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芝娜道﹕『下面一首是RED AFTERGLOW﹕
# K( Y0 C" b/ X4 h A1) Lo, the red afterglow,6 s- \- m$ l2 e6 v# I
Against the sky blue! 6 z# T" z( F) t) `2 J: u5 r
Is it the blush of Heaven,
) w6 D' ~% L. T8 h2 `, c& U As on a maiden's cheeks,
3 D% W8 n: Q! Z When she catches sight6 F6 f/ W2 C% b' D9 [' X
Of her coming lover?) N8 L1 D* X7 a8 o$ h4 J
2) Lo, the red afterglow,
0 K. [) J4 |7 d# P# P. @ Against the sky blue!! S4 M* @" X7 k9 f- M- K% l# o- V
Is it the fire of bivouac
& j) e) Y; w S" i- i! U Kindled by Nymphs and Naiads
: N" C6 @! g) G9 e* e5 Y On the banks of Milky Way
3 Z7 W5 n! A i2 O: k; \/ y Holding a celestial picnic?
: b5 q" o M9 T/ H$ R+ @1 Z3) Lo, the red afterglow,2 D) O; s- ^1 u4 ^7 N* z+ Z; ?
Against the sky blue!5 L$ Y4 o W) X8 @- S. P
Is it the ruddy gauze veil3 X3 U3 b* E/ Q' W% I
That veiled the face of Juno
0 r8 i3 a" e* {0 j. W$ O6 D On her holy nuptial day
" z: Y6 l9 ^3 z# }4 y/ e7 f When she married Jupiter?- Y6 m: s [( F9 z
4) Lo, the red afterglow,) \0 O8 @$ q) b$ b! W
Against the sky blue!# @: b5 X& s# t2 h3 b+ _
Is it the fire of Mt. Olympus) w$ V; T8 q, i" q3 q- ]+ ^% l
Stolen by noble Prometheus,' l6 ?$ f5 r/ R
And in his careless down-flight1 `5 ~. G4 {4 e8 \
Set the fleecy clouds aflame?
; l1 v9 K1 h9 } q+ h3 n* B( d5) Lo, the red afterglow,. [* L$ {: [" r3 `5 k
Against the sky blue!
/ g3 z$ P4 ? J Is it the blood of the heroes
: ^$ U2 L* K G5 k2 _ W That died on battlefields
4 O- |2 T8 u# i& w4 L+ _ In the sacred defense
; d$ U1 K$ ~) z4 B7 P Of their dear motherland?
& a, c" `, T' A/ D& H6) Lo, the red afterglow,
, Y$ A! Q: x4 S; `$ a against the sky blue!/ G$ H, y6 A/ f1 ]7 U) h
If it the Isle of Coral
, [* B5 d- k6 e, [ Removed by a white witch- }- v" n. B" ~, ?! m
From the Pacific deep3 P7 H x$ N) @7 b: A; P Y7 Q
To the heavens above?
6 B6 L& c* ~7 e, {& u7) Lo, the red afterglow,
% Z3 q4 l# X s6 H6 |7 r+ _2 P Against the sky blue!) b4 \# T% e1 ?2 A V/ ], w
Is it a cluster of peach trees,& h* S s1 Z* D; @
Their blossoms in full bloom,$ G0 q' s4 m$ V
Grown by the daughters of God+ |" q0 j2 |4 r8 _6 D" t ^
And watered with nectar?, R8 I3 x$ M) O: n+ V
8) Lo, the red afterglow,
2 B- ^- L; l# C Against the sky blue!; c7 [ D6 w E; _7 h$ Y
Is it Flora's rouge
9 x6 ]7 r! t. f1 G: i Spread all over the sky) x4 P E0 y2 [6 m( M
By her frightened maids
. J- O5 h, Q4 z In escape from her anger?. S' i1 A7 ` ]4 m! L" Q
9) Lo, the red afterglow,/ T2 u7 q9 C; h$ w
Against the sky blue!
/ o) H& ?6 \# x3 `: ]5 p Is it a large piece of sponge
! I8 Z/ q G4 E9 d- y! |* w1 R Soaked through with claret
& j: z, x3 a$ ?# s9 @: f Upset from the Holy Grail
" ~, L7 \! O2 z, l, C By a rash cosmic pilot?』
+ ]! W! ~( n( w3 |- X! a8 S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3 g0 I: j, Y B- I4 ?0 V, 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. r+ R9 V" \7 Z3 \7 {* w1 R# W3 Y+ \
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
1 x8 z& m; o8 z5 Z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
3 Y' v! }: W" Z f4 a4 Q" u9 V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 c- B+ B% h# ?3 U& r$ i3 l
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 B- ^, }( C" u1 v
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。 0 }9 C5 R' \1 C9 m3 O
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﹕ c; Z, U7 Q1 p5 C% j
When young, I don't have any notions what woes really mean,
" D' N6 X* T, [( _ Just love to get on floors so high.
* h! e; G, ~5 Q& O2 p4 s3 J: S, ? Just love to get on floors so high,1 w. W! G3 B' ]% v% v/ I6 s
To write new poems, I try to say the words of woe and spleen.% |. l2 ]) E* w! T; n
6 Q" a3 t- p* ?
But now I fully have ideas of what woe really is,
8 h1 \& E* p4 y! J5 C% o1 Z+ ` Afraid to get on floors so high. # m4 w- @: X: d# U
Afraid to get on floors so high,
0 c* C% C( W8 N! `I only say in poems how good and cool the Autumn is.』
2 f; j8 K. \& | b! J1 w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, j% t+ M# o" S- 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。9 [9 c b/ h& D. Z i4 ~
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﹕
) Z% R9 g% i* b( T4 u『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! W+ s/ C3 w& C* S0 S* ]
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0 d: B! w7 W" x" 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: S: @8 V2 [ f6 I& b; B) F
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﹐9 D% l8 K2 W# h% C4 o
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" X* P: N4 t9 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
& ^; A5 b: @: x8 P+ x* c7 {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# j" T5 N! ?+ ^) V" ^7 u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' @4 v" T7 d' b; x8 h
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
6 q: n6 p9 L' R& q) _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 k( }! b# G) E' f# C* Q
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﹕
7 n( I# z- q( Q ]" h3 OPoor Odipus, a scapegoat he was! Accused of three great crimes, he
. H- o$ t% j& z1 {; A0 isuffered a terrible tragic death ----a punishment inflicted on him by
8 x) f* G; H4 Z& }4 \the gods on Olympus. When he learned his fate decided by the almighty
/ c) i) J f+ A6 Q9 egods to kill his father, marry his mother and bring destruction on his
% S* ]8 ~% Y: knative city, he wished to escape from it. But destiny was unavoidable,and
! v9 t* ~& t! i3 ~# Xunawares he fulfilled the assigned tasks. If the gods had decided his * H: f5 e1 y; C. b8 |$ k
fate otherwise, he would not have been a criminal, receiving an unjust ) h* n1 T+ p) ^! u% R$ R4 w& C: v F
punishment and bearing an ill-fame for thousands of years. He was only 4 g, w0 T m0 G; Q: j- H/ d9 z! z
an executor of the wills of the gods who, struck perhaps with a whimsical
% C3 d' S0 }- E4 zfantasy, played a practical joke on the helpless mortal. The gods were
2 s0 J8 A" G% S, k2 g6 [the plotters. Who then deserved the punishment? The gods on Olympus rather ) V' M" B/ Y# z( |( _9 g
than poor Odipus!』
& A! x* S6 L. b5 D3 a9 u% }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﹐+ p( h0 ?) d- v( `' @& 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﹕+ W0 R8 d G* F( j( p
『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﹕
1 ~) n, D' O7 M$ q5 q4 I) W+ q/ H! p" d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 * Z9 X1 }! \- F/ j4 Y
ADDRESSES TO MONEY﹕4 r+ Z9 |+ O* R( q$ r1 [9 N7 Y; s
1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
1 f, X c8 z1 R5 h$ S! h. @your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, + r- o$ J- N' F! m5 @
your slave. With you I can get food to keep me alive. With you I can $ _, B% d y5 A# M/ D0 q% F6 h; _- _
get clothes to keep warm. And with you I can get whatever I want, a # U6 B0 R! T8 P6 H- Y% v
grand mansion to live in and all the superfluities of life for ostentation. 5 R5 J) n" C' i3 m' M
But without you my love will desert me. Without you my friends will
7 `. Y" j& K+ e- N4 Vturn back on me. And without you I'll go a-begging like a poor dog + c, ^; R& C7 [6 d [
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come ( Q' v0 f. s9 n5 S
to me, I implore you! Pray, endow me with your favor and be sure that I'm
6 O7 z( J! R" _4 Q4 N7 n. {' h! gwilling to receive every small coin from you on my knees by which to show & O( `* Q0 }9 x, C: R
my deep-hearted gratitude. 』/ E; U% m: j& z7 Q, D
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。』
* @0 R. V0 a3 C8 }! I. @* Q芝娜又唸道﹕『第二﹕ C+ T6 w" b6 w, f4 @" ]+ p- D
2) Oh, money, my obedient servant, my faithful slave! I'm your master, ( o# i5 z- L# h& p/ z
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
+ F: ^" E+ {2 S) L# F8 S0 V1 ayour disposer. With you I can start my enterprises. With you I can carry # L, _1 K* t$ u$ `1 t0 m
on my great plans. And with you I can make the little world around me 4 J' `# m" @7 b* w, w
go at my will. If without you I can still have a large store of learning.
7 [* e" T) k( {$ S5 ^ If without you I can still have an unpolluted name. And if without you 1 A* D6 w. S2 e9 D Y- b8 E
I can still live like a hermit writing books of great thoughts.
* j# T0 Q1 I3 e: R/ mOh, servile money, come to me; my lad, I command you! Serve me well , A: v7 P* g6 x4 |, ^' J' M
and don't be naughty, or I'll punish you.』- \$ W1 [1 i/ E5 _3 W
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
h% N8 e* y3 r8 R" o$ S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﹐
- i: G4 ?3 q6 ^1 J: ]) l8 M5 {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 BEAUTY9 ^) ?; x2 D9 a. ?$ K6 ~% p; S, X
(談美)﹕
$ P3 s% g7 Q' i; { q7 d Beauty often dwells in youth. At sight of a charming girl, everyone
) O2 H& x; w \7 J% w! d% d5 lwill exclaim, "My eyes! What a great beauty!" The male stares with
8 @: \; B ?0 |a thrill of admiration; the female gazes with a sigh of envy. Wherever
# G1 U- t1 Y. D3 X: _' \she goes, she becomes the focus of the attention. Men all yearn to win
3 Q8 f6 S$ x6 M/ |$ Rher heart; women all feel a regret unable to stand in her shoes. A glance
! |/ l1 v2 y* `8 yor a smile from her makes the stingy empty his hoard of gold and the ~: h% i8 W$ }7 r% \- Q
coward give up his life for her. She enjoys her queenly position in society,
* b# w" t5 @" B/ F proud of the possession of such a beauty. But the merciless Time 6 h8 r$ j" ]* c! X% c
dogs her steps, too. Her beauty is worn out with the years. She begins to
$ p1 @: x( t# R5 U1 X6 e7 p+ {3 ]fade away and the hardship in life, if any would befall her, will bring
0 H" [9 y) ^. B) ^. w" a: L$ ]more wrinkles on her face. Then men turn their backs on her politely with
7 b+ r n: u/ \# Q$ ]/ P* ka bow; women look at her with indifference. The younger generation is magnetized % J5 _) j# X* ~
round another focus. The old queen has to abdicate and leave the throne d+ d$ F! x: ^. a$ A" i
for a young one to occupy. Only a photo or portrait can preserve her beauty
# x( v5 d& D2 B: P! ein youth and no Time is capable of doing any injury to her preserved beauty
1 M4 y5 t3 O( A1 d' O, l) ubut the preserver itself.
+ l( r3 n0 @) _4 O, N+ u' H Therefore, admire not the beauty without, but the beauty within. Such . l8 Z. O+ R: }0 N# m( w; f
a beauty will never wither though Time also plots to do it harm. In the - N% C1 o% R7 p w" Y$ U
struggle against the adversities of life and the ruthlessness of Time,
' R- ^& i& Y7 p it grows radiant, or even dazzling, just like a rock in midstream made
2 X1 e! ?! K! g+ X1 c smooth and glossy by the current of both the stream and Time. Everyone, ! m( W q8 O4 B# P& O
in spite of the age and sex, if aware of it, will sing its praise either
0 X, \. N! p. }% | openly in words and letters or secretly in mind. It lives as long
7 r+ D; P7 y7 y/ @0 gas the possessor, or even much longer after her dust may be blended into % n) k1 f, T5 m
a vase with the clay around it.
3 g; X, i2 u1 M# B/ T The outward beauty can only be the object of admiration or envy while
* H4 {4 u8 Q' M" B# g/ b2 Uthe inward beauty, besides being a theme of the ode, can serve as an " n- L' b0 G6 p* Q
example to learn from, for the former is always endowed by birth, but " a' C7 J. X# _$ q! |+ V4 |
the latter by self-acquirement. However, every man is free to hold
2 y7 `+ O( r% k; A his own notion of what the beauty is and to choose whichever of the two
2 o' O, M. B- @beauties he prefers. Only his love for his bride select should not degenerate
" J# f" v; z) cwith the shrunken beauty.』
, b, L5 `$ ]0 ~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" ?* ^( _; f. q5 W( K: H6 y; a5 E
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1 }: e, e9 h' P, x9 K1 C {9 r2 W
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 。』4 f( Z2 \: H) K# d2 P$ F- g2 \
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
* C7 M) o/ I% q- E7 s5 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# T/ ^& v0 G* s4 Y2 ~
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 g' R- C' v, a, Y# D! U% f6 M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。; B) v8 [' ~/ h% ~; [" B/ w
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
" B0 f5 L3 b* _9 v A little boy walks by his mother's side, with one hand in hers and a balloon
! R' N/ {3 d3 S in the other. A sudden gust of wind snatches the balloon away from
7 Y. I/ t8 _/ Y2 ?) i the boy's hand and bears it skyward. As it flies higher, the excited
: }8 x; e. y/ v6 ?8 C# y Wpeople in the street all look up. "Surely," the balloon says to itself,
* y1 l! C1 B8 t1 P5 X6 i( Rfeeling proud of its uprising, "they all envy me of my ascent." Then in its
7 O" I" T6 e% |8 y8 V0 i" r* Kupward flight it passes by a balcony on which a group of boys and girls . a+ t8 U9 j9 l0 U8 q& [
are standing, giving a cry of excitement when seeing an escaped balloon
( [3 }" S0 f+ v" e- Uhurry on its way of freedom. "They are cheering me, I'm sure." The balloon 3 b# [5 w4 D% T" H& C
thinks. Up and up it soars, above the roof, above the spire, through a
6 T |4 [$ _9 }7 D1 u% ythin cloud, into the blue sky. Then a dove hovers near, but after a glance
! e! [) k% s8 E8 s* Q; Nat it, flies away with indifference. "Of course, the bird nears to : `( L0 N- X ]3 c* P; P/ z2 h
salute me," The buoyant balloon flatters itself in exultation, "but as
2 S+ U4 r+ S0 D# n9 x- ^8 h4 yI ignore her to keep my dignity, she takes herself away in awe and respect." / g# x. q+ }6 [# p0 V' q' E
The higher it clambers, the haughtier it becomes, till it reaches the : z; M6 c# b7 U
zenith where it means to stay for millions of years, but, alas, it bursts!
/ u8 @$ |5 m" N: C0 ^』
9 l- s1 ^) ?3 M% X2 v! a9 ]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! y# ?0 A% E; ~- m( U; l7 M% ^
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
) ]) u1 P, j! Y/ r) E) g! S Etiquette is to society what apparel is to the individual. Without
7 a9 O( n( z4 _apparel men would go in shameful nudity, which would surely lead to the
# @1 O! K- v0 Q/ v, g$ B) ?2 Vcorruption of morals; and without etiquette society would be in a pitiable + [. y4 o. |' |. W6 M) Y. h
state and the necessary intercourse between its members would be interfered 1 z& B5 _# P! t: ?; b5 Y4 X
by needless offences and troubles. If society were a train, the etiquette & U5 J i9 d, G( b
would be the rails, along which only the train could rumble forth; if / t7 W2 v, y) |7 c' k# K
society were a state coach, the etiquette would be the wheels and axis,
$ Z% }9 Y1 R& X; i8 K on which only the coach could roll forward.9 n3 o$ ^, r3 {% h0 C8 M
The lack of proprieties would make the most intimate friends turn to K' X, [- y; |: ^' c
be the most decided enemies and the friendly or allied countries declare
p& U7 e6 q6 O4 bwar against each other. We can find many examples in the history of mankind.
& b: ?$ W' t8 R3 v2 R% m A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed ( E1 m8 d {( P6 T
by his favorite knight for a joking word. therefore, I advise you to stand
9 o* `3 t8 M) Aon ceremony before anyone else and to take pains not to do anything stupid + D( }! E7 f" B+ W% ~
against etiquette lest you give offences or make enemies.』
# `3 j5 O' A& x6 U: _9 k4 c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
# T2 o/ ?, P+ 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4 ~$ v8 V7 R9 W# ^; t
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
% a* c% U0 Y( D' V5 {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。
# k) Z2 `3 s/ U: X5 S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﹕
- E) s6 `7 l# P( J8 ?# 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﹕
. G& V- E! [* S! u0 |- d: g4 J; ^『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﹐
" M) O% j7 t& i2 f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
/ h! z8 N1 _ z" D2 D( K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6 T' U/ v6 C6 c* y5 _: M
銘」的譯文; N: A) y3 V+ O; J# A% B& G! S
AN EULOGY ON MY HUMBLE ABODE﹕
6 a+ H: s; Q0 G, l Known will the hills be if fairies dwell, no matter high of low; and
& F y0 G2 y. ~8 C+ ~+ i" C& Vcharmed will the waters be if dragons hidden, no matter deep or shallow.
& V+ ?2 E' N% C9 \* }7 |% @- B2 [9 E A humble abode though this is, my virtues make it smell sweet. Verdant $ J5 u8 i& ]) T d' E
are the stonesteps overgrown with moss, and green seems the screen " g t. I1 [( y2 b
as the grass seen through it. I chat and laugh only with great scholars ! y) K& p0 I! ?3 Y8 M7 b* S
and have no intercourse with the ignorant. I can play lute and read my 2 x9 A+ I+ Y5 E3 V, q2 {: E, O
sutras; no unpleasant music to grate on my ears and no red-tape to make
: u1 O# X5 x8 I h8 U( d7 S3 a$ kme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance 5 Z% {+ M& I# f' m
in Xishu are both like what Confucius quoth, "How canth it be humble?" . E4 V5 f. x+ i4 Z
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 O8 I. e9 p- }" T3 }/ J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﹕
/ H) F! h5 }4 @% O$ h『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6 b1 J4 s8 N# k2 x. Z M3 {
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
# C9 }) o; S5 r8 i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。』
+ l1 L- y( H- A# ~! n7 @# f; h
- W! z6 t# [# A% }- a1 W! E 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
/ l7 A7 W" l/ O% }2 W# ]; n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 w, D j" U, t& L
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。』* y% r# v4 e5 F+ e
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/ w; ]. e, }$ n( |$ q F
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。& r4 h& V# z! E) E7 E$ i
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
' d; ?" u* ?) u' F6 G$ `+ s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" w, s: Y: d1 Y3 C8 w, y: m' U
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﹕
6 ^6 `) @* d B『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
& L, r! j; R- `3 t/ Y1 N8 d音樂跳起舞來﹐直至興盡而散。
+ W$ ~; @ e/ T* v, } 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
6 i9 A9 q# |( k2 c5 b' P1 L. W* O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
' u; c$ p B |6 c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. y. ?7 Z$ _& C8 p- O! S% S
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
/ \, X9 O; f* i( ~% ^- w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﹐% b4 V6 V3 n4 D; i, \
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
+ o1 ^, L: I) G, ~: ~6 K, q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
/ F5 `, i. B( F- g8 [0 B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. ]+ Q' j; {( g' Z. i, H, 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。4 M! ]# _1 L0 K
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2 l! n/ t% @' `# I- S, S
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& W l3 ~6 l. l) ~0 R5 i* I
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6 s8 s' t8 G. [% o. X; ^6 h. V
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! ?- g" x2 @0 ?4 u) [6 A, W6 X$ k1 `
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2 Z, F9 w5 ~- Q1 m8 H5 d
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1 t* B# ?1 A, u4 I! I
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﹐
" p( Y# G4 F8 d- 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
4 S' a3 B# c$ A T0 j& E" B1 z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」
! C" U) r' ], E! x: B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 h0 S1 W5 y1 R) o8 K
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8 d5 E7 Q1 H0 u
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) q6 L' t6 ], @# N8 Z
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% U! w8 V! a# Y+ D4 y
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
, a. C, Q6 y* p& N8 `8 Y6 W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9 x+ v# Z z0 `( \* 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
8 C5 T0 T9 J8 @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: B0 n0 n% `6 s6 \9 K0 w; \+ z0 a4 J; ~
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' H# Y9 E' G! Y8 c
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。』
+ e/ g. J I5 [1 ^: E I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2 G5 |! S7 K2 Z, @
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
3 ?& D# _3 K" K9 V* D評論才會公允。』 |
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