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芝娜道﹕『下面一首是RED AFTERGLOW﹕& }3 y0 Y5 B2 Z! u
1) Lo, the red afterglow, V0 Z% ^, D8 Y$ ^+ U5 J) U' f, k: x
Against the sky blue! F) p/ n8 M) B' I. c( {+ y* [
Is it the blush of Heaven,
4 r7 z% g1 M8 U( `6 r, V As on a maiden's cheeks, 4 u) j4 |! m) d6 N3 P& N) j: R3 }
When she catches sight8 a$ ~4 c0 G. S* t1 Q D
Of her coming lover?
4 g7 D! q4 b# ^7 G$ D3 ~2) Lo, the red afterglow,% I2 N9 r2 w1 G8 t5 Z6 ?
Against the sky blue!
9 F: E3 d5 r" K- l$ Q2 _0 n/ Y$ _ Is it the fire of bivouac/ w, D/ o. W$ c) x4 D% D4 n
Kindled by Nymphs and Naiads8 y2 e9 v( J% N5 h
On the banks of Milky Way6 c+ w* j. d% ]" B
Holding a celestial picnic?
* l* k1 o( F( F6 y3) Lo, the red afterglow,! u& u/ V# K4 {0 o
Against the sky blue!
1 _( `# F0 i/ W- z1 b Is it the ruddy gauze veil
! T) c6 K+ x- A+ K4 I3 E That veiled the face of Juno- J, x( t3 ^2 Y
On her holy nuptial day: ?# t2 g7 J; t! O0 B/ j
When she married Jupiter?1 l3 [$ J0 ^0 k9 q0 L
4) Lo, the red afterglow,# s3 U( }/ ]& c# G; r
Against the sky blue!2 O, y# Q7 t2 y! R3 A4 z& M
Is it the fire of Mt. Olympus
- [0 @4 D8 ^% z. I. k" ~! R) K Stolen by noble Prometheus,9 o2 k5 E7 ?- m. J
And in his careless down-flight% i8 \4 |# J! x+ _
Set the fleecy clouds aflame?
7 N& Q O1 U. Q4 m9 m5) Lo, the red afterglow,) A8 j; o P8 G ?/ u/ T
Against the sky blue!+ x3 J: A$ q1 J2 U2 a
Is it the blood of the heroes1 f2 Q! g. Z: Z4 z
That died on battlefields5 q0 [1 H2 W+ V
In the sacred defense
( [; r8 M% Z3 l9 h) J% D* b$ F Of their dear motherland?
/ d6 ~8 |8 i' B& v6) Lo, the red afterglow, L) E; F( V$ s* c' q: N; m! g
against the sky blue!
5 I8 e* ^9 C) a+ o6 l6 k If it the Isle of Coral
) A: M3 E/ D% `6 V6 a) E N Removed by a white witch, ^1 z2 W6 K, a7 F9 s
From the Pacific deep
$ V- X. Y& ^9 I$ ^$ ` To the heavens above?
1 o8 d/ H2 ?: b, l* G+ S/ U# Z7) Lo, the red afterglow,
( [# h- B5 F$ d: o Against the sky blue!
( R" K' [. H- c* s0 }$ R; y Is it a cluster of peach trees,7 p' V0 S6 Z: l3 g. `; N
Their blossoms in full bloom,1 x7 l& U p/ H7 p( t$ H
Grown by the daughters of God, t1 p8 u1 U3 \+ ^3 ~" s
And watered with nectar?
0 [8 N6 ]) p, z8) Lo, the red afterglow,9 `8 h4 c* l/ ^" a3 P
Against the sky blue!( ^8 s/ d5 ^; m" u
Is it Flora's rouge6 N( Z: D( T6 I( J: k/ P9 n
Spread all over the sky
; d5 }3 Z3 E n% K/ {. [/ n w" S By her frightened maids* f. Z" C0 S5 X# k
In escape from her anger?4 ~7 P, Q2 g+ k4 {& z' @/ ], |
9) Lo, the red afterglow,
# \5 j" K+ r- h+ }8 F, k$ z Against the sky blue!9 A# n: o5 I' S+ x' \- E1 r6 e. T# x
Is it a large piece of sponge2 C3 v; v9 r/ a0 d8 B
Soaked through with claret
( J+ |. Q" r Y' V1 g Upset from the Holy Grail' j8 ]% ~& g$ m# w6 w
By a rash cosmic pilot?』$ q, Y [5 _+ u. X, \: P
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) F% k# v$ U& ~9 I* G, {' Q" }
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
; A Q# Z& B& p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
& U) G3 w9 l9 f" C$ j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 S# ^- C1 ~3 P8 l8 N
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0 y* w0 v- ], c4 ~1 _1 G8 b
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
5 f3 K1 x* ?# h1 O( A4 j0 @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。 - d4 R, R; C! X, q. Z
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﹕
5 J" K$ y0 ^5 F4 x: ?7 q, i0 OWhen young, I don't have any notions what woes really mean,) J1 K- g/ n0 A$ x
Just love to get on floors so high.
7 X3 f% Z/ E' Y- i Just love to get on floors so high,
/ E2 C$ C. L4 X: `% |To write new poems, I try to say the words of woe and spleen.
- g" T- t4 @( ]. ]# O: f! C6 D6 i6 R, A* A4 d7 k2 l: C* K
But now I fully have ideas of what woe really is,6 ]9 ~2 m, z/ S2 _! Y8 F/ u6 o
Afraid to get on floors so high. 0 S# l- N$ |" D4 a
Afraid to get on floors so high,0 B9 H) G1 s" u
I only say in poems how good and cool the Autumn is.』
. F8 i4 W0 H! P+ s0 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
# E+ G+ R5 G5 B! I5 {8 t8 q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。
' q& k: m. M' g+ M2 ?) f! y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﹕$ `/ ~ h/ z( n0 V ?" z( I; 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+ K( Y6 a+ P" Y% @. ?
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
; u- H9 Z- g* r, P6 l" o: f( g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
$ [5 k6 q; b( D. |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﹐9 b) F( r1 H* E# F' L& I7 o
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6 M# {7 w2 L% C5 @( o- Y
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
3 E3 |& M: y) y0 Y! x( p& V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
u+ \& K E" G2 a# N* _+ p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* ^+ u# e. j3 _# {5 h% v6 b; t
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
E: }) [" Z0 I( K S; M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) T- @4 X8 f; q {- M- J
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﹕9 O( \# V5 ]. T% V2 ~
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
4 m2 F0 @* l3 a1 |- ?% d Osuffered a terrible tragic death ----a punishment inflicted on him by : G0 I/ K2 W- p6 F5 Z4 y
the gods on Olympus. When he learned his fate decided by the almighty 6 S2 i& b0 h3 M1 j5 H# D
gods to kill his father, marry his mother and bring destruction on his
5 I0 Y% H# V: ? Ynative city, he wished to escape from it. But destiny was unavoidable,and ) q! z/ `/ s+ G4 z9 E' C& e8 V5 v
unawares he fulfilled the assigned tasks. If the gods had decided his
4 M) I, m$ u, e4 n l9 @fate otherwise, he would not have been a criminal, receiving an unjust ! Z7 a" A# G% X4 J4 a/ q; P
punishment and bearing an ill-fame for thousands of years. He was only 9 ^3 ~' @3 U0 b3 A! I
an executor of the wills of the gods who, struck perhaps with a whimsical : Z% ~6 X/ N/ l; H9 s: ]6 H
fantasy, played a practical joke on the helpless mortal. The gods were
3 U$ ` j) [5 T! gthe plotters. Who then deserved the punishment? The gods on Olympus rather & ?" ]" T/ s4 H& d f
than poor Odipus!』
. A1 @; y3 a/ ^/ y* B5 \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 _: I# X# W, t) G7 s% H) 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 ^) s5 j3 x2 w
『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﹕2 l2 r$ S5 N) ?: ?
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 9 _; I3 ]) ~4 y5 j5 _; p" l$ N9 B
ADDRESSES TO MONEY﹕
$ |5 d" t7 e7 B# V! D3 I1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
$ h4 R* m# ^8 |1 @8 j2 t4 \" k: syour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
6 Q t1 k2 t: \1 W! |your slave. With you I can get food to keep me alive. With you I can
2 N3 T7 f2 h: r- e; u5 ^1 zget clothes to keep warm. And with you I can get whatever I want, a ) y1 a" `8 q% y" ?
grand mansion to live in and all the superfluities of life for ostentation.
; [0 |/ d2 e8 d& F0 t3 CBut without you my love will desert me. Without you my friends will 7 c) ^% x4 H1 |
turn back on me. And without you I'll go a-begging like a poor dog
& F/ B" O- `2 e. ?and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
9 c4 Y% b5 S5 d: t7 {2 d, Qto me, I implore you! Pray, endow me with your favor and be sure that I'm
/ t9 D' U! n% zwilling to receive every small coin from you on my knees by which to show
' M6 d# j) G! h6 P& F5 Cmy deep-hearted gratitude. 』) u. d: H% i0 X
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。』
! ^# A. O# y( _" X- V) y p2 e芝娜又唸道﹕『第二﹕
2 |$ |: ?, i# L3 K R. W$ X+ X2) Oh, money, my obedient servant, my faithful slave! I'm your master, + R( |$ O$ ]. W: d2 [6 T8 Q, e6 \
your owner. OH, money, my passe-partout, my almighty tool! I'm you user, : y9 K, p! y$ v1 s/ ~' q' V0 A
your disposer. With you I can start my enterprises. With you I can carry : H }* _' B* O0 s7 A2 }8 y
on my great plans. And with you I can make the little world around me 7 O9 @4 n6 {& P+ a3 R' P! N2 J
go at my will. If without you I can still have a large store of learning.
8 I. e3 c( y, M5 R+ Y If without you I can still have an unpolluted name. And if without you + B4 l9 @7 b5 |$ f9 o, d
I can still live like a hermit writing books of great thoughts.
0 N/ g& y7 f$ G- c% HOh, servile money, come to me; my lad, I command you! Serve me well
. r3 b, \4 E( h9 h3 g4 s and don't be naughty, or I'll punish you.』
9 T2 [, z0 ~, b7 y3 v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
0 s2 U, c/ r& F( ?( D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﹐% _' R* C9 O; U& \: x0 |) Q/ F- m( _
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 BEAUTY9 |8 O5 d4 R3 J5 N& m! R
(談美)﹕- p7 o6 O6 O$ p6 ~4 h: v
Beauty often dwells in youth. At sight of a charming girl, everyone - {! b6 x" C4 d6 M8 ]
will exclaim, "My eyes! What a great beauty!" The male stares with . M9 J) x% b/ K* V- T/ a
a thrill of admiration; the female gazes with a sigh of envy. Wherever
$ s7 |; i0 K8 U7 O9 k! [she goes, she becomes the focus of the attention. Men all yearn to win # p) `! J' k, L1 q" q
her heart; women all feel a regret unable to stand in her shoes. A glance
! n. R# D% V3 O) F" Y7 Oor a smile from her makes the stingy empty his hoard of gold and the
. ]$ ~0 K4 O6 ]% o# T [) ?coward give up his life for her. She enjoys her queenly position in society,- \ {+ E# G5 d8 V# E
proud of the possession of such a beauty. But the merciless Time
" D$ b, J! q# n0 ldogs her steps, too. Her beauty is worn out with the years. She begins to
5 F% R! b" A- C7 Vfade away and the hardship in life, if any would befall her, will bring
) c- ?$ M) ~5 K9 rmore wrinkles on her face. Then men turn their backs on her politely with
# d' C% t+ c% ua bow; women look at her with indifference. The younger generation is magnetized
* A+ ^* B) F+ Q! C# Around another focus. The old queen has to abdicate and leave the throne
4 a; |! s7 O1 K/ N3 s/ Hfor a young one to occupy. Only a photo or portrait can preserve her beauty ) T; ?) p5 G6 a8 a0 T
in youth and no Time is capable of doing any injury to her preserved beauty , U; C8 W2 r4 V# \; p) p
but the preserver itself. P6 r1 o) Z* P& K4 x
Therefore, admire not the beauty without, but the beauty within. Such
5 W; Q, |2 c9 u3 u- s+ Pa beauty will never wither though Time also plots to do it harm. In the / i4 t0 v* J2 J- c2 B
struggle against the adversities of life and the ruthlessness of Time, " N/ i! S- n; D) \
it grows radiant, or even dazzling, just like a rock in midstream made v5 E1 G) x# q% z; w) H% t* w2 x+ x
smooth and glossy by the current of both the stream and Time. Everyone,
4 N: N7 b, `" J9 F9 W& Jin spite of the age and sex, if aware of it, will sing its praise either
% _8 m# d, D, j* s5 I, K openly in words and letters or secretly in mind. It lives as long # ~6 G9 p( ?. Q, H( e3 R, t
as the possessor, or even much longer after her dust may be blended into . j, w7 x. K A- t6 @
a vase with the clay around it.
3 `0 V( r" M9 {( g+ p, B. [) [ The outward beauty can only be the object of admiration or envy while 1 y6 p$ k! \% H0 U" W. l( ^
the inward beauty, besides being a theme of the ode, can serve as an
/ s8 X: G: |8 S- Mexample to learn from, for the former is always endowed by birth, but
! z |$ [% i0 R) C+ jthe latter by self-acquirement. However, every man is free to hold 6 ^/ ~5 t# G4 L" J+ E9 h
his own notion of what the beauty is and to choose whichever of the two
3 g. ~- x0 }; Q5 }% Cbeauties he prefers. Only his love for his bride select should not degenerate ( {, b9 V9 g0 _. v/ p
with the shrunken beauty.』# i- c: F1 k) k K+ 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, V8 e2 n+ S* Q! M
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) a% v5 Y4 y- g# W- G8 q1 }
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+ M( _3 r$ |# B! O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; k1 n6 r5 d6 u8 r# \& F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, j2 a, C8 L+ j+ s3 J
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) d) c E. a8 @) A5 L
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。
# a0 |0 X/ w# [$ E9 @" p. Y* H" i2 k你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕7 g: ~- t( T( b; ]
A little boy walks by his mother's side, with one hand in hers and a balloon ) l6 u7 f3 n: V' b5 q5 }
in the other. A sudden gust of wind snatches the balloon away from 1 _/ u. `% `* Q% H! q% T. u
the boy's hand and bears it skyward. As it flies higher, the excited
; |) e: |. a6 R% K* mpeople in the street all look up. "Surely," the balloon says to itself,
4 C- d/ P2 y3 C$ A+ B- yfeeling proud of its uprising, "they all envy me of my ascent." Then in its & @% C$ I9 [+ M W2 K
upward flight it passes by a balcony on which a group of boys and girls 6 o: n2 @$ c, h( }7 W7 \
are standing, giving a cry of excitement when seeing an escaped balloon , J9 N- E7 M3 X, {8 @4 S
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon 6 a) [: z/ W5 ]% C6 P
thinks. Up and up it soars, above the roof, above the spire, through a 9 m0 v* V2 ?+ a7 \% U7 `
thin cloud, into the blue sky. Then a dove hovers near, but after a glance / w0 x' B0 K7 E& U1 h# L( {, \
at it, flies away with indifference. "Of course, the bird nears to 6 x/ U1 H- x+ |5 q+ Z
salute me," The buoyant balloon flatters itself in exultation, "but as 1 |( m* N; Z" }4 [# q+ B* U
I ignore her to keep my dignity, she takes herself away in awe and respect."
; E5 y5 O' h$ W& X2 x( l The higher it clambers, the haughtier it becomes, till it reaches the 0 E0 k4 e) d. y/ K. g2 v7 ?
zenith where it means to stay for millions of years, but, alas, it bursts! h J6 c" c0 Y3 Z; u
』- r$ h2 p6 W+ h1 Z" h
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
- j! R7 x' G0 N好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
! w9 K2 m6 W7 ? U" y; C, f( Q Etiquette is to society what apparel is to the individual. Without ; e# V2 x2 i6 u+ M4 z* A U; X9 w9 h
apparel men would go in shameful nudity, which would surely lead to the
; U6 T' J* Q( v! c" x$ b* \corruption of morals; and without etiquette society would be in a pitiable
6 J! u+ L0 q5 l: X1 astate and the necessary intercourse between its members would be interfered
' X6 ~+ q2 p# }# @; tby needless offences and troubles. If society were a train, the etiquette
+ P/ a. G$ p7 j: Wwould be the rails, along which only the train could rumble forth; if " }+ e3 ^5 ]0 q: \
society were a state coach, the etiquette would be the wheels and axis,
" ~# i. |* I( B' ~% d on which only the coach could roll forward.9 b; M( I! ~5 G- `
The lack of proprieties would make the most intimate friends turn to - e* F# i0 v& h) G3 k t
be the most decided enemies and the friendly or allied countries declare
# a( q% g% s _war against each other. We can find many examples in the history of mankind.
4 }( U. s; \- Z! v A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
4 y, O- F/ o ~! J k' l) rby his favorite knight for a joking word. therefore, I advise you to stand
; ~. t: B0 f$ E8 A4 Bon ceremony before anyone else and to take pains not to do anything stupid 3 J; M2 o- C& o# o3 m" e' L
against etiquette lest you give offences or make enemies.』2 ~7 T; t1 h4 W9 c _
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
8 W9 u7 s, ]+ v8 D/ a6 C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
7 `% p4 x) W) h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
, W, }3 X% A1 P' o7 n4 ?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。6 X' J2 L u* F, ]6 R
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﹕; t2 G& R7 D2 h6 H9 r
『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﹕
- W, }% a& w# o* K, 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﹐
) |, O: Q. h. h& }4 K, {5 c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$ U+ J+ d( B: A" l B' p2 F
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1 m5 a- B- A' T3 W* N! M4 C
銘」的譯文" t& I$ }1 j" I4 D, w+ f8 o
AN EULOGY ON MY HUMBLE ABODE﹕
# C8 M- p, G+ Y" v Known will the hills be if fairies dwell, no matter high of low; and
5 y' E$ T* f4 @( t+ @charmed will the waters be if dragons hidden, no matter deep or shallow. : F9 p+ A' Q# d% I* T
A humble abode though this is, my virtues make it smell sweet. Verdant " @6 e7 y9 m( }% ~- P6 o" B+ O3 d
are the stonesteps overgrown with moss, and green seems the screen 8 w& O" E; }6 H* C% G
as the grass seen through it. I chat and laugh only with great scholars ' L1 I4 N" {4 D- y9 i. P. ^
and have no intercourse with the ignorant. I can play lute and read my , Q) V5 F7 E, x1 E
sutras; no unpleasant music to grate on my ears and no red-tape to make ' L5 t; Y0 P# I" k$ x0 _& B
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance 0 {4 k& r9 o6 a
in Xishu are both like what Confucius quoth, "How canth it be humble?" % W7 y2 f/ b \ |, |
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。
4 h F/ E. ?3 V$ l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﹕
& Y0 ?8 y4 \+ K/ C8 P8 W! i% 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
2 B& T" s$ H: ]; @' w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
0 `! V6 M9 x0 \9 a: e# 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。』
: `7 E! T) c: B, Q" o/ U: k* R8 T; L# y4 |1 @# g0 j
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 O& H7 [0 g; q: D" [! U8 Y$ x
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
: B: e+ N* x& ^7 h9 l' |( \1 r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 w J( X& Z$ v1 ^+ Y" K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
) R' v- r( Q" \3 w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* l; E! b& }& G* 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2 H$ z6 R' W' C/ W( r7 Z
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
0 M+ N7 u$ w* e; Z3 ^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﹕
: s2 e1 T8 j! |- k9 I3 {『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
& j, L, j3 `: W% K/ j6 y$ u1 ~% b8 u音樂跳起舞來﹐直至興盡而散。
4 N3 |+ z/ k8 K& ? 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, L% U0 v2 l6 [- ~+ 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
& |+ n0 X- x. b- X7 x( 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% |8 g9 ^4 [- G6 R" `5 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
0 E6 g* k3 r3 b9 q" I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﹐
1 s. I2 V7 I( m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
7 n( D) E ~8 a2 r" V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; m5 G! ]& q0 t9 s
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+ W* [7 K! a' S* N
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。
+ a5 W p7 i0 [, o7 N; F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5 t4 A! g% o: D& e1 \
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 e8 E5 I8 g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
3 y/ ` @) j2 h4 M5 r# [( D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
: D! S, T. z4 `6 N* P: H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+ O" K) K+ k2 q& y8 I% N1 A
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3 H5 C" h6 m- ^4 \% y6 i
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﹐
# Z" u6 C6 |- y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% z u# p( o% ~ z3 B- G
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」& t+ q/ {, z% e; _
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
4 M) C5 [( x/ ~0 b$ W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
6 _- B8 H- E3 P- P2 f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) i) x2 Z: O E0 M% V# P: L
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$ G4 ]( G9 x* e- U' `" s
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9 G. L; C# z+ V9 T+ r* i0 R8 L
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2 Q, g, ?2 |' H, F
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
* o$ ?5 m- V9 ?& l: b, M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1 @" s- ?$ B. [8 G; O* ~* C9 c# d
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
' Z8 d$ P& k+ R. F$ s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。』
2 d0 O+ g1 Y5 t) [3 a2 f1 q7 [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
' k2 w+ Q7 k( Z$ o5 G* E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
8 v* D7 w- p# h m評論才會公允。』 |
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