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芝娜道﹕『下面一首是RED AFTERGLOW﹕
0 f! m% ?, \5 c7 u1) Lo, the red afterglow,- S& C& d! m4 b* r* r9 I; M
Against the sky blue! + B7 z; p5 I7 r. }; ^- q9 \" Z
Is it the blush of Heaven, 6 W& O8 A- R4 ?5 w
As on a maiden's cheeks,
?$ q2 G9 t, R( z, u When she catches sight
$ F. d; v/ v3 x$ \ Of her coming lover?, C' z0 u$ ?! F: F7 O6 b E$ O2 w
2) Lo, the red afterglow,- d$ V+ i7 D2 k" T, k! s
Against the sky blue!
# C5 q& _+ ^" f: V" d+ o; @! M Is it the fire of bivouac7 L" k- _' w3 I- Q2 W& G; E
Kindled by Nymphs and Naiads
" p, _2 g$ H% m" H% Q On the banks of Milky Way9 W f6 {4 F0 Q! ^) e
Holding a celestial picnic?
! `4 H3 H+ O! e: J |1 g7 a3) Lo, the red afterglow,# y) y1 M7 ?- t3 |; d
Against the sky blue!! j5 i0 }3 Q9 C9 E3 e, C- ^
Is it the ruddy gauze veil
) v3 {8 O- R2 v0 V! v' n1 l* [ That veiled the face of Juno5 w* [. ~4 N$ x
On her holy nuptial day) N' o* O0 @. z+ b; W3 \
When she married Jupiter?* I" J1 X* A0 Y5 d$ e0 A
4) Lo, the red afterglow,
8 }" L" j- r G+ N3 J& J* K. u Against the sky blue!3 @& S& b. b, Y1 c2 C
Is it the fire of Mt. Olympus) b7 o& ^" j, m4 Z, S
Stolen by noble Prometheus,
+ s. k% ~! g# E And in his careless down-flight0 ?" ~* w! o! ^4 l
Set the fleecy clouds aflame?1 e( p1 w$ Q& Z0 u, s) R
5) Lo, the red afterglow,
6 b* ?, A0 s$ |% d/ w( o% j Against the sky blue!
/ \7 f9 }# ]/ @3 C. `1 S b- w Is it the blood of the heroes
/ d& Y: G2 ^( U% \% r) ? That died on battlefields+ L" N0 }' l0 J
In the sacred defense8 ^7 F$ k; Q+ ]# S/ X% u% Z6 p
Of their dear motherland?
" z0 E$ E/ h! n: E9 g7 ^6) Lo, the red afterglow,
2 |# y2 ^/ K9 k3 F& m, f7 } against the sky blue!
( i5 m: D& W, g! m3 Q, q: s- E If it the Isle of Coral W1 [: `% M( K" a9 ?4 [1 F9 A+ M
Removed by a white witch: l8 B4 T8 ~# L9 ~
From the Pacific deep
9 _% m% n* g0 h& b, C# s( Y To the heavens above?
6 H ^ ]5 B- `" c$ n7) Lo, the red afterglow,/ Q0 W5 w9 ~1 Y7 z3 M1 f
Against the sky blue!
# ]* z# Z1 q: E. }- e Is it a cluster of peach trees," B& P9 Y1 A% n
Their blossoms in full bloom,
% o* D: g' X8 R5 K9 H Grown by the daughters of God: Q7 C! B' W8 w( e; f1 r9 K& C4 y7 e
And watered with nectar?+ }8 y+ g' w5 D! M! A7 {
8) Lo, the red afterglow,
* A5 j# r) T5 E" v' d Against the sky blue!/ L6 m/ s& M, T% w2 k4 _
Is it Flora's rouge
3 O. {8 P: ^" y4 m5 { E: o Spread all over the sky0 C# W6 i+ \9 @& R# I
By her frightened maids
9 \& z0 p) S2 m( m6 j8 j" s6 x In escape from her anger?
l, `# S) s' u! r0 u: c, m7 p. U9 m9) Lo, the red afterglow," m; o2 r* H/ x# z) }0 Y
Against the sky blue!
- y, T0 _' G, ]# t2 z5 f3 Q Is it a large piece of sponge
5 e L% b) J' I% i, _- f8 m, k Soaked through with claret# Y$ @& O# i. L! S. b1 i; C
Upset from the Holy Grail+ V" H" d3 v& `
By a rash cosmic pilot?』
& P7 v6 e( n4 i. A% t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
" M' f7 d% \; n+ h: O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+ a+ p4 P$ c% `$ k3 x6 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
! I% T9 p" w3 ?% S# y7 N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- h h3 I6 h0 l) k
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+ G) r+ m' P$ n7 ~
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 i0 m, d; E0 `' U3 X8 C
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。
; A% E$ J0 Y% B V- |# U3 l( 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﹕
# k4 Z- ~; l9 Q# m1 bWhen young, I don't have any notions what woes really mean,5 Z6 I3 W2 _/ z1 B. c: `; q l
Just love to get on floors so high.
4 h: e- d2 n( K$ R Just love to get on floors so high,/ m9 z- x# V# n4 _$ Z! l
To write new poems, I try to say the words of woe and spleen.
/ O X9 t6 x2 a. \
$ ] y' ]2 B v6 |: O1 KBut now I fully have ideas of what woe really is,
I) C8 w& `$ `- y: _7 m7 M1 e Afraid to get on floors so high.
( ?+ a1 D0 L7 c5 R( H2 O Afraid to get on floors so high,2 t- w$ e- x( L- }+ I$ H+ z4 m
I only say in poems how good and cool the Autumn is.』
: a" c# [0 a4 B# {/ F* I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4 J4 `% ]( L) u; G3 s8 f& I
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。
! }! f' D3 ], v b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﹕
9 }6 R* [6 [) L# T1 H. @( L『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
5 ^8 W4 G3 V0 T5 F" G+ n/ `7 [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
! H* _: x9 V; d! b. O) B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) {" }* r3 J8 i: G
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﹐
$ \, B# l3 j# d" F' Z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
7 Y/ I" V# W3 l3 d* G2 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2 t) F R7 M2 q! L: ~. i; 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
) z o3 ~3 s d6 {+ R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# l% c9 A T& i7 l G
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
) k ^& ~* L2 z. ~; W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5 X4 ~' v: i" c2 ^2 m w2 W
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﹕$ ?- b* \4 Y: B: y
Poor Odipus, a scapegoat he was! Accused of three great crimes, he - c* E/ ^' J; T: _" n/ ]
suffered a terrible tragic death ----a punishment inflicted on him by . A7 H8 z/ q, D
the gods on Olympus. When he learned his fate decided by the almighty ( |/ e+ a c- [3 V# H
gods to kill his father, marry his mother and bring destruction on his
) b2 y1 X0 a- _3 knative city, he wished to escape from it. But destiny was unavoidable,and 0 h2 S; ~( Q% Q
unawares he fulfilled the assigned tasks. If the gods had decided his
/ s- O3 T! [7 p/ s0 i" e( i, Jfate otherwise, he would not have been a criminal, receiving an unjust : }) b p3 s' T9 S% U5 `; ~
punishment and bearing an ill-fame for thousands of years. He was only
6 ^) F$ z, f+ h) ian executor of the wills of the gods who, struck perhaps with a whimsical
8 v2 A6 f, l4 \fantasy, played a practical joke on the helpless mortal. The gods were
1 f8 G3 T8 y3 M7 }the plotters. Who then deserved the punishment? The gods on Olympus rather 4 v8 V9 k! |* b/ S0 v6 e! }, o% Z
than poor Odipus!』7 e" k1 M% w2 F; p& J- P2 L
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. D2 X. r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﹕; i) V& s7 U! o' m5 Y
『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﹕! { ]- E' x6 ]
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
; V, H' t+ r) \1 ~$ |8 aADDRESSES TO MONEY﹕
' ]. z$ Y, y5 \" X1) Oh, Money! My darling Money! My respected Money! I'm your admirer, 2 X+ a+ y) i5 c, b% G7 v
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, / z% k/ u# T' k* \. I
your slave. With you I can get food to keep me alive. With you I can ' ~! k# L$ u+ I3 m" m3 x4 K
get clothes to keep warm. And with you I can get whatever I want, a
9 Y( {: Z/ ~8 I% g" B9 Z/ V( \& Lgrand mansion to live in and all the superfluities of life for ostentation. 3 I* ^* ^5 [5 I4 ]
But without you my love will desert me. Without you my friends will ) B+ n2 Z' @6 Y ]# S
turn back on me. And without you I'll go a-begging like a poor dog
/ a# P, e1 l! h6 B' \* m8 C: Sand sleeping alone at night in a ruined porch. Oh, Almighty Money, come ' ^+ R& Y) m/ F8 E5 j
to me, I implore you! Pray, endow me with your favor and be sure that I'm 8 n. W1 O# Z5 R
willing to receive every small coin from you on my knees by which to show - V3 O7 r0 ^1 N9 T, y- V
my deep-hearted gratitude. 』
) R; |- I2 C) ]5 l( \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。』* ]9 }/ `) q+ R9 Y( v y# D( L
芝娜又唸道﹕『第二﹕
1 ^& t3 `3 v$ F- E5 a9 R2) Oh, money, my obedient servant, my faithful slave! I'm your master, & L5 |) O# B3 {/ V: N
your owner. OH, money, my passe-partout, my almighty tool! I'm you user, ) u8 E5 y# E4 D
your disposer. With you I can start my enterprises. With you I can carry
+ B1 W6 P, L; j8 m4 ?9 k1 Von my great plans. And with you I can make the little world around me 9 O4 z/ ~7 o/ K- }5 _7 D
go at my will. If without you I can still have a large store of learning. ( r* j! a' ?+ I N* k, v. M
If without you I can still have an unpolluted name. And if without you ! U* b. A8 J: y- i
I can still live like a hermit writing books of great thoughts.
) s* f/ ?6 s$ z& a9 w |2 E4 @0 VOh, servile money, come to me; my lad, I command you! Serve me well 0 q- D& ^+ b6 o' g) e
and don't be naughty, or I'll punish you.』
) K. N+ d# j! X- q6 {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
( T7 v1 T+ ~4 A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﹐# A- O- e' e& p' x
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 BEAUTY9 K* G% y6 ~# v9 U( \5 }
(談美)﹕, V& U/ P4 P7 N0 ~1 h6 \+ ]
Beauty often dwells in youth. At sight of a charming girl, everyone ' u7 i7 A. j5 `* q
will exclaim, "My eyes! What a great beauty!" The male stares with
' d: k, Q) V/ q4 t) z# J& o# Fa thrill of admiration; the female gazes with a sigh of envy. Wherever $ B3 Q' e$ |5 c5 J. G
she goes, she becomes the focus of the attention. Men all yearn to win
o( w; w r$ N1 N" _4 s; Jher heart; women all feel a regret unable to stand in her shoes. A glance
4 t% t/ w+ K8 S5 w) ]+ s1 ]or a smile from her makes the stingy empty his hoard of gold and the ! u U* k$ m J' e: f' h
coward give up his life for her. She enjoys her queenly position in society,1 E5 C% [, a1 G1 [5 ?3 P! U0 I& P
proud of the possession of such a beauty. But the merciless Time
4 i$ P8 k+ x) F* i4 \$ r0 pdogs her steps, too. Her beauty is worn out with the years. She begins to
* _- B) d% L: i, [, V; D3 ?% }fade away and the hardship in life, if any would befall her, will bring
0 ~# U6 {6 \9 e8 R7 {1 f6 smore wrinkles on her face. Then men turn their backs on her politely with + q; `3 V1 S( Q9 i& Z& \/ r, W
a bow; women look at her with indifference. The younger generation is magnetized
6 e! E( ~7 p: e" l4 p; [' nround another focus. The old queen has to abdicate and leave the throne
4 M0 y9 V k, yfor a young one to occupy. Only a photo or portrait can preserve her beauty - m& f8 ^9 k# T0 }( I, j
in youth and no Time is capable of doing any injury to her preserved beauty * h; c7 n! ~8 h; ^6 s6 R
but the preserver itself.
( @$ Z' P: h/ m2 ^$ \( J Therefore, admire not the beauty without, but the beauty within. Such 5 q( m1 t2 h3 y8 C2 n$ E
a beauty will never wither though Time also plots to do it harm. In the
- g0 v# s) c' Lstruggle against the adversities of life and the ruthlessness of Time, ; f. x) @7 F$ e" U' Q; I: I' x
it grows radiant, or even dazzling, just like a rock in midstream made
5 g+ z4 _7 {' m2 Y6 a& ]! ~- y, i smooth and glossy by the current of both the stream and Time. Everyone,
9 P+ }- O! |; N- j0 Z. ] O8 w5 ]in spite of the age and sex, if aware of it, will sing its praise either
: S9 g! d% m- j1 X' c5 c openly in words and letters or secretly in mind. It lives as long ' k$ U& ^, ]/ N9 N7 V6 r; o
as the possessor, or even much longer after her dust may be blended into ! ^1 S8 ~4 l/ `5 I
a vase with the clay around it.
+ X/ b0 w0 f& ]- u3 Z% ~2 Y) {% V4 n The outward beauty can only be the object of admiration or envy while 1 a0 F1 f- e* k3 O$ l: N0 S8 q
the inward beauty, besides being a theme of the ode, can serve as an
, `( G! E1 |6 j8 Uexample to learn from, for the former is always endowed by birth, but
5 s9 X5 T1 X# Ethe latter by self-acquirement. However, every man is free to hold
1 N- q* s/ z6 i$ E% I his own notion of what the beauty is and to choose whichever of the two
& B9 S |6 S N' C8 sbeauties he prefers. Only his love for his bride select should not degenerate 0 ~. J* Z* O: g$ L( p$ j
with the shrunken beauty.』/ _" o6 L! Q8 I: C' ?4 V1 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- \5 c5 J4 ?7 c8 p6 l9 g1 T* ^
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. Z# {9 e5 g; N, m5 q. g" B
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 。』
+ @9 q$ r7 L6 M9 V1 `1 }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
. _1 A. P r4 n. E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5 Y! \9 o) A+ O7 E1 ]- q
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1 Z1 m F; h, Q f3 b) |
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。* S( Y, O1 W7 P1 m+ F0 t' |8 w7 [
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
" D1 ^) P* G/ `9 { A little boy walks by his mother's side, with one hand in hers and a balloon K. o4 }- D' y! o J
in the other. A sudden gust of wind snatches the balloon away from 3 ^# M) ]& Q& l) l& o) p
the boy's hand and bears it skyward. As it flies higher, the excited 3 o5 ^' Z* L) {" l' o$ H
people in the street all look up. "Surely," the balloon says to itself, " ^5 C8 [# {0 S4 P# }
feeling proud of its uprising, "they all envy me of my ascent." Then in its 4 _) z8 d3 M& N- U( {+ T
upward flight it passes by a balcony on which a group of boys and girls
8 w8 x k) h% f+ C4 q: ?9 G) gare standing, giving a cry of excitement when seeing an escaped balloon 7 d2 J& L" X9 R9 x# ]% b! @" j5 e
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
6 v0 H% t4 k- f$ ~2 D" Ithinks. Up and up it soars, above the roof, above the spire, through a # L: n( v9 ^. @0 \" s
thin cloud, into the blue sky. Then a dove hovers near, but after a glance
3 E( J' j3 B: [3 b( Bat it, flies away with indifference. "Of course, the bird nears to % y* ]) l6 ?% k0 U: r
salute me," The buoyant balloon flatters itself in exultation, "but as
* L7 @5 a2 U5 R! AI ignore her to keep my dignity, she takes herself away in awe and respect." - ?8 j" X- C9 r7 C0 W* o
The higher it clambers, the haughtier it becomes, till it reaches the & v0 t% C7 \+ J3 Q
zenith where it means to stay for millions of years, but, alas, it bursts!
2 s, e9 e- c6 ~- s$ K7 _3 N』' f- P5 U- _6 d* j( H8 U. ? J
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% r% D) l4 T& s7 J& H' S
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
8 G$ J( z, g' _' V! q Etiquette is to society what apparel is to the individual. Without
) P. C, m! f' T; f6 V4 dapparel men would go in shameful nudity, which would surely lead to the
8 V( C! b' C% L! j0 ~corruption of morals; and without etiquette society would be in a pitiable . h# [0 I8 O8 z+ ?# p/ D
state and the necessary intercourse between its members would be interfered . P" r; T1 i0 H: s8 n
by needless offences and troubles. If society were a train, the etiquette 4 T" H9 y4 ]5 ]6 H# R$ M: u
would be the rails, along which only the train could rumble forth; if - T) G3 G& O- {1 d: Y! T
society were a state coach, the etiquette would be the wheels and axis, ' T) ?) K" x. w$ W
on which only the coach could roll forward., B |6 W* I" g, U/ I5 v' t8 u
The lack of proprieties would make the most intimate friends turn to " Y4 c' a3 Y5 d) o! x! m
be the most decided enemies and the friendly or allied countries declare 2 L4 o, P( _9 Z! ]) d1 J* A+ V
war against each other. We can find many examples in the history of mankind.+ w2 O6 x2 E7 g
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
- O6 n8 R! W* o+ b8 Z rby his favorite knight for a joking word. therefore, I advise you to stand ; v8 W, q2 U: D
on ceremony before anyone else and to take pains not to do anything stupid
, R4 t( p& R4 y: F( O% c- Ragainst etiquette lest you give offences or make enemies.』4 k( q3 E u( P& {
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
- f1 ]1 |8 c# E3 b7 j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3 w- M% N* c9 f! l0 S
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
y Z/ [8 Y% x% [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。" q6 m; t% I& B0 u8 ]
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﹕
$ [& E( Y7 d3 Q$ {+ ^『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﹕7 u" { g6 C- F& S5 [
『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﹐5 O: e K+ k5 F a' Q" L+ ^
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
/ f6 w$ \( |/ f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; \0 P# ?9 A0 l @ Z
銘」的譯文
* k ~" R0 g3 C" K( sAN EULOGY ON MY HUMBLE ABODE﹕
' ~" [, _/ `" _& i$ [ Known will the hills be if fairies dwell, no matter high of low; and # o8 P) _9 c. u: {1 W" s' |
charmed will the waters be if dragons hidden, no matter deep or shallow.
0 X$ E B8 _* L+ V. b) `4 h A humble abode though this is, my virtues make it smell sweet. Verdant . ^0 x ^ c. p* P! S
are the stonesteps overgrown with moss, and green seems the screen
) \, y t H B as the grass seen through it. I chat and laugh only with great scholars
" g2 }+ O Z6 M6 b4 x. k7 rand have no intercourse with the ignorant. I can play lute and read my
, _! M' Y5 M1 f' N, X* Qsutras; no unpleasant music to grate on my ears and no red-tape to make * h- [5 H* B, t( M/ }( \2 s1 `
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance ! W6 X) l6 o; ^7 t$ `/ U! q M$ j
in Xishu are both like what Confucius quoth, "How canth it be humble?" 1 S+ q$ Z/ C; u
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。
' v7 L& x- W& w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﹕! E1 r7 o$ l, m J# A
『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
( d5 U% ?: I- Q9 \& S1 @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9 a& N3 S7 f. E" e; y* W9 n3 M
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。』% d9 V c1 l, a5 Z$ D
& r2 S6 C, g9 \
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
. g% |+ i2 ?6 ?' j. M+ U# x. k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
5 j. N7 f& W$ q ^+ f1 V$ x6 F/ q O+ C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。』
) V- W v% K G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
$ o+ p$ ]7 O% s- 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。4 H% W8 s! e9 {" h; 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1 @6 X# t; j! M+ a; i6 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/ J) U. O& C4 `! Q
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﹕. P5 a6 a8 G: }/ s( ~! L; Y
『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4 q2 j- X) F8 h! M Q3 L. r
音樂跳起舞來﹐直至興盡而散。
5 V9 K4 j& d, u% Q+ W+ o 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+ B% t, M2 h: S, K, g; W
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
9 X% r/ j2 a5 ^. G7 Y9 p" D K+ Y( i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/ o$ a, w) d9 q& E( T
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
: A0 ]. f, g: T1 _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﹐
, Y5 F. Z. s( p, F0 u/ u: r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
* i; r- T9 ?) i3 g7 S$ g9 m) Y% N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
/ `9 t% ~* ?% Y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
3 r6 M# o( S- S: L* E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。
4 \- z7 E( ~/ 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) ~$ Q9 j! e# ~/ C
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﹖』八1 q' c6 @' |9 _. ?
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
, w( w! ~/ a$ J- X K, }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
* y: t0 z4 W+ u( O6 H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( y3 m2 g6 J5 \2 l, w3 E" c" g
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. h! N/ J5 P! x" m0 k6 t- P
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﹐
, x" Q3 M7 J; h' t+ V5 @. W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 d4 f3 u- W# L6 M
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」
) S- W0 C. t0 ]; Y4 Y" \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 {" B- t# T, B( {8 R
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. |2 G, }: o; U. ]6 \8 g6 B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
! v1 W" v6 Z3 b% D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 O3 d, h& K! h* f3 ^# N: @9 H2 U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% O n( n1 r. i8 k& s( r
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
* u& m+ J* s# q3 u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. c2 B- p2 y- C D
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 |; C0 P9 Q; W$ E/ l- @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
2 y6 z: ]; i: x( b* q6 ^* q3 h/ ?+ ]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。』' G" u7 U, C( }
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( {7 B/ U. U0 P7 m% q! J3 f9 V
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! O- C- B' ~- O$ A) V! V
評論才會公允。』 |
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