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　　這是一張尺多寬的小小的橫幅，馬孟容君畫的。上方的左角，斜著一卷綠色的簾子，稀疏而長；當(dāng)紙的直處三分之一，橫處三分之二。簾子中央，著一黃色的，茶壺嘴似的鉤兒——就是所謂軟金鉤么？“鉤彎”垂著雙穗，石青色；絲縷微亂，若小曳于輕風(fēng)中。紙右一圓月，淡淡的青光遍滿紙上；月的純凈，柔軟與平和，如一張睡美人的臉。從簾的上端向右斜伸而下，是一枝交纏的海棠花?；ㄈ~扶疏，上下錯落著，共有五叢；或散或密，都玲瓏有致。葉嫩綠色，仿佛掐得出水似的；在月光中掩映著，微微有淺深之別。花正盛開，紅艷欲流；黃色雄蕊歷歷的，閃閃的。襯托在叢綠之間，格外覺著嬌嬈了。枝欹斜而騰挪，如少女的一只臂膊。枝上歇著一對黑色的八哥，背著月光，向著簾里。一只歇得高些，小小的眼兒半睜半閉的，似乎在入夢之前，還有所留戀似的。那低畫題，系舊句。些的一只別過臉來對著這一只，已縮著頸兒睡了。簾下是空空的，不著一些痕跡。

　　This is a very small horizontal scroll, just over a foot wide, painted by Ma Mengrong. In the left-hand top corner a long and flimsy green curtain is suspended at a slant; it occupies one third of the vertical and two thirds of the horizontal space. In the centre of the curtain is positioned a yellow hook, shaped like the spout of a teapot—this would be what they call a ‘soft gold hook', I imagine. From the bend of the hook hangs a pair of tassels, stone grey in colour; their threads are somewhat awry, as if they are being pulled by a breeze. on the right is a full moon, which is shedding its pale bluish light over the whole of the surface of the painting. The moon is pure, soft and peaceful, like the face of a sleeping beauty. Sloping downward from the top edge of the curtain is a branch of a flowering crabapple. The luxuriant flowers and leaves are evenly spaced, there being five sprays along the length of the branch. Some are dense, some are sparse, but all are dainty and pleasing. The green leaves are so succulent that at a pinch the sap would flow; depending on how much moonlight they catch, there is a slight difference in their shade of green. The flowers are in full bloom, their red so gorgeous that it nearly brims over; the yellow stamens stand out sharply and brightly, the green background enhancing their attractiveness. The branch bends upwards like the raised arm of a fair maid. A pair of mynah birds sit on it, facing the curtain, with their backs to the moon. The one on the higher perch has its eyes half shut, as if, still hankering after something, it is reluctant to go to sleep. The one lower down is turned to face the other bird, and is already asleep, its head drawn in. The space below the curtain is empty, free of all trace of the brush.

　　試想在圓月朦朧之夜，海棠是這樣的嫵媚而嫣潤；枝頭的好鳥為什么卻雙棲而各夢呢？在這夜深人靜的當(dāng)兒，那高踞著的一只八哥兒，又為何盡撐著眼皮兒不肯睡去呢？他到底等 什么來著？舍不得那淡淡的月兒么？舍不得那疏疏的簾兒么？不，不，不，您得到簾下去找，您得向簾中去找——您該找著那卷簾人了？他的情韻風(fēng)懷，原是這樣這樣的喲！朦朧的豈獨月呢；豈獨鳥呢？但是，咫尺天涯，教我如何耐得？我拼著千呼萬喚；你能夠出來么？　　

　　We may wonder why, given the soft light of the full moon, and the lush and captivating beauty of the crabapple, these sweet birds perch together but dream separately. In the hush of night, why is the mynah on the higher part of the branch fighting to keep its eyes open? Whatever can it be waiting for? Is it loath to forsake the pale moon? Is it fascinated by the flimsy curtain? No, no, no. You must look for the answer below the curtain, you have to go behind the curtain—you have found the person who rolled up the curtain, haven't you? What charm and refinement, no wonder! We should have realized that the moon and the birds were not the only ones to be retiring. But so near and yet so far: how can I restrain myself? I call with all my might: will you come out from where you are?

　　這頁畫布局那樣經(jīng)濟，設(shè)色那樣柔活，故精彩足以動人。雖是區(qū)區(qū)尺幅，而情韻之厚，已足淪肌浹髓而有余。我看了這畫，瞿然而驚：留戀之懷，不能自已。故將所感受的印象細細寫出，以志這一段因緣。但我于中西的畫都是門外漢，所說的話不免為內(nèi)行所笑?！且仓缓糜伤?。

　　This painting sets its scene so economically, its colours are so soft and vivid, that no one could not be struck by its brilliance. Though its canvas is tiny, its resonance is powerful enough to turn your bones to jelly. When I saw this painting I was transfixed, and could not tear myself away. Hence I have described my impressions in some detail in order to record the encounter, though I am a layman when it comes to painting, and the experts will laugh up their sleeves. Well, let them get on with it.