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芝娜道﹕『下面一首是RED AFTERGLOW﹕
, Z2 e `6 S. S5 m3 e1) Lo, the red afterglow,$ A8 r, A+ b# o; u
Against the sky blue!
0 R# s! @4 ~ N. j Is it the blush of Heaven, : T' }( y- `1 i! j" Z
As on a maiden's cheeks, ; z* W$ r! X9 Q6 u
When she catches sight
# N4 e- y$ m, `4 k, E2 V Of her coming lover?3 T/ W5 p8 \4 N: G% E% P' y( M
2) Lo, the red afterglow,$ `2 k, g$ ]4 C% _
Against the sky blue!
& F' h+ d* {$ n* j f, W9 I Is it the fire of bivouac
6 D+ L8 g- g g+ g Kindled by Nymphs and Naiads! s5 x1 G4 ^; \# O i; f
On the banks of Milky Way
: ]- l( J/ Y! M a# ? Holding a celestial picnic?
+ s7 _6 O% e. }3) Lo, the red afterglow,
; u' s/ n- a# p. e( F Against the sky blue!& K# B* L8 z' c% k) A
Is it the ruddy gauze veil" L- V7 X5 @6 N; B& v
That veiled the face of Juno: V S3 o- p, c
On her holy nuptial day6 a5 S% u; X) X
When she married Jupiter?+ z8 m/ ?# f$ ?( h& K
4) Lo, the red afterglow,+ ?) D3 ]( E. O9 U
Against the sky blue!
( n; B/ i9 C7 _ Is it the fire of Mt. Olympus. z O% v9 I0 w7 R8 [+ N
Stolen by noble Prometheus,
- I9 C. P3 F& \0 h+ b3 Z4 U+ f And in his careless down-flight
# }0 o1 d/ c/ B0 r3 ] Set the fleecy clouds aflame?
; }/ ^1 l4 `+ e0 x+ Y% D5) Lo, the red afterglow,
! ?7 g/ G6 g" g% P Against the sky blue!
# Y: c; x* w' S! k3 P" a: g2 Z/ F Is it the blood of the heroes* D, ^0 g- {3 ?1 g n: ~ o
That died on battlefields
6 n- H, R# W+ D( a In the sacred defense$ g2 _ P- w1 H' D
Of their dear motherland?7 i5 Y3 ^$ G \& l% c4 E* {6 @( h
6) Lo, the red afterglow,
3 K/ f0 y5 z- e! X% C against the sky blue!- N6 J1 `- e- e& N$ _
If it the Isle of Coral, ?# I: x; D+ R6 Y1 Y* N3 L7 d7 Z
Removed by a white witch
j! R. Y+ g: c) K- O$ C1 C! b From the Pacific deep
, k0 f+ Z" a/ g7 G To the heavens above?
; f- R" W/ t% M# \$ I7) Lo, the red afterglow,1 O1 Q/ {6 I V# ~/ U; [; @
Against the sky blue!0 d! l- X$ L" b) k3 x9 J: O& }
Is it a cluster of peach trees,
9 r, j- m" c% y' a0 { Their blossoms in full bloom,
% Z' R- @" x: W; F$ J Grown by the daughters of God5 \7 n2 r- p# U5 S) }% e) @- O
And watered with nectar?
& Y9 e% l. o% J0 m2 m; D8) Lo, the red afterglow,
@9 ]- \! o, L/ I* p' |4 Y5 _* k Against the sky blue!0 }4 g) E. O$ ~8 F0 E3 h0 W& U# ?4 [' C
Is it Flora's rouge8 H5 y5 _) u r n3 r6 R4 t
Spread all over the sky) i/ P# U/ c; B2 V7 J/ _
By her frightened maids4 }2 }7 ^3 W3 l9 N. Q( T) _
In escape from her anger?
1 R k# l9 x6 ]4 f( K# d% O$ e9) Lo, the red afterglow,/ A8 n& b3 L( C/ t1 @$ k, G
Against the sky blue!
; _! o6 b, y5 H U: b Is it a large piece of sponge: P u8 [9 @9 I- f' h
Soaked through with claret; c8 Y- b! w- w% g! j% w7 t
Upset from the Holy Grail
/ \; J% V3 k9 n* S6 X: S( r1 e By a rash cosmic pilot?』
5 D1 u4 q* Q% Y% e+ l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
( b/ j, x- Q6 m: z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* q# i' e% y7 n, g
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
. v$ M# l% N% `" j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 S# g! k/ l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
4 N8 Q! l% @4 _& E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* ?. H0 X- a' ]% d8 t" B. K
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。
, }% w: L4 x" ` 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﹕
2 U4 u* F6 A% i8 T) \When young, I don't have any notions what woes really mean,
. b7 @) ` c2 H6 @) e Just love to get on floors so high.
4 o) m* v4 H1 w$ D% m' } Just love to get on floors so high,
+ q* c) g: b/ W) ]' A% UTo write new poems, I try to say the words of woe and spleen.
& Q( H0 r/ @ r# L' d7 |% c. d5 W, d# n% A$ s" e$ W# Y
But now I fully have ideas of what woe really is,0 c% v5 a: r& U- {% r
Afraid to get on floors so high. + n$ g0 o3 z8 ?1 F+ A7 Y
Afraid to get on floors so high,+ S3 E$ j% ?+ _. Y. B& f7 t, j
I only say in poems how good and cool the Autumn is.』5 r) Q7 P4 ]# J
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6 L7 ^& ?& Z9 T/ k
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。
0 O$ A' ^8 J# `7 B) I# T- b4 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﹕
3 g( Z9 B' g2 i2 v# u; s" y『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. A; u& }8 b; I% L- }
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) x- c/ o e' M& Z, {# ]. J" Q
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
- [# |8 S: H' r" G$ P1 K% r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﹐
. v5 [) k, I& k2 E5 H+ x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
A* \' x ]4 F5 ~+ ]3 t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
5 x$ W9 E! c" H* b; w( z6 o' _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* f. U/ f7 k) c, Y
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0 [, c6 V0 V4 M9 I$ ]" C) X 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" L3 H# h/ s2 H, E
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
& s! ?! d! k1 U' O3 T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﹕
% X9 o; A" c: q. @9 P8 UPoor Odipus, a scapegoat he was! Accused of three great crimes, he $ @& H7 c- O& Q1 q- W- |" i4 |
suffered a terrible tragic death ----a punishment inflicted on him by
$ x8 Q( ^0 k) x8 hthe gods on Olympus. When he learned his fate decided by the almighty ; Z3 }0 M+ B9 d( F V
gods to kill his father, marry his mother and bring destruction on his
/ R1 L, C2 Y- _( u# \2 V- }0 Hnative city, he wished to escape from it. But destiny was unavoidable,and Q. F/ J( v c! v4 b
unawares he fulfilled the assigned tasks. If the gods had decided his 1 o6 j+ }. [2 x( ~7 x( F
fate otherwise, he would not have been a criminal, receiving an unjust & |( m9 C. d" w K/ x
punishment and bearing an ill-fame for thousands of years. He was only 8 l0 c5 D! f2 y6 ]
an executor of the wills of the gods who, struck perhaps with a whimsical - l/ e: U. [ ?
fantasy, played a practical joke on the helpless mortal. The gods were ( O+ N; b8 d' U. s- y. |" |5 N
the plotters. Who then deserved the punishment? The gods on Olympus rather
# F1 ~ M3 S) a, b1 Vthan poor Odipus!』
; N+ Z0 c2 v$ h* {) G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﹐) `( F# L( }/ K* k% A$ j
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﹕/ Y( } u0 \ s. h% `/ D5 j
『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﹕
. z) B+ L& B5 L- G6 D& a5 K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 / j" \2 N) O; X7 y2 r& ^) ?
ADDRESSES TO MONEY﹕( f' I/ D @6 l! j# y
1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
T& x; T) B- f. ]your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
' G' K% t' @+ syour slave. With you I can get food to keep me alive. With you I can 3 s% W; V7 C" d3 @0 O2 {4 i* q
get clothes to keep warm. And with you I can get whatever I want, a % V5 b6 P4 G |! _7 R" {
grand mansion to live in and all the superfluities of life for ostentation.
* t ^- v: V& O- O9 J: GBut without you my love will desert me. Without you my friends will 8 i5 R5 x( w ]) e, Z
turn back on me. And without you I'll go a-begging like a poor dog
; x; p4 h% k+ O$ v7 s3 n; M' Y" uand sleeping alone at night in a ruined porch. Oh, Almighty Money, come
% S& K0 v/ v& T# Pto me, I implore you! Pray, endow me with your favor and be sure that I'm + `; h7 A" w2 i# z" @8 T, L
willing to receive every small coin from you on my knees by which to show 6 k& o P2 x8 R9 g) r
my deep-hearted gratitude. 』5 B# i5 ^2 L3 J& C4 ^$ @4 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。』
$ l& w% C) [8 g9 }0 h# x芝娜又唸道﹕『第二﹕
5 Y+ F' b+ x: t1 L" a1 \% ^# s# h- K2) Oh, money, my obedient servant, my faithful slave! I'm your master,
2 V; j. y' n: f, hyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
" N& l) X+ D i0 j8 d5 l2 x& j# `your disposer. With you I can start my enterprises. With you I can carry
2 X$ ?) y4 }3 x m% y9 k6 ~on my great plans. And with you I can make the little world around me ; h2 u2 A4 e" f
go at my will. If without you I can still have a large store of learning. & [: H5 G# n5 r4 Z) V
If without you I can still have an unpolluted name. And if without you
2 U0 A5 F1 }# G! m I can still live like a hermit writing books of great thoughts. 1 N7 X& |' k6 x; e4 ]9 u) [) w
Oh, servile money, come to me; my lad, I command you! Serve me well
. @/ T, l8 W4 c3 @# g. o" A and don't be naughty, or I'll punish you.』1 K6 u. ]$ v( f L: l4 X' ] t, k
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
1 i/ R2 U# O* Z$ n$ |' v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﹐
n. Z2 ~5 J7 F. p6 ~+ \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
) X) p( X- V- X% V8 U- ?(談美)﹕
; ^: I9 A, Z) B1 [- Q Beauty often dwells in youth. At sight of a charming girl, everyone * K$ n; ^% F8 R' @: [( I
will exclaim, "My eyes! What a great beauty!" The male stares with - j) m! _% [! |, Y
a thrill of admiration; the female gazes with a sigh of envy. Wherever 3 O8 s1 N5 c! P( [ X; [- h& w
she goes, she becomes the focus of the attention. Men all yearn to win
; S6 u# ?; c; C' Nher heart; women all feel a regret unable to stand in her shoes. A glance
) e( |) O) k o0 Nor a smile from her makes the stingy empty his hoard of gold and the ( Y+ n. X7 z. f6 p
coward give up his life for her. She enjoys her queenly position in society,
& }' T& q/ p0 z8 ?+ W2 H7 E* c proud of the possession of such a beauty. But the merciless Time D1 E; b! G) w1 R* K! M E
dogs her steps, too. Her beauty is worn out with the years. She begins to " T0 s5 ?- g3 E" Q0 h
fade away and the hardship in life, if any would befall her, will bring
% R2 E$ ~8 p6 x8 X) fmore wrinkles on her face. Then men turn their backs on her politely with " X1 E' D8 _+ X
a bow; women look at her with indifference. The younger generation is magnetized ' L/ i- X% U/ O
round another focus. The old queen has to abdicate and leave the throne
9 k& H1 y, @# o) V1 V) I( V' Jfor a young one to occupy. Only a photo or portrait can preserve her beauty / U$ G4 p1 d) M. A
in youth and no Time is capable of doing any injury to her preserved beauty
% ]' j: T3 J) e% Ebut the preserver itself.
' R/ {. H+ m9 v% Z! R Therefore, admire not the beauty without, but the beauty within. Such
B$ G2 `& O. N# u7 V' pa beauty will never wither though Time also plots to do it harm. In the
) r: J: n8 X/ ]struggle against the adversities of life and the ruthlessness of Time, - m3 P7 r) r7 S
it grows radiant, or even dazzling, just like a rock in midstream made 5 H1 X2 X% g' ?" k' a
smooth and glossy by the current of both the stream and Time. Everyone,
9 F+ T& {4 |* R6 f. nin spite of the age and sex, if aware of it, will sing its praise either ! i9 v* I9 H- V/ k( K7 q9 n
openly in words and letters or secretly in mind. It lives as long ' P3 f4 h) E/ `; U% t$ B
as the possessor, or even much longer after her dust may be blended into 6 Z2 @. n0 n9 z# u( x) v8 E
a vase with the clay around it.
' S# {5 u8 l: K8 b The outward beauty can only be the object of admiration or envy while " S! i' W4 x0 n) Q
the inward beauty, besides being a theme of the ode, can serve as an , H. m" `! K; A' K
example to learn from, for the former is always endowed by birth, but # ]* T u: \8 Z5 d- J
the latter by self-acquirement. However, every man is free to hold $ L- i/ I4 T+ N9 K3 k
his own notion of what the beauty is and to choose whichever of the two
/ f/ d) ~4 [* d" `' _beauties he prefers. Only his love for his bride select should not degenerate & [5 B9 ]1 W4 z. ~9 W: |) }
with the shrunken beauty.』
1 x! H, h& ?2 h# o$ e( D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) p. W7 h- z, I/ \
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9 o8 f1 q: K% H# M
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 。』
% n0 ~( R" m* B2 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+ I+ l! K% I3 Y! 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
# e {8 @( a- ?6 w$ r( Q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 f! C! x2 u/ ~: V/ [/ `6 @
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。1 `3 w2 ?. M( a }# l
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕$ ^( A s, a& w! `& x% b5 Z
A little boy walks by his mother's side, with one hand in hers and a balloon
1 @' d' i3 |) D1 K }. q. {/ {' t in the other. A sudden gust of wind snatches the balloon away from
9 r4 |/ W, O* D the boy's hand and bears it skyward. As it flies higher, the excited y- L5 Z% |& ]5 p, R. _
people in the street all look up. "Surely," the balloon says to itself, # ^+ N$ o2 I- d' p" G- O6 a
feeling proud of its uprising, "they all envy me of my ascent." Then in its
2 x9 l) A) d) s7 qupward flight it passes by a balcony on which a group of boys and girls , m3 ^$ Y4 }2 x# H
are standing, giving a cry of excitement when seeing an escaped balloon
6 q% e( d; V4 b* j& J0 e) Lhurry on its way of freedom. "They are cheering me, I'm sure." The balloon 0 ~. I" K2 e1 U7 G3 b# O% A: F
thinks. Up and up it soars, above the roof, above the spire, through a
9 P& w n1 v3 m$ G5 {( ?) C2 b, [thin cloud, into the blue sky. Then a dove hovers near, but after a glance
3 g3 t/ o4 z0 E7 w8 q1 Q9 eat it, flies away with indifference. "Of course, the bird nears to
* }& s- {2 @7 {# T+ z+ m: T" [salute me," The buoyant balloon flatters itself in exultation, "but as - U9 ]: X8 {; ?7 E0 |) [( I$ Y
I ignore her to keep my dignity, she takes herself away in awe and respect."
1 y5 w: `8 j3 B8 W W The higher it clambers, the haughtier it becomes, till it reaches the U* c! \4 p* S! x! G f
zenith where it means to stay for millions of years, but, alas, it bursts!) o% l. e5 X# V9 Q2 Q
』# c2 c% s9 L2 M9 n, {% C1 _$ B8 C
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
& y1 R, S# q M! L8 B9 _* O好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕" I3 s, C6 d2 A0 z
Etiquette is to society what apparel is to the individual. Without 1 ~- T- o% }0 ]& ^8 J- i. S' _; j3 y
apparel men would go in shameful nudity, which would surely lead to the
8 Q0 E. J6 f7 l% N$ c d6 pcorruption of morals; and without etiquette society would be in a pitiable 2 T- `8 J; @& _+ v: k4 m5 ]
state and the necessary intercourse between its members would be interfered ; e4 |& y( I9 L2 W" A9 K: |7 _
by needless offences and troubles. If society were a train, the etiquette
: V1 d3 r. c# p4 b6 a( Ywould be the rails, along which only the train could rumble forth; if ' q: k" X8 D7 C# k- O' |5 \* T
society were a state coach, the etiquette would be the wheels and axis,
' E! k# X0 q3 I9 @5 C6 E on which only the coach could roll forward." p5 Q2 \$ ?! @7 q; H9 }5 E0 V: R
The lack of proprieties would make the most intimate friends turn to # I7 n. J4 M% G
be the most decided enemies and the friendly or allied countries declare 2 D$ u) _# I! Z$ \
war against each other. We can find many examples in the history of mankind.+ P8 W4 d- C W6 F( a
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
& s: M1 X e% Hby his favorite knight for a joking word. therefore, I advise you to stand
8 k* d: [" E8 n& R V! u- c3 xon ceremony before anyone else and to take pains not to do anything stupid
7 r9 M8 N. a, Q) k0 D3 {7 X8 F* P+ e- vagainst etiquette lest you give offences or make enemies.』, e5 m% [1 t6 z* ^1 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
8 Y/ g5 E0 Q* z/ t& z) D* Y9 s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: h3 M. [7 o4 Z% w! 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
4 p' r) _9 k E/ t+ d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。
- c! F; D/ ] @8 Q$ f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﹕
6 C3 u0 S3 k! c; f9 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﹕' r5 R% D0 v8 x. y. 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﹐
, V9 A( U4 s3 P3 T5 d3 {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
+ K" }+ m% |& j. Q L% Z- I( N6 \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
9 h o8 m- `, x. w2 c. q銘」的譯文
2 [6 K/ A: s7 c, cAN EULOGY ON MY HUMBLE ABODE﹕& N& h9 l: h2 e* C8 T- ]: c% U. Q
Known will the hills be if fairies dwell, no matter high of low; and
% S1 @5 }8 t: z) k/ R) Qcharmed will the waters be if dragons hidden, no matter deep or shallow. # P5 T9 ? [2 A$ h* K8 s$ t& j& u% B
A humble abode though this is, my virtues make it smell sweet. Verdant
8 @" t2 @' B1 E8 W' |7 x7 Jare the stonesteps overgrown with moss, and green seems the screen
' z) _4 Z$ E2 B as the grass seen through it. I chat and laugh only with great scholars 7 Q. P/ d8 A2 N& y- h
and have no intercourse with the ignorant. I can play lute and read my 0 I( g) F' U3 e0 z" o' s; n
sutras; no unpleasant music to grate on my ears and no red-tape to make , |5 N. C- p* G5 |* D3 Z+ N: |1 i
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance * e; j2 L! H0 U* ~
in Xishu are both like what Confucius quoth, "How canth it be humble?"
: i; d+ `) s4 Q$ R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 Y+ _& t- w8 A9 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﹕" y+ v2 ?5 I4 e, a, w. Q
『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
$ b" |* l4 U2 H! h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+ G! }1 v6 v8 T
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 t7 V* `2 n7 g. V( |9 u7 v4 M2 H" E6 a6 I8 L) ~7 ]/ b9 }9 y$ T9 V8 [
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7 h6 n/ S. s3 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" e: f6 V. p4 G$ I0 L9 X) `
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。』0 Q( a, C! F7 ?' N6 W% j
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
* ?4 `) I; G6 r. _# i資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。5 | A& v- { m0 S7 H
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, B9 u$ B; i$ `: v) x2 | 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
0 x$ X" ?' m# R; B+ K3 C2 Z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﹕. q5 r3 ~* y4 l, j: ~% w, O" h
『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4 w0 Q4 u7 `& Z
音樂跳起舞來﹐直至興盡而散。
0 R0 u: X. O6 W e* {) J% u4 ^ 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) _; e$ z8 T2 C$ X6 D3 h r
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
: x7 ]; x4 x3 W( [+ K+ x1 i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
7 I+ p9 D9 l4 c. y9 M/ o; ~9 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
* X/ P+ G) x! z0 w7 _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﹐( _( W, g! V6 N) n2 `
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
! ^! D8 k1 f1 ?+ k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
% o# T0 l# H# ]* V5 p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
6 [7 `7 K3 r, I- P9 s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。
# V) {; B* ?) w- O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
3 m2 R- `- ]5 {, f6 m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﹖』八6 Q R" v0 d3 I( M7 ^
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
: u8 n7 V! C- R# U6 f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
! b8 e& ~5 W/ @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
9 c' n( d- d; u* H( p+ n; }' f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
0 Z& _: E" M! v {& Z# o8 g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﹐
/ v( m/ Z! v2 h2 ~& s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
0 L- _$ j+ q9 N. w: ]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」% W L- J# h' i# U
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
- M: U+ [8 A* F/ S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 o7 T! {( m+ O, t, C& A# 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﹐新作萬千2 R/ d; V( M' a& X
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
( U5 \/ q; V5 @" M' v0 n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 b, S& V4 R0 f! j, A0 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! q' A7 R5 ]! G! V9 x, ^
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
* r9 \& |% Y3 g9 g: W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
/ f; i7 p7 d. n8 V; p1 r- o5 j2 M ?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# a6 f5 [# x2 ?6 W0 N- r% ?( F! F5 X" J
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。』
9 x# F' |2 V% f$ e& i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
1 k8 W" k/ e& G6 F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4 o/ p2 b& z8 a/ |
評論才會公允。』 |
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