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芝娜道﹕『下面一首是RED AFTERGLOW﹕& S: J3 A1 z# a# o
1) Lo, the red afterglow,( C8 Y0 j$ ]1 ?* d3 ?9 o, A
Against the sky blue!
4 z. ]& I. _, s Is it the blush of Heaven,
3 ^. Y# d( i) Z As on a maiden's cheeks, 7 S4 x1 a* ?# [# D! U
When she catches sight
+ {' w6 ?0 |. a7 p Of her coming lover?6 H3 N. J( S$ L: Z2 L' i% E3 e
2) Lo, the red afterglow,
{$ Y2 r3 z( H) Z2 Y6 @+ t A, b9 c Against the sky blue!
- o1 k+ [' r; W0 \) j! |/ M Is it the fire of bivouac# t/ v0 y- j# m4 D+ ?
Kindled by Nymphs and Naiads' a% [2 c7 Q0 Q4 u# q7 T
On the banks of Milky Way
0 M/ m! e- l2 r5 R, v( P7 S Holding a celestial picnic?
5 P% x4 R' Q+ r9 h* M n3) Lo, the red afterglow,
& e$ h. n; M3 g( ~ Against the sky blue!
$ O! H% ^+ ~ c8 _: X Is it the ruddy gauze veil0 e& R' E' I! c- C# g7 A
That veiled the face of Juno
$ S6 k9 f9 @* E# b$ s1 s* F On her holy nuptial day( `. c2 z# H9 A% |. w- q; d
When she married Jupiter?
+ E% b! l7 K8 r0 N* n% C$ _% O( K4) Lo, the red afterglow,
3 k+ w6 B2 Q' Z. B% h3 D# R: ] Against the sky blue!3 m* t0 W, l: V {* ^& i7 B4 ^
Is it the fire of Mt. Olympus
" z( ^/ ~& }" _& M9 W Stolen by noble Prometheus,
- S6 g9 E+ T4 I) B And in his careless down-flight
3 V# z1 v, O. W Set the fleecy clouds aflame?
2 I. |1 j3 M+ r6 Z/ n# _& e5) Lo, the red afterglow,) A- u0 h `# O/ D3 Z" D8 f& ]$ V
Against the sky blue!
3 M( t M: D% O" A- b+ h8 b Is it the blood of the heroes& ]. D8 A" p" g* ?6 R. D
That died on battlefields/ A) e# t0 ]* q5 ~( z! O! Q
In the sacred defense
. K' ?! b- ^5 s2 Y) J Of their dear motherland?
0 Y- O; F$ R1 k+ |; v" Q4 v6) Lo, the red afterglow,* t* _& M& V3 |: z
against the sky blue!
5 s) _0 ^/ Z; t# B$ W1 B; d If it the Isle of Coral
1 F% ]! n3 I4 m; `( J2 b" c Removed by a white witch
7 i \0 P6 C! F& f- F From the Pacific deep
5 I. O" o5 C2 V# \( ]: X2 ] To the heavens above?
! |! c4 [% ]: ~) ^3 X9 p+ |- G7) Lo, the red afterglow,4 s2 C3 i1 V' O! H* ~) }$ G
Against the sky blue!( l# \- R$ X) c
Is it a cluster of peach trees,1 @+ m% G9 F" N% A$ a. q) F
Their blossoms in full bloom,
& v( {" r, i: h+ [( _ Grown by the daughters of God
/ s1 C, _. W4 M! V4 S0 X And watered with nectar?! t; g' i9 V$ W' }
8) Lo, the red afterglow,
, h& r. Z- b. V' u+ G! h6 V; i Against the sky blue!
; M. \; V, l7 n' l3 z Is it Flora's rouge9 H; c, z" [+ U4 X& i! X I9 \6 G
Spread all over the sky7 Y" k" e$ [5 o
By her frightened maids
0 ~9 W! A$ B4 @, E, z2 A5 g Q# D In escape from her anger?- b8 U% b0 @5 i, Y5 P
9) Lo, the red afterglow,
! f" Z7 c0 c: | Against the sky blue!
$ @2 s, } I% N; k5 @6 ] Is it a large piece of sponge
$ |& [7 R: G j! H, `2 P Soaked through with claret
9 z, f; g+ h7 r Upset from the Holy Grail
+ V, n1 m! M# i' S! f/ ^+ M5 B9 i, N By a rash cosmic pilot?』8 w2 }' f% P( l" T7 n$ I
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# J! f2 G* p! R& @: x
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: N: u" M: x9 Y8 r- {5 T& a7 \
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+ X( @0 v b7 I* s8 n' T3 y
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; O- u( Q$ Q: L2 P# 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6 v: k) E7 ?9 W) R
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; e' I3 G' c$ m4 ^ B
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 y. O$ {& \$ B6 e# ] 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﹕: r% e. _5 [- o7 k3 f% |
When young, I don't have any notions what woes really mean,
% I) m) m$ L1 t Just love to get on floors so high.
& c7 X7 l& y% O* o1 O7 L. N4 v Just love to get on floors so high,
& w4 x7 F9 @& Y3 J5 j4 {To write new poems, I try to say the words of woe and spleen.% a# g3 J; ~$ u
T4 w5 O2 ~' [9 U( {But now I fully have ideas of what woe really is,
% p$ g3 B+ F, a2 K: p! }! F2 M6 p/ G' k Afraid to get on floors so high.
! _6 E5 x" D; m4 V" w Afraid to get on floors so high,% G4 B0 I3 j2 Q0 e" P: f' ~
I only say in poems how good and cool the Autumn is.』
' R/ I' A% o8 y( j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 u" O5 x- z' b& u& z, v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。/ p6 R2 X, m$ h6 g" e5 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﹕9 E+ Y& ~# k. w9 m. H* y3 k7 G
『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
/ b8 w, ~; s d; U: @+ I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
, p$ z* o. S$ V: ?2 ~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
/ g# Y& G# j, N; F, K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﹐$ F/ U6 o9 a! S& ^
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) T9 j3 V; i, O0 t: r
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; P) @) M7 [" F7 |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
+ q% _$ h' x( m$ ^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 W9 [; Z7 c2 K
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
3 E8 p" I' g$ [& D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/ q ^4 m: k& B2 F( t0 D# c
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﹕5 n8 y0 _. j4 f% E
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
3 h% E7 B8 Z' O1 w, Q* ?- j, i: Ssuffered a terrible tragic death ----a punishment inflicted on him by e, a G8 F0 O3 @2 b
the gods on Olympus. When he learned his fate decided by the almighty $ M' r/ K) b1 W9 Z/ W
gods to kill his father, marry his mother and bring destruction on his 7 D+ y- v' D; b- M' _" x& ~
native city, he wished to escape from it. But destiny was unavoidable,and " k( |" z# }+ E G6 P$ H+ l: i
unawares he fulfilled the assigned tasks. If the gods had decided his ) z) V8 c% X6 V v2 b; {: |# w6 J
fate otherwise, he would not have been a criminal, receiving an unjust
4 I( L( D/ L/ P. t5 }4 H0 t, Kpunishment and bearing an ill-fame for thousands of years. He was only
2 n3 h/ P5 Z h% k" }" c& ean executor of the wills of the gods who, struck perhaps with a whimsical
7 W+ w; r/ H4 D3 pfantasy, played a practical joke on the helpless mortal. The gods were
% H& r$ ]! U. |/ F7 _the plotters. Who then deserved the punishment? The gods on Olympus rather X' B, K/ ?3 C0 }& f- l
than poor Odipus!』
, S# c* ^4 g+ ? X' d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﹐- h" M5 V: H* G1 B
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 I1 Q. x' s) z5 z6 }& P- x! r『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﹕$ U3 s0 j! B. D+ b
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 * C; k- A2 Z! T3 I+ q' V7 t
ADDRESSES TO MONEY﹕9 Z- [1 Q7 P' v1 B. C$ M) E+ Q
1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
' g! [- a, O4 ?) h; Uyour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
* y8 c8 w+ ^2 e. g$ D3 Iyour slave. With you I can get food to keep me alive. With you I can * I! M# X7 J7 _$ V
get clothes to keep warm. And with you I can get whatever I want, a 5 O# T) M# h# u
grand mansion to live in and all the superfluities of life for ostentation.
5 h& l% `# ?+ V# W3 s( B# ZBut without you my love will desert me. Without you my friends will 7 [& ~+ l1 o G( _& t
turn back on me. And without you I'll go a-begging like a poor dog
$ D) D, V. o7 i3 iand sleeping alone at night in a ruined porch. Oh, Almighty Money, come + F' Y" c2 w4 T% o
to me, I implore you! Pray, endow me with your favor and be sure that I'm 2 z4 ^2 h5 S2 B5 g
willing to receive every small coin from you on my knees by which to show
3 n0 |0 I2 h R5 a$ T# Dmy deep-hearted gratitude. 』- w+ m( z O. }+ v/ [
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。』* c5 ?8 i2 T- C' S; a7 N
芝娜又唸道﹕『第二﹕# X* F9 I; {; j, u2 o
2) Oh, money, my obedient servant, my faithful slave! I'm your master, 9 H2 G: v: O" g7 b7 ~2 X
your owner. OH, money, my passe-partout, my almighty tool! I'm you user, ( D- f5 J6 \$ u! O
your disposer. With you I can start my enterprises. With you I can carry : J I( P8 e9 {5 L+ m
on my great plans. And with you I can make the little world around me * @" k; K% V* J( `6 b0 i
go at my will. If without you I can still have a large store of learning. 8 f8 P2 u( |: o f6 D# L/ G
If without you I can still have an unpolluted name. And if without you
) N+ v6 Z5 M0 U* c3 ^; Z+ X I can still live like a hermit writing books of great thoughts. 7 f# W B. A% y3 [
Oh, servile money, come to me; my lad, I command you! Serve me well ; M; R: K' R/ H2 M6 F2 Z
and don't be naughty, or I'll punish you.』! X+ z1 C5 j9 F. 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
& p2 P8 a0 S/ B, Z8 j# R% f9 F% H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﹐8 q5 o0 N( d$ x& [) U
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
0 C) c3 b4 i5 D) ]7 b(談美)﹕
8 F$ y) J( N& G3 t s d& U O: d Beauty often dwells in youth. At sight of a charming girl, everyone R* c3 m' b8 B" X e: m
will exclaim, "My eyes! What a great beauty!" The male stares with
" q" C9 @( k3 Y+ F$ aa thrill of admiration; the female gazes with a sigh of envy. Wherever
& S# o2 N3 e4 y4 W9 f0 Vshe goes, she becomes the focus of the attention. Men all yearn to win
2 y2 F( ]( p# c% W; lher heart; women all feel a regret unable to stand in her shoes. A glance
& r! f: h/ Y9 Zor a smile from her makes the stingy empty his hoard of gold and the
1 W6 ~' s2 w# _coward give up his life for her. She enjoys her queenly position in society,. p+ z5 N$ u3 b
proud of the possession of such a beauty. But the merciless Time 1 o" @6 A2 Z# H+ z8 U
dogs her steps, too. Her beauty is worn out with the years. She begins to
% X& |- |9 h) g( B8 _* N4 ^fade away and the hardship in life, if any would befall her, will bring
+ u& |8 Q- I4 w3 A+ }more wrinkles on her face. Then men turn their backs on her politely with 6 M# W, X6 ~0 }9 u+ |+ _) u
a bow; women look at her with indifference. The younger generation is magnetized
% ?; k0 j- q# P) N* z2 c' Nround another focus. The old queen has to abdicate and leave the throne
" s( V. \. \; u# N) P. |for a young one to occupy. Only a photo or portrait can preserve her beauty
" ]1 c# t( f/ J2 ein youth and no Time is capable of doing any injury to her preserved beauty 3 D# h. r4 E+ ?% e: K2 ~9 i
but the preserver itself. [4 R" N( q& q, d1 j
Therefore, admire not the beauty without, but the beauty within. Such : M+ a. ~5 A; W' ]' M" v
a beauty will never wither though Time also plots to do it harm. In the 6 g s4 w% u* S4 g
struggle against the adversities of life and the ruthlessness of Time,
- I/ B" ?0 F" y! O+ r+ x6 T it grows radiant, or even dazzling, just like a rock in midstream made . z' u2 {+ _, e. S7 b! p( V o$ J
smooth and glossy by the current of both the stream and Time. Everyone,
4 E4 {) z0 R, r- \4 ^0 Gin spite of the age and sex, if aware of it, will sing its praise either & B/ S8 J: V; e( }' S# T' @
openly in words and letters or secretly in mind. It lives as long 0 U8 g0 r, q5 V/ _
as the possessor, or even much longer after her dust may be blended into 7 y* `$ o0 }" e* @$ m1 ^& \% j6 ~
a vase with the clay around it.
( Q1 e+ X- {. g B, {2 m7 N- c8 H The outward beauty can only be the object of admiration or envy while - H8 B" k% J8 S `* S9 u1 z( y! H3 r
the inward beauty, besides being a theme of the ode, can serve as an
* w3 \8 m* j: W* {7 O# P/ jexample to learn from, for the former is always endowed by birth, but 4 \# e! R( {6 R- l; B9 p
the latter by self-acquirement. However, every man is free to hold
6 a' S* q5 ?! G his own notion of what the beauty is and to choose whichever of the two 4 K3 \& S3 O" ]) l. N& [& ^
beauties he prefers. Only his love for his bride select should not degenerate 4 g; n+ Q) R6 P% N8 D& M7 r
with the shrunken beauty.』7 Y0 w2 E" x4 n! Z' t$ 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
7 W3 b3 S$ o2 o- y4 E( ^: i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
- o- [$ a/ n5 x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 。』
k" R1 J( c" l# o- Y3 _2 A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
) J0 \; J# R3 {& _( 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
7 h$ c6 D P3 U6 \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 X D; v$ z+ e& b
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。7 i. B4 L2 E6 G& T, ]. D. W
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕" x1 b- v( p. M, K% Z4 b0 X8 h1 @! I9 p
A little boy walks by his mother's side, with one hand in hers and a balloon
i, m# [# n9 P* |5 u in the other. A sudden gust of wind snatches the balloon away from
, J1 ?& ]- M- _- A! C/ R" X the boy's hand and bears it skyward. As it flies higher, the excited 3 {* x& N7 Y1 U+ I z7 w1 u
people in the street all look up. "Surely," the balloon says to itself,
; S) f# C+ D( [4 W/ G6 bfeeling proud of its uprising, "they all envy me of my ascent." Then in its * d; `2 `% t$ C
upward flight it passes by a balcony on which a group of boys and girls
9 ]# E2 ~% Y4 Z: k6 X' @: ^0 }; xare standing, giving a cry of excitement when seeing an escaped balloon ' T" j8 }) Z- G, x' ]0 f
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon - f8 O: x, \" H2 D
thinks. Up and up it soars, above the roof, above the spire, through a
0 K- q, U) B; Hthin cloud, into the blue sky. Then a dove hovers near, but after a glance
b+ A( U# G7 z) j/ e" K, Yat it, flies away with indifference. "Of course, the bird nears to
# Y+ D: T# E0 b; w& L" i0 U5 Ksalute me," The buoyant balloon flatters itself in exultation, "but as
2 K6 o1 [' x/ `% M' AI ignore her to keep my dignity, she takes herself away in awe and respect."
9 Y0 `9 l6 a% n' z: W/ {( H5 v, a The higher it clambers, the haughtier it becomes, till it reaches the , N8 C \& n+ m% m% j
zenith where it means to stay for millions of years, but, alas, it bursts!
3 Z) g6 ?! ^$ I5 F3 o0 x# |+ E6 M』
* K' m2 q: x* V6 u( k& V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7 z+ V: z: j6 h8 b! T
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕4 f6 q- n6 }0 ~) l
Etiquette is to society what apparel is to the individual. Without 2 w, _3 X6 Z- H1 j& p6 V4 g
apparel men would go in shameful nudity, which would surely lead to the " ~ P: F8 f* ?. i9 M
corruption of morals; and without etiquette society would be in a pitiable
, Z4 j/ o# ~# R* f# estate and the necessary intercourse between its members would be interfered
/ [! s D( ]' J) N' [" b2 }by needless offences and troubles. If society were a train, the etiquette
$ I( A$ T9 X/ p! T) B8 T J! Xwould be the rails, along which only the train could rumble forth; if , m/ ]- x2 q2 p8 `* M
society were a state coach, the etiquette would be the wheels and axis,
0 i% j, S4 | _3 `7 k on which only the coach could roll forward.
- Q5 {5 M7 G! x( h, } The lack of proprieties would make the most intimate friends turn to 5 n- [+ a; J" W+ n" ^$ o
be the most decided enemies and the friendly or allied countries declare , i+ C; }6 X" F( I
war against each other. We can find many examples in the history of mankind.
( E' |9 w9 M q, M A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
. `* @: O6 ~' n9 b5 U& }by his favorite knight for a joking word. therefore, I advise you to stand . o+ p& ^1 h: V+ K/ k Q' U
on ceremony before anyone else and to take pains not to do anything stupid
3 d- n! i- m& `* F% `against etiquette lest you give offences or make enemies.』
" J# C( Y& B( H) }. L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
0 A9 g( I' E/ @; j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
2 l! T/ d5 t$ i! V. r7 E$ G3 ?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
4 w- ~: i; h w7 v9 U7 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。
( q: @. M7 c( O; K9 Z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﹕' P, W( [5 O* x' z# Z( P
『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﹕
7 K; ?4 r5 o; ?- a" Q) I& R) W『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﹐( b: X% O( W0 k- p$ ~* {% o0 d
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$ w0 P, R$ G" l
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+ U0 a( A8 Y' ]8 m
銘」的譯文
" o4 w$ r% E& |; O- @. q, eAN EULOGY ON MY HUMBLE ABODE﹕8 S3 H9 i* ?+ s. k( |
Known will the hills be if fairies dwell, no matter high of low; and
* @ b8 Q1 E v/ f# F5 a6 c X6 Icharmed will the waters be if dragons hidden, no matter deep or shallow. ) e* {2 G1 y2 i, U" }4 O
A humble abode though this is, my virtues make it smell sweet. Verdant 2 c% s" F8 Q4 s1 d. a4 b U
are the stonesteps overgrown with moss, and green seems the screen
5 ]- C. P+ { }: l) W- E6 B as the grass seen through it. I chat and laugh only with great scholars
' L- ?2 A J$ O7 ?# p* tand have no intercourse with the ignorant. I can play lute and read my
* T, o+ b! v7 U$ Ksutras; no unpleasant music to grate on my ears and no red-tape to make
8 F' r. ^9 F; M% p3 kme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
& f, E8 F' |) Pin Xishu are both like what Confucius quoth, "How canth it be humble?"
- M: m F _8 Y# M9 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。
5 F5 `$ q" h4 r1 Y( V$ p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﹕6 b8 W$ E, }! a
『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3 |; g# I+ Z5 T: o
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+ [ I3 ]9 |! E) }0 G, @
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。』
, O6 n$ }$ z- t; Q( |
. ?/ \0 F- }% ]2 J1 ^ 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2 k W( D4 z% f: V2 z6 {; I* J; c
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
$ U* x' P1 ^3 Y) p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。』
) L1 c" v" t9 L8 B' _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
& x9 L7 r. h$ G; E' g# T( c資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。: Z* _6 A+ R) u$ f' ~
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
5 {1 {: r) _% k5 ^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 c1 A3 R$ v" B" l
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﹕
l+ W$ {( V6 H) _. D* O『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' V$ [) q5 P L$ G
音樂跳起舞來﹐直至興盡而散。5 g8 M, T2 u" B9 ]% ^: g e3 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. }6 a& {2 H5 U9 o+ F: D% d H
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
+ { t0 f* j x3 h# b. a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
( E/ e" A; ^/ T3 L' `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 e7 a3 k2 t3 N( ~6 G3 Q7 a5 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﹐
, _' E" p, l1 a7 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
8 L! t4 X4 j: g" 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4 j8 R5 f7 e3 j5 \1 ]" h3 D& q C6 A
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) V. M& V2 W% W$ K9 z6 F- d3 @
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。. Q) ?4 X. H3 |/ 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" h6 i4 m3 S. j% M
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﹖』八6 z9 J- m9 r+ Y# T1 e7 n, j
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
" F" w' F+ \3 g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
; ?8 m' k& A" e6 n4 ]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9 a2 A. E# |0 u0 t1 b
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
/ c+ }1 R L2 U6 Q/ J9 a; \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﹐
; S/ h# c$ d8 @0 U# E: E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1 L4 J7 r5 e! _' [9 g4 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」
6 _6 m0 y5 V& m" i( h' 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
6 P' l3 s/ R- H( V; R2 [0 @- 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& Q& k0 H* ` Y9 S3 [
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
' R/ _+ ]: ~$ V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
( d0 A1 z8 B4 X+ D8 t0 B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5 @# V3 |( B" ^: d! ~6 {; x
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# P& I/ b) |& t( G% R
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
2 Y& I3 o! o+ |% k# B: ?$ T: Y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 Y( h9 \* W5 n" [9 k
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' O- l4 r* a! n# A
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。』
! ` q8 H: ^+ t' H' ~6 F4 s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 T& ]$ H2 O2 G' T$ g/ r* G
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
. z2 \% ?( r/ |# G3 ^9 [評論才會公允。』 |
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