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芝娜道﹕『下面一首是RED AFTERGLOW﹕, Z0 L/ t9 J% i, w# Y
1) Lo, the red afterglow,
0 P0 X v4 v s* @: j3 r! J Against the sky blue! 3 |* q/ |; C$ m( k
Is it the blush of Heaven,
+ S4 u% D2 \5 y8 W( O+ T As on a maiden's cheeks,
* i' f! k! Y& Z0 c# L When she catches sight+ U: ^/ S. T4 i# M% R
Of her coming lover?) x9 X6 @) f$ R4 E4 { i
2) Lo, the red afterglow,- {6 X7 N5 T6 P
Against the sky blue!4 Q- H2 q; E, {1 X
Is it the fire of bivouac" A+ m1 g0 K2 e: w# M4 S
Kindled by Nymphs and Naiads5 z8 O7 }7 z4 P0 f
On the banks of Milky Way
# g2 i7 I. N1 Z. O+ y& v6 H& @ Holding a celestial picnic?. L" z) G& u# {; F- u, P
3) Lo, the red afterglow,5 q/ {% w! O4 w" `5 Q5 ^: j5 v
Against the sky blue!
" l' F. ]* i0 @0 h, }7 |% m3 z Is it the ruddy gauze veil1 S P8 f9 x; u- M3 }6 ^, o H
That veiled the face of Juno* D) |8 j) Y, C2 s5 C7 j i
On her holy nuptial day
" @& A4 s# T! I8 w# i When she married Jupiter?
# o' z6 G/ m7 b- S6 R5 Z$ e4) Lo, the red afterglow,; b8 `' b/ ~- i
Against the sky blue!
) u7 J6 L4 i( c: _; y( R* G; o5 @ Is it the fire of Mt. Olympus; s% i$ t4 C# d8 }; z8 ?7 e N
Stolen by noble Prometheus,( U3 U( L& p: y' ^6 d U' A8 N& L
And in his careless down-flight
' Q) X% h2 N7 I2 t& G D) x: p Set the fleecy clouds aflame?' @, t! B) M4 Y6 X* G; \/ q1 O% o
5) Lo, the red afterglow,
, m* Y, T9 ]% T: m- @6 G Against the sky blue!
; O" R$ a: S( S Is it the blood of the heroes7 d5 h( {* v+ U5 D2 r
That died on battlefields, K7 i' V7 J! Q# G: A, }' O+ B7 E
In the sacred defense
7 m4 O2 `! t. k, y; O Of their dear motherland?
. b- ]" Q4 C( Q+ d/ W# o6) Lo, the red afterglow,$ M: H; a0 I1 {' p# T- M, v$ O
against the sky blue!$ l: ] p1 p$ a$ {! |! M
If it the Isle of Coral, l+ ~% d7 }4 u/ j; `
Removed by a white witch2 W2 b9 i: L5 H; U# ~* Z
From the Pacific deep
6 A) D# m; e/ X# N. a To the heavens above?
- H1 G% ^& i. @0 }& w' T1 Q; _! w7) Lo, the red afterglow,
' ?% [! e0 Z/ Y* Q/ U) _4 N Against the sky blue!
1 C3 }4 f' x2 W+ G Is it a cluster of peach trees,' S7 K- C2 k: `1 [
Their blossoms in full bloom,* w. O# _3 `' r" U4 Y, w$ v0 v8 b
Grown by the daughters of God
% \9 c" ]2 s+ c3 l0 \ And watered with nectar?' r- |5 }8 m# d; |) n, x0 y) N( T
8) Lo, the red afterglow,
0 d8 s6 u. r5 n" G: q Against the sky blue!
0 ?; M; r9 a0 F+ Z- T Is it Flora's rouge9 r5 r, e: p4 A5 X8 e9 d- S
Spread all over the sky
1 |- \3 P$ X9 t q0 {; F! x( Z" x" t By her frightened maids4 v( ?/ ]6 }- D5 A, M- l) ^
In escape from her anger?
9 f$ p9 E: t4 t; _9) Lo, the red afterglow,2 t$ `( v3 d1 ~( P
Against the sky blue!+ n) b+ |' W8 {7 d# _. Z+ Z
Is it a large piece of sponge
* E2 I$ W2 Q! M! Y7 O& v. z A! A: {4 q Soaked through with claret
) A B9 S& T7 P0 j5 y: B Upset from the Holy Grail
" u- i! K9 ]4 T* C By a rash cosmic pilot?』
! w% Z5 S" p H! P% q4 [1 K# p7 _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& v/ g: w; D# c+ T: c
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
7 C# c' _9 v: e' G% m9 Y$ V1 a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
5 ]' M7 M# t, }* h( ?0 V1 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
( Y; T, i4 C9 ^. o. \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 Z; {+ F$ q; g6 d/ z; [
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0 b+ ^1 v; [5 O: i6 F
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。
b6 b2 w) m3 o2 _ 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﹕* Z4 {0 j& f- W
When young, I don't have any notions what woes really mean,6 A$ l- I! l m4 U% C) S
Just love to get on floors so high. 6 |3 E+ v, q9 M. S6 T- Y* h* q
Just love to get on floors so high,! s. ?" Y+ b& H
To write new poems, I try to say the words of woe and spleen.! k/ m' n4 l0 S1 E1 C- w
; c; A) b4 X( w5 C2 X6 KBut now I fully have ideas of what woe really is,/ k. i! Y# x: f
Afraid to get on floors so high.
) E+ ^) I, J; N+ W$ t8 C Afraid to get on floors so high,
* z+ [ n+ L. C- E+ h5 ?+ bI only say in poems how good and cool the Autumn is.』
% ?, _2 i: O6 X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% e- c, \9 {2 J u: [- N
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。
Y7 f5 o& ?/ U4 f7 ?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﹕
3 f" r4 u; P" f- E/ 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
0 ^1 b5 l1 ^* [, u% f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
1 X* h0 [* Z" h" ~* j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* |- w# J. m$ |6 i. {% {
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﹐) D+ ^9 d* K6 y3 ?6 A
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. ~+ K) E! E$ |1 J9 q
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
+ I0 `4 Y: [7 B& Q0 {. T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0 u2 M g! b; D. s' Q
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
1 n* O: T0 T& N8 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* w' {( z( c5 l! [ o& v) L
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
6 ]: J$ p- g% i% Y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﹕3 }& n: N) {1 f3 q6 H$ U# A$ ~, i5 \# W1 b
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
" P. x$ u3 I( Z3 Y& C+ zsuffered a terrible tragic death ----a punishment inflicted on him by
$ x: S7 J6 I }( [the gods on Olympus. When he learned his fate decided by the almighty 2 h/ h) P/ o! v
gods to kill his father, marry his mother and bring destruction on his
/ g h" k# x, R! K$ t/ ^native city, he wished to escape from it. But destiny was unavoidable,and
0 {/ i5 x3 c3 T6 xunawares he fulfilled the assigned tasks. If the gods had decided his
8 C7 z- z4 E+ t& Bfate otherwise, he would not have been a criminal, receiving an unjust
- G6 J5 V) m3 L1 d! Opunishment and bearing an ill-fame for thousands of years. He was only ; A$ ?/ ~ \" p, U
an executor of the wills of the gods who, struck perhaps with a whimsical 5 V, |/ S! {. j5 J; s) v% C' X
fantasy, played a practical joke on the helpless mortal. The gods were
7 p* d% D2 A4 ]( Y( Bthe plotters. Who then deserved the punishment? The gods on Olympus rather " z& C& i- g6 n( t# e
than poor Odipus!』- |. T% y1 I) M9 C
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﹐
x* |% [3 o( G5 M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﹕
' H! x* N! E; ]! [) ?. l8 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﹕5 z0 S5 Z! y" W* j) g( Z; v+ p
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
) p4 n4 t% B CADDRESSES TO MONEY﹕ e/ C# s ~" C5 J+ ?" r
1) Oh, Money! My darling Money! My respected Money! I'm your admirer, , Q) k! t% p2 j3 `1 T. ~6 S
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant, & Q# n, q5 o& ~
your slave. With you I can get food to keep me alive. With you I can
, ?- s5 x" B! t! E5 Z* H$ Jget clothes to keep warm. And with you I can get whatever I want, a
! [- _8 ]2 L: A$ n; I! sgrand mansion to live in and all the superfluities of life for ostentation.
1 x, p% t0 M: ^3 L: \But without you my love will desert me. Without you my friends will ) @7 V! O* n% t) V V
turn back on me. And without you I'll go a-begging like a poor dog
) ?1 b# u8 I, q& A/ ]" dand sleeping alone at night in a ruined porch. Oh, Almighty Money, come
; _" v0 F- {+ s! _! E( rto me, I implore you! Pray, endow me with your favor and be sure that I'm
0 _0 F1 C3 N* M/ j* l/ \- }. ywilling to receive every small coin from you on my knees by which to show
$ K/ c( X1 t5 Q9 V& [( N9 omy deep-hearted gratitude. 』
& D& r; |9 f4 C% G0 W+ y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。』+ m, w' `/ I$ i
芝娜又唸道﹕『第二﹕6 x' o! g* e; o
2) Oh, money, my obedient servant, my faithful slave! I'm your master, $ I0 [( a2 a+ A: T
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
7 k3 Q' A* Y- K* H4 v6 Tyour disposer. With you I can start my enterprises. With you I can carry
2 j+ I# M o' Hon my great plans. And with you I can make the little world around me
. t( Y7 S* K, J, J$ _go at my will. If without you I can still have a large store of learning. ( W$ g. e0 r) B$ t. E6 C2 h |
If without you I can still have an unpolluted name. And if without you
% e9 a8 \! ]. T+ d& Z9 O' n v1 I I can still live like a hermit writing books of great thoughts.
3 o4 H _- P) _' l( T% ~8 HOh, servile money, come to me; my lad, I command you! Serve me well
. d/ A( }& c( M7 c. I and don't be naughty, or I'll punish you.』
2 r* F1 M/ f* G1 X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. u+ Q0 z; `8 H; J# S, W
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﹐# p& P2 A' H# K
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
s/ A8 J. t+ u B3 q9 O/ G4 F u2 K(談美)﹕
) _! g X E( U/ k g( P Beauty often dwells in youth. At sight of a charming girl, everyone " _1 m ^2 r( O: p+ S" _
will exclaim, "My eyes! What a great beauty!" The male stares with
$ C: w1 W) \+ e3 E% ^8 Ra thrill of admiration; the female gazes with a sigh of envy. Wherever / U b1 V! t2 d' o+ _
she goes, she becomes the focus of the attention. Men all yearn to win 8 |8 s+ ]- E: A% v! d* n! z
her heart; women all feel a regret unable to stand in her shoes. A glance
6 u# H8 R7 E# x$ l+ z1 w; M: q; tor a smile from her makes the stingy empty his hoard of gold and the ( d# I8 J4 ~9 ?. c! X- G! L3 z
coward give up his life for her. She enjoys her queenly position in society,/ ^' d3 b c. F4 A7 g
proud of the possession of such a beauty. But the merciless Time
. X M& l G2 {8 M" bdogs her steps, too. Her beauty is worn out with the years. She begins to " C1 Z) R. ?2 v# K( Z
fade away and the hardship in life, if any would befall her, will bring 2 V9 ` v/ n% h+ s. c# f
more wrinkles on her face. Then men turn their backs on her politely with 2 ?0 r3 Q6 K x# q
a bow; women look at her with indifference. The younger generation is magnetized
& O* s4 j; ?! T7 s* S$ \5 v: e5 Hround another focus. The old queen has to abdicate and leave the throne
1 _3 B* |7 ]" p2 [for a young one to occupy. Only a photo or portrait can preserve her beauty
* {; I+ W; ?9 j' }5 ]5 ~$ D6 zin youth and no Time is capable of doing any injury to her preserved beauty @/ [. g, K" j$ J: d) n
but the preserver itself.
. x+ s* o8 }6 N" q/ ?3 } Therefore, admire not the beauty without, but the beauty within. Such 2 f0 F3 ^$ C% F7 Q: Q3 J( D8 ]% O
a beauty will never wither though Time also plots to do it harm. In the $ ~8 B, E! R% e9 x7 `$ S
struggle against the adversities of life and the ruthlessness of Time, $ c; K' V q+ D7 W
it grows radiant, or even dazzling, just like a rock in midstream made
3 ?' d& h& e4 }4 }' f, ` smooth and glossy by the current of both the stream and Time. Everyone,
. b# U) _, e+ j* k0 n2 D6 ?8 ~( ]in spite of the age and sex, if aware of it, will sing its praise either 3 B$ R& y+ u$ P) J8 r
openly in words and letters or secretly in mind. It lives as long
8 l5 h5 c, ?/ E. V4 Mas the possessor, or even much longer after her dust may be blended into & P/ W: v! V( [8 ~
a vase with the clay around it.
K9 p- q) z: A) h) [, C# q# ? The outward beauty can only be the object of admiration or envy while 1 e6 N! J2 A' |
the inward beauty, besides being a theme of the ode, can serve as an
8 g+ @+ B* X; u0 b6 m. kexample to learn from, for the former is always endowed by birth, but / z6 `% }/ \6 o) m: U5 R
the latter by self-acquirement. However, every man is free to hold $ o2 d# A' J& Q* p& e- h! C
his own notion of what the beauty is and to choose whichever of the two # f- _* ~! {. Y/ ?/ S
beauties he prefers. Only his love for his bride select should not degenerate 4 p8 I2 ~. N! `# \3 q( N% S
with the shrunken beauty.』9 i" s$ ^1 _0 E2 g g( I/ p& t
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! u/ g1 O% N' h# N9 y8 p
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
) X3 e1 g2 y* l3 u9 A: 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 。』
) a! R2 s; x9 ~0 X, {" j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 D* A1 s4 v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 u& R. M! s9 Z$ Z6 w
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. T( I4 I% U" O; k
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。; R+ \ B* g9 F4 V' [4 k& b0 v' u
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
/ n, a5 S! U. v9 @/ V# |8 u( S A little boy walks by his mother's side, with one hand in hers and a balloon 0 x6 m9 U r. K! ~: m
in the other. A sudden gust of wind snatches the balloon away from
8 g- c4 {& N& B* D" e- m$ ~: w4 I the boy's hand and bears it skyward. As it flies higher, the excited ! L6 b3 C1 q% e1 @$ u/ N
people in the street all look up. "Surely," the balloon says to itself, 9 z. N4 a+ n# Q J. X
feeling proud of its uprising, "they all envy me of my ascent." Then in its ; f- N G2 s. P4 T
upward flight it passes by a balcony on which a group of boys and girls
1 n% l9 r* v& g0 x2 mare standing, giving a cry of excitement when seeing an escaped balloon , @, P5 V1 h8 c3 w
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon
$ i+ ^1 s* E+ J7 qthinks. Up and up it soars, above the roof, above the spire, through a
: ~# \% H6 I: s" Sthin cloud, into the blue sky. Then a dove hovers near, but after a glance
( G0 k5 l4 E( H0 T( t+ Jat it, flies away with indifference. "Of course, the bird nears to - ^( g! ~3 E; c5 H4 x+ S; j
salute me," The buoyant balloon flatters itself in exultation, "but as
k5 u! [+ I8 t; ~1 y2 N, ZI ignore her to keep my dignity, she takes herself away in awe and respect."
2 S$ V4 T3 E9 v4 E6 B The higher it clambers, the haughtier it becomes, till it reaches the 3 Y8 o* H- g4 W8 `) o ?
zenith where it means to stay for millions of years, but, alas, it bursts!* d" k, H3 D% G# C) x% q; V
』" W3 O1 ~9 m, r3 y- a
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/ |" K/ l2 l2 q3 Q! \
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕' i" X1 w1 Y) [' ^" c+ e
Etiquette is to society what apparel is to the individual. Without - i) l. {5 E! I! r
apparel men would go in shameful nudity, which would surely lead to the 8 l, }& t' U8 w* [' d, A5 Q
corruption of morals; and without etiquette society would be in a pitiable
" m0 t" n" ~3 ^8 p8 e( z p$ M$ Pstate and the necessary intercourse between its members would be interfered 9 J, w$ b" G7 Y$ N! m K e% n0 n" H* k
by needless offences and troubles. If society were a train, the etiquette
6 {8 ]9 T I: L! q' ^* ]would be the rails, along which only the train could rumble forth; if - d3 s$ _5 d1 a+ n" d
society were a state coach, the etiquette would be the wheels and axis,
2 C R5 r0 {5 O7 Z/ w on which only the coach could roll forward.6 G3 Y, z! z) G9 |$ C8 w
The lack of proprieties would make the most intimate friends turn to * V; `, Z; a. m
be the most decided enemies and the friendly or allied countries declare
5 D5 d3 [% e+ }, F6 z8 ]war against each other. We can find many examples in the history of mankind.8 b/ d8 T @4 G. s( D+ A& @1 ]
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
4 E$ L1 E: `5 @/ ^) Q& Nby his favorite knight for a joking word. therefore, I advise you to stand 0 }! q" R' I1 T5 J4 @2 ]
on ceremony before anyone else and to take pains not to do anything stupid
1 u* p3 o4 S2 Aagainst etiquette lest you give offences or make enemies.』
+ ^ g$ n6 _! k) H* a; ?" d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0 n5 Y/ a! z! G9 ]7 j8 B+ Y
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! N+ o8 s- V& M* W Q
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
5 Q. B+ u: V. F' b4 ?: Z0 D9 p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。 x( S o6 X* k# A( v7 b
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﹕( _- a+ ~) ^1 E ]# p
『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 \& h2 ^8 M$ }9 g$ k& p
『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﹐& p! W/ m* z8 h% c3 D( ?; G
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' T" }! b! U2 m1 K3 n- 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7 R; o$ s$ M) q% R1 f1 z3 _/ | J
銘」的譯文
0 f. L T. s7 Z' X0 u6 y- {AN EULOGY ON MY HUMBLE ABODE﹕
9 Z% m) ]/ i! b Known will the hills be if fairies dwell, no matter high of low; and
9 M8 b6 D/ d9 X2 Y( W. m( B# _$ tcharmed will the waters be if dragons hidden, no matter deep or shallow. d% G5 r/ V Y& u, e# ]+ t
A humble abode though this is, my virtues make it smell sweet. Verdant 9 i* h7 v, s5 K& ^% x- s6 T9 \, c
are the stonesteps overgrown with moss, and green seems the screen
) k$ o( [; d' N3 t) D* R as the grass seen through it. I chat and laugh only with great scholars
9 q V/ t8 H' R' W3 |2 Uand have no intercourse with the ignorant. I can play lute and read my
" @/ y. I( e5 b0 M+ _sutras; no unpleasant music to grate on my ears and no red-tape to make
4 R9 z7 j6 J& [& v$ }4 cme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance & Q$ u, }8 [" a' a, F9 r
in Xishu are both like what Confucius quoth, "How canth it be humble?" ; N% N. k: _# t3 y+ r& W
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。7 T3 k& T( x% N
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﹕$ S8 M' T& w( P5 r, R) W
『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
1 S* ]/ [9 A6 @: k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 r. }4 Q# E6 n- t r- W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 V& L+ f2 ^1 w5 A) e
# z4 Z+ @" @0 p 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
3 c& B8 T- r6 f; Y2 O/ g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7 C6 w; Y$ Z3 O2 D- [
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。』
( A7 s: g5 S3 y4 R, z2 B4 ^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
( c# h$ Z+ |& }( L0 I1 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。9 k# m) k; b% \# ?, p, C, Y- W
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# ~( g, V8 R4 D+ H
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2 \5 r0 O, A+ C6 N
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﹕( n" [6 h2 D6 N# {
『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; u$ E, g6 f' d, h
音樂跳起舞來﹐直至興盡而散。
; k! n: v2 P4 `+ i0 Y, }' W5 E 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 i% j" m7 ^3 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
! ?' C8 J' M6 N9 H) 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
' [2 C. v5 g' w9 P" V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
# t$ C3 U1 o: j- V2 s0 C* T. k) L* k1 d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﹐
9 I2 a/ N+ W% m8 q: `- n: 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! t- _1 O* R3 u* P1 B
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
" E; A& o9 g& S4 E& d8 m2 n2 H9 R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1 T. }' u w: e/ [! S7 f' 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。
# |% k3 h/ f6 \& |# c7 h+ @8 Q6 K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
( E5 X7 y6 j5 V+ 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 H( s* h* W- U9 ~0 o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* t# v3 {$ ?1 H) K" g
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) A* t6 g1 X' `4 ?) l: V7 v
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 N. A k( o8 ^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: F; @7 \, x$ u& @( j* F
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﹐
" G, p( {; i1 U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! Z- U: Z7 I- w* ~& n$ o
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」$ N9 R u" p, f, D
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" e2 V3 j1 i4 J6 N0 v
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- ]0 P$ K/ o; G V7 q0 B8 x; 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
7 Y" y' _; e0 F6 Y S' n9 Q! o3 y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
" r; E5 W! F6 a5 I. d' I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) @) q* |! [& l) l, ~9 d
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- b, \# w+ K1 D' j: n
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- R+ N& U; k0 |4 l# f% 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
5 [' c& G# X- ~/ Q3 S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9 d, Z6 W( P6 {" C
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。』) ?/ m2 X& u: {% O9 A& R% U
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
: O5 D6 `9 K' h! B% H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" s1 \1 h" H3 g" U; |
評論才會公允。』 |
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