|
芝娜道﹕『下面一首是RED AFTERGLOW﹕) V+ v2 J+ Y7 p; J0 L
1) Lo, the red afterglow,# h, G2 y6 V" @" l* k% l
Against the sky blue! & s9 Q- \) M0 s+ r
Is it the blush of Heaven,
& P, K S" _6 e( n5 `& M As on a maiden's cheeks,
0 ]* a0 K/ P, ~4 Q When she catches sight
5 H1 `5 f6 @' c' x( i# P) y. O Of her coming lover?6 |8 C* x2 P" u. G. x( v& f
2) Lo, the red afterglow,
7 t. m. G7 M& K Against the sky blue!2 P8 q# ?3 v6 L# I4 v# {
Is it the fire of bivouac; ^# Z: n1 `# Y7 G0 v
Kindled by Nymphs and Naiads$ B4 U, h% s1 f8 k
On the banks of Milky Way
5 |* ~( w( [! P4 `7 G Holding a celestial picnic?2 L% g( t+ U# H3 w4 y& E; S7 }
3) Lo, the red afterglow,6 d0 ~8 H+ _( l D% C, H4 j% g
Against the sky blue!$ ~) G' R2 e _: g* ^' N: I- s
Is it the ruddy gauze veil
5 R8 U: P4 p5 T* y9 Y, l+ l That veiled the face of Juno+ G+ R" Y, B0 H) C) S5 f& Q3 x e
On her holy nuptial day
$ o2 m3 P& Q2 Q2 N2 O l+ I$ b3 S When she married Jupiter?
) p- q7 b, @( `% M3 O4) Lo, the red afterglow,
; T O4 B4 n4 _5 @+ j4 ?6 A Against the sky blue!
# J" ?$ Y8 t: T Is it the fire of Mt. Olympus
% x4 K4 e& l$ q" u1 t6 N Stolen by noble Prometheus,) p8 N0 n, F# |( c4 p
And in his careless down-flight
9 A# b5 j' `3 f7 h- T7 U) M Set the fleecy clouds aflame?+ E! y) i2 T+ C
5) Lo, the red afterglow,
3 Q* T$ [# y4 b Against the sky blue!# w* @% v! L+ z
Is it the blood of the heroes
- J- O: p. P* i That died on battlefields
# R4 a# e) Y! w1 y+ y' M4 v/ o In the sacred defense
& j! \) e7 }3 u* C6 f) Q3 [ Of their dear motherland?4 U7 z' F+ ?' r* U7 J! B& N
6) Lo, the red afterglow,9 c& h* M: h/ n4 k2 V n
against the sky blue!& e0 z/ S# J$ j# h7 o6 F5 O
If it the Isle of Coral
9 j, \7 ~7 y( U' t: T Removed by a white witch9 p+ m3 { }6 b5 A/ y
From the Pacific deep
- v) g: b" S; k3 A6 q To the heavens above?$ `8 L: R1 g# ~
7) Lo, the red afterglow,
" Z. c5 `0 l8 F/ }! {& r Against the sky blue!
4 i' D4 J6 a7 U# Y( A2 `6 c Is it a cluster of peach trees,0 J( h$ a, G# }7 J6 ^" N
Their blossoms in full bloom,) f# P! I$ [+ j
Grown by the daughters of God
9 `3 n& R+ @# ^9 y* I' A7 Z( \8 u And watered with nectar?
O1 g0 V O: D$ e1 J, B/ s: T8) Lo, the red afterglow,; G# n- t. \; |! k1 q% K4 e( [
Against the sky blue!
+ k% ~3 E3 h0 _) v& E, d Is it Flora's rouge$ i! c7 ?$ I" W* E
Spread all over the sky
* a1 a! L; h: ?3 @3 s By her frightened maids( m% ~2 U/ r0 l( [
In escape from her anger?3 X2 Q; J3 W8 D
9) Lo, the red afterglow,
. Z# A* N0 s( Q Against the sky blue!7 J ^4 \/ m! V" H+ q
Is it a large piece of sponge! ]) C* X4 u3 E4 O
Soaked through with claret
) ~- v% n' g4 J1 j8 ^ u+ D Upset from the Holy Grail
0 O$ a+ c/ N- ?( x. j0 K By a rash cosmic pilot?』
7 A1 j: w7 n$ I; R& N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* Q" |6 `9 X; g
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+ k6 P% O2 X5 t- u D B; y4 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1 e1 D8 J/ P6 o7 t4 R
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8 L. Z( A. @% U& b+ s" d" w: b
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# x8 H. R! q* A+ @" K# ?$ ^. K4 Y3 T: i7 u
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
0 ^! D, v/ i/ J* |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。
2 p7 t1 A5 S. D5 a 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﹕
' @# N; A% u( B7 d! wWhen young, I don't have any notions what woes really mean,
4 d: Y1 q) S( l7 ~+ {8 ~ Just love to get on floors so high.
* b2 }. j/ e |1 N" O0 v, y Just love to get on floors so high,
+ c7 h, v- L# k8 STo write new poems, I try to say the words of woe and spleen.2 U( a8 y! S/ ]8 {2 H& [8 z+ [
! ~$ I3 @- z9 n( L
But now I fully have ideas of what woe really is,
' z/ ^# o2 z; s Afraid to get on floors so high. ) \4 u2 I5 k/ w. S3 X# e2 d
Afraid to get on floors so high, v0 A: ]& v" V- X$ D8 W0 R9 x4 j
I only say in poems how good and cool the Autumn is.』
7 I% F9 v6 y6 I4 ?, ?% G/ V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
+ R& W5 u) J6 G+ 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。
4 b; |' Q+ K: E- @" ^& b" Y% c8 c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 s" [* V1 T3 B
『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
! H/ K; c0 w' N% ~6 t8 Z- t) J* v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 {- R0 y, K/ P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8 _$ X* R8 T7 |$ [* y
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﹐
: ]) g) s" u3 R; Y2 y1 p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& V( M8 n0 g8 A5 I* ~6 X% _
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
6 o+ N D0 K6 b. g$ \ G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
. B9 E0 X% L' H+ w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# w. X# E3 I( W9 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
! S& }$ \) F6 N5 c% 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0 P- `, L. L% ?$ }# \& r6 x
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﹕( k3 F1 ~/ S' }! J# O# @
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
' r1 e( T) g3 `0 s9 O4 Esuffered a terrible tragic death ----a punishment inflicted on him by ! f8 R% P. p6 ?8 o; y5 j( H/ X
the gods on Olympus. When he learned his fate decided by the almighty 3 M3 T0 g' c) h& T, I3 e
gods to kill his father, marry his mother and bring destruction on his ; J7 `8 R, ` s7 m$ n
native city, he wished to escape from it. But destiny was unavoidable,and ' {& G5 n1 o$ a
unawares he fulfilled the assigned tasks. If the gods had decided his
1 `+ `. S8 S, t) J4 u$ lfate otherwise, he would not have been a criminal, receiving an unjust
9 H, }" [8 f) b/ {( y$ Xpunishment and bearing an ill-fame for thousands of years. He was only 1 ~) f4 F0 N2 q/ {
an executor of the wills of the gods who, struck perhaps with a whimsical 1 D" w2 |: k# ~1 r
fantasy, played a practical joke on the helpless mortal. The gods were / _% r! S# I2 B: D+ F/ [4 ^
the plotters. Who then deserved the punishment? The gods on Olympus rather
" t: C0 a" S2 ?3 {3 gthan poor Odipus!』9 ~: y3 L" `! X: o# X; i/ i
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﹐
6 ^: v$ B$ w6 j8 U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﹕
9 I! m' b5 P5 M j5 P% d- i『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﹕
8 s, ?% }- Q! N4 m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
* @- v/ Z" j# h+ O6 LADDRESSES TO MONEY﹕
5 V; T- q f- g x1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
/ o! m1 |9 u8 P. Fyour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, & P3 J: s' f/ n! R
your slave. With you I can get food to keep me alive. With you I can % h; ]( e y2 H8 v4 P0 G+ h4 \$ z- y0 C
get clothes to keep warm. And with you I can get whatever I want, a 6 d8 z' r8 G9 H# Q |
grand mansion to live in and all the superfluities of life for ostentation. 4 a* l3 D' j4 F0 e7 u) A) u
But without you my love will desert me. Without you my friends will 2 [; H1 m* Z: b( F& C
turn back on me. And without you I'll go a-begging like a poor dog - X3 n' S/ p8 o
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
( P7 ~3 M( K3 K( V; K: Cto me, I implore you! Pray, endow me with your favor and be sure that I'm
! H5 u R* {) D/ T# _. v3 c* [willing to receive every small coin from you on my knees by which to show $ I9 f; P! i: X' c" |
my deep-hearted gratitude. 』! H$ e6 n; H6 W( ]
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。』; D5 \# k; S4 V
芝娜又唸道﹕『第二﹕0 S0 I @) V5 D/ L
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
: C: ?0 ?! d2 v k8 `; w( n5 uyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
( {! O/ J; p, [( K& S) Syour disposer. With you I can start my enterprises. With you I can carry ( C1 z6 }6 ]) t5 ^7 |( I* Q- h0 L
on my great plans. And with you I can make the little world around me & F9 \; y7 h' W
go at my will. If without you I can still have a large store of learning.
) _5 s4 i: K' k+ [ If without you I can still have an unpolluted name. And if without you " N# \" s6 Z$ h3 m
I can still live like a hermit writing books of great thoughts.
6 G+ M, e4 ~/ [# WOh, servile money, come to me; my lad, I command you! Serve me well ) h' w5 B' s& Q
and don't be naughty, or I'll punish you.』/ k0 K* v8 w0 e; B, ?; u y+ B% Z$ ]
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5 H2 [2 ~: n7 s$ }6 R8 C' C! z
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﹐4 g) A9 W6 Y1 F6 a% c) J ?. l
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
, n. Q6 n% _" A. k$ ?+ `(談美)﹕
5 v8 e, p5 v/ t! x3 C s Beauty often dwells in youth. At sight of a charming girl, everyone
$ P/ g' v# t. C! C) X' Y, E, X8 twill exclaim, "My eyes! What a great beauty!" The male stares with
9 k' _% [/ {1 {% B* q) Z: }: ^& `a thrill of admiration; the female gazes with a sigh of envy. Wherever
( u6 Q* W. Z! ]4 A3 A M+ X$ u1 N& vshe goes, she becomes the focus of the attention. Men all yearn to win ; U( e( Y4 @7 }6 q# k5 ^" Y
her heart; women all feel a regret unable to stand in her shoes. A glance 3 g/ @& H$ h6 {4 M. P l
or a smile from her makes the stingy empty his hoard of gold and the . N; i- s; Y. d7 R
coward give up his life for her. She enjoys her queenly position in society,
# `$ ^$ e$ X0 S" H) k proud of the possession of such a beauty. But the merciless Time
; \; W# G0 H+ }# L+ o+ zdogs her steps, too. Her beauty is worn out with the years. She begins to
+ P, Q# Y5 J3 I# A9 Mfade away and the hardship in life, if any would befall her, will bring * d- f: C ~5 |% X# c
more wrinkles on her face. Then men turn their backs on her politely with
& ` ~ ^$ V1 ya bow; women look at her with indifference. The younger generation is magnetized 8 J( U7 g g& h
round another focus. The old queen has to abdicate and leave the throne
8 H* R$ U$ {( z% ifor a young one to occupy. Only a photo or portrait can preserve her beauty - W8 U; R( n9 V* n" {1 B! W
in youth and no Time is capable of doing any injury to her preserved beauty 0 u$ x3 D; ^4 v3 w* b
but the preserver itself.2 X) h2 q) W* z- [
Therefore, admire not the beauty without, but the beauty within. Such 7 q# S2 V/ P7 i
a beauty will never wither though Time also plots to do it harm. In the 1 ]9 X! C) H& Y4 F5 o, j
struggle against the adversities of life and the ruthlessness of Time, # B: t9 b) R8 u) J+ ^3 M9 S
it grows radiant, or even dazzling, just like a rock in midstream made $ L9 E8 B$ l# O2 M7 R
smooth and glossy by the current of both the stream and Time. Everyone, 4 N+ _6 b) _8 H2 K( c
in spite of the age and sex, if aware of it, will sing its praise either
3 L6 {, i% M+ \/ R& D/ c+ K/ u openly in words and letters or secretly in mind. It lives as long
9 i0 Y1 H" P% P7 B4 R6 x# F- N" Xas the possessor, or even much longer after her dust may be blended into
( p( c4 B( A+ |a vase with the clay around it. 0 a9 [; d- _ E* g" M7 I
The outward beauty can only be the object of admiration or envy while
; R/ ]6 z3 h% z! g+ Ithe inward beauty, besides being a theme of the ode, can serve as an ! S5 p4 R& C# e; S0 I7 g" ]
example to learn from, for the former is always endowed by birth, but
2 j/ q2 h' s6 L) Z" P! Ithe latter by self-acquirement. However, every man is free to hold 2 Z' D; v* h& P7 w1 }9 F b, s
his own notion of what the beauty is and to choose whichever of the two
4 ~& Y& }9 {( Qbeauties he prefers. Only his love for his bride select should not degenerate ( l" d9 Z9 G# }7 `/ @ C/ h- w0 B% ]
with the shrunken beauty.』
" `# u6 Z. W. N7 D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* K* F! |0 w0 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 G2 w2 r+ S2 U
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 。』
; P. v5 g( M4 o9 ~5 ]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
D- `! ~! m+ `6 |8 M) e* 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
) ^* O+ W8 F5 E6 f+ ?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: m9 c7 A9 I; a0 I+ N2 m
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。
+ {: e# V/ I1 Y& n$ ?4 L B' k7 d你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
9 y. g+ r9 ^+ X4 E( u. {* _% Z A little boy walks by his mother's side, with one hand in hers and a balloon
+ |. c* t2 }2 n8 o. s in the other. A sudden gust of wind snatches the balloon away from 9 c1 Y& n5 Z3 g# [" p0 o' U
the boy's hand and bears it skyward. As it flies higher, the excited " s3 B0 n- ~2 U1 n" f; o5 k
people in the street all look up. "Surely," the balloon says to itself,
! L5 C' B& A0 r! q3 vfeeling proud of its uprising, "they all envy me of my ascent." Then in its * _" e! ^) t5 J3 j* z, U
upward flight it passes by a balcony on which a group of boys and girls
* U, d! r! [5 b& oare standing, giving a cry of excitement when seeing an escaped balloon $ Y2 e( E: x0 f z3 S d
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
1 N: R* E/ r( N; `thinks. Up and up it soars, above the roof, above the spire, through a 8 }& H) k7 N" P3 t( S
thin cloud, into the blue sky. Then a dove hovers near, but after a glance
1 i/ P6 d" |+ V1 I2 Oat it, flies away with indifference. "Of course, the bird nears to
; Y' I# `" l0 A: z# X4 Ysalute me," The buoyant balloon flatters itself in exultation, "but as 9 E7 v- {+ y. \9 k$ s* _6 s& m
I ignore her to keep my dignity, she takes herself away in awe and respect."
% i- e$ K: t6 _: v, P. L The higher it clambers, the haughtier it becomes, till it reaches the $ Q1 _5 G; @1 y) \; `! k
zenith where it means to stay for millions of years, but, alas, it bursts!
+ U e4 y# H0 J+ g& B9 _6 s5 P』
. G6 Y+ H* c8 }( ^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3 Y( G3 C" U* d7 u
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕* X9 x2 h/ N* k) P5 p" r
Etiquette is to society what apparel is to the individual. Without 1 I, k5 ?- A" ?7 D+ r1 m5 U3 t% \
apparel men would go in shameful nudity, which would surely lead to the
) C, Q1 }; T% x& T, Wcorruption of morals; and without etiquette society would be in a pitiable / N1 B {$ e5 V7 y7 |
state and the necessary intercourse between its members would be interfered 4 y: Q, }: b3 f4 r
by needless offences and troubles. If society were a train, the etiquette
; _" ]$ w+ R, y9 ^would be the rails, along which only the train could rumble forth; if / L9 f+ s8 u3 t( z/ y" `/ H; n
society were a state coach, the etiquette would be the wheels and axis, 9 _/ F" c) G! ?* ^8 ~" r
on which only the coach could roll forward.% S/ X4 z4 m9 y% v
The lack of proprieties would make the most intimate friends turn to 1 j9 k% [+ a# r1 o
be the most decided enemies and the friendly or allied countries declare
" {3 t" S! [" Z$ Z4 Y& Awar against each other. We can find many examples in the history of mankind.1 h o7 L5 L$ G" u* w2 H
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
1 \, D6 K& J+ ]by his favorite knight for a joking word. therefore, I advise you to stand * W6 d& x. t5 ^& M
on ceremony before anyone else and to take pains not to do anything stupid
e6 l6 W6 d/ y1 pagainst etiquette lest you give offences or make enemies.』
0 ]$ v$ e" ^6 v0 Q7 O) [- }' W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
7 z% t/ @5 y f* B! m0 t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
U0 f$ |; f- D( ^" J5 v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 ?( ]+ v4 Y9 _) [0 F7 b n
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 n E/ X8 |& p4 C' T9 x* A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﹕+ g; o7 d$ K, x: a
『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﹕! `0 I5 c( k$ \1 o6 C
『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﹐
2 P: s) M' M1 g W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7 H1 r0 U: ` Q; E; v
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" O2 J6 L( z2 Y* V: f+ ^" t
銘」的譯文( v! v: s. N, J7 F4 ]5 j
AN EULOGY ON MY HUMBLE ABODE﹕. N; t; b) K" a# M
Known will the hills be if fairies dwell, no matter high of low; and
( c6 l' T- [" ]- [; l5 @+ hcharmed will the waters be if dragons hidden, no matter deep or shallow.
) h( a) M+ b" Y: E. Z. b# A A humble abode though this is, my virtues make it smell sweet. Verdant
& b, m) u3 F6 j/ J$ h6 dare the stonesteps overgrown with moss, and green seems the screen
* f; J/ V6 E/ u/ J4 D as the grass seen through it. I chat and laugh only with great scholars
, C" @, n2 W* Z H' J! ~' Qand have no intercourse with the ignorant. I can play lute and read my 9 w" ?* K0 G# z' C6 | P% v
sutras; no unpleasant music to grate on my ears and no red-tape to make
2 K& S2 ]& N( D4 J! ame weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
; x; T7 S% y6 i: b0 B i. V! Din Xishu are both like what Confucius quoth, "How canth it be humble?"
2 h z2 h6 o6 N& B8 Q- o9 k* j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。
3 X% Q6 I Q: N6 v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﹕
+ h+ A5 T7 i' ]( S0 f2 s『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
, G# r( [0 d4 v, }8 ~ M9 F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 U# _/ s- h2 Z1 }6 \. w
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。』
) F; t7 k! x* I
# N4 |$ _; ^, O; R% \5 ^ 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" M; ^6 v* _* ^; @2 Q4 ]& _4 S
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, [1 `2 p. ~7 y. z7 D
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。』/ u# r9 h$ P% x# j8 v i/ 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1 b. K- U- M7 s. j* M3 q! m( 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。
5 }: C Q' F1 O 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) l! u8 C4 n4 v9 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5 _8 {, w/ ]% z( M7 H& J
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﹕
7 m# w8 J* v8 x. K9 `; F4 b9 P6 S$ N) F『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" Y- A7 a H+ i8 H$ n
音樂跳起舞來﹐直至興盡而散。
$ K% [1 V0 e) N: g 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 X1 a" M0 x' ]* U8 {% `3 g
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# }8 @. n. S3 |( L' l5 D; W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
" N, i1 H! u- C: ~. 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3 P# q) g1 f* F2 f
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﹐
, D, B# m: i4 Z' l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
4 h: H0 V/ N" g- P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& E3 p: t1 o" Y& d
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. p) G$ T5 [, ?) H4 M5 G
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。
8 b7 h, g# S: e2 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' }3 R# Y$ A9 S$ b. t" i5 b
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
4 h: K- E" V) } r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
# K! i) f. W* ^% o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 d7 F% N/ x& q- B9 v& F
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. E5 a( Y5 z' s5 m# b+ g- X
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
" {9 l$ Q, ?0 G2 G; J. a, x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﹐( ^/ T( v8 X/ c- i4 G
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
5 B* P; B6 D& 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」
! h4 D M3 F! w @! z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
' v8 c: J7 G, q* m6 e* Y) a: T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
+ r+ y- m) Q. d. Y9 Z5 N9 j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
. Z. t/ O5 U, R2 Q% \$ C6 Y; |# Z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
: q. X7 W6 i8 Z# h* ?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 U) } q3 }" t2 J4 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5 k5 a4 X$ d V
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
- v' \% O! Y! F, g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; o. |0 z9 X$ m* D, \1 i( L i
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5 ^7 H- H# j0 o5 v& @. K
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。』$ L6 W) ?$ A+ v
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
, n5 u! r8 P% ^$ f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
~4 d: g( H& [# O3 N* e y評論才會公允。』 |
|