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芝娜道﹕『下面一首是RED AFTERGLOW﹕
( R' [- Z! M! E7 H- j4 F" z/ I1) Lo, the red afterglow,4 F V' P% p. s; x3 R- d/ I' b, o+ a
Against the sky blue!
0 ^5 e$ ?2 u' v& ] Is it the blush of Heaven,
8 s7 O& X$ R+ I& [1 q- d As on a maiden's cheeks, u6 G9 f6 f" @6 s
When she catches sight
! v; I/ ]* Z" \6 R, E Of her coming lover?
; X- |. l! S4 E& y7 `2) Lo, the red afterglow,5 _1 F7 H% O9 [2 ?7 t3 ^
Against the sky blue!
# h8 B1 M# B; c& w! j$ I, D4 X Is it the fire of bivouac
5 z B) U8 P$ F Kindled by Nymphs and Naiads
! Z! V0 D0 P+ ^3 U4 G On the banks of Milky Way
$ B2 U9 q, N* U( v' u4 c5 U Holding a celestial picnic?/ B3 t7 {8 v7 H0 Y
3) Lo, the red afterglow," R: Q( ]0 b' N* P- `
Against the sky blue!
7 w7 X2 W: F- {* g5 x Is it the ruddy gauze veil
* Q9 k5 |8 d$ _* d& C. F1 k a That veiled the face of Juno; f Z" d% }) a( Y
On her holy nuptial day4 \9 k! ^' |* {: t' X0 t
When she married Jupiter?
: K2 U- J( ~7 V. ^4) Lo, the red afterglow,& r' a( i8 y% P. N# U$ @
Against the sky blue!
+ p- |! g9 A/ C+ c) T* z8 x0 l3 P Is it the fire of Mt. Olympus6 p# M6 h. m e8 k# K5 Q+ ~
Stolen by noble Prometheus,
. F$ C3 W4 i% a+ C |: v" p0 _ And in his careless down-flight2 j9 ?' r' H. i+ y( _
Set the fleecy clouds aflame?
: r, J! v9 @, K" m" e5) Lo, the red afterglow,' R' O% c$ N- n$ c
Against the sky blue!/ w) P" a' d, y- L2 E8 s0 ^5 `
Is it the blood of the heroes5 g: l2 L" C5 T4 F
That died on battlefields# q$ g( x5 ^& J: X, j
In the sacred defense
7 D5 G" \% i; j4 E1 k Of their dear motherland?1 D- y& q' h- S
6) Lo, the red afterglow,1 @0 C( v' e! s3 J! _8 [8 l
against the sky blue!6 w1 U9 U9 l, T( W
If it the Isle of Coral7 y9 V" R0 h, W* H0 e
Removed by a white witch: Q& j+ C. t! z7 \
From the Pacific deep% O k7 a9 f* `- G: y! }+ m5 [
To the heavens above?
1 i4 w2 x1 c/ i n/ M# p1 D- g0 r" e7) Lo, the red afterglow,: h. o1 o' A5 r
Against the sky blue!, ^! {# _9 G) h' D
Is it a cluster of peach trees,
% R5 ?& g0 a, X1 o Their blossoms in full bloom,
$ l$ \ K8 j9 y6 W, o8 H Grown by the daughters of God
8 t9 V& S' e" R3 w4 i4 f8 G And watered with nectar?
0 W2 `7 I" Q# r# p/ U; y8) Lo, the red afterglow,
+ Q6 B5 Y. z/ H P0 W# z2 ?7 ? Against the sky blue! Z3 k& y0 ?; K$ a2 ~
Is it Flora's rouge) r$ H, B5 A8 A
Spread all over the sky% ^6 x6 q S, O0 t
By her frightened maids/ F6 N( t, F$ q" W3 ^
In escape from her anger?" z8 X8 \" u6 h {# I- a( W8 K0 x
9) Lo, the red afterglow,2 V5 T$ t: L+ `. [( ?7 n+ c
Against the sky blue!
' ^* H) I/ X8 }& E Is it a large piece of sponge
1 E. z* P3 S5 f0 {" H Soaked through with claret; ~: s2 s, `4 I" [
Upset from the Holy Grail
" |/ w+ a& V. z% \0 O @9 O0 ] By a rash cosmic pilot?』
5 E( H) o3 H+ x 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' h; e& H/ F* |7 ~/ v4 S
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
' d. @5 n% \3 H% C/ M3 `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
$ d( A& w8 U4 |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; W8 I, N' n' h
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9 M7 ?/ y. T! y: \
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& K# f( P1 f- v0 V+ P
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。
" n/ a& S5 A( `+ l 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﹕4 @$ E9 M4 q4 i% @
When young, I don't have any notions what woes really mean,
0 C8 A( P! e/ f: G6 O; N# E Just love to get on floors so high.
9 _9 m( @* m7 { @ Just love to get on floors so high,
& F6 D' s! z7 P& D6 p, _1 mTo write new poems, I try to say the words of woe and spleen.. c8 g% Y6 j& l& H8 C
8 H% U, m( t/ k! { TBut now I fully have ideas of what woe really is,
) e5 d1 E2 G6 @4 p% a, q6 }% ]8 w+ w Afraid to get on floors so high. ( f( P' ~5 Y$ D+ ~
Afraid to get on floors so high,
8 n: m. q, C6 B7 AI only say in poems how good and cool the Autumn is.』# u# O1 d6 c' ]$ q* \/ T
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0 \6 d9 \3 N$ U! r7 ]* K/ O
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。: u s7 m! U1 c l% L
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﹕' T5 {: L! z; o, T+ d
『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
5 i; ], I5 r. K# d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
6 X; E4 y1 X7 Y$ g: V- F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
& t$ @5 D5 K" F! B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 M' k; ?
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
9 m8 H+ r; W* |' W9 H+ F3 ]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
) u" [- N! e# W1 d; E5 }& l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
9 ]* N6 i+ y# `! 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
6 Q* w% V$ \. d. w8 C/ ~- v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 Y2 Z7 I2 z3 L, p( T. L$ S 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; {! T9 B* f, D/ g' x m
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 H. L+ u# y3 ~$ H+ tPoor Odipus, a scapegoat he was! Accused of three great crimes, he + Y# s! j, m- U3 V; U4 |
suffered a terrible tragic death ----a punishment inflicted on him by 0 E A, q( x$ W+ s2 q+ s( b$ W4 m
the gods on Olympus. When he learned his fate decided by the almighty ( Y* e: a g* \0 f
gods to kill his father, marry his mother and bring destruction on his
0 c2 E9 }# e" m6 Q% W7 N$ anative city, he wished to escape from it. But destiny was unavoidable,and 4 e" w5 b U% b% r2 C7 Y% y
unawares he fulfilled the assigned tasks. If the gods had decided his
8 U+ I. B% F# Wfate otherwise, he would not have been a criminal, receiving an unjust 5 p, i# a1 N5 w7 N7 J/ _; B
punishment and bearing an ill-fame for thousands of years. He was only : v1 L; L. K" Y4 P
an executor of the wills of the gods who, struck perhaps with a whimsical % [+ a% [7 ?% x( l6 j* p
fantasy, played a practical joke on the helpless mortal. The gods were
" j, o6 ^/ M* ^6 C4 G! w+ q4 _the plotters. Who then deserved the punishment? The gods on Olympus rather
4 }- Y8 ?6 N! M+ z* c2 Sthan poor Odipus!』
]+ u" k* _& u; r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﹐0 e8 Q3 s m7 X, H% X, j( l
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﹕
8 W2 b7 e p s" ~7 ]; k『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 A/ u u/ z4 @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
) Y) n4 _4 D: E' b; z& z1 U! h3 \ADDRESSES TO MONEY﹕
5 b$ ]* ?! l* G$ C" h8 }1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
$ }/ ?3 i( Y4 d& k" Ayour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
7 m" Z5 Q I) s' ?, b$ T9 Gyour slave. With you I can get food to keep me alive. With you I can % o# b2 V; m3 z/ H( Q- a& X5 y
get clothes to keep warm. And with you I can get whatever I want, a
! S, h6 U/ D& N* R) M/ lgrand mansion to live in and all the superfluities of life for ostentation. & P5 G1 q9 c* @9 L- Z. ~
But without you my love will desert me. Without you my friends will 8 N& ]. ~& Y: N' S" W& X8 ^
turn back on me. And without you I'll go a-begging like a poor dog
- r: P! K& ^4 o2 `: L/ R* Pand sleeping alone at night in a ruined porch. Oh, Almighty Money, come
$ L- y. @3 b* ~, y7 ~9 d5 J6 t1 Yto me, I implore you! Pray, endow me with your favor and be sure that I'm
f* n6 U$ [4 ywilling to receive every small coin from you on my knees by which to show 1 X4 L8 L. R6 p \% A2 Q
my deep-hearted gratitude. 』
7 b6 O+ ~. h0 K n. ^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。』
d# u; b- I7 B7 o8 d$ z2 I; E芝娜又唸道﹕『第二﹕; |$ @; N! F, K
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
K9 B) s; \6 y0 h8 M! h1 q6 Zyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
- u: \, I$ {: Q9 Syour disposer. With you I can start my enterprises. With you I can carry
, v/ { `4 T7 y4 `' p6 U: Don my great plans. And with you I can make the little world around me ( o0 K/ \4 j2 g' ?5 ~7 a! W8 @2 r4 w
go at my will. If without you I can still have a large store of learning. ( B$ v/ g1 J0 v) c0 \
If without you I can still have an unpolluted name. And if without you
7 r. v) j$ w8 [$ J" h8 R I can still live like a hermit writing books of great thoughts. & U5 \$ t3 R b5 b+ z4 _' L
Oh, servile money, come to me; my lad, I command you! Serve me well
4 D0 ^$ W* I% w and don't be naughty, or I'll punish you.』
0 ]0 f$ ]( J+ p( p2 I; H- ^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 D7 j1 R+ A
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﹐
1 S$ F5 i1 ] N' m2 X! m/ Z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% t. J B; h. {" X1 u9 R
(談美)﹕- `) v3 Y3 `% d/ C' t7 s
Beauty often dwells in youth. At sight of a charming girl, everyone % C) e8 P8 O7 f
will exclaim, "My eyes! What a great beauty!" The male stares with / ?5 F; f. M( F
a thrill of admiration; the female gazes with a sigh of envy. Wherever
+ g7 C1 R8 q* ]; j* ?: Vshe goes, she becomes the focus of the attention. Men all yearn to win
2 `1 E" O5 C2 c/ Fher heart; women all feel a regret unable to stand in her shoes. A glance 2 q$ `7 I, n7 X) O c
or a smile from her makes the stingy empty his hoard of gold and the & T, N9 d8 p* Q' s, t! t
coward give up his life for her. She enjoys her queenly position in society,
& l9 d1 p3 B: o proud of the possession of such a beauty. But the merciless Time 0 k# b) y% G$ [/ y5 B( ~) S0 w7 |
dogs her steps, too. Her beauty is worn out with the years. She begins to
; z6 }7 K& k, U6 l/ q N; I0 Jfade away and the hardship in life, if any would befall her, will bring 1 Y6 A2 d6 I- D6 S+ M @" Z' a! y
more wrinkles on her face. Then men turn their backs on her politely with
) G2 V+ |% n( N$ s7 j1 }" va bow; women look at her with indifference. The younger generation is magnetized ) p& `3 d: b: J6 E9 I
round another focus. The old queen has to abdicate and leave the throne 7 }' i# }3 U; v: M$ I0 `
for a young one to occupy. Only a photo or portrait can preserve her beauty 3 R& p5 `9 |' Y' D1 {+ k: Y
in youth and no Time is capable of doing any injury to her preserved beauty
x% s5 r! v! bbut the preserver itself.& }$ `% D! V0 S; c( E/ |
Therefore, admire not the beauty without, but the beauty within. Such , N1 @* r& e8 u" I( u
a beauty will never wither though Time also plots to do it harm. In the : ]8 e' Q9 k( Q# w. n6 Q }8 W2 a1 ~
struggle against the adversities of life and the ruthlessness of Time,
6 J- h; J' R, a9 M! n9 J it grows radiant, or even dazzling, just like a rock in midstream made
! L% r: Q9 v+ {1 ]* W0 I smooth and glossy by the current of both the stream and Time. Everyone, % h1 |# I- v' G4 l( ^/ d" T8 L1 H
in spite of the age and sex, if aware of it, will sing its praise either . O3 L2 I; M3 I
openly in words and letters or secretly in mind. It lives as long
4 u% ]) `, e8 n& sas the possessor, or even much longer after her dust may be blended into
9 ^* s% H; n, |" sa vase with the clay around it.
- J) E! W3 }7 u, r% r# Y' b The outward beauty can only be the object of admiration or envy while
1 W) [( P9 F) h& ^, q# wthe inward beauty, besides being a theme of the ode, can serve as an
! S- i2 _+ F. t5 a$ y8 j( bexample to learn from, for the former is always endowed by birth, but
, A2 W, K$ ^$ N3 B/ s/ o3 dthe latter by self-acquirement. However, every man is free to hold * ^7 Y. K" v t% e
his own notion of what the beauty is and to choose whichever of the two
/ a9 R" {0 {2 w2 ]beauties he prefers. Only his love for his bride select should not degenerate
2 x5 O2 N" O! Swith the shrunken beauty.』: ]6 ?! f. c! B+ |- M
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
4 g% Q* [- i- v- ]2 p2 e5 ~6 Y2 H( {. U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
" b% ~; s6 s w5 {. M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 。』
6 ?9 N$ }% D9 b& G1 X( @! e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. o; |' I1 R$ o
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0 Y: y: h/ b* q" |% L( ^9 r. m
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 y2 m3 Y# [8 S7 A; P0 F; k$ Z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。
3 e; ~7 O2 u6 t* R8 t0 k. C! J; A5 a你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
5 W) \" ^: X1 T" }/ o& n' H A little boy walks by his mother's side, with one hand in hers and a balloon * j( X- }1 W. D# x6 R5 |( r
in the other. A sudden gust of wind snatches the balloon away from & Y4 J9 W3 v9 J, q& T
the boy's hand and bears it skyward. As it flies higher, the excited & g0 |& O5 E' G0 `: d
people in the street all look up. "Surely," the balloon says to itself,
$ a" x H1 T2 j& O- H6 ffeeling proud of its uprising, "they all envy me of my ascent." Then in its 2 m- ?& Q( j& D" F! F/ c
upward flight it passes by a balcony on which a group of boys and girls
" d/ u4 P! z0 H6 xare standing, giving a cry of excitement when seeing an escaped balloon * Y8 U" a$ E- z
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
+ M8 E2 E% e0 t ]: R' ?, H. Zthinks. Up and up it soars, above the roof, above the spire, through a
1 i" e3 j' k/ ` |, D+ s7 Bthin cloud, into the blue sky. Then a dove hovers near, but after a glance * _9 W! d Q& ]& e; x# ]
at it, flies away with indifference. "Of course, the bird nears to 2 G# Z& w+ }$ W+ U0 v$ [( r
salute me," The buoyant balloon flatters itself in exultation, "but as
$ h/ G; f' l+ i2 A9 I/ gI ignore her to keep my dignity, she takes herself away in awe and respect."
8 R& {1 ~" o6 l/ K The higher it clambers, the haughtier it becomes, till it reaches the " V; N. v* V: w# N7 y
zenith where it means to stay for millions of years, but, alas, it bursts!7 |. c0 _& \! e/ p( C
』" v& V+ ]7 h2 G, W/ Z! U: A, a
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
5 k l1 u# a# W! ~! h! B8 e( T5 U好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕0 m Y0 g0 J: Y! r) H/ g6 {% W
Etiquette is to society what apparel is to the individual. Without 0 _7 Z/ v! @+ J8 J' b' W( m( ^
apparel men would go in shameful nudity, which would surely lead to the 6 C* N3 R; X# w6 a
corruption of morals; and without etiquette society would be in a pitiable $ F" C$ S' ^' z$ v( @% v6 d6 E
state and the necessary intercourse between its members would be interfered 8 b1 v* y, g) ^( J4 E* v$ Z
by needless offences and troubles. If society were a train, the etiquette
7 C' W2 I, `; P6 lwould be the rails, along which only the train could rumble forth; if
2 e) a8 F& g1 `3 }+ F: c( V5 f: Qsociety were a state coach, the etiquette would be the wheels and axis,
( Q( i" ?8 _. Y* T! N on which only the coach could roll forward.
/ e. y5 Q- L: X) F- K: r The lack of proprieties would make the most intimate friends turn to 4 t& \$ {7 T% h8 O% G5 e
be the most decided enemies and the friendly or allied countries declare
- x4 Y* X4 R& U3 iwar against each other. We can find many examples in the history of mankind.( b6 u+ F! \# ^- J! W# l, L" T; s
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
2 s M; F/ n7 {& ]- I) G, r* qby his favorite knight for a joking word. therefore, I advise you to stand 2 s# } D( m" ~4 T
on ceremony before anyone else and to take pains not to do anything stupid ! W& g8 n- S) h& Q* Z9 y
against etiquette lest you give offences or make enemies.』
! ]1 p5 g% x u0 D+ U) q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% [; P; N: H4 {) V) }$ a7 z
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 ?3 Q6 O- u: Z; p" j8 X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3 d0 z. N: D6 f L
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。
5 n& _% K. g4 L: d4 _; P+ @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﹕. K7 i- E( ~# _, o" ~
『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﹕9 q: H7 ?) X" b
『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﹐
. V0 l' G8 z! |& O( L. a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
$ L w, O, `; 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' Z" P% A0 w! G6 X1 H( n
銘」的譯文6 ] ~! |) f0 j
AN EULOGY ON MY HUMBLE ABODE﹕
% @/ @) F: q; O) v- w2 b: @ Known will the hills be if fairies dwell, no matter high of low; and ; R: e% v1 |! S( ]1 ^1 g, \9 z
charmed will the waters be if dragons hidden, no matter deep or shallow.
2 F! \# R, w* F" D3 b! m A humble abode though this is, my virtues make it smell sweet. Verdant
$ m2 j8 U H: g- i/ s" f, M4 Y# Fare the stonesteps overgrown with moss, and green seems the screen
. F" v1 s" K) q a3 S, x$ c as the grass seen through it. I chat and laugh only with great scholars
4 A4 D% s2 k. C; uand have no intercourse with the ignorant. I can play lute and read my
/ {8 u: t: U, g& Msutras; no unpleasant music to grate on my ears and no red-tape to make
% F5 Q/ w2 p% }0 C) o$ Z1 {6 zme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
* j0 g0 @; Z/ L6 o! d2 o5 d; uin Xishu are both like what Confucius quoth, "How canth it be humble?" 7 ^( u# G, p3 a2 j! u4 h
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。 g1 {+ g3 U' |* {1 ?3 [
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﹕
v: n# f6 K9 s9 ]' x& P' G『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
+ A6 [' Y9 ~9 V7 u! ?) [& [. [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
: N+ \. A5 k9 H9 J5 Y! n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。』 \4 H9 S% }8 T/ P1 { t$ R
% { _3 C* U* B% O, s& V; ?
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
( l$ Z! e+ q5 v# Q7 t5 L, i0 j. r1 l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7 a& s# I& O4 w- M5 L$ G% y
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。』8 n( u# H& `( ^8 _' X" 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
7 T( n \ _ w1 |: V資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。) g& l+ ?; I: O0 Z0 z8 T
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* Z1 c# p# b9 Z) d
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+ G5 i/ u9 i- U8 y
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﹕
9 c# a- @) h, u- E3 n1 a0 ^% E: e+ x『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8 e5 q8 U' P0 H; ^
音樂跳起舞來﹐直至興盡而散。
1 ]& i- R( U$ V/ W6 @8 z' A c 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& Y1 Y: |- k. c, D1 V. ~
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
% |9 h; m- ]- N ~: [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 H2 a* {5 D& C; e$ t
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
o5 X( A+ y! N. H `' n4 g* W1 Y, I2 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﹐ R/ z0 C' {/ _ A
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# |" h1 X; p6 M* L4 L, z& x9 Y
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, v! L+ j6 w0 S6 }' 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( t' q5 i( z3 x; ?% q
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。# F7 i& L5 o) l. m; R9 R
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& c7 L( F4 `! ~3 ?' }* 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
, [5 y F+ A' ?/ d9 V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
, `" W7 |" A6 {1 W, P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
/ _0 Z: C: M, z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% x6 |' q8 M& m2 C: Z3 \ @4 @
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
0 v; P5 U# Y9 X6 D- y, b f- Y) O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﹐
7 V1 I+ j2 J* T! U9 r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$ d! U/ D3 \) 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」
\( m. V' c7 B( h' z6 K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 K1 _2 k9 s% h4 z' ^! l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
0 W7 U1 l. z) m3 `$ {5 a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' m0 Y7 T; }0 v2 \+ M) a
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2 G% N# Y0 G; 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
8 j \7 P1 k% {8 ]% _# f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
. ?$ N4 P8 J6 ~* Z6 i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+ f2 s- z" c u1 l* n: X/ ~
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
' C/ [6 A( Q& l7 |, c6 P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
7 x: L# x* {4 F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。』
5 G4 b9 |2 w+ ~0 Z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
V2 U0 @8 o1 Y" f5 L1 y$ ^8 U1 _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 q/ X/ D! Y5 y9 _
評論才會公允。』 |
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