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芝娜道﹕『下面一首是RED AFTERGLOW﹕
* h6 f8 y. F8 |) {9 C r7 z1) Lo, the red afterglow,
# {# g2 {6 W5 F% R& q j Against the sky blue!
, M4 e1 r" b+ C6 _+ a5 o* Z. F' C. K Is it the blush of Heaven,
7 I) V8 A% m( T6 `% [ As on a maiden's cheeks,
% e& o% p5 h; B1 U( W. U t When she catches sight
9 K, s! c* A1 \8 H. q1 R! H V Of her coming lover?9 {+ G5 S5 v5 e# U1 |
2) Lo, the red afterglow,
, [: |( k5 b% g) } Against the sky blue!0 {0 }. y, ]( _- \
Is it the fire of bivouac+ `. A$ z3 n% ?) b
Kindled by Nymphs and Naiads. C3 p5 \5 F& P0 K, h1 I
On the banks of Milky Way7 A1 p6 G# T6 t* O& p
Holding a celestial picnic?
: E- ?) Z% y f! O% T0 e3) Lo, the red afterglow,
' w, k3 G+ |+ I. ]% k" c Against the sky blue!
5 m- v- Z/ _2 T! R Is it the ruddy gauze veil
# p6 v# a$ U$ I% {2 J That veiled the face of Juno) q7 }8 h( x) l% h. l3 f T
On her holy nuptial day2 T- f5 F% J8 x' |0 X( q/ s, B1 u* z( m
When she married Jupiter?' C. e1 s% h0 ?# N: Q F& E% v
4) Lo, the red afterglow,
* Y/ o7 I8 ?4 `: v) h; ? Against the sky blue!
9 J' [- D* X: o2 r Is it the fire of Mt. Olympus
5 z' R- i# ~5 O Stolen by noble Prometheus,
8 a. \2 H! y8 `6 S0 A5 {' y And in his careless down-flight
7 I: G" D9 O J& P! I5 D Set the fleecy clouds aflame?. h' R4 k1 D. e2 p$ ~
5) Lo, the red afterglow,; a1 P; d0 A7 L4 l6 g8 W
Against the sky blue!
! s; U2 S' f" x# H Is it the blood of the heroes
& R& n H, U( S, w' t That died on battlefields6 h7 Z8 K) t1 `& k4 d4 V8 _
In the sacred defense
: a, M) U" f, F4 h Of their dear motherland?/ H7 |3 ]1 t; m, G- a3 O$ t @
6) Lo, the red afterglow,
" \: P& U. h6 p against the sky blue!% m* z; o# X/ c5 q1 [) v0 {
If it the Isle of Coral& i+ }6 g8 [! S5 C3 ^8 Q6 M
Removed by a white witch# U; W/ P7 r. `% J
From the Pacific deep
3 g) k! M4 J5 s7 R( r( n To the heavens above?$ n5 P6 W" k/ v3 t4 h; }/ x
7) Lo, the red afterglow,8 r6 H. V1 {0 ^8 a
Against the sky blue!
* Q: g5 x( Q3 }, { Is it a cluster of peach trees,7 B) O8 F; _2 G& q( @# j( t) q
Their blossoms in full bloom,6 d3 v7 ]. ?( A5 R4 T3 _/ z
Grown by the daughters of God( ?! Y6 _7 a" Z0 J$ E. I
And watered with nectar?; f3 ]# Q9 H2 f- U( t! H+ j9 K3 c
8) Lo, the red afterglow,
- w! z) j- e7 ] Against the sky blue!
7 x J3 R& h4 u6 U# w* p5 \ f Is it Flora's rouge
, [0 u/ [! q" m. d# H Spread all over the sky
+ |3 H. [2 ~3 V, q, p1 M By her frightened maids1 p+ F' ?) @$ ]# C7 b( U8 _9 i
In escape from her anger?
+ V0 x! R b8 `. j9 r9) Lo, the red afterglow,/ u+ L6 I( T7 d( J% W: H* N3 T
Against the sky blue!7 ?) U& ]" B' j5 F3 m. Z
Is it a large piece of sponge
2 U1 C5 i" h0 z, S, ?2 R8 d Soaked through with claret! |9 l% h+ ~) N( I8 E
Upset from the Holy Grail
, d/ o8 `' ~& Z$ L$ W7 Z9 l By a rash cosmic pilot?』
6 {+ A1 u$ I) y$ Q' W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/ a# |0 z' H: c$ W
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
& ?+ e I/ ~6 c- @3 f( L/ B7 e! h* D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5 S2 X" X2 c& p9 F1 L7 s2 Q4 }
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! F/ m5 U1 e2 B6 u# Q1 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
: S/ k. S* E) @1 ]! w. k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
9 ~6 ?5 u3 {/ }/ }, c9 r8 T; R+ ^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。
% i2 Y, m) b# r4 n: i 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﹕
! T7 _+ C+ m5 o3 S3 pWhen young, I don't have any notions what woes really mean,
! ~4 G) g# j# O) h Just love to get on floors so high.
, z9 B( g! s6 C& D) J Just love to get on floors so high,
; L/ Z l9 ]! `8 eTo write new poems, I try to say the words of woe and spleen.
+ s: ~/ q' E+ m# R3 `. y( X9 R- D: |7 _2 `
But now I fully have ideas of what woe really is,7 U& E& N- ^0 z! S7 P" c6 ~
Afraid to get on floors so high. 7 k% W6 m; i' D7 q# e
Afraid to get on floors so high,
9 S; q# `) Y9 F8 U& ]1 v( I; JI only say in poems how good and cool the Autumn is.』 k4 Y$ u3 S5 H8 y' J; h
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! M; ]' D5 r, r2 ^' l' n
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。
, l3 t8 v8 B' H9 S. 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﹕* u% y. H8 C' I
『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% w7 t6 q- S, n1 C1 I" ?* 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
& q: S1 Z9 {; m7 B. M. m8 J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) i" p! _4 a5 A
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﹐: v6 ]& @/ W t' h. N. H
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+ k6 f, D, i+ ~: R, X; j
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
4 J. N5 N. K, K- t6 a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$ Y# H3 C. m% }9 k
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
) m- S: D. m5 @( \6 x$ w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! d8 K/ J- T4 B# M- F
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1 F7 I9 ~8 S% K! l" A. O. y: w
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﹕
4 j8 \4 c, P6 Z, j) E6 CPoor Odipus, a scapegoat he was! Accused of three great crimes, he
! `7 a: d* [# v7 Fsuffered a terrible tragic death ----a punishment inflicted on him by + `$ C) P; h# T* J
the gods on Olympus. When he learned his fate decided by the almighty % X) W! R0 V1 L# D& \5 ?2 Q
gods to kill his father, marry his mother and bring destruction on his & p6 A, n, I6 m! y
native city, he wished to escape from it. But destiny was unavoidable,and
: @8 v6 w8 @ W$ f# z$ n# runawares he fulfilled the assigned tasks. If the gods had decided his + _; ]6 s5 e& i" W& g
fate otherwise, he would not have been a criminal, receiving an unjust 3 {8 R$ V; s, P8 @2 }2 s. F0 `
punishment and bearing an ill-fame for thousands of years. He was only 3 Y4 R Z& T/ g; r
an executor of the wills of the gods who, struck perhaps with a whimsical + x0 y7 ~. M9 R8 f% n/ a/ ^5 a
fantasy, played a practical joke on the helpless mortal. The gods were ; k# A6 I. }9 R' R
the plotters. Who then deserved the punishment? The gods on Olympus rather
% U7 o4 n5 E6 d6 f wthan poor Odipus!』4 @$ K( {" ]1 @" v& g+ N5 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﹐ g8 q( i0 ]. u" E
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﹕2 k. g; |! m0 B) i* b1 ^
『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﹕
5 V7 I/ _/ `0 x2 K% l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 2 }% J9 Z7 H6 S5 T2 v7 H
ADDRESSES TO MONEY﹕
) i/ W' y7 K0 y1) Oh, Money! My darling Money! My respected Money! I'm your admirer, 2 V( ~# W& a! ~0 }! ^; e0 d
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, 9 ~6 j7 W$ ?% z$ O4 B
your slave. With you I can get food to keep me alive. With you I can
, G: }# q3 H: I9 y" j& fget clothes to keep warm. And with you I can get whatever I want, a ; {1 ]; w6 R9 q! ?1 N
grand mansion to live in and all the superfluities of life for ostentation. ; N7 O* Z& t/ P) q) H
But without you my love will desert me. Without you my friends will % p/ j; H" v, t4 k1 m1 t
turn back on me. And without you I'll go a-begging like a poor dog
- k5 w8 d$ a, u3 B# N2 W' N5 @$ Iand sleeping alone at night in a ruined porch. Oh, Almighty Money, come
; P$ N9 O5 |2 [% ~3 O5 xto me, I implore you! Pray, endow me with your favor and be sure that I'm
% w a5 h6 b* u; y) Xwilling to receive every small coin from you on my knees by which to show ' g6 E* s0 n5 n, @) S1 C
my deep-hearted gratitude. 』
+ ~; o: j. }$ L+ n8 e3 L4 }/ a# a( c0 c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。』
2 Y2 e! z/ Q Y8 d' |/ H+ i5 U芝娜又唸道﹕『第二﹕
) R+ k* g4 @- G5 ^# \! l9 X! ~2) Oh, money, my obedient servant, my faithful slave! I'm your master, / S# \$ ]$ M& ^0 G4 ?' [; x( I
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
/ M( a* K7 b! pyour disposer. With you I can start my enterprises. With you I can carry & r; _, s% f% c( `
on my great plans. And with you I can make the little world around me , ]6 e" S+ j( g7 ?
go at my will. If without you I can still have a large store of learning. $ z6 w# h' e( i \% R
If without you I can still have an unpolluted name. And if without you 2 w/ K3 r/ h, a6 l0 N9 p
I can still live like a hermit writing books of great thoughts.
2 z: s% e) ]/ {4 m( u0 iOh, servile money, come to me; my lad, I command you! Serve me well 9 l$ v* G$ \0 q; r3 `) d, Z! u+ y* u
and don't be naughty, or I'll punish you.』# F6 s" |" N5 c5 T* D
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- k G: @3 Z5 [. l7 ^) r2 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﹐+ L4 F0 N9 X$ 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
. B! ]; n. H# q; B N3 ` s1 }(談美)﹕- |4 k& J$ d; S% r& [' t* r! ^
Beauty often dwells in youth. At sight of a charming girl, everyone
; b$ L) R' f8 n4 e) ]will exclaim, "My eyes! What a great beauty!" The male stares with 9 s# S+ h+ T- O( \ X7 a
a thrill of admiration; the female gazes with a sigh of envy. Wherever
# s1 r P8 X7 @/ t/ ]9 }she goes, she becomes the focus of the attention. Men all yearn to win
; T2 p3 @* X! }2 Ther heart; women all feel a regret unable to stand in her shoes. A glance : ~! j |, p- \# Z2 c) s
or a smile from her makes the stingy empty his hoard of gold and the ( Z/ b. E( }/ W' A2 C' Z+ D
coward give up his life for her. She enjoys her queenly position in society,
* R; F3 E2 q1 l; f proud of the possession of such a beauty. But the merciless Time 3 f8 K! T5 d$ j. U, T( J" ^& k2 u
dogs her steps, too. Her beauty is worn out with the years. She begins to a- T. P9 w4 ?3 O" _! s5 U. `0 d# R
fade away and the hardship in life, if any would befall her, will bring
3 V* Q& k: w! E' N( imore wrinkles on her face. Then men turn their backs on her politely with * P, v, q- C# x/ {( ^0 a
a bow; women look at her with indifference. The younger generation is magnetized
( L& M' t) k j" J3 ~: zround another focus. The old queen has to abdicate and leave the throne
% |& l& t8 s( b8 W. T# I$ Wfor a young one to occupy. Only a photo or portrait can preserve her beauty
% e! }7 h$ ?7 \! W; M5 zin youth and no Time is capable of doing any injury to her preserved beauty $ V" E3 i1 Y7 ~9 c" G
but the preserver itself.
( p2 `7 {& {: J3 W9 i Therefore, admire not the beauty without, but the beauty within. Such
' P9 H, J1 c; E/ q) z. H% Ia beauty will never wither though Time also plots to do it harm. In the
# q) M8 y& A* f; I7 v' P& S" ^9 Z/ Gstruggle against the adversities of life and the ruthlessness of Time, 9 G7 Y, J/ u" D
it grows radiant, or even dazzling, just like a rock in midstream made 3 o( k0 f5 b c3 X
smooth and glossy by the current of both the stream and Time. Everyone, 8 A+ t: y! r, I8 I
in spite of the age and sex, if aware of it, will sing its praise either
- l% u: \5 i, J$ k openly in words and letters or secretly in mind. It lives as long
& o8 r5 s: n/ t Z F, qas the possessor, or even much longer after her dust may be blended into
% v" w3 a, F& M0 ca vase with the clay around it.
; M) c: Y$ Z0 T) w The outward beauty can only be the object of admiration or envy while 1 H. ~/ t& m- L
the inward beauty, besides being a theme of the ode, can serve as an
5 l$ N8 R( O, ^: C8 b1 k" Uexample to learn from, for the former is always endowed by birth, but " r7 Z, H7 p6 s6 E, _* j1 c
the latter by self-acquirement. However, every man is free to hold ) r$ y$ H0 {6 ^2 W
his own notion of what the beauty is and to choose whichever of the two " H& N: t/ h( r4 U* V q5 t) @8 b
beauties he prefers. Only his love for his bride select should not degenerate
: M4 ]9 m. w/ N5 l& }with the shrunken beauty.』
/ j) y+ M1 f) ?' k# t6 { a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
) R! b: {. A# `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 a* v7 H% _/ N
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 。』) W0 z5 t2 m/ Y7 z
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* f, C9 d: I& r! |
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
' d: x8 J- c+ B g, v3 e9 i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
% @' v& s' y; F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。+ I- @0 b2 P, {3 f" ?- v
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕% O6 w Q- i B7 X7 F7 E& ^
A little boy walks by his mother's side, with one hand in hers and a balloon c( R& P+ F/ K; z
in the other. A sudden gust of wind snatches the balloon away from 7 a! ^8 S; S4 c& ?
the boy's hand and bears it skyward. As it flies higher, the excited 2 r( U# H. C: J0 g+ H* [0 ^
people in the street all look up. "Surely," the balloon says to itself, ' ^+ g/ q4 F0 I( ~3 E% v
feeling proud of its uprising, "they all envy me of my ascent." Then in its 8 {( Y' B! ^# v& M8 P% e* [
upward flight it passes by a balcony on which a group of boys and girls
7 J3 z, L2 n: x) t Pare standing, giving a cry of excitement when seeing an escaped balloon $ o- R/ @& \9 l8 ?! Q- A) B
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon + P! I# g E8 n; M: v- C
thinks. Up and up it soars, above the roof, above the spire, through a
6 k \7 I( v0 W) Athin cloud, into the blue sky. Then a dove hovers near, but after a glance
! _( F+ i% f& \- |, ]/ L7 Lat it, flies away with indifference. "Of course, the bird nears to
: b# C4 h0 f) Z1 Y% R- q% `( Xsalute me," The buoyant balloon flatters itself in exultation, "but as
6 s+ f9 Y" ]0 ?I ignore her to keep my dignity, she takes herself away in awe and respect."
" f* o* r6 ^. B' d3 w5 K& N# i" v The higher it clambers, the haughtier it becomes, till it reaches the
+ \& o" t; W' O) `zenith where it means to stay for millions of years, but, alas, it bursts!. c! J4 o; j% d0 K4 p; H
』8 l1 z# ]9 a' x
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+ I6 x; p% T好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
: B. d& n0 z3 ?8 d* S/ z6 G Etiquette is to society what apparel is to the individual. Without
: c, z! G) z M1 Z. fapparel men would go in shameful nudity, which would surely lead to the
/ X, [/ h9 c4 m4 L1 V8 d5 T% pcorruption of morals; and without etiquette society would be in a pitiable A% h! _- s a1 K; b8 L3 n
state and the necessary intercourse between its members would be interfered
4 s! _% C! m0 `% q9 Xby needless offences and troubles. If society were a train, the etiquette 4 g6 f( W# g) d( b% c
would be the rails, along which only the train could rumble forth; if
3 S8 ~; v' ]: L6 p- Y( L% C1 |1 _society were a state coach, the etiquette would be the wheels and axis, ! u, b4 x. |; k
on which only the coach could roll forward./ B. x/ T3 I; z J
The lack of proprieties would make the most intimate friends turn to
# e8 Y; f0 [0 E" M& }' dbe the most decided enemies and the friendly or allied countries declare 4 K; E8 ]5 F9 h* e; E4 `" e1 Z0 W
war against each other. We can find many examples in the history of mankind.
' J/ O7 g' d3 w3 G* h A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed : s3 i! @ F9 h/ I8 z0 O
by his favorite knight for a joking word. therefore, I advise you to stand / k$ H+ [* q- Z) s3 e6 ]
on ceremony before anyone else and to take pains not to do anything stupid
5 I1 |7 h5 {2 O/ Vagainst etiquette lest you give offences or make enemies.』
. Y! Y4 v( w6 v6 d$ f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' w/ t1 u& ^/ w8 W0 d: ^7 C5 j, k
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$ |" K# r6 a) L7 U
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2 a: J- e5 U! ^7 M
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。
: L% a6 Z8 V- K! \2 {+ T+ H4 D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﹕: [, Z3 i& l5 Z7 X, B$ f2 \
『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﹕
6 U0 _1 T. e$ p3 O『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﹐$ a p7 a- R+ q6 x W4 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 ~1 o9 X$ [8 A9 I$ 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
3 H( L8 B6 _( c( Z' c& h! k銘」的譯文! q5 _4 N3 F1 `# ]7 G
AN EULOGY ON MY HUMBLE ABODE﹕! O& U* Y* a G7 A0 Y
Known will the hills be if fairies dwell, no matter high of low; and
+ u: G7 C+ {6 H+ xcharmed will the waters be if dragons hidden, no matter deep or shallow. - S6 \9 i6 v* z7 c4 ]9 Z, a
A humble abode though this is, my virtues make it smell sweet. Verdant ) f8 E: N& p- K/ S2 q
are the stonesteps overgrown with moss, and green seems the screen
( t, h$ w c7 z% N. Y as the grass seen through it. I chat and laugh only with great scholars 5 i* a$ |5 J, z* O0 D, [7 G
and have no intercourse with the ignorant. I can play lute and read my
: M' X" d, }7 ~8 L0 K8 nsutras; no unpleasant music to grate on my ears and no red-tape to make : V# i/ M( }( t2 X
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
/ g9 n w5 y( O+ F! ~3 G0 `9 m5 din Xishu are both like what Confucius quoth, "How canth it be humble?"
+ P, d$ i3 G; E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。
$ S. {" Y# M8 P3 r# w3 G5 B) ^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﹕! i1 ]5 X1 m( Z3 r
『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
+ d# ~* {1 n9 d, P1 v* }# r$ ?6 B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 n; K3 O4 B0 U4 d4 k" ]. S/ w) G" 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。』( W: V- f2 o9 t1 ^' c3 ^- s) v
. l1 u0 K" L7 _7 ~" 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$ ?8 D, t7 ~ B
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" ] P9 h. y+ T1 ~$ v
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。』6 u/ T0 ~- R3 V- V3 S$ S
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
) Q" q4 C1 X/ A2 p資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
8 d# Z. R: c4 x1 e% L* w4 C 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# E/ q9 ~1 P' H& J5 P# N
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
. s/ h* N q5 I7 N( G1 s& N R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﹕# ?( o8 A0 E+ c! L
『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( G2 t0 Y0 O W; c9 p
音樂跳起舞來﹐直至興盡而散。
* K4 o* M' J4 I5 ^5 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
" f D3 l/ ^7 S5 E" z) n" }# q# ^: C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) [5 W+ I K$ u( R- \5 Q$ k; E
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
2 ?# d" B5 `" M5 Z/ Y) X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
, S. K9 ]+ ^( a0 R6 f6 N/ b3 a5 [/ N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﹐0 V; Q9 ]0 N4 X9 a# H) [1 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
/ o$ _* v0 X1 x1 S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6 S" N; z4 w, k' Q1 F$ L
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 Y: g" J9 ?! p. |3 _1 v
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。* k- m$ A: e9 b9 u# j- ~# U
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
+ N+ O1 n1 K% R: e( p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, P0 _0 @) K# s& r2 ?
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1 h7 m3 [% P7 i1 t5 T: l }
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
2 {+ G' ?! k+ j8 f! a7 t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$ I. @8 N0 u4 K- S1 I$ K% P1 ^, [
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
2 k* w9 w4 U' C# L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﹐
5 s9 U; F' H+ j0 O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/ o, J R) \+ b) C3 ?& i$ {" |
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」
4 s" B* A, x. m8 a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 B4 P* ]) J7 ^( [' i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
9 K/ A& t3 R# g+ h! n" r$ l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/ P; D$ \# w( m+ ?& h1 ~( S3 e d: o
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3 N5 r" _( e/ T {) ]
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
; v l3 ~/ Y9 h; G2 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8 d3 c! [( A( G4 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+ r: h+ U) H2 \- z* C
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8 [) I7 {4 N6 g5 x1 k3 x; ~
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# L2 l: f! y( T; W
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。』
( B; @& E! Y& ]! 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2 a/ h( M7 N& \2 \
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
5 ^9 X/ n& Y$ Y; x評論才會公允。』 |
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