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芝娜道﹕『下面一首是RED AFTERGLOW﹕
& V" T; l5 Q& G/ _& k9 H% e2 v1) Lo, the red afterglow,$ y. a8 z q% l8 F, `
Against the sky blue! - p# ?( g1 J, X& r. z7 c5 U; R
Is it the blush of Heaven,
' C5 l; ~4 E% }5 Z/ Y As on a maiden's cheeks, + x! [5 g- h0 ^# ?! e
When she catches sight" W' v$ J" R- J' l
Of her coming lover?
, N" k) v" P/ G8 p2) Lo, the red afterglow,, U, o/ e$ B" P
Against the sky blue!) a, q: V6 Q- z/ i4 T8 S
Is it the fire of bivouac
8 V& ~4 x3 F; V1 O7 H Kindled by Nymphs and Naiads0 [5 [ w; K* e# t; e& A1 ]" v
On the banks of Milky Way- c0 B' q s, b- a4 `4 }0 X
Holding a celestial picnic?
d6 g( ^4 Q5 G. y3) Lo, the red afterglow,- _4 b9 D# @) `, T
Against the sky blue!
1 W0 N5 ] K- ]4 k5 A3 [" ^ Is it the ruddy gauze veil2 x9 a! C# d; z/ L
That veiled the face of Juno1 {* t% `. I- x# u! j; l8 ^ F
On her holy nuptial day
8 p. y8 Y: c) t U) v5 E When she married Jupiter?
" Z1 ^0 I4 q3 j) h8 @4) Lo, the red afterglow,7 v6 O2 |/ Q, b0 f3 N% q j- L
Against the sky blue!! q5 J$ c/ _% R; t2 o$ R
Is it the fire of Mt. Olympus4 R- X8 D( Y, Y/ H8 R& c: h- z
Stolen by noble Prometheus,/ M: R! K# X. p" E9 u
And in his careless down-flight& l$ V9 ]/ j( y9 l1 R
Set the fleecy clouds aflame?: X+ \4 G, J, e6 r$ T! B1 v( j
5) Lo, the red afterglow,
& G* z& A2 J, D5 {. g Against the sky blue!0 W4 {: Y" ^. b
Is it the blood of the heroes/ |/ k- k( u. v- J
That died on battlefields
$ s6 B4 x1 Y0 _3 E- Y- z In the sacred defense
" ]# M2 V, M8 s6 o Of their dear motherland?! s! m; Y/ l" B4 E' ?" m5 c& t
6) Lo, the red afterglow,+ Y5 H1 Q6 c4 \3 M2 j( O/ E- B0 D
against the sky blue!
: h2 I' y+ {2 M3 t If it the Isle of Coral
- T2 |! n, j$ S6 D- n5 t) H4 W Removed by a white witch+ z) R8 n* `7 b# t0 ]3 C0 x8 o
From the Pacific deep! W* D& M2 T$ t4 D
To the heavens above?
2 G+ }0 |3 F/ y* P7) Lo, the red afterglow,9 `0 s# O2 [ f* n$ `* l6 p
Against the sky blue!
5 e6 u9 p% m9 _ Is it a cluster of peach trees,
5 Z; |# W( U3 H; T7 @% V Their blossoms in full bloom,
% b. x7 G! P4 x" ^7 x( @1 G Grown by the daughters of God
! Y' K+ v& O$ t7 Q& y7 a/ Q" O And watered with nectar?0 H7 q- J0 q8 ^$ M+ a; }* f i+ e
8) Lo, the red afterglow,
# x3 ?4 @. Q; F9 R8 f Against the sky blue!( n l |* p4 `. C
Is it Flora's rouge6 S$ I$ b7 k. r$ K
Spread all over the sky6 q1 j6 X0 @( [, G& L# a
By her frightened maids. E3 I/ |2 P: R
In escape from her anger?1 C0 w U( H. l3 l+ i
9) Lo, the red afterglow,
, \' r! d' D) \3 E Against the sky blue!2 \* F& ^3 ? S, w/ Z/ H/ b
Is it a large piece of sponge
" |! E: w+ |3 H/ ` Soaked through with claret& x( ]# \- Q. ~- i2 a' n
Upset from the Holy Grail5 Q f8 s: a! \" C3 c$ ~. v: [
By a rash cosmic pilot?』0 u( K/ G4 s y$ P
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1 ]3 ^3 ]- k! I# h, 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0 a- y# W3 Y: u5 E, F- W" I7 U
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# c8 D# h6 j+ S6 X9 v* E
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$ B) J( {' t. R x& U X' G$ X5 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- o$ R, [. @6 G: l# E
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
' L& G% S5 A1 m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。
% I8 d* J3 a& Z7 c9 s3 X O6 V 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﹕
; F9 @$ P4 x# Z7 a6 m2 q& _When young, I don't have any notions what woes really mean,
% A7 _# o _3 u1 i Just love to get on floors so high.
2 {& s X( Q/ V2 h3 Z! K( _/ u Just love to get on floors so high,
9 _4 ?3 F- D# F! g: |$ FTo write new poems, I try to say the words of woe and spleen.
' p% |6 _/ W- `1 |7 L, s% y) W! C1 c, a; G! E
But now I fully have ideas of what woe really is,
( K/ v9 n( b Z. N& E; h7 u Afraid to get on floors so high.
r5 c/ p$ Q$ y, I Afraid to get on floors so high,
& z3 p) O# e5 T0 |/ p8 B& }I only say in poems how good and cool the Autumn is.』. g$ e4 b7 e5 w8 d5 d5 u1 }
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2 B0 z5 `# k" d6 s+ m- A. b
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。
. u: k! U% B* j- Z( l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﹕' @( T6 h* O: U8 M
『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 }6 N0 H. i( l, `9 o+ w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" p0 m- o2 U; k( k; P0 {
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$ n$ j; b( b* l+ O; 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﹐
+ f w$ y5 Z2 J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) P5 E0 `4 x2 C/ e2 f! g9 o
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% ` x0 T$ s0 p$ 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
3 l$ S- t" n% a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
- g' M. P8 C6 D. k# 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# b& z) E, m, ]! `+ D9 m& Q1 y2 Y
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
) k% R# `0 o1 b, M6 G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﹕9 i& c/ U) k7 m6 u. |0 @
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
8 ]! U; Y7 }. d( v# }! v4 v& Gsuffered a terrible tragic death ----a punishment inflicted on him by
m! A0 l, @, a/ F! Wthe gods on Olympus. When he learned his fate decided by the almighty
5 o! L7 A5 w) i4 n- bgods to kill his father, marry his mother and bring destruction on his
8 |4 \* H! k- `; T# \( ]6 P3 dnative city, he wished to escape from it. But destiny was unavoidable,and + c. S& P8 Q* n0 e; N
unawares he fulfilled the assigned tasks. If the gods had decided his
4 p5 E9 }3 x# W1 \4 xfate otherwise, he would not have been a criminal, receiving an unjust
* t% E: z y9 v, \4 j1 Z. wpunishment and bearing an ill-fame for thousands of years. He was only $ a8 r: G5 r! ?; j) `4 d
an executor of the wills of the gods who, struck perhaps with a whimsical ) h& H1 F# z* g, P6 Y2 a. D/ j7 Z
fantasy, played a practical joke on the helpless mortal. The gods were 5 A* U$ ?% a6 S# F
the plotters. Who then deserved the punishment? The gods on Olympus rather % `+ P/ {, @' u' P! g) b
than poor Odipus!』
8 ~3 r/ X' i4 ~ B$ p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﹐
; r6 M& y, D8 }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﹕8 p2 p1 a, [: k: } u1 p% V' W
『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﹕
/ N: _% s& X% y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
' y; D, [+ i% R! ~2 |ADDRESSES TO MONEY﹕
/ K) p. k8 O- ?( \6 V* p1) Oh, Money! My darling Money! My respected Money! I'm your admirer, B; k) \# t# k7 H7 i9 J0 [7 @
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
, I, h6 R, \& ~0 r/ R" V9 B. Qyour slave. With you I can get food to keep me alive. With you I can 6 }& `: P) V& Z: V% q. ?6 w( ^
get clothes to keep warm. And with you I can get whatever I want, a & B P# G. i- T0 A. D; m
grand mansion to live in and all the superfluities of life for ostentation.
' j. p, U0 k' b1 n" zBut without you my love will desert me. Without you my friends will 7 F1 S* W; [. v/ w' k: A+ J
turn back on me. And without you I'll go a-begging like a poor dog " e3 S$ y" A' H! s( O0 f
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
0 Y2 u+ z8 n* n9 Q& qto me, I implore you! Pray, endow me with your favor and be sure that I'm , @) F9 _& Y6 }8 }, P: b1 i& x! g
willing to receive every small coin from you on my knees by which to show ' R0 E t# P2 e p
my deep-hearted gratitude. 』
9 k- H3 F7 z9 m' C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。』
1 q5 r1 Z: k+ o; I芝娜又唸道﹕『第二﹕* r$ o7 n& _" M7 O
2) Oh, money, my obedient servant, my faithful slave! I'm your master, 5 h* p) C- h/ K3 `8 D
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
1 ~; i) v% N6 P8 Z4 c# {your disposer. With you I can start my enterprises. With you I can carry
1 X! y/ t4 S& @7 Q- F' }; q' Y9 O: _on my great plans. And with you I can make the little world around me
9 i+ U( C6 {, y( Sgo at my will. If without you I can still have a large store of learning. # z0 y! y- k0 f) }: @
If without you I can still have an unpolluted name. And if without you
4 Z8 ]& Y2 }2 a/ X ^ I can still live like a hermit writing books of great thoughts. : [" x% x3 i: C' b
Oh, servile money, come to me; my lad, I command you! Serve me well
2 {. d3 v" s8 v2 P/ l and don't be naughty, or I'll punish you.』
2 O; H( s# r3 t' W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
1 Q# j F/ Q8 G! H g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 b' }; D; M* X. C: T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
. |% y# }( R. M/ C0 d1 W3 j0 }(談美)﹕4 W* P' H6 r5 `" i) ^
Beauty often dwells in youth. At sight of a charming girl, everyone
! U/ `) `+ g8 g7 m) B5 vwill exclaim, "My eyes! What a great beauty!" The male stares with
6 P2 n# N8 A! I) J) L3 ]% _" ca thrill of admiration; the female gazes with a sigh of envy. Wherever 3 K+ q& q( z6 i
she goes, she becomes the focus of the attention. Men all yearn to win - I% U2 m7 H0 }. _- N
her heart; women all feel a regret unable to stand in her shoes. A glance 3 H j; @8 q+ C" z$ b
or a smile from her makes the stingy empty his hoard of gold and the
+ |9 x' j4 h: Vcoward give up his life for her. She enjoys her queenly position in society,
4 `$ D1 C8 h0 f proud of the possession of such a beauty. But the merciless Time ! s* ? S$ _ v$ m) a2 t3 `
dogs her steps, too. Her beauty is worn out with the years. She begins to
1 [ c" \+ ]* ]1 ufade away and the hardship in life, if any would befall her, will bring
2 ^; h' v& l( z+ a0 u$ omore wrinkles on her face. Then men turn their backs on her politely with : P5 ~0 Z# w- ? z. Q% Z
a bow; women look at her with indifference. The younger generation is magnetized
2 n6 ^9 ?3 E0 q8 U9 M: h0 R( sround another focus. The old queen has to abdicate and leave the throne
* a8 T, S: e6 }* D* Lfor a young one to occupy. Only a photo or portrait can preserve her beauty
0 @( g# X4 Q/ {$ `. z7 q6 Kin youth and no Time is capable of doing any injury to her preserved beauty
+ M6 c' `: M+ k- Nbut the preserver itself.
: @3 N; w: D3 ?, [ Therefore, admire not the beauty without, but the beauty within. Such
+ ]5 P: X) q3 g8 x8 |4 ta beauty will never wither though Time also plots to do it harm. In the
2 r' o8 J5 y+ U% f) O4 C; W T$ jstruggle against the adversities of life and the ruthlessness of Time,
6 Q! F$ x1 l6 _$ R2 Q1 e& p it grows radiant, or even dazzling, just like a rock in midstream made " F$ @% ]( D, U
smooth and glossy by the current of both the stream and Time. Everyone, + R- K, U4 H H) U
in spite of the age and sex, if aware of it, will sing its praise either 0 F$ H* {9 T9 g$ b
openly in words and letters or secretly in mind. It lives as long 2 E8 u, I! h0 X. F
as the possessor, or even much longer after her dust may be blended into 1 ?2 c6 F9 z. s
a vase with the clay around it. ( P+ e0 m& o* {7 Q2 z$ E8 B, M. g
The outward beauty can only be the object of admiration or envy while / @% z* x/ t, \: X9 T! I
the inward beauty, besides being a theme of the ode, can serve as an w; |5 Y; v/ D4 v
example to learn from, for the former is always endowed by birth, but
: A$ f' k; }/ ?; K" \0 U7 ^the latter by self-acquirement. However, every man is free to hold 5 }% h; R, V* P$ a7 P1 Q! m
his own notion of what the beauty is and to choose whichever of the two * c* r" v1 H0 u( w7 C6 b% H& ^
beauties he prefers. Only his love for his bride select should not degenerate ( e; |5 ~9 }( L: T3 e+ D' Q
with the shrunken beauty.』
% l% F0 Z, z( C6 @: M6 r6 }7 j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
6 e$ m8 X' f) 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% X/ \( g% y, d3 H0 H* [& h. V+ Z
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 。』( E8 K7 c' l3 O, t; u- m' 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+ i* J; }+ x) r# I
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
9 M7 ^: e( d: g, U# _' p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- A. K6 B* m9 |+ [3 {" \2 ^$ _. w
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。
: a4 [1 c, Z5 U9 z" n你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
/ i" U7 ?) g7 ?8 O0 O$ m4 [: _ A little boy walks by his mother's side, with one hand in hers and a balloon
% t) j& K7 a) n3 A/ P9 J, \: k in the other. A sudden gust of wind snatches the balloon away from
/ i3 F, s8 V, k& {8 M' M the boy's hand and bears it skyward. As it flies higher, the excited
% u. F: v# i% X! Ipeople in the street all look up. "Surely," the balloon says to itself,
! ^6 U, D$ O7 |$ Tfeeling proud of its uprising, "they all envy me of my ascent." Then in its - u. x3 z0 K( m; E2 o1 X' C" `$ z( b
upward flight it passes by a balcony on which a group of boys and girls
' }$ M9 y0 O* _4 _8 oare standing, giving a cry of excitement when seeing an escaped balloon ( |/ g; L! N! H
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon & Q& d g _ p, s9 [0 P' ?" M
thinks. Up and up it soars, above the roof, above the spire, through a
' h2 ^. j: Y2 n: Othin cloud, into the blue sky. Then a dove hovers near, but after a glance
. v4 ~/ W/ t! O L* }( P1 fat it, flies away with indifference. "Of course, the bird nears to
% }0 Z. j( j |: t# r7 y% esalute me," The buoyant balloon flatters itself in exultation, "but as
" a4 s, ?! z2 V$ }! yI ignore her to keep my dignity, she takes herself away in awe and respect." 2 y3 c1 @' i5 y6 a) i, S
The higher it clambers, the haughtier it becomes, till it reaches the
1 }" P+ l! } I+ `0 \zenith where it means to stay for millions of years, but, alas, it bursts!
- n0 v3 `; j6 A! a- \! z』( h0 b" j+ }$ [/ e2 _
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
! ?4 _5 r6 f% s# X" T( m+ ^好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕$ Q! |% C' w8 P1 _0 g
Etiquette is to society what apparel is to the individual. Without 5 s% P0 l$ q$ p. b" e+ O
apparel men would go in shameful nudity, which would surely lead to the
% @+ a( }! T) k+ Xcorruption of morals; and without etiquette society would be in a pitiable . @ C2 I; f1 P. e% F$ {5 F
state and the necessary intercourse between its members would be interfered
& [( {* ^/ R( z$ |( Iby needless offences and troubles. If society were a train, the etiquette
8 c% D! d8 h1 Q" @6 b/ J4 @would be the rails, along which only the train could rumble forth; if : V0 ^: O8 V1 r0 P1 G* F9 b3 G
society were a state coach, the etiquette would be the wheels and axis,
+ @; K1 C7 m; z" H on which only the coach could roll forward.
# s. s% y5 P: d" y3 _0 w4 p3 { The lack of proprieties would make the most intimate friends turn to
" s% Z, N# g; W2 n9 _* K5 Abe the most decided enemies and the friendly or allied countries declare
! y- V0 |3 |# n/ mwar against each other. We can find many examples in the history of mankind.
' T% p3 [4 Y6 W A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed " Q2 P+ s# h0 F
by his favorite knight for a joking word. therefore, I advise you to stand " u; |! ~- m6 `" w6 d
on ceremony before anyone else and to take pains not to do anything stupid & \' o( i4 `5 S
against etiquette lest you give offences or make enemies.』
0 P0 P! K2 c( L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
, R! b! i) P$ p2 V4 }3 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
8 z/ c+ n8 b5 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
2 t1 m: ~6 z% M- s' l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。( e0 L& j* q' Y7 c" 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﹕' b" S* k9 F% @* d
『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﹕1 z, m3 C# T% \/ X6 b' K# 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﹐
& W! F: l5 F) Q* n9 j1 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" m. y' V; }0 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; }3 n+ R: s+ c# A
銘」的譯文
( b$ A4 P( o RAN EULOGY ON MY HUMBLE ABODE﹕* L1 a5 g1 y1 d8 j# Q
Known will the hills be if fairies dwell, no matter high of low; and 7 U$ t0 u1 ~- \) q5 T
charmed will the waters be if dragons hidden, no matter deep or shallow.
0 o& ]( c) c9 a, L A humble abode though this is, my virtues make it smell sweet. Verdant , z+ |) Q5 M; ?( f p/ N
are the stonesteps overgrown with moss, and green seems the screen ! g6 l8 Y! o7 {8 b
as the grass seen through it. I chat and laugh only with great scholars 7 o) [# B# X% N# k& A) ^2 F N8 q' \
and have no intercourse with the ignorant. I can play lute and read my ' N x6 m8 A# r& a4 z# r
sutras; no unpleasant music to grate on my ears and no red-tape to make $ ?* Y P; G3 v* e+ d
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
- ?2 Y' Z/ X7 H, A! bin Xishu are both like what Confucius quoth, "How canth it be humble?"
" C5 @6 b' R9 r; [- R6 h0 H' s' |. S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。
" P* D; o9 b: W4 _& i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﹕
, D0 F2 Y; i% U; \『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6 ?8 o. o4 g1 Q7 G$ `$ b
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- a+ H1 s3 d$ r" P" h
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。』7 I1 l# f+ i% Z5 q N1 M, G* X
1 D# g" B% }# v) i O( E
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
9 C' \' e! L! k7 K' o: j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& O$ R- I: m2 ]; h0 Z5 e. X; D. x8 U
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。』% ^1 {& Z" a Y( ?# }/ M
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
# r" r2 v/ Q6 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。* [. E+ Z7 d- [, [9 c
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% [3 e8 K& L! d/ ]. z! D4 _/ }
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7 _0 \4 C& R, V6 y1 B* k
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﹕
! N1 U6 l% p0 Z; F7 S2 J' a『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
8 @( M1 D8 a! B* i音樂跳起舞來﹐直至興盡而散。1 ^6 w" Y/ g4 R5 ?
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
5 S( I; d0 @8 E) E* t! u: |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, f9 u7 U, O" B; b1 x
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
8 Z7 O1 c# i0 d! m$ B+ A/ R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9 J2 F8 u2 Q2 M9 e6 m* R
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﹐. r& ^) B6 z5 @; Z* E
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 T- O9 o, c! F2 E E9 s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# e7 K+ q& P7 Y8 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% i3 U% J1 o: A
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。
/ ^: ], t* {# I# t4 J: F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 H- s8 }: c. s L% D$ L
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
+ ~5 h8 q3 i3 K! _+ e6 p# p' W ^$ ]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
" B2 N1 t/ ^: H, ?: d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 c3 U& n$ y# C# w1 x6 K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5 s. f" ]8 u: U+ j( |
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& {5 O2 q3 _" L( j9 V V
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﹐$ P0 M* W7 T! A' c5 G5 m
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# j2 ^7 y$ {6 N. ?4 [$ b3 Q/ q( 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」& A# v; u& y4 A/ D- a! S% I
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9 q# s) J2 L/ `
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
* x; r$ [9 x9 e' _1 v- 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﹐新作萬千5 ^: y8 L z& g6 K# e/ 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
& E: y T$ g6 R/ o' ^9 `# {( Y3 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* [0 }* G# q7 N2 e( 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: }( @- Y# ~* B8 a, W( k* F& c
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+ E, _2 b8 G$ f, k; E) M) | D+ k3 V
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
( ~+ |: C, T4 v5 ^) P$ 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" u8 C; T' c4 f* @" X
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。』
# m3 a* w6 b* e3 S2 u$ L% Z% p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
m9 J: A4 X" Z' |4 \" W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
7 Q8 W* c( S/ y$ [ t' T& ?' {評論才會公允。』 |
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