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芝娜道﹕『下面一首是RED AFTERGLOW﹕: L& _: T% R. _6 K" w
1) Lo, the red afterglow,+ R; W% l+ I6 Z7 @- e& a
Against the sky blue! ( a9 Q H7 c& O% e) g0 T
Is it the blush of Heaven, , |9 J/ i6 s/ x, Q8 o8 j+ ]7 |; q
As on a maiden's cheeks, 0 k& Z4 ^" ~- K
When she catches sight
1 A- X& i9 w/ {' w! T Of her coming lover?
W* Q, p9 }9 @2) Lo, the red afterglow,
. e4 [. r9 x, F* G7 U! c, r Against the sky blue!
+ h2 C! T9 G3 g: t1 h. }: e Is it the fire of bivouac
. b+ ^* m% Q- A M8 b3 B Kindled by Nymphs and Naiads
- I$ Q& M5 ?: e8 @. v- X" K On the banks of Milky Way' L- N5 ]1 D5 Y: N
Holding a celestial picnic?
# Q; f. z3 c8 \/ M+ s, n* |3) Lo, the red afterglow,
9 {3 s. d' K; ~' n: `& ] Against the sky blue!4 f4 E+ w+ O- R2 F0 J* X! q% f
Is it the ruddy gauze veil) F5 w+ f# {9 f% v( U9 H. G
That veiled the face of Juno. m, s- N$ J G' Y5 h# q) f1 T1 u# d
On her holy nuptial day8 R5 F0 ?! w! [) R- k" z
When she married Jupiter?
. U. O1 {, o! P; C" _4) Lo, the red afterglow,
. |7 j# Y# {$ E8 W Against the sky blue!$ H1 L c2 U8 l+ @' @1 i
Is it the fire of Mt. Olympus7 f9 ?9 m( `1 w8 m4 c/ C: J6 t+ @
Stolen by noble Prometheus,
. E( C; p" s p# a) T; [6 K And in his careless down-flight: m6 e: A9 J4 j# Y
Set the fleecy clouds aflame?5 m) z0 N: p0 H. Q$ w4 f& a; U
5) Lo, the red afterglow,
3 }' _- t! h9 y) X0 R% N Against the sky blue!
6 `( @* t/ E/ K2 ~ Is it the blood of the heroes
5 P, t: ], ~! W) v That died on battlefields& M. `2 u J( F
In the sacred defense
/ B$ R; S" _5 a Of their dear motherland?
0 g% t6 R2 M- [6) Lo, the red afterglow,
' a) |( S0 W. w" ~+ W against the sky blue!; R2 d& t- {. B: M+ s
If it the Isle of Coral! ]8 w$ y: E& |; z, ?' B" r2 }
Removed by a white witch
" j; m( n( Y% r9 r6 b" I From the Pacific deep6 A( V K' r, F; m, M6 k
To the heavens above?
( M% |" S U8 y7 l/ Y6 a4 Z7) Lo, the red afterglow,
2 O. M# D* S4 H: @) C/ { Against the sky blue!
5 y. P$ F) f+ u& r6 o' v Is it a cluster of peach trees,
. _. y s" D7 x i( m' ^1 q Their blossoms in full bloom,! m- l2 c3 [ j- ^- W- _( j- z
Grown by the daughters of God- n$ ~. L2 m6 M
And watered with nectar?( u" H: B5 x! ^% {, [
8) Lo, the red afterglow,1 q* u4 f, y7 P9 [
Against the sky blue!
) F- z$ H, H# O% M; x- s# w/ e Is it Flora's rouge
, z. }1 q, @3 E5 ], M Spread all over the sky6 B2 E5 E/ \% Q: n
By her frightened maids+ r% ]4 k0 V/ g$ ?, V" s1 M* g
In escape from her anger?
- ?1 F5 b9 [5 x& Z l/ N9) Lo, the red afterglow,/ {6 ]$ N% g* ?" ]$ u- X
Against the sky blue!
! J2 \, A' I$ S# R1 y3 z' U4 _ Is it a large piece of sponge' r/ x; ^5 s. u; f* H
Soaked through with claret: B0 Y% ^5 `" _; I/ l( I4 r
Upset from the Holy Grail
! ~5 d% _" X2 @, p8 N& L; n1 y By a rash cosmic pilot?』
, i- b$ p4 G t- i0 d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
4 O! J- G. i% D2 z1 d+ a% g' A( u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
' I, q9 l( A f8 W2 q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7 X: ^& E! X/ X6 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
/ [! R/ E/ u1 Q: f; J# i0 J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 h* J' k7 \5 V. I
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0 Q/ P! I6 ^8 V% f* @
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。 - `8 j$ O; g3 j- C, s# q- l3 v) 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﹕
% P A2 A) b% _. R: QWhen young, I don't have any notions what woes really mean,
* I% g- r/ w% m" B; U1 \( }0 \4 Y- L Just love to get on floors so high.
" `: Z6 @/ @) ]$ \) X+ e Just love to get on floors so high,9 a) G7 M' l+ V# G5 d6 |; G9 R
To write new poems, I try to say the words of woe and spleen.5 S! m: t1 v; k, }
8 X. }7 x' x$ A( YBut now I fully have ideas of what woe really is,
' o# g9 f& g' m/ K1 v Afraid to get on floors so high.
. R& k+ e2 x2 g3 O+ g6 c Afraid to get on floors so high,) P, [8 k" m% R6 g6 F( P
I only say in poems how good and cool the Autumn is.』, M3 `* J2 a* H9 k6 k5 e4 N4 Y. |1 V0 k
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7 w3 ^2 n4 R5 M& A. {9 C
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。
- Q4 U9 J# d$ P' d0 Q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﹕
x% b0 V7 x# z: q, \' h『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# ?- `6 h- Y! b/ c& ?' n% x
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* Z1 C/ ~+ I7 e' U$ z, 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
- c! v [4 d% }6 `9 o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! x. v) F& R' F/ {4 O, v. A: d
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
2 K2 B( }2 Z) g+ l: o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. R8 x) M) q2 ^2 r
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: F8 ~, {+ l5 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6 H% R4 O* q( 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8 {* A$ K h! C: \0 S; c
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
6 R9 W& Y* |( v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﹕
* G$ t# c5 ]$ S9 ^7 c" sPoor Odipus, a scapegoat he was! Accused of three great crimes, he
8 x5 W& o1 z( U( q7 {' I: o. A8 Bsuffered a terrible tragic death ----a punishment inflicted on him by & J4 u; W; v' U, d2 N
the gods on Olympus. When he learned his fate decided by the almighty
# f9 t1 K' n% Dgods to kill his father, marry his mother and bring destruction on his 0 S! o' D" r& A% R( H' S+ @
native city, he wished to escape from it. But destiny was unavoidable,and 9 u- Q) j! h# p: Q1 [
unawares he fulfilled the assigned tasks. If the gods had decided his & ?/ d- q! X3 p! k9 P- v8 C
fate otherwise, he would not have been a criminal, receiving an unjust 4 \/ s" \' J. h9 b
punishment and bearing an ill-fame for thousands of years. He was only 8 z9 u8 ?& H4 ?) ~8 P: m
an executor of the wills of the gods who, struck perhaps with a whimsical
$ Y4 A1 Q8 z9 x- }: O1 a2 y# ]fantasy, played a practical joke on the helpless mortal. The gods were ! y- b+ y; ]5 M$ ~3 I/ J
the plotters. Who then deserved the punishment? The gods on Olympus rather
5 K/ s, y/ B4 _, h& V) W. Athan poor Odipus!』* a( b* e. w$ X1 L7 F: 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﹐/ F3 t/ l3 w# W6 I7 P/ d+ 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﹕
) D+ r- m5 U# I2 _, I『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 F; C \: A. [
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 f( k9 d2 `; q+ ^5 R+ ^. G0 G4 kADDRESSES TO MONEY﹕
& W0 u" \/ ~! I9 |0 d1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
- C7 N- g' V9 ~8 ~your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
! B3 v2 Z) {5 | K- n) q2 jyour slave. With you I can get food to keep me alive. With you I can 8 F" w' G) \* D ]+ p4 {. @
get clothes to keep warm. And with you I can get whatever I want, a . F7 V& \0 a3 {* w8 Y2 c5 B
grand mansion to live in and all the superfluities of life for ostentation.
" u* `/ O( D: v* j8 ~3 h) [But without you my love will desert me. Without you my friends will $ d2 j& @) @2 o0 F7 F5 F+ H$ |
turn back on me. And without you I'll go a-begging like a poor dog # P3 F3 g3 }7 Z7 ~( ?
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
, a- U# n& @/ r, oto me, I implore you! Pray, endow me with your favor and be sure that I'm * q! B+ d: H `& u+ Z
willing to receive every small coin from you on my knees by which to show
$ L' E) u8 J3 {* }7 @my deep-hearted gratitude. 』5 F, W, t2 D" f( h8 A7 t( v
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。』 {+ s3 d9 I% _) ^
芝娜又唸道﹕『第二﹕
" \: H8 M* t2 p" L( l. K2) Oh, money, my obedient servant, my faithful slave! I'm your master, : }, w! I1 `% f/ V1 [
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
; `, V8 M0 }4 R9 v/ H# d! i# O9 cyour disposer. With you I can start my enterprises. With you I can carry
! E# G5 ~! W: ^% u+ A3 Don my great plans. And with you I can make the little world around me 8 ?5 l( c# H2 n5 ^
go at my will. If without you I can still have a large store of learning. 5 G' ~: R4 A7 _7 Z# Q0 a/ A
If without you I can still have an unpolluted name. And if without you ; ?+ f8 F# A1 f! p
I can still live like a hermit writing books of great thoughts.
1 b+ p, A+ S9 ?+ u$ f( m N" EOh, servile money, come to me; my lad, I command you! Serve me well
! g# g& K8 @; P7 J/ ` and don't be naughty, or I'll punish you.』6 _# n, {+ M) r+ s8 {/ Y" @7 y
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 r8 \9 b% u5 }% L9 V6 s: c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﹐. c6 W& b7 u- C) q# f* [' w2 h- ?8 Q
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 BEAUTY6 w4 w& T# y1 y O: l1 W/ R3 W6 u
(談美)﹕
& g& k2 Y4 Z; ]9 r9 q% m, f* ? Beauty often dwells in youth. At sight of a charming girl, everyone
* f% z+ \1 m7 r1 o9 w" ~9 D! ^will exclaim, "My eyes! What a great beauty!" The male stares with 5 v( ?% o& B' o$ p4 G' J
a thrill of admiration; the female gazes with a sigh of envy. Wherever 4 a) }0 B: U/ L( A
she goes, she becomes the focus of the attention. Men all yearn to win 4 o) M$ G4 R+ T* a' w9 J
her heart; women all feel a regret unable to stand in her shoes. A glance
# g5 C4 p. [9 h% eor a smile from her makes the stingy empty his hoard of gold and the
! G1 P3 ^, u6 D! jcoward give up his life for her. She enjoys her queenly position in society,# t) `. u0 Z# ]4 }
proud of the possession of such a beauty. But the merciless Time
7 @( L% B' Q& p& zdogs her steps, too. Her beauty is worn out with the years. She begins to
* t$ G( p7 t; q" C3 Hfade away and the hardship in life, if any would befall her, will bring r& k) o: a& I! S
more wrinkles on her face. Then men turn their backs on her politely with ) L9 Y1 v9 K% v
a bow; women look at her with indifference. The younger generation is magnetized
# r4 ]3 P* P" Tround another focus. The old queen has to abdicate and leave the throne
% S) e, ]8 L8 I% Qfor a young one to occupy. Only a photo or portrait can preserve her beauty
V; e! C. ]0 A) x- F. v1 Z+ n* Fin youth and no Time is capable of doing any injury to her preserved beauty
4 D V& T4 m O5 U2 Abut the preserver itself./ |- Y8 O9 e" B. N7 Y' _
Therefore, admire not the beauty without, but the beauty within. Such 7 k3 n" R. `& V9 S
a beauty will never wither though Time also plots to do it harm. In the # ?% @. D% S1 Q! P6 o2 X
struggle against the adversities of life and the ruthlessness of Time,
/ x( J' j! @5 f" B% m it grows radiant, or even dazzling, just like a rock in midstream made
* h i( G( ~4 E7 T6 G/ h* m smooth and glossy by the current of both the stream and Time. Everyone,
. A! P3 ?8 T# iin spite of the age and sex, if aware of it, will sing its praise either 8 H" r, O1 r4 o' M: K; i" M* w
openly in words and letters or secretly in mind. It lives as long
' D5 s' b9 b% J& [& h6 Das the possessor, or even much longer after her dust may be blended into ' z3 N' |! \, F3 r4 N0 t5 D
a vase with the clay around it. 8 [ F* ~ S. E# `
The outward beauty can only be the object of admiration or envy while ( R! E) s W- v6 |, ~) O
the inward beauty, besides being a theme of the ode, can serve as an " V q6 `3 _ h3 o k! W0 `1 a
example to learn from, for the former is always endowed by birth, but
( ^3 ]$ |) k$ j! t1 P* q" U, kthe latter by self-acquirement. However, every man is free to hold
! w3 ~4 x2 r9 t" N his own notion of what the beauty is and to choose whichever of the two 1 H' Q# Y0 G' Z' |/ n8 Q
beauties he prefers. Only his love for his bride select should not degenerate * N" k) g" u/ L: L; D& {& ?
with the shrunken beauty.』3 `4 }# A! o4 z+ r
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
$ u- }7 e3 o3 w5 {3 {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+ H- }) b% X; r" N3 v s
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 。』
0 `" r; P( }& \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 l0 O( q; M4 S4 F8 B
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 q9 n* z7 M( c+ L8 M# B
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+ B+ k+ {( c9 Z9 S& i
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。' s1 n! }; }& S: }- B
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕: Y9 d, p1 N3 J) _
A little boy walks by his mother's side, with one hand in hers and a balloon ~# _5 a3 F0 S# J3 `3 Q! U8 `$ d
in the other. A sudden gust of wind snatches the balloon away from / n* k) L2 Y" T/ ~ X
the boy's hand and bears it skyward. As it flies higher, the excited 6 U4 _% M! F, _/ P+ |
people in the street all look up. "Surely," the balloon says to itself, [. H' [7 o( k+ x+ A' D
feeling proud of its uprising, "they all envy me of my ascent." Then in its
3 n7 l' t0 O3 v+ u }: Oupward flight it passes by a balcony on which a group of boys and girls ! f* m0 Q0 E2 X( J* Q3 I1 o {/ o
are standing, giving a cry of excitement when seeing an escaped balloon ) M% ~$ L/ `6 z. K, L/ b( m2 A$ O
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
* T3 S! E" O$ P, F# R. z' Pthinks. Up and up it soars, above the roof, above the spire, through a $ _4 ]$ b6 S, O( G2 A" ?! b
thin cloud, into the blue sky. Then a dove hovers near, but after a glance
. B2 P+ x( Y* |( l: L$ `5 hat it, flies away with indifference. "Of course, the bird nears to
) L2 l; j. R; j: Csalute me," The buoyant balloon flatters itself in exultation, "but as 0 ?. f) b( [6 c/ a+ B( q1 c9 j
I ignore her to keep my dignity, she takes herself away in awe and respect." ; B9 O) Q: z' { g( l. q
The higher it clambers, the haughtier it becomes, till it reaches the . D0 [6 ]+ L1 |2 D1 R. O
zenith where it means to stay for millions of years, but, alas, it bursts!
3 a$ `: h, |! ]1 m8 x+ f』
# ^& C# M9 ^& O* c$ E1 [: ?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3 c- [- C6 j" O5 c" T
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
?3 r" }% r5 t/ x Etiquette is to society what apparel is to the individual. Without ; k1 I4 I. ~6 u r+ c8 v
apparel men would go in shameful nudity, which would surely lead to the * S8 X1 ~2 O4 A# z9 O6 @* c- D
corruption of morals; and without etiquette society would be in a pitiable
' I0 A+ k5 T2 estate and the necessary intercourse between its members would be interfered ; A2 P2 P u' V& h
by needless offences and troubles. If society were a train, the etiquette
' t4 G& t' n5 D9 ~would be the rails, along which only the train could rumble forth; if . c7 u8 P4 i) S8 K/ _0 T) _! n
society were a state coach, the etiquette would be the wheels and axis,
9 H- N5 I# B6 C% G/ I on which only the coach could roll forward.
, E* p( j( K4 i' R The lack of proprieties would make the most intimate friends turn to 3 y5 c- C' X9 {( b/ l
be the most decided enemies and the friendly or allied countries declare
- [. Q! s+ k. k5 W% b3 o/ K' {war against each other. We can find many examples in the history of mankind.
$ \+ b. t1 p) ?( } A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
8 P, s& V4 |1 b$ Q" y& ~: `by his favorite knight for a joking word. therefore, I advise you to stand - k& X9 f+ m7 H3 |+ R2 n c
on ceremony before anyone else and to take pains not to do anything stupid
% {1 `; j. k5 f! wagainst etiquette lest you give offences or make enemies.』: C7 c/ g7 I: N; O. p2 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* U0 g0 t1 T% r: c
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2 c# O" z8 S% ?) O9 p) k
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
0 T8 j+ t$ x8 D3 f+ Z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。
0 V3 m2 V w* }/ k: d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﹕
, M v: z& T$ F' p3 f$ {( {+ j5 H『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﹕
4 H+ }# Z5 q4 ]0 n『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﹐
; x2 y' B5 I9 L4 N" 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
* W7 g7 S. {9 x2 ?, r% B r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, b* [+ Z l) e; K, ^% z- N8 M; J
銘」的譯文
/ X7 j% P8 O/ CAN EULOGY ON MY HUMBLE ABODE﹕8 L# x- P- g7 J
Known will the hills be if fairies dwell, no matter high of low; and 5 h. T! |9 q/ ~. I1 w( M
charmed will the waters be if dragons hidden, no matter deep or shallow. 9 N/ s% @5 i8 ^8 N+ m; c
A humble abode though this is, my virtues make it smell sweet. Verdant
) n; h2 H q# v" r+ A$ b. jare the stonesteps overgrown with moss, and green seems the screen . R# s$ t0 Y5 c' V1 c2 m. A
as the grass seen through it. I chat and laugh only with great scholars
i7 a/ ]# ~1 p% s. y+ ~* hand have no intercourse with the ignorant. I can play lute and read my
* J! ~$ V9 V. w# Isutras; no unpleasant music to grate on my ears and no red-tape to make ( x4 h+ H1 H7 h5 w# s( c
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
7 j% o* V7 j6 {4 B/ lin Xishu are both like what Confucius quoth, "How canth it be humble?"
0 Q. {3 u, Y% a3 \. \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。6 w$ @, {. B8 \. Q/ v
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﹕, p4 t5 @( j6 K. _
『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# \* z; t8 n: q5 M) 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) r& Q. ] B0 E! \* K
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 D' @7 j1 ]/ Q/ `/ h" R* ^
3 v O; D1 V; [8 u5 J( K& r 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4 P5 R( }# ~) D3 n% t" U( ?
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 [) e( M0 A
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。』: _" P: N4 M/ G5 c
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! d3 k, n& H6 E. P3 b& ^0 }$ R
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。/ `$ o5 {2 V+ n" b; R T3 @7 f) K
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
' H0 J2 J1 O3 l: X; F7 Q# _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8 z# \ @- K2 ]( d1 G
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﹕
0 M/ p# D1 a6 p, ^1 a4 c『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% C! p- ^ L% g+ P
音樂跳起舞來﹐直至興盡而散。, r" ? G$ X" g: g6 i" |
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, v& X9 s; j! l# w0 K: V: n
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
4 a/ K+ f' T" ~8 Q1 I% m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
+ K2 I3 `8 |- q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7 P7 Q' n6 j4 I8 R: p
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﹐. J9 [: A+ _. F9 T& t& ?2 y; |
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0 F1 a5 A0 K# f1 F, R2 T0 ]4 F6 i
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
3 M( D' l! H9 z3 F1 ]" g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
$ e7 X, h" H! e; y* {6 D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。
% H, ^. e- N( M- y4 q7 F" F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
Y+ O# g$ ]- ^% L# 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# Y( K% y, h4 i5 K. Q) 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4 t% D$ G* S% |; X _0 I+ l5 r; q! e& 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
1 a6 u: G8 u3 @* t1 W l, F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
. W% c' T2 m+ J9 m3 B# m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
& {" X2 T. t6 p! p2 v9 \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 G+ x. p6 u3 v: Z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
! I. s, D. M# I. C, Q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」
}5 a4 z+ h" I4 R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
0 T& z6 K* W3 v d0 D8 `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
' b( b: k: M1 X1 R1 O) |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
+ t2 w5 I) i/ g$ I( n5 f4 B: ^7 @3 {- H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
1 A. Q/ w9 c; J) u: V4 v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, S5 I' {# F& X- ]2 `7 ^2 j( [
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5 d% l2 J F+ J& l6 [( J
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
) Z. ]1 g, 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
# L( C5 X5 q" s m7 ]& v+ d5 E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
7 `3 r" V& }' L6 Y1 H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。』7 B% B7 d9 W) j
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
( W) b& r; E* G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
/ Y `: R$ H, S- q7 }: B評論才會公允。』 |
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