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芝娜道﹕『下面一首是RED AFTERGLOW﹕" D8 @3 R* ? m3 V
1) Lo, the red afterglow,9 B/ m9 r4 J3 `4 H0 l3 ^& V
Against the sky blue! & N4 D! L* E; m2 f( \5 c* P. B
Is it the blush of Heaven, 1 x/ P; w S* r5 f f
As on a maiden's cheeks,
* m W8 n) D$ _4 z2 F5 C% G6 p# Q When she catches sight+ [4 H+ @4 q, n1 c4 d
Of her coming lover?
: ]: F! @2 x! k( V$ x7 e# a2) Lo, the red afterglow,
& j% I1 M% l3 s2 T- M' I Against the sky blue!' I9 }( n/ S; y \
Is it the fire of bivouac, ^$ Y3 K3 u! B: L
Kindled by Nymphs and Naiads2 k' @1 K7 U& U0 r+ ^5 X* v+ C
On the banks of Milky Way0 e6 M0 ~/ G9 c5 d
Holding a celestial picnic? ]6 f4 @. o# {' j1 z3 d% V" x0 D
3) Lo, the red afterglow,; d. X8 n4 ]- n! c
Against the sky blue!
$ X/ ]: O; W8 L* ^2 { Is it the ruddy gauze veil
) C+ S4 f# t% I5 V7 u- S! t' W' P6 S0 C# o That veiled the face of Juno
+ d, }8 \: z3 L6 K On her holy nuptial day
* Z3 T+ L# d* r" c: ]1 t! z: S7 | When she married Jupiter?& e5 \" r+ J2 Y- ?
4) Lo, the red afterglow,
' r/ O9 j. a0 N% X% M Against the sky blue!
: O4 ~; l" E, E& y Is it the fire of Mt. Olympus
& t) v. P" f, x/ }7 l2 u9 Z Stolen by noble Prometheus,
. Q( S% {! w( m And in his careless down-flight
! y4 [. |: v1 {$ K Set the fleecy clouds aflame?
* [3 T: @- ]( K0 L/ \/ {7 ]+ z5) Lo, the red afterglow,, N9 h* S8 ]$ a4 P, O
Against the sky blue!/ X4 m+ f$ a( p" ~1 x1 b
Is it the blood of the heroes
5 k8 N+ t9 k, X3 E# x+ v( D" l1 t6 V That died on battlefields
. m( }2 Z6 W$ {7 {' z In the sacred defense' K1 j! r! @! Q! Q
Of their dear motherland?( [ h, s* n: @& ?
6) Lo, the red afterglow,
" ^: g" x& o# Y/ c* v ~/ y against the sky blue!
; q; M% Y4 e" q If it the Isle of Coral
" x" ~1 W2 F! T% f% v& }# R) t Removed by a white witch4 `+ R' R' O3 h! T, `( z
From the Pacific deep
P1 A- V# J- a To the heavens above?* P5 x* Z' q: c
7) Lo, the red afterglow,2 t2 @9 N4 n, @; b
Against the sky blue!# {/ s' h& D3 H
Is it a cluster of peach trees,0 q% \& i2 R3 P
Their blossoms in full bloom,/ F2 N$ e0 P* u5 F. t3 \
Grown by the daughters of God& D# h( o1 C U1 E. M
And watered with nectar?, ^. L: ~ ^/ m+ J3 k6 }
8) Lo, the red afterglow,
' y% | H: J8 z# T Against the sky blue!- h. k0 u2 v3 ?. M* Z- x* K
Is it Flora's rouge
, q. D O5 V: D* S" [' Y8 e Spread all over the sky
/ b1 c y1 h% M- h; V, [ By her frightened maids! K) i5 p9 _$ S9 d6 A" ^# W4 p
In escape from her anger?
0 A) |$ y4 o% _# @9) Lo, the red afterglow,
$ S0 d. ]& t; l5 I8 y. U5 ?' U Against the sky blue!
( u, X% C! X( y" M7 @ f Is it a large piece of sponge
! o7 ?2 x: [% b8 m# {# | Soaked through with claret
+ ` P, {: |: H# k5 h Upset from the Holy Grail4 b+ V8 s% i5 q. P+ F
By a rash cosmic pilot?』
( [! d8 k* v5 n7 J# W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# ~' J8 k$ ~" H& a, {" m
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 u7 j1 H) X7 D% \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: P( O$ v- Z' K4 Y8 e
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
% p$ a: h$ F. T' K3 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3 r+ y4 V% a. B, I
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
9 R) F- Y/ ?5 g# G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。 . u" J, D+ H6 P s {$ p. G
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﹕
& j- X4 f* v# O! @/ QWhen young, I don't have any notions what woes really mean,
. W' g* T! s; h( L. S; i Just love to get on floors so high.
6 U+ f# z \! s7 M8 F T Just love to get on floors so high,
) X6 B4 K5 p {5 q6 ATo write new poems, I try to say the words of woe and spleen.
( v* S; \8 b, _9 k( H/ k
* ]) I) J/ P3 J7 EBut now I fully have ideas of what woe really is,* h9 j. L" @$ X& U' U% Q
Afraid to get on floors so high. / n$ y# h, g% `3 n d
Afraid to get on floors so high,
; f9 \# N1 H5 bI only say in poems how good and cool the Autumn is.』* b( _* f. @+ ^: a0 }9 @
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
, _, |" U4 T5 g+ T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。
% u {$ _$ ]2 }( ~5 d' @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﹕
4 j& f2 z8 Y1 r2 f7 N: }" e0 V, {『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& Y- U8 i3 Z$ x$ W( a7 c4 o
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# ^( x- ~0 c4 S+ 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
, h, Z# N) j) 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﹐
$ [ E# w; T; S4 i: w! G7 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
3 `1 a, Y, r! B& b: ^9 A& g; y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# ]1 M$ O @1 F" Y8 j1 E
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
2 t7 Z1 U- T- v- E7 y8 ~4 `. ^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( X8 w% W: A; U' `. l0 O
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
( |2 b3 @8 t: E/ p% T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- d* W4 X" ^$ {6 V. g N, P6 O: _% {
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﹕1 M4 y6 I9 e& c4 P- z4 S: p
Poor Odipus, a scapegoat he was! Accused of three great crimes, he
V' Z1 Y1 z4 N; F/ U' x4 Q4 tsuffered a terrible tragic death ----a punishment inflicted on him by 8 R% b7 F9 D+ O) l0 d3 A5 I
the gods on Olympus. When he learned his fate decided by the almighty " J) s1 u% c+ T7 T# n& e- i0 F# b8 X% T
gods to kill his father, marry his mother and bring destruction on his
) Z# |# j. J- t$ C1 h" Q/ H+ m i; Knative city, he wished to escape from it. But destiny was unavoidable,and
+ [( I* B1 |( ]' i2 u) uunawares he fulfilled the assigned tasks. If the gods had decided his : f# T) F6 z( Y) O$ |: S
fate otherwise, he would not have been a criminal, receiving an unjust
2 C- t' s% G0 [6 y9 r) kpunishment and bearing an ill-fame for thousands of years. He was only ' E- p( Z" ?1 ~7 K5 j- g0 U
an executor of the wills of the gods who, struck perhaps with a whimsical
& O$ d; y/ [2 K4 z$ s/ A7 Ffantasy, played a practical joke on the helpless mortal. The gods were
1 N4 \: {) E* Mthe plotters. Who then deserved the punishment? The gods on Olympus rather
, N# Y) b" m1 Z3 \than poor Odipus!』
: l1 ^) V* D, y6 r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﹐
. K/ p- n9 c& k8 B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﹕; c R; [( u5 C+ 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﹕
% f# x, t, A# v. L" W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 " |+ m/ y" n* a. _; G
ADDRESSES TO MONEY﹕
2 V! q$ F) K1 C' @; k8 \/ z1) Oh, Money! My darling Money! My respected Money! I'm your admirer, 2 |! e0 u- ~( I
your worshipper. Oh, Money, my Queen, your Majesty! I'm your servant,
- ^9 D) a, P( H0 Zyour slave. With you I can get food to keep me alive. With you I can
/ H% s$ G- e# u1 g. T, E) V: wget clothes to keep warm. And with you I can get whatever I want, a
- K- Y$ q. R6 P1 g/ j4 H9 rgrand mansion to live in and all the superfluities of life for ostentation. ( o" n. m, M. D- C2 l0 t N7 R$ t/ u
But without you my love will desert me. Without you my friends will
Q# d5 [% I. ^; h& tturn back on me. And without you I'll go a-begging like a poor dog
' Q1 m4 n9 P' Gand sleeping alone at night in a ruined porch. Oh, Almighty Money, come
0 `0 H8 N6 L+ }! t( g/ S P5 D& dto me, I implore you! Pray, endow me with your favor and be sure that I'm
& @5 A# p' x1 o2 t/ hwilling to receive every small coin from you on my knees by which to show ( L3 [( |4 F1 Q: L8 _
my deep-hearted gratitude. 』
+ n. }8 c( Q7 o) n) ?- K6 u- 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。』) M8 f& q) i1 M6 _
芝娜又唸道﹕『第二﹕
8 g4 N: `& n4 t2 ?- t8 L% D% K2) Oh, money, my obedient servant, my faithful slave! I'm your master,
5 V9 P: f4 E3 o4 I1 ryour owner. OH, money, my passe-partout, my almighty tool! I'm you user,
# S/ }4 M# w( e& X7 o3 C5 W$ Ayour disposer. With you I can start my enterprises. With you I can carry 4 i: h# N3 }& l
on my great plans. And with you I can make the little world around me 1 O% a( c( C4 m: G
go at my will. If without you I can still have a large store of learning.
( `" R4 _ g: z# M1 p0 i If without you I can still have an unpolluted name. And if without you
V8 `6 ^2 {. q1 ~+ \. m4 v3 X' x I can still live like a hermit writing books of great thoughts. 4 f4 ^1 z( `0 F6 ]" ]: t
Oh, servile money, come to me; my lad, I command you! Serve me well 4 K0 v- {- u( q2 ^; E3 E* R, X. n
and don't be naughty, or I'll punish you.』# Q: y5 X0 N% k" m
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
' E' d! e/ `0 Z+ k2 S& d" P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﹐) {% e. [( O& c2 D* a" H
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
) }: o! e8 g9 G! C" g% Y ~(談美)﹕
/ c$ Z7 g) v! S7 Y$ l Beauty often dwells in youth. At sight of a charming girl, everyone + e* U+ G" x) ^) P$ a9 p3 z7 E4 S
will exclaim, "My eyes! What a great beauty!" The male stares with ( p5 ^, T9 i! E. C. v0 |
a thrill of admiration; the female gazes with a sigh of envy. Wherever 6 N! H* k/ l4 d" n; v/ q) g
she goes, she becomes the focus of the attention. Men all yearn to win , v0 l2 b3 q8 t- b; z
her heart; women all feel a regret unable to stand in her shoes. A glance
* q8 s8 g/ w, Lor a smile from her makes the stingy empty his hoard of gold and the 3 R$ p5 L9 l6 L* C* M. v
coward give up his life for her. She enjoys her queenly position in society,2 q. Z3 n& S9 j4 z6 u
proud of the possession of such a beauty. But the merciless Time ; E4 h) |; n e3 a1 `$ X! B! U
dogs her steps, too. Her beauty is worn out with the years. She begins to
4 Q. D/ t- g$ c( x: c* hfade away and the hardship in life, if any would befall her, will bring
7 b3 Q( L4 w2 y& Q( C/ _6 qmore wrinkles on her face. Then men turn their backs on her politely with
+ M$ F3 o, c. V" H! Xa bow; women look at her with indifference. The younger generation is magnetized
8 h# ?& v9 }3 G9 [) `3 n1 k1 [round another focus. The old queen has to abdicate and leave the throne + Y; d/ T/ Q. f. p# i* u7 P
for a young one to occupy. Only a photo or portrait can preserve her beauty
2 {( u1 N! \9 O. k; Uin youth and no Time is capable of doing any injury to her preserved beauty / K/ Q8 e& [# x+ l. A2 c
but the preserver itself. X: }+ ?3 `8 L- I4 }3 A2 X* J
Therefore, admire not the beauty without, but the beauty within. Such
- ^6 {( Q3 v& q$ e8 W- \" K* [: C7 oa beauty will never wither though Time also plots to do it harm. In the
+ @& K$ W) q2 D- _9 [$ g& bstruggle against the adversities of life and the ruthlessness of Time,
7 e) {4 X0 W9 S; h it grows radiant, or even dazzling, just like a rock in midstream made 0 l/ H2 n* v2 x( u
smooth and glossy by the current of both the stream and Time. Everyone,
) [7 ^1 E1 B! x9 b" K1 din spite of the age and sex, if aware of it, will sing its praise either 6 N% c I' `; t0 a9 M9 Z
openly in words and letters or secretly in mind. It lives as long 0 }+ ?7 W9 }- I
as the possessor, or even much longer after her dust may be blended into
# ~* R8 R0 J" X4 A# ga vase with the clay around it. 8 Y( K# q1 ]) L/ z7 u, V/ z. @
The outward beauty can only be the object of admiration or envy while . c/ z3 L# J4 m: r7 M7 z
the inward beauty, besides being a theme of the ode, can serve as an ?. l: i# s& G. a' C n( X1 G
example to learn from, for the former is always endowed by birth, but
" ^) D7 i2 |8 B9 f# _/ @the latter by self-acquirement. However, every man is free to hold
" O% A2 E# `( X8 ] his own notion of what the beauty is and to choose whichever of the two
0 T0 x# n; \% N) k$ K: X( p% `beauties he prefers. Only his love for his bride select should not degenerate + R) t0 Y, Y3 D& ?! O0 k
with the shrunken beauty.』
; F8 I& F4 ~" i9 i# M J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; r2 R9 ?. C6 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/ D" f. ^4 k, R' |
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 。』2 L' r, L/ v4 z3 w
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7 t$ V+ x0 T/ r7 O9 x
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
6 N- N% E2 Q% R! i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
( m6 b. n1 w; m* U% u* m; E& E+ 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。4 ^) H0 p0 J" z# h% E0 H
你自己好自為之吧。』芝娜道﹕『下一篇是THE BALLOON﹕
0 A; v% o' E( F8 d& Z# D A little boy walks by his mother's side, with one hand in hers and a balloon
! B3 ~# H# V0 {7 b" O in the other. A sudden gust of wind snatches the balloon away from , Y3 h7 h) Y# b; ?( g) b+ n
the boy's hand and bears it skyward. As it flies higher, the excited ' s+ T" B2 p: A0 n! R
people in the street all look up. "Surely," the balloon says to itself,
3 a: V- K/ w) ~0 V- e2 I& Jfeeling proud of its uprising, "they all envy me of my ascent." Then in its - u* a* Y$ q x1 _; I6 S2 v
upward flight it passes by a balcony on which a group of boys and girls
: x$ M( s1 J. mare standing, giving a cry of excitement when seeing an escaped balloon
$ ]$ ?# V, B# U, |2 s9 w- z" jhurry on its way of freedom. "They are cheering me, I'm sure." The balloon
) z$ w7 w4 ?& q ]$ fthinks. Up and up it soars, above the roof, above the spire, through a
" R/ c$ E# Z! u; p( i' e* M4 d# Xthin cloud, into the blue sky. Then a dove hovers near, but after a glance
! V; M$ p- k z. i0 D+ n9 f( Hat it, flies away with indifference. "Of course, the bird nears to & v- J% i o @; z' A L/ W, C
salute me," The buoyant balloon flatters itself in exultation, "but as
+ `7 y8 k* X/ e4 ^$ Q) {3 [I ignore her to keep my dignity, she takes herself away in awe and respect." + q8 E* Y) |( |
The higher it clambers, the haughtier it becomes, till it reaches the ; H5 W& J8 l! }: }! v D m
zenith where it means to stay for millions of years, but, alas, it bursts!
# k$ S2 a# `/ c% r』
R9 J9 ~2 o0 i5 t# f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$ M& _+ O0 e' [! u
好幾頁﹐說﹕『下面一篇是ON ETIQUETTE(論禮儀)﹕7 X2 K* T1 ~2 E/ b* y3 G
Etiquette is to society what apparel is to the individual. Without . z. y! T1 \; R
apparel men would go in shameful nudity, which would surely lead to the ; E. D$ X& v/ t4 [
corruption of morals; and without etiquette society would be in a pitiable ) f f8 w0 J, K9 g
state and the necessary intercourse between its members would be interfered
# I5 M* S% g: A" o. Q0 Jby needless offences and troubles. If society were a train, the etiquette
/ }3 [5 x$ ^6 ]$ k, S9 Swould be the rails, along which only the train could rumble forth; if
+ O' ?: p7 X9 v( A# i5 ]5 Gsociety were a state coach, the etiquette would be the wheels and axis,
5 ]6 M# F4 D0 p on which only the coach could roll forward.
) L% E% ]# s2 z) Z# r5 S4 J The lack of proprieties would make the most intimate friends turn to 3 n8 y- k! O3 W" D
be the most decided enemies and the friendly or allied countries declare
8 h& e. f4 t2 |# B6 h1 Xwar against each other. We can find many examples in the history of mankind.
$ z( a, `8 V& f/ J8 [$ R3 @# C A duke of Song Dukedom in East Zhou Dynasty in ancient China was killed
9 L& I3 E, G6 H6 i: H i( Tby his favorite knight for a joking word. therefore, I advise you to stand / U! g( w b$ _
on ceremony before anyone else and to take pains not to do anything stupid & H$ V$ K! D1 t4 D) m4 a7 z4 p- m
against etiquette lest you give offences or make enemies.』
L" D# F1 m( q% f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
& j( A! T6 o+ C" z. D+ ~% l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
' S* b/ ^- H& 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- H( ?8 |( Q( 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。
4 G7 ~6 _& N# J, Q+ J0 ]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﹕- x+ S: T5 [: J0 c
『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& f( w7 ?! m* t: o, b0 {
『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﹐# A, E: v3 }1 w- m% O# v" V! ^
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
9 f5 j( W$ v5 J8 Z' r. i" c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" \; ~4 k9 f6 }( U
銘」的譯文# v C1 R- p! Q) N. S4 M7 a
AN EULOGY ON MY HUMBLE ABODE﹕+ N) r, X2 g3 n( i [
Known will the hills be if fairies dwell, no matter high of low; and ) l5 ^& K" T- X3 D& `4 {
charmed will the waters be if dragons hidden, no matter deep or shallow. * k+ J8 s2 w0 W' A7 r- j2 r
A humble abode though this is, my virtues make it smell sweet. Verdant
. b9 a* Y5 \* Hare the stonesteps overgrown with moss, and green seems the screen
0 V$ y% e8 @5 C7 h as the grass seen through it. I chat and laugh only with great scholars $ M% s `6 Q8 s/ l" N: D8 }# p' Q
and have no intercourse with the ignorant. I can play lute and read my
9 M& z0 L$ ]) z( o3 E) j! U2 `sutras; no unpleasant music to grate on my ears and no red-tape to make
3 b) t J8 u! S0 c; Z2 o* R" a3 Z* Lme weary and tired. Zhuge's residence in Nanyang and Ziyun's inhabitance y/ t: l4 [" f. O z
in Xishu are both like what Confucius quoth, "How canth it be humble?" # D. E3 S; I% h- G/ I; [
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。
$ R6 v' ^9 E/ k- U8 E) B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﹕$ s+ L" Y3 ~3 ?. i, k! c/ S. N
『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7 L: u% n4 L0 T9 c; I7 r: {
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( L! M3 J1 k; ?1 j- _/ V) `+ H
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。』 j0 r+ b6 f% U; j
& U# F# A/ W/ d- e; u, I0 Q 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 E0 p; u/ F9 |# s8 J" Q6 Y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2 I( P4 m# w0 B# f- c% l2 i
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。』' h+ S/ W3 r. _. E) P: r. z% h- r
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
9 ?8 w6 o& ?7 o; c資料複印在微縮帶上﹐可放映在一般電腦屏上閱讀﹐很方便。
1 X0 r4 t: C4 a0 Z 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- [, D# T3 M. K
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
1 h. y0 }3 M7 q# p# ~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 E& L- n+ {) O6 O: K『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
& W* F* e9 d, s0 G3 P音樂跳起舞來﹐直至興盡而散。: h9 F( R/ `% v# s/ ]* \/ w" m; r
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
) w- }& T, r& W# k& D5 J( C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% s K6 s4 Z: o. Y0 r( v# W3 g& v
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: \- ~8 F0 \, x9 e# r
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
" ]6 C' I+ j0 z% b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﹐: z, n3 n1 g! r, j4 l6 q
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! v6 R" _9 @3 A3 ]4 X- R5 ]+ M! W2 B3 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
% |& [ A' m, N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, J/ M8 f7 k% c x+ u5 S2 `- t' J
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。5 n& j6 { k/ S# L) W
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5 A Y: R$ H# c4 c* n
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
4 C4 h4 |, g! m4 \4 V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5 h2 N( b z* h% y
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- O8 `; V f/ H+ }6 p8 r
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
$ q, m2 J0 ~: y! }( T+ d' M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
~9 \, Z% C# f& T& g6 `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﹐
: S; ]% G+ U0 ~* T- d0 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5 ]0 C1 I6 m" b& L& r) E: X- \
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」4 V! K5 b: x$ C% u/ g& O
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( |$ @ l" d" S
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
( D4 b T$ y# ~3 G& j) D8 R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
/ t8 u9 @" ~. [" j" M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
- ]0 o( I. Z- m6 J5 Y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6 p ~% D; g# f% E/ f+ w
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; i; d# p y# ]. |* l' v0 H( 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/ U* `1 v M% N$ @3 M6 V
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
* t K) E. y: v9 Y) Q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: i, A$ H5 b1 W6 D, E# ]9 a# I# 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。』4 V* A6 N+ f9 s5 K+ 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7 O' Q7 u$ x, n2 V9 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4 _* @! G1 T6 @" z- ?0 M
評論才會公允。』 |
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