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芝娜道﹕『下面一首是RED AFTERGLOW﹕
$ s: U# |2 b! z$ A3 ?/ ]6 _9 r2 X1) Lo, the red afterglow,
6 F. Y7 {) S, E0 O Against the sky blue!
# O, \, {/ X% Z# V4 v( _) X! L% @ Is it the blush of Heaven,
! i0 S& |# q3 w2 j# v7 L; L As on a maiden's cheeks,
: X3 w- _" Q# l8 c5 ^ When she catches sight( L0 S4 y: m! g% }+ ^
Of her coming lover?* }/ _$ q N+ x# t
2) Lo, the red afterglow,: L m; P0 V! A; x
Against the sky blue!
/ _0 ?* ]4 ~% M0 u0 w w Is it the fire of bivouac
) {' ^5 D7 `$ C' F Kindled by Nymphs and Naiads" c! A6 E, p3 q4 a8 u1 f
On the banks of Milky Way
d h: J" B2 j% H2 P. r" \ Holding a celestial picnic?
" d: v1 \" \; w) o3 M8 x) ~0 w/ S: @! Q3) Lo, the red afterglow,* N @. r: V5 W0 E, Q: |1 |% e
Against the sky blue!0 R2 i* B! [: |" ?2 I8 Z
Is it the ruddy gauze veil
! F) T, R; ]) m8 M7 J/ _: C, \% P That veiled the face of Juno8 V9 ?4 Q5 P7 v4 q
On her holy nuptial day
% c4 E! I# ]" p0 J5 r5 a When she married Jupiter?
! ^% m; v X7 h$ V- A O c4) Lo, the red afterglow,
, M* B# X" A" j Against the sky blue!" u; W9 m! w7 x% a2 f, w4 g2 q' c
Is it the fire of Mt. Olympus$ s& g3 ?4 i5 N9 k z
Stolen by noble Prometheus,
) c. ~, g- v2 d, r5 ] And in his careless down-flight+ \3 L3 ?! U3 ]$ |0 b. Z8 S+ X
Set the fleecy clouds aflame?4 I [& R) _. c5 p# S& m; ]4 D$ L( g
5) Lo, the red afterglow,
" h/ v* Y/ t- I Against the sky blue!- G9 |8 W/ L4 o1 V1 L
Is it the blood of the heroes
/ u- @! Y5 S" T- q6 u$ V- W That died on battlefields' M+ M5 H1 c9 e& d+ O& Y3 h, M- p% p
In the sacred defense8 N0 ?8 H0 V- T+ j
Of their dear motherland?4 f8 B0 }! g; W# Q9 a8 y3 f% A
6) Lo, the red afterglow,
+ B+ e; I- K$ {& K, d- U against the sky blue!
0 a: k1 s+ m7 E# O/ c3 S If it the Isle of Coral
, V: f. m2 i$ K! W7 u+ y0 [* z Removed by a white witch
* y C" a6 i& _; C From the Pacific deep
) d* l( _$ X; o' {3 q2 \ To the heavens above?
" ]* y" L+ M/ R! H7) Lo, the red afterglow,
- r$ Z4 j7 Z% B* h: H1 A9 G) A0 P Against the sky blue!
/ p! v5 S9 g6 g7 s" N+ T) z% V Is it a cluster of peach trees,9 z5 P1 y: k4 g6 ^" [2 V' V
Their blossoms in full bloom,. G- k5 Q9 |' l$ k4 l2 @5 }* e s
Grown by the daughters of God l' r/ w% }$ j& N- x" m5 B0 l* m
And watered with nectar?9 W4 w' } p# w7 f* @: T7 k
8) Lo, the red afterglow,
# J- {& N* Y/ \3 _6 o* s Against the sky blue!% M4 z' T$ I i0 b) g
Is it Flora's rouge- h' z9 R8 Z" I% j
Spread all over the sky
$ q6 ?3 Y z3 n S8 d By her frightened maids+ T% I2 w( l K. |4 d5 e |. l$ E, u" O
In escape from her anger?% F) Z* m7 Q# o
9) Lo, the red afterglow,
4 p" c9 F) G. t' f0 v7 v Against the sky blue!
6 ~4 S4 o# z' t6 H Is it a large piece of sponge
4 P: `' m* m0 n8 z% {3 ?) O Soaked through with claret
+ ^# ?7 }. z3 s Upset from the Holy Grail B+ ]/ {7 a( J' s7 P$ c
By a rash cosmic pilot?』
3 _5 l- v" L) D- j& a, I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 x3 A. R- g' H
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
( U7 X* _) A8 z$ {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
& I3 w' W+ v, A4 W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9 E# G" W6 F7 k" x
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' D+ X3 G/ e. ?5 ~ |6 c1 R
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
( H4 ~8 V/ ~) |9 `* f+ n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。
6 a6 p& `) R+ i6 p; Z7 ? 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﹕
: P( q* }- L' I: uWhen young, I don't have any notions what woes really mean,
! V% _/ {5 `* m2 W9 u& j Just love to get on floors so high.
& x* f; W& D, M! {0 M5 g Just love to get on floors so high,+ [, f( j) n$ }3 k% n1 a4 e8 ]4 S
To write new poems, I try to say the words of woe and spleen.( B1 p2 h3 p0 X- i* B( G
; q' e& l$ @: n' ?( U- S- k& x) T' FBut now I fully have ideas of what woe really is,
" }& q0 u: e1 F$ ~0 I1 e3 c Afraid to get on floors so high.
' A! r6 N" ^) L0 U g% O* b5 y, X Afraid to get on floors so high,
5 ?! l# |( i, }# p1 u0 X0 W1 l2 qI only say in poems how good and cool the Autumn is.』" H2 r. c9 v# r& }1 C$ B W
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
# M& Z4 P3 }. h3 t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。
% P" x3 z) U$ d1 \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﹕
! f" K. ~0 i5 J『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- e8 T# X9 p/ v1 D$ 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! j2 {, Z d' O' ]
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
; m2 ]: r! u8 i4 a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﹐/ t; h# z9 z) F6 F, s" j7 F, H. |/ ^
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
n$ J- u- `9 t2 B8 z1 E' \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 X4 H& f- v6 }
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
( B2 T q& Z% Y ~( Q: M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
/ e+ c3 M s' ^) N8 B& O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1 `; G* a( D& e
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, ~ l7 f, ?) i! 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﹕2 z; R, E: n7 ~) \
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
( g8 O$ x p% m; ^" _suffered a terrible tragic death ----a punishment inflicted on him by $ P- F% v/ K Z# d U
the gods on Olympus. When he learned his fate decided by the almighty 4 ~( m& ~% S: b; P9 P! w8 q" k
gods to kill his father, marry his mother and bring destruction on his 8 I6 k9 l4 m0 Y0 Q& F4 Y
native city, he wished to escape from it. But destiny was unavoidable,and
( [9 S/ c; c" e3 Q+ x* Aunawares he fulfilled the assigned tasks. If the gods had decided his ( [8 i! u/ L, @2 f* B
fate otherwise, he would not have been a criminal, receiving an unjust 3 ]5 M# I; Q8 U) L. ]7 D2 y
punishment and bearing an ill-fame for thousands of years. He was only
" a B$ L5 O& Ian executor of the wills of the gods who, struck perhaps with a whimsical
" m2 Z' O; i; c$ |fantasy, played a practical joke on the helpless mortal. The gods were
* @. ^$ f/ B! u' Lthe plotters. Who then deserved the punishment? The gods on Olympus rather , e' y. ?, H% ~
than poor Odipus!』
6 H1 \6 M$ ^: p' R2 |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﹐
- F1 S% u( N3 k( B" t- u5 K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﹕
0 _ V H' T) N: J4 X『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 ^/ D Q* G5 [
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 . `- a: w" `$ c* V, F8 f$ Q
ADDRESSES TO MONEY﹕) k! @) U: D: Y1 [: d7 s# j a
1) Oh, Money! My darling Money! My respected Money! I'm your admirer, % s0 f' j t9 M3 a1 C t: t
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
. `$ q3 H b: `9 ~7 cyour slave. With you I can get food to keep me alive. With you I can $ K4 I/ I0 u! r2 O- P
get clothes to keep warm. And with you I can get whatever I want, a 5 Q+ H5 [+ h% w0 y) s. h
grand mansion to live in and all the superfluities of life for ostentation.
& v6 _4 h( P9 k2 PBut without you my love will desert me. Without you my friends will
6 S) W9 t+ R1 a' M8 @) T" |# S, Fturn back on me. And without you I'll go a-begging like a poor dog
8 I7 @ W+ A' c) rand sleeping alone at night in a ruined porch. Oh, Almighty Money, come
) S' e, ]* ^* v3 z$ e+ e: o- tto me, I implore you! Pray, endow me with your favor and be sure that I'm
$ t8 P9 y2 {3 hwilling to receive every small coin from you on my knees by which to show
8 Y2 l' r" A5 N' V; B: X) Imy deep-hearted gratitude. 』
! o, Z. a+ T. N, G5 S5 Z8 ?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。』5 a6 N. w2 z, i3 d2 v
芝娜又唸道﹕『第二﹕$ ]. u# W8 I, V& q+ }) G6 R
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
* a: L9 L, D4 F+ t X$ J& K t0 Qyour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
8 s7 I' m: Q/ E8 t: c" [your disposer. With you I can start my enterprises. With you I can carry
) S8 u5 y5 W* Won my great plans. And with you I can make the little world around me
" Z+ j" w, C) U, w0 Hgo at my will. If without you I can still have a large store of learning.
) H6 k7 l) t: Z: }3 _ If without you I can still have an unpolluted name. And if without you ( r; s, m+ R1 p# `& }
I can still live like a hermit writing books of great thoughts.
7 |+ { n0 \% x+ U- i; ]Oh, servile money, come to me; my lad, I command you! Serve me well
0 v1 y) a6 G, z$ [2 @6 \3 Z2 l* y and don't be naughty, or I'll punish you.』
0 u. ?, L5 ]! ?" \( H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- i2 @0 q. _8 ]" T4 `) m, Q! n! _
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﹐, }5 M# G3 m6 b' {
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
4 V) W. n" o5 C(談美)﹕
9 s9 D3 }) Z: y- R Beauty often dwells in youth. At sight of a charming girl, everyone
2 f& C, I1 O2 q3 z* ?" {! Iwill exclaim, "My eyes! What a great beauty!" The male stares with 6 }1 Y7 Q, Y( d6 @( d
a thrill of admiration; the female gazes with a sigh of envy. Wherever
2 h, l6 s+ z' Y, @she goes, she becomes the focus of the attention. Men all yearn to win " n% ?9 i: x- y, E" v* W# h" H5 R
her heart; women all feel a regret unable to stand in her shoes. A glance / b+ ~% l& e5 p2 I
or a smile from her makes the stingy empty his hoard of gold and the * T9 A% I7 l# D( L& d( ~1 c' d6 s
coward give up his life for her. She enjoys her queenly position in society,& L- L3 M- |4 d8 V
proud of the possession of such a beauty. But the merciless Time u% o* s3 s& x/ G9 B
dogs her steps, too. Her beauty is worn out with the years. She begins to 0 \8 K: R5 K$ m
fade away and the hardship in life, if any would befall her, will bring - q+ e0 V, d/ f/ A2 i
more wrinkles on her face. Then men turn their backs on her politely with
o9 v& j# m+ Y: G T: g ba bow; women look at her with indifference. The younger generation is magnetized # r! G9 x8 K8 m
round another focus. The old queen has to abdicate and leave the throne
* u& C. e6 [# V; Kfor a young one to occupy. Only a photo or portrait can preserve her beauty
) l' H& f8 t( N s1 Y5 ~0 A1 Lin youth and no Time is capable of doing any injury to her preserved beauty
4 x; d; z1 w5 D Rbut the preserver itself.1 R5 \; B3 S2 n0 G: S3 `' A$ H9 \- a
Therefore, admire not the beauty without, but the beauty within. Such 1 s* y* U4 ?) o1 ~
a beauty will never wither though Time also plots to do it harm. In the
! W7 T. R7 _! P% a8 j/ jstruggle against the adversities of life and the ruthlessness of Time,
3 a# D" {$ V+ I' W it grows radiant, or even dazzling, just like a rock in midstream made
& I1 z: J' D% U8 C( g" | smooth and glossy by the current of both the stream and Time. Everyone, + X/ r! S0 |* T! n: w% |
in spite of the age and sex, if aware of it, will sing its praise either 7 U! l% U" e1 z2 A$ v6 a
openly in words and letters or secretly in mind. It lives as long
/ v% g7 v* m8 das the possessor, or even much longer after her dust may be blended into ) o! K( e9 I. x5 x4 ^
a vase with the clay around it.
/ k. q0 n; F( X5 V+ c* R The outward beauty can only be the object of admiration or envy while
- @. k% n# F; b0 Othe inward beauty, besides being a theme of the ode, can serve as an
5 o2 N5 o# L9 D0 f, vexample to learn from, for the former is always endowed by birth, but
$ j! Y! n+ c/ S& Z5 h* m& @the latter by self-acquirement. However, every man is free to hold 1 E( {9 I# Z0 f& _5 r( Z/ R/ U4 a/ Z
his own notion of what the beauty is and to choose whichever of the two
, H1 \! u% S# S7 N: abeauties he prefers. Only his love for his bride select should not degenerate
W- D; `7 E9 [/ zwith the shrunken beauty.』) t8 D8 z" `2 i
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- K1 [( r. ~( E% D" z
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 L$ i& T, h# J7 K
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 。』
$ s! g! g# U/ y8 y. I' T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
Q X% s6 P2 l" p/ Y n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
2 ]- E9 _8 ? c- _$ |! {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
7 D% ~( K3 i1 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。6 o- X% R1 \; e7 C) B
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
& h3 H8 O! m( E' t" C+ G4 Y$ G A little boy walks by his mother's side, with one hand in hers and a balloon + B7 l9 @* v* [1 i3 U7 q" ^; x' S
in the other. A sudden gust of wind snatches the balloon away from
7 H S/ _( J! W) Y3 R the boy's hand and bears it skyward. As it flies higher, the excited ( L& A$ z/ P* T$ l2 [7 t F% Q
people in the street all look up. "Surely," the balloon says to itself, V/ C5 ^) `: l) P
feeling proud of its uprising, "they all envy me of my ascent." Then in its
# b" g$ U$ y/ @1 Cupward flight it passes by a balcony on which a group of boys and girls
5 ^) t' ^5 @! P- d* ?, C+ I4 Kare standing, giving a cry of excitement when seeing an escaped balloon
& t( |' Y( O- u6 hhurry on its way of freedom. "They are cheering me, I'm sure." The balloon
1 B2 z( [" O2 R8 z% v/ wthinks. Up and up it soars, above the roof, above the spire, through a $ O+ l* k& v+ j, A
thin cloud, into the blue sky. Then a dove hovers near, but after a glance
$ h- l* k, J. q( Pat it, flies away with indifference. "Of course, the bird nears to
4 E8 I0 o5 j o+ G' b5 q( lsalute me," The buoyant balloon flatters itself in exultation, "but as
) G, `# }$ m/ [1 \, e7 zI ignore her to keep my dignity, she takes herself away in awe and respect." 6 W; F5 Y% |. p
The higher it clambers, the haughtier it becomes, till it reaches the
2 j$ n4 r$ X5 \7 w! \5 kzenith where it means to stay for millions of years, but, alas, it bursts!
8 G' ], r* y; H6 s d4 s7 z F』2 A# @; n+ H( P2 i# o1 L8 U4 ]
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
) A# i, Z, M8 _0 _好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕+ \$ u+ U# E1 o [" g$ N
Etiquette is to society what apparel is to the individual. Without
. J8 b! T4 q6 Y. K& @: m {+ Capparel men would go in shameful nudity, which would surely lead to the
# z/ p# J# x$ T+ C8 ?" _( w: H( V9 Fcorruption of morals; and without etiquette society would be in a pitiable 0 u4 _5 @* \2 f+ p3 {
state and the necessary intercourse between its members would be interfered
1 Z3 X1 H. f' Oby needless offences and troubles. If society were a train, the etiquette
2 G) K$ r2 R; \" `1 `7 rwould be the rails, along which only the train could rumble forth; if
+ S2 z, h9 @9 g' Gsociety were a state coach, the etiquette would be the wheels and axis,
2 ~5 ^9 w* Z. n8 {- ^ on which only the coach could roll forward.0 n5 P4 Q5 j; z' k2 E4 b
The lack of proprieties would make the most intimate friends turn to ) A. r; e7 w% p' ]6 O( `& `
be the most decided enemies and the friendly or allied countries declare & y5 ^4 G: I0 z$ o( @
war against each other. We can find many examples in the history of mankind." b8 I) a: t, M4 T' {" E3 S
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
) I& {( O U! E, X: {: o& o; w- yby his favorite knight for a joking word. therefore, I advise you to stand * S8 d1 s4 r# E& w5 E
on ceremony before anyone else and to take pains not to do anything stupid " t R: N1 T+ b8 K
against etiquette lest you give offences or make enemies.』5 E; ^* U" ?- D0 `' U
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
* }9 U- o% c" l, V" r9 w9 [' Y1 R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9 _1 L4 O( G _$ L) e
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 e E" Q) d) q/ }$ l/ O6 b
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。% S3 Y: n) h! d/ }6 Y% L; }
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﹕# Q# J( G( v7 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﹕! @/ G0 W, z4 Y7 ]
『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﹐
+ E6 R- g, }" z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 B7 s# Y' i, G
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( x. R* r) \) U* ]. K
銘」的譯文
2 [# A+ v; `: L/ n& n3 LAN EULOGY ON MY HUMBLE ABODE﹕
+ G, j. r" Q& n z. d% c$ H) K+ ]) p Known will the hills be if fairies dwell, no matter high of low; and
8 ]( P2 i: K8 n4 ncharmed will the waters be if dragons hidden, no matter deep or shallow. 0 g9 J9 g7 F% I: N
A humble abode though this is, my virtues make it smell sweet. Verdant
3 _6 G. ^7 z- r0 n( \are the stonesteps overgrown with moss, and green seems the screen 5 k: X; D" h) ?4 @' F$ X( q# K; o
as the grass seen through it. I chat and laugh only with great scholars 6 w3 b& K! N. f8 `) ?" R" f
and have no intercourse with the ignorant. I can play lute and read my
1 l+ _) y. [) psutras; no unpleasant music to grate on my ears and no red-tape to make
1 L& Q3 u8 i3 M. E |0 [3 r8 qme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
8 u6 i' V2 F& l) Q# Lin Xishu are both like what Confucius quoth, "How canth it be humble?"
: S u- I. F P* b, L! X) N, O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 F( j" k& s2 R- J4 c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﹕% U' g* O) h8 q1 }# ~1 b
『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/ f4 \0 A2 \4 Z, q
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' I# U3 V* E* Q8 n* N# l. l& V+ q3 C
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。』
. s* A- [( b8 Q+ ~3 |
% t( ^0 s+ F$ d$ @4 v 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 A7 o) ^" _5 w3 v' Q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4 S, S4 e% B6 f8 k) v( j' ]
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 F: y1 R9 K+ ^. O# k! h
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
. |4 y8 m) ?9 [0 k! V資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
: k; n2 W1 Z- y1 s9 k 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
, o, o5 _8 T& T$ 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
0 n- O& _5 |' e7 Y, {, w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﹕8 ^% m1 z" V. M0 K/ y; L3 u8 J: `
『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
( P; @# Q1 L, ]( {音樂跳起舞來﹐直至興盡而散。9 p w J4 J4 A! H) m$ V# 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
# r; |$ R" c- C( t4 ]: X! L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+ @0 E& W' y2 t! J% 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
0 l5 o! u: W# m% h0 a3 g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4 ]5 }* k) f; c
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﹐& @, ? p5 R$ {7 |
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' j H6 G, l$ }# f. K3 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
3 @; h& J3 C* ?3 B) o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& [- D% U6 c4 Z, l; l) X2 O. K
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。, g: A- D! E. S9 G7 Q
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
! Y1 X9 t G5 d2 k) y. z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﹖』八6 A( R3 y0 ~+ f/ c6 h' o2 }' 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
9 F% U9 J9 X$ _& R7 I/ z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# K9 \5 d' O7 j
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
/ v( A+ f/ q# T% i3 @: ]5 t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
, x( b% e+ R0 g! K3 p6 e0 H6 h7 u6 A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﹐' A- @' A6 y. G) h1 |& m. k
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
9 j4 t- J( m+ K/ e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」, K6 F8 x! W p. U( E1 O. 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1 Z4 Z3 _# h# Z& N& n3 P8 J
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) m- S6 g& [9 ]. X% h
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) ^( h; [7 J2 ]
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
' x1 t+ q$ }0 {$ `) _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
- [. l9 I8 P! Y$ 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 L: O! H: F8 `9 g" L
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+ M5 g( b; o4 X% x- N6 t
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 y( E$ e, W4 B: G( x6 n/ @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0 ^1 _& U6 J) y9 F4 |
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。』
) w2 X9 u7 ^& y( C! i' {, N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
0 u3 P- ~2 X' Z- B* Z" X( S- Y3 I9 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
6 V2 y! @- ^8 f* U9 o- Z* f評論才會公允。』 |
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