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芝娜道﹕『下面一首是RED AFTERGLOW﹕0 D* e( z; d% n
1) Lo, the red afterglow,# `! g7 P& x* N1 f
Against the sky blue! 9 r# \) @6 _: _( r/ t' L" Z& f
Is it the blush of Heaven,
) b/ k8 y) G; _( u# o2 u* C3 j% l As on a maiden's cheeks, ' B- d$ G* H- t+ L# h
When she catches sight
9 C8 w A x+ g( a4 x Of her coming lover?
; w6 r9 ?: a: S( a+ V! o2) Lo, the red afterglow,7 U( [! Y1 z# R3 M* O
Against the sky blue!. |, t% @2 L" Q2 ^0 y) K
Is it the fire of bivouac
' h5 a, I8 d7 F% F Kindled by Nymphs and Naiads0 E$ h! Z2 H3 W
On the banks of Milky Way" f" o7 C3 p4 a# d0 Z
Holding a celestial picnic?
3 q% a, D3 l8 k2 ~3 w6 g3) Lo, the red afterglow,8 ]* d9 W: L/ y& g4 K
Against the sky blue!
! |1 O2 _& `5 W& q% h6 R, h Is it the ruddy gauze veil. b* y8 k6 k+ B, [5 x, |4 j
That veiled the face of Juno
; g8 Q8 c+ x7 F8 N# [* P On her holy nuptial day. L$ W! f# S" b* ~/ I, T0 v/ R B6 U
When she married Jupiter?
7 H, o+ M) H0 l6 ^! i4) Lo, the red afterglow,; i! P# L+ t, h5 D! n
Against the sky blue!. C8 q; r0 n0 ^/ |* j# }
Is it the fire of Mt. Olympus" g4 d! _- ~6 y" ~/ h! G/ J
Stolen by noble Prometheus,
: `! C3 K5 J; ?& ^ ]" [ And in his careless down-flight" P' a3 x# J5 w2 [# \$ h; {& @
Set the fleecy clouds aflame?
6 V" ~7 R" x3 |0 K+ x1 A5) Lo, the red afterglow,
+ Q* x! S/ y* b" f Against the sky blue!8 C* p+ r# V6 B( I+ \0 I/ @; t ^
Is it the blood of the heroes
: X3 G) _# U% _8 B* e9 V That died on battlefields( d# j; A D+ a: M
In the sacred defense
F. s' `0 _; |7 q: K5 r Of their dear motherland?
# J6 c$ I1 D+ Z: S' U# G% D6) Lo, the red afterglow,, L- o2 G- b" S
against the sky blue!/ t: n& e% T. E+ Y( I5 [
If it the Isle of Coral
4 n9 }- e# Z0 I* }, R4 [ Removed by a white witch) q4 X; R6 Y% K2 R( Z
From the Pacific deep
b; ?% _: h9 i$ ^: G To the heavens above?1 H2 m) c2 n3 r+ W& z
7) Lo, the red afterglow,* K! {4 E% N4 s: B8 X) }
Against the sky blue!/ z4 U% |$ R/ f( e4 d- l
Is it a cluster of peach trees,
6 ^3 p/ [' j6 M Their blossoms in full bloom,' W+ E( ]7 P; x
Grown by the daughters of God
4 o$ N3 o% g7 \. Y0 o& K And watered with nectar?2 y* b. z+ w) e3 ]
8) Lo, the red afterglow,( U. [7 }% v9 Z! t7 z) s' w
Against the sky blue!' M/ c9 K& V! {. ?. e
Is it Flora's rouge
8 k, }' K$ z4 y7 Y0 u6 { Spread all over the sky6 [4 B. g5 B* W& b& _ _
By her frightened maids
+ Y8 T- Q% N ~* [5 O3 X1 H: X5 M In escape from her anger?- C- j" v& {& ~& b' w8 w
9) Lo, the red afterglow,
8 O0 O4 w0 r3 E8 Y( e' M Against the sky blue!
: M- N( l; q& x& ^- Q1 ~+ V Is it a large piece of sponge+ K5 d* ]% V3 Q y4 h
Soaked through with claret" a0 L3 m8 T" i
Upset from the Holy Grail3 S* Q) s8 G6 I: U3 ~% o
By a rash cosmic pilot?』- \( q7 q- |2 v8 k6 q! B+ I# z7 k- j
文倩道﹕『這首詩裡詩人表現出豐富的想像力。他把晚霞比喻成各種東西﹔一會兒
% ^! U) f9 j, N$ [/ v# K比作天公的赧顏﹐一會兒比作銀河畔的篝火﹐又比作希臘女神臉上的紅色面紗﹐又6 l; B, E# ?8 i( T) B
比作移向天上的紅珊瑚島﹐再比作花神的胭脂被侍女打翻而把晚霞染紅。最後一節, u2 i' Q, [4 Z& u: d9 g5 [
裡﹐詩人把晚霞比作一塊浸透了紅色酒的大海綿﹐而這紅色的酒是一個魯莽的宇宙1 B9 N; R& Z+ ` I$ W( J* `
飛航員撞翻了天上的聖杯而流出來的。』盛靳云說﹕『詩本來就是想像的產物﹐語' u& V$ J: ~# f/ B
言文字描述的最高境界。』芝娜又翻過幾頁道﹕『這裡有一首辛棄疾「采桑子」詞; Y9 ]9 |* x$ F1 T2 g- E
的英譯。其原詞為「少年不識愁滋味﹐愛上層樓。愛上層樓﹐為賦新詩強說愁。
v) {$ ]9 l: s0 h 而今識盡愁滋味﹐怕上層樓。怕上層樓﹐卻道天涼好個秋。」其英譯為﹕
I& T% E* n" W7 ~& iWhen young, I don't have any notions what woes really mean,
+ o$ W6 P; n! P% h: L3 c6 s+ T/ S Just love to get on floors so high.
( S: x- S% {+ y0 d Just love to get on floors so high,
+ y. j; c$ t/ B+ \) hTo write new poems, I try to say the words of woe and spleen.) Z' H5 w8 p; H% @3 d
6 _, ?+ n# Y# w0 J1 x
But now I fully have ideas of what woe really is,
: F" f' g, f) g Afraid to get on floors so high.
( Y* ]5 O4 \# h, e3 L Afraid to get on floors so high,
% J& D* E3 L- r& c8 O+ NI only say in poems how good and cool the Autumn is.』
' _0 o8 F& Q4 v+ x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) Y" E" O. N5 L/ m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。
5 O: X4 F9 v# w8 f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﹕
) ?9 Q. ?2 f# j2 @『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) y$ D$ C+ n* D! U! N: \9 z
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
5 ^& l# k& q/ }& {* I# L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
* O, A# l' B, d5 w9 i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﹐
' `; Y7 q: C- X7 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6 d2 J1 T: o$ M* r) g+ }0 }& T- E
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
0 K* @( Q9 C" X: R4 d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
W' v* L+ Q" C+ j9 r% q5 Z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
% M2 ~! K6 J; z7 c4 @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
7 k" B. w1 R6 J" v9 [7 p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
8 W0 q5 m$ H! G* S/ D% [. {! i' 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﹕
. C' X5 u% T1 F; G# sPoor Odipus, a scapegoat he was! Accused of three great crimes, he
8 E& D! g7 V" F) N8 F& Z; psuffered a terrible tragic death ----a punishment inflicted on him by 4 Y. P& j$ ~" S' @3 c; }
the gods on Olympus. When he learned his fate decided by the almighty
$ e: m# b0 c5 S, ]5 d" igods to kill his father, marry his mother and bring destruction on his % v- e, n( b) S+ Y
native city, he wished to escape from it. But destiny was unavoidable,and 6 @0 W1 u+ k8 j K- A% r
unawares he fulfilled the assigned tasks. If the gods had decided his
, P- U7 E' R& U) t% ]+ ifate otherwise, he would not have been a criminal, receiving an unjust 6 p4 I8 L' A6 l5 \$ P& T5 r
punishment and bearing an ill-fame for thousands of years. He was only $ l4 ]% ~. C. f9 Q2 @" I- K( X' m/ v
an executor of the wills of the gods who, struck perhaps with a whimsical
* _: J2 _9 n( i6 Tfantasy, played a practical joke on the helpless mortal. The gods were
" ]6 u* ?+ Z' n/ @+ Lthe plotters. Who then deserved the punishment? The gods on Olympus rather - K7 _9 @8 w$ C6 l4 e& ]( x5 ~4 O
than poor Odipus!』
/ h* n$ o) `& p! N" {# v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 C8 q% c0 c2 n# {# V2 f
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﹕, U7 H( f( z6 ~# P7 W4 }
『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﹕
# c% X3 J3 o# }- i- Q" W8 Y7 E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 * @+ P$ P( V0 ~- T
ADDRESSES TO MONEY﹕
3 ~+ a; N# Z4 t& [+ Z1) Oh, Money! My darling Money! My respected Money! I'm your admirer, 2 P Z7 y$ }$ `( P" A3 }
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, ( x. n( ]: G3 ~) c, J7 t Z @
your slave. With you I can get food to keep me alive. With you I can $ A% q. P0 N" X8 W% J
get clothes to keep warm. And with you I can get whatever I want, a
* t6 e3 H! F- W0 a0 Q+ Z$ o& ~grand mansion to live in and all the superfluities of life for ostentation. ' Q' y1 v$ b, S0 L. y: ~' F1 ]
But without you my love will desert me. Without you my friends will
4 \% C6 d6 @/ aturn back on me. And without you I'll go a-begging like a poor dog
M) o' z$ f- ~3 nand sleeping alone at night in a ruined porch. Oh, Almighty Money, come
! W7 ~9 e; c7 X% Fto me, I implore you! Pray, endow me with your favor and be sure that I'm
- b- G' R9 A+ ~+ ywilling to receive every small coin from you on my knees by which to show : t9 }" B: c0 Q
my deep-hearted gratitude. 』6 g* O3 k# ~/ a& G2 P
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。』
$ `. [6 q3 O* V; V* ?4 i5 E4 t芝娜又唸道﹕『第二﹕8 @5 ?, V+ X3 c
2) Oh, money, my obedient servant, my faithful slave! I'm your master, 1 A! V* G% t" y5 w
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
$ A9 D4 _1 B. R) ^' p, \" Gyour disposer. With you I can start my enterprises. With you I can carry
9 |) k9 x- p- G, C: Y$ lon my great plans. And with you I can make the little world around me * ]" h T9 n% W) b( X0 p! f& Q+ V
go at my will. If without you I can still have a large store of learning.
! ]3 G$ L" G6 f8 T. d If without you I can still have an unpolluted name. And if without you
: f* f, v2 e9 s( U I can still live like a hermit writing books of great thoughts. $ o2 M6 Y& Q2 L% ^: R7 n9 {) c ]( [; _
Oh, servile money, come to me; my lad, I command you! Serve me well 4 ~* M+ E4 e5 O) s. |
and don't be naughty, or I'll punish you.』2 _& N3 d2 k1 r- S( K& c8 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
0 N- O# A& ~) y+ K7 q! \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﹐
. ?, W- _4 @* q- G E, 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& }9 D4 p0 E6 C
(談美)﹕4 X+ r- G, C$ e7 O* t4 Q% N9 ?) H
Beauty often dwells in youth. At sight of a charming girl, everyone
$ h6 @& l8 P% c1 W, z) v8 ^will exclaim, "My eyes! What a great beauty!" The male stares with
+ _- {7 A8 S/ z5 g$ z h. ja thrill of admiration; the female gazes with a sigh of envy. Wherever 2 K5 G0 G! U9 T( h9 q, a1 g
she goes, she becomes the focus of the attention. Men all yearn to win 6 d ?. q* W* T! f' R
her heart; women all feel a regret unable to stand in her shoes. A glance
$ \( s% C- C; kor a smile from her makes the stingy empty his hoard of gold and the
7 \& c4 R% x$ v# M) `8 B+ r3 Rcoward give up his life for her. She enjoys her queenly position in society,& [. j) S* @" q1 a7 K' W3 R' s
proud of the possession of such a beauty. But the merciless Time , |2 O1 {' R: O
dogs her steps, too. Her beauty is worn out with the years. She begins to
7 i" Z+ M5 h# [ K1 u" u8 }fade away and the hardship in life, if any would befall her, will bring & d" z; D# @. f
more wrinkles on her face. Then men turn their backs on her politely with ! S9 c! m1 c5 `. @6 p$ f, q
a bow; women look at her with indifference. The younger generation is magnetized 1 C) K7 r4 L) r
round another focus. The old queen has to abdicate and leave the throne
( r' l2 ]' {( \7 S3 `/ efor a young one to occupy. Only a photo or portrait can preserve her beauty
$ U. K& p+ t* p9 `in youth and no Time is capable of doing any injury to her preserved beauty
3 o& Z( c4 `' vbut the preserver itself.
' N6 r+ `2 E! W' ]$ c1 q Therefore, admire not the beauty without, but the beauty within. Such # W6 |0 r$ I) W5 J1 x6 [8 \
a beauty will never wither though Time also plots to do it harm. In the " J7 |/ I5 D# F
struggle against the adversities of life and the ruthlessness of Time,
5 O+ D4 Y& y, ~/ X2 z& U3 U it grows radiant, or even dazzling, just like a rock in midstream made - L' `5 E- l* N
smooth and glossy by the current of both the stream and Time. Everyone, ( |4 a6 R5 H2 K$ Y8 W2 s2 k+ Q
in spite of the age and sex, if aware of it, will sing its praise either 0 C# o. S' O- T( ?
openly in words and letters or secretly in mind. It lives as long " e6 J2 m$ L. ^6 z% ?0 q4 N S1 m
as the possessor, or even much longer after her dust may be blended into
0 V c; ^ x* V0 R: ?! v; da vase with the clay around it.
8 k6 O8 o, B8 y" I7 X The outward beauty can only be the object of admiration or envy while
. h O' I# `( e; C, A5 _the inward beauty, besides being a theme of the ode, can serve as an ! f) f5 A6 h% s1 D3 P" f
example to learn from, for the former is always endowed by birth, but
/ l7 y/ |3 s- x' I( y* athe latter by self-acquirement. However, every man is free to hold 9 B8 ]/ k7 C% h# Z
his own notion of what the beauty is and to choose whichever of the two 9 {3 f4 o' w3 r) y
beauties he prefers. Only his love for his bride select should not degenerate
) P" z- W h, z, Q+ ]3 Q7 r% q! ~with the shrunken beauty.』
$ M. k; ~( F* @( p! ]6 _, |- E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
$ }% y% A5 S; a$ }) z1 q1 S1 f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0 }& i' W9 H q4 p4 A: 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 。』
3 T: H9 M. n! \0 e4 `9 v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
- c. y g( i3 P# b) 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
* Z4 h% e0 a; v6 y: j9 X+ s4 _# n/ ]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6 F# O5 \; G' 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。; t! x2 Y% n# e1 n
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕: f @/ A3 T4 W& x; u( G' i6 d
A little boy walks by his mother's side, with one hand in hers and a balloon & H) ]0 D1 e6 S9 V1 ^* P- J
in the other. A sudden gust of wind snatches the balloon away from : M3 h! m& s+ x8 a9 c
the boy's hand and bears it skyward. As it flies higher, the excited # }( |- ]7 r, M
people in the street all look up. "Surely," the balloon says to itself,
2 j- a. T" a2 m' l+ efeeling proud of its uprising, "they all envy me of my ascent." Then in its 0 }/ w/ f* I! E
upward flight it passes by a balcony on which a group of boys and girls
" b" X0 a8 h2 A0 M! t+ mare standing, giving a cry of excitement when seeing an escaped balloon
, O$ Q1 V) [' W2 E( G: `hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
. x" T1 a) S4 } {thinks. Up and up it soars, above the roof, above the spire, through a 1 p6 \( M: K% q( F
thin cloud, into the blue sky. Then a dove hovers near, but after a glance
4 @# u. _, C' B$ V5 o/ vat it, flies away with indifference. "Of course, the bird nears to 0 u3 q9 n' r) O% o3 w; Q; a* b0 Y
salute me," The buoyant balloon flatters itself in exultation, "but as 5 @2 S$ `, e" _( [5 L/ W
I ignore her to keep my dignity, she takes herself away in awe and respect."
* ?# _+ z, ]4 i4 a The higher it clambers, the haughtier it becomes, till it reaches the
3 s! q$ ~1 r4 |" L1 Z E! o% [6 \zenith where it means to stay for millions of years, but, alas, it bursts!$ A/ O! Y" Y/ f' l3 g/ t; m8 t. k
』
! x* z5 x! a$ ~$ n" E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
( b' [. J& j% D" f7 x# H6 b& W好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
$ s G1 }' M0 P9 e. F1 a0 C9 c Etiquette is to society what apparel is to the individual. Without
- `. J1 g) _' _4 x- vapparel men would go in shameful nudity, which would surely lead to the 1 c/ V& J) i. U4 a8 P1 Z
corruption of morals; and without etiquette society would be in a pitiable * X- N4 f" v( M- X5 r3 ?
state and the necessary intercourse between its members would be interfered # X6 S2 Y0 U+ E$ q
by needless offences and troubles. If society were a train, the etiquette
) L2 `$ o( K4 I- x4 t0 Awould be the rails, along which only the train could rumble forth; if 4 ] L1 V- U4 S n2 `: t
society were a state coach, the etiquette would be the wheels and axis,
' l1 c4 k1 ] w! x& K on which only the coach could roll forward.& k3 _; _0 e+ H1 P6 y
The lack of proprieties would make the most intimate friends turn to : ^2 U" n r8 X4 z2 t2 N
be the most decided enemies and the friendly or allied countries declare
! B* Z+ [- N; b7 H4 h1 r$ Zwar against each other. We can find many examples in the history of mankind.: _7 I" H% ~# E, v% e: |9 w8 P' |0 L: N
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed , m/ r" P1 L$ K
by his favorite knight for a joking word. therefore, I advise you to stand * M! K3 X2 p2 O& q2 P
on ceremony before anyone else and to take pains not to do anything stupid : P% x! [0 ?7 ^
against etiquette lest you give offences or make enemies.』
) Q- Z0 `( L/ j% [; ~3 p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
' i" r) b: O) A5 O7 _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
5 t+ F: v) f; L& a8 P5 N1 Z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
1 o; N) ~5 _+ g% T6 I3 o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。
7 m8 f4 n+ ?8 ]9 U( Y8 x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﹕2 B. t+ ]- P& o2 u+ x* v
『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﹕
1 I2 }6 q9 H1 c4 H/ G『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﹐7 ?' z8 Y9 W+ `6 A' P& }$ I
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5 ?4 _1 ~5 l- u. \2 ]) z
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
7 j$ a+ f$ t' ~% A! T4 D, r銘」的譯文
/ i3 m2 B* U/ N6 i0 W; n' RAN EULOGY ON MY HUMBLE ABODE﹕' e1 \7 L! {5 j5 r9 B" r. {
Known will the hills be if fairies dwell, no matter high of low; and ! w. `1 {! r2 d- x) K5 ?. c' w
charmed will the waters be if dragons hidden, no matter deep or shallow.
# a: G4 m. L8 Z6 j5 u8 P* \ A humble abode though this is, my virtues make it smell sweet. Verdant
: q/ |. G; j! r4 P% Nare the stonesteps overgrown with moss, and green seems the screen
1 t) D3 X2 H- z, w7 j0 n as the grass seen through it. I chat and laugh only with great scholars
1 m& H% J9 a0 l: S4 }and have no intercourse with the ignorant. I can play lute and read my
6 V8 b9 S1 R( t1 [/ y: ]sutras; no unpleasant music to grate on my ears and no red-tape to make 7 k" ~6 i. { ^' g) C) l
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
, \; H; m8 o7 T) Q+ ^7 ~in Xishu are both like what Confucius quoth, "How canth it be humble?"
- S3 R9 b! W' B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。* p3 W$ f* g9 k, d$ N) z; y
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% q9 D% T1 \$ n. L. Y2 j) ~『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( ~- @, J4 p& ]: f6 W1 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
# G+ z1 A( a; @, i* W9 p9 i1 l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。』
+ E3 \3 Z8 Y4 D4 _/ l) h
9 r. t1 u: r4 L' r: _" C 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: T5 I2 ^$ y5 j4 z$ d9 {
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
) }8 f) k; t% X7 q; N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。』
' j: U" Q8 x0 H2 E+ R' t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) S) E: Y5 c- l4 r9 g/ X
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 f! H/ Y2 b: C. T& J; ^% ]
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
! T k7 k& v( N5 {3 K" H: Z, U! P* H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
, D4 U4 N2 K; t. ]( p, E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﹕$ M: B# ~: X& r
『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- I8 Q w. H6 v
音樂跳起舞來﹐直至興盡而散。! Z* E: b0 y6 t" H/ J% f
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
* b' q( m0 z# P$ ^' E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7 d$ V( I( [2 @- P; [$ H9 ]& O9 F" f
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% \0 \' ~/ o0 H) X- y
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
( e- P2 z6 \1 C9 b: B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﹐9 _! T+ r, o3 l
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
* J D7 g. J& s6 f9 j6 k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
+ W. P2 N9 s% A0 d& Z0 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
" N) M4 b+ w4 @% |" { s) x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。0 q7 Y. f3 q Y& _ M
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' ], H* Z7 n t( ~* v y1 R" ? Z
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* M% B/ o( F7 U
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8 ?( S Z. @. Z8 L( E
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& I3 {9 G! f: {9 s# C; l* Z% r8 a) U
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
; P2 l0 E- z8 [8 o# }$ L3 y s) q- \) }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5 ]4 H, _% h+ T; O& S
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﹐
, r1 T7 F% \" k0 S# t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! f1 j* d2 Y' K) x8 {" b" C) m
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」 p3 P3 @1 ]/ M& ]
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
1 h- t% T) l" x" D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
. b5 @$ x+ c. Z% d$ X 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) J0 F4 j& k5 A. D0 E
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8 ?) l: X5 w5 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
% V9 B" P) p. T! |2 h9 u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! l" l+ ~# g6 R0 @
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5 c% n& t- M0 c2 W9 M
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& Y' L: h; J" L _- W0 h% V! B$ R
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8 |/ A* V. @& ] 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。』- g* {" d0 O. W" D
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& {6 X% g5 f, R- P* ]" _6 a: J6 h
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
7 D' ~& c) j( o1 R k, w* \( l評論才會公允。』 |
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