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芝娜道﹕『下面一首是RED AFTERGLOW﹕
. p4 o0 a4 t8 W4 {1) Lo, the red afterglow,
- u6 `1 Y0 \. ~: r$ a# R Against the sky blue!
# U! }9 a, w4 _3 G- X Is it the blush of Heaven, ! r' B" W2 y2 D; c8 V4 F
As on a maiden's cheeks, 9 Y- Z3 e' y, D) b# b1 n( L! m0 w
When she catches sight$ J r. |# i* _! }4 Y) U
Of her coming lover?
$ z# |' |* C; R B2) Lo, the red afterglow,
( [/ j# C2 r/ l& G! H4 y Against the sky blue!
7 f& c' r2 q' E/ m Is it the fire of bivouac
8 Q) [2 e3 I7 j- R Kindled by Nymphs and Naiads" y/ D/ Z/ x H' n. g6 y
On the banks of Milky Way2 {1 q2 s0 i$ |! [/ |- k
Holding a celestial picnic?
3 q' f( C0 A8 l6 R2 v3) Lo, the red afterglow,
; l4 u1 }+ {5 D) c Against the sky blue!
$ L) t9 Q `1 @- @$ b% _ Is it the ruddy gauze veil
5 O/ r: j! v# o0 u" r That veiled the face of Juno
$ \+ q( E, K' v. g On her holy nuptial day
3 l4 n* m" ]$ Y9 _6 k When she married Jupiter?- j/ y* ?* H- d5 y
4) Lo, the red afterglow,
: c) t0 m: ]1 a: J' r, O Against the sky blue!8 n0 | s9 t9 o" Y4 I& a6 ]* N
Is it the fire of Mt. Olympus7 K& j' P& X/ y5 q! B
Stolen by noble Prometheus,
T3 C& ]5 h( G L0 P6 D And in his careless down-flight
' `3 I9 p. q# F# L6 R Set the fleecy clouds aflame?& j$ k. o' E) ~$ f9 q
5) Lo, the red afterglow,4 h$ Q- B: K: d/ D3 q9 D9 ^+ B
Against the sky blue!
8 }" g+ i6 S& _5 W Is it the blood of the heroes
# c2 P% a; O( b1 i That died on battlefields
9 U* M5 V* q$ W6 X* p$ }9 j! ] In the sacred defense
/ s2 ?! f# O4 } Of their dear motherland?
a0 V9 V. c$ {+ V6) Lo, the red afterglow,4 i% ^3 m5 |0 w8 @
against the sky blue!
/ Z0 M) O; D4 L L5 i; S2 b! e If it the Isle of Coral0 c- f6 Q) ]6 z' F2 O/ q0 E, A
Removed by a white witch. R/ q0 t( C/ a- b3 u' }
From the Pacific deep
# V3 z) D* D8 g& Y To the heavens above?3 t* ^4 R, G- P& l1 [
7) Lo, the red afterglow,
& _6 L9 r* ~! P4 h0 ~ Against the sky blue!) P+ o" e4 k2 p) c$ X" o* _9 V
Is it a cluster of peach trees,& i0 g+ c6 |- A7 z" c; z6 X
Their blossoms in full bloom,
. _* G: ]+ k0 ^1 I4 P4 i Grown by the daughters of God
, Y0 R9 j' t; c4 Q( ] And watered with nectar?6 c& w/ w4 Q# Y
8) Lo, the red afterglow,
* [! y: A- b9 y B Against the sky blue!
2 A, S( `# r& n/ B0 i Is it Flora's rouge
8 B: @0 N v; b+ ~# Y- P. k Spread all over the sky% J8 m% F- h% W. p* P' ?" }5 e, ]
By her frightened maids# h0 x7 j& z2 m3 p- ~ v# w! a
In escape from her anger?& `1 G7 B* Y" v2 K
9) Lo, the red afterglow,
6 t& Z4 b( V0 o" @3 l% {. j9 U+ K Against the sky blue!
* R l6 @4 {% D5 g% W7 u Is it a large piece of sponge
. [1 i ~1 y, s t$ q Soaked through with claret
2 J( m* Y S* X' j- r$ ] Upset from the Holy Grail7 P; q# |" ]0 U V2 O
By a rash cosmic pilot?』
8 B# X ?& d' k7 _. r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 H, x+ ]" U6 `6 P* t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* U+ n, x! X5 h: k* q* U# d; Q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8 d; S9 C' d5 B M6 R( Y& N, P
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* S" f' K* L( D8 a! 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; x3 j R" V8 ^+ `$ 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
1 o0 M. w! z H, M/ N& z* E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。
; _7 D( b& u9 ?! u) n/ `; T& m 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﹕
% B' g' D" w: q# ^& k) SWhen young, I don't have any notions what woes really mean, q. R8 V4 [$ N o, G- A3 I
Just love to get on floors so high. 2 S( k# g# {/ c' U0 |6 I
Just love to get on floors so high,+ U2 C7 U, |& ]
To write new poems, I try to say the words of woe and spleen." y: }0 w$ U$ }8 A
- R7 P9 V9 M* D/ o* P7 {
But now I fully have ideas of what woe really is,
8 G( _1 v% `: O, i, C7 ?2 h N Afraid to get on floors so high. 7 g4 u9 m& O. Q. ?- ~% ?
Afraid to get on floors so high,
& i( o4 u( g% RI only say in poems how good and cool the Autumn is.』' m2 ^5 ?/ l3 g! |4 @" {; 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/ I/ G; p3 q/ u2 ?) D
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。
! o1 k- c% ~: s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﹕
7 W u# M b( `$ O$ h- X『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
; _; n6 z2 u9 a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
, m3 R# g( W. J4 A! T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; V& Y7 f4 N( [ D# Y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﹐
4 Q# S, g2 H- ]+ ?. E" z, @8 K _3 }3 n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
$ B0 `1 T5 [5 e9 V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0 y: f. I) y- ~: {
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, D: e0 P; U" x1 ?9 X
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 `8 Y, H5 ~( m8 a/ U4 E% }
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; d- F2 X0 u4 V- y3 G8 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( }2 E7 R* h1 L
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﹕
( D" I, A5 ^' S( Y2 c% A- `9 _Poor Odipus, a scapegoat he was! Accused of three great crimes, he * q6 |! X$ {! R# _4 E" C8 }
suffered a terrible tragic death ----a punishment inflicted on him by / Y# H- s" {- [1 o
the gods on Olympus. When he learned his fate decided by the almighty / ]2 L; a* Z! T1 a
gods to kill his father, marry his mother and bring destruction on his 1 w# S' K* Y% b, s
native city, he wished to escape from it. But destiny was unavoidable,and \( r1 t: d( s
unawares he fulfilled the assigned tasks. If the gods had decided his
n- B2 R& ^* M1 a, lfate otherwise, he would not have been a criminal, receiving an unjust
% Y7 r7 E9 B/ L9 [. x) Npunishment and bearing an ill-fame for thousands of years. He was only
: M7 ?. q9 u+ }8 k, tan executor of the wills of the gods who, struck perhaps with a whimsical 9 r- A9 c& g( X: N. p8 h; e
fantasy, played a practical joke on the helpless mortal. The gods were + B. H2 T) R6 D$ z
the plotters. Who then deserved the punishment? The gods on Olympus rather 1 m: X5 b1 O" q/ N5 u* \1 v
than poor Odipus!』
`' w/ m B( y( q) O( k3 f, A 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﹐9 t" f+ }* h* Q1 g9 x4 }! s6 C
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﹕. }6 d" i9 }. P6 x7 j
『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﹕
' t. G/ C* y1 L! T$ w8 G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
! t* [, G; | CADDRESSES TO MONEY﹕; q5 b% J1 q Q3 E% J3 ] t1 T
1) Oh, Money! My darling Money! My respected Money! I'm your admirer, / @( @; Z) _8 i0 h3 R0 x
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
8 N/ z! l9 u2 T# D U" u% a# Yyour slave. With you I can get food to keep me alive. With you I can
' m) @5 Q3 O; Dget clothes to keep warm. And with you I can get whatever I want, a + ]4 V' g6 }- \7 B' d) t
grand mansion to live in and all the superfluities of life for ostentation.
7 i$ o# L/ t$ @But without you my love will desert me. Without you my friends will
9 g5 @+ }" b! q' W+ x. _9 nturn back on me. And without you I'll go a-begging like a poor dog 1 }! Q, K. E/ O2 i
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
% y+ e' H8 x9 w. z2 y. |to me, I implore you! Pray, endow me with your favor and be sure that I'm % [0 x& B B" g0 N! H
willing to receive every small coin from you on my knees by which to show # `7 Q1 V7 h" e& u6 L7 `3 ~
my deep-hearted gratitude. 』2 C* I% S# b- k' M% \
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。』 y# A" c9 l0 D6 x& o J. o
芝娜又唸道﹕『第二﹕7 b. |! [5 T' y' a" m6 e3 Z
2) Oh, money, my obedient servant, my faithful slave! I'm your master,
) v; W6 b. [' ryour owner. OH, money, my passe-partout, my almighty tool! I'm you user, ; M7 ?* b/ ~# A, o- K# e; r5 `! m
your disposer. With you I can start my enterprises. With you I can carry
2 Z/ R. T( Z* F0 R8 S5 Jon my great plans. And with you I can make the little world around me
/ P0 ?' s- {% _2 vgo at my will. If without you I can still have a large store of learning.
8 M2 E$ W$ x) b' e8 P3 C If without you I can still have an unpolluted name. And if without you
2 x. o% w& b$ ^. D/ j I can still live like a hermit writing books of great thoughts. : T& b& C) B2 `6 \7 V ?
Oh, servile money, come to me; my lad, I command you! Serve me well
E- R3 j: _, E. Y- K m' K and don't be naughty, or I'll punish you.』
" l# A; K: B$ F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
4 H5 z$ A1 \. e- V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﹐
! C0 v! {9 }! V4 b# K' M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 BEAUTY0 u7 n9 H* Y$ y& m/ V
(談美)﹕
1 v, F! x) c% d7 f& C+ R8 ~9 _ Beauty often dwells in youth. At sight of a charming girl, everyone
# D& V! l2 E7 R, o O1 i5 ?will exclaim, "My eyes! What a great beauty!" The male stares with
8 m* X0 q/ {+ La thrill of admiration; the female gazes with a sigh of envy. Wherever
6 J7 K+ m8 E2 @1 |she goes, she becomes the focus of the attention. Men all yearn to win $ K) K; a: w& M' Q& ~, D' l
her heart; women all feel a regret unable to stand in her shoes. A glance
y% s' B% G, s9 A% r* zor a smile from her makes the stingy empty his hoard of gold and the ) e3 I' \' G5 A7 d. ]( G
coward give up his life for her. She enjoys her queenly position in society,1 s6 \7 m# v/ ]3 {" m. [( T
proud of the possession of such a beauty. But the merciless Time & B% G& C6 r; N+ d6 j: G' }
dogs her steps, too. Her beauty is worn out with the years. She begins to
L6 h1 F d$ ?: p1 L- X kfade away and the hardship in life, if any would befall her, will bring
& i# s" e& d0 omore wrinkles on her face. Then men turn their backs on her politely with $ m: S8 v! c6 d$ ]1 ?, u
a bow; women look at her with indifference. The younger generation is magnetized " P* \: k+ [$ f+ I0 _
round another focus. The old queen has to abdicate and leave the throne
' q3 x$ z, q9 |for a young one to occupy. Only a photo or portrait can preserve her beauty " O# @ X, |. L# C* ?/ G0 a
in youth and no Time is capable of doing any injury to her preserved beauty / ]% H+ k5 x% m% t+ L
but the preserver itself.
" K! W* F% l' y* V. c( ? Therefore, admire not the beauty without, but the beauty within. Such
7 ^' d! c$ b. ?5 j5 Y' na beauty will never wither though Time also plots to do it harm. In the ) `4 j3 x. ^0 B- W
struggle against the adversities of life and the ruthlessness of Time,
8 H u% |& p% ?$ E o8 N it grows radiant, or even dazzling, just like a rock in midstream made # U! k) c1 _: A5 R
smooth and glossy by the current of both the stream and Time. Everyone,
; z% x) I( x6 f. u; n& C* \% e: zin spite of the age and sex, if aware of it, will sing its praise either 3 J3 B- c% _ z) C) h! ?8 i
openly in words and letters or secretly in mind. It lives as long
) {0 @+ h4 \& e' s7 i3 q( t0 Kas the possessor, or even much longer after her dust may be blended into ; v0 Q* c* [4 q. M
a vase with the clay around it.
2 u0 L& C& V) { The outward beauty can only be the object of admiration or envy while
# S# C& H( e; ^, D3 nthe inward beauty, besides being a theme of the ode, can serve as an ( B- T' C. @$ V) B, @6 R
example to learn from, for the former is always endowed by birth, but $ H, {2 g& j A7 o
the latter by self-acquirement. However, every man is free to hold ; B. K; F$ K4 p: O! R, ]7 Y
his own notion of what the beauty is and to choose whichever of the two ! q- f: z7 e: Y N( z: ~8 l
beauties he prefers. Only his love for his bride select should not degenerate 3 j- Y/ P: B' O( b" b4 x9 Q
with the shrunken beauty.』
- ^3 e- C( _8 I0 \; H) q0 K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- V/ h7 K& |* d- y- E
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, g1 U4 g3 R3 @5 W
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 。』1 e* B5 [$ F2 Q' ?( T9 _' \) |
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# _, G7 `. O. [
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
0 B+ s, {3 t4 i) k; M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
Y( _% |* [; S+ y J2 o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。7 `2 w N. K" z0 b
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕ ~, w; z" t+ m3 K; G4 e
A little boy walks by his mother's side, with one hand in hers and a balloon
; x. F3 c$ `& A# P( V in the other. A sudden gust of wind snatches the balloon away from
( S) p! h2 x( @/ E; e the boy's hand and bears it skyward. As it flies higher, the excited
, Y y& k1 Q# Q* I: f1 Xpeople in the street all look up. "Surely," the balloon says to itself,
0 h& d1 d/ k! F& m8 ]; Z/ V" z0 r0 Tfeeling proud of its uprising, "they all envy me of my ascent." Then in its / c5 c# ^) O3 d2 p' W/ L
upward flight it passes by a balcony on which a group of boys and girls $ L& X, p. M: x* V% ^2 S
are standing, giving a cry of excitement when seeing an escaped balloon
& r n/ z* H% |. c! l jhurry on its way of freedom. "They are cheering me, I'm sure." The balloon
( _7 y5 _7 ?3 `: b' tthinks. Up and up it soars, above the roof, above the spire, through a 0 _; x% r5 \. j& R/ }
thin cloud, into the blue sky. Then a dove hovers near, but after a glance ; \# a |' R/ u8 T: p
at it, flies away with indifference. "Of course, the bird nears to 3 ?- c- ?# i9 A. \5 `
salute me," The buoyant balloon flatters itself in exultation, "but as
. [ j- b3 _" j) q2 {) d/ n' CI ignore her to keep my dignity, she takes herself away in awe and respect." , r4 x. w( z A3 t
The higher it clambers, the haughtier it becomes, till it reaches the / g" \+ o5 ~; i
zenith where it means to stay for millions of years, but, alas, it bursts!
% s+ W/ M+ }5 g/ Q* S』8 d6 b( \: @) s0 q( c* s
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" f- E$ ^9 U1 ]- W9 h. D2 _
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕) L" j, t' n& q+ R5 i
Etiquette is to society what apparel is to the individual. Without ) C+ C/ W. L# }7 B
apparel men would go in shameful nudity, which would surely lead to the ; K1 X) C5 o, N& l8 \9 v9 _
corruption of morals; and without etiquette society would be in a pitiable
1 _" Y& Q* {- M, e8 |5 h8 ^9 H5 Qstate and the necessary intercourse between its members would be interfered
2 L2 y. o- v+ e7 P: x7 b- n' |0 C/ Uby needless offences and troubles. If society were a train, the etiquette
1 ~$ W0 } C0 \) u2 {1 `would be the rails, along which only the train could rumble forth; if ; U8 G- R+ L8 V6 ]0 T2 W, k
society were a state coach, the etiquette would be the wheels and axis,
" {' l" R. e) U& O on which only the coach could roll forward.
/ G; {2 h6 |6 G+ T The lack of proprieties would make the most intimate friends turn to " s$ z! D- g1 v) T, }* q# _2 e
be the most decided enemies and the friendly or allied countries declare ) O* R, v4 G' f2 R6 p A* X
war against each other. We can find many examples in the history of mankind.
# L# X( @0 O" w* t& H; v. g A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed . v9 v; @5 I( }
by his favorite knight for a joking word. therefore, I advise you to stand
, K1 `4 L7 l& o# h: k2 von ceremony before anyone else and to take pains not to do anything stupid u6 u, s, h) {% b' o# g
against etiquette lest you give offences or make enemies.』
5 e1 z* b- X" ^9 \- s5 G+ J) ~* n8 h$ g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
% \: \6 y3 p: d* p m- F; W3 g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
e; x6 W7 \/ `5 w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# _, B! F1 v: Q8 D3 k# Y4 a
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。/ y4 a' o" ?+ u) H
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﹕) t& z& N @) c9 d& q- w% t$ G% K
『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﹕6 C( ~' i$ @, [6 T4 t
『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﹐& P2 x8 _( x( v6 F. g3 D
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
3 _5 L+ Z9 j" O8 j. R( ?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" ~1 U: K/ Q
銘」的譯文2 X- B- e, j$ q) ?2 q! g4 B0 h
AN EULOGY ON MY HUMBLE ABODE﹕! G# z: T+ C1 O1 ]' R
Known will the hills be if fairies dwell, no matter high of low; and
1 Y* {7 X5 H8 c* r9 \" Ncharmed will the waters be if dragons hidden, no matter deep or shallow.
Y2 P2 m/ u: \, b A humble abode though this is, my virtues make it smell sweet. Verdant ) b4 B7 X( a% q4 l3 ^7 q
are the stonesteps overgrown with moss, and green seems the screen , q$ x! B+ }4 [5 u
as the grass seen through it. I chat and laugh only with great scholars
" C: u B3 X! N: y- X6 i3 z/ Hand have no intercourse with the ignorant. I can play lute and read my 4 U% d5 |& O9 G+ O$ o
sutras; no unpleasant music to grate on my ears and no red-tape to make / u6 ?( r* i7 O ?: c
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
" Z5 i1 j1 U' s* g8 Z Zin Xishu are both like what Confucius quoth, "How canth it be humble?" 6 Y5 t' }% o1 ~& ?* l2 ?8 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。
q6 O: f$ R- E! `: z' Y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﹕
3 ~( ^; a. Z$ v+ k6 ?『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
% z+ |8 a6 i6 S3 M# O5 v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* E u) Q3 U6 B o 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。』3 {* Q7 R0 [7 T7 \4 @/ ^
" ~) [3 B7 u) J, ~ 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
, U d# l# O' l8 O8 }: j0 t' r) B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: h: u6 g9 u1 Y% w
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 i$ U( R! P$ t, ~+ _
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
( H. h' h! k# m$ Z資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。- w. i$ s; a: T# h8 U; ~/ L& j
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
+ b3 L1 b3 z( T' C; q( _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
) Y; @/ K4 _4 H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﹕: [: T, l" w) B- u
『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
9 Y7 j- I$ q1 X' [. B- K* B音樂跳起舞來﹐直至興盡而散。
: X% }: a0 H2 I: N3 g 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
. h" k( O8 E# O' 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% i6 x( D" Y( _% ~; l
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4 }/ y* F+ c- d4 m) \ a. ^4 _
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
( P" D8 y& ]7 l# p! d, Z9 Q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 [8 i6 U3 @& u2 r& D% Y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5 J' u* O! W+ p, R; }& i
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
& q$ v: @5 ]$ J" r& n1 ]! D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0 I) \# B; c# {% b4 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。0 ?2 E3 O3 ^' o* _8 l1 t
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
; M! C9 R4 l& |' Q; @$ R+ e* h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# x/ }! M+ R @) O ^8 {
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 G: _9 i% Y+ \3 s6 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
% J2 o9 u( C% w; p* k* O E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
1 r0 a* u# X! A' Z5 i' T0 e1 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
! y5 u6 \5 H8 p. N6 m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﹐/ W' @2 E1 ?( K7 x! y" o
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7 |& {) R3 x6 `- |
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 q' ~% }' ?, |- n$ O& U6 `
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
; m/ l, c6 i1 F* r8 ^, V1 L E) Q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) \- G7 ]% \* B# w/ I0 f/ Z6 U
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﹐新作萬千2 I0 b: t, B8 x! W, r
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! k# \8 T, ^2 r9 Z1 u, N3 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* r' I+ } @* L; I/ e0 c8 V1 Q
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
/ C& D9 ]0 D ^& g& f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 g8 ~, H2 |/ g! |
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
. i) q. r B. [/ ^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
# z2 u4 a7 h! k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。』$ g5 ?3 O9 X# 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
' K5 S: c1 Z4 v% w% r$ O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* f1 a$ L% H; q7 A
評論才會公允。』 |
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