Don Quixote | 唐.奇訶諦

Miguel de Cervantes (1547-1616) sī Sepanga bûn-ha̍k sú ni̍h siōng tiōng-iàu ê chok-ka chi-it, phó͘-phiàn tek jīn-tēng i sī hiān-tāi sió-soat ê khai-ki chó͘. I siōng chhut-miâ ê chok-phín Don Quixote (唐.奇訶諦) m̄-nā sī Sepanga bûn-ha̍k ê piau-chì, mā tōa-tōa éng-hióng tio̍h kui-ê Europa bûn-ha̍k ê hoat-tián.

Cervantes chhut-sì tī Sepanga tiong-pō͘ ê Alcalá de Henares, in lāu-pē sī chi̍t-ê kiam chò gōa-kho ê thì-thâu sai, ka-têng seng-oa̍h sàn-chhiah. I ê chá-nî seng-oa̍h bô an-tēng, siàu-liân ê sî bat khì Italia hoat-tián, āu-lâi tī hia chham-ka chiàm-niá Italia ê Sepanga kun-tūi. Tī Lepanto hái-chiàn ê sî, i siū-siong, tò-chhiú éng-oán chân-hùi. Tī hôe-kok ê lō͘-ni̍h, i tú-tio̍h hái-chha̍t, hông koaiⁿ tī Algiers 5-nî, it-ti̍t kàu kau-hù sio̍k-kim chiah koh tńg-kàu Sepanga. Chiah-ê phiau-liû ê keng-giām tōa-tōa éng-hióng i tùi chū-iû, jîn-sèng, kap miā-ūn ê khòaⁿ-hoat.

I siōng-chá ê bûn-ha̍k chok-phín sī chhân-hn̂g sió-soat La Galatea (1585), sui-bóng bô kài sêng-kong, tān piáu-hiān chhut i tùi si ê gí-kám kap jîn-bu̍t sim-lí ê chiáng-ak. 1605 nî, i chhut-pán Don Quixote Tē-it Chheh (El Ingenioso Hidalgo Don Quixote de la Mancha - Thian-câi Sin-sū Don Quixote de la Mancha, 52 Chiuⁿ), biô-siá chi̍t-ê bê-chùi tī khî-sū sió-soat ê chng-kha sin-sū Don Quixote, in-ūi siàu-siūⁿ boeh chiâⁿ-chò iû-kiap khî-sū, tián-khui chióng-chióng hàm-kó͘ ê lāng-hiám. I ê tiong-hō͘ sū-chiông Sancho Panza, pí i khah si̍t-chāi khah chhiò-khoe, nn̄g-lâng chiâⁿ-chò hoàn-sióng kap hiān-si̍t, siáu-kông kap lí-tì ê chhù-bī tùi-pí.

Don Quixote Tē-jī Chheh (Segunda parte del ingenioso caballero don Quixote de la Mancha - Thian-châi Khî-sū Don Quixote de la Mancha, 74 Chiuⁿ), chhut-pán tī 1615 nî, tián-hiān chhut Cervantes koh-khah sêng-se̍k kap ki-tì. Tī Tē-jīi chheh ni̍h, jîn-bu̍t khai-sí ì-sek tio̍h ka-tī tī chêng chi̍t-pō͘ sió-soat ni̍h ê miâ-siaⁿ, ín-ji̍p meta hi-kò͘ ê chhiú-hoat, hêng-sêng te̍k-su ê khoe-hâi kap hoán-séng. Chiong kî bóe, Don Quixote hôe-ho̍k lí-sèng, hō tńg-khì i ê goân-miâ, kiò chò “Alonso Quixano” it-ti̍t kàu sí, che mā siōng-teng lí-sióng ê phòa-bia̍t kap jîn-sèng ê kak-gō͘.

Tî-liáu Don Quixote í-gōa, Cervantes mā chhòng-chok Té-phiⁿ Sió-soat Chip (Novelas ejemplares), si-chok, kap kio̍k-pún. I ê it-seng sui-bóng sàn-chhiah, chhiong-móa put-hēng, tān-sī i sí hit-kang (1616 nî 4 goe̍h 22) tú-hó kap Eng-kok tōa bûn-hô William Shakespeare ê sí-kî kāng-ji̍t, siōng-teng Europa Bûn-ha̍k ê chi̍t-ê tńg-oat ê sî-tāi.

Cervantes ê éng-hióng chhim koh hn̄g: Don Quixote hông ó-ló chò “hiān-tāi sió-soat ê khai-ki chó͘,” i he tùi hiān-si̍t kap hoàn-kak ê kau-chhap biô-siá, khé-hoat chē-chē āu-lâi ê chok-ka, pí-lūn kóng: Dostoevsky, Flaubert, Kafka, Borges, kap Lu Xun. In lóng ùi Cervantes ê pit khòaⁿ-tio̍h jîn-sèng ê kiàⁿ, lêng-hûn ê iáⁿ. It-ti̍t kàu taⁿ, Don Quixote hit-kù chū-sìn ê tōa-ōe: “Góa chai góa sī siáng,” iáu-koh tián-hiān chhut jîn-lūi tī lí-sióng kap hiān-si̍t tiong-kan bô-thêng ê chhiau-chhōe kap chhia-piàⁿ.

[E̍k-chū ChatGPT]

關於作者

Miguel de Cervantes (1547-1616) 是 Sepanga 文學史 ni̍h 上重要 ê 作家之一, 普遍 tek 認定伊是現代小說 ê 開基祖. 伊上出名 ê 作品 Don Quixote (唐.奇訶諦) m̄-nā 是 Sepanga 文學 ê 標誌, mā 大大影響著規个 Europa 文學 ê 發展.

Cervantes 出世 tī Sepanga 中部 ê Alcalá de Henares, in 老爸是一个兼做外科 ê 剃頭師, 家庭生活散赤. 伊 ê 早年生活無安定, 少年 ê 時 bat 去 Italia 發展, 後來 tī hia 參加佔領 Italia ê Sepanga 軍隊. Tī Lepanto 海戰 ê 時, 伊受傷, 倒手永遠殘廢. Tī 回國 ê 路 ni̍h, 伊拄著海賊, hông 關 tī Algiers 5 年, 一直到交付贖金才 koh 轉到 Sepanga. Chiah-ê 漂流 ê 經驗大大影響伊 tùi 自由, 人性, kap 命運 ê 看法.

伊上早 ê 文學作品是田園小說 La Galatea (1585), 雖罔無 kài 成功, 但表現出伊 tùi 詩 ê 語感 kap 人物心理 ê 掌握. 1605 年, 伊出版 Don Quixote 第一冊 (El Ingenioso Hidalgo Don Quixote de la Mancha - 天才紳士 Don Quixote de la Mancha, 52 章), 描寫一个迷醉 tī 騎士小說 ê 庄跤紳士 Don Quixote, 因為數想欲成做遊俠騎士, 展開種種譀古 ê 弄險. 伊 ê 忠厚侍從 Sancho Panza, 比伊 khah 實在 khah 笑詼, 兩人成做幻想 kap 現實, 痟狂 kap 理智 ê 趣味對比.

Don Quixote 第二冊 (Segunda parte del ingenioso caballero don Quixote de la Mancha - 天才騎士 Don Quixote de la Mancha, 74 章), 出版 tī 1615 年, 展現出 Cervantes koh-khah 成熟 kap 機智. Tī 第二冊 ni̍h, 人物開始意識著 ka-tī tī 前一部小說 ni̍h ê 名聲, 引入 meta 虛構 ê 手法, 形成特殊 ê 詼諧 kap 反省. 終其尾, Don Quixote 回復理性, 號轉去伊 ê 原名, 叫做 “Alonso Quixano” 一直到死, che mā 象徵理想 ê 破滅 kap 人性 ê 覺悟.

除了 Don Quixote 以外, Cervantes mā 創作短篇小說集 (Novelas ejemplares), 詩作, kap 劇本. 伊 ê 一生雖罔散赤, 充滿不幸, 但是伊死彼工 (1616 年 4 月 22) 拄好 kap 英國大文豪 William Shakespeare ê 死期仝日, 象徵 Europa 文學 ê 一个轉斡 ê 時代.

Cervantes ê 影響深 koh 遠: Don Quixote hông ó-ló 做 “現代小說 ê 開基祖,” 伊 he tùi 現實 kap 幻覺 ê 交插描寫, 啟發濟濟後來 ê 作家, 比論講: Dostoevsky, Flaubert, Kafka, Borges, kap Lu Xun. In lóng ùi Cervantes ê 筆看著人性 ê 鏡, 靈魂 ê 影. 一直到今, Don Quixote hit 句自信 ê 大話: “我知我是 siáng,” iáu-koh 展現出人類 tī 理想 kap 現實中間無停 ê 搜揣 kap 捙拚.

[譯自 ChatGPT]

About the Author

Miguel de Cervantes (1547–1616) was one of the most important figures in Spanish literature and is widely regarded as the founder of the modern novel. His most celebrated work, Don Quixote, is not only a landmark of Spanish letters but also one of the most influential books in world literature.

Cervantes was born in Alcalá de Henares, in central Spain, the son of a poor surgeon. His early life was unsettled; as a young man he went to Italy, later serving in the Battle of Lepanto, where he was wounded and permanently lost the use of his left hand. On his return voyage, he was captured by pirates and held captive in Algiers for five years before being ransomed back to Spain. These experiences of exile and hardship profoundly shaped his vision of freedom, humanity, and fate.

His first major literary work, the pastoral novel La Galatea (1585), gained modest recognition and displayed his poetic sensibility and psychological insight. In 1605, he published Don Quixote, Part I (El ingenioso hidalgo don Quixote de la Mancha), which tells of a country gentleman obsessed with chivalric romances who sets out to revive knighthood and right the world’s wrongs. His loyal squire, Sancho Panza, provides earthy wisdom and humor, creating a balance between illusion and reality, madness and sanity.

The second part, Don Quixote, Part II (Segunda parte del ingenioso caballero don Quixote de la Mancha), appeared in 1615 and reflected Cervantes’s deeper maturity and wit. In this sequel, the characters are aware of their own fame from the first book, introducing a playful meta-fictional element. The novel ends with Don Quixote’s return to sanity and death as “Alonso Quixano,” symbolizing both disillusionment and enlightenment.

Beyond Don Quixote, Cervantes also wrote Novelas ejemplares (Exemplary Novels), a collection of short stories, along with poems and plays. Despite a life marked by poverty and misfortune, he died on April 22, 1616—almost the same day as William Shakespeare—signifying a symbolic turning point in European letters.

Cervantes’s influence is immense: Don Quixote is often hailed as “the first modern novel,” and its interplay between illusion and reality has inspired countless authors such as Dostoevsky, Flaubert, Kafka, Borges, and Lu Xun. Today, Don Quixote’s declaration—“I know who I am”—still stands as a timeless emblem of humanity’s struggle between dreams and the real world.

[by ChatGPT]

Sunday, October 5, 2025

52.5 鉛盒仔內 ê 羊皮紙所寫 ê

52.5 Iân a̍p-á lāi ê iûⁿ-phôe-chóa só͘ siá ê

Iân a̍p-á lāi hoat-hiān ê iûⁿ-phôe-chóa só͘ siá ê tē-it kù sī án-ne:

Kì-chài tī chia ê sī

La Mancha Chng ê Argamasilla Ha̍k-īⁿ-sū,

Só͘ siá koan-hē La Mancha lâng

Don Quixote ê it-seng kap sí-bông

Monicongo, Argamasilla Ha̍k-īⁿ-sū

Siá tī Don Quixote ê bōng

Bōng-pâi-bûn

Chit-ūi khong-khám hō͘ La Mancha ê

Chiàn-lī phín pí Jason khah chē; i thâu-náu

Lāi kiàm-kiàm, he nā sió-khóa khah tun leh

I ê it-seng tō koh-khah oân-boán;

Bú-kong ko-kiông thoân kàu Gaeta [Italia] hái-hōaⁿ,

Cathay [China] í-ki̍p tī hit tiong-kan ê kok-ka;

Bûn-chhái chong-giâm, khì-sè kiaⁿ-lâng

Bē-su kó͘-chá khek tī tâng-khì hit-chióng;

I chhiau-kòe só͘-ū it-chhè ê Amadis,

I mā kin-pún to khòaⁿ-bô Galaor,

Kan-ta khò ài kap khî-sū-tō ê chi-chhî;

I hō͘ Belianis siau-hong koh bô siaⁿ,

Khiâ Rocinante cháu-chhōe êng-iāu;

Taⁿ, i tó tī chit-tè léng chio̍h-thâu ē-bīn.

Paniaguado, Argamasilla Ha̍k-īⁿ-sū

Tùi Dulcinea del Toboso ê o-ló

14-Chōa Si

Chit-ūi lú-chú bīn îⁿ bah âng-gê,

Heng koân, io sok, sîn-chêng ko-ngō͘,

He tō sī Dulcinea, La Mancha úi-tāi ê

Don Quixote tui-kiû bē-tio̍h.

Ūi-tio̍h yi, Toboso ê lú-ông,

I pôaⁿ soaⁿ-niá, kòe pêⁿ-iûⁿ,

Liû-lōng tī Aranjuez kap Montiel:

Khiâ Rocinante, thiám koh bô-la̍t.

Seng-siōng put-lī, miā-ūn chân-jím,

Tîⁿ-tòe tio̍h bí-lē ê Mancha hu-jîn,

Mā chiat-bôa put-pāi ê khî-sū bêng-chheⁿ.

Chheng-chhun kap bí-māu iâⁿ bē-kòe

Sí-bông; i ūi ài-chêng chia̍h tōa khó͘,

Koh kō͘ chit-tè tāi-lí-chio̍h lâu i ê miâ.

Caprichoso, Siōng gâu ê Argamasilla Ha̍k-īⁿ-sū

Tùi La Mancha ê Don Quixote ê bé

Rocinante ê o-ló

14-Chōa Si

He kong-hui siám-sih ê ông-chō téng,

Pī Chiàn-sîn kō hoeh ê kha thún-ta̍h,

Taⁿ, hit-ê Mancha siáu-lâng iāⁿ kî-á

Kiau-ngō͘ tián-sī i ka-tī ê ióng-khì.

Hia i kòa bú-khì kap lāi-kiàm

Chhòng-chō bô-tè-pí ê sū-chek,

I thâi, sàu, phòa, phut; ko-kiông bú-gē

Ūi lán sin khî-sū kiàn-li̍p sin hong-keh.

Nā Gaul ê kiau-ngō͘ sī Amadis,

Nā Hi-lia̍p ê êng-iāu sī khò i ê āu-tāi

Kā he thn̂g-thòaⁿ kàu sì-kè ê thó͘-tē,

Úi-tāi Quixote ka-bián tī Bellona tiān-tông

Kin-á-ji̍t hō͘ La Mancha chhiau-kòe in,

Thâu taⁿ koân iâⁿ-kòe Hi-lia̍p kap Gaul.

Êng-iāu put-chí kàu chia, iáu-ū i ê hó bé

Tōa-tōa chhiau-kòe Brillador kap Bayard;

Ióng-chòng chùn-bé kap Rocinante sio-pí,

In só͘ tit ê miâ-siaⁿ ū-kàu hi-bî liāu-siáu.

Burlador, Argamasilla Ha̍k-īⁿ-sū

Siá Sancho Panza

14-Chōa Si

Chiàⁿ-ti̍t ê Sancho Panza tó tī chia;

Sió-sió sin-khu, úi-tāi ê lêng-hûn,

Tē-kiû bô chit-chióng sū-chiông,

Tan-sûn, thian-chin, koh bô kè-bô͘.

I chha chi̍t-tiám-á tō chò pek-chiok,

Chhian put-kai ah, bān put-kai,

Sî-tāi bô-chêng, pi-phí, khek-po̍k,

Chi̍t-chiah lî-á to m̄-khéng pau-iông.

Khiâ chi̍t-chiah lî-á (pháiⁿ-sè lah)

Kin-sûi Rocinante, un-jiû sū-chiông

Tòe liû-lōng ê chú-lâng, kā ho̍k-sāi.

Siâⁿ sè-kan-lâng ê khang hi-bāng,

Só͘ tah-èng ê siau-iâu, sim-goān,

Lo̍h-bóe sī iáⁿ, sī ian, sī bîn-bāng.

Cachidiablo, Argamasilla Ha̍k-īⁿ-sū

Siá tī Don Quixote ê bōng

Bōng-pâi-bûn

Khî-sū tiông-bîn tó tī chia,

Phiau-liû it-seng, sin siu-siong,

Rocinante āiⁿ i ko̍k-ko̍k kiâⁿ,

Liû-lōng thian-hā cháu sù-hong.

Khî-sū sin-piⁿ iáu koh ū

Tiong-hō͘ tiâu-ti̍t ê Sancho,

Siōng chiàⁿ-ti̍t ê sū-chiông

I sī chit hâng-gia̍p ê chòe-ko.

Tiquuitoc, Argamasilla Ha̍k-īⁿ-sū

Siá tī Dulcinea del Toboso ê bōng

Bōng-pâi-bûn

Dulcinea tó tī chia.

Kòe-khì yi sī chho͘ koh ióng,

Taⁿ yi sī kut-hu kap thô͘-hún,

Bah-thé sí-bông ê kiat-kio̍k.

Yi sī chun-kùi ê lú-chú,

Kí-chí ko-sióng ná kùi-hū,

Úi-tāi Don Quixote ūi yi bê,

Yi sī chng-thâu ê kong-êng.

Chiah-ê tō sī só͘-ū tha̍k ē-bêng ê si-bûn; kî-thaⁿ ê, in-ūi bûn-jī siū thâng chiù, í-keng kau hō͘ chi̍t-ūi ha̍k-īⁿ-sū, hō͘ i thui-chhek in ê ì-sù. Chiū goán só͘ chai, i chē-chē àm-mê bô khùn, koh khai bē chió khùi-la̍t, í-keng tit-tio̍h sêng-kong, mā kè-ōe boeh kā kong-khai, hi-bāng ē-tit chhut-pán Don Quixote ê tē-saⁿ pái chhut-cheng.

"Hoān-sè, chiong-lâi ū pa̍t-lâng kō͘ khah-hó ê khîm-poah tôaⁿ lâi chhiùⁿ."

[Tē-it Chheh Soah]

[2025-02-01, Don Quixote ê hoan-e̍k kàu chia ûi-chí, bô boeh e̍k Tē-jī Chheh.]

52.5 鉛盒仔內 ê 羊皮紙所寫 ê

鉛盒仔內發現 ê 羊皮紙所寫 ê 第一句是 án-ne:

記載 tī chia ê 是

La Mancha 庄 ê Argamasilla 學院士,

所寫關係 La Mancha 人

Don Quixote ê 一生 kap 死亡

Monicongo, Argamasilla 學院士

寫 tī Don Quixote ê 墓

墓牌文

這位悾歁 hō͘ La Mancha ê

戰利品比 Jason khah 濟; 伊頭腦

利劍劍, he 若小可 khah 鈍 leh

伊 ê 一生 tō koh-khah 圓滿;

武功高強傳到 Gaeta [Italia] 海岸,

Cathay [China] 以及 tī hit 中間 ê 國家;

文彩莊嚴, 氣勢驚人

袂輸古早刻 tī 銅器彼種;

伊超過所有一切 ê Amadis,

伊 mā 根本 to 看無 Galaor,

Kan-ta 靠愛 kap 騎士道 ê 支持;

伊 hō͘ Belianis 消風 koh 無聲,

騎 Rocinante 走揣榮耀;

今, 伊倒 tī 這塊冷石頭下面.

Paniaguado, Argamasilla 學院士

對 Dulcinea del Toboso ê o-ló

14 逝詩

這位女子面圓肉紅牙,

胸懸, 腰束, 神情高傲,

He tō 是 Dulcinea, La Mancha 偉大 ê

Don Quixote 追求袂著.

為著她, Toboso ê 女王,

伊盤山嶺, 過平陽,

流浪 tī Aranjuez kap Montiel:

騎 Rocinante, 忝 koh 無力.

星象不利, 命運殘忍,

纏綴著美麗 ê Mancha 夫人,

Mā 折磨不敗 ê 騎士明星.

青春 kap 美貌贏袂過

死亡; 伊為愛情食大苦,

Koh kō͘ 這塊大理石留伊 ê 名.

Caprichoso, 上 gâu ê Argamasilla 學院士

對 La Mancha ê Don Quixote ê 馬

Rocinante ê o-ló

14 逝詩

He 光輝閃爍 ê 王座頂,

被戰神滒血 ê 跤𧿬踏,

今, 彼个 Mancha 痟人颺旗仔

驕傲展示伊 ka-tī ê 勇氣.

Hia 伊掛武器 kap 利劍

創造無地比 ê 事蹟,

伊刣, 掃, 破, 刜; 高強武藝

為咱新騎士建立新風格.

若 Gaul ê 驕傲是 Amadis,

若希臘 ê 榮耀是靠伊 ê 後代

Kā he 傳湠到四界 ê 土地,

偉大 Quixote 加冕 tī Bellona 殿堂

今仔日 hō͘ La Mancha 超過 in,

頭 taⁿ 懸贏過希臘 kap Gaul.

榮耀不止到 chia, 猶有伊 ê 好馬

大大超過 Brillador kap Bayard;

勇壯駿馬 kap Rocinante 相比,

In 所得 ê 名聲有夠稀微料小.

Burlador, Argamasilla 學院士

寫 Sancho Panza

14 逝詩

正直 ê Sancho Panza 倒 tī chia;

小小身軀, 偉大 ê 靈魂,

地球無這種侍從,

單純, 天真, koh 無計謀.

伊差一點仔 tō 做伯爵,

千不該 ah, 萬不該,

時代無情, 卑鄙, 刻薄,

一隻驢仔 to 毋肯包容.

騎一隻驢仔 (歹勢 lah)

跟隨 Rocinante, 溫柔侍從

綴流浪 ê 主人, kā 服侍.

唌世間人 ê 空希望,

所答應 ê 消遙, 心願,

落尾是影, 是煙, 是眠夢.

Cachidiablo, Argamasilla 學院士

寫 tī Don Quixote ê 墓

墓牌文

騎士長眠倒 tī chia,

漂流一生, 身受傷,

Rocinante 偝伊 ko̍k-ko̍k 行,

流浪天下走四方.

騎士身邊猶閣有

忠厚條直 ê Sancho,

上正直 ê 侍從

伊是 chit 行業 ê 最高.

Tiquuitoc, Argamasilla 學院士

寫 tī Dulcinea del Toboso ê 墓

墓牌文

Dulcinea 倒 tī chia.

過去她是粗 koh 勇,

今她是骨烌 kap 塗粉,

肉體死亡 ê 結局.

她是尊貴 ê 女子,

舉止高尚 ná 貴婦,

偉大 Don Quixote 為她迷,

她是庄頭 ê 光榮.

Chiah-ê tō 是所有讀 ē 明 ê 詩文; 其他 ê, 因為文字受蟲蛀, 已經交 hō͘ 一位學院士, hō͘ 伊推測 in ê 意思. 就阮所知, 伊濟濟暗暝無睏, koh 開袂少氣力, 已經得著成功, mā 計畫欲 kā 公開, 希望會得出版 Don Quixote ê 第三擺出征.

"凡勢, 將來有別人 kō͘ 較好 ê 琴撥彈來唱."

[第一冊煞]

[2025-02-01, Don Quixote ê 翻譯到 chia 為止, 無欲譯第二冊.]

52.5

The first words written on the parchment found in the leaden box were these:

THE ACADEMICIANS OF ARGAMASILLA,

A VILLAGE OF LA MANCHA,

ON THE LIFE AND DEATH OF DON QUIXOTE OF LA MANCHA,

HOC SCRIPSERUNT

MONICONGO, ACADEMICIAN OF ARGAMASILLA,

ON THE TOMB OF DON QUIXOTE

EPITAPH

The scatterbrain that gave La Mancha more

Rich spoils than Jason’s; who a point so keen

Had to his wit, and happier far had been

If his wit’s weathercock a blunter bore;

The arm renowned far as Gaeta’s shore,

Cathay, and all the lands that lie between;

The muse discreet and terrible in mien

As ever wrote on brass in days of yore;

He who surpassed the Amadises all,

And who as naught the Galaors accounted,

Supported by his love and gallantry:

Who made the Belianises sing small,

And sought renown on Rocinante mounted;

Here, underneath this cold stone, doth he lie./

PANIAGUADO, ACADEMICIAN OF ARGAMASILLA,

IN LAUDEM DULCINEAE DEL TOBOSO

SONNET

She, whose full features may be here descried,

High-bosomed, with a bearing of disdain,

Is Dulcinea, she for whom in vain

The great Don Quixote of La Mancha sighed.

For her, Toboso’s queen, from side to side

He traversed the grim sierra, the champaign

Of Aranjuez, and Montiel’s famous plain:

On Rocinante oft a weary ride.

Malignant planets, cruel destiny,

Pursued them both, the fair Manchegan dame,

And the unconquered star of chivalry.

Nor youth nor beauty saved her from the claim

Of death; he paid love’s bitter penalty,

And left the marble to preserve his name./

CAPRICHOSO, A MOST ACUTE ACADEMICIAN OF ARGAMASILLA,

IN PRAISE OF ROCINANTE, STEED OF DON QUIXOTE OF LA MANCHA

SONNET

On that proud throne of diamantine sheen,

Which the blood-reeking feet of Mars degrade,

The mad Manchegan’s banner now hath been

By him in all its bravery displayed.

There hath he hung his arms and trenchant blade

Wherewith, achieving deeds till now unseen,

He slays, lays low, cleaves, hews; but art hath made

A novel style for our new paladin.

If Amadis be the proud boast of Gaul,

If by his progeny the fame of Greece

Through all the regions of the earth be spread,

Great Quixote crowned in grim Bellona’s hall

To-day exalts La Mancha over these,

And above Greece or Gaul she holds her head.

Nor ends his glory here, for his good steed

Doth Brillador and Bayard far exceed;

As mettled steeds compared with Rocinante,

The reputation they have won is scanty./

BURLADOR, ACADEMICIAN OF ARGAMASILLA,

ON SANCHO PANZA

SONNET

The worthy Sancho Panza here you see;

A great soul once was in that body small,

Nor was there squire upon this earthly ball

So plain and simple, or of guile so free.

Within an ace of being Count was he,

And would have been but for the spite and gall

Of this vile age, mean and illiberal,

That cannot even let a donkey be.

For mounted on an ass (excuse the word),

By Rocinante’s side this gentle squire

Was wont his wandering master to attend.

Delusive hopes that lure the common herd

With promises of ease, the heart’s desire,

In shadows, dreams, and smoke ye always end./

CACHIDIABLO, ACADEMICIAN OF ARGAMASILLA,

ON THE TOMB OF DON QUIXOTE

EPITAPH

The knight lies here below,

Ill-errant and bruised sore,

Whom Rocinante bore

In his wanderings to and fro.

By the side of the knight is laid

Stolid man Sancho too,

Than whom a squire more true

Was not in the esquire trade./

TIQUITOC, ACADEMICIAN OF ARGAMASILLA,

ON THE TOMB OF DULCINEA DEL TOBOSO

EPITAPH

Here Dulcinea lies.

Plump was she and robust:

Now she is ashes and dust:

The end of all flesh that dies.

A lady of high degree,

With the port of a lofty dame,

And the great Don Quixote’s flame,

And the pride of her village was she./

These were all the verses that could be deciphered; the rest, the writing being worm-eaten, were handed over to one of the Academicians to make out their meaning conjecturally. We have been informed that at the cost of many sleepless nights and much toil he has succeeded, and that he means to publish them in hopes of Don Quixote’s third sally.

“Forse altro cantera con miglior plettro.”

c52e.jpg (54K)

52.4 著 kā 顧牢牢, 免得伊 koh 偷走

52.4 Tio̍h kā kò͘ tiâu-tiâu, bián-tit i koh thau-cháu

Thiaⁿ-tio̍h Don Quixote tńg-lâi ê siau-sit, Sancho Panza in bó͘ kín cháu kòe-lâi, in-ūi yi chit-sî í-keng chai-iáⁿ in ang sī Don Quixote ê sū-chiông. Chi̍t-ē khòaⁿ tio̍h Sancho, yi sûi mn̄g i hit-chiah lî-á ū hó-hó bô. Sancho ìn kóng, lî-á pí chú-lâng koh-khah hó neh.

"To-siā Sîn ê pì-iū," yi kóng, "tùi góa chin chiàu-kò͘. Tān, chhiáⁿ lí kā góa kóng, a-kun, chò chi̍t-ê sū-chiông, lí tit-tio̍h siáⁿ-mih? Ū bé siáⁿ súi-saⁿ tńg-lâi hō͘ góa? Bé siáⁿ ê-á hō͘ lín gín-á?"

"Chiah-ê góa lóng bô chah, a-niû," Sancho kóng, "m̄-koh góa ū chah pa̍t-hāng khah tiōng-iàu, khah kè-ta̍t ê mi̍h-kiāⁿ."

"Án-ne góa chiâⁿ hoaⁿ-hí," in bó͘ kā ìn, "hō͘ góa khòaⁿ he khah kè-ta̍t, khah tiōng-iàu ê mi̍h-kiāⁿ sī siáⁿ, a-kun. Góa siūⁿ boeh khòaⁿ he, hó-thang hō͘ góa in-ūi lí lī-khui chiah kú, pi-siong kah boeh sí ê sim-koaⁿ tit-tio̍h an-ùi."

"Kàu chhù góa chiah hō͘ lí khòaⁿ, a-niû," Sancho kóng, "Bo̍k-chêng seng an-sim lah. Nā Sîn khéng pó-pì, goán ē koh chhut-hoat khì lāng-hiám, chin kín, lí tō ē khòaⁿ góa chiâⁿ-chò pek-chiok, a̍h tó-sū chóng-tok, jî-chhiáⁿ he m̄-sī phó͘-thong tó-sū, sī siōng-kài hó ê tó-sū."

"Hi-bāng thiⁿ-kong pó-pì, a-kun," yi kóng, "lán khak-si̍t tùi he ū su-iàu. M̄-koh, chhiáⁿ lí kā góa kóng, tó-sū sī siáⁿ ì-sù? Che góa bô liáu-kái."

"Lî-á chhùi chia̍h bē-chhut phang-bi̍t ê tiⁿ lah," Sancho ìn, "kàu-sî lí tō ē chai lah, a-niû. Thiaⁿ-tio̍h só͘-ū chú-bîn chheng-ho͘ lí ‘kùi hu-jîn,’ lí ē tio̍h chi̍t-kiaⁿ neh."

"Lí sī teh kóng siáⁿ-hòe ah, Sancho? Siáⁿ sī kùi hu-jîn, tó-sū, chú-bîn ah?" Teresa Panza án-ne kā ìn. Teresa sī Sancho in bó͘ ê miâ, in bô hiat-iân koan-hē, tān chiàu hit-sî Mancha ê lē, bó͘ sī kòa ang ê sèⁿ.

"Bián hiah kip boeh chai it-chhè chiah-ê, Teresa," Sancho kóng, "chai góa kóng-ê sī sū-si̍t tō hó, bián koh mn̄g ah lah. M̄-koh, góa sūn-sòa kā lí kóng, sè-kài siōng, bô pí chiâⁿ-chò chi̍t-ê thé-biān ê lâng koh-khah hō͘ lâng khoài-lo̍k, chò iû-kiap khî-sū ê sū-chiông, chò chi̍t-ê lāng-hiám-chiá tō sī án-ne lah. Tong-jiân, tōa pō͘-hūn ê lāng-hiám pēng bô chhiūⁿ lâng só͘ kî-bōng ê hiah khoài-ì, in-ūi 100-pái ū 99-pái bē-tit chiàu ì-goān. Che góa ū keng-giām, in-ūi ū-sî góa hông kō͘ thán-á phau, ū-sî góa hông kòng. Sui-bóng án-ne, kî-thāi khó-lêng hoat-seng ê tāi-chì, pôaⁿ-soaⁿ kòe-niá, nǹg-kòe chhiū-nâ, peh-chiūⁿ gâm-chio̍h, pài-hóng siâⁿ-pó, tòa tī kheh-chàn, bô-liāu ê, liân chi̍t-sián chîⁿ to bián khai, it-chhè che lóng sī chiâⁿ hó ê tāi-chì."

Sancho Panza kap in bó͘ tng-teh kóng chiah-ê ōe ê sî, Don Quixote ê koán-ke kap gōe-seng-lú kā i hû ji̍p chhù, thè i thǹg-saⁿ, koh hō͘ i tó-lo̍h bîn-chhn̂g. I ba̍k-chiu kàng-kàng khòaⁿ yin, m̄-chai ka-tī sī tī tó-ūi. Sîn-hū kau-tài in gōe-seng-lú tio̍h hó-hó chiàu-kò͘ a-kū, koh tio̍h kā i kò͘ tiâu-tiâu, bián-tit i koh thau-cháu, mā kā yi kóng, in sī hùi gōa chē sim-sîn chiah kā i chhōa tńg kàu chhù. Thiaⁿ tio̍h che, hit nn̄g-ê cha-bó͘ iū-koh tōa-siaⁿ hiu, lé-mē khî-sū sió-soat, chhiáⁿ thiⁿ-kong kā hiah-ê o͘-pe̍h siá ê chok-chiá tàn lo̍h bô-té chhim-kheⁿ. Chóng-kóng chi̍t-kù, yin kài hoân-ló, tán a-kū kap chú-lâng it-tàn hôe-ho̍k thé-la̍t, tō ē koh-chài thau-cháu chhut-khì. Put-hēng, yin só͘ kiaⁿ ê tāi-chì, kó-jiân chin-chiàⁿ án-ne hoat-seng.

Put-jî-kò, chit-pún kó͘-chheh ê chok-chiá, sui-bóng chīn-la̍t gián-kiù, chhì boeh chhōe-tio̍h Don Quixote tē-saⁿ pái chhut-cheng só͘ sêng-chiū ê sū-chek, iáu-sī bô tit-tio̍h jīm-hô kì-chài tī khó-khò bûn-hiàn ê chu-liāu. M̄-koh, kin-kì La Mancha tong-tē lâng ê kì-tî, in kóng, Don Quixote tē-saⁿ pái chhut-cheng sī khì Saragossa, tī hia chham-ka hit-ê siâⁿ-chhī kí-pān ê kúi-nā pái pí-bú, tī hia ê lāng-hiám chhiong-hun tián-hiān i ê khì-phek kap tì-hūi.

Iú-koan i ê kiat-kio̍k kap sí-bông, chok-chiá mā bô hoat-tō͘ tit-tio̍h siáⁿ kū-thé chu-liāu. Ka-chài ū chi̍t-ūi lāu i-seng, i ū chi̍t-ê iân a̍p-á, kin-kì i ê kóng-hoat, che a̍p-á sī i hoat-hiān chū chi̍t-chō hoan-siu ê kó͘-ló ún-siu-īⁿ ê phò-pāi tē-ki. A̍p-á lāi ū chi̍t-kóa kō͘ Gothic jī-thé siá ê iûⁿ-phôe-chóa chhiú-kó, he lāi-iông sī Castile-gí [Sepanga-gí] ê si-koa, kì-chài chē-chē i ê sū-chek, biô-siá Dulcinea ê bí-māu, Rocinante ê hêng-siōng, Sancho Panza ê tiong-si̍t, iáu-ū iú-koan Don Quixote ê bâi-chòng, í-ki̍p koan-hē i ê it-seng kap sèng-keh ê kok-chióng bōng-pâi-bûn kap chàn-bí-si. M̄-koh, tī chiah-ê chhiú-kó tang-tiong, chit-ê ta̍t-tit sìn-jīm ê chok-chiá kan-ta choán-siá he tha̍k ē-bêng ê pō͘-hūn, kā he khǹg tī chit-pún sin koh to̍k-it ê kó͘-chheh.

Chok-chiá bô iau-kiû tho̍k-chiá jīm-hô hôe-pò, sui-bóng i chīn ke̍k-tōa sin-khó͘, sím-cha koh chhiau-chhōe he Mancha tòng-àn, hó-thang hō͘ in tī sè-kan liû-thoân, i kan-ta hi-bāng lí-sèng ê tho̍k-chiá, chhiūⁿ tùi-thāi liû-thoân chāi sè koh tōa siū hoan-gêng ê khî-sū sió-soat án-ne, hō͘ i kāng-khoán ê jīn-tông tō hó. I jīn-ûi án-ne tō ū tit-tio̍h chhiong-hun hôe-pò, tō kui-sim boán-chiok, koh tit-tio̍h kó͘-lē, kè-sio̍k tui-kiû koh siá-chok kî-thaⁿ ê kó͘-chheh, chún-kóng bô chhiūⁿ chit-pún hiah chin-si̍t, siōng-bô mā kāng-khoán ū chhòng-ì, ū siau-khián ê kè-ta̍t.

52.4 著 kā 顧牢牢, 免得伊 koh 偷走

聽著 Don Quixote 轉來 ê 消息, Sancho Panza in 某緊走過來, 因為她這時已經知影 in 翁是 Don Quixote ê 侍從. 一下看著 Sancho, 她隨問伊彼隻驢仔有好好無. Sancho 應講, 驢仔比主人 koh-khah 好 neh.

"多謝神 ê 庇佑," 她講, "對我真照顧. 但, 請你 kā 我講, 阿君, 做一个侍從, 你得著啥物? 有買啥媠衫轉來 hō͘ 我? 買啥鞋仔 hō͘ 恁囡仔?"

"Chiah-ê 我 lóng 無扎, a-niû," Sancho 講, "m̄-koh 我有扎別項 khah 重要, khah 價值 ê 物件."

"Án-ne 我誠歡喜," in 某 kā 應, "hō͘ 我看 he khah 價值, khah 重要 ê 物件是啥, 阿君. 我想欲看 he, 好通 hō͘ 我因為你離開 chiah 久, 悲傷 kah 欲死 ê 心肝得著安慰."

"到厝我才 hō͘ 你看, a-niû," Sancho 講, "目前先安心 lah. 若神肯保庇, 阮 ē koh 出發去弄險, 真緊, 你 tō ē 看我成做伯爵, a̍h 島嶼總督, 而且 he 毋是普通島嶼, 是上蓋好 ê 島嶼."

"希望天公保庇, 阿君," 她講, "咱確實對 he 有需要. M̄-koh, 請你 kā 我講, 島嶼是啥意思? Che 我無了解."

"驢仔喙食袂出蜂蜜 ê 甜 lah," Sancho 應, "到時你 tō ē 知 lah, a-niû. 聽著所有子民稱呼你 ‘貴夫人,’ 你 ē 著一驚 neh."

"你是 teh 講啥貨 ah, Sancho? 啥是貴夫人, 島嶼, 子民 ah?" Teresa Panza án-ne kā 應. Teresa 是 Sancho in 某 ê 名, in 無血緣關係, 但照彼時 Mancha ê 例, 某是掛翁 ê 姓.

"免 hiah 急欲知一切 chiah-ê, Teresa," Sancho 講, "知我講 ê 是事實 tō 好, 免 koh 問 ah lah. M̄-koh, 我順紲 kā 你講, 世界上, 無比成做一个體面 ê 人 koh-khah hō͘ 人快樂, 做遊俠騎士 ê 侍從, 做一个弄險者 tō 是 án-ne lah. 當然, 大部份 ê 弄險並無像人所期望 ê hiah 快意, 因為 100 擺有 99 擺袂得照意願. Che 我有經驗, 因為有時我 hông kō͘ 毯仔拋, 有時我 hông 摃. 雖罔 án-ne, 期待可能發生 ê 代誌, 盤山過嶺, 軁過樹林, peh 上岩石, 拜訪城堡, 蹛 tī 客棧, 無料 ê, 連一仙錢 to 免開, 一切 che lóng 是誠好 ê 代誌."

Sancho Panza kap in 某 tng-teh 講 chiah-ê 話 ê 時, Don Quixote ê 管家 kap 外甥女 kā 伊扶入厝, 替伊褪衫, koh hō͘ 伊倒落眠床. 伊目睭 kàng-kàng 看姻, 毋知 ka-tī 是 tī 佗位. 神父交代 in 外甥女著好好照顧阿舅, koh 著 kā 伊顧牢牢, 免得伊 koh 偷走, mā kā 她講, in 是費 gōa 濟心神才 kā 伊𤆬轉到厝. 聽著 che, 彼兩个查某又閣大聲咻, 詈罵騎士小說, 請天公 kā hiah-ê 烏白寫 ê 作者擲落無底深坑. 總講一句, 姻 kài 煩惱, 等阿舅 kap 主人一旦回復體力, tō ē 閣再偷走出去. 不幸, 姻所驚 ê 代誌, 果然真正 án-ne 發生.

不而過, 這本古冊 ê 作者, 雖罔盡力研究, 試欲揣著 Don Quixote 第三擺出征所成就 ê 事蹟, 猶是無得著任何記載 tī 可靠文獻 ê 資料. 毋過, 根據 La Mancha 當地人 ê 記持, in 講, Don Quixote 第三擺出征是去 Saragossa, tī hia 參加彼个城市舉辦 ê 幾若擺比武, tī hia ê 弄險充分展現伊 ê 氣魄 kap 智慧.

有關伊 ê 結局 kap 死亡, 作者 mā 無法度得著啥具體資料. 佳哉有一位老醫生, 伊有一个鉛盒仔, 根據伊 ê 講法, che 盒仔是伊發現自一座翻修 ê 古老隱修院 ê 破敗地基. 盒仔內有一寡 kō͘ Gothic 字體寫 ê 羊皮紙手稿, he 內容是 Castile 語 [Sepanga 語] ê 詩歌, 記載濟濟伊 ê 事蹟, 描寫 Dulcinea ê 美貌, Rocinante ê 形象, Sancho Panza ê 忠實, 猶有有關 Don Quixote ê 埋葬, 以及關係伊 ê 一生 kap 性格 ê 各種墓牌文 kap 讚美詩. 毋過, tī chiah-ê 手稿當中, 這个值得信任 ê 作者 kan-ta 轉寫 he 讀 ē 明 ê 部份, kā he 囥 tī 這本新 koh 獨一 ê 古冊.

作者無要求讀者任何回報, 雖罔伊盡極大辛苦, 審查 koh 搜揣 he Mancha 檔案, 好通 hō͘ in tī 世間流傳, 伊 kan-ta 希望理性 ê 讀者, 像對待流傳在世 koh 大受歡迎 ê 騎士小說 án-ne, hō͘ 伊仝款 ê 認同 tō 好. 伊認為 án-ne tō 有得著充分回報, tō 規心滿足, koh 得著鼓勵, 繼續追求 koh 寫作其他 ê 古冊, 準講無像這本 hiah 真實, 上無 mā 仝款有創意, 有消遣 ê 價值.

52.4

At the news of Don Quixote’s arrival Sancho Panza’s wife came running, for she by this time knew that her husband had gone away with him as his squire, and on seeing Sancho, the first thing she asked him was if the ass was well. Sancho replied that he was, better than his master was.

“Thanks be to God,” said she, “for being so good to me; but now tell me, my friend, what have you made by your squirings? What gown have you brought me back? What shoes for your children?”

“I bring nothing of that sort, wife,” said Sancho; “though I bring other things of more consequence and value.”

“I am very glad of that,” returned his wife; “show me these things of more value and consequence, my friend; for I want to see them to cheer my heart that has been so sad and heavy all these ages that you have been away.”

“I will show them to you at home, wife,” said Sancho; “be content for the present; for if it please God that we should again go on our travels in search of adventures, you will soon see me a count, or governor of an island, and that not one of those everyday ones, but the best that is to be had.”

“Heaven grant it, husband,” said she, “for indeed we have need of it. But tell me, what’s this about islands, for I don’t understand it?”

“Honey is not for the mouth of the ass,” returned Sancho; “all in good time thou shalt see, wife—nay, thou wilt be surprised to hear thyself called ‘your ladyship’ by all thy vassals.”

“What are you talking about, Sancho, with your ladyships, islands, and vassals?” returned Teresa Panza—for so Sancho’s wife was called, though they were not relations, for in La Mancha it is customary for wives to take their husbands’ surnames.

“Don’t be in such a hurry to know all this, Teresa,” said Sancho; “it is enough that I am telling you the truth, so shut your mouth. But I may tell you this much by the way, that there is nothing in the world more delightful than to be a person of consideration, squire to a knight-errant, and a seeker of adventures. To be sure most of those one finds do not end as pleasantly as one could wish, for out of a hundred, ninety-nine will turn out cross and contrary. I know it by experience, for out of some I came blanketed, and out of others belaboured. Still, for all that, it is a fine thing to be on the look-out for what may happen, crossing mountains, searching woods, climbing rocks, visiting castles, putting up at inns, all at free quarters, and devil take the maravedi to pay.”

While this conversation passed between Sancho Panza and his wife, Don Quixote’s housekeeper and niece took him in and undressed him and laid him in his old bed. He eyed them askance, and could not make out where he was. The curate charged his niece to be very careful to make her uncle comfortable and to keep a watch over him lest he should make his escape from them again, telling her what they had been obliged to do to bring him home. On this the pair once more lifted up their voices and renewed their maledictions upon the books of chivalry, and implored heaven to plunge the authors of such lies and nonsense into the midst of the bottomless pit. They were, in short, kept in anxiety and dread lest their uncle and master should give them the slip the moment he found himself somewhat better, and as they feared so it fell out.

But the author of this history, though he has devoted research and industry to the discovery of the deeds achieved by Don Quixote in his third sally, has been unable to obtain any information respecting them, at any rate derived from authentic documents; tradition has merely preserved in the memory of La Mancha the fact that Don Quixote, the third time he sallied forth from his home, betook himself to Saragossa, where he was present at some famous jousts which came off in that city, and that he had adventures there worthy of his valour and high intelligence. /

Of his end and death he could learn no particulars, nor would he have ascertained it or known of it, if good fortune had not produced an old physician for him who had in his possession a leaden box, which, according to his account, had been discovered among the crumbling foundations of an ancient hermitage that was being rebuilt; in which box were found certain parchment manuscripts in Gothic character, but in Castilian verse, containing many of his achievements, and setting forth the beauty of Dulcinea, the form of Rocinante, the fidelity of Sancho Panza, and the burial of Don Quixote himself, together with sundry epitaphs and eulogies on his life and character; but all that could be read and deciphered were those which the trustworthy author of this new and unparalleled history here presents. /

And the said author asks of those that shall read it nothing in return for the vast toil which it has cost him in examining and searching the Manchegan archives in order to bring it to light, save that they give him the same credit that people of sense give to the books of chivalry that pervade the world and are so popular; for with this he will consider himself amply paid and fully satisfied, and will be encouraged to seek out and produce other histories, if not as truthful, at least equal in invention and not less entertaining. /

52.3 隨人離開, 行隨人 ê 路

52.3 Sûi-lâng lī-khui, kiâⁿ sûi-lâng ê lō͘

Sancho Panza chhoán phīⁿ-phēⁿ tòe tī āu-bīn kòe-lâi, khòaⁿ i poa̍h lo̍h-lâi, sûi hoah-siaⁿ kiò hit-ê kong-kek ê lâng m̄-thang koh kòng, in-ūi i sī chi̍t-ê khó-liân ê tiòng-siâ ê khî-sū, chit sì-lâng m̄-bat siong-hāi jīm-hô lâng. M̄-koh, chin-chiàⁿ hō͘ hit-ê chng-kha lâng tòng-chhiú ê, m̄-sī Sancho ê hoah-siaⁿ, sī in-ūi i khòaⁿ-tio̍h Don Quixote bô tín-tāng, m̄-koán kha a̍h chhiú. I kiò-sī i í-keng kā phah-sí, sûi kín kā tn̂g-phâu seh tī io-tòa, ná lo̍k-á án-ne cháu kòe iá-gōa.

Chit-sî, Don Quixote só͘-ū ê tông-phōaⁿ lóng kóaⁿ-kàu i tó ê só͘-chāi. Iû-hêng tūi-ngó͘ khòaⁿ in cháu kòe-lâi, kî-tiong ê Sèng Hiaⁿ-tī Hōe koaⁿ-oân lóng chah keng-chìⁿ, kiaⁿ ū chhiong-tu̍t, tō ûi tī sèng-siōng sì-chiu, hian-khui khàm-thâu-bō, tēⁿ ân pian-sut-á, iû-hêng ê sîn-hū mā gia̍h khí la̍h-chek-tâi, gêng-chiap kong-kek. In koat-sim boeh chū-ūi, sīm-chì nā ū khó-lêng, mā boeh chú-tōng kong-kek tùi-hong. Put-jî-kò, miā-ūn ê an-pâi khah hó kòe in ê kî-thāi, in-ūi Sancho só͘ chò ê, kan-ta sī phak-tó tī chú-lâng ê sin-khu, hoat-chhut chòe chhi-chhám, chòe hó-chhiò, m̄-bat thiaⁿ-kòe ê khàu-siaⁿ, in-ūi i siūⁿ-kóng chú-lâng í-keng sí ah.

Sîn-hū bat iû-hêng-tūi ê lēng chi̍t-ê sîn-hū, sio-jīn liáu-āu, siang-pêng ê gî-lī tit-tio̍h siau-tî. Tē-it ê sîn-hū kā lēng-gōa hit-ê kán-tan kái-soeh Don Quixote ê chōng-hóng liáu, i kap hit-tīn khó͘-siu-chiá kòe-lâi cha-khòaⁿ chit-ê khó-liân khî-sū kám chin-chiàⁿ sí ah, thiaⁿ-tio̍h Sancho Panza teh án-ne kóng, ba̍k-sái sì-lâm-sûi:

"Oh, khî-sū ê hoe, hō͘ kùn-á kòng chi̍t-ē tō kiat-sok lí che ū ì-gī ê it-seng! Oh, lí sī ka-cho̍k ê kiau-ngō͘, sī kui-ê La Mancha, sīm-chì choân sè-kài ê êng-ū kap kong-iāu, nā bô lí, sè-kài chiong chhiong-móa pháiⁿ-lâng, in chiong bē koh kiaⁿ chò-ok tit-tio̍h chhú-hoa̍t! Oh, lí pí só͘-ū ê Alexander koh-khah khóng-khài, in-ūi góa chiah ho̍k-bū lí 8-kò goe̍h, lí tō kā tōa-hái ê siōng hó tó-sū sàng hō͘ góa! Khiam-hi tùi kiau-ngō͘ chiá, ngō͘-bān tùi khiam-hi chiá [chia i kóng kah tian-tò-péng khì], thiau-chiàn hûi-hiám, jím-siū bú-jio̍k, chin-chêng loān-ài, bô͘-hóng siān-liông, táⁿ-kek siâ-ok, te̍k-sī pi-phí, kán-tan kóng, iû-kiap khî-sū, che tō sī lí ê it-chhè!"

Sancho ê ai-siaⁿ kap khàu-siaⁿ hō͘ Don Quixote chhéⁿ kòe-lâi, i kóng ê tē-it kù ōe sī:

"Siōng tiⁿ-bi̍t ê Dulcinea ah, chit-lō tāi-chì bē pí lī-khui lí koh-khah put-hēng. Sió tàu-saⁿ-kāng leh, Sancho pêng-iú, hû góa chiūⁿ hit-tâi tiòng-siâ gû-chhia. Chit-pêng keng-thâu í-keng phòa khì ah, góa bô hoat-tō͘ koh khiâ Rocinante ê bé-an."

"Góa ē chīn-la̍t chò, sian-siⁿ," Sancho kóng, "lán kín kap chiah-ê hó-sim sin-sū tńg-khì lán-chng. Kàu-ūi liáu-āu, lán chiah koh an-pâi lēng-pái ê chhut-cheng, hi-bāng he ē koh-khah sêng-kong, koh-khah úi-tāi."

"Lí kóng liáu chin tio̍h, Sancho," Don Quixote hôe-tap, "tio̍h tán chit-chūn pháiⁿ-káu-ūn kòe-liáu chiah koh chhut-cheng, án-ne chiah sī bêng-tì."

Kàu-sū, sîn-hū, í-ki̍p thì-thâu-sai lóng kóng, án-ne chò chin tio̍h. In chi̍t-bīn kám-kak Sancho Panza tiâu-ti̍t kah chiâⁿ chhù-bī, koh chi̍t-bīn kā Don Quixote chhiūⁿ chá-chêng án-ne koaiⁿ tī gû-chhia. Iû-hêng tūi-ngó͘ chiàu chêng án-ne kè-sio̍k kiâⁿ in ê lō͘. Khòaⁿ-iûⁿ-á mā kò-pia̍t lī-khui khì ah. Hiaⁿ-tī Hōe koaⁿ-oân bô boeh koh tòe in kiâⁿ, sîn-hū tō kā kai-tong hù ê chîⁿ kap in chheng. Kàu-sū pài-thok sîn-hū, kóng, tio̍h sûi-sî hō͘ i chai-iáⁿ Don Quixote ê chōng-hóng, m̄-koán tī-liâu oân-sêng a̍h sī siáu bô thêng, jiân-āu i tō pài-pia̍t, kè-sio̍k ka-tī ê hêng-têng. Kán-tan chi̍t-kù, sûi-lâng lī-khui, kiâⁿ sûi-lâng ê lō͘, kan-ta chhun sîn-hū kap thì-thâu-sai, Don Quixote, Sancho Panza, í-ki̍p hit-chiah un-sûn ê bé Rocinante, i kap chú-lâng kāng-khoán, nāi-sim koan-khòaⁿ gán-chêng ê it-chhè, bô siaⁿ bô soeh.

Gû-chhia chú-lâng kā gû chiūⁿ taⁿ, koh pho͘ chi̍t-cháng ta-chháu hō͘ Don Quixote thiap, jiân-āu chiàu sîn-hū chí-sī ê hong-hiòng, kō͘ i koàn-sì ê sok-tō͘ ûn-ûn chiūⁿ-lō͘. La̍k-kang liáu-āu, in lâi-kàu Don Quixote ê chng-thâu, tāi-khài sī tī tiong-tàu ê sî-hāu. Hit-kang tú-hó sī lé-pài-ji̍t, Don Quixote ê gû-chhia keng-kòe kóng-tiûⁿ ê sî, ū chē-chē lâng chū-chi̍p tī hia.

Só͘-ū lâng lóng chi̍p óa-lâi, khòaⁿ gû-chhia chài siáⁿ. Tán jīn-chhut he sī in ka-tī ê hiong-chhin, chèng-lâng lóng tio̍h chi̍t-kiaⁿ. Chi̍t-ê gín-á kín cháu-khì kā siau-sit pò hō͘ Don Quixote ê koán-ke kap gōe-seng-lú, kóng, yin chú-lâng kap a-kū, sán pi-pa, n̂g phí-phí, theⁿ tī gû-chhia ê ta-chháu-cháng, í-keng tńg-lâi ah. Nn̄g-ūi siān-liông lú-sū ê thî-khàu siaⁿ thiaⁿ-tio̍h ū-kàu khó-liân. Yin ná tûi ka-tī heng-khám, koh ná lé-mē khó-òⁿ ê khî-sū sió-soat. Tán Don Quixote hông chhōa-ji̍p tōa-mn̂g ê sî, in ê khàu-siaⁿ kap tōng-chok kèng-ka ke̍k-lia̍t.

52.3 隨人離開, 行隨人 ê 路

Sancho Panza 喘 phīⁿ-phēⁿ 綴 tī 後面過來, 看伊跋落來, 隨喝聲叫彼个攻擊 ê 人毋通 koh 摃, 因為伊是一个可憐 ê 中邪 ê 騎士, 這世人 m̄-bat 傷害任何人. M̄-koh, 真正 hō͘ 彼个庄跤人擋手 ê, 毋是 Sancho ê 喝聲, 是因為伊看著 Don Quixote 無振動, 毋管跤 a̍h 手. 伊叫是伊已經 kā 拍死, 隨緊 kā 長袍 seh tī 腰帶, ná 鹿仔 án-ne 走過野外.

這時, Don Quixote 所有 ê 同伴 lóng 趕到伊倒 ê 所在. 遊行隊伍看 in 走過來, 其中 ê 聖兄弟會官員 lóng 扎弓箭, 驚有衝突, tō 圍 tī 聖像四周, 掀開崁頭帽, 捏絚鞭捽仔, 遊行 ê 神父 mā 攑起蠟燭台, 迎接攻擊. In 決心欲自衛, 甚至若有可能, mā 欲主動攻擊對方. 不而過, 命運 ê 安排較好過 in ê 期待, 因為 Sancho 所做 ê, kan-ta 是仆倒 tī 主人 ê 身軀, 發出最悽慘, 最好笑, m̄-bat 聽過 ê 哭聲, 因為伊想講主人已經死 ah.

神父 bat 遊行隊 ê 另一个神父, sio 認了後, 雙爿 ê 疑慮得著消除. 第一个神父 kā 另外彼个簡單解說 Don Quixote ê 狀況了, 伊 kap 彼陣苦修者過來查看這个可憐騎士 kám 真正死 ah, 聽著 Sancho Panza teh án-ne 講, 目屎四淋垂:

"Oh, 騎士 ê 花, hō͘ 棍仔摃一下 tō 結束你 che 有意義 ê 一生! Oh, 你是家族 ê 驕傲, 是規个 La Mancha, 甚至全世界 ê 榮譽 kap 光耀, 若無你, 世界將充滿歹人, in 將袂 koh 驚做惡得著處罰! Oh, 你比所有 ê Alexander koh-khah 慷慨, 因為我才服務你 8 個月, 你 tō kā 大海 ê 上好島嶼送 hō͘ 我! 謙虛對驕傲者, 傲慢對謙虛者 [chia 伊講 kah 顛倒反去], 挑戰危險, 忍受侮辱, 真情亂愛, 模仿善良, 打擊邪惡, 敵視卑鄙, 簡單講, 遊俠騎士, 這 tō 是你 ê 一切!"

Sancho ê 哀聲 kap 哭聲 hō͘ Don Quixote 醒過來, 伊講 ê 第一句話是:

"上甜蜜 ê Dulcinea ah, chit-lō 代誌袂比離開你閣較不幸. 小鬥相共 leh, Sancho 朋友, 扶我上 hit-tâi 中邪牛車. 這爿肩頭已經破去 ah, 我無法度 koh 騎 Rocinante ê 馬鞍."

"我 ē 盡力做, 先生," Sancho 講, "咱緊 kap chiah-ê 好心紳士轉去咱庄. 到位了後, 咱才 koh 安排另擺 ê 出征, 希望 he ē koh-khah 成功, koh-khah 偉大."

"你講了真著, Sancho," Don Quixote 回答, "著等這陣歹狗運過了才 koh 出征, án-ne 才是明智."

教士, 神父, 以及剃頭師 lóng 講, án-ne 做真著. In 一面感覺 Sancho Panza 條直 kah 誠趣味, koh 一面 kā Don Quixote 像早前 án-ne 關 tī 牛車. 遊行隊伍照前 án-ne 繼續行 in ê 路. 看羊仔 mā 告別離開去 ah. 兄弟會官員無欲 koh 綴 in 行, 神父 tō kā 該當付 ê 錢 kap in 清. 教士拜託神父, 講, 著隨時 hō͘ 伊知影 Don Quixote ê 狀況, 毋管治療完成 a̍h 是痟無停, 然後伊 tō 拜別, 繼續 ka-tī ê 行程. 簡單一句, 隨人離開, 行隨人 ê 路, kan-ta 賰神父 kap 剃頭師, Don Quixote, Sancho Panza, 以及彼隻溫馴 ê 馬 Rocinante, 伊 kap 主人仝款, 耐心觀看眼前 ê 一切, 無聲無說.

牛車主人 kā 牛上擔, koh 鋪一摠焦草 hō͘ Don Quixote thiap, 然後照神父指示 ê 方向, kō͘ 伊慣勢 ê 速度勻勻上路. 六工了後, in 來到 Don Quixote ê 庄頭, 大概是 tī 中晝 ê 時候. 彼工拄好是禮拜日, Don Quixote ê 牛車經過廣場 ê 時, 有濟濟人聚集 tī hia.

所有人 lóng 集倚來, 看牛車載啥. 等認出 he 是 in ka-tī ê 鄉親, 眾人 lóng 著一驚. 一个囡仔緊走去 kā 消息報 hō͘ Don Quixote ê 管家 kap 外甥女, 講, 姻主人 kap 阿舅, 瘦 pi-pa, 黃 phí-phí, theⁿ tī 牛車 ê 焦草摠, 已經轉來 ah. 兩位善良女士 ê 啼哭聲聽著有夠可憐. 姻 ná 捶 ka-tī 胸坎, koh ná 詈罵可惡 ê 騎士小說. 等 Don Quixote hông 𤆬入大門 ê 時, in ê 哭聲 kap 動作更加劇烈.

52.3

Sancho Panza, who was coming on close behind puffing and blowing, seeing him fall, cried out to his assailant not to strike him again, for he was a poor enchanted knight, who had never harmed anyone all the days of his life; but what checked the clown was, not Sancho’s shouting, but seeing that Don Quixote did not stir hand or foot; and so, fancying he had killed him, he hastily hitched up his tunic under his girdle and took to his heels across the country like a deer.

By this time all Don Quixote’s companions had come up to where he lay; but the processionists seeing them come running, and with them the officers of the Brotherhood with their crossbows, apprehended mischief, and clustering round the image, raised their hoods, and grasped their scourges, as the priests did their tapers, and awaited the attack, resolved to defend themselves and even to take the offensive against their assailants if they could. Fortune, however, arranged the matter better than they expected, for all Sancho did was to fling himself on his master’s body, raising over him the most doleful and laughable lamentation that ever was heard, for he believed he was dead. /

The curate was known to another curate who walked in the procession, and their recognition of one another set at rest the apprehensions of both parties; the first then told the other in two words who Don Quixote was, and he and the whole troop of penitents went to see if the poor gentleman was dead, and heard Sancho Panza saying, with tears in his eyes, /

“Oh flower of chivalry, that with one blow of a stick hast ended the course of thy well-spent life! Oh pride of thy race, honour and glory of all La Mancha, nay, of all the world, that for want of thee will be full of evil-doers, no longer in fear of punishment for their misdeeds! Oh thou, generous above all the Alexanders, since for only eight months of service thou hast given me the best island the sea girds or surrounds! Humble with the proud, haughty with the humble, encounterer of dangers, endurer of outrages, enamoured without reason, imitator of the good, scourge of the wicked, enemy of the mean, in short, knight-errant, which is all that can be said!”

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At the cries and moans of Sancho, Don Quixote came to himself, and the first word he said was, /

“He who lives separated from you, sweetest Dulcinea, has greater miseries to endure than these. Aid me, friend Sancho, to mount the enchanted cart, for I am not in a condition to press the saddle of Rocinante, as this shoulder is all knocked to pieces.”

“That I will do with all my heart, señor,” said Sancho; “and let us return to our village with these gentlemen, who seek your good, and there we will prepare for making another sally, which may turn out more profitable and creditable to us.”

“Thou art right, Sancho,” returned Don Quixote; “It will be wise to let the malign influence of the stars which now prevails pass off.”

The canon, the curate, and the barber told him he would act very wisely in doing as he said; and so, highly amused at Sancho Panza’s simplicities, they placed Don Quixote in the cart as before. The procession once more formed itself in order and proceeded on its road; the goatherd took his leave of the party; the officers of the Brotherhood declined to go any farther, and the curate paid them what was due to them; the canon begged the curate to let him know how Don Quixote did, whether he was cured of his madness or still suffered from it, and then begged leave to continue his journey; in short, they all separated and went their ways, leaving to themselves the curate and the barber, Don Quixote, Sancho Panza, and the good Rocinante, who regarded everything with as great resignation as his master. /

The carter yoked his oxen and made Don Quixote comfortable on a truss of hay, and at his usual deliberate pace took the road the curate directed, and at the end of six days they reached Don Quixote’s village, and entered it about the middle of the day, which it so happened was a Sunday, and the people were all in the plaza, through which Don Quixote’s cart passed. /

They all flocked to see what was in the cart, and when they recognised their townsman they were filled with amazement, and a boy ran off to bring the news to his housekeeper and his niece that their master and uncle had come back all lean and yellow and stretched on a truss of hay on an ox-cart. It was piteous to hear the cries the two good ladies raised, how they beat their breasts and poured out fresh maledictions on those accursed books of chivalry; all which was renewed when they saw Don Quixote coming in at the gate.

52. Kap 看羊仔冤家, 苦修者冒險, 一切 lóng 解決/ 52.1 袂輸喝狗相咬

52. Kap khòaⁿ-iûⁿ-á oan-ke, khó͘-siu-chiá mō͘-hiám, it-chhè lóng kái-koat

52.1 Bē-su hoah káu sio-kā

Khòaⁿ-iûⁿ-á kóng ê kó͘ hō͘ thiaⁿ ê lâng lóng chin kah-ì, iû-kî sī kàu-sū thiaⁿ kah kài hiáng-siū. I te̍k-pia̍t chù-ì he kóng-kó͘ ê hong-sek, hoat-hiān he bô sêng sī it-poaⁿ chho͘-ló͘ ê khòaⁿ-iûⁿ-á, tian-tò khah sêng sī to͘-chhī tha̍k-chheh lâng. Só͘-tì, i jīn-tông sîn-hū ê "chhiū-nâ mā ē chhut ha̍k-chiá" ê kóng-hoat. Ta̍k-ê lóng piáu-sī goān-ì pang-chān Eugenio, kî-tiong chòe chek-ke̍k ê sī Don Quixote, i tùi i án-ne kóng:

"Khòaⁿ-iûⁿ hiaⁿ-tī, ká-sú góa ē-tit khì lāng-hiám, góa tek-khak chek-sî chhut-hoat, thè lí khì hit-keng siu-tō-īⁿ kā Leandra kiù chhut-lâi, yi it-tēng bô-ài lâu tī hia. M̄-koán īⁿ-tiúⁿ a̍h pa̍t-lâng án-nóa chó͘-tòng to bô-hāu, góa ē kā yi kau tī lí ê chhiú, hō͘ lí chiàu lí ê hoaⁿ-hí tùi-thāi yi. M̄-koh, lí tio̍h chun-siú khî-sū-tō ê kui-kí, bē-sái sú-iōng jīm-hô po̍k-le̍k tùi-thāi lú-sū. Góa siong-sìn Sîn, lán ê Chú, siâ-ok ê mô͘-hoat bô khó-lêng iâⁿ-kòe chèng-gī ê mô͘-hoat. Tō sī án-ne, góa tah-èng boeh choân-le̍k chi-chhî lí, che sī góa chò chi̍t-ê khî-sū ê chek-jīm, iā tō sī pang-chān jio̍k-chiá kap su-iàu pang-chō͘ ê lâng."

Khòaⁿ-iûⁿ-á lia̍h i khòaⁿ chi̍t-ē, khòaⁿ tio̍h Don Quixote he hân-san khoán, kám-kak tio̍h-kiaⁿ, tō mn̄g sin-piⁿ ê thì-thâu-sai:

"Sian-siⁿ, chit-ê chit-khoán táⁿ-pān, koh kóng tōa-siaⁿ ōe ê, tàu-té sī siáng?"

"He iáu-ū siáⁿ-lâng ah?" thì-thâu-sai kóng, "i tō sī chhut-miâ ê La Mancha ê Don Quixote, sī táⁿ-kek put-gī, kiù-chèng chhò-gō͘, pó-hō͘ siàu-lú, hō͘ kī-jîn phòa-táⁿ, chiàn-tàu pit-iâⁿ ê khî-sū."

"Thiaⁿ khí-lâi," khòaⁿ-iûⁿ-á kóng, "chiàu lí só͘ kóng, chit-ê lâng só͘ chò ê tāi-chì ná chhiūⁿ sī iû-kiap khî-sū sió-soat lāi-bīn ê jîn-bu̍t. Góa siong-sìn, nā m̄-sī lí teh kún-chhiò, tō sī chit-ūi sin-sū ê thau-khak lāi-té khang-khang."

"Lí chit-chiah sí tek-ke-á," Don Quixote kóng, "lí chiah sī thâu-khak khang-khang koh hàu-tai. Góa pí seⁿ lí ê káu-bó koh-khah ū-ko neh."

Án-ne kóng liáu, i sûi tāng-chhiú the̍h-khí sin-piⁿ ê chi̍t-tè pháng, tōa-la̍t kiat hiòng khòaⁿ-iûⁿ-á ê bīn, soah kā i ê phīⁿ kòng lap-khì. Khòaⁿ-iûⁿ-á m̄-bat kún sńg-chhiò, hoat-hiān án-ne hông po̍k-le̍k tùi-thāi, i bô koán tē-thán, toh-kin, a̍h tng-teh chia̍h-pn̄g ê lâng, chi̍t-ē tō chông hiòng Don Quixote, siang-chhiú ân-ân tēⁿ i ê nâ-âu, kiông boeh kā tēⁿ kah bô-khùi, ka-chài Sancho Panza chek-sî kóaⁿ-lâi kái-kiù. Sancho ùi āu-bīn tōa-la̍t lia̍h khòaⁿ-iûⁿ-á ê keng-kah-thâu, kā i ián tó tī toh-kin téng-bīn, lòng phòa óaⁿ-pôaⁿ, po-lê poe téng-téng, hut kah ū-ê bô-ê loān chhau-chhau.

Don Quixote thoat-sin liáu-āu, oa̍t tò-tńg ah tī khòaⁿ-iûⁿ-á ê sin-khu. Khòaⁿ-iûⁿ-á móa-bīn ê hoeh, iū hō͘ Sancho teh tōa-la̍t kā that, phak tio̍h chhì boeh sa chi̍t-ki chia̍h-pn̄g to-á lâi pò-siû. Ka-chài, khì hō͘ kàu-sū kap sîn-hū kā tòng lo̍h-lâi. Thì-thâu-sai thàn ki-hōe kā Don Quixote chhi̍h-tó, koh liân-sòa cheng hit-ê khó-liân khî-sū, hō͘ i móa-bīn lâu-hoeh, bē pí khòaⁿ-iûⁿ-á khah chió. Kàu-sū kap sîn-hū khòaⁿ kah ha-ha tōa-chhiò, kî-thaⁿ ê lâng mā lóng khòaⁿ kah chiâⁿ chhù-bī. Kàu-sū kap sîn-hū hoah-siaⁿ kiò hó, bē su sī teh ūi nn̄g-chiah sio-kā ê káu-á ka-iû. Tan-tan Sancho ê sim-lāi teh tio̍h-kip, in-ūi i khì hō͘ chi̍t-ê kàu-sū ê po̍k-jîn lia̍h-tio̍h, m̄ pàng i kòe khì pang-chō͘ chú-lâng.

Lo̍h-bóe, tî-liáu hit nn̄g-ê sio-phah ê lâng, chèng-lâng khòaⁿ kah tng hoaⁿ-hí koh lo̍k-thiòng ê sî, hut-jiân hn̄g-hn̄g thoân-lâi chi̍t-ê pi-ai ê lá-pah siaⁿ, in ta̍k-ê khòaⁿ hiòng chhut-siaⁿ ê hong-hiòng. Thiaⁿ-tio̍h che lá-pah siaⁿ, siōg-kài heng-hùn ê sī Don Quixote. Sui-bóng chit-sî hō͘ khòaⁿ-iûⁿ-á kā ah tī ē-bīn, bē tín bē tāng, koh hō͘ cheng kah put-chí-á chia̍h-la̍t, i tùi khòaⁿ-iûⁿ-á kóng:

"Mô͘-kúi hiaⁿ-tī, lí ū lêng-le̍k kap khùi-la̍t kā góa phah-pāi, che bô kán-tan. Góa chhiáⁿ lí thêng-chhiú chi̍t tiám-cheng, in-ūi lán só͘ thiaⁿ-tio̍h ê chong-giâm lá-pah siaⁿ, chāi góa khòaⁿ, he sī teh chio góa khì chò chi̍t-ê sin ê lāng-hiám."

Khòaⁿ-iûⁿ-á chit-sî í-keng phah kah chin thiám, sûi tō thêng-chhiú, kā i pàng-khui. Don Quixote khiā khí-lâi, khòaⁿ hiòng siaⁿ-im kòe-lâi ê só͘-chāi, hut-jiân khòaⁿ-tio̍h ū kúi-ê chhēng pe̍h-saⁿ, ná chhiūⁿ khó͘-siu-chiá ê lâng, ùi soaⁿ-phiâⁿ téng-bīn teh lo̍h-lâi.

52. Kap 看羊仔冤家, 苦修者冒險, 一切 lóng 解決

52.1 袂輸喝狗相咬

看羊仔講 ê 古 hō͘ 聽 ê 人 lóng 真佮意, 尤其是教士聽 kah kài 享受. 伊特別注意 he 講古 ê 方式, 發現 he 無成是一般粗魯 ê 看羊仔, 顛倒 khah 成是都市讀冊人. 所致, 伊認同神父 ê "樹林 mā ē 出學者" ê 講法. 逐个 lóng 表示願意幫贊 Eugenio, 其中最積極 ê 是 Don Quixote, 伊對伊 án-ne 講:

"看羊兄弟, 假使我會得去弄險, 我的確即時出發, 替你去彼間修道院 kā Leandra 救出來, 她一定無愛留 tī hia. 毋管院長 a̍h 別人 án-nóa 阻擋 to 無效, 我 ē kā 她交 tī 你 ê 手, hō͘ 你照你 ê 歡喜對待她. 毋過, 你著遵守騎士道 ê 規矩, 袂使使用任何暴力對待女士. 我相信神, 咱 ê 主, 邪惡 ê 魔法無可能贏過正義 ê 魔法. Tō 是 án-ne, 我答應欲全力支持你, 這是我做一个騎士 ê 責任, 也 tō 是幫贊弱者 kap 需要幫助 ê 人."

看羊仔掠伊看一下, 看著 Don Quixote he hân-san 款, 感覺著驚, tō 問身邊 ê 剃頭師:

"先生, 這个這款打扮, koh 講大聲話 ê, 到底是 siáng?"

"He 猶有啥人 ah?" 剃頭師講, "伊 tō 是出名 ê La Mancha ê Don Quixote, 是打擊不義, 糾正錯誤, 保護少女, hō͘ 巨人破膽, 戰鬥必贏 ê 騎士."

"聽起來," 看羊仔講, "照你所講, 這个人所做 ê 代誌 ná 像是遊俠騎士小說內面 ê 人物. 我相信, 若毋是你 teh 滾笑, tō 是這位紳士 ê 頭殼內底空空."

"你這隻死竹雞仔," Don Quixote 講, "你才是頭殼空空 koh 孝呆. 我比生你 ê 狗母 koh-khah 有膏 neh."

Án-ne 講了, 伊隨動手提起身邊 ê 一塊 pháng, 大力 kiat 向看羊仔 ê 面, 煞 kā 伊 ê 鼻摃 lap 去. 看羊仔 m̄-bat 滾耍笑, 發現 án-ne hông 暴力對待, 伊無管地毯, 桌巾, a̍h tng-teh 食飯 ê 人, 一下 tō 傱向 Don Quixote, 雙手 ân-ân 捏伊 ê 嚨喉, 強欲 kā 捏 kah 無氣, 佳哉 Sancho Panza 即時趕來解救. Sancho ùi 後面大力掠看羊仔 ê 肩胛頭, kā 伊偃倒 tī 桌巾頂面, 挵破碗盤, 玻璃杯等等, hut kah 有 ê 無 ê 亂操操.

Don Quixote 脫身了後, 越倒轉壓 tī 看羊仔 ê 身軀. 看羊仔滿面 ê 血, 又 hō͘ Sancho teh 大力 kā 踢, 仆著試欲捎一支食飯刀仔來報仇. 佳哉, 去 hō͘ 教士 kap 神父 kā 擋落來. 剃頭師趁機會 kā Don Quixote chhi̍h 倒, koh 連紲舂彼个可憐騎士, hō͘ 伊滿面流血, 袂比看羊仔較少. 教士 kap 神父看 kah ha-ha 大 chhiò, 其他 ê 人 mā lóng 看 kah 誠趣味. 教士 kap 神父喝聲叫好, 袂輸是 teh 為兩隻相咬 ê 狗仔加油. 單單 Sancho ê 心內 teh 著急, 因為伊去 hō͘ 一个教士 ê 僕人掠著, 毋放伊過去幫助主人.

落尾, 除了彼兩个相拍 ê 人, 眾人看 kah tng 歡喜 koh 樂暢 ê 時, 忽然遠遠傳來一个悲哀 ê lá-pah 聲, in 逐个看向出聲 ê 方向. 聽著 che lá-pah 聲, 上蓋興奮 ê 是 Don Quixote. 雖罔這時 hō͘ 看羊仔 kā 壓 tī 下面, 袂振袂動, koh hō͘ 舂 kah 不止仔食力, 伊對看羊仔講:

"魔鬼兄弟, 你有能力 kap 氣力 kā 我拍敗, che 無簡單. 我請你停手一點鐘, 因為咱所聽著 ê 莊嚴 lá-pah 聲, 在我看, he 是 teh 招我去做一个新 ê 弄險."

看羊仔這時已經拍 kah 真忝, 隨 tō 停手, kā 伊放開. Don Quixote 徛起來, 看向聲音過來 ê 所在, 忽然看著有幾个穿白衫, ná 像苦修者 ê 人, ùi 山坪頂面 teh 落來.

CHAPTER LII.

OF THE QUARREL THAT DON QUIXOTE HAD WITH THE GOATHERD, TOGETHER WITH THE RARE ADVENTURE OF THE PENITENTS, WHICH WITH AN EXPENDITURE OF SWEAT HE BROUGHT TO A HAPPY CONCLUSION

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52.1

The goatherd’s tale gave great satisfaction to all the hearers, and the canon especially enjoyed it, for he had remarked with particular attention the manner in which it had been told, which was as unlike the manner of a clownish goatherd as it was like that of a polished city wit; and he observed that the curate had been quite right in saying that the woods bred men of learning. They all offered their services to Eugenio but he who showed himself most liberal in this way was Don Quixote, who said to him, /

“Most assuredly, brother goatherd, if I found myself in a position to attempt any adventure, I would, this very instant, set out on your behalf, and would rescue Leandra from that convent (where no doubt she is kept against her will), in spite of the abbess and all who might try to prevent me, and would place her in your hands to deal with her according to your will and pleasure, observing, however, the laws of chivalry which lay down that no violence of any kind is to be offered to any damsel. But I trust in God our Lord that the might of one malignant enchanter may not prove so great but that the power of another better disposed may prove superior to it, and then I promise you my support and assistance, as I am bound to do by my profession, which is none other than to give aid to the weak and needy.”

The goatherd eyed him, and noticing Don Quixote’s sorry appearance and looks, he was filled with wonder, and asked the barber, who was next him, /

“Señor, who is this man who makes such a figure and talks in such a strain?”

“Who should it be,” said the barber, “but the famous Don Quixote of La Mancha, the undoer of injustice, the righter of wrongs, the protector of damsels, the terror of giants, and the winner of battles?”

“That,” said the goatherd, “sounds like what one reads in the books of the knights-errant, who did all that you say this man does; though it is my belief that either you are joking, or else this gentleman has empty lodgings in his head.”

“You are a great scoundrel,” said Don Quixote, “and it is you who are empty and a fool. I am fuller than ever was the whoreson bitch that bore you;” /

and passing from words to deeds, he caught up a loaf that was near him and sent it full in the goatherd’s face, with such force that he flattened his nose; but the goatherd, who did not understand jokes, and found himself roughly handled in such good earnest, paying no respect to carpet, tablecloth, or diners, sprang upon Don Quixote, and seizing him by the throat with both hands would no doubt have throttled him, had not Sancho Panza that instant come to the rescue, and grasping him by the shoulders flung him down on the table, smashing plates, breaking glasses, and upsetting and scattering everything on it. /

Don Quixote, finding himself free, strove to get on top of the goatherd, who, with his face covered with blood, and soundly kicked by Sancho, was on all fours feeling about for one of the table-knives to take a bloody revenge with. The canon and the curate, however, prevented him, but the barber so contrived it that he got Don Quixote under him, and rained down upon him such a shower of fisticuffs that the poor knight’s face streamed with blood as freely as his own. The canon and the curate were bursting with laughter, the officers were capering with delight, and both the one and the other hissed them on as they do dogs that are worrying one another in a fight. Sancho alone was frantic, for he could not free himself from the grasp of one of the canon’s servants, who kept him from going to his master’s assistance.

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At last, while they were all, with the exception of the two bruisers who were mauling each other, in high glee and enjoyment, they heard a trumpet sound a note so doleful that it made them all look in the direction whence the sound seemed to come. But the one that was most excited by hearing it was Don Quixote, who though sorely against his will he was under the goatherd, and something more than pretty well pummelled, said to him, /

“Brother devil (for it is impossible but that thou must be one since thou hast had might and strength enough to overcome mine), I ask thee to agree to a truce for but one hour for the solemn note of yonder trumpet that falls on our ears seems to me to summon me to some new adventure.” /

The goatherd, who was by this time tired of pummelling and being pummelled, released him at once, and Don Quixote rising to his feet and turning his eyes to the quarter where the sound had been heard, suddenly saw coming down the slope of a hill several men clad in white like penitents.

52.2 欲解救彼个穿烏衫 ê 夫人

52.2 Boeh kái-kiù hit-ê chhēng o͘-saⁿ ê hu-jîn

Tāi-chì sī án-ne, in-ūi hit-nî khiàm hō͘-chúi, hit tē-khu sì-kè ê chng-thâu cho͘-chit iû-hêng kî-tó, kap khó͘-siu, kiû Sîn liân-bín, lo̍h-hō͘. Ūi-tio̍h chit-ê iân-kò͘, chit hū-kīn chi̍t-ê chng-thâu ê lâng cho͘-tūi, tng-teh iû-hêng hiòng soaⁿ-kok piⁿ ê chi̍t-chō sèng-siu-īⁿ. Don Quixote khòaⁿ-tio̍h hiah-ê khó͘-siu-chiá ê kî-koài táⁿ-pān, bô siūⁿ-khí he i bat chia̍p-chia̍p khòaⁿ-kòe, tō kā siūⁿ chò sī chi̍t-ê lāng-hiám sū-kiāⁿ, sek-ha̍p i chit-ê iû-kiap khî-sū chhut-bīn kan-sia̍p. Koh-khah hō͘ i khak-sìn ê sī, hiah-ê lâng só͘ kng ê chhēng o͘-saⁿ ê sîn-siōng, tiāⁿ-tio̍h sī hō͘ chiah-ê ok-tô͘ kap bô-lé chha̍t-thau só͘ kiap-chhî lia̍h-cháu ê chun-kùi hu-jîn.

Chi̍t-ē siūⁿ-tio̍h che, i tō sut-leh cháu hiòng tng-teh chū-iû chia̍h-chháu ê Rocinante, the̍h-lo̍h kòa tī bē-an-keng ê khan-soh kap îⁿ-tún, chek-khek kā bé-kā-kiuⁿ kòa hó, ná kiò Sancho the̍h kiàm kòe-lâi, ná khiâ-chiūⁿ Rocinante, îⁿ-tún pa̍k tī chhiú-kut, koh tōa-siaⁿ tùi chāi-tiûⁿ ê lâng án-ne kóng:

"Lia̍t-ūi hó tông-phōaⁿ, taⁿ lín sûi tō ē khòaⁿ-tio̍h, chit sè-kài sī gōa-nī su-iàu iû-kiap khî-sū. Góa siong-sìn, tán lín khòaⁿ-tio̍h hit-ê pī kiap-chhî ê kùi hu-jîn tit-tio̍h kái-kiù liáu-āu, lín tō chai-iáⁿ iû-kiap khî-sū sī m̄-sī ta̍t-tit chun-kèng."

Ná án-ne kóng ê sî, i siang-thúi gia̍p-ân Rocinante ê pak-tó͘ (in-ūi i bô kòa bé-chhì), sûi tō chhiong hiòng hiah-ê khó͘-siu-chiá, bô koán sîn-hū, kàu-sū, kap thì-thâu-sai cháu kòe-lâi boeh kā chó͘-tòng. M̄-koh, in án-ne mā bô i ê hoat-tō͘, i koh-khah bô teh chhap Sancho tī āu-bīn ê hoah-hiu:

"Lí boeh khì tó-ūi ah, Don Quixote Ss? Lí sī hoān tio̍h siáⁿ kúi-koài ah, soah boeh khì hoán-tùi lán ê Thian-chú-kàu? Pài-thok leh! He sī khó͘-siu-chiá ê iû-hêng lah, in só͘ kng ê, he sī Sèng-bó ê sîn-siōng lah. Lí sī boeh chhòng-siáⁿ ah, sian-siⁿ, chit-pái lí chin-chiàⁿ m̄-chai ka-tī teh chhòng-siáⁿ neh."

Sancho kóng che, oân-choân bô-hāu. Don Quixote it-sim boeh chông-hiòng hit-tīn pau pe̍h-pò͘ ê lâng, boeh kái-kiù hit-ê chhēng o͘-saⁿ ê hu-jîn. I, siáⁿ ōe to bô thiaⁿ ji̍p-khì, chún-kóng thiaⁿ-tio̍h ê sī kok-ông ê bēng-lēng, i mā bē hôe-thâu. I chhiong kàu tūi-ngó͘ thâu-chêng, giú-ân bé-kā-kiuⁿ, Rocinante tú-hó mā ài-boeh pàng bān lo̍h-lâi. Kō͘ kek-tōng ê phòa-le̍h siaⁿ, Don Quixote án-ne hoah:

"Lín chiah-ê am-bīn ê, hoān-sè m̄-sī siáⁿ hó kioh-siàu, chhiáⁿ chù-ì thiaⁿ góa taⁿ boeh kā lín kóng ê ōe."

Siōng tāi-seng thêng-kha ê, sī kng sîn-siōng hiah-ê lâng. Sì-ê siōng-keng sîn-chit jîn-oân tang-tiong, ū chi̍t-ê khòaⁿ Don Quixote chit-lō koài-kî bô͘-iūⁿ, Rocinante ê sán-pi-pa, í-ki̍p kî-thaⁿ chióng-chióng ê hó-chhiò khoán, tō án-ne kā i ìn:

"Hiaⁿ-tī, nā ū siáⁿ ōe boeh kóng, lí kín kóng. Goán chiah-ê hiaⁿ-tī tng-teh sut ka-tī khó͘-siu, goán bô hoat-tō͘ thêng-khùn, mā bô eng-kai thêng lo̍h-lâi thiaⁿ lí kóng-ōe, tî-hui lí ē-tit kō͘ nn̄g-kù ōe kóng soah."

"Góa kóng chi̍t-kù tō hó," Don Quixote ìn, "iā tō-sī, lín má-siōng, chek-khek pàng-khui hit-ūi kùi hu-jîn. Yi ê ba̍k-sái kap pi-ai piáu-chêng, chheng-chhó hián-sī, lín bô-kò͘ yi ê hoán-tùi kā yi kng cháu, tùi yi chò-chhut bē-kiàn-siàu ê po̍k-hêng. Góa lâi kàu chit sè-kan, tō sī boeh siau-tî chit-chióng put-gī ê tāi-chì, choa̍t-tùi m̄-chún lín koh kiâⁿ chi̍t-pō͘, it-ti̍t kàu lín kā yi só͘ kî-thāi, kai-tit ê chū-iû koh hêng hō͘ yi."

Thiaⁿ-tio̍h chiah-ê ōe, chèng-lâng khak-tēng che tiāⁿ-tio̍h sī chi̍t-ê siáu-lâng, tō chhiò kah sim-hoe khui. Che chhiò-siaⁿ bē-su hóe-io̍h, tiám to̍h Don Quixote ê hùn-nō͘. I kā kiàm thiu chhut-lâi, bô koh kóng-ōe, tō chhiong hiòng sîn-siōng tâi. Kng sîn-siōng kî-tiong chi̍t-lâng, kā tàⁿ-á kau hō͘ tông-phōaⁿ, gia̍h chi̍t-ki hioh-khùn sî chi-chhî sîn-siōng-tâi ê siang-chhe kùn, hiòng chêng tùi i sàu kòe-khì. Don Quixote kō͘ kiàm tōa-la̍t phut lo̍h-lâi, kā he kùn-á phut-chò nn̄g-chat. Hit-lâng kō͘ lâu tī chhiú ê hit-chat kòng Don Quixote gia̍h kiàm hit-chhiú ê keng-kah-thâu (che i ê îⁿ-tún kin-pún pó-hō͘ bē-kàu), tì-sú khó-liân ê Don Quixote siak-lo̍h thô͘-kha, put-chí-á giâm-tiōng.

52.2 欲解救彼个穿烏衫 ê 夫人

代誌是 án-ne, 因為彼年欠雨水, hit 地區四界 ê 庄頭組織遊行祈禱, kap 苦修, 求神憐憫, 落雨. 為著這个緣故, chit 附近一个庄頭 ê 人組隊, tng-teh 遊行向山谷邊 ê 一座聖修院. Don Quixote 看著 hiah-ê 苦修者 ê 奇怪打扮, 無想起 he 伊 bat 捷捷看過, tō kā 想做是一个弄險事件, 適合伊這个遊俠騎士出面干涉. Koh-khah hō͘ 伊確信 ê 是, hiah-ê 人所扛 ê 穿烏衫 ê 神像, 定著是 hō͘ chiah-ê 惡徒 kap 無禮賊偷所劫持掠走 ê 尊貴夫人.

一下想著 che, 伊 tō sut-leh 走向 tng-teh 自由食草 ê Rocinante, 提落掛 tī 馬鞍弓 ê 牽索 kap 圓盾, 即刻 kā 馬咬 kiuⁿ 掛好, ná 叫 Sancho 提劍過來, ná 騎上 Rocinante, 圓盾縛 tī 手骨, koh 大聲對在場 ê 人 án-ne 講:

"列位好同伴, 今恁隨 tō ē 看著, chit 世界是 gōa-nī 需要遊俠騎士. 我相信, 等恁看著彼个被劫持 ê 貴夫人得著解救了後, 恁 tō 知影遊俠騎士是毋是值得尊敬."

Ná án-ne 講 ê 時, 伊雙腿挾絚 Rocinante ê 腹肚 (因為伊無掛馬刺), 隨 tō 衝向 hiah-ê 苦修者, 無管神父, 教士, kap 剃頭師走過來欲 kā 阻擋. 毋過, in án-ne mā 無伊 ê 法度, 伊 koh-khah 無 teh chhap Sancho tī 後面 ê 喝咻:

"你欲去佗位 ah, Don Quixote Ss? 你是犯著啥鬼怪 ah, 煞欲去反對咱 ê 天主教? 拜託 leh! 彼是苦修者 ê 遊行 lah, in 所扛 ê, 彼是聖母 ê 神像 lah. 你是欲創啥 ah, 先生, 這擺你真正毋知 ka-tī teh 創啥 neh."

Sancho 講 che, 完全無效. Don Quixote 一心欲傱向 hit 陣包白布 ê 人, 欲解救彼个穿烏衫 ê 夫人. 伊, 啥話 to 無聽入去, 準講聽著 ê 是國王 ê 命令, 伊 mā 袂回頭. 伊衝到隊伍頭前, 搝絚馬咬 kiuⁿ, Rocinante 拄好 mā 愛欲放慢落來. Kō͘ 激動 ê phòa-le̍h 聲, Don Quixote án-ne 喝:

"恁 chiah-ê 掩面 ê, 凡勢毋是啥好 kioh-siàu, 請注意聽我今欲 kā 恁講 ê 話."

上代先停跤 ê, 是扛神像 hiah-ê 人. 四个誦經神職人員當中, 有一个看 Don Quixote chit-lō 怪奇模樣, Rocinante ê 瘦 pi-pa, 以及其他種種 ê 好笑款, tō án-ne kā 伊應:

"兄弟, 若有啥話欲講, 你緊講. 阮 chiah-ê 兄弟 tng-teh sut ka-tī 苦修, 阮無法度停睏, mā 無應該停落來聽你講話, 除非你會得 kō͘ 兩句話講煞."

"我講一句 tō 好," Don Quixote 應, "也 tō 是, 恁馬上, 即刻放開彼位貴夫人. 她 ê 目屎 kap 悲哀表情, 清楚顯示, 恁無顧她 ê 反對 kā 她扛走, 對她做出袂見笑 ê 暴行. 我來到 chit 世間, tō 是欲消除這種不義 ê 代誌, 絕對毋准恁 koh 行一步, 一直到恁 kā 她所期待, 該得 ê 自由 koh 還 hō͘ 她."

聽著 chiah-ê 話, 眾人確定 che 定著是一个痟人, tō 笑 kah 心花開. Che 笑聲袂輸火藥, 點 to̍h Don Quixote ê 憤怒. 伊 kā 劍抽出來, 無 koh 講話, tō 衝向神像台. 扛神像其中一人, kā 擔仔交 hō͘ 同伴, 攑一支歇睏時支持神像台 ê 雙叉棍, 向前對伊掃過去. Don Quixote kō͘ 劍大力刜落來, kā he 棍仔刜做兩節. 彼人 kō͘ 留 tī 手 ê 彼節摃 Don Quixote 攑劍彼手 ê 肩胛頭 (che 伊 ê 圓盾根本保護袂到), 致使可憐 ê Don Quixote 摔落塗跤, 不止仔嚴重.

52.2

The fact was that the clouds had that year withheld their moisture from the earth, and in all the villages of the district they were organising processions, rogations, and penances, imploring God to open the hands of his mercy and send the rain; and to this end the people of a village that was hard by were going in procession to a holy hermitage there was on one side of that valley. Don Quixote when he saw the strange garb of the penitents, without reflecting how often he had seen it before, took it into his head that this was a case of adventure, and that it fell to him alone as a knight-errant to engage in it; and he was all the more confirmed in this notion, by the idea that an image draped in black they had with them was some illustrious lady that these villains and discourteous thieves were carrying off by force. /

As soon as this occurred to him he ran with all speed to Rocinante who was grazing at large, and taking the bridle and the buckler from the saddle-bow, he had him bridled in an instant, and calling to Sancho for his sword he mounted Rocinante, braced his buckler on his arm, and in a loud voice exclaimed to those who stood by, /

“Now, noble company, ye shall see how important it is that there should be knights in the world professing the order of knight-errantry; now, I say, ye shall see, by the deliverance of that worthy lady who is borne captive there, whether knights-errant deserve to be held in estimation,” /

and so saying he brought his legs to bear on Rocinante—for he had no spurs—and at a full canter (for in all this veracious history we never read of Rocinante fairly galloping) set off to encounter the penitents, though the curate, the canon, and the barber ran to prevent him. But it was out of their power, nor did he even stop for the shouts of Sancho calling after him, /

“Where are you going, Señor Don Quixote? What devils have possessed you to set you on against our Catholic faith? Plague take me! mind, that is a procession of penitents, and the lady they are carrying on that stand there is the blessed image of the immaculate Virgin. Take care what you are doing, señor, for this time it may be safely said you don’t know what you are about.” /

Sancho laboured in vain, for his master was so bent on coming to quarters with these sheeted figures and releasing the lady in black that he did not hear a word; and even had he heard, he would not have turned back if the king had ordered him. He came up with the procession and reined in Rocinante, who was already anxious enough to slacken speed a little, and in a hoarse, excited voice he exclaimed, /

“You who hide your faces, perhaps because you are not good subjects, pay attention and listen to what I am about to say to you.” /

The first to halt were those who were carrying the image, and one of the four ecclesiastics who were chanting the Litany, struck by the strange figure of Don Quixote, the leanness of Rocinante, and the other ludicrous peculiarities he observed, said in reply to him, /

“Brother, if you have anything to say to us say it quickly, for these brethren are whipping themselves, and we cannot stop, nor is it reasonable we should stop to hear anything, unless indeed it is short enough to be said in two words.”

“I will say it in one,” replied Don Quixote, “and it is this; that at once, this very instant, ye release that fair lady whose tears and sad aspect show plainly that ye are carrying her off against her will, and that ye have committed some scandalous outrage against her; and I, who was born into the world to redress all such like wrongs, will not permit you to advance another step until you have restored to her the liberty she pines for and deserves.”

From these words all the hearers concluded that he must be a madman, and began to laugh heartily, and their laughter acted like gunpowder on Don Quixote’s fury, for drawing his sword without another word he made a rush at the stand. One of those who supported it, leaving the burden to his comrades, advanced to meet him, flourishing a forked stick that he had for propping up the stand when resting, and with this he caught a mighty cut Don Quixote made at him that severed it in two; but with the portion that remained in his hand he dealt such a thwack on the shoulder of Don Quixote’s sword arm (which the buckler could not protect against the clownish assault) that poor Don Quixote came to the ground in a sad plight.