T/ R4 I% r
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 W% s1 P! j- e3 K* h% I6 N3 w) ~+ p% X3 I
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" l; C6 F2 x. v1 M+ n
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
5 y: E$ W+ i: p/ 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。』1 P3 _) n7 G" h, j- _' n
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$ F' w0 k& G, l5 t
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。9 v& @) R4 |" A0 j3 q8 w
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. r. C. {# X& O T1 M( F9 C: V$ 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4 x% `0 ]8 h6 e% D. W* C/ c8 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﹕: G( o- I! ~& L7 Z/ N5 k5 o
『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+ S* J2 w1 E8 v5 ?/ s7 H$ X
音樂跳起舞來﹐直至興盡而散。
# |, d+ ~$ O$ y 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! p1 [& a' O# [: y9 v4 z* ^
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
2 I4 u1 Z3 _# g! x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
) D* L1 O9 M5 ~8 B6 I9 f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4 v1 q- R7 C, G$ s- J4 B
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﹐
- y# T+ `1 |7 Q: Q5 G! g! J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- [, m! h0 ]" I4 G% {0 e
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
' `* J! u- N/ 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3 H; b! f U7 R2 u2 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。
" X7 Q3 t: k# d9 s) M, I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
" v5 A- h5 w9 c8 [& Z# X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 y% X9 @ T* x% F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
9 f. T& @( k2 g$ [6 k7 ^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
' ?" e1 U! a+ N; Y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
- ?& i& d( ^ A) T+ z) e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9 L; g# x' p2 S8 b8 a
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﹐
; q, i, _# L/ f1 `' V( a' C; X) U# k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$ m/ u9 Q* X9 P, ?+ J2 v
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; N: v3 U! J- J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, V) U: e6 t9 D/ d
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
4 M& X1 d4 V# `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﹐新作萬千4 j& u" J, K0 A6 G
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7 G( }+ f) r) ^3 ^
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
( K* e# x; B2 W4 g M9 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
. P' a" f/ X/ K1 K4 s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- r! t0 B0 {& q2 L& I
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; y r5 ?! t3 t/ b0 `
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$ S9 z' }8 b7 ^( w$ c1 [
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。』
0 i1 |2 s& E$ t/ g% 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$ ~/ `- h! k- E$ H. ^, @( i. e& M+ H
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
* C3 i7 g: q) J- C6 W- i* @評論才會公允。』 |
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