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芝娜道﹕『下面一首是RED AFTERGLOW﹕
7 `/ Q9 `9 A8 e" A5 O* c1) Lo, the red afterglow,' ^5 O4 }0 n" Y( X/ x/ U
Against the sky blue! 4 J( l5 O8 [" U
Is it the blush of Heaven, 3 h; f, w0 ?) c9 V( T) @0 p
As on a maiden's cheeks, $ f% Z* a( i X+ S$ |. Q
When she catches sight
% M( Z' D. i; e: e7 {" Z4 d" |- T6 { Of her coming lover?
/ a7 g7 z1 I3 q _, a2) Lo, the red afterglow,
) ^9 }& ^, l- q* X5 g2 a Against the sky blue!( v# p0 o6 _- a: m# w A5 g
Is it the fire of bivouac
9 H, g$ P F+ D9 k( ] Kindled by Nymphs and Naiads
1 c# }) A) d# p6 u8 k5 a3 Z On the banks of Milky Way2 k' b0 L0 m5 J( t2 G
Holding a celestial picnic?
9 G5 v! Q. g% ]3) Lo, the red afterglow,1 M; U9 k% M* T- o) ]+ i& l3 \% R6 q, K
Against the sky blue!
p! E$ u+ v; l Is it the ruddy gauze veil
2 b6 K) f$ s% G That veiled the face of Juno
9 h& q3 p/ B5 P7 U! _ \ On her holy nuptial day- E# I* s3 b* y% d4 Y6 T
When she married Jupiter?
# L4 o# w5 f1 P2 f4 \: j2 e4) Lo, the red afterglow,; v8 ?) J) i6 ]
Against the sky blue!1 _6 [6 P6 b5 R3 }
Is it the fire of Mt. Olympus9 C* Y, y5 E; e% m; u
Stolen by noble Prometheus,
, m9 a# L9 v/ }4 f' Z2 Y4 W And in his careless down-flight
1 Y" f" {' ~- Z* f& U2 O) H2 a Set the fleecy clouds aflame?
8 ^0 O. w" G' O$ m. i! B5) Lo, the red afterglow,
7 [8 \1 m$ i8 g C( l* ` Against the sky blue!
0 t# O! h+ M$ \( u1 k } Is it the blood of the heroes
3 g/ n( J1 r" U! E! Z7 V That died on battlefields
6 a$ g: L9 \* W. `, [ In the sacred defense
3 H1 l9 i2 }' K. l3 l* ] g* W6 Y Of their dear motherland?9 B# [' Z% R, k4 m6 D
6) Lo, the red afterglow, ]) S: k+ g* `
against the sky blue!
+ k# B/ _+ _0 h' Q7 J* q If it the Isle of Coral4 Z2 `2 t z p: P( t( [
Removed by a white witch
; z: @; f- g9 L* j From the Pacific deep- \# _0 J* V* ?% k
To the heavens above?
4 k7 I: D: z, W8 d7) Lo, the red afterglow,, [- Z# j0 h# u! n; ^( E. {
Against the sky blue!' N* k. s6 g& ]( V$ {( t
Is it a cluster of peach trees,
, c8 A T, W9 T7 a% F+ [0 c* v Their blossoms in full bloom,
2 q% Z, N2 ^, l, \5 _ Grown by the daughters of God
4 {5 o3 D; d& i; } And watered with nectar?
3 P: n: M( x# W+ U/ y8) Lo, the red afterglow,
$ g% R7 _1 Y5 c1 _" L2 A Against the sky blue!
0 _7 T% G' K6 M* S& X9 O Is it Flora's rouge
1 r0 R8 K8 Q+ U# O Spread all over the sky
! G. ]" P+ [+ {/ C: r By her frightened maids4 P9 ]( Q$ F+ l% f n" R, E6 ]
In escape from her anger?4 _! l1 Y8 W: W9 y2 U3 n% E- @0 S
9) Lo, the red afterglow,0 v" I; e+ E$ w7 Q
Against the sky blue!- x; l( N, Z! M# t% j$ I
Is it a large piece of sponge% D/ d$ p. V; g& N: ?
Soaked through with claret) R3 ]5 S v. X$ t3 P0 Z u* v
Upset from the Holy Grail: |: N, p, T( e4 t
By a rash cosmic pilot?』
' @! |0 a: S* j5 ?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
7 O$ d- C0 f! A1 d/ ^8 o; D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
2 v4 D; E* [& p( y5 }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 T/ T& M' ^9 o) {) ^
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* l" c) Q8 J, @' C
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
7 e0 ?1 Q: t9 R) ?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" Z* |' Q' Y4 ~4 \( K% U
的英譯。其原詞為「少年不識愁滋味﹐愛上層樓。愛上層樓﹐為賦新詩強說愁。 2 b9 Q( \& `& x3 Q" P
而今識盡愁滋味﹐怕上層樓。怕上層樓﹐卻道天涼好個秋。」其英譯為﹕+ L4 q: X+ P* `, p% U5 S
When young, I don't have any notions what woes really mean,( h8 F& m- k5 D$ _+ e( u& u
Just love to get on floors so high.
' K0 d7 K6 w) |& C8 A Just love to get on floors so high,) y2 e( {8 y f9 @/ C8 @
To write new poems, I try to say the words of woe and spleen." n1 I- E4 L' T1 F
+ t* m, S, S! {3 T3 s; {$ p+ g# A
But now I fully have ideas of what woe really is,
" t0 ^7 m" x! P( c Afraid to get on floors so high.
4 \) A4 j, d* z Afraid to get on floors so high,' N) j3 c" y e; T7 F
I only say in poems how good and cool the Autumn is.』
! J( b+ f: _4 a& _# d1 l* v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
, Y$ } f0 H. q" K8 N6 s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。
, G% o; }; h. H3 h) h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﹕+ K" K4 N$ S* I- r* m
『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& U5 _3 H3 c7 e; ^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 `$ w1 N0 C1 f' W% h# z3 x
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1 B" F4 U: ~% W9 M) u
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﹐4 _- r1 C3 z( z2 m+ ?$ N" }
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! }) @3 l- h1 T0 E) V2 L* r7 r
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 e; F; U* f9 k8 D( z
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
( p) ^. V6 ^5 f. J/ p5 A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 p" _; x$ `2 F0 K
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. v( a3 R$ J1 m
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 d$ l- g/ `6 W6 \! S
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﹕# ^: p5 K f+ n2 F/ m8 s2 t
Poor Odipus, a scapegoat he was! Accused of three great crimes, he 8 P2 O& K* o& A& x3 k
suffered a terrible tragic death ----a punishment inflicted on him by # R: x- f v4 Y& ~' E y" Q& F7 _
the gods on Olympus. When he learned his fate decided by the almighty 1 q3 L4 U2 p( n) ]
gods to kill his father, marry his mother and bring destruction on his " n Q* ?) U' j
native city, he wished to escape from it. But destiny was unavoidable,and
2 V0 V; q* f7 T- ?2 M1 N- Aunawares he fulfilled the assigned tasks. If the gods had decided his
; q7 O3 b+ H" M* @& Lfate otherwise, he would not have been a criminal, receiving an unjust
( x. N$ E" G2 T& w# t+ tpunishment and bearing an ill-fame for thousands of years. He was only
?* s' _5 l! J3 C+ @an executor of the wills of the gods who, struck perhaps with a whimsical 7 v, A2 K7 Q( F: Z) I5 f5 g
fantasy, played a practical joke on the helpless mortal. The gods were
8 @* M& b5 e4 b! a2 vthe plotters. Who then deserved the punishment? The gods on Olympus rather 0 A/ g# N$ v/ y8 M
than poor Odipus!』7 D9 u# x6 j ]- i
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﹐
5 m. f" h8 Y s, Z& o7 V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﹕/ i' W; O( i/ v# c# q* A6 o
『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﹕
' B) e7 j; M3 ^; f6 L8 \% ]' G7 ~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 ( ^# @" E, D+ ^* D1 O2 i3 I) T' g
ADDRESSES TO MONEY﹕" Y9 R- H" R+ L3 O4 {
1) Oh, Money! My darling Money! My respected Money! I'm your admirer, ! L% ^4 d' P: t9 S
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
; B+ [ }$ G3 h9 J* _your slave. With you I can get food to keep me alive. With you I can
5 q) h6 N, Z0 O/ \; S8 N7 R Eget clothes to keep warm. And with you I can get whatever I want, a ( X+ N8 [+ b6 B" W9 c
grand mansion to live in and all the superfluities of life for ostentation. 8 @% v+ p8 ]: {3 x/ ]
But without you my love will desert me. Without you my friends will
7 V! V( q7 ~4 U' W1 L& |( bturn back on me. And without you I'll go a-begging like a poor dog ! D2 r- h5 F4 x' o
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
1 l& x, L# F5 i% Jto me, I implore you! Pray, endow me with your favor and be sure that I'm w% m" ~% O2 b% G K1 V$ D l
willing to receive every small coin from you on my knees by which to show 4 [( D4 \4 i- D1 Y# ]
my deep-hearted gratitude. 』
* \& e5 i3 C1 V2 x/ q8 R6 g) K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。』% C+ k' A6 j/ K1 s; G) X. G
芝娜又唸道﹕『第二﹕) Y2 J7 U. t. z' T0 e& K
2) Oh, money, my obedient servant, my faithful slave! I'm your master, 5 ?3 b2 u, v4 W3 ~* }/ y9 ?
your owner. OH, money, my passe-partout, my almighty tool! I'm you user, * u9 x4 c) W% J* i
your disposer. With you I can start my enterprises. With you I can carry + _4 ^7 ^* d9 q/ Q- X7 d
on my great plans. And with you I can make the little world around me I; F3 c1 \% j$ W
go at my will. If without you I can still have a large store of learning.
! R/ n& W! i. c) N M9 L: h If without you I can still have an unpolluted name. And if without you & s0 C: g+ v% C' W; g
I can still live like a hermit writing books of great thoughts.
7 A! U% a* h- `8 E7 @! l/ tOh, servile money, come to me; my lad, I command you! Serve me well
6 Y' i8 d$ J$ r& ~ and don't be naughty, or I'll punish you.』
8 b X7 X/ ]( P' t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 V' z1 |0 i9 E/ y4 ?1 L8 y
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﹐: ?8 Z/ P. H+ x0 J: _5 [
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 BEAUTY5 H$ {" k6 s4 m/ G
(談美)﹕$ y6 U$ D7 M A1 _/ G
Beauty often dwells in youth. At sight of a charming girl, everyone 4 ?' T4 F7 `# L9 M& T( T* [. x
will exclaim, "My eyes! What a great beauty!" The male stares with
& r2 n1 A& [: R9 Ua thrill of admiration; the female gazes with a sigh of envy. Wherever
q8 X: S$ K- ]& `she goes, she becomes the focus of the attention. Men all yearn to win
7 e+ ]+ Y6 f w3 Y8 l. g, r) E' Xher heart; women all feel a regret unable to stand in her shoes. A glance
7 ^+ x% T3 a! |. B$ f& o Sor a smile from her makes the stingy empty his hoard of gold and the % p! V1 T# X' p0 A
coward give up his life for her. She enjoys her queenly position in society,% Y) c- B) u, M
proud of the possession of such a beauty. But the merciless Time
0 x( T+ q2 {# ~# ?0 S+ Udogs her steps, too. Her beauty is worn out with the years. She begins to ! v% N" f2 v& i6 N
fade away and the hardship in life, if any would befall her, will bring ! C7 @2 _4 K* N
more wrinkles on her face. Then men turn their backs on her politely with 1 o0 t. E: N( O& @: V
a bow; women look at her with indifference. The younger generation is magnetized ! A2 @/ u# K- I/ @5 ]+ z" _# \
round another focus. The old queen has to abdicate and leave the throne ) W7 _4 c- l) { s8 e V
for a young one to occupy. Only a photo or portrait can preserve her beauty
, H% ?# h! f7 R& O, A; bin youth and no Time is capable of doing any injury to her preserved beauty
9 N4 {0 O; p6 l) B/ Dbut the preserver itself.
4 k' k. y0 a: O: _% M/ ] Therefore, admire not the beauty without, but the beauty within. Such
4 r2 |1 E" D A A2 _7 \a beauty will never wither though Time also plots to do it harm. In the 8 x5 K5 r! T, x& Y3 \- n
struggle against the adversities of life and the ruthlessness of Time,
& B" I) m2 `) @( [" J' q, i it grows radiant, or even dazzling, just like a rock in midstream made U8 {! x% G6 I
smooth and glossy by the current of both the stream and Time. Everyone,
% y) T$ l+ b4 X/ z4 X: [in spite of the age and sex, if aware of it, will sing its praise either ! _ u& y F0 ~8 \( b
openly in words and letters or secretly in mind. It lives as long
' S4 L& j! {$ g2 o+ Zas the possessor, or even much longer after her dust may be blended into
/ l. }0 E4 k: [1 c" x7 n! Q1 fa vase with the clay around it.
6 T* y) K5 U" U9 _( P The outward beauty can only be the object of admiration or envy while
4 v8 L) S- M3 |8 p1 Jthe inward beauty, besides being a theme of the ode, can serve as an 3 s7 Q7 {# j; k6 R- u2 ]( ~5 V2 w
example to learn from, for the former is always endowed by birth, but 3 @3 s" `+ K) G' z4 f" A' i
the latter by self-acquirement. However, every man is free to hold
# i, ]" ~; w* \( Y2 y/ R1 P his own notion of what the beauty is and to choose whichever of the two 3 z7 _( F, j, D% v; R6 ?6 {1 F
beauties he prefers. Only his love for his bride select should not degenerate 8 f4 y; e' e& H6 h( H# ^
with the shrunken beauty.』+ {8 [1 C' Q" I0 c$ @* g
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: J* p* G7 I( M2 b9 t
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( I" Y- h% N# w: [/ l" [
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 。』: _, Q& S) w& `( r& f1 C( u# l' n
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
% R/ X' \ l( V( _6 K* E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6 n/ \5 Z( [0 y. ]
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
" M8 n" u7 x, o$ a& J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。
5 ]3 Y7 V* }. X! |1 J6 ^0 G6 X你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
5 X& ^" u' ?4 V6 |7 | A little boy walks by his mother's side, with one hand in hers and a balloon
; y9 K0 `! P' [3 K$ W5 ?7 X in the other. A sudden gust of wind snatches the balloon away from 1 I7 ~& a3 _* N
the boy's hand and bears it skyward. As it flies higher, the excited $ J' D* Y0 K0 O* l
people in the street all look up. "Surely," the balloon says to itself, / V, W4 `* @& k! Y1 ^) s* f+ I
feeling proud of its uprising, "they all envy me of my ascent." Then in its $ Z. b+ A/ T4 `' Q
upward flight it passes by a balcony on which a group of boys and girls
. \( a% G/ X/ a0 W6 r* e C* uare standing, giving a cry of excitement when seeing an escaped balloon 1 e2 S9 V/ A% w# Z( w
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
4 x7 n. R0 w/ x) Y3 _8 qthinks. Up and up it soars, above the roof, above the spire, through a
9 ^: r& L, \: w7 P7 S% wthin cloud, into the blue sky. Then a dove hovers near, but after a glance
+ T! \! Z9 v: H3 P* s* D, Rat it, flies away with indifference. "Of course, the bird nears to
3 j6 P5 I. O7 m3 V" L+ u4 P. m8 Tsalute me," The buoyant balloon flatters itself in exultation, "but as * j8 q2 v9 B; @% X
I ignore her to keep my dignity, she takes herself away in awe and respect."
9 a0 d' l2 K$ p: M. m The higher it clambers, the haughtier it becomes, till it reaches the
4 m+ a/ F' C- D) g4 U" szenith where it means to stay for millions of years, but, alas, it bursts!, Z, E" B8 j h4 R" R& A
』1 F% C) K+ ?+ Y' D% a7 J& ^2 S
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
2 }* G( j; j. m, [( q p0 t好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
* L( ]6 o7 i* _( x% X |, G l Etiquette is to society what apparel is to the individual. Without
5 M7 N$ _: g, s9 ?. b" E0 `3 q9 eapparel men would go in shameful nudity, which would surely lead to the
6 u: }/ y ] ncorruption of morals; and without etiquette society would be in a pitiable
6 |) z# ?7 O1 A& ]9 f9 zstate and the necessary intercourse between its members would be interfered ! T0 [& L% _. H, o. Z
by needless offences and troubles. If society were a train, the etiquette
8 v; \+ X& H' Z5 u7 A; i8 `would be the rails, along which only the train could rumble forth; if
& b$ h. @- t3 d8 N2 C* N- Y0 ksociety were a state coach, the etiquette would be the wheels and axis,
# f ]6 l3 i: l1 a1 Q" x0 h2 @5 p on which only the coach could roll forward.+ z2 B/ q0 q" R( x3 ^: [! E
The lack of proprieties would make the most intimate friends turn to 4 L, T3 q' G x( K
be the most decided enemies and the friendly or allied countries declare
" `! h s% b4 B8 R2 l4 |/ Hwar against each other. We can find many examples in the history of mankind.3 o( X+ B, p7 i5 `0 w) [5 D
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
# ~# x& H! D/ \5 Y) oby his favorite knight for a joking word. therefore, I advise you to stand , {8 @. D; s6 O* h0 ^" E
on ceremony before anyone else and to take pains not to do anything stupid
: X# f, S# ?8 d5 o! J$ J% Z, jagainst etiquette lest you give offences or make enemies.』
2 ?; Y7 S8 S" _5 k+ |4 O) W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
# C0 R' a+ v# S* j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1 ~8 }) U4 f8 @! ?
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9 y/ x: q" h0 C- s
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。
, u6 c. M S: H* Q% N# k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﹕ Y' I# b. V0 Q8 I
『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﹕* q- i; u8 J4 `: b+ x& E% \
『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﹐
( R2 R7 e, [" I b) d, f. ^; c* T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8 V0 X: {) r% v
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 R2 z* v- a- T8 [
銘」的譯文
( c; _4 q/ r; i" x" b2 ^! GAN EULOGY ON MY HUMBLE ABODE﹕' x5 g0 _3 m: e1 J$ X6 u
Known will the hills be if fairies dwell, no matter high of low; and " |. X# F- M( d( ^* g# M
charmed will the waters be if dragons hidden, no matter deep or shallow.
, V. J, w7 c- ~2 w- r A humble abode though this is, my virtues make it smell sweet. Verdant 9 b( c/ ~5 Y% q# `6 Q
are the stonesteps overgrown with moss, and green seems the screen
+ ]. ~# [+ ]! x4 m as the grass seen through it. I chat and laugh only with great scholars 0 X/ D: ]; [0 }; }' f
and have no intercourse with the ignorant. I can play lute and read my
: f$ U5 _1 R$ k$ r, i4 F$ c- n5 osutras; no unpleasant music to grate on my ears and no red-tape to make
0 r2 T% Q% p3 Vme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance 4 |( R/ M z/ S% k/ {; B+ I
in Xishu are both like what Confucius quoth, "How canth it be humble?" - s$ d5 Z0 s7 i# {
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 j! t8 Q1 C0 h" N. z; {( |) d! D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﹕! l' j+ R. d: U/ y
『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- W. j# }" G2 }8 p# u
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
9 {- b5 x/ n) |2 N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。』
$ f- c( Q [ d4 U: e7 a5 s3 h: P$ E5 N: ^
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
' x/ y. V, y5 T& Z- J$ v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 V; {1 Y% Y# F9 ~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 b) j) P* w1 [. \; o$ r1 W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" j4 ]6 @8 ?1 l$ y- @/ \
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
@0 G& x7 K6 z6 Y2 A 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; F% o' M* N& ?8 ~' N
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- H# b: f) O# O! p* J& }7 n+ @
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﹕
9 E% X- ^7 `7 g! V5 {* ]3 F『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
6 D/ K6 ^: m6 \2 F6 u% h0 Q音樂跳起舞來﹐直至興盡而散。1 w5 |% A! d% ^/ k2 r/ b4 [, X& 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/ h2 m' f8 j! S8 ^
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: \0 o: W& V
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' m& Q1 t! i6 v: 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
3 I0 A# a3 Q2 Y- o" Y, H+ u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﹐
1 r4 t9 [* a& b7 r. S1 w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
3 ]6 ?5 t0 G y0 O" i4 d X: d: ?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, @* p3 l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
; j* }; s# m, L1 h4 N, X# k/ 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。
1 R) U% {9 r$ y* x& |* u1 @' t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1 z$ k' X& y% s) u, _
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
. \; g$ h }: L5 H1 q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
, F0 O: K$ u% B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3 M! Y; S/ n% H7 k$ h1 k( O
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
4 k: t3 w9 M: p- y* v: ]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) T+ x+ B6 M- M0 W1 K& l6 c( J c
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﹐
1 N8 T& S2 s: c7 W* Q# ~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
- e0 o; t, U, J+ h) C7 x3 s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」/ {; V4 f* N7 c- M1 _ @
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
- F7 Z$ b! T. Z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 h) ^5 I( v: Q) N' W
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
) V9 V2 ?2 p& j& j8 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0 M) h2 F0 n* W# L! J* O" 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/ @% c; e4 m. A2 ~
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
Y! p! n) C8 N( m; p6 ~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
$ @7 P' j3 G6 M0 ]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! b: t, w' F5 M; @2 }: I/ _
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0 H( a$ @2 C. J( `6 `3 T: l
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 {, q% m0 w9 N& g2 w5 H* G* n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# v t9 J& k* `0 \
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5 a) Q, p5 g2 |3 z! p7 S
評論才會公允。』 |
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