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芝娜道﹕『下面一首是RED AFTERGLOW﹕
6 K" g( U- y' \9 z; v( { W1) Lo, the red afterglow,
+ j2 a r/ Y! }1 q' | P Against the sky blue!
* {. [" {6 ?% ^- M$ ? Is it the blush of Heaven, 8 r2 |9 V6 g1 N& d4 @
As on a maiden's cheeks,
! r. p$ k, b/ b8 b! f. [5 `, W When she catches sight% S8 V1 }1 z/ O' d1 A: R7 A
Of her coming lover?. ?; c! T4 ~- s% K9 M
2) Lo, the red afterglow,
( L( d- b' ^$ e2 S% ~: n% \ Against the sky blue!5 [+ ?+ Z3 k' d) |" A9 I7 J
Is it the fire of bivouac: X' Q/ H" F k
Kindled by Nymphs and Naiads, Q) @9 C0 h1 V/ }; L5 M
On the banks of Milky Way) n; f8 G; _9 r% y
Holding a celestial picnic?
3 \+ H4 X/ i/ h5 P3) Lo, the red afterglow,% h0 ]/ Q( p3 b& F7 i
Against the sky blue!
" E9 B* d+ e$ X% y Is it the ruddy gauze veil0 n/ U8 K, c) p, M# f
That veiled the face of Juno
, I7 n# R6 W& [% l2 W On her holy nuptial day' P0 @# O: b. ^; b, I
When she married Jupiter?
B: w. X' b1 y, p5 m4) Lo, the red afterglow,
& M4 j3 r; W: }0 k" o Against the sky blue!
/ `# x2 S- T/ z# m8 x! k: a% s- h Is it the fire of Mt. Olympus# W/ u4 p, B% Q" R& R5 F& X& c
Stolen by noble Prometheus,
* H; e) P# K1 j$ e& |1 \' H o6 p- A And in his careless down-flight& p1 e5 S* v" B: Y% n& k2 H/ ~
Set the fleecy clouds aflame?
3 S8 M' ^; k9 E- p" U5 m) x4 m5) Lo, the red afterglow,
) j0 P9 j: ~, C/ p$ O% J; ?' h$ P Against the sky blue!
, F2 H& E! e s Is it the blood of the heroes( S3 y( }+ Y$ r, p% F$ G1 Y7 t# O
That died on battlefields @3 | {; S s v8 n" r
In the sacred defense
2 a( c! y1 [5 r7 V' } M" y' B Of their dear motherland?1 H$ |! i5 M" h: p7 G h
6) Lo, the red afterglow,/ B$ `' T3 J& H$ ~2 R# L0 Z
against the sky blue!0 P W4 O% g) b
If it the Isle of Coral
9 }1 ]2 C2 G6 `/ }) H Removed by a white witch( b v: v: ^ ]. j# D) Y: I
From the Pacific deep
7 ^1 i' E* j- B( w$ y+ Z To the heavens above?
a# i+ N5 |# t1 I/ b7) Lo, the red afterglow,
6 x: v7 U# k" X, y3 I# R/ K Against the sky blue!
( R) X, ` O$ ~$ f v: | Is it a cluster of peach trees,
" B* _5 P9 a: d3 e: p7 V Their blossoms in full bloom,# X9 a) x/ e# k/ S* u
Grown by the daughters of God
" }, \9 T# O: U1 I& R And watered with nectar? s+ e$ r1 z. T
8) Lo, the red afterglow,: I+ i$ W$ s' E# h
Against the sky blue!3 A% z& [9 \5 @' s( A( \
Is it Flora's rouge
! h6 r# t+ B8 v+ t( B. { Spread all over the sky
2 t! q5 V; r, | L/ b7 ?, P By her frightened maids3 D" c* j0 w: t; T2 z$ V+ M Z
In escape from her anger?& t# J; f: S6 T2 A: x' d$ [
9) Lo, the red afterglow,
# e) ] g' M4 h& \5 q& n Against the sky blue!* R n ?" w' t! _0 p& A
Is it a large piece of sponge/ M- H$ K, K0 B
Soaked through with claret) L4 l" x! v \6 R, n8 W
Upset from the Holy Grail0 {" h, d7 A' r$ S- K& Q
By a rash cosmic pilot?』! \9 G4 d' ?8 @6 L! x, v$ C: 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
1 h ` Q }9 v- x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
- U# G2 e0 N( ?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
C& H3 l4 h. `, B, l! B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
/ v: Z& g9 I! ]* i: m2 p3 I8 E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/ ?) _" n5 F" u- Y: z+ w+ b' K
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
+ H& X5 k1 K$ P" c, F% Y* I9 Y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。 % s6 L& E: v. E& ?7 ~
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﹕
4 K6 U& w- R- K; ?. L, fWhen young, I don't have any notions what woes really mean,
" \2 o) l" v u9 Z7 s( x Just love to get on floors so high. ' I; ]/ K/ ?( h! C0 t* H4 e% l% L; J2 k
Just love to get on floors so high,
' L2 u% j: L2 o/ C8 GTo write new poems, I try to say the words of woe and spleen.' t2 ^% }' ^% u n' S" ^% C
3 T Q* ^$ w, N* [But now I fully have ideas of what woe really is,
, O; M& u8 C; {7 v& g) F- }& I Afraid to get on floors so high.
! E8 ` ^# d4 P7 q. G' y Afraid to get on floors so high,8 R( P( r: O" s6 Y0 _/ R
I only say in poems how good and cool the Autumn is.』
, S: ~! z+ `! ^, y7 w4 g& C8 c7 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+ b" s2 u2 R0 r' i3 I! A
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; t+ A+ ~, r( Q! V. Q# G n4 z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﹕. p4 j3 f, P' E3 O% n" d, \2 W
『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
$ {& I+ h4 {9 m! h/ U2 P* R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
; J/ C4 p' y7 x; r \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
" H$ c3 ~" y# F( p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﹐
: H" r( i5 t E% u3 _. C, v; {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: l% F5 }7 ?, L) C4 D( \" P: h
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
* K* q1 A; d) L) b" E; p1 R$ K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
+ T! M2 v% C( w0 b8 X. V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
) f }- w' U- E7 F5 Z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
. M$ Y! k& H5 r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
7 X( W4 p& D/ R8 [, ~* g8 L2 B3 A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﹕% p" @9 ~( C; q% x# L
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
: ~( a* W5 N; w- j! W" Qsuffered a terrible tragic death ----a punishment inflicted on him by # l9 q/ M4 u, |9 b8 p7 B
the gods on Olympus. When he learned his fate decided by the almighty - z" j+ E4 @: H
gods to kill his father, marry his mother and bring destruction on his
4 {9 P! ]0 } s0 _native city, he wished to escape from it. But destiny was unavoidable,and
% o% O, B j$ y1 yunawares he fulfilled the assigned tasks. If the gods had decided his 1 B6 G' @ ^7 @, M, I
fate otherwise, he would not have been a criminal, receiving an unjust
9 D0 H( T) ` h/ j8 P* A# Ypunishment and bearing an ill-fame for thousands of years. He was only * B$ d* A0 I* {
an executor of the wills of the gods who, struck perhaps with a whimsical
0 d8 N+ K! H$ Z b. V) Bfantasy, played a practical joke on the helpless mortal. The gods were & L( @. g6 K( J, O$ v- ^! R
the plotters. Who then deserved the punishment? The gods on Olympus rather
4 p% ]: |' ]1 X `2 w5 E$ Athan poor Odipus!』
3 }. L9 r% k( p4 O) u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﹐- d& h( A" K% u4 q" H
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 u4 E! k, v/ d: N; d* [8 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﹕3 g* P- E2 R5 Q( f
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 4 ~) c+ R( o5 K' T7 C- n
ADDRESSES TO MONEY﹕: y, r4 z% i5 k) H! d. U& j0 X
1) Oh, Money! My darling Money! My respected Money! I'm your admirer,
- t) u. Z" S/ S) s# z8 Myour worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
4 H* m& J! R5 f! O1 q1 w% Yyour slave. With you I can get food to keep me alive. With you I can
% x! H; {/ v* q; Hget clothes to keep warm. And with you I can get whatever I want, a 2 Y6 t5 h+ z. f7 ]6 B; k' d: l
grand mansion to live in and all the superfluities of life for ostentation. ! H# M8 ~2 K2 X" _' E$ k5 W
But without you my love will desert me. Without you my friends will + e" i& y: O6 L: K
turn back on me. And without you I'll go a-begging like a poor dog
2 ~; w) }5 K! j' q8 @and sleeping alone at night in a ruined porch. Oh, Almighty Money, come
* v3 |: l1 a, y/ C/ I# u# q: C- Tto me, I implore you! Pray, endow me with your favor and be sure that I'm
4 K, }; L$ Z6 A# E$ X; |! k8 v! B4 Wwilling to receive every small coin from you on my knees by which to show
; B" I1 H8 j" d% R6 C& amy deep-hearted gratitude. 』2 m) R5 T+ R; X& v! @8 q+ p: ~
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。』
! p0 @8 h& Y. p2 p* U: i! B芝娜又唸道﹕『第二﹕( l( g/ _1 F' ~, m9 T: N0 G$ p& p8 O
2) Oh, money, my obedient servant, my faithful slave! I'm your master, 7 {3 M0 c/ ~7 N6 ]
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
0 r/ A# u7 p& a3 b6 Q, U- lyour disposer. With you I can start my enterprises. With you I can carry
# S$ U: t+ [" x" j1 |on my great plans. And with you I can make the little world around me
: c/ t- [9 |2 i+ X% E) o$ `go at my will. If without you I can still have a large store of learning.
6 |1 Y7 f0 [( a0 f8 j If without you I can still have an unpolluted name. And if without you ) T. ^9 p: `$ ?+ M) h
I can still live like a hermit writing books of great thoughts.
" ?' A8 z. d1 q( hOh, servile money, come to me; my lad, I command you! Serve me well 1 V w) w! ~4 L0 r5 ^- x
and don't be naughty, or I'll punish you.』# C; i- U3 a" {
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& E4 C. q( k) h: Q0 i
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﹐
3 V w# {; H# A2 u7 L0 U" 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
7 M) Y0 ~: l* `; V3 E$ ?% A7 X' O(談美)﹕+ h- C# F! Z! |! J: u& p5 E/ X
Beauty often dwells in youth. At sight of a charming girl, everyone 8 s: c' F j2 n v% J
will exclaim, "My eyes! What a great beauty!" The male stares with 1 c5 v& A) @ X/ K, j0 N
a thrill of admiration; the female gazes with a sigh of envy. Wherever
, C- C8 Y4 t+ G6 W- Zshe goes, she becomes the focus of the attention. Men all yearn to win
E T" F/ F8 r2 X1 e( }her heart; women all feel a regret unable to stand in her shoes. A glance
: e) U+ v" N8 x6 |4 H, dor a smile from her makes the stingy empty his hoard of gold and the
5 E/ b/ q2 W4 G' X7 B Gcoward give up his life for her. She enjoys her queenly position in society,
, N* c# \+ \2 x4 x0 ? X* n4 L proud of the possession of such a beauty. But the merciless Time
: l5 @! c, ]" {/ T+ o1 wdogs her steps, too. Her beauty is worn out with the years. She begins to
/ _8 Y" j+ O: ?9 U3 Q. p1 \fade away and the hardship in life, if any would befall her, will bring 7 J# j2 o |" I6 \
more wrinkles on her face. Then men turn their backs on her politely with 7 `0 R( h I# X- w4 [1 Q% Q6 G
a bow; women look at her with indifference. The younger generation is magnetized P5 c) A3 w& m6 w8 f. k1 w% ?" T5 y
round another focus. The old queen has to abdicate and leave the throne
# c0 W. i8 x" Q7 O3 ^8 _% B5 d$ @for a young one to occupy. Only a photo or portrait can preserve her beauty 9 k3 v/ ?! |* ~; Y
in youth and no Time is capable of doing any injury to her preserved beauty
; l3 I% d& x. Q% Sbut the preserver itself.& C; M! F" r1 y2 {4 M, [
Therefore, admire not the beauty without, but the beauty within. Such ) |7 M) ^, p1 p) S6 g" X& W
a beauty will never wither though Time also plots to do it harm. In the
6 I( M7 p9 M3 w0 y: \* bstruggle against the adversities of life and the ruthlessness of Time, , g. z# k2 q5 P6 G4 G4 D
it grows radiant, or even dazzling, just like a rock in midstream made ! c% X" a& F# {3 w+ Z& z
smooth and glossy by the current of both the stream and Time. Everyone,
& ~& ]9 X( \$ _6 e. X6 \( k# k2 hin spite of the age and sex, if aware of it, will sing its praise either
! J- w9 R! w$ [/ ] openly in words and letters or secretly in mind. It lives as long ( F/ C4 j, n2 Z
as the possessor, or even much longer after her dust may be blended into ! U0 C* C# Z& B2 ?, |' m; H( Y$ x* U
a vase with the clay around it. / R: c# u, u1 p T! U# ~& H& J
The outward beauty can only be the object of admiration or envy while ! S; q6 h) b4 E6 X/ F
the inward beauty, besides being a theme of the ode, can serve as an 8 H/ [/ v$ h0 E- j2 ?+ }
example to learn from, for the former is always endowed by birth, but 2 t& f# k) i6 l8 n$ b
the latter by self-acquirement. However, every man is free to hold
6 J" w3 u1 G9 x his own notion of what the beauty is and to choose whichever of the two ; }* I2 d9 h2 y; E0 w
beauties he prefers. Only his love for his bride select should not degenerate
! @7 `4 P+ J( v+ A' _with the shrunken beauty.』
B2 d$ Z! y& A4 N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" }2 ]( g7 T8 m* w; `
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% B$ ~ o( M3 }% ?: i8 B" R% a+ A
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 。』& P9 K9 l$ ~/ \2 p* M( _
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; U$ R8 J( x, b1 g6 D( ]8 I1 Y
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 A6 _( T6 x( `, e7 r2 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) |4 l' b6 Z" J; Q) D
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。
5 L) O0 s9 h H* Z. I你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕% q/ o! V& b, o
A little boy walks by his mother's side, with one hand in hers and a balloon
5 u" |. B, M' F4 g2 A in the other. A sudden gust of wind snatches the balloon away from
$ ]& d& z$ A$ z3 y/ T the boy's hand and bears it skyward. As it flies higher, the excited
: U4 ]1 t! N' Y1 ]7 mpeople in the street all look up. "Surely," the balloon says to itself,
6 \# m9 U5 u3 X$ wfeeling proud of its uprising, "they all envy me of my ascent." Then in its
! A) z# p9 a! j. Z h: D( O' c& t7 Gupward flight it passes by a balcony on which a group of boys and girls
8 I8 l, `! E, l9 Y9 q! N$ tare standing, giving a cry of excitement when seeing an escaped balloon * f) C& ?0 b$ l! i1 K1 a4 U
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon ) N6 C9 s5 p, i
thinks. Up and up it soars, above the roof, above the spire, through a $ m1 Q* s6 P7 Q" I# i# }, t
thin cloud, into the blue sky. Then a dove hovers near, but after a glance 8 d* t/ @1 i4 r E" }# ~
at it, flies away with indifference. "Of course, the bird nears to 6 N1 } T4 f( |, G( I
salute me," The buoyant balloon flatters itself in exultation, "but as " S, N& Q2 ]% d+ v8 k2 b7 h
I ignore her to keep my dignity, she takes herself away in awe and respect."
. d2 Q* ]% Y* \; U; k The higher it clambers, the haughtier it becomes, till it reaches the
$ r$ m% H7 u. v" Rzenith where it means to stay for millions of years, but, alas, it bursts!
3 c) S u( m7 M* ~』
5 H( \0 C; V; V# I/ m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$ S( g0 q% |3 d2 o9 U5 A. T
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
) ]1 K' @$ c$ F: v Etiquette is to society what apparel is to the individual. Without
j3 @% I [# T @8 I; O) Happarel men would go in shameful nudity, which would surely lead to the
9 }- X6 l# m) A$ s" I N: j( W7 wcorruption of morals; and without etiquette society would be in a pitiable , S- R0 }0 L2 c* e8 [
state and the necessary intercourse between its members would be interfered
+ f: |" c( e, G. E/ s( i3 O k4 [by needless offences and troubles. If society were a train, the etiquette
! M0 k# I0 c% S. }would be the rails, along which only the train could rumble forth; if
2 q7 O6 ^; {+ U6 } csociety were a state coach, the etiquette would be the wheels and axis,
" F7 s8 B, o" z: h4 E `) { on which only the coach could roll forward.
) H/ D# w- A+ {/ E! Z, g0 X The lack of proprieties would make the most intimate friends turn to
' t8 m& [8 v" c3 cbe the most decided enemies and the friendly or allied countries declare
# Z" b- T: G2 V9 ?/ swar against each other. We can find many examples in the history of mankind.
7 J& e8 x3 n4 x F; N7 C+ p4 Z A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed $ \- r* u6 b' w
by his favorite knight for a joking word. therefore, I advise you to stand # A3 k: i, A9 [7 z8 [$ J: O/ ?
on ceremony before anyone else and to take pains not to do anything stupid
' o5 i! Q" A7 \& pagainst etiquette lest you give offences or make enemies.』# h; X' i% m( d5 i
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
% E3 W. `3 i) d3 V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
7 M2 l$ x' A3 I7 H2 v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- M( c, [) ?' @- p5 G+ U
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。& b$ k& V* L& y; J4 P/ ]: O7 \
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﹕8 l- B- F" \; T5 G
『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$ L. {- l8 ~. a) K+ z『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﹐: i# G1 D3 v6 v+ y2 T
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
! A9 q! [/ h0 Y1 s6 U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& i5 ~8 y4 B: |& i( w! s, V& ]
銘」的譯文) K3 {" h; V- Z
AN EULOGY ON MY HUMBLE ABODE﹕
, ?! J/ |) Y9 x0 W0 S Known will the hills be if fairies dwell, no matter high of low; and
H( b9 c7 O% {# d3 z- s* n, Q; Lcharmed will the waters be if dragons hidden, no matter deep or shallow. / P/ B+ O; [+ F: D4 c
A humble abode though this is, my virtues make it smell sweet. Verdant
! U. R8 ^8 c6 a p7 }6 ^- L; hare the stonesteps overgrown with moss, and green seems the screen . u, s" v( F; L2 C4 z. y K
as the grass seen through it. I chat and laugh only with great scholars 2 _0 _, j" K5 d; y1 W9 S. J
and have no intercourse with the ignorant. I can play lute and read my 9 Y2 b9 g3 a7 O% y! E% c n
sutras; no unpleasant music to grate on my ears and no red-tape to make ' X' s h" S. o4 `: a+ c6 i) d
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance 3 `' L+ A) \3 \: q% N K$ K
in Xishu are both like what Confucius quoth, "How canth it be humble?"
+ c( {8 Q* i2 e* n: ]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。! u7 V( l3 U e+ z9 w4 n0 ^
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﹕2 ?* @ {% b& h/ C5 `/ i
『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
0 u; ?6 q& b" f0 s6 N$ n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3 y- `: W/ ~! z' z: f, E$ O& R
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。』& [% A1 U, {4 X( O0 |( b% |
1 _" H" H4 P0 }5 o) U
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8 G3 U4 ?' W. R1 |/ {8 a
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 y1 r. I. h4 F- n3 g! \ s( M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。』
- n$ i) f0 m5 V' w+ o! Z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5 K( y9 \! R* I' Q
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。8 Y/ g. T" S$ Z) Y2 r/ z* f
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; P& ?# h. [( X3 t# U$ H: A
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9 A* M5 X! ?6 R5 W( F
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﹕
" ~& r. C' e! H9 v2 j5 M2 ]『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 ^4 V" S( h; G, ]( |音樂跳起舞來﹐直至興盡而散。
& g `# E0 ~1 Q/ a. Y 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
$ ~, R9 T5 {* R, f. N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
. K& t( i ?7 t; b/ \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
5 I; s, Z7 h/ ^6 b" [# V% l y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
K, H" |' a9 ]+ \- }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﹐
5 l" J" X+ V2 T- f# f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- e9 v _1 S! h9 Q+ C/ z
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- R5 s5 o" s% ^
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
5 M0 g& L9 M: i6 y0 O& C! F8 H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。% f, D( n! q% V5 H9 A
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; B/ i2 d+ N' ^3 o' K8 j% 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
7 b8 H; Y/ Y) C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
; P w3 c; e$ F- \. t2 H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5 O: l, ~2 E) l; H, e5 S% s
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6 w5 q! r/ P4 ^# K) ]0 _
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
7 @0 ~+ k5 ?# N2 d q5 U9 t# h$ R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﹐
3 w& ]( t+ o( J9 t# `* `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4 k2 @/ Y- V3 J6 |
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」
8 n, ]: d: k2 y1 F+ x6 @0 |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( C& g ?# K, c9 w4 r& S3 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. c* Y# V1 c& ]& k- E. k
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% w( v! @% L, S8 c4 d. 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/ |& f! D# D% ?# P1 x/ \+ e2 X6 }$ J
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
% L/ i# U7 u1 ^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% V7 m7 C7 b% T; Y
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; s& V; J& T: k3 Y, P
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# d" v) @5 g6 E$ e# ?& l0 S# {( y
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 Z7 u# W0 `" w; z+ Z( W% S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。』( b. y! P9 F: h9 p3 l
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9 l% R* v( ^2 I+ N+ e6 |
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
$ d/ ~5 E* q% _( V4 L評論才會公允。』 |
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