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芝娜道﹕『下面一首是RED AFTERGLOW﹕
3 k) v, {3 f6 O: ^1) Lo, the red afterglow,
( l6 v- ^$ m6 ^ Against the sky blue! 2 m: N ^7 z5 C* X& Z/ w
Is it the blush of Heaven, : e% q5 ?+ g0 l1 V* e
As on a maiden's cheeks,
1 l- E) V3 C9 f$ {: N- Z When she catches sight: \' P3 M# G' Z' Y% a/ c+ t
Of her coming lover?7 _. o7 Q2 X* B8 C
2) Lo, the red afterglow,
5 }4 _% g* o- _; ~& k% L Against the sky blue!5 Y) o. Z! z) _4 l: O% x
Is it the fire of bivouac8 @7 d' w+ ?$ |3 O" |4 T
Kindled by Nymphs and Naiads
4 d" Z$ R6 l9 @+ E On the banks of Milky Way
2 T' W3 i2 u) D7 |7 P Holding a celestial picnic?
/ U5 S8 c, ?; W3) Lo, the red afterglow,
) o, h. Q% Q: m4 h# e Against the sky blue!0 l# R3 U' l, Q0 {0 F4 q; @ G
Is it the ruddy gauze veil0 W" @# I: x! p3 n6 m' N- o+ O4 q2 t/ A
That veiled the face of Juno
' R D, X* J5 q1 j, O On her holy nuptial day: m- C7 B" ?) B
When she married Jupiter?0 T; _" c$ B% J5 z D8 j
4) Lo, the red afterglow, L: _3 p( g! G ]1 Y+ c) @, c( l
Against the sky blue!
6 G, s x! `. \/ |9 R4 P Is it the fire of Mt. Olympus/ f( m. e r5 q+ L8 R u
Stolen by noble Prometheus,
' z5 l1 a" \, j2 l! Y4 q, p P And in his careless down-flight$ j+ j/ z: C# E& l. } i
Set the fleecy clouds aflame?0 c1 o% A( P3 U o
5) Lo, the red afterglow,4 z- c' E# A' A* w
Against the sky blue!
2 a6 Z) k; Y7 y { Is it the blood of the heroes
1 ~. n4 W+ \4 N# V8 X That died on battlefields5 o" M! H* m4 i# E+ `) `3 ]$ K8 f
In the sacred defense$ ^8 [* v' F. O5 {" m! S1 ] O
Of their dear motherland?8 {, }+ z0 E1 V5 t1 h7 ?
6) Lo, the red afterglow,& n! f W: v9 ~4 e/ O
against the sky blue!
& [5 k# a4 l- N2 r+ l If it the Isle of Coral
- m8 P) o- N) m! B' G6 a! g Removed by a white witch7 @, e- Y4 f+ Z. z$ f
From the Pacific deep
9 C4 ?( h4 t& o4 `- M" B0 Y To the heavens above?
' F" F/ B( y0 b* _3 w* H, E7) Lo, the red afterglow,) R( e: I1 D2 W. N9 {
Against the sky blue!
, g. Y- ]4 F6 Y1 c7 c& Q X Is it a cluster of peach trees, x+ h& e6 h) n$ r9 F; x% t% a
Their blossoms in full bloom,# l" R. `7 B9 ]/ I |- `4 c$ k; a
Grown by the daughters of God, z! H$ E6 z/ ~' Y: O- P% M/ z
And watered with nectar?' T0 K' k Y6 a( _. O: @) U
8) Lo, the red afterglow,
3 W$ X- a8 f. } Against the sky blue!) r% |, N; ?- Z: v2 q
Is it Flora's rouge- i% ~9 l0 j! A- b5 e5 u
Spread all over the sky
! M5 K7 Z. d0 y5 O By her frightened maids
' f8 s$ F- Z- J0 a8 l In escape from her anger?
6 o I7 o6 [" k# M* c- ~" f9) Lo, the red afterglow,
9 G0 @" G2 j/ @6 P8 @, A' G Against the sky blue!
+ b: n5 {4 k* [7 j2 |* ^* q$ F Is it a large piece of sponge
, P& p7 {5 N" B$ Q8 J8 k4 K9 b; r: j& u Soaked through with claret U! S, L. D' ~3 c+ U! L' c; O' C
Upset from the Holy Grail X1 H! H; D1 g0 ^; g
By a rash cosmic pilot?』* W& t L6 \/ B" J+ e4 k6 z# `& G" k
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
& T% ^( o; ^) W8 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, J& N- f' U4 ` d
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 W: P' [- b9 y6 s9 N8 e' i3 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. _, j% H R$ ^5 y% w- D+ O2 O
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4 p1 u3 J W* C7 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
& E- O( t+ d% t' t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。 & S% T$ ?; j& Y* v% I! f
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﹕
; ]& j) \9 J9 {+ U; J7 JWhen young, I don't have any notions what woes really mean,1 S! ?( j' w2 t! T2 e& k
Just love to get on floors so high. & d6 s! G& M1 s+ @
Just love to get on floors so high,4 B1 b5 _4 R1 k$ N( ?) B: t
To write new poems, I try to say the words of woe and spleen.
2 w% i+ `( B2 J3 d7 }& X8 b1 Z3 j7 ^0 q4 h% K* l, u8 l5 s
But now I fully have ideas of what woe really is,8 r* y7 }1 S4 n. C }8 Q6 s
Afraid to get on floors so high. i/ I& f- b3 U3 ?# A! W
Afraid to get on floors so high,
- Y1 A! Q/ b6 v7 P8 r8 sI only say in poems how good and cool the Autumn is.』
# u& ^4 ^! ?; Y& [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
- M7 Y6 x4 u7 F0 h% [* _8 l. H* {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。- T* J; F# o# V( }; G5 V6 A. ^3 o. Q, v) Q' R
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﹕* [% D5 G+ m9 e% c3 @ \' ?* y; k
『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6 ?8 x5 E0 Z" V" K, |+ 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) T' v* \# u4 V
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 y1 R7 t8 i" Y- X3 e% n
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﹐
! \. r# k; H& d/ U7 k. I# S7 p& @/ U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5 W7 t& H" P2 N9 C: L
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5 `8 Z @" Y$ w4 F" v7 V7 z% S
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
& J" c+ d/ B: A9 z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0 C$ w' A6 M% W @2 ?! M
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
8 M! N0 j4 d2 V$ X( \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
' l; U% n5 Q* d& k- x4 S9 h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﹕0 B1 I( J- w, a- d/ \6 |
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
1 N e, d* r f8 \/ ~$ B4 qsuffered a terrible tragic death ----a punishment inflicted on him by
L' I' \& }5 q# |3 A, Y/ Ethe gods on Olympus. When he learned his fate decided by the almighty & \2 T6 _1 ?9 b/ G5 F# n$ S
gods to kill his father, marry his mother and bring destruction on his
% {/ S i% S1 K2 c( \3 E, y) ?( r8 Inative city, he wished to escape from it. But destiny was unavoidable,and 2 f- j H2 \$ g5 a2 t; N; K7 k
unawares he fulfilled the assigned tasks. If the gods had decided his
( X- F l1 d1 @1 V% ~) Y8 Dfate otherwise, he would not have been a criminal, receiving an unjust 9 L9 I J3 ~" {$ X( H4 C: t
punishment and bearing an ill-fame for thousands of years. He was only
# K1 ^% f: p- N: P2 l9 tan executor of the wills of the gods who, struck perhaps with a whimsical
& C6 H/ x" z& s, E+ x$ s9 nfantasy, played a practical joke on the helpless mortal. The gods were . h: N. J0 s C* d2 H1 x, q% ^
the plotters. Who then deserved the punishment? The gods on Olympus rather
" I- @4 |9 ~3 cthan poor Odipus!』% S+ k2 f; w- U! S. j/ 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﹐8 Z& c( h' [ `1 N7 E
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﹕
% c" I2 s6 j) H" O『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 b- _) ~/ N8 e/ ?, t
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
( S q4 ?( W+ G l, Q( e+ AADDRESSES TO MONEY﹕
& y$ } o& b. t z! p; O1) Oh, Money! My darling Money! My respected Money! I'm your admirer, 1 p/ P( @! ?# V
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, + } z% C0 u# I& q g! B m
your slave. With you I can get food to keep me alive. With you I can
( C: O, T. K: a5 K+ Y/ M+ Hget clothes to keep warm. And with you I can get whatever I want, a
+ {3 [) Y4 o6 H) q# egrand mansion to live in and all the superfluities of life for ostentation. & y% u; O9 f, L, q! A- G+ q0 G
But without you my love will desert me. Without you my friends will
* z% o& S5 u+ P$ T8 ]% Tturn back on me. And without you I'll go a-begging like a poor dog ; V( K2 k9 u0 |! Y; t1 A
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come $ f G& @ c6 w/ x
to me, I implore you! Pray, endow me with your favor and be sure that I'm
* n* H% S) q) P- I3 j! fwilling to receive every small coin from you on my knees by which to show
, F/ v: P2 e/ K6 Jmy deep-hearted gratitude. 』
" R/ E7 E0 D$ c9 e0 I8 I8 e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。』
; u% d7 c H q# F$ r芝娜又唸道﹕『第二﹕
7 J: u: a* U$ G$ D; O' {2) Oh, money, my obedient servant, my faithful slave! I'm your master, 7 Y& F* k/ E" f' @. N& D# |
your owner. OH, money, my passe-partout, my almighty tool! I'm you user, 8 t) _3 c' t( q3 B' x0 K( L* ]! C. b, w
your disposer. With you I can start my enterprises. With you I can carry
+ ?; f2 L% x8 J% N$ }on my great plans. And with you I can make the little world around me ! C% x0 J2 I( H7 B
go at my will. If without you I can still have a large store of learning.
. ~: N# ^8 u- i# R A( _8 { If without you I can still have an unpolluted name. And if without you
' d6 R2 Q( W2 z) \ I can still live like a hermit writing books of great thoughts. 9 i/ X3 p& M9 ?/ P1 [/ p/ @6 G
Oh, servile money, come to me; my lad, I command you! Serve me well
# R j3 n" O' }; K and don't be naughty, or I'll punish you.』4 u. \% x; A; e0 w# r7 J
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+ o+ C9 R) M' R
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 c" A- e. Q6 [" {
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
, b/ ~$ w* r0 B/ r(談美)﹕
' L4 U' |$ k$ P; {( U Beauty often dwells in youth. At sight of a charming girl, everyone
9 P: l- O. H6 A. @0 dwill exclaim, "My eyes! What a great beauty!" The male stares with " U) i' _+ i/ c# ?2 h
a thrill of admiration; the female gazes with a sigh of envy. Wherever * @+ Y" L2 `; U/ E) b
she goes, she becomes the focus of the attention. Men all yearn to win
/ e* p2 ?( D, \0 W. {2 ~' F' sher heart; women all feel a regret unable to stand in her shoes. A glance
5 f1 V( G5 F1 L, [1 ror a smile from her makes the stingy empty his hoard of gold and the 0 h2 L) }$ T0 D- }& J9 ^
coward give up his life for her. She enjoys her queenly position in society,. m A- Y+ W. J6 t
proud of the possession of such a beauty. But the merciless Time 6 F! _" |" \2 `7 ?% y7 E! `
dogs her steps, too. Her beauty is worn out with the years. She begins to
+ j* A" I: T: Y5 afade away and the hardship in life, if any would befall her, will bring
; \# K3 _" o% Tmore wrinkles on her face. Then men turn their backs on her politely with
* l i( F! f2 u3 s( U3 a5 ua bow; women look at her with indifference. The younger generation is magnetized
7 @0 F# C+ @9 B# l3 \7 B1 kround another focus. The old queen has to abdicate and leave the throne
2 j% |$ e7 h: }5 dfor a young one to occupy. Only a photo or portrait can preserve her beauty
( f/ \+ E8 Z: J$ h: Y+ o" B ^in youth and no Time is capable of doing any injury to her preserved beauty
+ h+ @! q- _; G/ F/ T' \but the preserver itself.# u1 X, A* F& u
Therefore, admire not the beauty without, but the beauty within. Such * Y) m7 F! L/ B7 F4 J8 r. [
a beauty will never wither though Time also plots to do it harm. In the ( D# [0 X1 [9 N% s* S; E# c. @
struggle against the adversities of life and the ruthlessness of Time, : X c5 I# O) I7 U
it grows radiant, or even dazzling, just like a rock in midstream made / S. @2 | g1 @
smooth and glossy by the current of both the stream and Time. Everyone,
; R2 _" T T$ p3 Hin spite of the age and sex, if aware of it, will sing its praise either 3 r# G- K2 M" m, Y
openly in words and letters or secretly in mind. It lives as long @4 z2 U4 Y1 r& h( x- i
as the possessor, or even much longer after her dust may be blended into 5 N+ W2 O& N: q5 Q f
a vase with the clay around it.
0 x) [& z5 R, F+ Z7 N! H The outward beauty can only be the object of admiration or envy while
7 X& Y' X- ^ b/ Ythe inward beauty, besides being a theme of the ode, can serve as an % d, S: C; k) c3 ?8 W: K* |
example to learn from, for the former is always endowed by birth, but + c' S! K4 j$ J% G1 a% ~) E* j
the latter by self-acquirement. However, every man is free to hold
, p7 p( @- O1 t$ [3 J$ z8 R; b his own notion of what the beauty is and to choose whichever of the two % ?+ u! Z" V7 V* D# h7 W x' A
beauties he prefers. Only his love for his bride select should not degenerate . K/ I$ T# R: z( y H
with the shrunken beauty.』$ U! e4 g6 }7 Y2 ]( T+ ]8 T
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
, |& t4 f+ ]+ f* w. m3 f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
3 ^1 k$ M" r) H( K, X$ _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 。』
# x5 y1 F" f+ _$ Z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
: p. t! Q) x2 j3 u$ E5 f5 k8 y' r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1 z5 Y. @$ @; Q' h
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, W: {/ \6 r2 \. O( L; L E
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。
( `. v5 [9 F! q1 X( c你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕& r8 l d0 w" O2 E
A little boy walks by his mother's side, with one hand in hers and a balloon
5 Z. O. u0 o: ]& n in the other. A sudden gust of wind snatches the balloon away from 0 T5 @. g, |! E/ i+ ^* o! K' h
the boy's hand and bears it skyward. As it flies higher, the excited
/ f7 w* R; v$ [0 q5 Z, zpeople in the street all look up. "Surely," the balloon says to itself,
5 e' x. x& J- \' j \feeling proud of its uprising, "they all envy me of my ascent." Then in its 9 W* W+ Q; W5 _+ Z9 b! A
upward flight it passes by a balcony on which a group of boys and girls
9 o* X% X2 J! C, Y% Y: [# D- Fare standing, giving a cry of excitement when seeing an escaped balloon 8 i e$ G; k8 b E
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
5 [2 I3 k5 D: s2 w6 f" ?. m7 X. Tthinks. Up and up it soars, above the roof, above the spire, through a . v9 K7 r( U. y* a
thin cloud, into the blue sky. Then a dove hovers near, but after a glance 6 R6 ^; w, B/ U6 [
at it, flies away with indifference. "Of course, the bird nears to " @ g4 S' [% e- x0 a
salute me," The buoyant balloon flatters itself in exultation, "but as : N2 n/ s0 X) a4 f
I ignore her to keep my dignity, she takes herself away in awe and respect."
$ p# `( E7 y; @- z; W9 S The higher it clambers, the haughtier it becomes, till it reaches the + u, a; V" N7 f8 N3 N
zenith where it means to stay for millions of years, but, alas, it bursts!7 y9 K8 H; l: C2 z' n0 Z& Q( R
』- ^7 a3 R9 v% B- e3 Z- T# E
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 I+ L0 E2 s6 P. e: I4 y好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕' y. b! V' q# X% k1 q3 U1 d
Etiquette is to society what apparel is to the individual. Without
% ^1 }6 V3 M% O; h" Xapparel men would go in shameful nudity, which would surely lead to the - e {3 {) ^: C# p( w0 F" F
corruption of morals; and without etiquette society would be in a pitiable
' v0 M5 z9 B4 k! }1 R& d/ dstate and the necessary intercourse between its members would be interfered
. w( `* b! O. m3 c+ ~6 bby needless offences and troubles. If society were a train, the etiquette , v: R0 X) }( F" i; p
would be the rails, along which only the train could rumble forth; if
) q3 B/ z3 K6 q3 y6 Esociety were a state coach, the etiquette would be the wheels and axis,
7 P8 f7 K1 y3 t- g" f on which only the coach could roll forward.( M; H7 I/ o# p5 c( k$ \% u5 E% J& g
The lack of proprieties would make the most intimate friends turn to 3 t; d D7 y: z! b8 b8 j
be the most decided enemies and the friendly or allied countries declare
1 M9 i# T) M) j" `. w, Kwar against each other. We can find many examples in the history of mankind.+ E# u$ \: x! {4 h3 X' T7 ~
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
* X' ^1 `, |6 l0 r, w0 S3 ?/ X2 `4 aby his favorite knight for a joking word. therefore, I advise you to stand
* H7 \0 B$ u- I$ P: ?0 B0 F6 n% Y6 Oon ceremony before anyone else and to take pains not to do anything stupid
1 n) g, {' U7 O- Z/ q7 U. A5 [against etiquette lest you give offences or make enemies.』
0 u" o0 E$ y& q2 K( H$ y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4 @( ?$ o' T9 k: B& @
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; S9 T K) u V3 n/ Z9 T1 j$ @' 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
- ?$ B7 ]1 Q/ z1 S+ `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 ^6 L3 d" J0 r% u; }# n1 s
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﹕) N4 W' T1 M0 ]7 y! B+ V, O. Y, |
『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﹕
" I8 u2 R1 Q n『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 U6 K* v1 @) D3 E( 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/ a1 n! X" A3 u) y
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4 k3 m/ D( C( j
銘」的譯文
- X7 x& @8 _9 |; r* F! @# GAN EULOGY ON MY HUMBLE ABODE﹕2 K b! b' M% ?: Q
Known will the hills be if fairies dwell, no matter high of low; and
! Y1 r4 U1 n. ~) i7 }3 acharmed will the waters be if dragons hidden, no matter deep or shallow. : W* Z! P' m, l4 o5 a! _
A humble abode though this is, my virtues make it smell sweet. Verdant
! T$ T0 T8 Q+ ]2 aare the stonesteps overgrown with moss, and green seems the screen 0 ~- S, _6 ^$ G3 H
as the grass seen through it. I chat and laugh only with great scholars
' y# {6 w# S; O/ q* Cand have no intercourse with the ignorant. I can play lute and read my
- _! t' E; N) b5 w& }% D- B6 k, \2 Vsutras; no unpleasant music to grate on my ears and no red-tape to make $ a' E' R* y* v; U
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
% Q0 Q# P. ]. h# b, Iin Xishu are both like what Confucius quoth, "How canth it be humble?"
0 I9 Q2 I1 s* B& ?7 [- H8 I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。
/ @6 x# D* y$ ` p$ ?+ E: L6 D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﹕ e3 |) M" m, z
『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
, r+ M2 Q4 ?& R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
4 t; y/ v: ^" d: O5 n7 Y, J# L( ~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。』
) [ E# l2 n9 i' q
# l+ n7 u8 I9 Y \3 m9 a 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5 E' e! y2 b! N) M. H7 j0 _
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0 y2 v& P% M5 _* n9 p
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。』
9 G3 a$ H* x0 Q2 y* v) U' }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
% i# i/ `0 H% F* x5 `資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。: D/ y6 Z; `8 V7 ~( d! L' G
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
( t* w' i @" d8 @* J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
$ t. r! _8 R8 f/ ?+ G$ N) 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﹕
9 G- d: X0 i9 d『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
# H/ _" ` h- s: ~; Y& ]7 ? F音樂跳起舞來﹐直至興盡而散。+ }5 B* K& e9 j* [; l2 d
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- j. S, J$ A: z5 b
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
+ H2 @5 Z' `' {9 k6 J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1 v t, S; I9 R" v) W
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
5 c0 P) b- K: L+ N# x0 u" k/ q1 B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﹐
$ o' b* i' @3 V4 a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
3 R/ g Y+ a! Y! B. 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
2 \/ x$ y8 i% O8 i( 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
+ w; h" F) k l% |: k f% }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 r0 `( `0 l+ d* ?9 N8 ?
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
4 j9 E" \* Z1 K5 Q9 Q5 x) @1 _) x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 a* Y# ~1 ?: N( L# B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
0 }* f* n3 ~! k y. n* R+ b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4 n$ W6 g) z1 z7 d7 X
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
) \% a+ l0 {) R. H6 y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" o) q- Z& Y" ?! ^& y
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﹐
9 E j& L6 V# \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
1 W1 k' j& t- {. _- e7 ]- [0 G1 n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」
7 X5 v6 f& w5 ]# D7 h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
5 U( x1 q2 v7 t, t# P% m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
+ H4 }: ]; {, A8 Z$ o5 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
+ F6 `# a- N! I8 X; [) o% a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1 [! X. Z1 @& t/ N7 P
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 d7 ^& x+ ]' c& V( ]8 ^% 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
s! V6 x& g0 H. P5 N# 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6 ]% b: b, \ k
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2 |' N2 e/ E/ E# s% m3 Z
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 M' v' T; h- ^, K; b+ c3 ?5 Z
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。』* M" k8 F+ y! ]' F t
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
( _3 N# [3 S( K9 D8 D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: H4 i! e4 u1 S- F
評論才會公允。』 |
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