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芝娜道﹕『下面一首是RED AFTERGLOW﹕; V/ H5 e0 |( i* I& X
1) Lo, the red afterglow,) L3 b$ y$ [; j7 U2 @ g; ]0 @3 v; c
Against the sky blue!
9 ~! F f1 x, V9 m% [+ \6 L& V Is it the blush of Heaven,
6 b# Y7 s4 s" p8 i- M( b9 m. u0 f As on a maiden's cheeks,
9 S' O8 |: M' I* g3 B When she catches sight
( `2 W+ K9 r M% Z! l6 f) c Of her coming lover?
' L# Y& M1 l, y2) Lo, the red afterglow,
& U! E) k2 f: q% c7 d8 U Against the sky blue!
" O7 h- W) j( t$ R* O) _ Is it the fire of bivouac
( c2 E4 q; C' n" O Kindled by Nymphs and Naiads0 W0 M5 o3 m9 {4 i2 \6 f
On the banks of Milky Way
# m0 x, c9 H) L8 O2 a/ b Holding a celestial picnic?
& S: d3 T. N0 A& D# X, t' ~3) Lo, the red afterglow,
" ^$ [3 x, d; s$ h Against the sky blue!
4 a& `/ T* N/ | Y Is it the ruddy gauze veil8 ^( g- T2 J* q
That veiled the face of Juno
K7 n6 n8 c. y, W7 h* g On her holy nuptial day
9 \( C1 ` O6 E2 X* J, F1 ^2 |7 W$ Q When she married Jupiter?
8 s5 c( a/ i- u4) Lo, the red afterglow,
4 Y8 `9 m, m- \2 f Against the sky blue!
3 O1 {# F2 q f3 r; m6 G3 m* U Is it the fire of Mt. Olympus
7 y! |5 v- r) ]2 @, p Stolen by noble Prometheus,7 e* O5 b; n: y. q
And in his careless down-flight
7 U+ V$ `: _# V ~% Y Set the fleecy clouds aflame?7 _, S. b# k. s2 i' j& w: q- p
5) Lo, the red afterglow,
# i- C' @. m- K5 a+ z. q: @ Against the sky blue!
; m" a# ~# O5 E' v$ c1 ? Is it the blood of the heroes
/ C9 w0 {: D+ y That died on battlefields
! p B3 X4 g0 Z9 \( S0 ` In the sacred defense
9 W7 U+ D7 X# R* R* X8 `5 d& d Of their dear motherland?: k1 L) i( E! [
6) Lo, the red afterglow,6 M9 h7 `5 i- t3 }% p
against the sky blue!; ?! a0 i- ?) H1 t
If it the Isle of Coral6 g) h; y) i! P' m0 F
Removed by a white witch3 N! j3 G1 w, Z' ]1 ?6 j8 Y
From the Pacific deep
0 W2 S" ^. _, S* P6 @- o To the heavens above?
" K! h2 ]+ U" e- H3 K7) Lo, the red afterglow,! f5 `7 C# p' V4 f7 L' h- p
Against the sky blue!
4 Z, M4 D I! a- z6 E. e ]( _ Is it a cluster of peach trees,8 n7 Y8 I& b) R& b# y
Their blossoms in full bloom,2 J1 p6 ^7 i, N! t; V" s$ h
Grown by the daughters of God) n" g8 {3 @" w8 _
And watered with nectar?
' j4 K. L7 D+ t9 o8 z8 i. a- F: T8) Lo, the red afterglow,
6 I n { T) I2 }4 v! _, b Against the sky blue!
# h8 Z7 H; U9 a% A. S Is it Flora's rouge$ k7 G% f9 h" R: z) v6 {3 d3 @
Spread all over the sky
1 c6 g7 E# z0 E- E By her frightened maids2 l# v* `& N$ T0 K7 G
In escape from her anger?
0 o: q! Q2 w W8 l$ x, z- x9 K9) Lo, the red afterglow,
" p) _5 a2 t" f+ J/ Z. \3 i Against the sky blue!5 j$ Q. F- C! H) ?7 y- a
Is it a large piece of sponge
3 [. n4 e" i6 n# Y Soaked through with claret0 m* l8 Z! W& W& d! m0 v
Upset from the Holy Grail
" G9 T% P( Y7 Q5 s+ p By a rash cosmic pilot?』
( e; _* H! X1 b8 H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
7 J# E( ^& V; K6 s' P& l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
$ @6 k ^" s4 v2 Z) E. x' N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
: Y: F1 u0 T3 R4 A- }8 S' z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
; }$ I' h1 Y6 f; {9 }$ _' W& @6 L2 y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
! c9 Z9 P6 _- I' `) f9 v. _) g( h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! F8 P" h5 b( j; J1 V' Z7 h
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。 $ \8 H; `) F0 _) J# r
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﹕; H# k" A/ w/ ]( H% P3 Z0 n3 o
When young, I don't have any notions what woes really mean,. S4 F1 f' D/ D! V( J
Just love to get on floors so high. 5 i% v; x, ^ e5 q7 r* S6 M+ l
Just love to get on floors so high,, A# ]( t3 S7 I8 Z! ?& m: x
To write new poems, I try to say the words of woe and spleen.
/ S6 T" p6 ~9 M% m6 U0 A, ~7 S' Z5 ]4 u6 z9 r }( @
But now I fully have ideas of what woe really is,
( P' s4 w' U+ _ Afraid to get on floors so high.
; t% J7 R' K% o, N. M T Afraid to get on floors so high,
+ t+ `" A+ f8 _. A- QI only say in poems how good and cool the Autumn is.』
+ e8 |3 N3 C+ C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
8 f) _6 J- }+ E/ m) q" Y' }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。
; L9 j1 e9 p; l" {& O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﹕
T X. P; l/ m/ H: 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1 P: a: ]7 |% D4 m
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% a6 ? O7 ?2 t3 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
3 p$ I) z" t" W8 v2 Y( `9 T% Z# e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﹐
& @0 F0 {. \' `8 {, _, i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
; I# [. ?' |3 D: G5 T* J& F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( I0 Q; ^. G+ C& m9 u! o1 {
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
" l+ s( h/ Z0 V: N2 M8 b) F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
7 T; O7 y3 E5 w0 }' q! i2 S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$ s/ F* W5 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& O+ c3 x; D9 ^& M) _' a- y) w; t
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﹕
# u- Z, L, I1 c- s3 d0 H TPoor Odipus, a scapegoat he was! Accused of three great crimes, he ( Q D8 Q* f2 ?/ @% }+ |& M0 ?2 Z
suffered a terrible tragic death ----a punishment inflicted on him by ) y y; X0 t+ A6 M# N- R$ O
the gods on Olympus. When he learned his fate decided by the almighty 8 R/ l' _& ^. V' p. Y) w
gods to kill his father, marry his mother and bring destruction on his
, s! I/ o+ P4 fnative city, he wished to escape from it. But destiny was unavoidable,and
P$ w# Y* {1 G) e/ A+ i" }unawares he fulfilled the assigned tasks. If the gods had decided his ( Z+ H* c1 ]! I( y6 m: y
fate otherwise, he would not have been a criminal, receiving an unjust * f8 u& `, k# W
punishment and bearing an ill-fame for thousands of years. He was only
+ H3 @; o9 @" M" O$ k$ `" R/ Uan executor of the wills of the gods who, struck perhaps with a whimsical
, n& g! O7 D" A: A1 f& t* cfantasy, played a practical joke on the helpless mortal. The gods were
: f3 q/ w' E4 J4 p' \6 ]the plotters. Who then deserved the punishment? The gods on Olympus rather
2 a2 I- ^7 \9 h9 D8 j2 lthan poor Odipus!』
. Y" J6 X: X2 I" ]/ r. [5 W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﹐
, U$ y& f0 p7 P" m [% G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 R7 j' e2 M1 Q『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﹕
7 @, V8 ^0 x5 w4 Y, G) J2 ]" a# h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
3 y3 y% W! W+ E) P" s1 bADDRESSES TO MONEY﹕
5 Y6 k, F4 H8 V% t5 ^% u1) Oh, Money! My darling Money! My respected Money! I'm your admirer, 6 g8 o1 N9 \3 D0 k: @
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
2 g) [. V5 ^0 }( @: Kyour slave. With you I can get food to keep me alive. With you I can 7 G' T9 n( B4 ^3 W
get clothes to keep warm. And with you I can get whatever I want, a
' W; Q2 a6 L9 f6 F( k8 mgrand mansion to live in and all the superfluities of life for ostentation.
+ \; d" H2 F* `: I2 o9 C5 e, gBut without you my love will desert me. Without you my friends will
$ h2 G* {5 m, \; Z$ Zturn back on me. And without you I'll go a-begging like a poor dog - }4 I# }. s5 ^+ v3 a+ ^) B
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
. M9 o- ~* g+ ~9 Mto me, I implore you! Pray, endow me with your favor and be sure that I'm
1 y8 y/ o. g" E) K) ? hwilling to receive every small coin from you on my knees by which to show
; Y0 G4 h+ ]$ e4 N5 K/ zmy deep-hearted gratitude. 』
& W2 b6 i9 g- H0 ^( U# s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。』
" b! a- T. v9 z/ C! W芝娜又唸道﹕『第二﹕
* V u. V$ r# e+ N8 _2) Oh, money, my obedient servant, my faithful slave! I'm your master, ( v+ [ U! V: r' r0 j
your owner. OH, money, my passe-partout, my almighty tool! I'm you user, 9 b; x: Y3 e; [' [( X$ B
your disposer. With you I can start my enterprises. With you I can carry
, o' n W- F1 q; Gon my great plans. And with you I can make the little world around me W2 ~* [) C* E4 L$ t! l5 \ ~
go at my will. If without you I can still have a large store of learning.
/ I- d" o0 x& }# j" D/ X If without you I can still have an unpolluted name. And if without you
o( r( Z4 q, \ I can still live like a hermit writing books of great thoughts. ) k7 M6 n8 ^) h9 Q
Oh, servile money, come to me; my lad, I command you! Serve me well 8 L, ]& W) u+ ?) J3 I+ K t i
and don't be naughty, or I'll punish you.』
3 y: s# f% R" Z; z' i/ q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
% l d7 ` U+ F/ q6 O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﹐2 A* K. S) y2 [( A) Q: 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
% ?! C$ r& R7 f( w(談美)﹕: D- m) ^* M7 [4 h! o4 y
Beauty often dwells in youth. At sight of a charming girl, everyone
; g! J& h7 N: P/ ?8 owill exclaim, "My eyes! What a great beauty!" The male stares with ( V" N( C" x1 x3 i p
a thrill of admiration; the female gazes with a sigh of envy. Wherever
& v' K2 u) I' |; e* q! {she goes, she becomes the focus of the attention. Men all yearn to win 3 k1 p* @3 l+ p( T) F
her heart; women all feel a regret unable to stand in her shoes. A glance * g0 }3 x( r$ ]! B: k
or a smile from her makes the stingy empty his hoard of gold and the . Y- P% A. @1 Y2 W; f. h* y
coward give up his life for her. She enjoys her queenly position in society,& Y5 J" K2 S" j% Y5 n! x
proud of the possession of such a beauty. But the merciless Time $ _, Y, x4 T9 L* b
dogs her steps, too. Her beauty is worn out with the years. She begins to 8 D& k9 B% M, c: X' A6 m
fade away and the hardship in life, if any would befall her, will bring + Q, R! u4 U% c6 I, A A
more wrinkles on her face. Then men turn their backs on her politely with 7 w5 B( w0 u* c" u6 N \
a bow; women look at her with indifference. The younger generation is magnetized % ~2 w. f" m/ V& J" k
round another focus. The old queen has to abdicate and leave the throne
. Q5 s! f3 M4 j: sfor a young one to occupy. Only a photo or portrait can preserve her beauty $ s- S3 H0 `" J2 B4 @3 e
in youth and no Time is capable of doing any injury to her preserved beauty " ~; t) E! N6 d/ y
but the preserver itself.+ G+ h: J$ Q* b8 R; ^3 u
Therefore, admire not the beauty without, but the beauty within. Such
1 Y) R1 m$ ~* y7 T- P. U, _7 t& ]a beauty will never wither though Time also plots to do it harm. In the 0 B4 W9 N, A$ X2 v4 u( G4 ^
struggle against the adversities of life and the ruthlessness of Time,
$ {3 `' |0 \( e. F it grows radiant, or even dazzling, just like a rock in midstream made 0 R/ e( I4 I1 b2 R7 `- X! }
smooth and glossy by the current of both the stream and Time. Everyone,
G1 p( p- i; P6 Z0 v5 {( fin spite of the age and sex, if aware of it, will sing its praise either
8 I; \' s9 y1 n openly in words and letters or secretly in mind. It lives as long
+ E g* M6 I4 Q1 k: zas the possessor, or even much longer after her dust may be blended into 6 V0 a/ e5 k$ [5 I
a vase with the clay around it.
* M2 Q- s7 K- {1 o) { The outward beauty can only be the object of admiration or envy while
, U6 J5 W! M3 G& o+ @8 R8 zthe inward beauty, besides being a theme of the ode, can serve as an # I$ c# H0 c" z M- |
example to learn from, for the former is always endowed by birth, but 4 Y3 O' R, N1 g0 W
the latter by self-acquirement. However, every man is free to hold
2 H3 u& }2 N5 }1 o! R his own notion of what the beauty is and to choose whichever of the two
' [$ a9 _0 h8 f8 {9 M/ Abeauties he prefers. Only his love for his bride select should not degenerate ; e% _& u3 Z3 _+ y
with the shrunken beauty.』
2 X( o* a* o, v% v' e, 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
; M. N, M1 ?( Y$ @# U+ O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
! `: [1 m# b9 F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 。』
, T9 g2 ]+ l: C+ R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, }$ `* L R4 f. {' j& O: a
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6 e. K. c: ^. O) u
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
9 B0 H: [7 @! L H7 v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。) J! y' T1 p! Z1 A
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
( H! w( T `& x. E2 r A little boy walks by his mother's side, with one hand in hers and a balloon
" Y) ~$ T/ J% D' T# R# D in the other. A sudden gust of wind snatches the balloon away from
% ^1 ~5 x6 t# Q: a5 m1 t the boy's hand and bears it skyward. As it flies higher, the excited 5 Z3 H$ k" `6 F" m% @: p' q! F: m& e ~
people in the street all look up. "Surely," the balloon says to itself,
% U2 y* f, f; Hfeeling proud of its uprising, "they all envy me of my ascent." Then in its
- S1 b* i1 V, z- x$ hupward flight it passes by a balcony on which a group of boys and girls
1 w9 r; e8 [8 ~ H' Z1 _5 eare standing, giving a cry of excitement when seeing an escaped balloon
) c1 G% f* o8 o6 C( S6 ^0 Q/ a( ?hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
- z5 c, @# S* d+ Sthinks. Up and up it soars, above the roof, above the spire, through a ) u" M1 E/ F5 j- l; V7 B: j5 e; k1 P2 S
thin cloud, into the blue sky. Then a dove hovers near, but after a glance
% Y8 Y$ {8 @" M5 Wat it, flies away with indifference. "Of course, the bird nears to
7 y4 {9 c# b, S5 ~' f5 m' Qsalute me," The buoyant balloon flatters itself in exultation, "but as
" o9 [/ {0 t5 S1 d, M# m$ `9 L. TI ignore her to keep my dignity, she takes herself away in awe and respect." % ]( Y+ L* I4 z+ O
The higher it clambers, the haughtier it becomes, till it reaches the . ^% l5 D% Y. {0 q) m8 h
zenith where it means to stay for millions of years, but, alas, it bursts!
2 `4 S3 z+ J: E2 U5 M, e7 K2 f# w6 ^』
2 c. d P! x; g4 j$ D1 ~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8 q' L- G! h$ R5 W/ ?& d" X
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
/ D0 [$ b# A- A6 u Etiquette is to society what apparel is to the individual. Without
5 W9 ]8 r& d D* Wapparel men would go in shameful nudity, which would surely lead to the # a( d2 e. ]7 M
corruption of morals; and without etiquette society would be in a pitiable / J0 o9 {: k% w0 o: N% R, ^
state and the necessary intercourse between its members would be interfered
4 y: |! H7 u% I' Q3 f# \( U }by needless offences and troubles. If society were a train, the etiquette : H5 d* B: O, {3 u4 Q! r2 `2 I
would be the rails, along which only the train could rumble forth; if
9 Y$ w& T( s; h% ?( T4 usociety were a state coach, the etiquette would be the wheels and axis,
6 W3 r) }4 h( N0 Z6 |0 @ on which only the coach could roll forward.: @) d% X2 W# q$ B2 Y% }
The lack of proprieties would make the most intimate friends turn to
! S: p4 ]6 B, I9 l- b) b* n* X* sbe the most decided enemies and the friendly or allied countries declare / x( I* `9 ?6 w6 G8 ^) S
war against each other. We can find many examples in the history of mankind.+ D4 I8 _, L, c: }, o) `7 M2 K, n
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
: o4 d, f+ i9 q/ |5 s4 P- h9 p: Dby his favorite knight for a joking word. therefore, I advise you to stand - h! Z$ s7 D# n8 g5 _8 ]
on ceremony before anyone else and to take pains not to do anything stupid 3 H5 t& R9 n5 X
against etiquette lest you give offences or make enemies.』0 `" o# u A% _9 _5 L, `% i. D
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3 }7 C+ q1 t7 Y" Z- C9 K6 J
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
. O. `/ q: }, Z' g: O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; G4 Y) ~- `7 V! G( ]1 b6 Q& G
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。7 Y% e& ?6 [% R {1 U, }% r; y0 T
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﹕
" |* y! Z* x+ ^0 _. V& ?$ E s# ^ x『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﹕/ a* _8 X+ W' x0 F/ I$ f
『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﹐
& j, ^0 t6 l' n) T6 ]4 G- k( o( b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0 w, v8 h: z7 u f% ~, h
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
9 I6 m& m( C4 K- X& o銘」的譯文
2 g. \3 |: g1 O) O& U6 K; nAN EULOGY ON MY HUMBLE ABODE﹕! L9 `9 t3 W9 L) V
Known will the hills be if fairies dwell, no matter high of low; and
( W1 [& G" A2 Q% Q9 A! }charmed will the waters be if dragons hidden, no matter deep or shallow.
$ ^$ g' R% P, l; k. M! g$ i A humble abode though this is, my virtues make it smell sweet. Verdant ! F6 Q& J* ]2 o& J# h; \3 z
are the stonesteps overgrown with moss, and green seems the screen
) U/ U& f2 t6 C as the grass seen through it. I chat and laugh only with great scholars . T Y( _! W `2 e
and have no intercourse with the ignorant. I can play lute and read my
- i- [, f$ z2 L1 K, J2 w: ]sutras; no unpleasant music to grate on my ears and no red-tape to make
; C: g" k. t; g/ P8 D, U- dme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
& V3 m% h' g9 F d7 W( kin Xishu are both like what Confucius quoth, "How canth it be humble?" , a9 w2 \# u; L/ c% u, D9 }8 |0 V
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 ?" N$ Y r* J" w
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﹕
7 `5 N8 a8 k) ^5 S, w0 v1 S; \# |5 M『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
) v3 q( H1 z4 S# @8 y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* R3 J% U( U8 }6 x
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。』
6 z5 p6 V K( n9 @0 y. x3 Q, R% [% o, 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
- q4 _- w/ v% X! w6 L) 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) Y& I9 J, c% ]: [" B) n
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。』% k+ B i7 j3 Z0 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* k- s& f1 s- y1 O
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
) R& h7 h' g, ^. ~* r3 @9 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4 b1 u( o- J, S+ a" b" P* W7 Z+ H. p
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+ | o% e+ s' r; T
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﹕& @6 }& V8 ?# A4 U) ~& N
『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7 s+ t9 F+ F1 [% v$ c f
音樂跳起舞來﹐直至興盡而散。
/ T% @' V' ~4 @) h 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﹐約他們去看一7 k: U y; {4 \% s
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
( U- n9 d( u) D& A# q' f' q) 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# e9 Z! X/ Y: h& }( o
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) v5 l' U/ U& M+ @( k
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﹐2 I! W1 O+ ?* ?# n7 e' Q
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
8 J/ \2 H0 B# |7 X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
, {, m" f# ~3 D: ~2 Z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 S3 @6 Y# w' e: X
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。3 ~2 Y; P7 i* v+ F* Y- `( v& b- {# B
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 r% ]+ i6 v. ~* @
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! a+ g8 S2 a" n0 o9 j
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
+ R* F- s% p. p- R8 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1 ]6 _) d1 K! L9 t) x" I
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% Z7 u7 {/ F v' K% i% B+ S+ m P
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
& i: Z6 p7 W8 z2 W& r+ |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﹐
+ j' p' f6 l+ [& x0 P: y; Y4 U7 {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# N I4 T" e( F1 K9 _' B" p
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」
/ K& X8 a0 j9 K% G6 l' h% O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 L y) L, Q5 Q- i- y& T; f3 Z8 ]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% q+ q2 V% Y0 h! F; K
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
S; e/ B5 t4 A" w' t& i- z! I" q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; o$ j+ f9 r1 C$ s2 d* @
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 ]( J6 A% F6 c2 x) |
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9 j+ ]% n8 f) X; P/ o. B
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/ L- n& \2 Q2 x/ D7 \+ j
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, S4 {4 Q2 Z; y4 Z T. w. k" {
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
' d! Z3 A0 ]3 Q0 I0 p, H6 J' c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。』
8 n9 x0 J, T; C* N5 F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1 O/ k B2 Y8 f9 {
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+ i2 [# m8 ?6 X, i7 e
評論才會公允。』 |
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