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芝娜道﹕『下面一首是RED AFTERGLOW﹕
5 V" b. M+ x9 L( }2 H5 S' M1) Lo, the red afterglow,
* h. \; ]8 \0 i! ` Against the sky blue! . u" d6 m" a& v) N
Is it the blush of Heaven,
. r% l) M. r$ ^! K: R As on a maiden's cheeks, % h6 S" n! t% S1 c# N g2 w
When she catches sight
) p9 K1 l$ N* i- L Of her coming lover?3 q" j2 b! F2 i) o
2) Lo, the red afterglow,
4 O1 `2 y6 W7 C/ ~8 X) r6 J+ T Against the sky blue!
) H) z) k, K% @$ ^; w Is it the fire of bivouac- O" H# ~; U" A q. q. G1 s* u4 c
Kindled by Nymphs and Naiads
# E1 ?& X; m; k. `" g+ I) f4 o On the banks of Milky Way
5 S: m! e. s2 E) ~ Holding a celestial picnic?0 U* f" R" c( }8 k) S
3) Lo, the red afterglow,6 _) R# E, T- K( E% j2 V
Against the sky blue!
e v4 _( U) `& C" `, J) [6 y Is it the ruddy gauze veil
+ |7 K$ O/ B( c2 H That veiled the face of Juno
3 t0 B2 q5 m# y r On her holy nuptial day
. }- n2 ? ~( [4 e0 s) ~6 P When she married Jupiter?
1 z: s+ s& F v7 @, n4) Lo, the red afterglow,
1 }; I5 F. ]1 ~* |* p. u Against the sky blue!
' |2 l# f% g, }/ J% l! e Is it the fire of Mt. Olympus1 E. F6 ^2 h4 a4 r' u
Stolen by noble Prometheus,
# u5 P3 Y7 }% w3 N. V4 e5 d And in his careless down-flight! g4 Y1 ~; |3 T1 `& R
Set the fleecy clouds aflame?& N6 g) h( ~2 S4 o# j# {
5) Lo, the red afterglow,
; i4 A i4 J o, p Against the sky blue!! F# ?/ p( `% U1 u
Is it the blood of the heroes
( I% R3 S- s$ I That died on battlefields5 `+ J: K$ d! ?- o0 F
In the sacred defense
' U% F, a: W% A$ }5 h( M Of their dear motherland?
- p7 _( h# A* k4 j+ e0 R6) Lo, the red afterglow," B- `3 r1 Z* `" v5 t' D% @0 v
against the sky blue!
, \. `9 v! B9 b0 j5 q If it the Isle of Coral
6 U. w/ r m% s8 ^ Removed by a white witch
/ Q/ l# G6 l4 W* N From the Pacific deep8 [2 f) H$ e! @# d
To the heavens above?1 H; U! \9 M6 X( B: D, {6 e+ B
7) Lo, the red afterglow,
! b- r7 I8 b' O0 K- k Against the sky blue!
3 w$ R( R. ?+ ]6 i) u& V0 a Is it a cluster of peach trees,
: d+ D4 r9 N$ P* k+ h1 Q Their blossoms in full bloom,: [' {3 W; _" K4 g. a* X, x) m
Grown by the daughters of God+ F" s6 U1 w0 @7 d& e+ ^
And watered with nectar?. U1 h5 \$ U" s' v
8) Lo, the red afterglow,
! ~& i3 [1 o( D/ G. S, } Against the sky blue!
. v& u; S- J5 r1 @+ q Is it Flora's rouge9 Y8 ~1 M8 y6 }. K N
Spread all over the sky
3 D2 m0 v% }. r' L* g$ C. S By her frightened maids& x/ \5 i2 l0 v6 F$ n' d, `
In escape from her anger?
( g( A% I( C6 ^) k1 N5 f/ x9) Lo, the red afterglow,
1 f2 ^+ o$ A+ }! ~- x Against the sky blue!
8 H) l. W3 k7 R& ~, x0 e* n; R Is it a large piece of sponge6 ]' R* c: |) I
Soaked through with claret
) L: j9 ]4 L& e' V9 W$ o Upset from the Holy Grail
/ c; ~' t/ W% a d7 W$ Q By a rash cosmic pilot?』- @* }/ l3 Z* o) U8 f
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 e) U1 b% z( 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
3 x0 H- \7 l3 t b9 F7 J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
, W5 J* C# `* ?9 g+ x; W( f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; X1 t N4 k c: g X* y& _
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6 @+ q. l1 a& }+ {2 a
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+ N/ s6 L" D) k' M& k; t' Q
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。
2 P0 r/ r4 K, R( t# h7 ~ 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﹕
' I6 `2 Z, f9 bWhen young, I don't have any notions what woes really mean,
; r$ f3 w# F1 [ Just love to get on floors so high. 6 v6 Q" E1 {; |
Just love to get on floors so high,6 j! D; v; g) H" u
To write new poems, I try to say the words of woe and spleen.
. h: \! Q- K) X: ?4 t! D, @' a
) S4 X+ F- _" O: @8 P/ sBut now I fully have ideas of what woe really is,
/ M8 \0 Z, j8 h' z' F Afraid to get on floors so high. ( i7 y7 q: D$ `4 M$ K# K
Afraid to get on floors so high,
+ O7 W: ^) ?0 e" i% B7 eI only say in poems how good and cool the Autumn is.』% q( t5 W0 N, J' \7 c/ ]' M
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
- s" }6 |* @! D0 d2 ~: o6 S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。& m8 ^0 [: |4 R# b, b+ |
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﹕
( Y# L! I3 |. P; s『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
* u6 P& A o1 H1 C) V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 M5 A1 I( \3 y8 f4 C 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
) J- g; V8 [; r$ y" E' Z- h0 g' H1 ]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﹐! _& A- }! h0 ?8 ]7 E
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' p% h. F2 L$ t# `3 {
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
( d3 M0 X4 |( w W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! s& v* u7 r3 V" {: T5 Z+ g
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
5 F- F0 R9 \- f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 K2 c6 c# u/ E+ }; J
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9 X$ w, |" ?* B# \
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﹕: I( Q3 k5 h$ _- p& n+ _
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
$ Z; G6 G( _3 T1 @suffered a terrible tragic death ----a punishment inflicted on him by
7 ^% e' h$ g/ a& D3 J" `6 [the gods on Olympus. When he learned his fate decided by the almighty
" _3 L/ L: X& y" g% J6 v+ {2 Qgods to kill his father, marry his mother and bring destruction on his
0 S2 ~& r* ] K% k0 Q* l5 i% V Xnative city, he wished to escape from it. But destiny was unavoidable,and 7 s c5 ~. y. S5 x, _ M
unawares he fulfilled the assigned tasks. If the gods had decided his
; V" |* Y4 a% ^" G7 f1 U! `' wfate otherwise, he would not have been a criminal, receiving an unjust 5 y/ k6 A' ?+ V% m( {+ b7 ^
punishment and bearing an ill-fame for thousands of years. He was only
+ ?1 C. H' }4 l$ X+ i* U1 G" q& Ean executor of the wills of the gods who, struck perhaps with a whimsical 5 R5 H4 g& l6 L" s8 h
fantasy, played a practical joke on the helpless mortal. The gods were
+ S/ Z0 c. U% c! u5 T4 G: ^9 kthe plotters. Who then deserved the punishment? The gods on Olympus rather
V* y. ?* T( k) u# n* u- v: Rthan poor Odipus!』% [2 Q4 ?5 {( Q% k9 p' h) s" J% k( ^
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﹐
4 m4 n x* T6 h* w/ p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﹕6 r. r- S- Z! ]7 b$ ^
『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 b/ h+ [! Q+ _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 " w+ K8 M M( ^; z% i! {( O
ADDRESSES TO MONEY﹕; Z C- m5 n, l; v5 g6 ^7 h1 v
1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
' M3 y+ P" ~, [" a/ o7 x; Gyour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
/ _: X$ U0 b& n3 g) Kyour slave. With you I can get food to keep me alive. With you I can
, n$ R" p8 G# a$ Dget clothes to keep warm. And with you I can get whatever I want, a 0 p; @$ L, I$ N6 p: N) U% X
grand mansion to live in and all the superfluities of life for ostentation. ) Y9 {& D7 ^, h( y( q
But without you my love will desert me. Without you my friends will
6 B) \, T1 D! ]- d7 Xturn back on me. And without you I'll go a-begging like a poor dog 7 i- t/ _! i# ]) M+ {* h" ]5 s/ {
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
6 F- z/ \) _' K% V" S/ Mto me, I implore you! Pray, endow me with your favor and be sure that I'm
% d* ^9 \- H" M$ F- u/ @willing to receive every small coin from you on my knees by which to show
4 _+ K2 T. L5 ]$ T Kmy deep-hearted gratitude. 』/ ?2 r4 q4 u; [$ C% ^2 z; h; {0 S; G
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。』- m6 A, g! A/ q8 J8 _8 p
芝娜又唸道﹕『第二﹕3 @# ~+ v+ N: _9 }# p5 |4 ?
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
7 M+ Y+ G( ?" Qyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
: A& | [ \! h. {: x' C( Byour disposer. With you I can start my enterprises. With you I can carry
" n& C" N. K' d3 m7 S3 W3 y7 don my great plans. And with you I can make the little world around me
8 v4 z! y# z( H6 }! ]- i0 j2 Zgo at my will. If without you I can still have a large store of learning.
3 }0 z. c4 p; A% I" j If without you I can still have an unpolluted name. And if without you " i( I( ~, X( O+ @- u8 p# U
I can still live like a hermit writing books of great thoughts.
+ \9 c. z M& i. o! pOh, servile money, come to me; my lad, I command you! Serve me well
+ Y9 q1 {, C% ? and don't be naughty, or I'll punish you.』
6 m$ g6 D+ N' M0 v$ c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, }/ l3 [5 |" O; [6 B
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﹐
. p$ \! Z. q2 S& 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 BEAUTY* l) `4 W: F. [4 N+ s3 |1 q4 w
(談美)﹕# @0 @* q0 u" J
Beauty often dwells in youth. At sight of a charming girl, everyone
' d8 K# z n, L" S7 e& swill exclaim, "My eyes! What a great beauty!" The male stares with - C% P. k3 `" M
a thrill of admiration; the female gazes with a sigh of envy. Wherever ) k5 ^8 ~* B. M2 h+ Q5 D
she goes, she becomes the focus of the attention. Men all yearn to win , W' _6 r1 `2 _: D' ~7 Z# `& {
her heart; women all feel a regret unable to stand in her shoes. A glance ! s, U. S/ @* U: `5 @- }: O* x
or a smile from her makes the stingy empty his hoard of gold and the 2 v7 |1 Z6 `8 n# T" v* @, X
coward give up his life for her. She enjoys her queenly position in society,
2 \- z" u* Q x, e a1 D) J proud of the possession of such a beauty. But the merciless Time
; ?; U! v2 P" `( v% ^! U$ o- E tdogs her steps, too. Her beauty is worn out with the years. She begins to
( K" Q; F, [% p" ~- Q8 w, u3 H4 n9 \fade away and the hardship in life, if any would befall her, will bring
( o4 i) ]6 m2 E6 j- r n ~4 X" \more wrinkles on her face. Then men turn their backs on her politely with ( l: J- q& C' D, d8 ]& R, B
a bow; women look at her with indifference. The younger generation is magnetized
. g2 `. i e" E' ], Qround another focus. The old queen has to abdicate and leave the throne 6 {, l. q2 O1 a9 s% `
for a young one to occupy. Only a photo or portrait can preserve her beauty 2 y) j/ n" D, V5 H- S' M
in youth and no Time is capable of doing any injury to her preserved beauty
0 k" \8 ?1 f9 z0 t6 z9 [9 ~: Bbut the preserver itself.
) ~0 `- P/ i6 j! T" L1 V Therefore, admire not the beauty without, but the beauty within. Such 2 L/ N8 b% i' i4 Y5 o9 e
a beauty will never wither though Time also plots to do it harm. In the
9 }0 t: I2 O( ^& s$ l& ?/ [struggle against the adversities of life and the ruthlessness of Time, + x* w: b2 ]9 t* K1 Z8 G3 d
it grows radiant, or even dazzling, just like a rock in midstream made * K$ e& r" N: i$ ~, E
smooth and glossy by the current of both the stream and Time. Everyone, * G9 |0 P' l# P8 d
in spite of the age and sex, if aware of it, will sing its praise either
5 Y$ k, n: S6 O. d. B openly in words and letters or secretly in mind. It lives as long 3 A/ M- X: x* P/ c* c
as the possessor, or even much longer after her dust may be blended into : f7 o6 w$ P4 ?2 g
a vase with the clay around it.
& h, _$ C9 T% V W3 _ The outward beauty can only be the object of admiration or envy while 7 P* S$ E5 p; j s+ L3 z
the inward beauty, besides being a theme of the ode, can serve as an + F; g8 h- ~; ^# s# Z% o T; y
example to learn from, for the former is always endowed by birth, but , T8 W" h3 ?$ I% g7 C( e
the latter by self-acquirement. However, every man is free to hold - S( G' f' f8 A% R R- {
his own notion of what the beauty is and to choose whichever of the two
' K0 q# A* y& ?1 D: l1 B+ p- e; Zbeauties he prefers. Only his love for his bride select should not degenerate
! \" v3 b5 h/ c- z, Gwith the shrunken beauty.』; D0 g2 r/ b' e0 x
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" ?3 n; b" P5 w8 z) P: ~ t& ]
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 e$ t( ?7 ]2 O& |7 M+ 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 。』% u) d, v. A2 W
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8 s9 X1 K3 X! f! e. g
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
- \* C5 x ]* a) w7 `( t& C5 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
5 ]( C5 s$ Y* r. ]/ 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。
8 r/ t3 P, c2 |7 R你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕# O& b' e+ g8 U6 a0 }2 \9 d" {
A little boy walks by his mother's side, with one hand in hers and a balloon 7 w, x$ [% R$ i2 b- X7 z8 `# v
in the other. A sudden gust of wind snatches the balloon away from
$ X. y- q& A: h! G. d% d# z1 w6 C the boy's hand and bears it skyward. As it flies higher, the excited
" z! U/ J' s: K8 e1 zpeople in the street all look up. "Surely," the balloon says to itself,
! f, X$ B O, ifeeling proud of its uprising, "they all envy me of my ascent." Then in its : `. h" n* D9 B* a/ n
upward flight it passes by a balcony on which a group of boys and girls & N: m. V; @- }0 @. @6 h: r+ |) `
are standing, giving a cry of excitement when seeing an escaped balloon ; x" A; n4 c- Q1 E2 N& v4 f
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
; ?! j4 s: I! ~3 J. P, \thinks. Up and up it soars, above the roof, above the spire, through a
. F6 A5 F0 l+ othin cloud, into the blue sky. Then a dove hovers near, but after a glance 7 C/ @7 ?* b: t
at it, flies away with indifference. "Of course, the bird nears to
: s9 [/ h+ X: | P. G% G6 l8 Zsalute me," The buoyant balloon flatters itself in exultation, "but as
: ^" s8 {: Y& I( I% g/ i- FI ignore her to keep my dignity, she takes herself away in awe and respect."
$ |, P4 H6 B1 Q h The higher it clambers, the haughtier it becomes, till it reaches the ( }9 p5 N# @- v5 S0 ?7 @) [
zenith where it means to stay for millions of years, but, alas, it bursts!
2 x0 l8 [( P; g- L』
/ U& u6 a* u$ x8 c* z. w1 H, Z5 |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
1 Q n4 l% L9 t" U- |# K; S0 F+ g好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕# M' x5 i* X+ T3 U' l7 ^% m
Etiquette is to society what apparel is to the individual. Without
. j, F/ f: _5 |* Z: Y5 V* r) Vapparel men would go in shameful nudity, which would surely lead to the
8 j d- M, ]3 D7 U9 K0 f8 Acorruption of morals; and without etiquette society would be in a pitiable
9 b H: p1 H. ?: X% Istate and the necessary intercourse between its members would be interfered
2 h0 A/ U# l9 i- E/ v# E8 [by needless offences and troubles. If society were a train, the etiquette
+ r( I. ]" K( ?$ \, e! awould be the rails, along which only the train could rumble forth; if ! m' C4 M2 I- D' s3 E
society were a state coach, the etiquette would be the wheels and axis, & E0 o# N8 k$ x. X! W, r+ `- @
on which only the coach could roll forward.
9 r# J1 n4 N6 U7 G9 y The lack of proprieties would make the most intimate friends turn to
& @0 }- [, p: T" B' u: @* q9 x+ \be the most decided enemies and the friendly or allied countries declare 6 S' O! j5 c$ G6 X
war against each other. We can find many examples in the history of mankind.
+ \1 U; k1 |; y A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
5 q% M+ B+ m- d/ sby his favorite knight for a joking word. therefore, I advise you to stand
6 L, A2 a. V/ b- B" kon ceremony before anyone else and to take pains not to do anything stupid
6 e) ~# _& A* R* Z wagainst etiquette lest you give offences or make enemies.』
, ^; S: V0 v' N6 D) G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2 T# Z# J) R# Q# l) y$ ]( O
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
( Y, u. e3 M. @ i6 z/ D0 J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 a6 ]' H0 r8 M' v: U% w
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。$ F5 I8 j2 W$ {7 \- c2 N$ G4 V
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 {/ W8 Q6 f+ S/ n$ c『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﹕# c0 J+ \/ G/ a4 }+ a
『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﹐) `8 k$ X) m0 J/ W2 g- R* D% 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
3 S: B" l) u) `! O4 G7 J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
9 V- E! P$ ?" v. K; T! S z3 c銘」的譯文& P3 o0 j% z8 r. A+ g. k. z# y
AN EULOGY ON MY HUMBLE ABODE﹕
j R$ y- x# { Known will the hills be if fairies dwell, no matter high of low; and
- w- m3 Z! l: k) d- @charmed will the waters be if dragons hidden, no matter deep or shallow.
; u" @: f0 e* Y8 O9 M A humble abode though this is, my virtues make it smell sweet. Verdant
& T* T0 G1 d" f" C4 l3 \; r. Kare the stonesteps overgrown with moss, and green seems the screen
0 z7 c3 t5 x# h7 D$ r O as the grass seen through it. I chat and laugh only with great scholars ! v: t% z) J$ e0 z9 m# f, b
and have no intercourse with the ignorant. I can play lute and read my % L9 q3 b) g4 k
sutras; no unpleasant music to grate on my ears and no red-tape to make ' F0 p2 `% D* a3 v
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance / @. Z s! o6 \# @& }
in Xishu are both like what Confucius quoth, "How canth it be humble?" 8 I. Q% H% r6 o
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。% j3 K9 Q) g, H1 d: r
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﹕" ~# {! n1 N# W4 |1 {9 X
『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! U7 j! A) S* \& l( y7 l3 H; Z
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4 R0 w) H2 n1 `. z# X
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。』5 S( c" @) A! B9 k( f
! G& A$ b/ _) j m+ h' N- M' y 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, \' y9 D8 |2 q, f
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
) z! U0 P, d( \7 c, S; 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。』, L+ U u5 C% o) l/ P
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
, A# ?$ d" Z/ M$ d+ ^4 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。. A- o F: R* a% o3 C" @7 O# d
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" }; I/ j1 r- T9 V
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) p* Z3 Y( X5 Q2 h) p
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﹕- H( X9 Q6 E& ]( z8 d2 C# W% Y
『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
) _6 E5 t l% L, _! f* h" o; R音樂跳起舞來﹐直至興盡而散。/ t* m& [- [- r+ O" @: Q
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- C' I2 v5 k/ `- @
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 x8 a- g) j& {3 z7 x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3 n% z! q# E3 A" ]
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
+ ~& \8 P2 ?5 I) J8 |8 |: S( R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﹐
; J& B8 T, \5 e5 x0 Q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6 I- g3 q* H8 W! d4 L- \6 _ a
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( d; q% m1 V9 v3 J/ H0 n% l0 E
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
( F! b: L7 ` j+ C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。
. L/ F8 v* a% [5 N) B: X! {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
1 ~. Y9 R0 {. u& K# k5 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
8 O7 s, {0 n2 h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, x+ X, T, A; V, K( C$ v% y
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
, X0 p& }* Z' y$ Q9 ~. A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
, p6 g3 Y3 b* ]0 j1 L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' D. M, I+ s4 `5 K# 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﹐
* J* A9 A r: E1 M" O( ]1 u- h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2 E! _* P+ Y. k) q# c
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 b8 }! d6 T* 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/ y+ F4 Y: d" ~5 E; j/ j1 Q
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
: O2 S9 t z; U9 [' n4 J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
5 d7 `5 U" G7 B- M6 x" w! N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
+ q9 M S; W- a( d+ |& o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/ q: i% [9 d. n; W G9 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 K0 z& x0 O6 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3 H% m# f8 v& J" P
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
! a* [; N; `7 C7 h/ F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6 U. ^- B# _0 z# F, z
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。』
, G3 c, {4 s( D8 {2 w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0 D) X. o9 }. N0 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 q" v* Y, ~1 ~8 y! }- Z
評論才會公允。』 |
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