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芝娜道﹕『下面一首是RED AFTERGLOW﹕; E: X% o& P. W6 I; v
1) Lo, the red afterglow,
' e, O" L; h# K: } Against the sky blue! - s3 g- Y: P9 }- @0 x
Is it the blush of Heaven, 5 s7 N4 ^$ p* C0 U m( x4 j
As on a maiden's cheeks,
( N# g' O- X0 n( J! N4 V; ~ When she catches sight4 ~$ L+ c3 [1 m; y; w) o
Of her coming lover?) b% Z3 P, o2 G( h
2) Lo, the red afterglow,+ y' g6 O O9 g" }6 q7 N! `
Against the sky blue!
% x. \6 {( {+ R Is it the fire of bivouac3 s _5 u8 j9 n0 ]
Kindled by Nymphs and Naiads
- o) s+ T. y4 X. ]" D On the banks of Milky Way
; s8 s. t+ m* @8 l y Holding a celestial picnic?
K2 u: U5 A( ^, Y3) Lo, the red afterglow,
! v. C% i' G/ Q- G# a# ^2 Y Against the sky blue!
( J- r3 y/ L# U Is it the ruddy gauze veil, B$ ~* R, c {6 E% s
That veiled the face of Juno/ E$ Z3 m4 U" P. k& F" W" j
On her holy nuptial day
% G* U" V: Y1 b& x1 n: d When she married Jupiter?5 `; k8 [1 l( }! B
4) Lo, the red afterglow,
. p$ q- p2 \# P9 z Against the sky blue!9 f! d N1 b% {- B, d" K4 F e# \
Is it the fire of Mt. Olympus2 g; D0 k+ v5 a& s& s" |0 l0 f% A
Stolen by noble Prometheus,
$ O( e/ a: N0 N8 N$ |; G& J0 r$ y, | And in his careless down-flight
4 \+ L( j* _ R* w. f2 J" E' S Set the fleecy clouds aflame?3 H# K" X' u d' r- u/ J
5) Lo, the red afterglow,- ~: M1 S% R! a7 M( V/ g
Against the sky blue!
) {; m' F+ e: Z+ H: H9 f Is it the blood of the heroes
^/ f; O) L' d4 z/ Y That died on battlefields
* W) X9 X# s7 H4 \9 o In the sacred defense
) x, L, O4 V9 A5 w0 B( {! \ Of their dear motherland?
' t' p0 M1 | w6 ~- b6) Lo, the red afterglow,: z4 _6 b5 n0 y! C6 N* b& m, h
against the sky blue!0 d' o6 h @: B* U' ~& b
If it the Isle of Coral
* M6 @7 ]+ [# t- }) b4 y Removed by a white witch* |: i Y+ Y4 E0 ^
From the Pacific deep L( R& F' y* v( `7 E
To the heavens above?
, e* \' q g1 m: a8 `7) Lo, the red afterglow,$ A" p5 }9 t, W; c4 @9 z8 a2 S
Against the sky blue!
: r0 @; n4 {, ? Is it a cluster of peach trees,
5 [2 O0 t7 ]2 W' L0 K. B, F$ h Their blossoms in full bloom,
$ Z/ G3 r. i+ Z6 \ Grown by the daughters of God1 a0 U4 n& y0 w
And watered with nectar?
# s: m6 _/ M J$ o# o8) Lo, the red afterglow,
& v# _3 R& O: S, ]- C2 D9 w Against the sky blue!- ?: Z1 ^9 Z& v$ B
Is it Flora's rouge
7 O- O z/ i- d8 Q! g Spread all over the sky
j* B6 t$ Q& k; p$ K4 R+ d By her frightened maids4 I3 C; y9 H6 Y
In escape from her anger?
! O- g* A8 ?( V; g+ N( W' G% c+ t9) Lo, the red afterglow,
2 Y: |7 P! e3 a0 A& P, Y Against the sky blue!
2 N# F3 Y g' n: s, H& k. i$ a Is it a large piece of sponge
" m# i! \6 ]* e7 G2 |/ n& q Soaked through with claret
- e- |% |' e. \) E1 u) h Upset from the Holy Grail8 r+ E- h I# b& v! g( B
By a rash cosmic pilot?』& E; o* [& G( {8 k/ B% e* @" t
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+ Q) A5 j9 a# V3 S
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! u7 }+ W$ d' u6 J- R8 O5 m" 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
# |, G# j3 l3 b% c* ~3 T, C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
7 x6 k) g+ ~4 n$ q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
$ h. C3 x! U8 P7 W" k9 i. d, Y' }, Y& A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
! L v$ p6 h1 Q+ ]2 q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。
' b) e; Q: G# F: Q6 T 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﹕
3 [) [" p$ V, @! |( R: UWhen young, I don't have any notions what woes really mean,
9 P" w3 K u2 f& R Just love to get on floors so high.
6 T) k4 p# ?, a Just love to get on floors so high,3 l2 t8 D4 U% T
To write new poems, I try to say the words of woe and spleen.1 n' k6 A5 o/ l s6 z: N
3 c) Z. Q a2 G4 o* E; sBut now I fully have ideas of what woe really is,% ?( D" }) k1 {8 I! C! v
Afraid to get on floors so high. # q. n0 L V5 S- l
Afraid to get on floors so high,% ^$ ~/ T: E+ I( `# k0 D2 E
I only say in poems how good and cool the Autumn is.』- h4 x7 B; S/ Y4 D+ O8 C8 m
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1 ]" e7 y# C/ K4 F
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。
' ?: R# }' I1 J8 N9 Z: V- r/ A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﹕
9 s# g3 D, \2 A# z4 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
6 b A- b: U3 o0 I% F* M4 N" K& M% Z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6 @" u3 G- u r( _! M& ?9 s& o
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
# j- h1 x+ z7 `1 i- E1 c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﹐
( ]. F [2 d; K$ C8 Q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! P7 B/ ]( U) S' i
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 F- }1 o9 b& v8 m
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
0 y: b* ~ V. G/ X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. N2 E9 P! {4 b8 z) b
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% z# I7 W5 [$ _1 ]: r6 l
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
+ g6 [. w6 n2 F4 Y+ A0 D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﹕0 o" g: }% T+ _; Q p% Q A" L7 Y
Poor Odipus, a scapegoat he was! Accused of three great crimes, he 4 L6 Y' L( A1 V
suffered a terrible tragic death ----a punishment inflicted on him by
9 X# `; {! C1 i% O- Rthe gods on Olympus. When he learned his fate decided by the almighty
" o0 V/ p5 \3 q6 O: u7 V/ q, Y9 Ugods to kill his father, marry his mother and bring destruction on his ( {( S+ |% | v2 o
native city, he wished to escape from it. But destiny was unavoidable,and % b9 J# u% O- B3 `$ M* A
unawares he fulfilled the assigned tasks. If the gods had decided his % G3 H( [2 c j( j% |. }: O _: e% t
fate otherwise, he would not have been a criminal, receiving an unjust
$ i' X/ q) `3 `9 Q3 P$ cpunishment and bearing an ill-fame for thousands of years. He was only / H+ Y H+ o( Q1 K
an executor of the wills of the gods who, struck perhaps with a whimsical 1 l8 V1 R8 U- t! C) N9 a
fantasy, played a practical joke on the helpless mortal. The gods were ( Z1 G' o. [& o, v5 P6 f4 ]' p3 z, c
the plotters. Who then deserved the punishment? The gods on Olympus rather 9 j1 V: C" ]$ k! @% p) i
than poor Odipus!』6 L5 \. M- x& E% I1 S, Z
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﹐- L$ U) N& B) C
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 M9 p0 u9 x9 ~2 c. 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﹕5 r* b7 s% m+ w4 B9 v
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
, q0 t b* P0 b ^ADDRESSES TO MONEY﹕/ l- x2 q: W1 i# [
1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
: I) J7 A$ a2 `# k. {your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
0 j3 W' Z. Q2 D& S. ~0 z0 ~. dyour slave. With you I can get food to keep me alive. With you I can
7 @8 F1 {3 @/ p3 y( dget clothes to keep warm. And with you I can get whatever I want, a / A) a" M8 _+ K3 I' @
grand mansion to live in and all the superfluities of life for ostentation.
5 u3 _7 O) g# S& q; oBut without you my love will desert me. Without you my friends will
+ v& @0 d" r: N0 {4 w& |turn back on me. And without you I'll go a-begging like a poor dog
& S- b2 I2 Y( |2 t- \4 L1 _5 Pand sleeping alone at night in a ruined porch. Oh, Almighty Money, come
3 `! e `/ I! d' |1 ~8 }1 ~: [to me, I implore you! Pray, endow me with your favor and be sure that I'm , Z' |6 A9 d8 L3 F0 L: _ p# f
willing to receive every small coin from you on my knees by which to show
+ F9 O6 C, ?- J; _: H1 hmy deep-hearted gratitude. 』
; w0 y7 U4 { E( [ e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。』, F; ]; |' r" a$ ^0 P' K n5 `) W
芝娜又唸道﹕『第二﹕
. B) [- u+ u% L2) Oh, money, my obedient servant, my faithful slave! I'm your master, . T9 n' {2 Z7 O$ T7 V1 j
your owner. OH, money, my passe-partout, my almighty tool! I'm you user, : I3 S2 p9 y, Y
your disposer. With you I can start my enterprises. With you I can carry 6 c! i7 H6 S7 h6 d
on my great plans. And with you I can make the little world around me % c* f/ p; Z" H8 ~0 `
go at my will. If without you I can still have a large store of learning. ! Y# }+ H. |& n1 c
If without you I can still have an unpolluted name. And if without you 1 I# y9 W( X3 o# Q% C0 {
I can still live like a hermit writing books of great thoughts. 4 @& W% @. e: A% g" e
Oh, servile money, come to me; my lad, I command you! Serve me well
3 A2 Y! R1 o& k and don't be naughty, or I'll punish you.』8 w7 g; ]: K+ 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! T" w9 n9 h2 W$ I1 V1 T7 k6 ]- 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﹐/ @3 l1 A* J- N8 _( U- i! w
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
# D* I( o# c+ b- k: n L$ i(談美)﹕
' v; T5 y6 L- G3 h: I) F, e4 S Beauty often dwells in youth. At sight of a charming girl, everyone % M K& P8 H2 H3 e# x! z7 I
will exclaim, "My eyes! What a great beauty!" The male stares with
9 ?, m3 t; f9 G! e+ b/ @1 {a thrill of admiration; the female gazes with a sigh of envy. Wherever
5 F) {+ r5 O( v0 ashe goes, she becomes the focus of the attention. Men all yearn to win & @4 n. W+ L; Z3 A) {
her heart; women all feel a regret unable to stand in her shoes. A glance
2 I8 Q! A. f; g5 K# Z5 i5 lor a smile from her makes the stingy empty his hoard of gold and the " G" R3 o, F O: _$ _8 X: V& b
coward give up his life for her. She enjoys her queenly position in society,/ \- y- z8 ~7 _5 h8 Y
proud of the possession of such a beauty. But the merciless Time
2 k6 a1 f* s4 U- Ddogs her steps, too. Her beauty is worn out with the years. She begins to
# u/ M2 e4 z! ~4 D# b* Gfade away and the hardship in life, if any would befall her, will bring
' h" `) L8 Z% Lmore wrinkles on her face. Then men turn their backs on her politely with 9 p, d& q% L J$ X, K/ d0 v
a bow; women look at her with indifference. The younger generation is magnetized 1 I2 m( U9 B0 t$ a+ T+ o
round another focus. The old queen has to abdicate and leave the throne
/ N- d; b- b- {. N8 o# G" Kfor a young one to occupy. Only a photo or portrait can preserve her beauty
! f( j2 d& Y5 x& K3 tin youth and no Time is capable of doing any injury to her preserved beauty
w& D) D, a7 v9 S5 }0 ybut the preserver itself.
9 h3 ^! d8 p& u/ z p+ B# C Therefore, admire not the beauty without, but the beauty within. Such
g7 f( T9 o% ~0 Ya beauty will never wither though Time also plots to do it harm. In the
( ?: j& K8 T9 ystruggle against the adversities of life and the ruthlessness of Time, 1 ^6 M6 p) n5 e
it grows radiant, or even dazzling, just like a rock in midstream made & p" w( z, G, K4 n2 [0 A; N* x
smooth and glossy by the current of both the stream and Time. Everyone, 8 a+ e) b0 k) \/ T, z. R2 @
in spite of the age and sex, if aware of it, will sing its praise either S! W. j2 Q4 o! C
openly in words and letters or secretly in mind. It lives as long " X% Z8 ?; W" ~7 p% ]0 O
as the possessor, or even much longer after her dust may be blended into
1 b. I6 `! J La vase with the clay around it.
1 t: [ h0 T0 `5 h+ A* B& g0 j The outward beauty can only be the object of admiration or envy while a; {7 W7 }; z; H! M: i' G
the inward beauty, besides being a theme of the ode, can serve as an
$ S' J$ [" d* p, p) \example to learn from, for the former is always endowed by birth, but 2 |+ p( U6 W8 A2 R& J
the latter by self-acquirement. However, every man is free to hold 3 l# c; }. |6 n! K- S7 s
his own notion of what the beauty is and to choose whichever of the two
3 r! p. C% m! @beauties he prefers. Only his love for his bride select should not degenerate $ [# b( G& a$ y% I7 A, l, C
with the shrunken beauty.』4 o9 ?5 P% C5 t9 }/ Z( O0 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7 w1 X: N: P- S- ]
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 T" d! C7 ~6 J( G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 。』6 _% q+ j1 {" h* J
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
" j- H' M5 {) O1 c6 m2 W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2 s8 D* k- n7 `
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( a% k8 y3 F+ j) ]! B4 T- L
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。
6 e' f! T1 x( q; D% K; x: I你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
* V8 V3 l3 V! S/ }5 d) V+ ^ A little boy walks by his mother's side, with one hand in hers and a balloon 5 a! d; t9 V% C
in the other. A sudden gust of wind snatches the balloon away from 8 T5 T* K( Q( e" c3 p
the boy's hand and bears it skyward. As it flies higher, the excited
9 b& [$ k6 I7 @- ppeople in the street all look up. "Surely," the balloon says to itself, ! V" G. h7 R5 W0 F0 f1 p# m5 n5 O6 h
feeling proud of its uprising, "they all envy me of my ascent." Then in its " ~5 V$ v' T! k( D
upward flight it passes by a balcony on which a group of boys and girls " v2 N: N3 [" X
are standing, giving a cry of excitement when seeing an escaped balloon
0 a+ I5 n# n, |* B; @9 N: Uhurry on its way of freedom. "They are cheering me, I'm sure." The balloon # p( W+ x) g3 G9 N) R; d( ]( i- Q
thinks. Up and up it soars, above the roof, above the spire, through a
4 M& u5 E! I1 g2 g1 u# pthin cloud, into the blue sky. Then a dove hovers near, but after a glance 7 t: _9 P+ t% Z
at it, flies away with indifference. "Of course, the bird nears to
& c+ h3 [5 N L9 A Tsalute me," The buoyant balloon flatters itself in exultation, "but as + w# X. P' R8 ?2 c( ~/ ~
I ignore her to keep my dignity, she takes herself away in awe and respect."
]/ u" f9 J/ u* ~9 q" V The higher it clambers, the haughtier it becomes, till it reaches the 9 `% r0 {, r6 q- G1 ^" J- e6 t) U
zenith where it means to stay for millions of years, but, alas, it bursts!* H2 I# v; N: \
』
# A7 ^' g1 ]6 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
0 L/ p1 x( v# p' P% L好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
6 T. I2 O* O( O3 M/ \# e+ l; Y Etiquette is to society what apparel is to the individual. Without
& [7 a7 T4 p+ s9 ~2 D, x- yapparel men would go in shameful nudity, which would surely lead to the
7 _9 e" |. L8 icorruption of morals; and without etiquette society would be in a pitiable
" k; l$ J& }1 r& L8 |state and the necessary intercourse between its members would be interfered
$ [. L' Y3 J- m6 G" L7 Zby needless offences and troubles. If society were a train, the etiquette / @& i+ r0 R9 }& S2 z- B' `+ R$ h
would be the rails, along which only the train could rumble forth; if # q8 N5 C, v, q! o
society were a state coach, the etiquette would be the wheels and axis,
/ G/ U4 n! A2 H: w) N on which only the coach could roll forward.# A+ X- f% u3 {) k' g* u/ `( D4 q1 r
The lack of proprieties would make the most intimate friends turn to / Y2 f' m: W. C& e' O; N" Q
be the most decided enemies and the friendly or allied countries declare / N& ^! \* X$ f2 }0 \& Z
war against each other. We can find many examples in the history of mankind.
; {" y8 x3 v* u3 @ A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed " f5 E4 d- u3 n: o
by his favorite knight for a joking word. therefore, I advise you to stand - }3 [' g4 A0 h! K1 P$ \2 l+ ~
on ceremony before anyone else and to take pains not to do anything stupid
9 _: }" U6 n6 F. p+ ]/ Z' w5 B3 F# sagainst etiquette lest you give offences or make enemies.』
% m- f; h) A0 J% a* q2 H7 M( i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 n9 {9 _8 S* O& E
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
5 R3 D6 e$ o% H* {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
+ v7 v9 L; ]6 K& f5 _) {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。
" g# Q, x( A% A: }: x2 ^# @' q7 b6 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﹕
# Q3 U8 u8 c; q『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& A; s5 N7 M* K
『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﹐6 z6 g4 G% i+ `$ O) x. t) ~1 g _
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
2 D" v! D) N6 {8 T2 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
1 `4 P+ r" Q) J3 Y* ^5 p銘」的譯文
$ W* \9 h! A0 Z, _- C8 M* a8 a S* v% H. IAN EULOGY ON MY HUMBLE ABODE﹕
7 z, C0 S6 s |7 v6 z3 D; D) j8 D" } Known will the hills be if fairies dwell, no matter high of low; and
4 \- w1 Q8 L8 X6 {0 r3 Acharmed will the waters be if dragons hidden, no matter deep or shallow. : u3 N0 h- @6 v; F' t
A humble abode though this is, my virtues make it smell sweet. Verdant $ B6 T* h4 m& j& ?' `$ }6 z2 `
are the stonesteps overgrown with moss, and green seems the screen
, h" M; a0 P- w8 m$ C# z2 V0 W as the grass seen through it. I chat and laugh only with great scholars
8 C( F2 {+ ?% Vand have no intercourse with the ignorant. I can play lute and read my
* X0 m7 D1 q5 W8 F) y' ?0 r# msutras; no unpleasant music to grate on my ears and no red-tape to make . o. D3 _$ T+ W
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance : m/ \: J S( C' y
in Xishu are both like what Confucius quoth, "How canth it be humble?"
2 |. I3 s5 W% _! O- `- |, n5 `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。; ~7 r; N2 b9 e' k
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﹕" \: j2 Q q0 y- E4 x7 H/ V
『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
- ?& N2 X, [7 K/ U, G8 N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* d5 _6 m. c: T2 L7 F% l
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。』
! h; e L, R4 k. _
/ [3 h6 o' s% ] 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
- E8 P* I- O7 \# S0 }1 T8 s1 q5 J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
1 Z7 U3 z% o: X( t; u! j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。』, u6 |0 D- _0 {& o. `/ U5 `: l
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
% ]0 w3 Y: w! ^6 \8 s! I0 w& O8 x資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
) `3 m# k% Z1 ~ 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
' W% M# H" l2 u' D, D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
1 @8 `1 F7 M2 [6 t, I- [# R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﹕' L) Z q5 f" s# g7 V/ ]1 G
『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* w8 N+ k* \$ N H( |
音樂跳起舞來﹐直至興盡而散。
$ f/ N2 u0 A$ ^8 X3 s8 A 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
( u+ t1 O5 G2 }; G0 I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) e* j6 K+ \# v6 h8 n( h( l
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
/ g3 A/ ^: A5 D* K6 ~# O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# ]5 A5 K/ t$ H) f
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﹐4 S- E0 B7 U, U# {
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4 k2 D K' i1 `/ _
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 v* y. j5 e! q+ D6 y7 j. }' `
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
% l7 I: ^ k/ W; v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 D3 N1 D% `& N
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
2 A( u( D/ e8 U- Y. 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﹖』八7 V8 p/ ~% c. k" g" E( h
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3 G+ T5 v% H' m! w1 c
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
1 z! }" y9 F5 ^! s- B 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
7 B" d1 n6 ~$ M3 @) B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 I7 K. B% e& 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﹐3 _. j5 E- x" R) P: C1 Q! X$ P- b
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
/ p0 f6 D$ V7 E& 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」& H8 }1 h( @+ v) W2 P' B$ O
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
. U( _7 N. M# ?# e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 k' T0 t7 }; x7 q
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
! `* c1 t+ P* V; G7 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
) [7 b! s$ J: D# y9 w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
/ E& ? Z# O4 m2 b T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3 ]/ T: z5 i) b4 S" Q. N
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 b# b2 J# Y% c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
2 C5 m9 E! `5 u4 b8 P+ p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
6 J/ L# ~# E5 ~. i) x# |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。』
% T# U+ b9 ?+ N0 D+ @' p$ M; G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
; r, L- `7 {3 q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
1 [: i1 t2 i& j7 S0 W評論才會公允。』 |
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