|
|
芝娜道﹕『下面一首是RED AFTERGLOW﹕
R8 _ }/ q/ f7 R6 o! E1) Lo, the red afterglow,, ]9 i6 D. O" h+ P2 A o
Against the sky blue! - P' V% F, J2 U3 N
Is it the blush of Heaven,
4 Y2 l2 ?2 e( `- `& E5 g4 Z As on a maiden's cheeks, ( ~2 O9 E4 l$ J8 z+ |$ f
When she catches sight2 z" S) L4 \ {, h2 g% _
Of her coming lover?
0 k/ o7 J' }) e$ G2) Lo, the red afterglow,
+ r! w. S8 u+ { y0 Y! y/ A6 ?+ L, D Against the sky blue!" }, A+ c1 W* o/ u' W* g
Is it the fire of bivouac$ L& h* S9 \6 K j$ d
Kindled by Nymphs and Naiads2 t: m- T3 H; _, h6 {% ^
On the banks of Milky Way7 Y! I) T P0 z8 b* c4 a% l: i# T L
Holding a celestial picnic?
& K$ ?; T3 `& V$ [/ F3) Lo, the red afterglow,
f- [* E y- q9 O" G Against the sky blue!
, t8 {6 }4 }. i Is it the ruddy gauze veil
# Y5 P$ ]% ~) J" H& W5 S$ G That veiled the face of Juno
- Y# d o% K9 @% I, `. R On her holy nuptial day1 a2 {/ ? y; O `9 x0 n0 U
When she married Jupiter?6 R5 W# L! J/ A, q. i$ o
4) Lo, the red afterglow,: {8 m" r7 t3 q( p3 S1 [; t/ H
Against the sky blue!
/ u X7 O8 _2 E* T) l h Is it the fire of Mt. Olympus; U1 U; _) S0 v0 M
Stolen by noble Prometheus,' W+ h1 w9 {( L+ p
And in his careless down-flight
) Y1 @: l1 }# c+ I/ T Set the fleecy clouds aflame?1 c7 a( W" C8 g: a
5) Lo, the red afterglow,6 ^2 m3 ^% L$ `3 c" v0 W0 e
Against the sky blue!# X( g% k' f9 `* Z& F L" D; y4 p) M
Is it the blood of the heroes& h r# c" ^7 F# ]
That died on battlefields3 Q4 @% {" t; ^5 @3 k8 s
In the sacred defense
$ H# F4 v: p2 D$ e6 e$ t, j/ @4 B. Q Of their dear motherland?
/ Q- y/ \) y8 T) z" i, Y0 Y6) Lo, the red afterglow,
+ X3 H, o3 R( h' x; ]8 `1 H against the sky blue!
. S l- E5 {3 _5 g4 @ If it the Isle of Coral
$ E4 O1 d3 t6 J. S6 [( Q- m$ `) h Removed by a white witch
" U Y1 _# S1 a From the Pacific deep8 ^& {3 H' |& B" Z* H/ g
To the heavens above?9 j( i- L& _1 O9 Q2 f; [
7) Lo, the red afterglow,3 r2 O5 h2 E, `6 P7 r# d# n
Against the sky blue!
6 L2 B! j5 l+ Z0 R$ j; H+ g Is it a cluster of peach trees,
- k6 k0 T' P- P4 x Their blossoms in full bloom,
! w9 q$ ]3 |! z4 Q3 r1 F; B Grown by the daughters of God
. ~0 F) y" E6 d4 ?1 a/ _/ T; Y And watered with nectar?: ^. x0 F4 Y: q k8 v% D* P1 l
8) Lo, the red afterglow,
) }' x/ A- U( |* `- N' E Against the sky blue!+ [; v ^/ b/ R- }' v
Is it Flora's rouge/ z( g3 l/ {% J8 G1 J8 V% \
Spread all over the sky
9 h. u& u: j6 c+ J) G8 H/ v By her frightened maids' ]: A q' ]+ k* }/ s3 y; h) V
In escape from her anger?8 |- n/ w. W. s% F( X9 n
9) Lo, the red afterglow,
# D% \) A/ }6 b$ K Against the sky blue!
' D" v% Y) r6 o1 n. ]3 F- | Is it a large piece of sponge- s+ }: m' M# I& p" v( ~" q1 c
Soaked through with claret
+ b a4 t8 p4 |- ^ Upset from the Holy Grail% M8 [: P* v, _! K
By a rash cosmic pilot?』+ o' m; S: |, k% J7 y; m
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
9 J$ [4 x# B; f/ v' d; J- {: y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
* X; F( p' h8 S+ L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
% L( C7 h$ ?, }/ s6 X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 \1 l$ {. g6 S5 k3 R
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 v2 U8 W% B1 @ P# W, F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/ Y5 H# |8 e# M
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。 # i8 v% B5 a& s# s3 i
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﹕8 h# L0 e8 E9 m E4 ?# L; y
When young, I don't have any notions what woes really mean,
! \3 Y4 i! D5 n& G$ q* E Just love to get on floors so high.
9 G* k- E( v0 i0 E Just love to get on floors so high,- R2 i7 \, t+ h6 |
To write new poems, I try to say the words of woe and spleen.
0 ?. p2 w& Q v
% C) d! i, j$ z2 [ y2 E0 e6 lBut now I fully have ideas of what woe really is," ]% e* M9 M- s X& r
Afraid to get on floors so high. 6 }0 ^5 f$ O4 I0 f( }$ \6 P
Afraid to get on floors so high,2 Y8 o) G; [! z! f' u8 W% `
I only say in poems how good and cool the Autumn is.』7 j {4 S; _8 R
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
; o% {5 p# S4 }4 L* U: T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。; H2 Y, d1 n$ |2 M7 o
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﹕
* [0 N7 @: [0 a4 z『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0 m) E3 K0 O' P" C/ A
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3 `8 j8 O, q: G% h; H- ^( ]
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% S" C9 [5 H, Z9 W
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﹐" k$ N( V8 N& X9 K: j. Z; T
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6 {, l1 h$ m7 o- p
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 R$ _4 I9 t4 x' |
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8 k9 I( [! G: b- o
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. Q; A) [9 D; n$ [
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
1 X- S: Z- Z3 m4 h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4 A' g; I; N! T# _* W& {3 J7 k
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﹕
, V( \/ l+ x# U; T; VPoor Odipus, a scapegoat he was! Accused of three great crimes, he 4 V$ [9 `. O1 X& z+ o! j$ O& `
suffered a terrible tragic death ----a punishment inflicted on him by
, f* z! `: ? r4 @* O3 Ethe gods on Olympus. When he learned his fate decided by the almighty ' X) `, r; p: |% S; ^% T
gods to kill his father, marry his mother and bring destruction on his # B- C- x- [- `+ |2 i* l
native city, he wished to escape from it. But destiny was unavoidable,and 8 T9 W3 o+ E& r5 X5 U3 i2 y1 x3 c4 M
unawares he fulfilled the assigned tasks. If the gods had decided his
! a0 C7 y! b' x5 ^8 s' @+ ^fate otherwise, he would not have been a criminal, receiving an unjust
7 Z' i- t9 E3 R kpunishment and bearing an ill-fame for thousands of years. He was only ( S: Q; m3 J$ K
an executor of the wills of the gods who, struck perhaps with a whimsical
1 a/ @# Q2 a! g! g0 ofantasy, played a practical joke on the helpless mortal. The gods were
* t% F$ r% e$ d* k$ @the plotters. Who then deserved the punishment? The gods on Olympus rather
; y, j! E6 b( @than poor Odipus!』
$ V0 |( f7 M+ l+ r( v. F1 j, B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﹐
9 E& A; e) h2 q5 G0 E8 ]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﹕
9 R6 j% L. J+ d( v0 u# V7 Z+ }/ I 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﹕
4 o" f& h! O$ ]4 G5 s3 n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
; }/ ?( y4 ]" ~7 RADDRESSES TO MONEY﹕
8 X* U* g" G( \' S+ \) _! h1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
" t7 v5 T9 W3 E& k2 eyour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, . u* L/ O/ Q# u) @/ g
your slave. With you I can get food to keep me alive. With you I can
$ d T- ^' s9 W. J" j6 u yget clothes to keep warm. And with you I can get whatever I want, a 4 I% d2 d& i8 D6 n8 |
grand mansion to live in and all the superfluities of life for ostentation.
9 k7 w1 R" C- B* N5 F/ x0 P0 oBut without you my love will desert me. Without you my friends will - @% W/ l" U g1 z
turn back on me. And without you I'll go a-begging like a poor dog 1 Y( ]( S0 b; w' o( b, E- m: U
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
q! X: H% ]- X3 G6 ^5 o) @7 Qto me, I implore you! Pray, endow me with your favor and be sure that I'm
6 _0 [& w* @" v! { ~- N# O( Swilling to receive every small coin from you on my knees by which to show
& q4 x( Y' y% @* f6 y2 l- Jmy deep-hearted gratitude. 』
. e Z& O- l: ~0 f, `4 k9 o# B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。』
; u8 i1 [, ?) i0 Y1 b& I* |芝娜又唸道﹕『第二﹕
/ V- }# e# y' T4 S2) Oh, money, my obedient servant, my faithful slave! I'm your master,
% P- A: {5 s2 O# |4 G, Byour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
h4 y! x7 J2 l9 v' s: hyour disposer. With you I can start my enterprises. With you I can carry ( `* D6 B+ J1 e% [1 e; T
on my great plans. And with you I can make the little world around me * F, Y) N7 U8 S7 a
go at my will. If without you I can still have a large store of learning.
+ M( h2 o4 ^3 W If without you I can still have an unpolluted name. And if without you
% K w# Z+ I% f" G9 J1 _% r I can still live like a hermit writing books of great thoughts. ; U: r3 k' Q. q4 I
Oh, servile money, come to me; my lad, I command you! Serve me well
) C3 e# y8 X2 C2 y, K' F% y8 K& L. j$ g and don't be naughty, or I'll punish you.』
8 ^ D" S9 t7 u$ v5 |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; r/ p, H: t& Q5 K( h$ Z5 d
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﹐+ ^5 `9 f( `6 L1 X! H. Y2 g
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
! A" S7 E% m4 p& N* X(談美)﹕
! q8 T9 i. ]8 f& E; D, N Beauty often dwells in youth. At sight of a charming girl, everyone
# C7 r$ Y2 A- uwill exclaim, "My eyes! What a great beauty!" The male stares with
( J8 k/ m5 R6 W5 {4 c, W% Va thrill of admiration; the female gazes with a sigh of envy. Wherever
- E, V u* u) Cshe goes, she becomes the focus of the attention. Men all yearn to win
5 z4 f1 `6 S5 t) lher heart; women all feel a regret unable to stand in her shoes. A glance
' ?( m, ^, E* r. l" x4 eor a smile from her makes the stingy empty his hoard of gold and the
# s. T, W& k: `) u) pcoward give up his life for her. She enjoys her queenly position in society,
+ l: K A* g3 c5 v- r3 } proud of the possession of such a beauty. But the merciless Time
1 n2 E. y1 D7 Fdogs her steps, too. Her beauty is worn out with the years. She begins to
* T" O" t4 ~1 O4 n: q5 efade away and the hardship in life, if any would befall her, will bring
9 A8 H( i( B( v7 R8 i- Omore wrinkles on her face. Then men turn their backs on her politely with ( A* ^1 l% Y) s9 c* U" H' L# ]
a bow; women look at her with indifference. The younger generation is magnetized 1 ?# x2 L5 |4 B! u( ?
round another focus. The old queen has to abdicate and leave the throne
: C1 l n# x0 }) A8 D5 {for a young one to occupy. Only a photo or portrait can preserve her beauty
7 z% t, D. n0 R/ P+ _" C X6 J& din youth and no Time is capable of doing any injury to her preserved beauty ) Y( o# K' u+ [6 ?7 k! c( o
but the preserver itself.
|2 @3 B i; @8 y4 W Therefore, admire not the beauty without, but the beauty within. Such
, d. w& f! F7 J: Ta beauty will never wither though Time also plots to do it harm. In the
5 @( M/ D7 d; Y( v. A" zstruggle against the adversities of life and the ruthlessness of Time, # c; R9 T/ t& z" i; D1 a; H8 S2 p
it grows radiant, or even dazzling, just like a rock in midstream made
5 [, }' W; W2 R7 B5 p/ `& O smooth and glossy by the current of both the stream and Time. Everyone, ! g3 y7 K; Z# I5 t% j: J) l
in spite of the age and sex, if aware of it, will sing its praise either
/ o' m3 l- \: Z openly in words and letters or secretly in mind. It lives as long
: _7 b4 }: W( y" fas the possessor, or even much longer after her dust may be blended into L# O; s# U; [7 A
a vase with the clay around it. . Z7 s; }/ A2 U
The outward beauty can only be the object of admiration or envy while
: y8 [. W! M3 `; fthe inward beauty, besides being a theme of the ode, can serve as an % n6 B5 u( I Z/ D' w
example to learn from, for the former is always endowed by birth, but
8 W+ y' [" t# r& k+ I: c5 F3 vthe latter by self-acquirement. However, every man is free to hold
+ \' Z2 j% d0 S; u0 V his own notion of what the beauty is and to choose whichever of the two
* \. z! o6 \ L2 O7 @2 ]% W' Rbeauties he prefers. Only his love for his bride select should not degenerate ( q ]+ n @* J1 R
with the shrunken beauty.』
2 U9 s3 B4 v1 e$ k. S# Q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
% m6 E* F8 a# ^' f+ b/ C) O# p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
5 U4 v% K, Y2 m! M+ V- Q. N/ }) i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 。』8 x* n% u8 Y2 Y) ]- k
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4 Y' Z- m3 o/ A T) [
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5 l/ M* J/ F2 L
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) X6 l; b! `/ B8 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。
, t1 u/ ^; a; e你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕) Q. g$ g/ A* [. f4 d
A little boy walks by his mother's side, with one hand in hers and a balloon
& x1 Z( L7 W. {8 v/ M in the other. A sudden gust of wind snatches the balloon away from / v# R5 o; W- G* R e9 x( L+ C
the boy's hand and bears it skyward. As it flies higher, the excited
$ o: B- j: f/ f2 o8 @! q* u6 z$ tpeople in the street all look up. "Surely," the balloon says to itself,
/ n+ Q% y" `" L- R/ hfeeling proud of its uprising, "they all envy me of my ascent." Then in its
- o7 N y, ? x$ I# T( }# @! E( G/ Aupward flight it passes by a balcony on which a group of boys and girls
" i/ ?7 C" q0 H6 [- G8 S- mare standing, giving a cry of excitement when seeing an escaped balloon
6 H$ M; [6 G2 V z0 nhurry on its way of freedom. "They are cheering me, I'm sure." The balloon 4 `$ ^- n! \- ]* b7 J# f
thinks. Up and up it soars, above the roof, above the spire, through a
4 _7 Q5 M$ {7 o! e* D: n/ `thin cloud, into the blue sky. Then a dove hovers near, but after a glance + x( l8 A' G+ v
at it, flies away with indifference. "Of course, the bird nears to 1 }4 p q5 k# C5 l. _4 t
salute me," The buoyant balloon flatters itself in exultation, "but as
# G- H8 o3 P8 ^5 P0 a/ OI ignore her to keep my dignity, she takes herself away in awe and respect."
8 p( B Q# P' s4 T/ X# r The higher it clambers, the haughtier it becomes, till it reaches the : g" m0 F2 a+ Y; o6 b& _
zenith where it means to stay for millions of years, but, alas, it bursts!
" @& ^. i& ^( K』; p) J0 J" T- ?# U8 q
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 B. d4 A- ~7 B4 s
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
/ h+ j) T' g! ?. I+ M; _* s Etiquette is to society what apparel is to the individual. Without / u6 ?. Z- e" f4 Y
apparel men would go in shameful nudity, which would surely lead to the
9 v$ V8 _+ V# B0 l5 pcorruption of morals; and without etiquette society would be in a pitiable
8 \ a% @" ?7 d) A( istate and the necessary intercourse between its members would be interfered ! B& w9 I2 v. d5 d3 u8 N
by needless offences and troubles. If society were a train, the etiquette 3 J- j/ E [; e2 e- b
would be the rails, along which only the train could rumble forth; if # p& G9 J' B, |9 G6 d* e# P
society were a state coach, the etiquette would be the wheels and axis, 3 s+ n* x/ q/ i. ?8 a
on which only the coach could roll forward.
$ h# t- h& T' h3 A4 {& g. M" y The lack of proprieties would make the most intimate friends turn to
, o: z3 F+ {9 h! h. Zbe the most decided enemies and the friendly or allied countries declare
2 _' }$ ?( v+ P( I; ~war against each other. We can find many examples in the history of mankind.
. ]* N2 O3 s, ~+ O4 W A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
# V$ I* E8 V) d: b% Oby his favorite knight for a joking word. therefore, I advise you to stand
8 V k% y% i7 M( u8 Ton ceremony before anyone else and to take pains not to do anything stupid
5 z/ q( Z7 Q# Z4 dagainst etiquette lest you give offences or make enemies.』9 O* n$ Z2 s; 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5 `2 t1 t# z2 D) d' [7 [
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7 a0 H" v% Z" x6 q" i }
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! x0 d# v% ~- {) W8 _
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。2 f1 S7 g+ b6 o* {" c8 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﹕; ?+ z" J. p% D( E% }9 K
『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﹕
- S( d+ o' @+ r8 Y0 ]7 r『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﹐
: u! p9 o3 V, k. u( d0 I7 T6 ? n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
3 k; k1 I, {. 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 j' [4 h4 K$ y1 `7 x. o
銘」的譯文
: @" z: y! p2 N8 _* ~AN EULOGY ON MY HUMBLE ABODE﹕( N5 P% z F, e z% q6 d
Known will the hills be if fairies dwell, no matter high of low; and ; e/ f- U, M& I! P( B0 Z S; m8 K$ K
charmed will the waters be if dragons hidden, no matter deep or shallow. # ~# o- f2 @' g3 z7 t
A humble abode though this is, my virtues make it smell sweet. Verdant
* @# V: G8 `% Q; C9 sare the stonesteps overgrown with moss, and green seems the screen
6 K8 t/ {0 U5 M% s# X# j) Z as the grass seen through it. I chat and laugh only with great scholars : y! s* F h; X/ [6 L
and have no intercourse with the ignorant. I can play lute and read my
1 t m4 i2 \- @ b& f, tsutras; no unpleasant music to grate on my ears and no red-tape to make ! H# p4 ^* m. A" F$ f% g
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
% F* }( E- s% q/ \ i; Jin Xishu are both like what Confucius quoth, "How canth it be humble?"
; T @, m+ S+ y5 c u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。
3 l' ~+ P/ y/ P& ?, [/ [2 O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﹕! x: d8 x) m$ n q& K- L
『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4 j+ ]- F. l9 H+ R W( F4 c# l3 o% r
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7 c' S1 \9 {/ h' C. V( 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。』
3 u/ Z( w' J& d* `3 O
4 B9 X$ t6 Y% e( e5 p" 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
6 t# q+ G2 }& M4 z8 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0 d, q( C' n6 x& U& m+ T6 Q; M
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。』" R2 p/ b P) _) q5 g0 ^
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' m9 v, U7 M7 [' \
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。/ `8 ~1 F" ]4 s% v
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2 t- P" n& l- ]6 z5 d& C* X' u
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( h5 m/ E- }: D T
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﹕7 } E7 E* [1 w4 p) t: e
『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) _$ J0 n/ w r
音樂跳起舞來﹐直至興盡而散。2 n% Q3 D' B2 x9 w7 P# Z* _% U! ~
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﹐約他們去看一1 P2 [4 U, L+ N7 k+ k0 W- p) 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( k. _4 F7 G1 t/ v$ }) u; g# g
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
( v# |7 R& Y6 T0 O, z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
# v' i. _$ F; B D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 N. m( ~" Z: n2 J/ 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3 c3 t/ [/ f9 \' G
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! h) H, d4 E0 l B* W# c7 G4 f! V
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
5 ?: z0 `1 ^) W+ h# v& X+ W3 m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" H% D" I; W
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6 @) m5 {: J0 p* g# F: H
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
8 _0 _2 E3 I9 e% `4 `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
7 f' p( P6 t. L9 M' ?9 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
/ B/ B) m! w5 t5 e' v: C! z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 F9 p3 X. D$ w* a/ \& y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
8 T& `% X& W6 S% l9 P- `& |4 @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﹐
r$ W: O+ ~' C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
$ X* O6 z5 ]% G7 E3 o6 L; ?& G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」2 b; Q+ g9 q8 `9 ~6 ?6 \
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- i' A; U9 x7 l
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+ ^; V3 m- v! @0 |) s+ }8 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
: N% r; v$ H, y$ E* R9 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
& R# m% {# M1 a8 d- z: i( c5 D6 a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 i" g, d1 w" E* i: D
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
6 r5 A4 x: A2 w# ~- @% x w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
( Y$ _1 p- d; H7 x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$ }6 o! B {' i; k- N, ]
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
. J/ {* @0 Z/ c# I: U4 M& O* i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。』: \+ ~. L- |+ ^& o0 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; P: g, V z$ Q1 D: d* k( U
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( a J b; X: K6 t
評論才會公允。』 |
|