|
|
芝娜道﹕『下面一首是RED AFTERGLOW﹕$ [ ?9 p3 C+ @& I
1) Lo, the red afterglow,
* ^+ I5 H& n' r1 | Against the sky blue!
( b" v6 v7 s5 d/ ]6 M0 A Is it the blush of Heaven,
8 ]; H$ f' P4 b+ ` As on a maiden's cheeks,
3 o) G3 Y+ L3 s1 {/ g When she catches sight
! l0 E2 k, S5 Y5 P0 j; a7 B9 x+ P Of her coming lover?
% U- `2 l% j+ V( I2) Lo, the red afterglow,+ p. O V2 q: p- F! L3 V
Against the sky blue!: k9 ]. B* P& ]7 y8 m; F5 J
Is it the fire of bivouac
8 c- ?$ f- h) W: c9 u; N7 a+ ~4 W Kindled by Nymphs and Naiads
, K* D, Y+ G8 o1 s# s On the banks of Milky Way
, R( I& I4 u/ { M$ v Holding a celestial picnic?- f/ l6 o: E3 n4 H5 ~
3) Lo, the red afterglow," X! q1 }4 m: \3 L# M; `: a
Against the sky blue!
4 O6 D8 A# h/ L- e3 h! `! D Is it the ruddy gauze veil' s @0 u) d; h1 N) p1 N
That veiled the face of Juno
U M/ t, m7 \5 t On her holy nuptial day
$ f6 z; a# B6 |. E" V4 Q# I When she married Jupiter?
/ \7 b* i6 r* L# Y4) Lo, the red afterglow,
W, W0 a; h4 p$ l# P5 c2 z Against the sky blue!3 b% @ a* t/ E
Is it the fire of Mt. Olympus
7 g# G! N' b0 _! c1 |8 O Stolen by noble Prometheus,2 I5 T% Q f* x2 w. P) l. K% A
And in his careless down-flight
) J! I' x- v, W' D$ _; D Set the fleecy clouds aflame?$ |& s1 C* Y( s- V" v
5) Lo, the red afterglow,' h, K" g [4 q+ z8 Y, {
Against the sky blue!/ o. X8 Y! Y4 r6 ?* k& q _2 R1 g2 t3 ] M/ y
Is it the blood of the heroes( p) B8 k4 ]& Z5 k
That died on battlefields- Q' e6 `4 y* S- i$ n* ~8 Q0 u
In the sacred defense
2 H5 }8 x0 w. x! O2 a Of their dear motherland?( v' m \% }* {2 S9 Z' J
6) Lo, the red afterglow,$ l2 b8 t6 W6 A5 F
against the sky blue!0 {! ^; W+ ]# m
If it the Isle of Coral
& s( A8 m7 t2 H) M2 O! n0 l9 m; { Removed by a white witch# J$ e+ J+ K6 A
From the Pacific deep
- T' h3 f2 {) p. ?# W To the heavens above?
0 u2 n, R+ V @, O& ^$ C% M7) Lo, the red afterglow,6 m2 B0 _, r' g ?) L u: x
Against the sky blue!
2 A# Z r7 l4 I- G3 [ Is it a cluster of peach trees,2 H+ s9 ^/ }6 Z; ^9 v1 O7 y/ m
Their blossoms in full bloom,
6 S8 K# w: r/ B& b3 @ Grown by the daughters of God
M& [$ W5 L9 ^0 L* ?) v r And watered with nectar?$ z( K+ {) F8 s) l5 U
8) Lo, the red afterglow,
0 P |8 @& z ^6 i0 e Against the sky blue!# M2 D3 B) t% n. H1 L
Is it Flora's rouge/ y* v1 b4 V5 `- g' Y, V# O' O
Spread all over the sky
& X9 A' l: B% `! |) W$ l/ i By her frightened maids
7 X( G; f* O) q7 \- ?* t0 j In escape from her anger?
2 T2 r1 N( V. ]& H9) Lo, the red afterglow,4 j5 }0 N/ |% k6 b; d
Against the sky blue!% a5 n. w3 d2 k/ X' h# \ l9 n
Is it a large piece of sponge
9 \3 a; [$ N% W) p- i! B% O# T3 d- n Soaked through with claret% R/ H; Y" Z3 o. ~) `% F* t
Upset from the Holy Grail
7 i7 B3 G g5 q, b+ W7 V By a rash cosmic pilot?』
: L5 V0 k/ y) h: l. W5 r4 V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8 \& \* b% P6 U: }1 j: h d! w2 S
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
. b5 f& l9 q a, O) I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
6 c9 {, }7 h3 Q3 @; I( A6 ~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
2 P7 {# ?4 Y9 t+ W! `0 v e5 i# Q5 I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+ [+ v/ h1 P8 E4 q6 N- {
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 y( q/ y# ^3 Z0 M, C/ N# P, [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 x, T C2 w1 L ^
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﹕
# r1 C; k+ H0 c2 ^' }: yWhen young, I don't have any notions what woes really mean,
2 w1 g: u4 p4 \6 E6 { Just love to get on floors so high. 4 n( Q) d# X% B8 {; y) @ m+ [$ O
Just love to get on floors so high," V8 c) D$ f3 t6 G* p
To write new poems, I try to say the words of woe and spleen.+ v' [! b6 x- ^
2 J! L) w9 i P' y
But now I fully have ideas of what woe really is,
# Z7 N) G9 Y6 P+ y6 `2 @- K Afraid to get on floors so high. ( v( t+ r/ n2 U3 b$ Y& G! p! H
Afraid to get on floors so high,+ F" v3 K* Y; o: a: x# z- E
I only say in poems how good and cool the Autumn is.』
2 x7 z0 K! O7 }/ O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
_# Q' N0 S+ H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。
% n: y! e3 v" D3 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﹕
5 |6 @8 ~, z% q F3 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& o4 t0 a- l. B, k5 }+ f- ]
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
. K* {1 A7 N0 `) @% v" X% l" @/ N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 f* e( G$ d( \% z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﹐1 A. |9 }% `/ L$ {1 H; G
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5 O3 j& e. n$ y' U) u6 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
. a) Y. m* s( G6 z h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& n7 ?, e7 N& d
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7 O# P# b& M) c% ]3 Q3 z# I
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. k$ p, z+ F3 w
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3 O: G* u, I$ L+ M0 I5 T. d9 i5 ~
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﹕
8 e! Q) n! M0 p4 t. cPoor Odipus, a scapegoat he was! Accused of three great crimes, he - k& Y' U4 f1 v4 @- l
suffered a terrible tragic death ----a punishment inflicted on him by
4 Z2 _: O; i. _' Z$ tthe gods on Olympus. When he learned his fate decided by the almighty & @+ Y1 t$ g6 y0 R
gods to kill his father, marry his mother and bring destruction on his 6 s5 Z0 \( ?' x# [, S. ~
native city, he wished to escape from it. But destiny was unavoidable,and
' D* X( E' t5 ]$ B, r3 S/ Nunawares he fulfilled the assigned tasks. If the gods had decided his 0 G3 A. `$ F/ k, w3 [9 { G3 z
fate otherwise, he would not have been a criminal, receiving an unjust
) ? }4 }! e" u n7 ~7 a) _punishment and bearing an ill-fame for thousands of years. He was only % [/ _& K/ \) ]: ~
an executor of the wills of the gods who, struck perhaps with a whimsical k* t# P, H2 U' _; S
fantasy, played a practical joke on the helpless mortal. The gods were - z A" G5 C# l6 v, H% }9 i* g0 u
the plotters. Who then deserved the punishment? The gods on Olympus rather - O% Q3 g( X2 a1 @# b; w
than poor Odipus!』7 ] x1 T( v7 `# \7 b2 e4 V. Y! z
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﹐
. w0 i2 P4 V, t$ Q) s7 E! q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﹕0 I9 _, N, e" w) j6 S y3 a
『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﹕; d0 X% T E2 i, ~7 J/ I
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 , J9 Q/ f3 g$ \/ i' `
ADDRESSES TO MONEY﹕
) h+ r6 y) c6 z1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
8 P$ f# `# y7 i. H; j: e3 [! }, ~; oyour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
6 n" L* o7 @2 z0 C) K- fyour slave. With you I can get food to keep me alive. With you I can
3 d$ W( i7 |$ b" R7 h# _6 w+ | kget clothes to keep warm. And with you I can get whatever I want, a
; A s9 [* X: t' Rgrand mansion to live in and all the superfluities of life for ostentation. 8 u% [( G/ L, l, a9 W0 R' D, [
But without you my love will desert me. Without you my friends will , B$ `+ j/ d1 H" K' r
turn back on me. And without you I'll go a-begging like a poor dog 3 {) D/ P" u) }' }
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
7 g" X7 s/ Y' k6 L* P2 D8 uto me, I implore you! Pray, endow me with your favor and be sure that I'm 9 B. W, {6 U3 C- _
willing to receive every small coin from you on my knees by which to show
2 ~ i0 L+ e5 e- ]& W5 b* Lmy deep-hearted gratitude. 』# n7 l! q8 }4 e6 ?
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。』% q, p9 U% k4 N
芝娜又唸道﹕『第二﹕$ Z! G4 k+ k1 w7 D( U0 y6 }
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
* g" u( m* P9 Cyour owner. OH, money, my passe-partout, my almighty tool! I'm you user, 2 T* w5 P( ]% ?& Y
your disposer. With you I can start my enterprises. With you I can carry
9 G" }$ k* e3 s- u% K/ mon my great plans. And with you I can make the little world around me
: B0 d2 _1 j$ d% Ogo at my will. If without you I can still have a large store of learning.
' n& o8 X: A0 b: } If without you I can still have an unpolluted name. And if without you
4 F# _+ U! N( o. r) Z9 q I can still live like a hermit writing books of great thoughts.
: y1 `+ S+ t8 n& Y$ Q% W/ ?0 yOh, servile money, come to me; my lad, I command you! Serve me well 7 Q/ G( m Q- G+ W. A' ^5 j! n/ l* d7 q. l
and don't be naughty, or I'll punish you.』
% O5 Q3 ?7 ]1 {+ E0 O6 _' e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, s: w7 B) h e: Z5 N' o) h8 p
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﹐
) y! M6 u7 C" O* K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
, X7 d- \/ f9 h& [5 N( B& r) F(談美)﹕- @6 N: b9 p/ }- g
Beauty often dwells in youth. At sight of a charming girl, everyone ' t6 ]3 X; R* S* C& j* ~/ d) Z
will exclaim, "My eyes! What a great beauty!" The male stares with + y0 U3 D+ ~0 k/ m, G0 K# T7 \
a thrill of admiration; the female gazes with a sigh of envy. Wherever , C8 x" G$ K4 v
she goes, she becomes the focus of the attention. Men all yearn to win
, Y$ M% b7 H5 k* \1 G, ]her heart; women all feel a regret unable to stand in her shoes. A glance 5 N) |% G0 l$ ?' A# O
or a smile from her makes the stingy empty his hoard of gold and the 7 j9 f6 ?: P% p: N
coward give up his life for her. She enjoys her queenly position in society,
S2 ], Y) p4 c1 u7 u% P5 a proud of the possession of such a beauty. But the merciless Time
9 x3 _- \3 \ \" f. Adogs her steps, too. Her beauty is worn out with the years. She begins to
# X6 q$ X1 A2 Z4 Bfade away and the hardship in life, if any would befall her, will bring / {/ F( s1 _8 I0 {
more wrinkles on her face. Then men turn their backs on her politely with Z8 `+ m- K* m8 o
a bow; women look at her with indifference. The younger generation is magnetized & g: N' K% z' E" {2 w
round another focus. The old queen has to abdicate and leave the throne 9 B! P; d- N- V, z* c6 O( w0 D7 @
for a young one to occupy. Only a photo or portrait can preserve her beauty 8 F+ Y8 t8 y i6 a1 w/ }, f
in youth and no Time is capable of doing any injury to her preserved beauty + i: n( G: ^5 ]% |4 [5 g* A$ k3 J
but the preserver itself.
9 x2 \4 z/ @, v9 D0 G: k! I Therefore, admire not the beauty without, but the beauty within. Such
0 H9 j8 H$ ~6 H: D3 E4 K2 T' ^0 Ea beauty will never wither though Time also plots to do it harm. In the
, s& b- ~! f$ P$ W1 v% y8 qstruggle against the adversities of life and the ruthlessness of Time, * c, E9 j6 M" }4 b
it grows radiant, or even dazzling, just like a rock in midstream made
, i- E) B$ m1 X smooth and glossy by the current of both the stream and Time. Everyone, 3 ~8 t% o* p1 z" j
in spite of the age and sex, if aware of it, will sing its praise either
, s( U. J+ f+ f& W" a" [6 I' S) y openly in words and letters or secretly in mind. It lives as long
) U( P! Q- k# X3 a0 aas the possessor, or even much longer after her dust may be blended into
- k' ~2 b* @# L' N7 Y1 Z& za vase with the clay around it. 9 g; h7 @1 \9 V' H$ w
The outward beauty can only be the object of admiration or envy while 7 f2 r) ?7 F. [: K. k
the inward beauty, besides being a theme of the ode, can serve as an
! b6 ? M/ U7 ~example to learn from, for the former is always endowed by birth, but ; [ ~, [; ^2 _
the latter by self-acquirement. However, every man is free to hold
- l: I4 h9 ]1 j: ~8 u1 L+ B his own notion of what the beauty is and to choose whichever of the two ' R& B% ]+ V- Z/ H4 F3 {6 r
beauties he prefers. Only his love for his bride select should not degenerate 7 q9 c& C/ U K- W* C: z' T
with the shrunken beauty.』
5 }5 \9 o2 p- H# d, g ?9 C4 ]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1 S7 a2 a5 a4 i3 y1 q
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
2 c$ g1 Y( h; b. y- f6 {, E- C% |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 。』
# ^: p' n# R2 r. p7 \! I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
, m: L4 j2 _" ^9 r5 p/ F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
1 u$ \. [& L9 J) G8 Q0 Y7 M' W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
7 J" w' G5 I- G# U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。8 N7 Q9 `$ q1 a# a
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
' {* D; J. C# ]- X" p. ?2 M7 X" ? A little boy walks by his mother's side, with one hand in hers and a balloon
8 j+ s# S5 J' g- H- n5 D in the other. A sudden gust of wind snatches the balloon away from * H8 w, @2 e% J0 u* R% ^" U5 Z
the boy's hand and bears it skyward. As it flies higher, the excited * N( ?: x7 Q* k6 o# S- E
people in the street all look up. "Surely," the balloon says to itself,
]3 g1 m$ }; |! |" Jfeeling proud of its uprising, "they all envy me of my ascent." Then in its
7 \5 T, [2 T- n( ~upward flight it passes by a balcony on which a group of boys and girls % E9 F7 B& E3 A% z3 ~! ^
are standing, giving a cry of excitement when seeing an escaped balloon
p6 [! @, i6 k7 @- rhurry on its way of freedom. "They are cheering me, I'm sure." The balloon
: ?6 S+ D5 G& hthinks. Up and up it soars, above the roof, above the spire, through a 2 e9 l: z! B1 [6 z5 L) L2 w
thin cloud, into the blue sky. Then a dove hovers near, but after a glance ! M- i' F7 ]- r' Z( I
at it, flies away with indifference. "Of course, the bird nears to
( _3 V: h! ], usalute me," The buoyant balloon flatters itself in exultation, "but as $ C$ Q1 \3 }# R% ?
I ignore her to keep my dignity, she takes herself away in awe and respect." ' l/ `9 }) U: O/ C- f
The higher it clambers, the haughtier it becomes, till it reaches the & D" z8 y9 A2 e7 P ?8 J
zenith where it means to stay for millions of years, but, alas, it bursts!
4 H; A: x3 S2 I- w9 |' l# o Q』
9 r2 k: L" _* ^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; e& i5 b! ~: E
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
z) X% y% C+ }0 W* t; [. a6 S Etiquette is to society what apparel is to the individual. Without
& p3 v/ M$ P2 o$ P# c, }2 aapparel men would go in shameful nudity, which would surely lead to the
g: m2 Z& ?7 R/ W$ h6 pcorruption of morals; and without etiquette society would be in a pitiable
d- h5 [/ ], ]* |, A/ estate and the necessary intercourse between its members would be interfered ( J, D6 D7 T8 C9 x
by needless offences and troubles. If society were a train, the etiquette
$ C( y- d8 x" Awould be the rails, along which only the train could rumble forth; if , V5 o* s$ E6 ?; h
society were a state coach, the etiquette would be the wheels and axis,
5 q, l7 x$ ?) \0 D) D0 E on which only the coach could roll forward.
; {2 `. H2 x: S) y The lack of proprieties would make the most intimate friends turn to : o! B) n6 R; G9 U: _, o
be the most decided enemies and the friendly or allied countries declare
5 O j, g) E# p5 C$ cwar against each other. We can find many examples in the history of mankind.0 T4 w+ \4 t9 f, _
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
& {' W, ^4 K7 @ a9 Dby his favorite knight for a joking word. therefore, I advise you to stand
# B* n/ U* Z6 Kon ceremony before anyone else and to take pains not to do anything stupid ) g( b% M4 E* l; b9 t1 b
against etiquette lest you give offences or make enemies.』! z* n: ]9 g2 T% X4 J4 U
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: ~9 p! q; u' d7 X& U4 g
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% Q J! i7 j* S/ _
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: ]$ Y! E, Y! L. W( `" K
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。& f! z- o9 W& M5 `
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﹕4 S# o7 y$ F6 s$ _; {
『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﹕
J o7 l1 b# c$ s* e" 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﹐& e( V- J$ y; S* P0 V
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
: C B5 T$ Y# {$ g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
& ?/ L% H" ~3 C! ]6 T9 A. {銘」的譯文9 }# w+ r9 B% q* ]3 Q/ J0 K
AN EULOGY ON MY HUMBLE ABODE﹕1 z4 F4 [3 O0 Q5 D+ D6 d3 x0 ^
Known will the hills be if fairies dwell, no matter high of low; and
" x2 W3 d; K$ M6 B& _- _8 \charmed will the waters be if dragons hidden, no matter deep or shallow.
$ [# x {6 u! x A humble abode though this is, my virtues make it smell sweet. Verdant
# i1 E& ~/ c3 I/ lare the stonesteps overgrown with moss, and green seems the screen
; h/ U4 M7 [) `9 [ as the grass seen through it. I chat and laugh only with great scholars k) [( W) P5 R
and have no intercourse with the ignorant. I can play lute and read my ) q& b0 k5 F4 I6 [4 l
sutras; no unpleasant music to grate on my ears and no red-tape to make
3 T' Z% a, ~6 d- j& ume weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance * a' ?4 R5 v. |: C4 ^
in Xishu are both like what Confucius quoth, "How canth it be humble?" 8 A% q0 V6 M6 g
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。0 n' }- [ I2 l ?/ z
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﹕! {% w1 D# B0 V- s
『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7 b& d; e$ L8 x5 t
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' B: r6 d+ P5 f5 I0 p5 \
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 v4 u) s. o0 m6 J: j( z
" g; d' `2 R- u) @ 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# s% n) L- I. d8 x' M: H
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; \7 {6 _& T) w% ?% `9 O. l P3 e
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+ D: l( k+ }; M& ~8 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
9 A; C5 W: v# B資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
' U4 V1 m u. O8 E/ 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/ Q" X/ u7 g: \' l! p8 G1 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1 c5 m+ c& }1 a! _" @6 |
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﹕
) A6 L2 V7 w# y( 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
5 X( t. Q/ I* R* D/ H# A音樂跳起舞來﹐直至興盡而散。2 f% P/ ]+ u% O( z
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
# E1 r* Q+ J( 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 N3 B0 w9 O& a8 I: Q$ d/ i9 _7 Y
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/ `6 W, W P9 e, [
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/ M" ]: e' W& Z$ `1 d: u- A5 ]
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﹐
' b5 H- n& n- o/ w2 q( 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+ {# e4 ]; m, f' n
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
, | Z1 C5 m8 W/ V5 Q4 c; B/ y2 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6 V: o2 G8 h/ q; z
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。
* a3 u' s) {# X4 j; L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
' `9 @8 w2 b5 q7 H* ]! g2 o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$ J7 \9 v* W% d* V0 Y
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( q R! Y; ^( Z* Q) H* R. }, |7 X
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
& |) h* b- f, q9 q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
/ c2 O6 n, b# d9 c4 ^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
: m) _* V5 n- S7 S2 V2 {! Q+ P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﹐
+ u3 \. l3 ]& L" j9 b! l8 R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( W' m3 ]/ p6 V
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 ]" ]5 T+ M1 i- S! L/ N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
+ L$ ] j2 |& w! L8 M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' c. w. R; T& F
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
& L( _& p/ m( Q' Y0 e) D9 f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 q; L0 a- [0 h) m$ H3 c3 l" w" G; f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& s* t; }9 c. _4 S
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2 o* c3 A& A6 K: 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' K( e+ _' L1 ?4 _2 V2 \: k
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
3 d3 I( \# |' M- n5 Q9 }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- X7 `# A9 n8 Y6 U: ^% d) c& e( A( 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。』. w* T# P# G4 j. E! t: i& L, 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% R; u% @+ g2 E" a& s
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# H1 A- l3 s) {# N
評論才會公允。』 |
|