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芝娜道﹕『下面一首是RED AFTERGLOW﹕# B9 y# E2 M" g3 L* ?1 q. ]" T! X
1) Lo, the red afterglow,3 v! E: {6 [) J+ d
Against the sky blue! 2 }3 f) z1 b+ X, T0 h
Is it the blush of Heaven, g: v- J" A2 e% f
As on a maiden's cheeks,
- e4 t. I" B6 C6 r1 L When she catches sight* r- H1 H! g8 v. d8 e0 Z
Of her coming lover?; A$ k9 j4 {, J: ~
2) Lo, the red afterglow,. W3 m+ h& A. [1 |2 k& \9 Z
Against the sky blue!8 j$ j) ^/ i* Z& |. }0 H
Is it the fire of bivouac! \- E: n% L% V. w- f
Kindled by Nymphs and Naiads# k, @- c6 t. C+ p0 l+ _
On the banks of Milky Way+ D& l6 j2 J4 T% ]. ^: U, g+ c
Holding a celestial picnic?& N& ]$ M! w- Y" X
3) Lo, the red afterglow,- u2 G) U! P$ s3 Z# O8 {( W
Against the sky blue!
2 G& f# G1 g) ^' X8 b) A" F Is it the ruddy gauze veil
+ j1 c& r* H0 h3 F7 i That veiled the face of Juno
/ C c# g- j* f" O1 x* h On her holy nuptial day+ _: t P, x0 I
When she married Jupiter?
, l6 E* K4 V K4) Lo, the red afterglow,, S/ L8 B4 {% L4 ]
Against the sky blue!
* X; X, _; _4 c! O. P Is it the fire of Mt. Olympus
4 H# Y* ?& |3 ~# | Stolen by noble Prometheus,( V* a! m& O' \; P( m: i4 G2 p; U. l
And in his careless down-flight
% N) Y" u7 F" n8 U5 L" F Set the fleecy clouds aflame?
( e) M9 {# ]4 N9 X, J# S2 b, J4 Q5 r5) Lo, the red afterglow,
4 o' B; g) |- _) X' S$ \ Against the sky blue!, o# R. {1 b- z- D9 l* k
Is it the blood of the heroes+ X3 q) }0 u8 x
That died on battlefields
) B, J3 x6 K* c* y1 h% K In the sacred defense
k7 s: N0 ]7 S/ m% P1 e/ k Of their dear motherland?
$ |0 ^5 v) c, ^3 u! a6) Lo, the red afterglow,
" x: a" I1 Y8 Q5 s* T against the sky blue!2 @( g1 S% L: v- L2 m
If it the Isle of Coral1 u6 p' ~ q! O% b
Removed by a white witch6 ^+ M/ K% Z" M4 b7 L v
From the Pacific deep
3 J+ B. u% b Y$ E To the heavens above?- e) i( i4 p& v2 q" H! Z- E7 M3 v M
7) Lo, the red afterglow,2 O# V- H+ P% h) p ]( ?" A5 Q+ ]
Against the sky blue!
% G" x* c. Q4 g- T5 I0 H ^ Is it a cluster of peach trees,
, o9 q" Y5 c6 m! M3 v: Y Their blossoms in full bloom,* b g2 P3 O$ Y* d* S
Grown by the daughters of God
q' x I9 B# `6 i And watered with nectar?: }- i, M! n" K
8) Lo, the red afterglow,6 a6 ?) w, T( W! a* S m8 _: @( N
Against the sky blue! e) j; c! m4 H! j6 W( l) t
Is it Flora's rouge8 w/ C0 O0 S. k+ D" H; w% @
Spread all over the sky
* m7 @1 c B/ ^9 } By her frightened maids- y/ w+ X2 m0 L4 B
In escape from her anger?3 N0 |2 a2 P/ {
9) Lo, the red afterglow,
+ Z! j: n' A4 a$ }5 }3 S5 w Against the sky blue!
; q5 G# b" y. j% H/ c. ?+ ? Is it a large piece of sponge
1 `1 E$ F3 B) `0 R% g0 Q Soaked through with claret a3 Y: M k, k0 {( Z
Upset from the Holy Grail
: G/ F3 b6 E+ a+ q; S0 q3 I# e By a rash cosmic pilot?』; K) r9 r/ b! R
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5 f: z) s& V% E3 L
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3 z0 B8 \6 B' |$ W" m! E/ w6 M
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
& j: E3 }9 i3 h/ {& z# 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9 Q8 {( C* e' N/ 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
8 f5 k; L4 K5 _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
2 k6 u3 d5 V( O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。
# i- o5 q: {/ G. K" m 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﹕
- S9 K- |6 I# YWhen young, I don't have any notions what woes really mean,
- v( P' e0 \* ?) J; `9 W Just love to get on floors so high.
! H) K5 o6 f5 g0 M Just love to get on floors so high,9 {, C6 b0 M/ s9 f; X- _
To write new poems, I try to say the words of woe and spleen./ `9 p" k$ d* x
$ J+ ~& {- V" p
But now I fully have ideas of what woe really is,0 u* ^" s( ?0 f; K4 j; i# Q
Afraid to get on floors so high.
: k; m4 l' I" b5 i3 u: ~ Afraid to get on floors so high,7 h* m+ Z- G: E A4 o! O, p
I only say in poems how good and cool the Autumn is.』
, A. c" L7 W3 z4 p0 `. E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
8 k/ Q! a+ ^! F$ f" F( U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。
) b7 H a" w/ e9 L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﹕
* y6 {3 L9 l1 p" 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
" ^; X% u6 l" 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: B2 z, Q9 d# }) 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
! L) V" G$ g5 N) y+ m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﹐/ h! E, m- k0 J! C0 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( Q' m; n% Q& V/ z5 X: |
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; m& E& _: u) w ^
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& o+ L: d1 w& ]- n) x: O* V
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
+ E! C6 t2 p/ X6 u7 f% V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# Z2 d4 @1 A: }9 l( W7 R+ o0 Z
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) I+ F( \; F$ c$ P
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﹕+ j5 V4 S1 f, L; y% K+ U
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
; I. H5 E7 M! l L( d5 Isuffered a terrible tragic death ----a punishment inflicted on him by * |0 Y1 [6 e, Q
the gods on Olympus. When he learned his fate decided by the almighty
% z# C S6 |. e) e+ c0 H8 P. J. x9 ugods to kill his father, marry his mother and bring destruction on his ( ]+ f, @" n9 ?6 T, {4 E4 @8 D% V
native city, he wished to escape from it. But destiny was unavoidable,and ( z" s$ k; V; @8 Y
unawares he fulfilled the assigned tasks. If the gods had decided his
' z" p. c$ U: f* _9 Yfate otherwise, he would not have been a criminal, receiving an unjust 5 I; _" V: U- E5 m" y; y
punishment and bearing an ill-fame for thousands of years. He was only
' H# q" k" S* ?3 O. f r- `an executor of the wills of the gods who, struck perhaps with a whimsical
3 M' E- \2 s3 ~. [1 N0 wfantasy, played a practical joke on the helpless mortal. The gods were 6 v/ p: @) o/ W( X% p9 W
the plotters. Who then deserved the punishment? The gods on Olympus rather
; {" c2 i& K ]$ T, t5 dthan poor Odipus!』
7 r3 ~2 ]% Q3 r: U# s' A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﹐
+ i1 @4 D, q3 p G4 y4 y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 x4 j6 j0 K6 j9 W
『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﹕
/ c8 K/ ?$ U& b: ~% w* k% m. J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 1 A; |: k& Y/ P; J& Q; ~0 Z
ADDRESSES TO MONEY﹕
t. a1 g1 g7 K7 z0 H1 ]1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
7 x: X* A% q1 j8 e5 E1 myour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
% ^; s i2 N3 d) [your slave. With you I can get food to keep me alive. With you I can
: ]6 ?, s4 k( J7 l2 e2 C# i' Rget clothes to keep warm. And with you I can get whatever I want, a % u5 s, A+ ~- W+ Q" M
grand mansion to live in and all the superfluities of life for ostentation.
, j# J5 J0 k' S" YBut without you my love will desert me. Without you my friends will 2 j* I2 {, `. R8 Q
turn back on me. And without you I'll go a-begging like a poor dog
; s I3 H% r9 S( Oand sleeping alone at night in a ruined porch. Oh, Almighty Money, come f2 d9 \- q4 m6 M+ X6 w* V4 i
to me, I implore you! Pray, endow me with your favor and be sure that I'm 3 Z1 R" H; c4 h& }' e
willing to receive every small coin from you on my knees by which to show
7 l8 K3 X* }" K" amy deep-hearted gratitude. 』
: f0 {0 e- l3 i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。』8 o& h& u& l: O) w/ s
芝娜又唸道﹕『第二﹕
. F O1 E6 `/ K& ~8 \/ e m2) Oh, money, my obedient servant, my faithful slave! I'm your master, % A9 G! u, ^# M; O/ e# x
your owner. OH, money, my passe-partout, my almighty tool! I'm you user, ; Y. ^! Q& P) a3 g
your disposer. With you I can start my enterprises. With you I can carry % i4 J( q! w5 x. W
on my great plans. And with you I can make the little world around me
: g$ A0 h, _7 o, z, qgo at my will. If without you I can still have a large store of learning.
3 w0 f8 J6 C* f3 L1 P- W If without you I can still have an unpolluted name. And if without you ! X+ G" N8 u- p1 w# R: a( ~, T! l
I can still live like a hermit writing books of great thoughts.
0 h3 J1 g9 t$ `$ g: kOh, servile money, come to me; my lad, I command you! Serve me well 7 W, a% W% q+ F- K9 u( y' i
and don't be naughty, or I'll punish you.』8 v" w* A H& n1 O7 [2 V
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3 T' Q {& I. f% h
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﹐
7 v7 i: ~7 r& p/ y+ P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 q5 c- w8 g6 Y6 F
(談美)﹕
9 V K3 ?' v# w Beauty often dwells in youth. At sight of a charming girl, everyone $ l+ t' _9 V* J# v
will exclaim, "My eyes! What a great beauty!" The male stares with 7 k) m! ?/ k6 m8 |: E2 s
a thrill of admiration; the female gazes with a sigh of envy. Wherever 1 A8 ^* b6 I' R5 j- L# ^
she goes, she becomes the focus of the attention. Men all yearn to win ! ]( D' j4 l4 k J
her heart; women all feel a regret unable to stand in her shoes. A glance O, r6 t$ G/ a2 d2 O+ u3 `
or a smile from her makes the stingy empty his hoard of gold and the
* Y3 d$ G; ~- D4 t! b& f) zcoward give up his life for her. She enjoys her queenly position in society,
t4 p3 v* \6 K9 d, v i proud of the possession of such a beauty. But the merciless Time
1 q) B) A# M2 E, h* W& Cdogs her steps, too. Her beauty is worn out with the years. She begins to
- H* s1 f3 e3 d# Y. ufade away and the hardship in life, if any would befall her, will bring
7 R$ H' ^/ y1 v% Smore wrinkles on her face. Then men turn their backs on her politely with & c0 W# j/ M) N( `4 G
a bow; women look at her with indifference. The younger generation is magnetized
" k2 X7 A# h1 `8 O1 Yround another focus. The old queen has to abdicate and leave the throne
% u# |- X/ B& p. c* n6 C. H3 Hfor a young one to occupy. Only a photo or portrait can preserve her beauty ( B2 B! \4 Z4 s+ `% p6 ]
in youth and no Time is capable of doing any injury to her preserved beauty 7 |& J& t9 n! N( ?
but the preserver itself.
% j/ M) t/ Q1 |- o1 `; y Therefore, admire not the beauty without, but the beauty within. Such r; n) P: O. W
a beauty will never wither though Time also plots to do it harm. In the
: s( ^' d" Y$ v e+ [2 @struggle against the adversities of life and the ruthlessness of Time, + N4 L, ~; u' b" s/ r' U/ p
it grows radiant, or even dazzling, just like a rock in midstream made 8 F% j4 t( X8 H0 j7 s
smooth and glossy by the current of both the stream and Time. Everyone, 6 k' u3 C# _- Y" v, i
in spite of the age and sex, if aware of it, will sing its praise either 3 c: c3 H# X4 `: K" Q5 H
openly in words and letters or secretly in mind. It lives as long ) ]9 g! M) `; i/ ]( b4 \7 R
as the possessor, or even much longer after her dust may be blended into : ^+ w% F1 d& r9 Q0 e
a vase with the clay around it. ; [6 h+ o' B) c( s& G
The outward beauty can only be the object of admiration or envy while
( D: F2 T6 e4 B7 }# ?& I9 T/ O+ |( cthe inward beauty, besides being a theme of the ode, can serve as an
3 ~ Q5 z- W$ i- a* @example to learn from, for the former is always endowed by birth, but / b2 F) G8 q4 O) O
the latter by self-acquirement. However, every man is free to hold
. ~: t4 z. G' r; Q, K' g/ n his own notion of what the beauty is and to choose whichever of the two 1 u2 X/ z) T: @8 G5 ^
beauties he prefers. Only his love for his bride select should not degenerate
3 W, J0 W5 ^' |% Cwith the shrunken beauty.』
# f' T5 l: `# }1 K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" C# l, i3 n+ i: r' [9 ]4 `
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! n* p# W" T* K5 X( r7 z' P
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 。』
{/ r1 u2 g+ l) [) ]2 K1 N5 a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
" B4 \! {# a/ j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9 x3 N. s) y9 a5 z
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! C7 _2 ~4 M. y3 M: T8 Q2 W4 S
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。' Z J- ?2 j3 `1 s+ @& j+ D* C
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕; b+ E/ w/ s* }8 N2 c/ j& {
A little boy walks by his mother's side, with one hand in hers and a balloon 1 B0 \* h5 O1 [
in the other. A sudden gust of wind snatches the balloon away from 6 ^6 w- H6 G+ H
the boy's hand and bears it skyward. As it flies higher, the excited
" B% ?6 |" F' ^9 }9 T. o0 Mpeople in the street all look up. "Surely," the balloon says to itself,
. n% z4 m i; r& E$ N( Nfeeling proud of its uprising, "they all envy me of my ascent." Then in its
# y5 U* Y8 g5 B5 N3 [+ [. u- e% r' Yupward flight it passes by a balcony on which a group of boys and girls : n9 u, ~& e/ ]; j1 _, ~
are standing, giving a cry of excitement when seeing an escaped balloon
1 M" L3 S# ^0 C0 N4 M2 h8 m2 uhurry on its way of freedom. "They are cheering me, I'm sure." The balloon
+ z) i3 J% w- U# ]thinks. Up and up it soars, above the roof, above the spire, through a
7 j$ Z5 }/ w# Y( Zthin cloud, into the blue sky. Then a dove hovers near, but after a glance
+ Q0 Q1 \$ A$ Sat it, flies away with indifference. "Of course, the bird nears to $ U& x$ b ]) X9 F( C" _* R' V
salute me," The buoyant balloon flatters itself in exultation, "but as
; j4 I/ [, _8 J% `I ignore her to keep my dignity, she takes herself away in awe and respect."
7 \ N/ E/ ^$ h/ _, C+ o3 c The higher it clambers, the haughtier it becomes, till it reaches the $ S" H) P; a" J# \
zenith where it means to stay for millions of years, but, alas, it bursts!
+ n5 c1 \4 ?+ X4 u: N』
! w. a8 l) W) L# G2 w' m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
( o$ Q7 N3 o8 d/ z) U好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
3 d% L9 R% I$ R# b* }. H: L8 D Etiquette is to society what apparel is to the individual. Without
4 d6 s0 g) ]1 ~; \. m& lapparel men would go in shameful nudity, which would surely lead to the
7 k+ j& R# ^) T4 ?! z2 K+ Kcorruption of morals; and without etiquette society would be in a pitiable
4 H* z1 T4 q! ]7 q# e! i: T- Astate and the necessary intercourse between its members would be interfered # s0 q$ o8 V3 v/ h* q$ ?5 T5 k
by needless offences and troubles. If society were a train, the etiquette 7 q- l: @0 ?+ {- ?/ g- t* L
would be the rails, along which only the train could rumble forth; if
: ^" E. z* [% ]( }) \7 B) t. Fsociety were a state coach, the etiquette would be the wheels and axis,
- h) t6 M! e) n9 Q: E ` on which only the coach could roll forward.! D& p) A: w$ x/ T4 E! E- o
The lack of proprieties would make the most intimate friends turn to
+ D. }; N g) w8 o! _% k/ o7 Kbe the most decided enemies and the friendly or allied countries declare 2 X V# H& t5 a4 s, u) M4 W
war against each other. We can find many examples in the history of mankind., O0 @0 p! `' k" i8 }
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
) o [% y# L. Z9 iby his favorite knight for a joking word. therefore, I advise you to stand
9 q& E2 ~8 d) Q: {& Y$ l+ }on ceremony before anyone else and to take pains not to do anything stupid . E" k. t" ~2 } P$ ~
against etiquette lest you give offences or make enemies.』! ? W P/ T t. I; g+ N
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
# _' ~$ m$ f5 K0 L+ }3 t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
. v% L9 U/ y, w: y" N: G; 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
- h; h1 E1 D. j) l! r+ v8 x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。
1 n: f0 l d9 M& s6 t: r8 `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﹕" \' W# `( [8 n3 a' a
『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﹕% h* i, O6 C; J
『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 E2 J( l5 B& b% E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
& m. q x* |: V4 T0 T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5 A9 v: s: a/ C
銘」的譯文
0 |# N4 n# ?! ~7 p( H/ ZAN EULOGY ON MY HUMBLE ABODE﹕
" W/ P6 Q; r z- ]% v U Known will the hills be if fairies dwell, no matter high of low; and 4 A3 Z4 C, ~( d+ m
charmed will the waters be if dragons hidden, no matter deep or shallow.
; `4 p/ a9 U; @. ^: @/ @* ` A humble abode though this is, my virtues make it smell sweet. Verdant
7 q& Z) F: T. X7 v Eare the stonesteps overgrown with moss, and green seems the screen
$ A# O2 y- J& f5 | as the grass seen through it. I chat and laugh only with great scholars # {8 ~8 ]: m* b; }0 T
and have no intercourse with the ignorant. I can play lute and read my
* R F" ~0 Y6 A& I0 I2 Csutras; no unpleasant music to grate on my ears and no red-tape to make + X# h0 S9 c7 p" D" k
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance 9 A2 v7 S9 T. G: t$ K" j# _
in Xishu are both like what Confucius quoth, "How canth it be humble?"
+ ]3 d7 {/ P4 h1 ~. O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。5 R2 a1 w9 C" u( |, b
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﹕
0 W- y: D- y7 H0 l4 B『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: I! D9 A: Y/ m" P6 }
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
& f3 `! D& s/ q3 V( r7 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。』. `/ i) Q, A/ ]9 O5 t
: R3 l& p% X$ i9 ^ 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 i A. R7 P! I0 Q3 Y7 `
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 H' o. C2 E9 v/ D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。』2 E& S% M1 K. Q4 u# H5 e$ n' z( U
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7 o, C% M [ @; b8 m. Z
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
1 l1 Y. w! P" W9 b 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
3 C; Y8 P5 K0 ]" @9 O& ]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 ?7 h% [2 `, Z8 ?, ^
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/ z3 E4 [; k' q. 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
/ i& v4 c( E9 R+ R. w p0 F音樂跳起舞來﹐直至興盡而散。; I( C' B o8 ], d6 T
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. M+ F; @- l$ h, `% 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
" ?; y9 i/ Z( e: x: L% P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
" G9 p8 T( M m/ R( L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 U/ ~* W! J' z- f b& A# M2 n( b; e
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﹐
/ B3 F$ k* N) V C% k: Y5 |1 ?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 I% D( d9 B1 l) ~
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. X. c' R7 r. n# u% B! t# k" h2 t
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; [1 h& q+ l" t' n/ 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。1 K3 o( d$ W; y6 F( v$ T- u
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 e) f# e. b4 B1 d+ D/ @9 K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
% p ?, n5 r0 s" k% A4 J/ X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- s3 m, J+ [. \/ J7 h: U; V" v \" q
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
6 g. U! m1 @. i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: l4 ]$ D" z& m. x2 k: A! h
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 \! Z$ K) o0 q- j/ _' L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﹐! O2 C4 u' V. k# ?5 c3 G% \ ~
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9 M8 E2 h! C8 R
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」1 T; }, [& K8 X; y" `
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
! K4 ?' j7 ?* Z: a+ B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7 o4 v& P6 T" s* m- R. J
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﹐新作萬千3 Z4 s# T* N: s- v8 J
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" }4 M5 |8 {3 Y5 F3 ^6 g. d! q; b, F' O
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6 r: P4 V7 E) s3 A4 a. G
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* H0 I9 [/ Q% o
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
) K& ?- @4 r' }9 _+ f; h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* Z; D. r% s( ~5 E8 l
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
$ a' y' y# V* ~% l, F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 H8 x' U2 `0 H( Y( |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
% V9 p# V6 o) `8 g# O9 H2 {& r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/ w& `: |0 `, D/ M _6 a
評論才會公允。』 |
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