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芝娜道﹕『下面一首是RED AFTERGLOW﹕
& S$ b5 O: F! K3 A& S2 y# H& h' G1) Lo, the red afterglow,: k8 c/ H$ K0 D; T
Against the sky blue! - |8 a/ z! J4 S
Is it the blush of Heaven, 2 w. Z' \. Y# t+ N8 @0 j
As on a maiden's cheeks,
* e- X! ^+ e& q; k" @% f+ s+ A' T When she catches sight
0 G2 x: Q# v% Y Q8 X# A Of her coming lover?
3 D- W1 O! R) q4 B w0 ]2) Lo, the red afterglow,
( e3 X) o i" p! D6 p' P4 X Against the sky blue!. D: Z% A. m! G
Is it the fire of bivouac5 K1 J( J' Z9 Y! Q, F9 W# i! n
Kindled by Nymphs and Naiads
: m# o n- @6 S, w4 `2 q On the banks of Milky Way) h) O- [5 [0 E( Q) l
Holding a celestial picnic?9 E: w8 v' }4 H
3) Lo, the red afterglow,. M. d. n. }% W
Against the sky blue!
- v+ i; P# K9 M+ P Is it the ruddy gauze veil0 Q$ d' }( r3 q/ b
That veiled the face of Juno* z. A( u7 B: ]8 D
On her holy nuptial day
' A. o$ m9 i1 V9 A- f. s When she married Jupiter?' d( W" W0 k4 v* u! [
4) Lo, the red afterglow,
! K& s) D* t0 \" c0 _: N4 w3 m* d Against the sky blue!' c" b# b1 }6 U- H( i
Is it the fire of Mt. Olympus
6 u4 h6 u$ ^1 \5 K+ N) X) D3 T Stolen by noble Prometheus, J7 L2 y: r: Z4 y
And in his careless down-flight6 b; ? d! t$ L2 P* q2 i0 O8 \
Set the fleecy clouds aflame?
6 S9 [- V/ R9 ]4 @5) Lo, the red afterglow,
) @" Y& g' A5 l* M4 K Against the sky blue!
# o; q5 K, e- s; r _6 } Is it the blood of the heroes0 f/ ~* A4 s& i! {, i- k
That died on battlefields; @( w0 @$ e. c" _$ s
In the sacred defense e: r% I' q( [7 v
Of their dear motherland?
+ G& k' S- P' U5 h. e6) Lo, the red afterglow,, O0 x0 d' S f- L% i1 e+ Q$ c
against the sky blue!
, u" ]3 F9 ?" q, J9 i If it the Isle of Coral
* J \! V. u: H( n Removed by a white witch
' Y0 r3 U: E$ c2 x From the Pacific deep- p1 ?) P: @& W1 O
To the heavens above?7 V7 }5 Z+ _% o: }
7) Lo, the red afterglow,
+ Y5 I6 l( f% A8 M0 N, \ Against the sky blue!
% Y: E5 Z' }3 Q1 j Is it a cluster of peach trees,
. |% |8 F# `# G Their blossoms in full bloom,
! V& \1 v, _* J$ d I0 M+ v Grown by the daughters of God
% [+ p$ y) A6 P$ y1 |5 z5 A/ P, ] And watered with nectar?
8 U9 x9 Z# |- l+ B4 B, c+ W# M3 O8) Lo, the red afterglow,! K3 H: p( m L- Q+ M( `
Against the sky blue!$ v: I/ n1 D( C, [9 h% N
Is it Flora's rouge
- D2 V& w" |3 O* D* N9 S; ?) t Spread all over the sky% o4 _/ @4 ^ u9 V1 w4 g
By her frightened maids
. o' m w5 m! w$ Y9 _ In escape from her anger?
! w8 n2 {8 \0 O. U' c9) Lo, the red afterglow,
# P4 Y( J/ h5 u7 h- Y1 { Against the sky blue!
! @/ M4 `. t l/ e7 F$ l+ E: B0 q8 T ` Is it a large piece of sponge
( l! Y% h2 k( d6 g Soaked through with claret! x+ ]: K7 ?; `- l* q; v
Upset from the Holy Grail
7 U: X6 I) K# F( L b* K By a rash cosmic pilot?』
$ O! r1 p1 ], g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
+ _ x/ x) _2 f$ T& 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0 ?1 n5 y; Y. `9 Q: X, h; X# T4 v
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9 P" s7 y s' P1 E7 d
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3 [' `. ^& ^' E6 s4 w
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
1 a9 O( k4 W, V; \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
: T- H L" k# g; ?" d; 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。 # m* \) ~ n% k4 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﹕: }5 X: x1 Q& r7 R1 H
When young, I don't have any notions what woes really mean,
( U) L6 H, T8 S5 h8 J+ P Just love to get on floors so high.
' ^$ W- I/ |" r; F" ` Just love to get on floors so high,0 c U. K S$ [+ c+ n! C
To write new poems, I try to say the words of woe and spleen.
2 x/ z% W) V6 c5 K/ C: U* T [5 P) q6 u3 b7 m
But now I fully have ideas of what woe really is,
- `. }; `" w N0 _) ^" E3 c Afraid to get on floors so high.
6 ?; I$ Y: Z; F: ^+ K3 I8 o9 e( X Afraid to get on floors so high,
& J* D( s& @; }I only say in poems how good and cool the Autumn is.』
8 U% f# A' r8 A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
1 ]! ^9 ]4 y& a3 c5 w9 P2 N6 E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。
3 @& ~5 U9 d' X0 w& T4 l2 `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﹕6 h. d* V& g/ M v
『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 k2 a# S! ?/ C) M+ W6 b2 ^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
4 g0 B% n; ^; X0 n. x ]8 K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
% s0 s6 ]" X+ ]9 V$ V9 j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﹐% e0 F8 B- q" Q3 E9 k3 g
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
7 n6 s. j9 @$ b# ^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
4 S) D6 b( j$ L6 m) B. U; o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
/ q4 B' a: _" P+ E$ J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: D/ J$ t3 p* p% ]
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
9 C7 `! }& | h& }/ F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
- ?# A- A" [/ D$ a. Q, F+ y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﹕
( p1 R0 j8 R7 F- |; t8 B' \& [Poor Odipus, a scapegoat he was! Accused of three great crimes, he
& w3 u' W8 @* A' S5 ~0 ]1 X" ?suffered a terrible tragic death ----a punishment inflicted on him by
5 i z( r1 U& X! ~the gods on Olympus. When he learned his fate decided by the almighty ( V1 l* U. p. L7 Z# o" ^
gods to kill his father, marry his mother and bring destruction on his
4 F1 y0 _) s. i2 Z, m2 dnative city, he wished to escape from it. But destiny was unavoidable,and
1 a" L9 z" h& O, a" Z" [, z ~" n7 Dunawares he fulfilled the assigned tasks. If the gods had decided his
- R: ^" q" V! Q cfate otherwise, he would not have been a criminal, receiving an unjust % L# D% U0 T. G, C0 |( |0 e& K! p
punishment and bearing an ill-fame for thousands of years. He was only
1 G/ \* e7 Z9 b$ ^an executor of the wills of the gods who, struck perhaps with a whimsical
0 y6 _/ e m( o/ {& B* yfantasy, played a practical joke on the helpless mortal. The gods were
% g7 o" s d. ^, {: Jthe plotters. Who then deserved the punishment? The gods on Olympus rather
# @# m+ b) r" b @5 ?, L) T6 _) Sthan poor Odipus!』7 K+ S, \& M7 U4 y
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) R- x/ }9 F$ m* i( C; [ G8 ^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﹕; L- R5 Y' p1 X X2 z! Y
『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/ y" j" @6 a' m! C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
& c/ x# z8 @% ` j* KADDRESSES TO MONEY﹕
4 v! F4 o( _% v# d- z9 x1) Oh, Money! My darling Money! My respected Money! I'm your admirer, % x8 U& I8 d) |1 q4 o
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, " }0 a& ^+ K- J. T! d% z7 c
your slave. With you I can get food to keep me alive. With you I can
+ I; B. d- u7 ^5 Cget clothes to keep warm. And with you I can get whatever I want, a
# X/ h; M' J* ~5 q! wgrand mansion to live in and all the superfluities of life for ostentation.
& `% f5 q! N$ OBut without you my love will desert me. Without you my friends will - y8 x" h, w {2 \
turn back on me. And without you I'll go a-begging like a poor dog , E3 ~2 P$ y$ c5 p
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
' m, J) u9 [# x# c0 F% U! Kto me, I implore you! Pray, endow me with your favor and be sure that I'm 8 Z- t$ G+ |( A- O' ]% B) T
willing to receive every small coin from you on my knees by which to show 6 b* A8 s0 ~" y$ G! G& n8 l$ z3 M
my deep-hearted gratitude. 』
/ n7 R# @- A8 \. v# V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。』
0 z* G4 {# j$ d3 f) c芝娜又唸道﹕『第二﹕3 e' N0 T$ `; d1 v
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
/ s1 F# `9 ~" r* V2 u8 `0 ~/ t1 Jyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
/ k8 Z" U! |/ Z7 J; T: \your disposer. With you I can start my enterprises. With you I can carry : n$ x3 _( j5 w, E' |* t
on my great plans. And with you I can make the little world around me z3 D4 p1 w& b* M! A; f
go at my will. If without you I can still have a large store of learning. ; @" F$ b y; \( X4 h- e
If without you I can still have an unpolluted name. And if without you
2 n1 \: n6 g2 G7 B! S7 _ I can still live like a hermit writing books of great thoughts.
! o9 f# h a/ C' YOh, servile money, come to me; my lad, I command you! Serve me well
/ k- I( a7 r& z and don't be naughty, or I'll punish you.』, ~/ J1 F. ?6 h( Y2 w( N/ t
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
* N$ i, n/ \$ l* Y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 `+ r4 }8 g* i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
. f/ e7 ^- K2 S3 k& d9 R/ l(談美)﹕
/ U( c8 i# H" |! x! ~# K5 `" b Beauty often dwells in youth. At sight of a charming girl, everyone 7 ~6 m I, i! t
will exclaim, "My eyes! What a great beauty!" The male stares with $ C( {$ i4 k' O
a thrill of admiration; the female gazes with a sigh of envy. Wherever & X4 a- E$ r& \0 t) M
she goes, she becomes the focus of the attention. Men all yearn to win 7 p1 J8 [6 l; F7 Z; X+ e) x
her heart; women all feel a regret unable to stand in her shoes. A glance
e1 m/ X& c5 Gor a smile from her makes the stingy empty his hoard of gold and the 3 _; G8 @/ N/ L; W' ~* I( z) g
coward give up his life for her. She enjoys her queenly position in society,. J2 c( m& z8 K b6 z
proud of the possession of such a beauty. But the merciless Time & }# R Q4 b- N2 d& E) Z2 u, D5 x
dogs her steps, too. Her beauty is worn out with the years. She begins to % |1 Q- O6 t: H E q
fade away and the hardship in life, if any would befall her, will bring / {0 H2 o5 `5 ]' }$ L
more wrinkles on her face. Then men turn their backs on her politely with 4 V5 M/ e6 ~, E8 D
a bow; women look at her with indifference. The younger generation is magnetized ) d5 z7 ^; r9 L$ P( h7 u9 ]
round another focus. The old queen has to abdicate and leave the throne % ~7 S: m' U! J
for a young one to occupy. Only a photo or portrait can preserve her beauty
; v) p" i3 x6 u# K1 A7 e" sin youth and no Time is capable of doing any injury to her preserved beauty
/ d6 Z3 }8 A, o; q( Qbut the preserver itself.% g# |3 Z* v; h5 U$ }
Therefore, admire not the beauty without, but the beauty within. Such + S/ ^6 p6 A1 R& K8 {; O, Q
a beauty will never wither though Time also plots to do it harm. In the
$ a; \9 v) M3 ?9 l Xstruggle against the adversities of life and the ruthlessness of Time, ) g+ D! N3 a% R2 N% i# Z
it grows radiant, or even dazzling, just like a rock in midstream made + X1 G( A1 h# |
smooth and glossy by the current of both the stream and Time. Everyone,
M1 h' v9 j/ s" {8 L6 x6 Win spite of the age and sex, if aware of it, will sing its praise either / z3 Q7 }7 o2 D: l+ f1 ]/ |
openly in words and letters or secretly in mind. It lives as long
3 Q' B' g1 P6 t0 ~% t2 yas the possessor, or even much longer after her dust may be blended into ; b' [( V) O5 R& [) p
a vase with the clay around it. 2 \7 c1 \, m" L7 I
The outward beauty can only be the object of admiration or envy while * ^, v1 n! D& k# j
the inward beauty, besides being a theme of the ode, can serve as an
! t+ ~5 h! S8 ^8 X# Y) g! [example to learn from, for the former is always endowed by birth, but , V# C8 _. S& F' o) a
the latter by self-acquirement. However, every man is free to hold
' l4 Q9 l. j0 R3 h, T: k+ d) I his own notion of what the beauty is and to choose whichever of the two
$ w7 n: Y/ q C- Y7 {0 Z2 jbeauties he prefers. Only his love for his bride select should not degenerate 3 {3 g! W9 }) n& `; o0 k+ I
with the shrunken beauty.』9 i' O5 ~; k4 A
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
% Y U6 O1 g' D' C0 V$ D; Y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+ M" j' W3 q8 [ u3 @
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 。』3 G6 n4 r1 t! f% d
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
; y1 H1 X" f \, |! k' z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
* p7 F' T3 p9 C/ m& g2 Q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2 J1 z& D# l& B5 o' G2 ?' e3 ]
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。
( U+ P- M! E8 R8 f你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
4 c$ E; ^& ` U1 R: @3 C6 q A little boy walks by his mother's side, with one hand in hers and a balloon
# @/ a% \/ x; w5 x) K in the other. A sudden gust of wind snatches the balloon away from
. C8 R7 R) Z) t( n0 h( i! K the boy's hand and bears it skyward. As it flies higher, the excited 8 W& _6 f( r( Y! c0 q
people in the street all look up. "Surely," the balloon says to itself,
" S- A" j2 M) ~' k; `& hfeeling proud of its uprising, "they all envy me of my ascent." Then in its
% k1 S5 a) h! c7 O9 Y5 P" rupward flight it passes by a balcony on which a group of boys and girls
$ l/ j7 _4 R' P& i2 k) Sare standing, giving a cry of excitement when seeing an escaped balloon ! W) T# b% g7 ?% O
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon 5 {1 p( o S# R$ \2 z
thinks. Up and up it soars, above the roof, above the spire, through a
/ e, z1 d, H4 L' h" T) ?thin cloud, into the blue sky. Then a dove hovers near, but after a glance - L2 {9 P, a' l1 }9 {) }! g
at it, flies away with indifference. "Of course, the bird nears to
7 U% K3 `1 M0 }6 Vsalute me," The buoyant balloon flatters itself in exultation, "but as
7 X5 U& F5 ~ j0 hI ignore her to keep my dignity, she takes herself away in awe and respect."
! B' a9 b/ O) g' H# F4 Y3 F+ H The higher it clambers, the haughtier it becomes, till it reaches the
; r A- o4 U' b0 s/ g- lzenith where it means to stay for millions of years, but, alas, it bursts!
/ P* [9 R0 n9 V$ p* q』$ |5 V- h2 h- ]; D
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 ^# _& q5 d- ]; \- |1 j好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
* x4 v5 R; r- H6 M$ Z; K Etiquette is to society what apparel is to the individual. Without - W& A3 H- j. ]( {8 w! P/ ^8 R) D
apparel men would go in shameful nudity, which would surely lead to the
. m" `& B/ P* { ocorruption of morals; and without etiquette society would be in a pitiable / v& S- V& w1 k! z% E
state and the necessary intercourse between its members would be interfered
1 ^+ B6 a( ]% a( `7 ~by needless offences and troubles. If society were a train, the etiquette
% N* r0 `3 N' r& R* ^would be the rails, along which only the train could rumble forth; if ' O7 X6 k; C& y, V: L" P
society were a state coach, the etiquette would be the wheels and axis, 5 t0 G3 {$ {. l: e2 J- @
on which only the coach could roll forward.
5 H+ W/ I- Q3 T4 X& j The lack of proprieties would make the most intimate friends turn to 3 v5 j/ f1 \) L0 ]
be the most decided enemies and the friendly or allied countries declare ' k* b. \8 S; y0 S
war against each other. We can find many examples in the history of mankind./ N" v8 S8 t* t: |2 r+ S9 A
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
& k9 |. G3 G) ~3 wby his favorite knight for a joking word. therefore, I advise you to stand
. v: R c5 n2 P0 o0 gon ceremony before anyone else and to take pains not to do anything stupid $ E. W) q. m$ z! e+ Z
against etiquette lest you give offences or make enemies.』
- z/ {/ y2 l! U; G& q& z9 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! | u6 o# @( k r9 L
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
; Q6 h3 u m) o) z7 Z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
K* |- C& U2 G5 o, L% I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。# j! T9 [4 P# A( I6 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﹕" u7 s% S+ |( x8 L
『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﹕" x+ m' A* ^1 y/ B) I
『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﹐
5 j8 D; d# t( @ W3 z) i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
/ V% N# q% M, {& O. V4 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
w; {4 c$ D; g& l& ]銘」的譯文" F0 Q w5 P* m0 t ~
AN EULOGY ON MY HUMBLE ABODE﹕
; |5 a2 b8 \ {; P Known will the hills be if fairies dwell, no matter high of low; and
7 A% j( f2 I) f* C( i2 D% L4 ncharmed will the waters be if dragons hidden, no matter deep or shallow. % T4 h5 {3 _( n0 F: v0 X2 m$ P1 C
A humble abode though this is, my virtues make it smell sweet. Verdant % o/ z8 B r4 _* h* K% _4 k$ W2 l. b
are the stonesteps overgrown with moss, and green seems the screen
, ]8 E$ Q- U2 W9 s, _% [9 r r/ ^ as the grass seen through it. I chat and laugh only with great scholars
7 e4 o4 `4 r+ q: vand have no intercourse with the ignorant. I can play lute and read my ! u' D7 p1 `/ G9 b" B! |
sutras; no unpleasant music to grate on my ears and no red-tape to make " B1 G: M8 M. z- A0 A6 v5 k
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance ( e7 D/ v, o+ {* H2 I, S- P
in Xishu are both like what Confucius quoth, "How canth it be humble?" , B( p6 x( |/ ?
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。$ a2 @0 ~) w6 C7 M6 v# h
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﹕
1 n, E& N: ]( u* P6 ?『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
4 [7 ~/ [$ I3 ]8 H) 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( R+ _* w7 }: P& P5 e
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。』
i6 S0 D( D. S* Q) z* x
9 Q. v. O6 d# p, X9 g' M 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$ G# G# E9 |# r! e# D2 D
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
* i w2 s7 P) X6 y; h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。』
2 d. ]8 O" V9 h& E# c3 V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6 t) q5 z* O$ u3 g6 A% G5 N
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
3 r5 _% k! v- q6 M z# V 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: d5 ~$ ]. t: u* g
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
8 f7 k2 f1 Z0 D7 C$ _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﹕
/ I) W7 n3 s8 v: ]0 \9 M6 Y6 Y3 [『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
; ] _ X# ^1 {- N( {7 k2 h& u音樂跳起舞來﹐直至興盡而散。& j, l p! \1 ^* h( ]' W
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
) D, t( v( |7 w+ f& k7 p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& l9 n. v: e9 U
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
0 R% O( A$ @( b8 g1 ^: Q/ 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
z* X4 r/ Y7 @" w$ K1 _# U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﹐
3 ^; f( L! q. l2 l, b/ _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0 z# ^ Z1 J0 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! ?3 p7 d7 k, ?0 t/ A1 e9 c
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
) `. l9 v5 j3 d9 D6 B3 ~4 t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。$ H$ A. ?; {+ y: v- W
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
* l3 [/ M7 Z8 C3 W$ p M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
' \* u6 t! @1 ?7 M1 N& y% 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2 t/ G& \" }( w- p8 T
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* ]7 X3 L( I$ h8 p
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
" k5 o$ S8 N- E+ P' E$ L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 B8 V2 \& u, O2 i4 F- f; `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﹐
8 \! z2 A `6 ^: n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
/ {, k, q8 I1 D: O& R# L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」3 K) x* K" U8 |6 U" @
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) s; v. {+ U9 U8 q1 @0 \2 t$ s
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 e9 Y, G- V: ?$ 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
: ]% Q6 r0 ^, o& \, ^, t* t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) p) X Z% X+ [; B( j6 C5 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
/ }2 Z2 Y; B. T% s6 u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, B: O C1 H b* L+ W# S
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
/ j4 }; T9 d- E( L* I* h! R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 h, n* q( _: |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3 a7 R' ~1 P; \2 u
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。』3 Z8 G% g3 d0 a4 W5 K% M
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
- P# P8 J+ b3 V/ J. l+ A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
( y' ^9 i; v" q/ U3 X3 U評論才會公允。』 |
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