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芝娜道﹕『下面一首是RED AFTERGLOW﹕
8 y1 T( s$ A2 B- \+ J+ n1) Lo, the red afterglow, J, G# d4 t8 z' b
Against the sky blue! 6 \5 B: g1 p. G
Is it the blush of Heaven,
" }; r# Z8 l2 @) F As on a maiden's cheeks, : l" B6 a# g5 a+ j. m0 s
When she catches sight+ [; g% b; V3 V9 ~( A. A, J
Of her coming lover?( _4 b3 ~# I. P" F+ \* x3 l
2) Lo, the red afterglow,
4 s! H; p( A1 l& U Against the sky blue!2 o# L' F A, z. N$ G
Is it the fire of bivouac+ }; C3 N. p" W9 C
Kindled by Nymphs and Naiads* J* k0 t+ \# ?
On the banks of Milky Way
* G% x" i7 F: E& H2 B* G$ } Holding a celestial picnic?
2 v2 y+ q! {; `; A( P+ O2 N9 u! O3) Lo, the red afterglow,4 D' z6 l' B6 K: ?( S
Against the sky blue!/ T0 ~3 n/ l& @! {2 q: N, m
Is it the ruddy gauze veil2 \6 |! b; i& _8 V8 \% G4 L# t7 B3 u
That veiled the face of Juno0 J* R8 T, b. G: e/ i9 Q/ {5 i/ y0 b
On her holy nuptial day6 ^2 ?' B+ V q; F/ w
When she married Jupiter?. U+ U" }7 W, ?# {
4) Lo, the red afterglow, n4 R9 B& n, r: y/ J( r( K% h4 r
Against the sky blue!
$ Y; Z# g: W W1 B* D" g4 ` Is it the fire of Mt. Olympus
; |+ v( d/ O4 r! {$ x9 T Stolen by noble Prometheus,
5 k4 e' K+ V* U; F- Q9 h And in his careless down-flight
" ?3 ~ R' D8 x" h6 y Set the fleecy clouds aflame?: H' s2 s. x' F9 }9 j6 N% N! B
5) Lo, the red afterglow,; m: v6 W* |" `6 F0 F( D/ u! F
Against the sky blue!
9 H' w* n: Q5 [0 d! i2 s0 B* A Is it the blood of the heroes: l- J9 P# `6 D( C- g# Y: a
That died on battlefields
* D5 A. T; d9 z( e+ o In the sacred defense3 r8 S. E" o1 A2 Z$ D
Of their dear motherland?& }# ~7 f& O& P+ Q+ n3 i
6) Lo, the red afterglow,
1 ^, I. e: M6 g9 g- s against the sky blue!/ _: f8 G( j" i% D; @& E' l
If it the Isle of Coral
. E e& x" O: U6 l. m5 j4 K Removed by a white witch
. \ p6 a( W$ f5 Q9 N From the Pacific deep
+ h. B( R& ^( E1 _ To the heavens above?
0 a' c) u* k# H7) Lo, the red afterglow,& i) h8 J6 ?; l& Y, u/ |/ g! y
Against the sky blue!# V/ k' n/ S- g7 v; b. x7 @" Y% J6 X
Is it a cluster of peach trees,
8 q8 d$ e: M2 Q5 q& ~" D: j Their blossoms in full bloom,: Z6 e M! R3 H# k1 G6 l1 t* @
Grown by the daughters of God
7 A& l* S) }; u2 v6 ^ And watered with nectar?- i! } b# ~+ I2 A2 i) @- g
8) Lo, the red afterglow,5 r2 p# k- }3 b6 Z" G! C
Against the sky blue!
2 ^7 e8 D- d8 n* B Is it Flora's rouge
5 Y% M6 G4 g& |/ X! m Spread all over the sky- z4 }+ k' B {+ L1 Q
By her frightened maids
N3 Z: @. ]# p. \# s In escape from her anger?: j& Q. m" q/ X" M: B/ g2 Z
9) Lo, the red afterglow,/ M0 n2 H- M: e( v; ^3 c
Against the sky blue!1 _2 N- P9 p5 I6 J( T
Is it a large piece of sponge
/ H! f* v2 ^, c! ~1 | Soaked through with claret# l5 X D0 g4 n/ M5 C# m' B7 G' \
Upset from the Holy Grail
: r, M( e9 T( x By a rash cosmic pilot?』- d/ o2 \3 o; q9 V 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 m5 e; t4 G. s9 n
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2 v* a8 ]' t2 @5 T
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3 Z$ q1 `3 \% V9 \
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
X; U4 M# Z& ]( P/ m0 r4 V4 I Q, |/ d7 u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/ c4 V) G V; G& p3 U6 q, W
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
% M6 z5 L6 Q( f% A; A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。 3 F! e& g4 M: i% P& x9 M
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﹕' }; n8 O( j; d5 T) J
When young, I don't have any notions what woes really mean,
# s. P- n4 y- R: [ v Just love to get on floors so high. % [/ @- _: S1 ^6 y- q7 u
Just love to get on floors so high,+ i; H6 q: F+ n. c! S. j% N2 t
To write new poems, I try to say the words of woe and spleen.9 V1 d0 j f+ g; g: C* S
) N5 w B W7 G6 k! }
But now I fully have ideas of what woe really is,
. A, w$ t _ O! v+ k. ^ Afraid to get on floors so high. " B5 n- O7 E2 P/ @
Afraid to get on floors so high,6 ^ O' K2 N, I9 @6 k/ T
I only say in poems how good and cool the Autumn is.』5 p6 Y) M) C1 o+ n2 F" h0 {
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 P9 e2 j2 H2 Q7 F8 J# \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。0 h, q& `# _4 Y1 @' t' x
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﹕
4 P! q; L9 i& i. c: `9 R『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$ p# n* |9 T3 `7 I E6 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
) r1 N0 \; Y6 ]1 V6 \, G! o6 y3 ?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$ ]" y9 w0 f6 }0 u) l/ G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﹐& u8 r$ g" x/ ?2 L
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, d2 t- X$ v" J1 L# e; U
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8 p0 T# d6 V2 p f
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
% } X4 T$ S5 j; R6 a! b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 l9 f! X: D7 Q- K7 W3 r7 Q# y! E
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. c/ R9 K$ G5 f. l. q& o& C
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
2 k, w' R8 h9 S' V: c9 l0 @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﹕
1 j. d3 B2 \: w ^% m7 SPoor Odipus, a scapegoat he was! Accused of three great crimes, he % {6 `% W2 a1 \' b+ M# I' P
suffered a terrible tragic death ----a punishment inflicted on him by . O4 Y7 z2 x% @: U3 [; A: N
the gods on Olympus. When he learned his fate decided by the almighty : @ z3 p: N1 E9 K% d
gods to kill his father, marry his mother and bring destruction on his
4 r+ w* ^5 |2 Q! W8 G' tnative city, he wished to escape from it. But destiny was unavoidable,and
* D' I$ I9 L ^3 F$ v+ c5 Yunawares he fulfilled the assigned tasks. If the gods had decided his : `/ B9 ^0 [/ ~) }. Z3 A* B
fate otherwise, he would not have been a criminal, receiving an unjust ; j$ K( q4 c, {7 w" j
punishment and bearing an ill-fame for thousands of years. He was only
$ w6 f) N- i, U" g# r" h4 ]an executor of the wills of the gods who, struck perhaps with a whimsical
; U3 ^. m' r* J% I$ {fantasy, played a practical joke on the helpless mortal. The gods were
' g Y6 s: R$ T+ e1 a! e4 nthe plotters. Who then deserved the punishment? The gods on Olympus rather - `% O1 @% f2 w6 L
than poor Odipus!』, _# }- d; u3 d3 W' b. o
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﹐
/ y# Q( n7 r# E7 `* D, U# k8 C2 Y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 p( A L5 A, k" F+ [
『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﹕$ s: W! V1 o0 Y! t4 I# f
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
" f W- Q3 @" xADDRESSES TO MONEY﹕4 p }5 H3 j. ]: z0 W) i
1) Oh, Money! My darling Money! My respected Money! I'm your admirer, / E& {# |; r7 d, z5 H; }6 n
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
0 ]( p, Z8 u7 e Q4 pyour slave. With you I can get food to keep me alive. With you I can ) ]: O! c. y* p3 n; J0 Q
get clothes to keep warm. And with you I can get whatever I want, a H& h; q! s' Y5 J
grand mansion to live in and all the superfluities of life for ostentation.
" O3 c. g7 C2 V) y% O1 W& YBut without you my love will desert me. Without you my friends will - D+ S* e' S8 h- T4 ]2 ?* n$ e
turn back on me. And without you I'll go a-begging like a poor dog ; M: h: m" V6 `( o5 ^ N8 G
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
1 S9 r: S4 E% D5 H( X: tto me, I implore you! Pray, endow me with your favor and be sure that I'm 8 z6 f# L8 y$ }& Y; R: V& a8 a9 J
willing to receive every small coin from you on my knees by which to show : n8 G! d- T# K) _) z0 Q) @
my deep-hearted gratitude. 』
' F/ C( h. a( L2 p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。』
) l0 [. F3 c* J9 ]! x芝娜又唸道﹕『第二﹕
+ P4 H7 b7 w, M B4 K8 U3 w, n; Z& z2) Oh, money, my obedient servant, my faithful slave! I'm your master, ' q% P3 A$ }4 i
your owner. OH, money, my passe-partout, my almighty tool! I'm you user, % e9 G9 X; D: v7 \ p9 z
your disposer. With you I can start my enterprises. With you I can carry
- t8 s1 f4 k- c, q" w won my great plans. And with you I can make the little world around me
1 m/ S1 k) L; Ygo at my will. If without you I can still have a large store of learning.
` D/ t$ [8 `$ A* r" J; @ If without you I can still have an unpolluted name. And if without you
7 c9 h4 _. u' c& m- ~, s. X I can still live like a hermit writing books of great thoughts.
+ H w, j% W' z! |Oh, servile money, come to me; my lad, I command you! Serve me well
! b! E1 e& P$ f. P3 ^$ ?+ W: I and don't be naughty, or I'll punish you.』
1 D7 W3 j% }, ]0 a' p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& y8 y; ^7 G! O% l9 [
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﹐7 Q% Z. Q5 u- O' N) t2 [* W' n! w
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
& @( J9 E% b! C(談美)﹕; y- C% T' |8 d% H; A
Beauty often dwells in youth. At sight of a charming girl, everyone
& @ C( X+ C# E+ P7 ^will exclaim, "My eyes! What a great beauty!" The male stares with
( n; Z- M% q k9 ya thrill of admiration; the female gazes with a sigh of envy. Wherever : H) U$ a |/ }. r
she goes, she becomes the focus of the attention. Men all yearn to win 7 L. C+ p" Y0 f
her heart; women all feel a regret unable to stand in her shoes. A glance
) u/ c8 C! Z+ T* w: For a smile from her makes the stingy empty his hoard of gold and the ! P7 Q7 C1 Z" W. P/ u$ v
coward give up his life for her. She enjoys her queenly position in society,
. D9 s* z" w g1 `8 n proud of the possession of such a beauty. But the merciless Time 3 x" X1 Z6 K$ g! r
dogs her steps, too. Her beauty is worn out with the years. She begins to ; P' L. k8 e" k. e" A1 {2 @: Q: K
fade away and the hardship in life, if any would befall her, will bring
# P9 |) d1 y$ D, Y1 B- T, z1 p% l5 Nmore wrinkles on her face. Then men turn their backs on her politely with 4 }. o2 d/ e2 w2 F7 n
a bow; women look at her with indifference. The younger generation is magnetized
3 X/ N& W6 o" z% }8 x( G3 Hround another focus. The old queen has to abdicate and leave the throne
5 K9 U2 L' V9 ], X% Y/ T' Wfor a young one to occupy. Only a photo or portrait can preserve her beauty
+ s2 n$ |8 U8 B: S0 A) _in youth and no Time is capable of doing any injury to her preserved beauty
$ @6 p1 N6 r& C. G. Vbut the preserver itself.: `, H5 `4 g% b9 ^9 t. n/ h
Therefore, admire not the beauty without, but the beauty within. Such
4 k: D& j) e k; c$ r( S& c3 W1 ia beauty will never wither though Time also plots to do it harm. In the
; ]0 X. X, G! e, C; g6 l1 vstruggle against the adversities of life and the ruthlessness of Time, $ i- Z) R! J6 u: w# D
it grows radiant, or even dazzling, just like a rock in midstream made
, E# e0 ~& z/ g2 v- {& ^2 O: s smooth and glossy by the current of both the stream and Time. Everyone,
$ x" j4 b' p* o* h; Vin spite of the age and sex, if aware of it, will sing its praise either
: i: A+ {; I: ^3 k5 g+ K openly in words and letters or secretly in mind. It lives as long & j- |6 i& w8 j7 j' s3 x, \9 o* Q8 [. [2 ?4 D
as the possessor, or even much longer after her dust may be blended into
2 `$ N- L8 F/ D$ a# na vase with the clay around it. ; ?$ l- F0 Z3 q$ N+ r8 T
The outward beauty can only be the object of admiration or envy while
- }+ C/ J- C) J4 P I) w9 W6 F3 vthe inward beauty, besides being a theme of the ode, can serve as an
0 `$ g3 @; w* `1 q* r2 Kexample to learn from, for the former is always endowed by birth, but
; L# ? _3 l2 ?the latter by self-acquirement. However, every man is free to hold 6 c& O2 o: X/ I* e& w
his own notion of what the beauty is and to choose whichever of the two
$ g# D+ \8 U/ F+ X3 sbeauties he prefers. Only his love for his bride select should not degenerate
: |' }5 Q9 Z% K5 a' M: Q `with the shrunken beauty.』/ \, N# Q' I' I5 z, }/ f: t& R
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
! `) b, Y8 }" E M4 ^8 b# x% H% j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
6 N4 I% `" v/ j7 s/ T- g' z% Q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 。』7 h H# B7 _# Q6 f& {
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. ?1 o1 d1 D8 W* P" ], S7 J
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
* T0 m% N- ?$ P. B: [, L% `' v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
" J; H' s ^& z# `2 o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。
) v% A' b; q y5 G" B+ f) C你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
/ P2 [$ i3 ~7 {0 \; P ~ A little boy walks by his mother's side, with one hand in hers and a balloon
4 x( C& U, i3 z1 z/ v' j: c in the other. A sudden gust of wind snatches the balloon away from
* H- W% P2 Q8 j the boy's hand and bears it skyward. As it flies higher, the excited ' x4 q. X+ Z" V
people in the street all look up. "Surely," the balloon says to itself, 7 [" }: t. N4 e2 u2 I4 j- X3 x) E
feeling proud of its uprising, "they all envy me of my ascent." Then in its 3 w9 Q2 O' ?6 U& i4 z
upward flight it passes by a balcony on which a group of boys and girls : {$ f9 ~2 @, |( H9 m
are standing, giving a cry of excitement when seeing an escaped balloon 5 N; n4 S( a# _* c3 N a ^
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
* P! a1 @/ x* C3 x' m. n8 i9 i nthinks. Up and up it soars, above the roof, above the spire, through a
( @$ P- l9 o/ `9 N) a& Gthin cloud, into the blue sky. Then a dove hovers near, but after a glance
! C. T, @2 A& x- Y$ @at it, flies away with indifference. "Of course, the bird nears to
( _& F" e! W! y% Z6 T$ c6 ]salute me," The buoyant balloon flatters itself in exultation, "but as
' V$ }. H+ N0 X- c$ @I ignore her to keep my dignity, she takes herself away in awe and respect."
4 O7 s; f6 s5 x7 F7 w4 ^$ g The higher it clambers, the haughtier it becomes, till it reaches the
$ z! s+ I* U B$ j) c% G X% pzenith where it means to stay for millions of years, but, alas, it bursts!: u2 _2 d# g% L- w/ U
』
; t: B6 }9 ]3 L! q" F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
# E& |% G- ~$ M" f好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕) L8 r% L$ H- K1 Q ^. {9 T# K
Etiquette is to society what apparel is to the individual. Without
% f* |; C/ |6 J5 \! ]# gapparel men would go in shameful nudity, which would surely lead to the 1 X) ^6 i* Y, K7 d9 P( X
corruption of morals; and without etiquette society would be in a pitiable
1 f) p9 K, X, O( j! Z: kstate and the necessary intercourse between its members would be interfered
+ Y- n% x. S8 v+ o' N5 _/ rby needless offences and troubles. If society were a train, the etiquette
( y% b7 O9 ]" B% nwould be the rails, along which only the train could rumble forth; if # M9 h! E. D& ^4 A6 A. D
society were a state coach, the etiquette would be the wheels and axis, ) x+ w( l) }$ w' H$ h E
on which only the coach could roll forward.
% [+ @/ B- R' H The lack of proprieties would make the most intimate friends turn to
0 y& h% w/ w6 r& t1 rbe the most decided enemies and the friendly or allied countries declare
. n0 w" ?/ z! W. z8 I8 cwar against each other. We can find many examples in the history of mankind.8 U3 G5 w0 b* F8 c" }2 \4 G
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed ' Z( C& @0 L3 m3 P5 a, e, F
by his favorite knight for a joking word. therefore, I advise you to stand # ^2 u( k, {4 q- }0 Y7 l
on ceremony before anyone else and to take pains not to do anything stupid
; L7 O- F7 {3 A4 o0 ^" H1 Jagainst etiquette lest you give offences or make enemies.』/ I$ ?" I2 H4 d$ v' _5 _" ^( V
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5 ], X: [7 x) u" Y
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
" f; K2 ~" X3 O3 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
- i. s `) A, K& i. i+ 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。
W, ]* ^, s% ^" F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﹕) n2 Z- A9 G1 S, G# @. N
『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﹕: x2 m% ` x( g- W8 p
『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+ T. D" n* f% M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# r! m2 T7 n/ v- S: Y0 W
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
5 b' `# c2 P3 \) d* v g銘」的譯文' C/ w0 W& t4 b# }1 Y( {
AN EULOGY ON MY HUMBLE ABODE﹕' L) K7 d& q N6 R
Known will the hills be if fairies dwell, no matter high of low; and ; S( ~" ~0 ]* b: j3 k
charmed will the waters be if dragons hidden, no matter deep or shallow.
4 [# ~2 j) d! @2 b: S: K A humble abode though this is, my virtues make it smell sweet. Verdant ' Y* _- U. z) w' J* ^5 s+ ^
are the stonesteps overgrown with moss, and green seems the screen . P" M2 U& Q+ _0 ` g; I
as the grass seen through it. I chat and laugh only with great scholars 0 U) H# [0 I2 p. x& \) [8 j% F
and have no intercourse with the ignorant. I can play lute and read my 2 ], v7 h; {4 J3 V
sutras; no unpleasant music to grate on my ears and no red-tape to make ) K8 }+ D% ^# u3 O7 y
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
. J- }. o: x4 m! R: Y& a* Din Xishu are both like what Confucius quoth, "How canth it be humble?" 7 W- G% Y/ Q- E1 n
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。8 s' Y9 H# L; @8 s* H9 v4 [
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﹕
) p# g: E# J5 a/ Y『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
. \. E5 w4 v) K: g8 X. _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
* D# [) g1 }! y1 h( b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。』" c, M: Z( |3 O7 _
2 P! M3 b2 D$ a- [6 O4 g
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
6 D* c% x3 k ~5 ]7 @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
9 a9 m" c+ \! u( y+ c8 S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。』
' I- c1 p+ ?! ]9 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
% S3 y8 V$ W% l5 u資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
5 t) L+ H e- q6 z3 J- z6 t' h 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 q8 [4 t1 k2 V# z( _- ^$ }: c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5 i& r O4 j: I( ?! v- _: D9 B
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% P9 I6 O7 Z
『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
$ m: Z$ m: ~# j' J" ~% D音樂跳起舞來﹐直至興盡而散。* x) E" O1 q) m$ K+ P
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﹐約他們去看一2 Q5 }$ |' F1 r, W6 r. C1 q
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. M" \$ L9 }- R" s) N( s
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
$ |# C U. X+ 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& I5 y0 m* G T3 u9 d
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﹐# V) ?3 K1 {! ]4 t7 V# R7 k4 e. D
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
( I! w7 I5 b( I# E$ L/ k7 _' _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
* W" Q3 C$ q' {2 ^: o8 [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 m; G- u. v- x, j; j3 j5 y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。
7 b; T) ^3 {; B i% p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
9 p: o5 r, S; j/ F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
7 |& c3 X n4 B# s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$ c4 E( D/ H8 q8 I
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 {: Y! H/ F! `/ G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
- s( X- W; ?3 S; m/ J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
: x1 F1 x: w: Z* y& V3 U) e% u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﹐2 j7 [6 Z1 W2 y0 ^/ _
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
% u' A% _# n- ]$ ~2 v* J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」
/ V1 A; P1 O$ c) L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
& @) p9 Q3 V, x3 V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 V( g t! I, T7 P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﹐新作萬千6 O6 Z( Z+ k3 ]* }+ ]
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! {" G* U, M4 E. B; F! N# }9 g/ 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
; K" I3 B& A! q3 Q% 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
' c! Q, W/ d5 K' a! m! B- r' Z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
; z6 s5 J2 [, n% ]5 k! 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
8 x) |5 Q/ K' g& M) G6 i& d) R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$ e n8 k8 X) p. _
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。』
6 i/ o# g2 _8 k) x0 {$ x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
& l+ V9 l x$ a2 o9 R* N- ^% X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
9 `: ?- v# E6 P. I/ p2 W評論才會公允。』 |
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