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芝娜道﹕『下面一首是RED AFTERGLOW﹕
, `/ T- @8 L5 M v1) Lo, the red afterglow,
1 K/ V! c' y# h# p5 @8 r$ C Against the sky blue! 7 `9 ]7 U$ n5 X4 m
Is it the blush of Heaven, $ J4 Z" w. [" v! E; h/ s' Y
As on a maiden's cheeks, . P4 y8 d/ r: \; R- E
When she catches sight
& [& m/ G& U5 Q Of her coming lover?! E$ Y* ]! d8 k" m* E+ I
2) Lo, the red afterglow,
: w! P* h2 Z8 W& A Against the sky blue!
8 P, E, X9 @2 U$ o2 V) m4 A Is it the fire of bivouac
+ I- S% J8 d" C Kindled by Nymphs and Naiads
' U4 F% Z3 P! @1 l& a On the banks of Milky Way6 P2 r$ A @$ ^: l: R9 [4 ` W
Holding a celestial picnic?
8 Q+ j1 ]3 n. L, b3) Lo, the red afterglow,6 s! L0 J* v5 q; v+ _- b; ^
Against the sky blue!
6 L9 E% g% s. T! j3 ] Is it the ruddy gauze veil
+ i1 _9 {% b: ^6 H! H That veiled the face of Juno
" y, z8 ?( ] d) u' ` On her holy nuptial day+ w" D- t/ {1 k: m7 j3 W
When she married Jupiter?1 E- M! |& `5 O1 O
4) Lo, the red afterglow,
) F% f9 M* [% a$ U) J9 f7 f Against the sky blue!: a4 F7 L n7 `$ p
Is it the fire of Mt. Olympus3 E( `! G4 \1 g
Stolen by noble Prometheus,
2 \9 B. Y" A; Z1 e, R: A And in his careless down-flight. J9 ^" F8 i+ S6 _. T
Set the fleecy clouds aflame?
4 g; q+ a% @: {/ Y' |. \ H8 l5) Lo, the red afterglow,
$ v+ z* {+ y& m" n9 x6 t2 X Against the sky blue!2 F& u( j( w( O
Is it the blood of the heroes
: A2 H6 u$ D% r; k- s+ ^5 z; ~ That died on battlefields
* L$ s& V K* r1 f% O q In the sacred defense7 D7 i4 o7 N/ f5 a0 B- _
Of their dear motherland?
A$ w( e4 B$ \' L" @* t6) Lo, the red afterglow,
2 H! |! ~0 v2 f% w G; ~ against the sky blue!. @4 G& @& o: W8 A9 I" P
If it the Isle of Coral
4 }6 L$ E( G& S Removed by a white witch- X! r& C& v, E/ F% ?0 D5 d' p
From the Pacific deep& T }4 R" A4 @% G' H2 ~2 m
To the heavens above?
' k9 k, i; x$ W" k3 F7) Lo, the red afterglow,
+ m! F9 o$ b$ Q* @ Against the sky blue!! Y, k% R6 k3 q f5 z' d! U; S
Is it a cluster of peach trees,' d, q4 l- g! [3 F/ R
Their blossoms in full bloom,) d2 S& F- C4 a: a7 t/ j8 z4 z: t5 B
Grown by the daughters of God
/ ]+ Q) h$ F0 J ^ And watered with nectar?
$ u; w% W4 Z5 Z' \8) Lo, the red afterglow,
% m# E! ~8 c. J* ^3 B: A/ A Against the sky blue!
1 }/ {" p. T( i* N$ G Is it Flora's rouge$ c$ o. Z1 k& W$ V+ X2 \
Spread all over the sky6 D4 n' K/ k' k
By her frightened maids
0 m, }: }. u: H9 Q+ M/ i9 p In escape from her anger?3 J9 \+ A- A, v% p+ C7 ]
9) Lo, the red afterglow,
U5 D7 l! P8 I$ R; V9 x Against the sky blue!
, q. \+ K8 Z4 _ Is it a large piece of sponge
/ ^3 h( z$ v9 [' z Soaked through with claret8 T. n% ]6 ]: `; J" J' k
Upset from the Holy Grail
+ {7 \4 U" b( p By a rash cosmic pilot?』5 N& X) \# W. X6 a- s ?
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. t. ~ Z5 L+ F' H- ?0 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
% ~6 a0 a6 l/ Y6 O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
( Q5 ~1 f; _# i$ u: ]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
$ R5 G: I0 a3 \) {+ f9 ~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
+ `, P8 H# z2 m% k+ ~1 y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) U$ v; u7 `/ w' J, 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。 , q' N2 m) [% \% u( `# x
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﹕# A1 K$ ? V0 B2 b) `& V
When young, I don't have any notions what woes really mean,+ X$ i4 P4 S. r9 T
Just love to get on floors so high.
1 u( @/ ^! \% }* V Just love to get on floors so high," T( {8 E' w% ^
To write new poems, I try to say the words of woe and spleen.
0 Q! R" D% t6 k
0 U! ^9 d. C4 @) |But now I fully have ideas of what woe really is,/ O* h) j% ~1 [
Afraid to get on floors so high. ( T: i0 j7 y- j# Y$ S
Afraid to get on floors so high,
9 j0 r5 F& R* Z, c& CI only say in poems how good and cool the Autumn is.』* C( W3 l+ v) L+ @$ ?6 |% e, k& V, p2 O
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# k5 Y1 e5 W# x6 E; ?# h2 ]; U
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。7 ^, @/ _) |& @ S' s/ g: 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﹕) f# {" I2 p0 r2 A C3 E% @& Q
『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2 Q, p# A6 K: b: E! Z
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! u. v" }8 F8 E2 v: m2 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) _8 c' j; y; e
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 Z% \9 K+ P: W9 C, s P; p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! ]2 D% B2 J* }! r( l) o$ w" F
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
/ O( w# j( Y% d3 ~( d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
1 g: r5 E4 H4 S) E7 O0 u! h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4 G* p3 o! d9 N) t' Q8 ^' Q
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( N) p4 E2 A$ p5 E+ 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
! F2 F5 w" b. w% x" 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﹕
# b* f+ W* E6 uPoor Odipus, a scapegoat he was! Accused of three great crimes, he 1 P: n4 T9 q2 q( A0 j
suffered a terrible tragic death ----a punishment inflicted on him by , G9 D! ] w! S: Q# H$ H2 P
the gods on Olympus. When he learned his fate decided by the almighty
# o: h8 h/ f. tgods to kill his father, marry his mother and bring destruction on his ) y8 O8 ^6 [! D6 H
native city, he wished to escape from it. But destiny was unavoidable,and
$ D D) ?; H H* b( @- Y8 Iunawares he fulfilled the assigned tasks. If the gods had decided his % ~9 M- ^0 P/ @8 f. o% \% \8 N
fate otherwise, he would not have been a criminal, receiving an unjust * Y0 |9 q: b) J: q- T1 Z
punishment and bearing an ill-fame for thousands of years. He was only
1 ~5 p# E; j* P: ~! g$ Man executor of the wills of the gods who, struck perhaps with a whimsical ! ]: _+ U; i3 a/ ~ [2 S6 D3 U) {/ E2 s* K
fantasy, played a practical joke on the helpless mortal. The gods were $ |' [# T& U# b5 @6 [
the plotters. Who then deserved the punishment? The gods on Olympus rather ) B* M9 O5 R) w, M
than poor Odipus!』$ D: i6 V9 R2 D: H0 y
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﹐
! _8 t1 Q. f! W( u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﹕* T9 C4 n' Q) g5 K, s! T* [4 e8 } g2 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﹕4 L: X* X8 l; z4 b5 B2 X
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
7 ~9 o; B: v- Q* x. Y$ }9 v% NADDRESSES TO MONEY﹕5 I- O w( e5 u Q/ I
1) Oh, Money! My darling Money! My respected Money! I'm your admirer, 5 E+ T k: l$ M o" u
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
! d& L% H% c! Y, B9 q! y: H. Uyour slave. With you I can get food to keep me alive. With you I can : I% ?& X5 A8 z0 x6 V, Z# y
get clothes to keep warm. And with you I can get whatever I want, a : W! s/ k7 q+ E8 Z5 Y
grand mansion to live in and all the superfluities of life for ostentation.
3 p1 _5 I' m4 f: ~But without you my love will desert me. Without you my friends will
) Z# A# L6 y. |- bturn back on me. And without you I'll go a-begging like a poor dog 8 u# E1 {, M7 ~' h
and sleeping alone at night in a ruined porch. Oh, Almighty Money, come / Q5 {- \3 B# {' }! N+ v5 L& t3 z- r
to me, I implore you! Pray, endow me with your favor and be sure that I'm
7 W- b" ~6 k& F5 j- S+ e' twilling to receive every small coin from you on my knees by which to show
; w0 ~0 \4 ^; umy deep-hearted gratitude. 』+ S& Z6 m$ w. ^+ b9 }; B
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。』
2 O/ V' R+ I5 e9 l! Y9 c芝娜又唸道﹕『第二﹕
7 [8 | U! Q1 Q' h0 ~4 h7 _2) Oh, money, my obedient servant, my faithful slave! I'm your master, ) Y* ]; S! I: Q; M0 |; n
your owner. OH, money, my passe-partout, my almighty tool! I'm you user,
2 k: Q, c! ]! J: gyour disposer. With you I can start my enterprises. With you I can carry - l1 @- n1 U1 _, v$ }, k
on my great plans. And with you I can make the little world around me
|* }+ u6 x5 d1 y5 Mgo at my will. If without you I can still have a large store of learning. * d: s* s6 c Z. h8 Z: X
If without you I can still have an unpolluted name. And if without you
; g8 F( o# ?- D( @; R& c7 Y( Q7 _ I can still live like a hermit writing books of great thoughts.
. j0 `1 }! r/ ?/ k9 gOh, servile money, come to me; my lad, I command you! Serve me well
$ ^& Q ]( j' q& ~. a2 S and don't be naughty, or I'll punish you.』 V" }) [1 t; D& h) k R8 `
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/ r' i1 R m+ m, [ n! U1 |# ~
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﹐+ S7 L, k" z: |7 ]
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 BEAUTY2 ~5 ]- Y4 ?$ i- g- @3 [
(談美)﹕$ c" m: y3 T7 T o& V' Y
Beauty often dwells in youth. At sight of a charming girl, everyone : ^7 K$ N1 o% v; N# i0 ?8 j
will exclaim, "My eyes! What a great beauty!" The male stares with 8 A% S7 H# z4 v0 W
a thrill of admiration; the female gazes with a sigh of envy. Wherever - p* X, \, @" _' x( f9 {+ X2 z$ j
she goes, she becomes the focus of the attention. Men all yearn to win 3 @8 @6 d7 L4 t- [+ s9 w
her heart; women all feel a regret unable to stand in her shoes. A glance # l4 C9 Q) Q6 G: N
or a smile from her makes the stingy empty his hoard of gold and the
8 D5 F' P( f1 v" f( ? Scoward give up his life for her. She enjoys her queenly position in society,# `, M1 n! `; ^ k' y, K) h
proud of the possession of such a beauty. But the merciless Time $ n& ? @9 A+ _, d
dogs her steps, too. Her beauty is worn out with the years. She begins to
5 v7 ?1 [; L4 G( U- n" ], Y8 ^: _$ H, ]fade away and the hardship in life, if any would befall her, will bring 2 r& S* u# m k3 G+ `
more wrinkles on her face. Then men turn their backs on her politely with
& L6 y- W- S) ^1 [$ p& h7 ma bow; women look at her with indifference. The younger generation is magnetized % E. z/ Y/ A1 V6 K- B2 R3 g
round another focus. The old queen has to abdicate and leave the throne $ f9 [" z9 f( p" w6 z1 t9 |3 O
for a young one to occupy. Only a photo or portrait can preserve her beauty $ s. {7 J; }, l6 [7 B. j2 v
in youth and no Time is capable of doing any injury to her preserved beauty : r% I& w$ j/ C
but the preserver itself.1 m3 K1 t8 o9 U6 Q( t: `
Therefore, admire not the beauty without, but the beauty within. Such 3 c, `0 r9 }4 N1 D2 u
a beauty will never wither though Time also plots to do it harm. In the 5 a5 l8 j% x9 S$ c% y4 P, r
struggle against the adversities of life and the ruthlessness of Time, 3 f4 U. p( }0 H2 X+ r2 c$ Z
it grows radiant, or even dazzling, just like a rock in midstream made
5 Z7 Q$ y3 y! ^. I smooth and glossy by the current of both the stream and Time. Everyone,
/ [7 ~9 _: S: d- jin spite of the age and sex, if aware of it, will sing its praise either " T6 f# K% r2 [$ P4 w- y# K# u
openly in words and letters or secretly in mind. It lives as long
@$ U7 |: ?( _as the possessor, or even much longer after her dust may be blended into
- D) D$ g7 M$ i. l2 [a vase with the clay around it.
, I3 [6 \% e2 N( [1 G5 }, S* w The outward beauty can only be the object of admiration or envy while . O6 A7 N; P" l# F1 b9 `
the inward beauty, besides being a theme of the ode, can serve as an
% R1 r3 G. `3 q2 Z# sexample to learn from, for the former is always endowed by birth, but 4 B7 b& w* |( o& x4 {6 L& V
the latter by self-acquirement. However, every man is free to hold * N" O( H' L% i% x2 B
his own notion of what the beauty is and to choose whichever of the two & G+ Q/ Z! o! _, s
beauties he prefers. Only his love for his bride select should not degenerate 8 F" I% M& o6 y) C, ?. I
with the shrunken beauty.』( e, Q. o* A t0 M+ ~
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 C3 I4 @' a# Y5 `4 `& N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
% p5 I% X! @& J' S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 。』0 `( P( ~) A% p9 `* @ V; w7 v
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
; P9 C( W4 n% ^$ p& X# x$ h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 m$ D- N, v* D! u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
- P' g# \/ B6 v% M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。2 q$ ^6 l& e; Y
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕; [/ [0 g, v/ K! o8 ^2 P" S8 h
A little boy walks by his mother's side, with one hand in hers and a balloon 4 E3 f# R4 m7 c$ k. d% d
in the other. A sudden gust of wind snatches the balloon away from
9 z9 _) M% N! U E6 M+ X the boy's hand and bears it skyward. As it flies higher, the excited
* O# t& ^# Y0 s2 ?1 y7 g$ q8 upeople in the street all look up. "Surely," the balloon says to itself, ! s" A+ l& O0 a8 _: T
feeling proud of its uprising, "they all envy me of my ascent." Then in its ( g3 m7 M. b m( u }0 C
upward flight it passes by a balcony on which a group of boys and girls
* Z, U! f& |3 _$ Oare standing, giving a cry of excitement when seeing an escaped balloon ' l0 H9 ?( H& ?' [: I8 \: M
hurry on its way of freedom. "They are cheering me, I'm sure." The balloon - L1 Y. _1 _" o# o
thinks. Up and up it soars, above the roof, above the spire, through a 9 }) K5 i' ^6 B* T t5 y; `
thin cloud, into the blue sky. Then a dove hovers near, but after a glance 7 e) E4 p# R+ }! k; s
at it, flies away with indifference. "Of course, the bird nears to
# j, c4 k4 l. |0 nsalute me," The buoyant balloon flatters itself in exultation, "but as
# K' P7 F( j: PI ignore her to keep my dignity, she takes herself away in awe and respect." ( m3 \1 X% ~' b9 ?% h% U6 \$ [
The higher it clambers, the haughtier it becomes, till it reaches the
* G1 }5 ~4 B$ nzenith where it means to stay for millions of years, but, alas, it bursts!; }" K) N" K9 T
』( m+ }) N3 x: 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( G$ J* B, ] E5 K
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕
' d. d4 k" R5 N2 d$ N Etiquette is to society what apparel is to the individual. Without
0 |8 V6 e( X1 Lapparel men would go in shameful nudity, which would surely lead to the % K$ K7 g \4 ^. A8 h! E. c, M
corruption of morals; and without etiquette society would be in a pitiable % ^2 s: [; v8 s8 F, ~3 W; R
state and the necessary intercourse between its members would be interfered
& j _, N1 g$ e" ~5 W' W( k) ~; rby needless offences and troubles. If society were a train, the etiquette
' l1 o0 a% J; O5 mwould be the rails, along which only the train could rumble forth; if
( `4 \2 p, ^2 }. X- wsociety were a state coach, the etiquette would be the wheels and axis,
0 |% N- r9 A5 v; ^9 b on which only the coach could roll forward.
; M! g% X6 V% w# I8 X6 w) { F; o The lack of proprieties would make the most intimate friends turn to 1 w2 N6 a3 a) m0 k7 a
be the most decided enemies and the friendly or allied countries declare
+ i' P, @2 x9 C% R% Xwar against each other. We can find many examples in the history of mankind.; O _, K9 t$ L# r, ]" H; O/ }
A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
4 W" z! X& j2 [1 ?( N- `by his favorite knight for a joking word. therefore, I advise you to stand
8 C. O+ R# N$ E9 { s, p( V6 Aon ceremony before anyone else and to take pains not to do anything stupid
; z) |! X" k* C# {against etiquette lest you give offences or make enemies.』
" j. {3 v" c8 ^, A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' U+ B% P7 g) t! r- Y' 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
# E' s2 p# V$ 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$ Z+ m% E5 C w' B6 ?" h
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。
7 R+ m5 n- U* f4 a# a' w& K8 c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﹕9 h& ^* F2 I o
『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﹕
- p% J" |4 [7 ]『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﹐4 v1 M1 ?$ V4 t9 m8 g, q2 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% D; t" ]2 u8 Q5 |' }6 E
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
2 y, b) l4 U- d6 O0 m+ {. ?銘」的譯文
. M4 N2 V# k4 w: rAN EULOGY ON MY HUMBLE ABODE﹕; I; P+ J- ~' z
Known will the hills be if fairies dwell, no matter high of low; and * z! V, W% P, H: S8 R% `
charmed will the waters be if dragons hidden, no matter deep or shallow. " j( ?( z) q; t; i o
A humble abode though this is, my virtues make it smell sweet. Verdant
4 A" R' G/ d0 ?4 nare the stonesteps overgrown with moss, and green seems the screen
/ i% z, G6 [; l as the grass seen through it. I chat and laugh only with great scholars
: n y8 m% j( u' Iand have no intercourse with the ignorant. I can play lute and read my % J H$ p& v- B- V% c" F p" d
sutras; no unpleasant music to grate on my ears and no red-tape to make ( A5 \9 l, Q- E% r+ b* m5 i! K
me weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance
3 u' M$ q* X) Yin Xishu are both like what Confucius quoth, "How canth it be humble?"
! ^6 u8 a6 g9 [ `$ 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。
. R( E/ |5 N7 `* F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 w* e, Z: u5 K9 G* p
『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$ R. p) v. C4 H! U% w' `. M$ j
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+ ]2 G$ U: R/ s$ Q9 [( E/ K6 f
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。』- f) `/ A, a) O* d* s: v
2 M( @7 G7 @8 p" j0 t 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/ w W& |0 Q' G5 n
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 O/ F3 {7 D5 b# [# X" h. [# t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。』3 g* v% v; I8 [" a
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 M& G/ q. E. }1 b, b3 ^
資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。" [& z$ j4 c9 R; S! n N
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# p1 ~) P" Z5 Z. h ^$ r! X- 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; P5 l ~ G$ p1 s4 A% ~' Y3 x
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﹕
6 b4 ], N* c/ b. E( O『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0 Z* a1 P3 F9 |, L
音樂跳起舞來﹐直至興盡而散。
2 }/ B. k: I0 [5 k 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
6 |2 Y3 }' f4 M/ c+ \0 f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
6 P5 V$ H% g% F7 k! M! M2 r$ s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6 {; d, R* F B3 K* p
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# m$ P7 ~3 L3 J& R( x3 d) S1 \
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﹐" @6 Q+ g- L8 @. ]) G
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
9 F3 i" K8 L* }5 Z8 `6 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
4 c, T. |4 F: v# i2 x3 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" K5 V3 }% y; @; q
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。
- M! u! b t1 M) h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. n+ {2 e/ X% h+ [2 v5 b" D
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
v8 k m5 g9 i% N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
) F- i, i% d0 u; B4 O6 [+ U1 v7 L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3 R* d: O2 j; f2 m% Y. l8 @
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 A3 M4 R& B+ t) L# W' [/ @
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: S) o& x# m* ]0 @. F+ x
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﹐! v3 N4 y: g% x4 k. Z
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
( K) l+ o9 [# u. R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」
. p* h0 l) X- ~4 N+ I1 V0 G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# m6 n) v% o- ^% U
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
. M" S. \. b1 D" G& @8 [2 T4 {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 f" w+ G, ]1 E3 j! d! _, k( Z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
) ^. N, X7 n) \+ K. B0 }9 i' t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
w- V6 M# D! K1 P# 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; {' l9 ~1 d. n3 W
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
$ b8 ^& G. ?! 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
$ \' R& E! X) D9 _, R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% K" q/ E: `" I( |5 l# d, a
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。』" D+ ^9 o6 f" }* D3 d
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; ?' y6 n2 S8 A6 U
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8 b9 f% ~0 G" N& t
評論才會公允。』 |
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