12.3 Siáng ū hok-khì tit-tio̍h hiah súi ê bí-jîn?
"... M̄-koh, hō͘ lâng siūⁿ bē-kàu, ū chi̍t-kang, tāi-toān ê Marcela táⁿ-pān chò khòaⁿ-iûⁿ cha-bó͘, bô thiaⁿ a-chek kap chng-ni̍h pa̍t-lâng ê khó͘-khǹg, kap chng-ni̍h kî-thaⁿ khòaⁿ-iûⁿ cha-bó͘ tâng-chê khì iá-gōa, khì khòaⁿ-kò͘ ka-tī ê iûⁿ-á. Chiū án-ne, chū-chiông yi chhut-hiān, yi ê bí-māu hō͘ lâng khòaⁿ-tio̍h, góa kóng bē-lâi, tàu-té ū gōa-chē hó-gia̍h siàu-liân-ke, kùi-cho̍k kap lông-hu, lóng ōaⁿ chò Chrysostom hit-khoán táaⁿ-pān, kàu iá-gōa khì tui-kiû yi. Kî-tiong chi̍t-ê, góa tú-chiah kóng kòe, tō sī góa hit-ê sí-khì ê pêng-iú. Lâng kóng, i tùi Marcela pēng m̄-sī ài, sī chông-pài.
"M̄-koh, lín m̄-thang siūⁿ-kóng, Marcela kéng chit-chióng chū-iû to̍k-li̍p ê seng-oa̍h, chit-chióng sok-pa̍k chió, sīm-chì oân-choân bô sok-pa̍k ê seng-oa̍h, yi tō thê-kiong ki-hōe, a̍h piáu-hiān chhut, bô chù-tiōng ka-tī ê sûn-kiat kap khiam-hi. Tian-tò péng, yi tùi ka-tī ê bêng-ū hui-siông iàu-ì, só͘-tì só͘-ū tùi yi kiû-ài ê lâng tiong-kan, bô-lâng bat khoa-kháu, a̍h ū sū-si̍t ē-tàng khoa-kháu, kóng, yi ū hō͘ i jīm-hô hi-bāng, m̄-koán gōa sè ê hi-bāng to hó.
"Sui-bóng yi bô siám kap khòaⁿ-iûⁿ-á ê chò-hóe a̍h khai-káng, tùi in hó-lé koh chhin-chhiat, tān jû-kó in tiong-kan ū-lâng hiòng yi piáu-pe̍k, tō-kóng sī siōng chèng-keng, siōng sîn-sèng ê kiû-hun, yi sûi kā hit-lâng ná kō͘ chiáu pia̍k-á án-ne tōaⁿ-khui. Yi ê chit-chióng sèng-chêng hō͘ lâng ê siong-hāi pí un-e̍k koh-khah giâm-tiōng, in-ūi yi ê chhin-chhiat kap bí-māu khip-ín hiah-ê kap yi kau-óng ê lâng ài yi, tui-kiû yi, m̄-koh yi ê bû-sī kap thán-pe̍h hō͘ in kiông-boeh choa̍t-bōng. Só͘-tì, in m̄-chai kóng siáⁿ hó, kan-ta ē-tàng kóng yi chân-jím, sim-koaⁿ ngē, tt [téng-téng] chit-khoán ê ōe, chhiong-hun biô-siá yi ê sèng-chêng. Jû-kó lí tī chia lâu chi̍t-tōaⁿ sî-kan, sian-siⁿ, lí tō ē thiaⁿ-tio̍h móa soaⁿ móa kok tui-kiû yi siū kī-choa̍t ê lâng ê oàn-thàn ê hôe-im.
"Lī chia bô hn̄g ê só͘-chāi, ū kúi-cha̍p châng koân-tōa ê soaⁿ-mô͘-kú (山毛櫸, beech), kng-ku̍t ê chhiū-phôe téng-bīn bô chi̍t-châng bô khek a̍h bô siá Marcela ê miâ. Ū-ê miâ téng-bīn koh khek chi̍t-ê ông-koan, ká-ná sī yi ê ài-jîn án-ne kóng, Marcela ta̍t-tit sè-kài tē-it súi ê ông-koan. Chia ū khòaⁿ-iûⁿ-á teh thàn-khì, hia lēng chi̍t-ê teh ai-oàn. Hia ū-lâng chhiùⁿ chêng-koa, hia koh ū-lâng chhiùⁿ choa̍t-bōng ê ai-koa.
"Ū-lâng kui-mê chē tī chhiūⁿ-chhiū a̍h tōa-chio̍h kha, bô kheh he ba̍k-sái lâu bô thêng ê ba̍k-chiu, chá-khí ê ji̍t-thâu hoat-hiān i sîn-sîn, gāng-gāng. Lēng-gōa ū-lâng tī sio-joa̍h ê joa̍h-thiⁿ tiong-tàu, tó tī sio-thǹg ê soa-po͘, thàn-khì bô thêng, bô soah, hiòng chû-pi ê thiⁿ thò͘-chhut sim-tiong ê ai-oàn. Bí-lē ê Marcela chiàn iâⁿ chit-lâng, hit-lâng, chiàn iâⁿ chiah-ê, hiah-ê, chiàn iâⁿ só͘-ū ê lâng, khin-sang koh chhìn-chhái.
"Só͘-ū goán bat yi ê lâng lóng tán teh khòaⁿ, yi ê ngō͘-bān ē án-chóaⁿ, siáng ū hok-khì ah-lo̍h yi ê khó-phà kò-sèng, koh tit-tio̍h hiah súi ê bí-jîn. Góa kā lí kóng ê chiah-ê lóng sī sū-si̍t, góa siong-sìn, Chrysostom sí ê goân-in kap lán hit-ê siàu-liân só͘ kóng ê kāng-khoán. Só͘-í góa kiàn-gī, sian-siⁿ, bîn-á-chài lí tio̍h khì chham-ka i ê chòng-lé, he ta̍t-tit khòaⁿ, in-ūi Chrysostom pêng-iú chin chē, jî-chhiáⁿ i tâi ê só͘-chāi lī chia bô pòaⁿ league [2.4 km] hn̄g."
"Góa it-tēng ē khì," Don Quixote kóng, "kám-siā lí kóng chit-ê chiah chhù-bī ê kò͘-sū, hō͘ góa chiâⁿ hoaⁿ-hí."
"Oh," khòaⁿ-iûⁿ-á kóng, "iú-koan Marcela ê chêng-jîn, góa ê só͘ chai sīm-chì bô chi̍t-pòaⁿ neh. Hoān-sè bîn-á-chài tī lō͘-ni̍h lán ē tú-tio̍h khòaⁿ-iûⁿ-á kā lán kóng. Taⁿ, lí ji̍p-khì chhù-ni̍h khùn, in-ūi àm-hong ē hō͘ lí khang-chhùi thiàⁿ, sui-bóng góa í-keng kā lí kô͘ io̍h-chháu, bián kiaⁿ ū siáⁿ ì-gōa."
Sancho Panza í-keng teh oàn-chheh khòaⁿ-iûⁿ-á ōe kóng bē-liáu, i mā chhiáⁿ chú-lâng kàu Pedro ê liâu-á lāi khùn. Don Quixote chiàu chò, i bô͘-hóng Marcela ê chêng-jîn án-ne, kui-mê lóng teh su-liām ka-tī ê hu-jîn Dulcinea. Sancho Panza tó tī Rocinante kap i ê lî-á tiong-kan khùn, bô sêng sit-ì ê chêng-jîn, tian-tò chhiūⁿ hông that kah chin thiám ê cha-po͘ lâng.
(2023-11-27)
--
12.3 Siáng 有福氣得著 hiah 媠 ê 美人?
"... M̄-koh, hō͘ 人想袂到, 有一工, tāi-toān ê Marcela 打扮做看羊查某, 無聽阿叔 kap 庄 ni̍h 別人 ê 苦勸, kap 庄 ni̍h 其他看羊查某同齊去野外, 去看顧 ka-tī ê 羊仔. 就 án-ne, 自從她出現, 她 ê 美貌 hō͘ 人看著, 我講袂來, 到底有 gōa-chē 好額少年家, 貴族 kap 農夫, lóng 換做 Chrysostom 彼款打扮, 到野外去追求她. 其中一个, 我拄才講過, tō 是我彼个死去 ê 朋友. 人講, 伊 tùi Marcela 並毋是愛, 是崇拜.
"M̄-koh, 恁毋通想講, Marcela 揀這種自由獨立 ê 生活, 這種束縛少, 甚至完全無束縛 ê 生活, 她 tō 提供機會, a̍h 表現出, 無注重 ka-tī ê 純潔 kap 謙虛. 顛倒 péng, 她 tùi ka-tī ê 名譽非常要意, 所致所有 tùi 伊求愛 ê 人中間, 無人 bat 誇口, a̍h 有事實 ē-tàng 誇口, 講, 她有 hō͘ 伊任何希望, 毋管 gōa 細 ê 希望 to 好.
"雖罔她無閃 kap 看羊仔 ê 做伙 a̍h 開講, tùi in 好禮 koh 親切, 但如果 in 中間有人向她表白, tō 講是上正經, 上神聖 ê 求婚, 她隨 kā 彼人 ná kō͘ 鳥 pia̍k-á án-ne 彈開. 她 ê 這種性情 hō͘ 人 ê 傷害比瘟疫 koh-khah 嚴重, 因為她 ê 親切 kap 美貌吸引 hiah-ê kap 她交往 ê 人愛她, 追求她, m̄-koh 她 ê 無視 kap 坦白 hō͘ in 強欲絕望. 所致, in 毋知講啥好, kan-ta ē-tàng 講她殘忍, 心肝硬, tt 這款 ê 話, 充分描寫她 ê 性情. 如果你 tī chia 留一段時間, 先生, 你 tō ē 聽著滿山滿谷追求她受拒絕 ê 人 ê 怨嘆 ê 回音.
"離 chia 無遠 ê 所在, 有幾十叢懸大 ê soaⁿ-mô͘-kú (山毛櫸, beech), 光滑 ê 樹皮頂面無一叢無刻 a̍h 無寫 Marcela ê 名. 有 ê 名頂面 koh 刻一个王冠, ká-ná 是她 ê 愛人 án-ne 講, Marcela 值得世界第一媠 ê 王冠. Chia 有看羊仔 teh 嘆氣, hia 另一个 teh 哀怨. Hia 有人唱情歌, hia koh 有人唱絕望 ê 哀歌.
"有人規暝坐 tī 橡樹 a̍h 大石跤, 無 kheh he 目屎流無停 ê 目睭, 早起 ê 日頭發現伊神神, 愣愣. 另外有人 tī 燒熱 ê 熱天中晝, 倒 tī 燒燙 ê 沙埔, 嘆氣無停, 無 soah, 向慈悲 ê 天吐出心中 ê 哀怨. 美麗 ê Marcela 戰贏 chit 人, hit 人, 戰贏 chiah-ê, hiah-ê, 戰贏所有 ê 人, 輕鬆 koh 凊彩.
"所有阮 bat 她 ê 人 lóng 等 teh 看, 她 ê 傲慢 ē 按怎, siáng 有福氣壓落她 ê 可怕個性, koh 得著 hiah 媠 ê 美人. 我 kā 你講 ê chiah-ê lóng 是事實, 我相信, Chrysostom 死 ê 原因 kap 咱彼个少年所講 ê 仝款. 所以我建議, 先生, 明仔載你 tio̍h 去參加伊 ê 葬禮, he 值得看, 因為 Chrysostom 朋友真濟, 而且伊埋 ê 所在離 chia 無半 league [2.4 km] 遠."
"我一定 ē 去," Don Quixote 講, "感謝你講這个 chiah 趣味 ê 故事, hō͘ 我誠歡喜."
"Oh," 看羊仔講, "有關 Marcela ê 情人, 我 ê 所知甚至無一半 neh. 凡勢明仔載 tī 路 ni̍h 咱 ē 拄著看羊仔 kā 咱講. 今, 你入去厝 ni̍h 睏, 因為暗風 ē hō͘ 你空喙疼, 雖罔我已經 kā 你糊藥草, 免驚有啥意外."
Sancho Panza 已經 teh 怨慼看羊仔話講袂了, 伊 mā 請主人到 Pedro ê 寮仔內睏. Don Quixote 照做, 伊模仿 Marcela ê 情人 án-ne, 規暝 lóng teh 思念 ka-tī ê 夫人 Dulcinea. Sancho Panza 倒 tī Rocinante kap 伊 ê 驢仔中間睏, 無成失意 ê 情人, 顛倒像 hông 踢 kah 真忝 ê 查埔人.
(2023-11-20)
--
12.3
But when one least looked for it, lo and behold! one day the demure Marcela makes her appearance turned shepherdess; and, in spite of her uncle and all those of the town that strove to dissuade her, took to going a-field with the other shepherd-lasses of the village, and tending her own flock. And so, since she appeared in public, and her beauty came to be seen openly, I could not well tell you how many rich youths, gentlemen and peasants, have adopted the costume of Chrysostom, and go about these fields making love to her. One of these, as has been already said, was our deceased friend, of whom they say that he did not love but adore her. /
But you must not suppose, because Marcela chose a life of such liberty and independence, and of so little or rather no retirement, that she has given any occasion, or even the semblance of one, for disparagement of her purity and modesty; on the contrary, such and so great is the vigilance with which she watches over her honour, that of all those that court and woo her not one has boasted, or can with truth boast, that she has given him any hope however small of obtaining his desire. /
For although she does not avoid or shun the society and conversation of the shepherds, and treats them courteously and kindly, should any one of them come to declare his intention to her, though it be one as proper and holy as that of matrimony, she flings him from her like a catapult. And with this kind of disposition she does more harm in this country than if the plague had got into it, for her affability and her beauty draw on the hearts of those that associate with her to love her and to court her, but her scorn and her frankness bring them to the brink of despair; and so they know not what to say save to proclaim her aloud cruel and hard-hearted, and other names of the same sort which well describe the nature of her character; and if you should remain here any time, señor, you would hear these hills and valleys resounding with the laments of the rejected ones who pursue her. /
Not far from this there is a spot where there are a couple of dozen of tall beeches, and there is not one of them but has carved and written on its smooth bark the name of Marcela, and above some a crown carved on the same tree as though her lover would say more plainly that Marcela wore and deserved that of all human beauty. Here one shepherd is sighing, there another is lamenting; there love songs are heard, here despairing elegies. /
One will pass all the hours of the night seated at the foot of some oak or rock, and there, without having closed his weeping eyes, the sun finds him in the morning bemused and bereft of sense; and another without relief or respite to his sighs, stretched on the burning sand in the full heat of the sultry summer noontide, makes his appeal to the compassionate heavens, and over one and the other, over these and all, the beautiful Marcela triumphs free and careless. /
And all of us that know her are waiting to see what her pride will come to, and who is to be the happy man that will succeed in taming a nature so formidable and gaining possession of a beauty so supreme. All that I have told you being such well-established truth, I am persuaded that what they say of the cause of Chrysostom’s death, as our lad told us, is the same. And so I advise you, señor, fail not to be present to-morrow at his burial, which will be well worth seeing, for Chrysostom had many friends, and it is not half a league from this place to where he directed he should be buried.”
“I will make a point of it,” said Don Quixote, “and I thank you for the pleasure you have given me by relating so interesting a tale.”
“Oh,” said the goatherd, “I do not know even the half of what has happened to the lovers of Marcela, but perhaps to-morrow we may fall in with some shepherd on the road who can tell us; and now it will be well for you to go and sleep under cover, for the night air may hurt your wound, though with the remedy I have applied to you there is no fear of an untoward result.”
Sancho Panza, who was wishing the goatherd’s loquacity at the devil, on his part begged his master to go into Pedro’s hut to sleep. He did so, and passed all the rest of the night in thinking of his lady Dulcinea, in imitation of the lovers of Marcela. Sancho Panza settled himself between Rocinante and his ass, and slept, not like a lover who had been discarded, but like a man who had been soundly kicked.
c12e.jpg (42K)
--
